1. A movie by ‘you’ and ‘us’. Crowdsourcing and crowdfunding in audiovisual content production Digital Culture: Innovative Practices and Critical Theories ECREA Digital Culture and Communication 3rd Workshop (24-25th November, 2011) Antoni Roig Jordi Sánchez Navarro Talia Leibovitz Universitat Oberta de Catalunya (UOC)/ Internet Interdisciplinary Institute (IN3)
This is a contextual introduction related to our interests and work related to the subject. I have included the notion of ‘affective engagement’ and ‘narrative worlds’ as a wink to Jordi, as I think it constitutes a link with his current interests on cognition and ‘massive worlds’
This slide constitutes the canonical approach and application to crowdsourcing..
And the implications and problematic issues derived from this general, eminently business-oriented approach
Canonical approach presented visually
And a brief notes on actual media projects which can be considered as exponents of crowdsourcing. My goal is to point out that even that de democratising discourses of ‘Life in a day’ are fairly problematic it s not fitting in the orthodox approach, as there is a sense of reciprocity between creative core and users. Sintel (animated picture middle right) is an example of a model of crowdsourcing based on technical abilty (and supposedly closer to open source origins of the term, even if it is misleading as organization of work is fairly canonic). Star Wars Uncut (bottom left) is also transgressive as it is not oriented to problem-solving and it is empowering users through free selection of clips, peer-voting processes and non-linearity. It is also important that in Life in a day and SW Uncut, the final outcome is deeply embedded into the participation process, being in fact inextricable. Iron Sky (Isis Amelia Hjorth will be dealing specifically with this case I guess) is important for its playful and respectful relationship with audiences: even if it is task oriented there is a reciprocity in developing an open collaboration platform, Wreck a Movie. And finally, my beloved ASOA is important becasuse it was conceived at the very same moment when crowdsourcing was just becoming popular and there was a community-based, collaborative and self-reflective approach to it, surpassing by far the canon. I know, they failed.
This new list shows how things change after observing actual cases in media production. Canonical approach to crowdsourcing does not apply, even if it is somehow present in different features of these projects. Things are more complex, more participatory and more interesting that they seem at first sight.
Now I’m repeating the same structure: first orthodox definition
Then, issues that emerge from orthodox approach
A visual overview of orthodox approach
Cases in media production, with particular attention to Spanish cases
Particularities coming from observation of audiovisual projects
Being a mainly descriptive presentation I prefer avoiding ‘conclusions’ and including some final remarks, which includes what I consider it is our main statement and some lines of research
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