Mark Dixon also develops points related to Cyber-utopianism and Participation including theories from Negroponte and Gauntlett.
In relation to Dixon's article, he looks at the critical and theoretical responses to Web 2.0 technology such as social media platforms including Instagram, Twitter, Facebook and YouTube that have allowed consumers (viewers, consumers of media platform information such as tweets, videos and news feeds) become producers (makers of YouTube videos, Instagram pages and other social media platforms feeds). An example of a successful 'consumer that became a producer' is successful YouTuber and HBO film maker Casey Neistat.
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| Wired magazine article above - http://www.wired.com/2015/07/beme-authenticity-boring/ |
From watching Casey Neistat's daily vlogs on YouTube (HERE is a link to his YouTube channel, HERE is a link to his Instagram account, HERE is a link to his Twitter page, HERE is a link to his Beme account) for about a year now, I have viewed his amazing time-lapses he captures on his travels. Casey Neistat is a popular YouTuber with over 1 million subscribers to his channel; he is a film maker and founder of the new social media platform BEME. He has also inspired me to start capturing time lapses in my free time and for my film trailer. Neistat reaches to his audience through his social media platforms including Snapchat, Twitter, Facebook, Instagram and YouTube. American theorist Henry Jenkins who is featured in Dixon's article believes Web 2.0 is 'an explosion in what he calls ‘participatory culture,’ wherein traditional media producers are replaced by a new generation of creative prosumers'. For Jenkins, Web 2.0 has the power to democratise our society. He states that 'we' as a society are no longer consumers of the 'manipulative' messages of the media, our voices are now part of the media, as shown by Casey Neistat and other popular YouTubers such as Lily Pebbles, Zoella, Tanya Burr, Jim Chapman, Alfie Deyes from PointlessblogTV and Sam Chapman and Nicola Haste from Pixiwoo.
Secondly, As shown by Casey Neistat who has founded social media platform BEME after seeing a gap in the market, Jenkins suggests that Web 2.0 allows us to 'appropriate' professional media products, 'harnessing' their messages for our own purposes. Neistat has effectively used his initiative and founded/and uses a social media platform that suits his own needs compared to following a trend such as Snapchatting.
Below is an example of one of Casey Neistat's daily vlogs on YouTube - stop at 4:07-4:15 to catch a time lapse of New York Cities Hudson River Harbour. This can be used as inspiration for my film trailer.
Below is another example of one of Casey Neistat's daily vlogs on YouTube - he plays the time lapses he has captured (normally on the same day as he films his vlog) at the beginning of each vlog with his name, date and number of vlog he has created.
Dixon also develops points related to Cyber-dystopianism and comments that the power of Web 2.0 can have an extreme side effect to 'consumers that become producers'. For example, Alan Martin in Wired Magazine suggests that 'Web 2.0 concentrates our prejudices and intolerances', agreeing with Susteins view, also featured, that the internet is a land of ‘islands’ that users congregate in 'lice-minded ghettos', where ‘likes’ and ‘retweets’ are markers of ideological affirmation. The phrase 'follow for a follow' or 'tweet for a tweet' can have denotations, connoting social media users as 'fame hungry', desperate and needy for millions of followers making them appear popular or famous. According to Sustein, this ideological affirmation extolls the values of the ghettos that we sign up to - meaning that ideological affirmation takes away the original purpose of social media platforms creating a dystopic society.
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