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In the crowd: articulating participation
     in complex media production


Antoni Roig, Jordi Sánchez-Navarro, Talia Leibovitz
(Universitat Oberta de Catalunya/ IN3)




ECREA: 4th European Communication Conference, Istanbul, 24-27 October, 2012
Research framework
Our interest in participation and collaboration practices in
complex media project like films and TV series heavily
relying on the web and social media.

Observation that ‘crowd' is used as an all-purpose tag to
refer to any kind of participation and engagement in
processes of media production.

Evidences that popular 'crowd' terms in media, like
'crowdsourcing' and 'crowdfunding' do not encompass
diversity of creative practices involved in participatory
media production.

Need for a critical approach
Starting position
Crowdsourcing is a biased concept, coming from
economics, which emphasizes:

   - Problem solving
   - Economical efficiency
   - Embedment of consumer into product.
   - Tasks
   - Organization through calls or contests.
   - Hierarchy
   - A content/ provider relationship
Starting position

…and neglects

   - Decision-making processes
   - Participant recognition as creative agent
   - Creation of a community.


                      (Deuze, 2008; Carpentier, 2011)
Research objectives

Contrast of established notions of crowdsourcing
with actual participatory media production
practices.

Identification of limits of crowdsourcing models in
media production.

Outlining of further categories and features
related to participatory media production.
Work-in-progress research
Identification of broad and established conceptualization of
crowdsourcing (Estellés and González, 2012).

Critical evaluation of definition in relation to media creation

Outline of a questionnaire for case analysis based on
participatory practices in media production (connected to
previous research).

Comparative analysis of ten cases according to the following
criteria:
  
      Use of participatory discourses
  
      Relevance according to scope and significance
  
      Geographical, organizational and structural variations.
Crowdsourcing is a type of participative online activity in
which an individual, an institution, a non-profit
organization, or company proposes to a group of
individuals of varying knowledge, heterogeneity, and
number, via a flexible open call, the voluntary undertaking
of a task. The undertaking of the task, of variable
complexity and modularity, and in which the crowd should
participate bringing their work, money, knowledge and/or
experience, always entails mutual benefit. The user will
receive the satisfaction of a given type of need, be it
economic, social recognition, self-esteem, or the
development of individual skills, while the crowdsourcer
will obtain and utilize to their advantage what the user has
brought to the venture, whose form will depend on the type
of activity undertaken (Estellés & Gonzalez 2012)
Crowdsourcing in media creation

Crowdsourcing is not just about outsourcing
problems, not a production model.

The 'crowd' is made up of users and consumers
with a wide array of motivations.

Crowdfunding practices can be included in
crowdsourcing.
Questionnaire design

Six dimensions:

  1)   Self-presentation of the project (discourses)
  2)   Explicit aims and rules
  3)   Outline of production processes (what is opened)
  4)   Union bonds among participants (community)
  5)   Mechanisms of participation (how it is opened)
  6)   Legitimation of participants’ outcomes (user
       output)
Cases
Empire Uncut (US)       Collaborative filmmaking, remix



Iron Sky (Fin-Ger)      Task-based filmmaking and community
                        engagement
The Cosmonaut (Sp)      Crowdfunding and community engagement

A Swarm Of Angels       Open source filmmaking and crowdsourcing
(UK)
El dietista (Sp)        crowdfunding

Lost Zombies (US)       Co-creation based on social networking

The entertainment       Celebrity-mediated co-creation
experience (Nl)
Life in a day (UK-US)   crowdsourcing
Gesamt (Dk)             Celebrity-mediated collaborative filmmaking, remix

Arròs Movie (Sp)        Crowdfunding and collaborative filmmaking
Comparative analysis
                  Re-appropriation Money   Community Co-creation Work
Life in a day                                        x          x
Gesamt            x                                  x          x
Arròs Movie                       x        x                    x
El dietista                       x
Lost Zombies                               x         x          x
Entertainment                              x         x          x
experience

Empire Uncut      x                                  x          x
The Cosmonaut     x               x        x
Iron Sky                          x        x                    x
A Swarm of Angels x               x        x         x          x
Conclusions
•Discourses on communities are ubiquitous, but it doesn’t
mean that an actual community is being fostered.

•Crowdsourcing doesn’t take into consideration the
empowerment of a community: they are looking for
engagement with a potential audience instead

•Crowdsourced projects are not necessarily co-creation; and
when it happens, it is usually restricted.

•All cases analyzed present some sort of hierarchical structure

•Maximization of participation: COMMUNITY+CO-
CREATION+WORK.
Future research
•Emphasis on motivations: why collaborate?

•What kinds of ‘WORK’? What possible categories could we
identify?

•Which are the mechanisms for building actual communities?

•Systematization of cases: towards a taxonomy of crowd-
based media projects.

•What do we mean as ‘significant parts’ in co-creation
projects?

•Financial sources and copyright issues.
Any   que
          s-
                   Thank you!!
      tion
          s    ?
                   www.newmediapractices.org

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Istanbul ecrea 2012 presentation_crowd

  • 1. In the crowd: articulating participation in complex media production Antoni Roig, Jordi Sánchez-Navarro, Talia Leibovitz (Universitat Oberta de Catalunya/ IN3) ECREA: 4th European Communication Conference, Istanbul, 24-27 October, 2012
  • 2. Research framework Our interest in participation and collaboration practices in complex media project like films and TV series heavily relying on the web and social media. Observation that ‘crowd' is used as an all-purpose tag to refer to any kind of participation and engagement in processes of media production. Evidences that popular 'crowd' terms in media, like 'crowdsourcing' and 'crowdfunding' do not encompass diversity of creative practices involved in participatory media production. Need for a critical approach
  • 3. Starting position Crowdsourcing is a biased concept, coming from economics, which emphasizes: - Problem solving - Economical efficiency - Embedment of consumer into product. - Tasks - Organization through calls or contests. - Hierarchy - A content/ provider relationship
  • 4. Starting position …and neglects - Decision-making processes - Participant recognition as creative agent - Creation of a community. (Deuze, 2008; Carpentier, 2011)
  • 5. Research objectives Contrast of established notions of crowdsourcing with actual participatory media production practices. Identification of limits of crowdsourcing models in media production. Outlining of further categories and features related to participatory media production.
  • 6. Work-in-progress research Identification of broad and established conceptualization of crowdsourcing (Estellés and González, 2012). Critical evaluation of definition in relation to media creation Outline of a questionnaire for case analysis based on participatory practices in media production (connected to previous research). Comparative analysis of ten cases according to the following criteria:  Use of participatory discourses  Relevance according to scope and significance  Geographical, organizational and structural variations.
  • 7. Crowdsourcing is a type of participative online activity in which an individual, an institution, a non-profit organization, or company proposes to a group of individuals of varying knowledge, heterogeneity, and number, via a flexible open call, the voluntary undertaking of a task. The undertaking of the task, of variable complexity and modularity, and in which the crowd should participate bringing their work, money, knowledge and/or experience, always entails mutual benefit. The user will receive the satisfaction of a given type of need, be it economic, social recognition, self-esteem, or the development of individual skills, while the crowdsourcer will obtain and utilize to their advantage what the user has brought to the venture, whose form will depend on the type of activity undertaken (Estellés & Gonzalez 2012)
  • 8. Crowdsourcing in media creation Crowdsourcing is not just about outsourcing problems, not a production model. The 'crowd' is made up of users and consumers with a wide array of motivations. Crowdfunding practices can be included in crowdsourcing.
  • 9. Questionnaire design Six dimensions: 1) Self-presentation of the project (discourses) 2) Explicit aims and rules 3) Outline of production processes (what is opened) 4) Union bonds among participants (community) 5) Mechanisms of participation (how it is opened) 6) Legitimation of participants’ outcomes (user output)
  • 10. Cases Empire Uncut (US) Collaborative filmmaking, remix Iron Sky (Fin-Ger) Task-based filmmaking and community engagement The Cosmonaut (Sp) Crowdfunding and community engagement A Swarm Of Angels Open source filmmaking and crowdsourcing (UK) El dietista (Sp) crowdfunding Lost Zombies (US) Co-creation based on social networking The entertainment Celebrity-mediated co-creation experience (Nl) Life in a day (UK-US) crowdsourcing Gesamt (Dk) Celebrity-mediated collaborative filmmaking, remix Arròs Movie (Sp) Crowdfunding and collaborative filmmaking
  • 11. Comparative analysis Re-appropriation Money Community Co-creation Work Life in a day x x Gesamt x x x Arròs Movie x x x El dietista x Lost Zombies x x x Entertainment x x x experience Empire Uncut x x x The Cosmonaut x x x Iron Sky x x x A Swarm of Angels x x x x x
  • 12. Conclusions •Discourses on communities are ubiquitous, but it doesn’t mean that an actual community is being fostered. •Crowdsourcing doesn’t take into consideration the empowerment of a community: they are looking for engagement with a potential audience instead •Crowdsourced projects are not necessarily co-creation; and when it happens, it is usually restricted. •All cases analyzed present some sort of hierarchical structure •Maximization of participation: COMMUNITY+CO- CREATION+WORK.
  • 13. Future research •Emphasis on motivations: why collaborate? •What kinds of ‘WORK’? What possible categories could we identify? •Which are the mechanisms for building actual communities? •Systematization of cases: towards a taxonomy of crowd- based media projects. •What do we mean as ‘significant parts’ in co-creation projects? •Financial sources and copyright issues.
  • 14. Any que s- Thank you!! tion s ? www.newmediapractices.org

Hinweis der Redaktion

  1. The previous definition challenges the idea of outsourcing problems, which traditionally define Crowdsourcing through the idea of ​ ​ task performance (Howe 2006). Thus, the artistic activity is covered by this definition. So, talk about crowdsourcing as a production model is surpassed. This distinction (Kleeman in Estelles & Gonzalez, 2012) is interesting in reference to the interests of the collaborative crowd. In the case of the artistic or audiovisual production, interest elements obey to different motivations ranging from the recreational to the social, the autopromotional, learning…. Anyway always refer to a certain kind of literacy without necessarily entering the professional field (basically amateurs). As the definition includes money conttribution as part of the voluntary tasks asked by the crowdsourcer, Crowdfunding projects are considered under Crowdsourcing definition even the collaboration is very well defined like the pledge contribution.
  2. In order to carry out the empirical analysis of the case studies we designed a questionnaire divided in six dimensions of analysis … … These dimensions allow us to contrast the discourses on participation and collaboration with the real dynamics that occur in these projects and, more importantly, with the generated outputs. These dimensions also are powerful tools to draw comparisons between projects.
  3. The ten case studies were selected to obtain an overview of several cases in both strategy and results, different approaches to the nature of collaboration and the relationship between promoters and participants.
  4. Loose consideration of community: we tick the community box if the notion of community is integrated in the project discourses. Communities are not crowds. Co-creation:agreement between a project promoter and a collectivity of engaged users, willing to contribute to significant parts of the project, in an environment of transparency and mutual recognition (Deuze, 2008; Banks and Potts, 2010). Communities: growing number of participants, mutual engagement, interaction dynamics, motivational, value generation, participatory and sharing practices, common goal, different levels and areas of expertise (adapted from Lewis, Pea & Rosen, 2010)