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Foá, C. & Moreno, J. (2019). Crowd asset, online digital platforms and the pressure on media makers. IAMCR.

C. Foa and J. C. Moreno,  "Crowd asset, online digital platforms and the pressure on media makers", in IAMCR, Madrid, 2019

@null{foa2019_1713520320834,
	year = "2019",
	url = "https://iamcr.org/s-wg/wg-media?page=2"
}

TY  - GEN
TI  - Crowd asset, online digital platforms and the pressure on media makers
T2  - IAMCR
AU  - Foá, C.
AU  - Moreno, J.
PY  - 2019
CY  - Madrid
UR  - https://iamcr.org/s-wg/wg-media?page=2
AB  - The development of online platforms guided by algorithms and supported by
new business models converted in the primary way through which people gather
resources or promote their activities, either online and offline. Authors,
such Jenkins (2006) and Patel (2017), argue that the increased popularity of
social media platforms in recent years has opened up cultural production to
almost everyone who can access it, resulting in a proliferation of amateur
cultural production and collaborative co-creative production.

The development of online platforms guided by algorithms and supported by
new business models converted in the primary way through which people gather
resources or promote their activities, either online and offline. Authors,
such Jenkins (2006) and Patel (2017), argue that the increased popularity of
social media platforms in recent years has opened up cultural production to
almost everyone who can access it, resulting in a proliferation of amateur
cultural production and collaborative co-creative production.

Online crowdfunding is conceptualized as a collaborative system to raise
funds for specific projects, and crowdsponsoring is the sum of donation and
reward-based models without financial reward for backers who voluntarily
adhere. Its application to arts is growing internationally (Bannerman,
2013), with some effectiveness evidences about its potential as a tool for
social engagement and value co-creation. Scholars argue that one strength of
sharing economy is the so called “crowd asset, linked to non-monetary
benefits of crowdfunding as crowd wisdom and feedback, considering the crowd
as a source of information” (Marom, Swart, Grell 2015 : 2). Therefore we
question what are the crowd asset resources and by who and how are they
capitalized. In this paper we intend to investigate the characteristics and
effects of online platforms and algorithms application to creative
industries and artistic projects’ production and communication within
crowdfunding ecosystem.

We aim to describe and analyze how online platforms and algorithms
materialize their technicality and social constructions, as well as which
affordances are provided to their users.
We pretend to integrate this analytical perspective with the more in depth
(personal and professional) experiences of 2.0 media makers, creative
industries workers life-histories to understand the challenges and market
pressures that they are facing and which are the future priorities  about
their career development and skills required.
To achieve our objectives we select as case-study the main Portuguese
crowdsponsoring platform, drawing on quantitative and qualitative data, to
cross social media analysis, content and statistical analysis with in-depth
interviews with platform’s managers and users.

Recent implementation of different models to share creative and economic
resource share, online and offline, are considered for further research
development and comparison.
ER  -