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By Leah Lievrouw

Alternative and Activist New Media presents a wealthy and obtainable evaluate of the ways that activists, artists, and citizen teams world wide use new media and data applied sciences to realize visibility and voice, current replacement or marginal perspectives, percentage their very own DIY info structures and content material, and differently withstand, speak again to, or confront dominant media tradition. this day, a full of life and contentious cycle of trap, cooptation, and subversion of knowledge, content material, and approach layout marks the connection among the mainstream ‘center’ and the interactive, participatory ‘edges’ of media culture.
Five imperative types of substitute and activist new media tasks are brought, together with the features that lead them to assorted from extra traditional media kinds and content material. The ebook lines the historic roots of those tasks in replacement media, social pursuits, and activist paintings, together with analyses of key case stories and hyperlinks to proper digital assets. Alternative and Activist New Media can be an invaluable addition to any path on new media and society, and crucial for readers attracted to new media activism.

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They rejected the idea that movements were sudden, irrational eruptions of collective will (what Hank Johnston, Enrique Laraña, and Joseph Gusfield [1994] would later deride as the “volcanic” view of social movements). Rather, as Turner (1969, p. 390) later argued, movements are generated by the emergence of new norms or values around which people may mobilize: “. . ” Thus, according to Turner and Killian, social movements represent the first stage of social reorganization around new values and expectations that social conditions should change according to those values.

47). Collective identity. The role of identity and subjective experience in movement formation and action is another defining feature of NSMs. Instead of representing an overarching, collective “class interest” or ideology, participants in NSMs seek to articulate their subjective experiences and interests and to maintain their independence from institutional domination. In emerging movements, creative, articulate actors resist domination by sharing these subjective experiences and values with one another to construct a collective (if localized) identity.

But other genres may change as rapidly as the communities that create and circulate them. Dramatic recent examples include the blending of personal web pages, instant messaging, tagging and bookmarking, and entertainment in social media like Twitter or Facebook, as well as DIY “mash-ups” of music and video clips such as those exchanged among high-school-age fans of Japanese anime (Ito, 2009 [2008]). And, as these examples suggest, genres do not stand alone: members of a community commonly employ a variety of complementary genres in their interactions, which have been called genre systems (Bazerman, 1995) or genre repertoires (Orlikowski & Yates, 1994).

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