Creative Industries

Singapore.


Mel is followed at ICA 2010 by Jack Bratich, who highlights the importance of convergence outside of media convergence, and also introduces the idea of divergence as the opposite of convergence - what are the conditions for social antagonism as a form of divergence, and how is such antagonism dissuaded and diverted? Reality TV, for example, is a set of dividing and organising practices that might produce a new kind of antagonism around the programme as a kind of subject.

Second, as media are now incorporated into more conventional practices (warfare and the military is one example), what are the conditions of dissent? Jack introduces the idea of polemology as the study of warfare (which gave us de Certeau's work on strategies and tactics, for example), and suggests that Jenkins now argues that fans have already won the war, so there is no longer a clear antagonism between fans and producers; Jack suggests, by interest, further research into the phenomenon of user-generated discontent.

Singapore.


From this opening presentation in this convergence culture session at ICA 2010, we move on to a number of shorter presentations. The next speaker is Mel Gregg, who also problematises Jenkins's work - in this case, from a gender studies perspective (which she says is less present in Convergence Culture than in Jenkins's earlier work, e.g. Textual Poachers). Indeed, taking a historical perspective, Mel says that the boom in cultural studies publishing ended up marginalising gender studies scholarship, and the same might be happening again with the recent increase in works on convergence. This is a problem not least also in teaching, if students are now unable to find alternative voices.

Singapore.


The first full day of ICA 2010 starts with a session on convergence and culture, and a rather lengthy introduction, citing especially Henry Jenkins's work on convergence culture - however, historical perspectives on convergence, the geospatial distribution of convergence, the human and technological networks of convergence, the role of convergence beyond the media industries, the role of convergence in the creative industries, and the political implications of convergence all need to be considered further.

Milwaukee.


OK, I'm soldiering on for the last of today's sessions at AoIR 2009 - can't wait to get back to my room and sleep off this illness, though. Hopefully I'll feel better for my session tomorrow! This session is on theorising Web 2.0, and we begin with Jacob Thomas Matthews. he begins by questioning Web 2.0 as a term, and suggests the collaboative Web as an alternative way of describing this phenomenon. Either way, this is often described as a substantial cultural shift which may lead to the emergence of a new participatory culture which empowers the user.

Brisbane.


Susan Ward is the next ANZCA 2009 speaker, and focusses on talent agencies - she begins by distinguishing between internationalisation (trans-border flows of goods and services) and globalisation (the creation of global audiences, and global forms of organisation and a global functional integration of processes). This is visible especially in the context of international trade fairs, which are used to conduct business transactions, disseminate market intelligence, facilitate networking, promote an awareness of industry innovations, establish the identities of participants,and promote common assumptions and a common business culture.

Brisbane.


The next speaker here at ANZCA 2009 is Sal Humphreys, presenting on the knitting Website Ravelry as a social network market. Discussions of intellectual property, distributed participation, and user-generated content have struggled to keep up with these developments: social economy is intertwined and interconnected with commercial economy, and there are serious questions about when participation becomes exploitation.

Social network markets characterise these ideas as emergent, and provide a useful basis for their theorisation. Mass media theory also fails to align effectively with these new interactive environments. HOw is power distributed, who has agency, what is the role and impact of institutions in relation to these environments?

Brisbane.


The next session at ANZCA 2009 is a panel session discussing the future role of public service broadcasting, focussing on Australia's multicultural broadcaster SBS. This is introduced by my colleague Terry Flew, who notes that SBS is a distinctively different type of public broadcaster, making a very specific contribution to multiculturalism and citizenship.

The first panellist to speak is Stuart Cunningham from the CCi. If SBS had to be invented today, he says, it wouldn't be - today's media environment is fundamentally different from that of the 1970s and 1980s from which it emerged, and today there is a plethora of media channels available to citizens. Additionally, the role of public broadcasters has changed fundamentally - the culture wars of the past decades render a government intervention for the development of a public broadcaster to promote multiculturalism inconceivable today. Protection and projection of public culture is no longer an unproblematic public goal.

Hamburg.


The final speaker for Alcatel-Lucent Foundation / HBI 2009 is Gabriele Siegert from the University of Zürich, who summarises the conference. She begins by noting the unwillingness of citizens to continue to pay for media, and suggests that changed orientation in media organisations will necessarily also change the content of the media - product placement, for example, will necessarily affect the content within which products are placed.

There are two key areas here: the structural changes in advertising, for which product placement is one phenomenon - it is a sign of a new logic which is present well beyond television entertainment. However, this new model will not replace more conventional advertising; not least, it has yet to be researched in full.