Week 5- Prosumption: Constructing my Hong Konger identity

How are you a ‘prosumer’? In regards to Ritzer’s model of prosumption, consider how you produce and consume your own identity: as a student, as an employee, or as a fan, etc.

 

Prosumption: Constructing my Hong Konger Identity

 

Stepping into the 21^st century, the invention of Web2.0 and related sites such as Facebook, Wikipedia, and Youtube radically changes the capitalism world It facilitates “consuming and remixing data from multiple sources, including individual users” and “create network effects through an “architecture of participation”, and going beyond the page metaphor of Web 1.0” (Fuchs 2011, p. 288). Whereas in the past we were the receivers of “provider-generated” information and services from Web 1.0 sites like Yahoo! & MSN, we are now actively engaging in prosumption, which is the involvement of “both production and consumption rather than focusing on either one (production) or the other (consumption)’ (Riztzer & Jurgenson 2010, p. 13). We, as users, generate our own content.

 

In line with the explosion of user-generated sites online, we currently have more platforms to produce and consume our various identities: as students, as fans, etc. In the following, I would like to share how prosumption allows me to produce and consume my identity as a Hong Konger.

 

In Facebook, I “like” and subscribe to the “I am a Hong Konger” group, where Hong Kongers would share news updates(Political, showbiz, etc), and “Hong Konger secrets”, where Hong Konger can write what they write and share to other Facebook users anonymously: expressing gratitude to someone (E.g. Bus driver, taxi driver, or even an ordinary lady on street), or expressing grievance (E.g. Criticizing people abusing animals in theme parks). As Pointed by Boyd (as cited in Ritzer Jargenson 2010 p. 19), “users interact with one another, and build communities”. Hong Kongers build their their distinctive communities on social media platforms and interact with each other, even though they may not know each other in reality. No matter what, everyone has a chance to contribute and has a say.

 

Screenshot of an entry in the "I'm a Hong Konger group", in which a user thanked other users' support in forwarding the message about her lost grandmother. She has now found her after 3 days' search.

 

 

Another Web 2.0 site worth mentioning is the Instagram online. Although it originates a smartphone app, it is now concurrently accessible through the Internet. Users compose photos of Hong Kong (put hashtag, such as the yearly 4 June/ 1 July protest), and circulate them among other Hong Kong users, additionally commenting on others’ pictures.

From the example above, we could see the dominance of prosumption. Hong Kongers prosume and interact. We produce articles, notes, entries, photos of Hong Kong, our home, and we consume others’ contribution of these items. It is an enjoyable experience (mainly due to the openness online), and reinforced our identity as a Hong Konger. This is what I have noticed based on Ritzer’s model of prosumption.

 

References

Fuchs, C 2011, ‘Web 2.0, Prosumption, and Surveillance’. Surveillance & Society 8(3): 288-309.

 

Ritzer, G & Jurgenson, N 2010 ‘Production, Consumption, Prosumption: The nature of capitalism in the age of the digital ‘prosumer’, Journal of Consumer Culture, vol. 10 no. 1, pp 13-36.

Week 4 - Devaluation Versus Validation

Consider one of the tactics outlined in the article. Provide examples from your own experience and research. Examine the validity, importance and effects of the arguments and the tactics used in the debates over piracy, file-sharing, copying and remix culture. This can include music, movie, television, fashion, art, software, design and other industries. 

 

l  Cover-up VS exposure;

l  Devaluation VS Validation;

l  Interpretation VS Reinterpretation;

l  Official channels versus mobilizations;

l  Intimidation versus Resistance

 

Globalisation witnesses tremendous advancement in technology and encourages sharing of music, which has been claimed by the music industry as “piracy” adversely affecting them. Grassman notes that “music piracy doesn’t just include file sharing: it also includes the download and distribution of any music without the permission of the copyright holder”. Indeed, Peer-to-peer (P2P) file-sharing services such as Bit torrent, Emule and file-sharing sites such as Sogou has made file-sharing easily accessible. 





Sogou, one of the largest Chinese music-sharing sites., where you may download music at your fingertips



 

Facing a loss in sales and influence, the music industry makes use of devaluation to deter the general public from illegal access to music files and TV programme, by “labeling file-sharers as thieves, pirates, and criminals” (Martin Moore & Salter 2010). In Hong Kong, IFPI Hong Kong and the Hong Kong Customs and Excise Department has worked bilaterally on extensive print and television commercials, threatening that illegal downloading and sharing are exploiting and diminishing the music industry. Devaluation is to a somehow valid as the file-sharers have really violated the copyright laws, and it is important for the showbiz industry to claim their patent and intellectual property rights. Yet, the effectiveness of such devaluation remains doubtful. Most of my friends, as music downloaders, claim such devaluation ineffective, because the convenience and benefit of downloading and enjoying the music outweighs the derogatory label attached to them (unless the devaluation ads specify their personal details), downloading encourages mingle of different music, and most importantly, they see sharing and downloading of music as a tool to oppose corporate imperialism (i.e. record companies), which sells CDs and Concert ticket in terribly high prices. The only achievement of the devaluation is merely rendering the relationship between record companies and the general public worsening.

 

Compared with devaluation, validation, which “[raises] the status of the person involved” (Martin Moore & Salter 2010) is more valid. It recognises the contribution of singers, composers and record companies to jointly produce high-quality pieces for appreciation. It is important to validate and acknowledge their efforts. This may highlight the positive act of maintaining the “bread and butter” of such workers, so that they can continually work for more sophisticated outputs. Validation can relieve the hatred between music industry and the general public, and should be referenced as a way out to tackle the complex problem of music sharing online.

 

References

Martin, B, Moore, C and Salter, C. 2010, ‘Sharing music files: tactics of a challenge to the industry’, First Monday, vol. 15, no. 12.

 

Grassman, J 2010, ‘Music piracy: the methods and madness’ Wall Street Journal, 2 November, Retrieved 25 August 2013, < http://communities.washingtontimes.com/neighborhood/business-being-diva/2010/nov/2/music-piracy/>.

Week 3 - How does Shomuni shape my view on Japanese culture?

What art movement or art genre, type, style or sub-culture has influenced or changed the way you view a culture other than you own? How and why?

 

How does Shomuni shape my view on Japanese culture?

 

As stressed by Nederveen (2004), Globalisation “involves more intensive interaction across wider space and in a shorter time than before” (p. 7).  This suggests to us that under globalisation, we could have much more interaction in terms of different aspects, namely economy, politics, culture and social dynamics. In the following, I would like to share how a Japanese TV series Shomuni has influenced the way I view Japanese culture.

 

Shomuni It is a Japanese TV series based on the comic series by Gumi Yasuda. The latest sequel is currently aired in Japan (JUL 2013 – SEP 2013). I  approached this TV series online recently. Indeed, in the 21^st century, there is many more television programme (from different countries, such as Japan, Britain, Taiwan, etc.) available online, which enables people from across the world to grasp another country’s culture.

 

 

Source: http://www.fujitv.co.jp/fujitv/news/pub_2013/photo/130605-i092_01.jpg

 

 

Before watching this TV series, I presumed Japan as a society with overwhelming male-dominated culture, as my parents told me that in Japan, women are viewed as men’s subordinates, and they were to obey and sacrifice for their father, husband, son (e.g. giving up their chances to study and to be a breadwinner to raise their brothers) and even their male colleagues. They have little say in the society and they will be severely condemned if they choose to follow their own wills.

 

However, as I started to watch Shomuni, my perception changed. I witnessed many scenes in the series which I have hardly thought of. Chinatsu, the leading character, spoke up bravely for female workers’ rights. She and her colleagues in the department refuse all unfair treatments towards them, like opposing HRM department’s wicked deployment to fire female workers, and its age discrimination against female workers in the calendar girl selection. Although Chinatsu and her colleagues resolve prejudice against girls in a comical way, it still somehow reflects the reality. I have gained new insights that Japan is evolving from a country with male-dominated culture to a country with more tolerance and acceptance of females’ voices.

 

 

Source: http://www.rbbtoday.com/imgs/zoom/313105.jpg

 

 

In the above, I have demonstrated how one’s view is on culture is influenced under globalisation. I suggest that this is the result of technoscape, which refers to “the wide range of material that now moves so freely and quickly around” (Ritzer 2010, p.257) and mediascape, that is “the electronic capability to produce and transmit information and images globally” (p. 257).

References:

Nederveen P, 2004, ‘Globalization: consensus and controversies’, Globalization and culture: global mélange, Rowan & Littlefield, Lanham, Md., pp. 7–21.

 

Ritzer, G. 2010. Globalization : a basic text. Wiley-Blackwell, Boston.