From social action to business action - A qualitative research on the professionalization process of a blogger: Case P.s. I Love Fashion -blog

Blogging is one of the most common forms of social media today. Blogs have become a powerful media and bloggers are settled stakeholders to marketers. Commercialization of the blogosphere has enabled an increasing number of bloggers professionalize and blog as a full-time occupation. The purpose of this study is to understand the professionalization process of a blogger from an amateur blogger to a professional actor. The following sub-questions were used to further elaborate the topic: What have been the meaningful events and developments fostering professionalization? What are the prerequisites for popularity in blogging? Are there any key success factors to acknowledge in order being able to make business out of your blog? The theoretical framework of this study was formed based on the two chosen focus areas for professionalization; social drivers and business drivers. The theoretical framework is based on literature from fields of marketing and social sciences, as well as previous research on social media, blogging and professionalization. The study is a qualitative case-study and the research data was collected in a semi-structured interview. The case chosen to this study is a lifestyle-blog. The writer of the case blog has been able to develop her blog to become a full-time professional blogger. Based on the results, the professionalization process of a blogger is not a defined process, but instead comprised of coincidental events as well as considered advancements. Success in blogging is based on the bloggers own motivation and passion for writing and expressing oneself in the form of a blog, instead of a systematic construction of a successful career in blogging. Networking with other bloggers as well as affiliates was seen as an important success factor. Popularity in the blogosphere and a high number of followers enable professionalization, as marketers actively seek to collaborate with popular bloggers with strong personal brands. Bloggers with strong personal brands are especially attractive due to their opinion leadership in their reference group. A blogger can act professionally either as entrepreneur or blogging for a commercial webpage. According to the results of this study, it is beneficial for the blogger’s professional development as well as career progress, to act on different operating models

“Enjoy your baby” Internet-based CBT for mothers with babies: a feasibility randomised control trial

Background: Postnatal depression is a global health problem with lasting effects on the family. Government policy is focussed on early intervention and increasing access to psychological therapies. There is a growing evidence base for the use of computerised CBT packages and this study investigated the feasibility of a CBT-based self-help internet intervention for new mothers. Objective: To assess the ability to recruit mothers, deliver an internet course, obtain follow-up data and evaluate what mothers think of the course. Design: A feasibility randomised control design was used to compare a waiting list control group (delayed access= DA) to the Enjoy Your Baby course (immediate access= IA). Measures were administered at baseline and 8 week follow-up. Methods: Adverts were placed in the Metro freesheet, on charity web pages, on social media, posters were put up in the community, and leaflets were handed out at mother and baby groups. Participants had to be 18 years old or over with a child less than 18 months old. The IA arm was given access to the course straight away. After 8 weeks all participants were asked to recomplete the original measures and those in the IA arm also gave feedback on the course. Participants in the DA arm were given access after recompleting the questionnaires. Due to a lack of follow-up data a small discussion group was conducted. Intervention: The course contains 4 core modules including helping mothers understand why they feel the way they do and helping them build closeness to their babies. Additional modules, worksheets and homework tasks were available. The DA group were given a list of additional support resources and services, and encouraged to seek additional help if required. All participants received weekly automated emails for 12 weeks as they worked through the course. It was not possible to deliver individualised support. 34 Results: Despite using a number of recruitment strategies, recruitment was lower and slower than anticipated, and attrition was high. 41 women, primarily recruited via the internet, were randomised (IA n=21, DA n=20). No significant differences were observed between participants in either arm at baseline and no statistically significant differences were identified when the demographics and baseline measures of participants who logged-on to the course were compared to those who did not, or when participants who completed follow-up measures were compared to those who did not. Pre and post intervention scores on the EPDS approached statistical significance (P=.059, r=.444) favouring the intervention arm. The discussion group suggested strengths of the course and recommended areas for improvement, including making the course more mobile friendly. Conclusion: Internet interventions show promise; however it is difficult to recruit mothers, engagement is low and attrition high. A number of recommendations are made and a further pilot or an internal pilot of a larger substantive study should be conducted to confirm recruitment and retention. Trial ID: ISRCTN90927910.

A VOICE OF THEIR OWN: MUSIC AND SOCIAL COHESION IN TURKISH ALEVI LIFE

This dissertation examines the role that music has played in the expression of identity and revitalization of culture of the Alevis in Turkey, since the start of their sociocultural revival movement in the late 1980s. Music is central to Alevi claims of ethnic and religious difference—singing and playing the bağlama (Turkish folk lute) constitutes an expressive practice in worship and everyday life. Based on research conducted from 2012 to 2014, I investigate and present Alevi music through the lens of discourses on the construction of identity as a social and musical process. Alevi musicians perform a revived repertoire of the ritual music and folk songs of Anatolian bards and dervish-lodge poets that developed over several centuries. Contemporary media and performance contexts have blurred former distinctions between sacred and secular, yet have provided new avenues to build community in an urban setting. I compare music performances in the worship services of urban and small-town areas, and other community events such as devotional meetings, concerts, clubs, and broadcast and social media to illustrate the ways that participation—both performing and listening—reinforces identity and solidarity. I also examine the influence of these different contexts on performers’ musical choices, and the power of music to evoke a range of responses and emotional feelings in the participants. Through my investigation I argue that the Alevi music repertoire is not only a cultural practice but also a symbol of power and collective action in their struggle for human rights and self-determination. As Alevis have faced a redefined Turkish nationalism that incorporates Sunni Muslim piety, this music has gained even greater potency in their resistance to misrecognition as a folkloric, rather than a living, tradition.

The importance of relationship closeness expectations in brand-page communication in social networking sites

While there is extensive research regarding the way users in social networking sites (SNSs) connect and communicate with each other, literature on consumer-brand relationships in SNSs is scarce. This paper hypothesizes and tests the impact of varying the source of communication in Facebook brand pages on key characteristics of brand equity, examining whether this impact is conditioned by relationship closeness expectations. More specifically, two experiments assess how relationship closeness expectations vary according to brand category and brand affiliation and how the use of a spokes-character as the source of communication in brand pages versus communicating institutionally affects consumer’s attitudes towards two real-world brands. To measure these variables, structured questionnaires were conducted with three groups of undergraduate students. The results suggest that the appropriateness of opting for a more “informal” source of communication in brand pages such as a spokes-character varies depending on whether this is in(congruent) with existing relationship closeness expectations. Implications for researchers, brand and social media managers are presented.

A marketing plan for Lightning Bolt

This project had as main goal to improve the perception of male surfers about the surf brand Lightning Bolt. It was proposed the creation of a collection of wetsuits as well as the “A Pure Source” Project to show the commitment of the brand with the surf community. To promote both several promotional activities are suggested such as the use of magazines, radio, banners and social media. To complement the distribution chain of the brand, a concept store and a mobile store are also recommended. With this project the brand will be able to double the number of current surfers that buy the brand in a profitable and effective way. The project is expected to generate a net profit of 91,294€ in year 1.

Movimiento estudiantil en Chile, aprendizaje situado y activismo digital. Compromiso, cambio social y usos tecnológicos adolescentes

A partir del movimiento estudiantil que surge en Chile en 2011 el artículo reflexiona sobre la escuela como espacio de aprendizaje situado de tecnologías digitales audiovisuales y el modo en que este proceso puede impactar sobre la dimensión político-comunicacional de un movimiento social. Para ello, se describe y analiza el caso de una escuela donde la educación formal en lenguajes y tecnologías digitales se imbrica con el uso que hacen, estudiantes secundarias que se convierten en dirigentas estudiantiles, de aplicaciones y recursos de la web social y los llamados “social media” (youtube, blogs, redes sociales). Se trabaja con datos generados a través de entrevistas a informantes claves y una selección de videos creados por el estudiantado y subidos a internet. El contenido de las entrevistas es abordado desde el concepto de aprendizaje situado (Lave y Wenger, 1991) y los videos desde el concepto de videoactivismo (Askanius, 2013; Mateos y Rajas, 2014). Los resultados muestran que el uso concreto de herramientas digitales obtenidas en contextos educativos formales y dentro de procesos de movilización, genera a su vez nuevas experiencias de aprendizaje no-formal, que permiten tanto a estudiantes como docentes reflexionar sobre sus prácticas y mejorar su potencial comunicativo. Asimismo, muestran un uso acrítico de las herramientas digitales, lo cual constituye un llamado de atención respecto a la necesidad de incorporar los tópicos de privacidad y autocuidado en internet dentro de los contenidos a desarrollar por la escuela como espacio de aprendizaje digital.

Remixing as a creative and social approach to learning design

This paper discusses the concepts of remixing and morphing in learning design. In particular, it focuses on how the authors used approaches and findings from a high school action research study to inform their work in higher education. This was done in an attempt to build authentic and active student learning experiences that align with the needs of the 21st Century, and they argue that remixing offers a creative and social approach to the designing of learning. The high school study embedded social and participatory media into the face-to-face classroom. This opened up opportunities for students to interact and share user-generated content. The authors discuss how they have used the approaches and findings from this high school study in their work in teacher education and pre-service teacher education, as well in as learning design in the Business and Law Faculty. The authors' university has a strategic plan that identifies the world as globally connected, with new ideas available at the touch of a button and innovation 'anywhere' and at 'any time' and this paper supports that agenda. Using the concept of remixing the authors build on their previous work in learning design and make explicit the sharing nature within a remix approach. The use of the concept of remix is demonstrated within a bigger picture of what is sometimes called 'course-wide' thinking. The authors argue that this work contributes evidence and analysis that can inform course designers, practitioner-researchers and the work of academics, from across disciplines, to design courses that recognise and support active student learning.

CmyView: Walking together apart

Networked learning practices are impacting the field of cultural heritage, both tangible and intangible, with implications for the way in which places of cultural significance are understood, managed, documented, engaged with and studied. Our research explores the intersection between walking, photography, technology and learning, investigating how mobile devices can be used to foster community participation and assess social value within a networked framework for digital heritage. The paper introduces CmyView, a mobile phone application and social media platform in development, with a design concept grounded on both digital heritage and networked learning perspectives. CmyView encourages people to collect and share their views by making images and audio recordings of personally meaningful sites they see, while walking outdoors. Each person’s walking trajectory (along with their associated images and audio files) then becomes a trace-able artefact, something potentially shareable with a community of fellow walkers. The aim of CmyView is to encourage networked heritage practices and community participation, as people learn to assess their own and experience others social values of the built environment. Drawing on a framework for the analysis and design of productive learning networks, we explore the educational design of CmyView arguing that the platform offers a space for democratic heritage education and interpretation, where participatory urban curatorship practices are nurtured. CmyView reframes social value as dynamic, fluid and located within communities, rather than fixed in a place. The paper presents preliminary findings of the activity of a group of four undergraduate students at an Australian university, who used CmyView to explore the immediate surroundings of their campus. Participants interacted with the platform, mapping, capturing, audio recording their impressions and sites of interest in their walks. In so doing, they created shareable trajectories, which were subsequently experienced by the same group of participants on a second walk. The paper concludes with a discussion about the impact of our research for the design of mobile technologies that embrace participation and sharing, through a networked learning perspective. The paper brings together concepts that sit at the intersection of previously separate fields, namely digital heritage and networked learning, to find their synergies.

Emotional and cognitive interpersonal processes associated with online social networking

This thesis explored the use of social networking sites (SNSs) from social and cognitive psychological perspectives. It focused on the interpersonal processes associated with interacting with emotionally negative SNS posts, and found that impression management, trait empathy, mood, and cognitive function all impact the ways in which people interact online.

Documentary practice in a participatory culture

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Citizen Consultation from Above and Below : The Australian Perspective

In Australia, a range of Federal Government services have been provided online for some time, but direct, online citizen consultation and involvement in processes of governance is relatively new. Moves towards more extensive citizen involvement in legislative processes are now being driven in a “top-down” fashion by government agencies, or in a “bottom-up” manner by individuals and third-sector organisations. This chapter focusses on one example from each of these categories, as well as discussing the presence of individual politicians in online social networking spaces. It argues that only a combination of these approaches can achieve effective consultation between citizens and policymakers. Existing at a remove from government sites and the frameworks for public communication which govern them, bottom-up consultation tools may provide a better chance for functioning, self-organising user communities to emerge, but they are also more easily ignored by governments not directly involved in their running. Top-down consultation tools, on the other hand, may seem to provide a more direct line of communication to relevant government officials, but for that reason are also more likely to be swamped by users who wish simply to register their dissent rather than engage in discussion. The challenge for governments, politicians, and user communities alike is to develop spaces in which productive and undisrupted exchanges between citizens and policymakers can take place.

From Prosumer to Produser: Understanding User-Led Content Creation

Alvin Toffler’s image of the prosumer (1970, 1980, 1990) continues to influence in a significant way our understanding of the user-led, collaborative processes of content creation which are today labelled “social media” or “Web 2.0”. A closer look at Toffler’s own description of his prosumer model reveals, however, that it remains firmly grounded in the mass media age: the prosumer is clearly not the self-motivated creative originator and developer of new content which can today be observed in projects ranging from open source software through Wikipedia to Second Life, but simply a particularly well-informed, and therefore both particularly critical and particularly active, consumer. The highly specialised, high end consumers which exist in areas such as hi-fi or car culture are far more representative of the ideal prosumer than the participants in non-commercial (or as yet non-commercial) collaborative projects. And to expect Toffler’s 1970s model of the prosumer to describe these 21st-century phenomena was always an unrealistic expectation, of course. To describe the creative and collaborative participation which today characterises user-led projects such as Wikipedia, terms such as ‘production’ and ‘consumption’ are no longer particularly useful – even in laboured constructions such as ‘commons-based peer-production’ (Benkler 2006) or ‘p2p production’ (Bauwens 2005). In the user communities participating in such forms of content creation, roles as consumers and users have long begun to be inextricably interwoven with those as producer and creator: users are always already also able to be producers of the shared information collection, regardless of whether they are aware of that fact – they have taken on a new, hybrid role which may be best described as that of a produser (Bruns 2008). Projects which build on such produsage can be found in areas from open source software development through citizen journalism to Wikipedia, and beyond this also in multi-user online computer games, filesharing, and even in communities collaborating on the design of material goods. While addressing a range of different challenges, they nonetheless build on a small number of universal key principles. This paper documents these principles and indicates the possible implications of this transition from production and prosumption to produsage.

'Anyone Can Edit' : Vom Nutzer zum Produtzer

Über die letzten Jahre hat sich einige öffentliche und kommerzielle Aufmerksamkeit auf ein Phänomen gerichtet, das sich anschickt, die Medienlandschaft grundlegend zu verändern. Yahoo! kaufte Flickr. Google erwarb YouTube. Rupert Murdoch kaufte MySpace, und erklärte, die Zukunft seines NewsCorp-Imperiums läge eher in der nutzergesteuerten Inhaltserschaffung innerhalb solcher sozialer Medien als in seinen vielen Zeitungen, Fernsehsendern und anderen Medieninteressen (2005). Schließlich brach TIME mit seiner langetablierten Tradition, eine herausragende Persönlichkeit als „Person des Jahres“ zu nominieren, und wählte stattdessen „You“: uns alle, die wir online in Kollaboration Inhalte schaffen (2006). Allerdings liegt die Bedeutung dieses nutzergesteuerten Phänomens nicht in solchen (letztlich unwichtigen) Ehrungen, oder auch nur in den Inhalten zentraler Websites wie YouTube und Flickr – vielmehr findet man sie in logischer Folge der ihr zugrunde liegenden Prinzipien (die wir hier weiter untersuchen werden) viel flächendeckender über das World Wide Web verbreitet; was wichtig ist am neuen Phänomen ist nicht nur der Erfolg seiner sichtbarsten Exponenten, sondern auch der „Long Tail“ (Anderson 2006) der vielen anderen nutzergesteuerten Projekte, die sich überall in der Online-Welt etabliert haben und jetzt beginnen, sich sogar in die Offline-Welt hinein auszubreiten.

The user-led disruption : self-(re)broadcasting at Justin.tv and elsewhere

The rise of videosharing and self-(re)broadcasting Web services is posing new threats to a television industry already struggling with the impact of filesharing networks. This paper outlines these threats, focussing especially on the DIY re-broadcasting of live sports using Websites such as Justin.tv and a range of streaming media networks built on peer-to-peer filesharing technology.

Vom Prosumer zum Produser : Ein neues Verständnis nutzergesteuerter Inhaltserschaffung

Alvin Tofflers Bild des Prosumers beeinflußt weiterhin maßgeblich unser Verständnis vieler heutzutage als „Social Media“ oder „Web 2.0“ beschriebener nutzergesteuerter, kollaborativer Prozesse der Inhaltserstellung. Ein genauerer Blick auf Tofflers eigene Beschreibung seines Prosumermodells offenbart jedoch, daß es fest im Zeitalter der Massenmedienvorherrschaft verankert bleibt: der Prosumer ist eben nicht jener aus eigenem Antrieb aktive, kreative Ersteller und Weiterbearbeiter neuer Inhalte, wie er heutzutage in Projekten von der Open-Source-Software über die Wikipedia bis hin zu Second Life zu finden ist, sondern nur ein ganz besonders gut informierter, und daher in seinem Konsumverhalten sowohl besonders kritischer als auch besonders aktiver Konsument. Hochspezialisierte, High-End-Konsumenten etwa im Hi-Fi- oder Automobilbereich stellen viel eher das Idealbild des Prosumers dar als das für Mitarbeiter in oft eben gerade nicht (oder zumindest noch nicht) kommerziell erfaßten nutzergesteuerten Kollaborationsprojekten der Fall ist. Solches von Tofflers in den 70ern erarbeiteten Modells zu erwarten, ist sicherlich ohnehin zuviel verlangt. Das Problem liegt also nicht bei Toffler selbst, sondern vielmehr in den im Industriezeitalter vorherrschenden Vorstellungen eines recht deutlich in Produktion, Distribution, und Konsum eingeteilten Prozesses. Diese Dreiteilung war für die Erschaffung materieller wie immaterieller Güter durchaus notwendig – sie ist selbst für die konventionellen Massenmedien zutreffend, bei denen Inhaltsproduktion ebenso aus kommerziellen Gründen auf einige wenige Institutionen konzentriert war wie das für die Produktion von Konsumgütern der Fall ist. Im beginnenden Informationszeitalter, beherrscht durch dezentralisierte Mediennetzwerke und weithin erhaltbare und erschwingliche Produktionsmittel, liegt der Fall jedoch anders. Was passiert, wenn Distribution automatisch erfolgt, und wenn beinahe jeder Konsument auch Produzent sein kann, anstelle einer kleinen Schar von kommerziell unterstützten Produzenten, denen bestenfallls vielleicht eine Handvoll von nahezu professionellen Prosumern zur Seite steht? Was geschieht, wenn sich die Zahl der von Eric von Hippel als ‚lead user’ beschriebenen als Produzenten aktiven Konsumenten massiv ausdehnt – wenn, wie Wikipedias Slogan es beschreibt, ‚anyone can edit’, wenn also potentiell jeder Nutzer aktiv an der Inhaltserstellung teilnehmen kann? Um die kreative und kollaborative Beteiligung zu beschreiben, die heutzutage nutzergesteuerte Projekte wie etwa die Wikipedia auszeichnet, sind Begriffe wie ‚Produktion’ und ‚Konsum’ nur noch bedingt nützlich – selbst in Konstruktionen wie 'nutzergesteuerte Produktion' oder 'P2P-Produktion'. In den Nutzergemeinschaften, die an solchen Formen der Inhaltserschaffung teilnehmen, haben sich Rollen als Konsumenten und Benutzer längst unwiederbringlich mit solchen als Produzent vermischt: Nutzer sind immer auch unausweichlich Produzenten der gemeinsamen Informationssammlung, ganz egal, ob sie sich dessens auch bewußt sind: sie haben eine neue, hybride Rolle angenommen, die sich vielleicht am besten als 'Produtzer' umschreiben lassen kann. Projekte, die auf solche Produtzung (Englisch: produsage) aufbauen, finden sich in Bereichen von Open-Source-Software über Bürgerjournalismus bis hin zur Wikipedia, und darüberhinaus auch zunehmend in Computerspielen, Filesharing, und selbst im Design materieller Güter. Obwohl unterschiedlich in ihrer Ausrichtung, bauen sie doch auf eine kleine Zahl universeller Grundprinzipien auf. Dieser Vortrag beschreibt diese Grundprinzipien, und zeigt die möglichen Implikationen dieses Übergangs von Produktion (und Prosumption) zu Produtzung auf.