Feature films, television shows, homemade videos, tweets, blogs, and breaking news: digital media offer an always-accessible, apparently inexhaustible supply of entertainment and information. Although choices seems endless, public attention is not. How do digital media find the audiences they need in an era of infinite choice? In The Marketplace of Attention, James Webster explains how audiences take shape in the digital age.
Big Data is made up of lots of little data: numbers entered into cell phones, addresses entered into GPS devices, visits to websites, online purchases, ATM transactions, and any other activity that leaves a digital trail. Although the abuse of Big Data—surveillance, spying, hacking—has made headlines, it shouldn’t overshadow the abundant positive applications of Big Data.
Computers were first conceived as “thinking machines,” but in the twenty-first century they have become social machines, online places where people meet friends, play games, and collaborate on projects. In this book, Judith Donath argues persuasively that for social media to become truly sociable media, we must design interfaces that reflect how we understand and respond to the social world.
In the twenty-first-century digital world, virtual goods are sold for real money. Digital game players happily pay for avatars, power-ups, and other game items. But behind every virtual sale, there is a virtual economy, simple or complex. In this book, Vili Lehdonvirta and Edward Castronova introduce the basic concepts of economics into the game developer’s and game designer’s toolkits. Lehdonvirta and Castronova explain how the fundamentals of economics—markets, institutions, and money—can be used to create or analyze economies based on artificially scarce virtual goods.
Today, DIY—do-it-yourself—describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways (as in Egypt’s “Twitter revolution” of 2011) and to repurpose corporate content (or create new user-generated content) in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and “critical making” that have emerged in recent years.
The Swedish Pirate Party emerged as a political force in 2006 when a group of software programmers and file-sharing geeks protested the police takedown of The Pirate Bay, a Swedish file-sharing search engine. The Swedish Pirate Party, and later the German Pirate Party, came to be identified with a “free culture” message that came into conflict with the European Union’s legal system.
In December 2012, the exuberant video “Gangnam Style” became the first YouTube clip to be viewed more than one billion times. Thousands of its viewers responded by creating and posting their own variations of the video--“Mitt Romney Style,” “NASA Johnson Style,” “Egyptian Style,” and many others. “Gangnam Style” (and its attendant parodies, imitations, and derivations) is one of the most famous examples of an Internet meme: a piece of digital content that spreads quickly around the web in various iterations and becomes a shared cultural experience.
The vast majority of all email sent every day is spam, a variety of idiosyncratically spelled requests to provide account information, invitations to spend money on dubious products, and pleas to send cash overseas. Most of it is caught by filters before ever reaching an in-box. Where does it come from?
We live in the era of Big Data, with storage and transmission capacity measured not just in terabytes but in petabytes (where peta- denotes a quadrillion, or a thousand trillion). Data collection is constant and even insidious, with every click and every “like” stored somewhere for something. This book reminds us that data is anything but “raw,” that we shouldn’t think of data as a natural resource but as a cultural one that needs to be generated, protected, and interpreted. The book’s essays describe eight episodes in the history of data from the predigital to the digital.
The movement against restrictive digital copyright protection arose largely in response to the excesses of the Digital Millennium Copyright Act (DMCA) of 1998. In The Digital Rights Movement, Hector Postigo shows that what began as an assertion of consumer rights to digital content has become something broader: a movement concerned not just with consumers and gadgets but with cultural ownership. Increasingly stringent laws and technological measures are more than incoveniences; they lock up access to our “cultural commons.”