The Intersection of Audiences and Production in Contemporary Theory – Volume 2
Edited By Rebecca Ann Lind
Contributors reflect varied perspectives in their approaches to the spaces formed as a result of rapidly developing and swiftly deploying new communications technologies and social software. They shine multiple spotlights into the intersection of audiences and production, providing a guide toward a nuanced understanding of the interstitial spaces.
Chapter One: Produsing Theory in a Digital World: Life in the Interstices (Rebecca Ann Lind)
C H A P T E R O N E Produsing Theory in a Digital World: Life in the Interstices Rebecca Ann Lind The universe is made up of stories, not of atoms. (Rukeyser, 1968) ithout a doubt, our universe—digital and physical—is socially constructed. And if the universe is made up of stories, we can argue that increasingly (courtesy of new/digital/social media), these are stories of our own creation. Or can we? To what extent do our stories represent our unbridled expression and the full measure of our creativity? Are we free to create, share, and receive the stories we desire? Or are we inhibited in meaningful ways? In the introduction to the first Produsing Theory volume, I explored some of the tensions generated in the spaces enabled by the confluence of the formerly disparate activities of producing and consuming media (Lind, 2012). These tensions have not dissipated; our universe—digital and physical—although socially constructed, remains socially constricted. This volume continues the exploration of the new worlds we inhabit, the interstitial spaces lying between freedom and control, between self and other, between exploration and inhibition, between the production and use of media. It provides a site at which varied theories—some still emerging—can intersect and shine a light into the spaces between what previously had been neatly separated and discrete components of media systems. In some set- tings, division by audience, content, and production settings remains useful (e.g., Lind, 2013), but this volume, like the first,...
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