Produsage: Implications

(Crossposted from snurb.info.)

I'm spending the morning at the 2008 Arts Libraries Society of Australia and New Zealand conference, at the Queensland State Library. I'm afraid I'm only here for the opening keynotes (one of which I'm giving) - my hectic schedule for this week between overseas trips doesn't give me any more time to see what else is happening.

The first keynote speaker this morning is Kathryn Greenhill from Murdoch University, presenting on the possibilities of Second Life as a platform. She begins by taking us on a flight around Info Island - the central library island in Second Life - and follows this with a quick explanation of what Second Life is and how it works. The aim here, she notes, is immersion, not just information.

There haven't been many updates to this site recently, but in the meantime, the book has done very well - many thanks to everyone who's bought it and/or accessed the reading samples and other articles on this site. Keep spreading the word!

Over the next few months there are quite a few produsage-related events coming up for me, in Australia and Europe - and I'll preview a number of them over the coming weeks. The first one of these is a keynote at the biennial conference of the Arts Libraries Society Australia/New Zealand (ARLIS/ANZ) here in Brisbane on 9 October 2008.

Some of my colleagues at QUT are involved in a new project they describe as 'cultural science' - a combination of cultural studies, economics, and other scientific methodologies, in order to arrive at a more rigorous and testable framework for the study of cultural activity. I've posted some more about this over at snurb.info, and there's now a Cultural Science Website which has more information. I've cross-posted the following blog post on the Cultural Science blog.

I was lucky enough to attend part of the Brisbane meeting which officially kickstarted the project of cultural science, and I've been trying to trace the connections from here to my own work since then. I know little about economics, but for a couple of years before switching to media studies, I trained as a physicist, and a recent blog post by Yihong Ding has made me believe that some fields of physics, too, have valuable models to contribute to cultural science. In particular, it might be worth examining the way that particle and fluid dynamics describes the transition from random interaction at a micro level to orderly and predictable behaviour at a macro level.

But first, some background: the focus of my research is on user-led collaborative content creation, or what I've come to call produsage. One of the fundamental challenges in this field is to understand the processes of collective intelligence that arise in large-scale collaborative environments, and the conditions under which they flourish best. What makes Wikipedia work, for example? What would make it work better? What enables The Wisdom of Crowds to emerge, as James Surowiecki describes it?

As I mentioned the other day, Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage was chosen as book of the week on the P2P Foundation Website, and Michel Bauwens has kindly posted a few excerpts from the book on the P2P Foundation blog. The last two of these are now up, and I've also reposted the entire series here on this site - please feel free to leave comments here or discuss them over at the P2P Foundation Ning site.

Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage has been chosen as book of the week on the P2P Foundation Website, and over the next few days a number of selected excerpts will be published on Michel Bauwens's P2P Foundation blog. The first two of these have now gone up - check them out, and feel free to leave a comment on the blog or discuss them over at the P2P Foundation Ning site.

The first excerpt provides a general outline of and motivation for the produsage concept - it outlines the decline of the conventional production chain as we were familiar with it during the industrial age, and the corresponding rise of produsage as a hybrid model of content creation which involves users as producers: in other words, produsers. Necessarily, this also fundamentally reshapes our understanding of the outcomes of such processes: produsage generates only temporary artefacts which themselves remain up for further development, not fixed and finished products - even though many such artefacts (from open source software to the Wikipedia, and beyond) can be used to substitute for the products of industrial processes.

As I've said before, I'm no fan of Facebook - in fact, I think that ultimately, it is no more than a poor caricature of what social networking can be and do. Clearly, that's not stopped the site's rapid growth, but as Facebook users themselves have had more time to come to terms with the environment they're now operating in, I think it's in good part responsible for the fact that in some key territories, Facebook usage numbers have now plateaued and even declined.

The main problem here is with the thoughtlessness with which Facebook handles what should be its central asset - the social networks that its users belong to. Social networks are defined in the first place by the term 'friend', but being friends with someone on the site is no more than a binary decision: you either are, or you're not. There's no opportunity to do what we do in our lives outside of Facebook every day - to distinguish between different types and levels of friendship: work colleagues, old school friends, family members, neighbours, ex-lovers, casual acquaintances must all be classified simply as either 'friend' or 'non-friend'. What's the use of that?

On my Facebook profile page (which I hardly ever visit), there are now some 30 friend requests waiting for me - some are genuine friends, some are students and colleagues, some are casual acquaintances or friends-of-a-friend. Overall, they have nothing more in common than that they - somehow - know (of) me. In no context other than within the artificial sociality of Facebook would anyone consider all of these people to belong to the same category. And I have no means to properly qualify the level of friendship which connects me to another person - I can't distinguish between people I've known for 20 years and people whom I've never heard of, but who may have read one of my books; I can't tell family members from colleagues at work whom I occasionally exchange ideas with.

This fundamentally ignores some of the basics of how we as humans understand the social networks we're embedded in. We don't just see everyone as our 'friends', but instead have social ties with others that are more or less strong - and for most of us, there's a pretty low upper limit on the maximum number of really close friends we have. (Perhaps it's just me, but I don't know that I'd even say that I have 30 extremely close, 'through-thick-and-thin' friends - so who are those 30 who want to befriend me on Facebook?) Which highlights the absurdity of the Facebook 'friends' system: any social network that enables any of its members to claim that they have 10,000 or more friends doesn't deserve to be called 'social network'; what the tag 'friend' in Facebook really means is no more than 'here's someone I know (of)' - and what good is that if I can't also say 'but here are my very best mates'?

Continuing the streaming media theme on snurb.info from Wednesday: the latest issue of the journal Media International Australia has now been released - "Beyond Broadcasting", edited by Graham Meikle and Sherman Young. I've contributed an article and have received permission from the editors to re-publish it here. In the article, I try to take a fresh look at television in an increasingly Internet-driven media environment.

Traditionally, the Net's equivalents to television (mainly, streaming media) have been viewed through the lens of the older technology; to some extent, streaming media has tried to mimic television's feel and format - this is visible in the user interfaces of media players like Windows and Real, and even (though perhaps with some irony intended) in brand names such as YouTube, Current.tv, or Democracy TV, the original name for the podcast feedreader Miro. I would argue that this is a case of what we could call a paleomorphising process: the tendency to shape new media technologies in keeping with older technologies. (In much the same way, it's taken decades for the mobile phone to look and feel like a mobile media and communications device, rather than simply like a wireless handset.)

I'm very pleased to see that a new article of mine has just been published in the energetic Greek online journal Re-Public. Editor Pavlos Hatzopoulos invited me a little while ago to respond to a first wave of articles discussing and critiquing the emergent phenomena of the social Web, and the contributor list already includes a number key thinkers in the field, from Michel Bauwens to Trebor Scholz. In fact, I responded specifically to the opening discussion between Trebor and Paul Hartzog, which revisits the industrial-age question of "Who owns the means of production?" for the new, information-age context.

What was missing from this, from my point of view, was a concern not so much with the means of production, but with the next step in the chain - with the means that connect producers and users, the means that facilitate the interaction, collaboration, and ultimately the produsage that takes place when the producer/consumer dichotomy diminishes. This, I feel, should be the main starting-point for critique now - the question should be "Who controls the means of produsage?" In fact, its claim to exclusive ownership and control of the means of produsage within its gated community is one of the reasons why I am so concerned about the rise of Facebook, as I've noted previously.

Anyway - the article is now available on Re-Public, and reprinted below. A special thrill for me (having studied ancient Greek at school) is that Re-Public also published a (modern) Greek translation of the piece: Ποιος ελέγχει τα μέσα παραγωγής/κατανάλωσης; Cool...