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ZeroOne San Jose / ISEA2006 ISEA2006 symposium
The Participatory Challenge: Incentives for Online Collaboration PDF Print E-mail
Symposium Papers
Written by Kuniko Vroman   
Apr 17, 2006 at 09:14 PM

Trebor Scholz

self-organized cultural projects, online collaboration, free cooperation, social software, mutual aid

Current debates focus too much on what social tools can do and not enough on the people who use them. Motivations of the multitudes who add content to online environments matter a great deal. What follows here are hands-on guidelines and an outline of preconditions for online participation. Terms like: involvement, turn taking, network, feedback, or distributed creativity1 are frequently applied to characterise this kind of social and cultural interaction.

Abstract

Current debates focus too much on what social tools can do and not enough on the people who use them. Motivations of the multitudes who add content to online environments matter a great deal. What follows here are hands-on guidelines and an outline of preconditions for online participation. Terms like: involvement, turn taking, network, feedback, or distributed creativity1 are frequently applied to characterise this kind of social and cultural interaction. Today, people do not merely browse the web. Instead they give away information, expertise, and advice without monetary compensation. They submit texts, code, music, images, and video files in settings that allow for such contributions. They also re-mix each other's content. Thousands voluntarily participate in open encyclopedias, social bookmarking sites, friend-of-a-friend networks, media art projects and blogs or wikis. This exemplifies the growing interest in technologies of cooperation. Swarms of users/producers form extreme sharing networks, supporting their goal to lead fullfilled and engaged lives. This broad cultural context of increased content provision facilitated by the World Wide Web is the precondition for the emerging paradigm of the artist as cultural context provider, who is not chiefly concerned with contributing content to her own projects. Instead, she establishes configurations into which she invites others. She blurs the lines between the artist, theorist, and curator. However, it is surprising how little emphasis has been placed on the subtle motivations for taking part in participatory projects. The blueprints for participation in social networks and their multi-faceted hierarchies of gift exchanges have not been drawn out enough.

 

URLS: 

http://collectivate.net

http://distributedcreativity.org
Last Updated ( Aug 04, 2006 at 01:41 PM )
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