Nomad, the perky-looking Mars rover from the crowdsourced documentary Solar System 3D (Wreckamovie).
Ed: You have been looking at “networked cultural production”—ie the creation of cultural goods like films through crowdsourcing platforms—specifically in the ‘wreckamovie’ community. What is wreckamovie? Isis: Wreckamovie is an open online platform that is designed to facilitate collaborate film production. The main advantage of the platform is that it encourages a granular and modular approach to cultural production; this means that the whole process is broken down into small, specific tasks. In doing so, it allows a diverse range of geographically dispersed, self-selected members to contribute in accordance with their expertise, interests and skills. The platform was launched by a group of young Finnish filmmakers in 2008, having successfully produced films with the aid of an online forum since the late 1990s. Officially, there are more than 11,000 Wreckamovie members, but the active core, the community, consists of fewer than 300 individuals. Ed: You mentioned a tendency in the literature to regard production systems as being either ‘market driven’ (eg Hollywood) or ‘not market driven’ (eg open or crowdsourced things); is that a distinction you recognised in your research? Isis: There’s been a lot of talk about the disruptive and transformative powers nested in networked technologies, and most often Wikipedia or open source software are highlighted as examples of new production models, denoting a discontinuity from established practices of the cultural industries. Typically, the production models are discriminated based on their relation to the market: are they market-driven or fuelled by virtues such as sharing and collaboration? This way of explaining differences in cultural production isn’t just present in contemporary literature dealing with networked phenomena, though. For example, the sociologist Bourdieu equally theorised cultural production by drawing this distinction between market and non-market production, portraying the irreconcilable differences in their underlying value systems, as proposed in his The Rules of Art. However, one of the key findings of my research is that the shaping force of these productions is…