1. Technology
1.1. Fuller
1.1.1. media ecology, forces within technology
1.2. Kittler
1.2.1. autonomy in technology
1.2.2. technology determine our situation, not extensions of the human
1.3. Richards
1.3.1. User motivations - focus on people's interaction with others, not just with technology
2. New Media
2.1. Web 1.0
2.1.1. one-way broadcasting
2.2. Web 2.0
2.2.1. two-way communication
2.2.2. Social Networking
2.2.3. Democratisation
2.3. User generated content
2.3.1. Carter
2.3.1.1. digital graffiti - annotations to public multimedia content
2.3.1.2. Must integrate content capture, aggregation and annotation
2.3.2. Churchill et al.
2.3.2.1. Interactive community post boards
2.3.2.2. Iterative design encourages sense of ownership of final product
2.3.3. Fischer
2.3.3.1. social creativity of design communities
2.3.3.2. complexities of design require groups and communities
2.3.3.3. power of collective minds equipped with new media
2.3.3.4. new media overcomes the distances between people - spacial, temporal, conceptual and technological
2.3.4. Kahn & Kellner
2.3.4.1. Blogs critical approach
2.3.4.2. new media provides alternative symbolic economy
2.3.4.3. techno-politics - utilising digital tools for freedom and liberation
2.3.5. Fanning
2.3.5.1. UGC and emerging digital literacy
3. Cultural Participation
3.1. Bowman & Willis
3.1.1. virtually no barriers or costs to participation with internet
3.1.2. Why we participate
3.1.2.1. To gain status and build a reputation
3.1.2.2. to create connections with others with similar interests
3.1.2.3. sense-making and understanding
3.1.2.4. to inform and be informed
3.1.2.5. to entertain and be entertained
3.1.2.6. to create
3.1.3. Rules for participation
3.1.3.1. trust metrics
3.1.3.2. distributed credibility
3.1.3.3. egalitarian
3.1.3.4. intimacy
3.1.3.5. passion
3.1.3.6. speed of communication
3.1.3.7. free market of media
3.2. Nonnecke & Preece
3.2.1. few users actively contribute so active participation is low, most are lurkers
3.3. Nielsen
3.3.1. 90% never contribute, 9% contribute a little, 1% contribute most content in online communities
3.4. Beneen
3.4.1. success of online communities depends on active participation
4. Old Media Standardisation of Cultural Production
4.1. Adorno & Horkheimer
4.1.1. The Culture Industry in Dialectic of Enlightenment
4.1.1.1. technology has caused standardisation of cultural production, media controls society rather than reflecting it
4.2. Benjamin
4.2.1. The work of art in the mechanical age of reproduction
4.2.1.1. Both sides:
4.2.1.2. Allows the people closer access to art
4.2.1.3. devalues the 'aura' or uniqueness of the artwork
5. utopian
5.1. Shirky
5.1.1. Internet and group forming
5.2. Leadbeater
5.2.1. The Web is an ideal platform for creativity
5.2.2. Amateur content does not matter as long as freedom is extended
5.3. Jenkins
5.3.1. new media has democratised cultural production through participation
5.4. Jenkins & Thorburn
5.4.1. The Web has democratised society
5.5. Barbrook
5.5.1. Media freedom - even early technologies such as the printing press democratised as allwed people a voice
5.6. McLuhan
5.6.1. Technology as extension of man and capacity
5.7. Rheingold
5.7.1. Online communities and information and support sharing
5.8. Bruns
5.8.1. technology should provide a platform to share with others
5.9. Carlson
5.9.1. new media is antidote to standardised production through non-market group practices
5.10. Pine & Gilmore
5.10.1. 'Experience economy' - user centred design allows consumers input to production
6. Cultural Citizenship
6.1. Burgess et al.
6.1.1. cult citizenship not just political but creative and social practices
6.1.2. case studies of internet youth radio & urban village digital storytelling
6.2. Deuze
6.2.1. digital culture is the way people act and interact within the contemporary network society
6.2.2. the Web, changes the cultural citizenship due to the ways we participate and give meaning to the world
7. Collaborative Learning
7.1. Hoadley
7.1.1. Roles of users in collaborative learning
7.2. Bruns & Humphreys
7.2.1. Produsage model of learning for effective cultural participation
7.2.2. Wiki case study
8. Digital Literacy
8.1. Hargittai & Walejko
8.1.1. digital literacy is main barrier to participation
8.1.2. creative activity is related to socio-economic status
8.2. Geerts et al.
8.2.1. designing to support novice users to foster participation
8.2.2. investigate user needs
8.2.3. support and inspire contributions
9. Barriers to Participation
9.1. Ardichvili et al.
9.1.1. In knowledge-sharing communities:
9.1.2. Fear of criticism
9.1.3. unsure own contributions are important, accurate or relevant
9.1.4. Need to develop trust in communities
10. Motivators to Participation
10.1. Heller
10.1.1. Aesthetics important for interaction design and partcipation
10.2. Schaefer
10.2.1. SNS must provide space to maintain existing contacts and support new formation of relationships
10.3. Krasnova
10.3.1. Need to satisfy belongingness
10.3.2. esteem through self-representation
10.3.3. cogitive needs must be met
10.4. Schimke et al.
10.4.1. Incorporate group identity in one's own identity
10.5. Rafaeli & Ariel
10.5.1. Wikipedia contributions
10.5.1.1. pro vs non-pro contributions
10.5.1.2. constructive vs confrontational/vandalistic
10.5.1.3. anonymous vs identifiable
10.5.1.4. active vs lurking
10.5.2. Psychological explanations
10.5.2.1. focus on group dynamics:
10.5.2.2. express one's values
10.5.2.3. reward from environment
10.5.2.4. social adjustment within peer group
10.5.2.5. gain and exercise knowledge
10.5.3. Sociological explanations
10.5.3.1. network analysis
10.5.4. Media/Communication studies explanations
10.5.4.1. uses and gratification perpective
10.6. Cho & Cuihua
10.6.1. rewards, sense of self-importance and community interest
11. My Geistesblitzes
11.1. Strengths
11.2. What can you offer
11.3. Technology
12. dystopian
12.1. Postman
12.1.1. Electronic media (esp. television) trivialising content
12.2. Keen
12.2.1. amateurism devaluing content
12.3. Terranova
12.3.1. UGC as free market labour
12.4. Moulier-Boutang - (Thrift)
12.4.1. Cognitive capitalism- knowledge-for profit
12.5. Apple
12.5.1. iPhone, iPod, iPad DRM debate
12.5.2. Adobe Flash non-support
12.5.3. Apple TV - only plays movies downloaded (and paid for) on iTunes
12.6. Kellner
12.6.1. Techno-capitalism - corporate mergers and infotainment have shaped our current society
13. Digital Art
13.1. Manovich
13.1.1. Flash and digital art - programmers are the new digital artists
13.2. Ziv
13.2.1. likens abstracts forms of Flash to Suprematist, Constructivist and Bauhaus art movements
13.3. Boden
13.3.1. Generative art -is it really art as an expression of the self if computer generated?
13.4. Paul
13.4.1. Net Art and participation
13.5. Edmonds
13.5.1. Interactive art systems - between artists and with users
13.6. Coleman
13.6.1. Transformation of popular culture and the relation of new media to digital arts
13.6.2. cultural production demonstrates the effect and affect of new media on contemporary culture
13.7. Galanter
13.7.1. Links Pollock to generative art movement
13.7.1.1. Fractals and chaos theory
13.7.2. Genrative art can help to regain sense of place and participation
13.8. Tribe & Jana
13.8.1. new media has democratised art in a networked culture
13.9. Huang & Waldvogel
13.9.1. Interactive wallpaper - converging physical and virtual surroundings
13.9.2. psychological effect of social and spatial aspect of digital media
13.10. Gilroy et al.
13.10.1. Affective interfaces in digital art
13.10.2. Capturing the affective experience is important
14. Creativity
14.1. Gauntlett
14.1.1. creativity for social good
14.1.2. making mark on world for self-esteem
14.1.3. connecting and collaborating for social capital
14.1.4. craftivism, guerilla gardening - digital back to real world
14.1.5. must be a broad shift from "sit back and be told" to "making and doing" culture
14.2. Lumsden
14.2.1. "creativity is a kind of capacity to think up something new that people find significant"
14.3. Blythe et al.
14.3.1. nature of creativity with digital tools
14.4. Baer
14.4.1. Promoting worker creativity with rewards (pay & recognition)
14.5. Sutton
14.5.1. Creativity needs access to others with different exprience and knowledge
14.5.2. Play-Doh invention example
14.6. Craft
14.6.1. Creativity and broadening thinking skills in education
14.7. Eales
14.7.1. Creativity in action - design and development of digital creativity support systems
14.7.2. Jill Lewis - using dig technology in traditional canvas paintings
14.8. Candy & Hori
14.8.1. Creativity benefits the individual and society
14.8.2. creativity and cognition
14.8.3. Digital creativity support tools
14.9. Edmonds
14.9.1. Art practice as creative knowledge work
14.9.2. HCI to provide positive support for creativity
14.10. Farooq et al.
14.10.1. socio-technical interventions to support creativity
14.10.2. need for measures for evaluating creativity
14.11. Dovey
14.11.1. Co-creativity and UGC define new media
14.12. Gilson & Shalley
14.12.1. team engagement in creative processes
14.12.1.1. high task interdependence
14.12.1.2. shared goals
14.12.1.3. supportive climate
14.12.1.4. group organisation and socialisation
14.13. Resnick
14.13.1. socio-technical capital through creativity and participation
14.14. Feldman
14.14.1. Creativity benefits society
14.14.2. Creativity and motivations
14.14.3. Development of creativity - societal/cultural influences
14.15. Illich
14.15.1. Tools for Coviviality
14.15.1.1. "individual freedom realised in personal interdepedence"
14.15.1.2. Tools are intrinsic to social relationships
14.15.1.3. mastering tools to invest the world with meaning
14.15.1.4. Tools should accept expressions of the user, not just be automated machines
14.16. Greene
14.16.1. Tool characteristics to support creativity
14.16.1.1. support exploration & experimentation
14.16.1.2. support engagement with content to promote active learning
14.16.1.3. support search, retrieval & classification
14.16.1.4. support collaboration
14.16.1.5. support iteration and instructive mistakes
14.16.1.6. support domain-specific actions
15. Play
15.1. Pearce
15.1.1. Play is productive, especially through networks