Digital Futures for Cultural and Media Studies

(C2I)2 = CCI-CCI The CCI Creative City Index 2012

“…uploading and not just downloading) creative cultural content. The significance of this point is that our own research at the CCI has underscored the role of the creative citizen, and especially those from the margins, including the young, in recreating culture and the industries and economies that are built upon it (Hartley 2009;2012;Potts 2011). As we have emphasised, a global city must first be a creative city, and a creative city is invariably powered by energy and the entrepreneurial experimentation of the young, of the outsider, of those seeking to create new ideas and to challenge existing ideas.…”

“…Hartley 2009;2012), has highlighted the increasing importance of what we call here 'microproductivity' in the cultural, social and economic impact of the creative industries. The work of Jason Potts on the drivers of economic evolution has reinforced this observation, which further recognises the 'situatedness' of productive creativity (Potts et al 2008b;Potts 2011).…”

Dallas Smythe Today - The Audience Commodity, the Digital Labour Debate, Marxist Political Economy and Critical Theory.

“…Axel Bruns argues that Flickr, YouTube, MySpace and Facebook are environments of "public participation" (Bruns 2008, 227f) and give rise to "a produsage-based democratic model" (Bruns 2008, 372). John Hartley (2012) describes the emergence of a "dialogical model of communication" (Hartley 2012, 2), in which "everyone is a producer" (Hartley 2012, 3). His general argument is that with the rise of online platforms that support social networking and user-generated content production and diffusion, journalism, the public sphere, universities, the mass media, citizenship, the archive and other institutions have become more democratic because "people have more say in producing as well as consuming" (Hartley 2012, 14).…”

Being a Young Citizen in Estonia: An Exploration of Young People’s Civic and Media Experiences

“…Play and playfulness is here mainly analysed in the context of the increasing focus on entertainment within mainstream media (Hartley, 2012;Imre, 2009;Silverstone, 1999;Stephenson, 1967;van Zoonen, 2005;Wilson, 2004). These attempts stress the significance of playful elements within society for civic engagement, community, and sociality in general.…”