As suggested by Axel Bruns “The rise of what is now described as social software or Web 2.0 environments stands to have a profound impact on social practices, the media, economic and legal frameworks, and democratic society itself.” Consequently this shift has facilitated the increasing importance of user-led content creation now present in numerous online environments. Such consumer behaviour is commonly referred to as produsage, whereby; the collaborative and continuous building and extending of existing content in pursuit of further improvement. Produsage actively communicates Jenkins’ ideal of the new media consumer. He argues that as a result of convergence culture, new consumers are active, migratory and socially connected. He also suggests that if old consumers were compliant, then new consumers are resistant, and take media production into their own hands. He also continued, stating that media consumers were once silent and invisible, and are now noisy and public. He subsequently argues that consumers are no longer passive, and that they actively seek new content. And consequentially if such content does not exist, it is created by users, or produsers.
The augmentation of user-driven content has seen to a substantial rise in DIY media and collaboration, hereby affecting such media industries as music and film. A current example of DIY media and produsage is the movement referred to as ‘Swarm of Angels’. This online collective of produsers is an open source film project, operating with the intention to create the first Internet funded, crewed, produced and distributed feature film. Functioning as a creative challenge to mainstream media, describing themselves as an; “evolutionary process to create cult cinema for the digital age.” This project actively demonstrates the process of produsage, and demonstrates the strength and importance of user driven content.
Another such example of social software facilitated by DIY media exists within the music industry, specifically the technological shift facing the industry in terms of downloadable content. Beginning with the introduction of the peer-to-peer file sharing program Napster in 1999, audiences were able to bypass traditional media processes for obtaining and listening to music. At its peak the site had 26.4 million users worldwide, which consequentially fostered the eruption of virtual music piracy. The practice was however illegal and Napster was subsequently shut down after numerous legal challenges with commercial artists such as Metallica, Dr Dre and Madonna. Regardless, Napster marked a shift in the way audiences received their music, with the focus on music as an intangible product able to be downloaded.
Digital development and success is guaranteed with the increasing popularity and distribution of broadband Internet and multi-purpose devices such as 3G mobile phones and portable digital music players. And consequently the worldwide Online Music market is expected to reach US$8.9 billion in sales by 2010. The impact of online environments upon the industry can be gauged from the fact that downloaded music revenues exceeded online sales of physical media during 2006. A great shift has occurred within the music industry, a shift which was forced by the consumer. Consumers have re-developed the framework and delivery system of music, whereby popular opinion has dictated that for the majority music should no longer be a physical commodity. Consequently there are numerous outlets offering music downloads at competitive prices such as Apple iTunes and Bigpond Music. The consumer dictates how they purchase the music, whether it is an entire album or individual songs.
This transition has facilitated the emergence of social software as an important aspect of the way audiences receive content. Websites such as MySpace and Last.fm allow users free music downloads or the chance to stream online, at the artists discretion. Online environments such as this remove the commercial aspects of record companies and the like, and allow a direct relationship between producer and consumer, rather the artist and their listener. The increasing availability of free music has highlighted problems for commercial digital music providers. Naturally audiences would rather receive their music for free than paying inflated rates for protection encrypted products from iTunes, which has subsequently fostered the development of what can be described as ‘blogspot sharing’. Utilising social software interfaces users have begun to upload music content to sites such as MediaFire and RapidShare, allowing other users to bypass commercial outlets for their music, an example is The Leakage Channel on LiveJournal. The practice has become so increasingly popular that a download link for an album can be ascertained via a simple Google search.
Figure 1 - Google Search
("watch out" + alexisonfire + rapidshare)
This practice is of course illegal, and marks a return to Napster-esque consumer mentality. Regardless, the popularity and effect of these kinds of services demonstrates the power of the modern consumer. And perhaps will facilitate another user-led revolution within the industry just as peer-to-peer file sharing did. Similarly the majority of artists embrace the paradigm shift, and encourage users to download their music as a way of gaining exposure and finding new audiences. With new audiences offering potential for support through other outlets such as tours or merchandise, from which the artist receives a greater financial gain.
The only thing in danger is the capitalistic ideals of major labels hindering the development and progression of the industry for their own commercial gain. The industry has the potential to exhibit many new forms of innovative DIY media and collaboration, to which everyone should be excited to be a part of.
References:
Bruns, Axel. (2008). Wikipedia: Representations of Knowledge in Axel Bruns, Blogs, Wikipedia, Second Life, and Beyond: From Production to
Global Industry Analysts, Inc. 2008. Global Online Music Sales to Total US$8.9 Billion By 2010. http://www.musicindustrystocks.com/News/r022508c.asp (accessed May 10, 2008)
Jenkins, Henry. (2004). The cultural logic of media convergence International Journal of Cultural Studies, 7 (1), 33-43.
Produsage.org. 2008. Definition, Key Principles, Necessary Preconditions.
http://produsage.org/produsage (accessed May 10, 2008)
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