Archives par mot-clé : participatory culture

Call for papers : edited collection “Participatory Culture Wars: Controversy, Conflict and Complicity in Fandom”

CFP: Edited collection “Participatory Culture Wars: Controversy, Conflict and Complicity in Fandom”

Deadline: 31 July, 2021

Edited by Dr Simone Driessen, Bethan Jones, Dr Benjamin Litherland


It has become increasingly clear that fandoms and participatory culture are sites of controversy, conflict and even complicity, complicating earlier assessments that sought to celebrate creativity, collegiality, and community. As we continue to make sense of the consequences of web 2.0, the study of fans – the affective bonds, identities, and productive cultures of a highly mediated and networked society – is vital in understanding our current moment, whether expressed in debates about “cancel culture” or ongoing “culture wars”. Fans have had to rethink and reassess their relationships to fan objects, consider their role in reproducing global systems of inequality, and reflect on the meaning of participation in an era that is marked by both moral ambivalence and political earnestness. Continuer la lecture de Call for papers : edited collection “Participatory Culture Wars: Controversy, Conflict and Complicity in Fandom”

Appel à contributions : Fans: Engagement, Participation, Agency

Call for Papers :  In Media – The French Journal of Media StudiesFans: Engagement, Participation, Agency

Laurence Corroy et Mélanie Bourdaa

In English speaking countries, research on active audiences and fans has been flourishing since the late 1990s. Reception of television messages and contents for fans is not limited to the very moment the show is broadcast on TV; it goes beyond this thanks to several activities that fans express and practice within a virtual community: writing fan-fictions and cultural reviews, creating fan-arts, videos, websites, finding other fans to talk to and share their passion with (Bielby, Harrington, & Bielby, 1999; Jenkins, 2006). Fans belong usually to a virtual community in which the same passion, the same language, the same media practices and the same will to participate are expressed. This sense of belonging is extremely strong among fans (Costello, 2007). This is what the Internet has brought to fans: a virtual place where they can meet up rapidly and easily with no time or space problems. The Internet provides immediacy, even a sense of urgency, for viewers who go online, creating something that is familiar – fandom. According to Henry Jenkins, fans are active receptors, who use new technologies to adapt to new socio-cultural environments to create and redefine a language, practices, identities and values. The cultural logic of the fans blurs the border between consumption and production, between writing and reading. Finally, virtual communities are places of social interactions where there is participation in a mediated environment. 

Following Jenkins’s canonical works (1992; 2006), fandoms and fan activities are being discussed in the French academic world and more largely in the English-speaking world as active and creative audiences who use new technologies to perform activities and gather in a “community of practices” (Baym, 1999). In France, young scholars analyze fandoms from a specific activity, such as the creation of fan fictions (François, 2009) or offer a typology of fan activities (Bourdaa, 2014). They also envision fans as a virtual community empowered by their use of new technologies (Martin, 2010; Peyron, 2013). Other scholars study a particular object, TV shows, in order to understand a shift in the reception practices and highlight specific patterns in fan reception (Combes, 2010; Bourdaa, 2012).

Continuer la lecture de Appel à contributions : Fans: Engagement, Participation, Agency

Parution : Participations, vol. 15, Issue 2

Participations: Journal of Audience and Reception Studies, Volume 17, Issue 2, November 2020.



Barker, Martin: ‘Editorial Introduction’


Beattie, Melissa: ‘”Like an American, but without a gun”?: Canadian national identity and the Kids in the Hall

Fox, Mark: ‘Drive-in theatres and audience rules of conduct, before and during the COVID-19 pandemic’

Funnell, Lisa & Tyler Johnson: ‘Properties of a lady: Public perceptions of women in the James Bond franchise’

Hanchard, Matthew, Peter Merrington & Bridgette Wessels: ‘Being part of an audience: Patterns of contemporary film audience experience’

Harrington, C. Lee: ‘Canine possibilities: Discourses of dog fandom’ 

Continuer la lecture de Parution : Participations, vol. 15, Issue 2

Colloque en ligne : ANR COLLABORA – La fabrique de la participation culturelle. Plateformes numériques et enjeux démocratiques.

ANR COLLABORA – La fabrique de la participation culturelle. Plateformes numériques et enjeux démocratiques.

30 nov.-1 déc. 2020 Colloque en ligne (France)

Le colloque se tiendra en ligne. Les liens sont disponibles sur cette page.

L’inscription est gratuite. Vous pouvez vous inscrire sur ce site avec un compte Sciencesconf ou en envoyant un email à avec votre prénom, nom, structure de rattachement et choix entre actes numériques et actes papier. Continuer la lecture de Colloque en ligne : ANR COLLABORA – La fabrique de la participation culturelle. Plateformes numériques et enjeux démocratiques.

Publication : Democratising the Museum, reflections on Participatory Technologies, Runnel, Pille / Pruulmann-Vengerfeldt, Pille (eds.)

Democratising the Museum. Reflections on Participatory Technologies, Runnel, Pille / Pruulmann-Vengerfeldt, Pille (eds.)

Democratising the Museum

Reflections on Participatory Technologies
Runnel, Pille / Pruulmann-Vengerfeldt, Pille (eds.)
Year of Publication: 2014
Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien,
2014. 240 pp., 17 b/w fig., 10 tables, 7 graphs
ISBN 978-3-631-64916-9 pb. (Softcover)
ISBN 978-3-653-03972-6 (eBook)

Book synopsis

Democratising the museum is a collection of articles reflecting upon the
problem of how participation, technologically mediated or not, can
support the museum in the process of becoming more accessible. The open
museum shares power with its visitors while negotiating professionalism
and the role of the museum in a modern society. The book looks at the
roles and struggles of audiences/visitors and professionals and the role
of digital technologies in supporting the participatory museum. While
different chapters draw on a variety of empirical examples, the main
analytical backbone of the book comes from an extended participatory
action research study conducted at the Estonian National Museum. This
book aims at both academics and professionals working in the museum field.


Contents: Pille Pruulmann-Vengerfeldt/Pille Runnel: The Challenge of
Democratising the Museum – Pille Runnel/Taavi Tatsi/Pille
Pruulmann-Vengerfeldt: Who Authors the Nation? The Debate Surrounding
the Building of the New Estonian National Museum – Pille
Pruulmann-Vengerfeldt/Pille Runnel: When the Museum Becomes the Message
for Participating Audiences – Pille Pruulmann-Vengerfeldt/Pille
Runnel/Agnes Aljas: A Multi-Method and Multi-Site Interventionist
Approach to Studying Audience Participation in Museums – Krista
Lepik/Pille Pruulmann-Vengerfeldt: Handicraft Hobbyists in an
Ethnographic Museum – Negotiating Expertise and Participation – Linda
Lotina: Analysis of Participatory Activities in the Museums in Latvia –
Nico Carpentier: Facing the Death of the Author. Cultural Professional’s
Identity Work and the Fantasies of Control – Taavi Tatsi: Identity
Struggles of Museum Professionals: Autonomous Expertise and Audience
Participation in Exhibition Production – Taavi Tatsi/Agnes Aljas:
Democratising Collections through Audience Participation: Opportunities
and Obstacles – Pille Pruulmann-Vengerfeldt/Agnes Aljas: Digital
Cultural Heritage – Challenging Museums, Archives and Users – Nico
Carpentier: Happily Lost in Virtual Space? – Pille
Pruulmann-Vengerfeldt/Pille Runnel: Increasing the Usability of the
Museum: Four Studies – Pille Runnel/Krista Lepik/Pille
Pruulmann-Vengerfeldt: Visitors, Users, Audiences: Conceptualising
People in the Museum.

About the editors

Pille Runnel, ethnologist and PhD in Media and Communication, is a
research director at the Estonian National Museum.
Pille Pruulmann-Vengerfeldt is an associate professor at the University
of Tartu Institute of Journalism, Communication and Information Studies
and research associate at the Estonian National Museum.

Call for papers : Rethink Participatory Cultural (Aarhus, 14-16 nov. 2013)

Call for Papers for the Interdisciplinary Conference

Rethink Participatory Cultural Citizenship

When is citizen participation socially transformative?
Aarhus University (AU), Denmark, 14.11.-16.11.2013

Keynote speakers: Leah Lievrouw (US), Femen (Ukraine), Chris Kelty (US),
David Graeber (UK) (tbc), Cathy Lang Ho (US)

In recent years studies of aesthetic, urban and digital culture have focused on and praised the political potential of user-driven production often referred to by means of concepts such as DIY urbanism and participatory culture, co-creation, produsage, creative place-appropriation, everyday creativity, participatory planning, social production and social entrepreneurship. And while the first generation of promoting the creative city was based in the ambition of supporting (and capitalizing on) individual creativity, we now see a growing interest in collective creation of cultural content. But how do we understand and support collective creation, and what new challenges does this change bring forth?

The found city, opportunistic tactics, spontaneous interventions, and the emergent process of the everyday are being broadly celebrated in studies of urban space (Cuff and Sherman 2011, Stickels 2011, Lang Ho 2012, Chase, Crawford and Kaliski 2008). And for more than a decade the internet has been invested with high hopes in terms of democratic activation and empowerment of non-institutional voices (Jenkins 2006, Fenton 2008, Bruns 2008, Gauntlett 2011, Lievrouw 2011), but also over time with concerns regarding the type of democratic interaction and citizen voicing enabled by the internet (Hess 2009, Couldry 2010). Since the 1990s with the rise of relational art (Bourriaud 1998) we have also seen a strong artistic interest in participation and collaboration as a politicised working process with artists such as Francis Alÿs, Walid Raad and the curator Hans Ulrich Obrist as its front figures. Claire Bishop has recently named this art movement “participatory art” (Bishop 2012)! In these artistic practices, the artist is less a producer of objects and more a co-producer of situations and relational or dialogical art practices (Kester 2004, 2011), often in active collaboration with what was previously known as the passive audience/spectator.

This participatory turn of contemporary cultural analysis and theory has nevertheless not always clearly addressed what “positive political change” might mean and how to evaluate the political potentials and/or impacts of a certain cultural activity including non-professional or vernacular production. Therefore the conference RETHINK Participatory Cultural Citizenship wants to address, explore and discuss the effects of projects where citizens act as agents of change in e.g. urban, digital and aesthetic spaces.

The conference focuses on a range of urgent challenges to the understanding and future development of urban, digital and aesthetic participatory civic cultures. These include:

  1. How do we develop frameworks to evaluate the potentials of participation, and how do we design/enable participatory processes, which have this potential to a satisfying degree?
  2. How can we use participatory cultural processes as an effective critical practice? And what does “effective” mean?
  3. To what extent can participation in itself be of political value in terms of enabling active citizenship, and is it meaningful to suggest that the amount of participation motivated by a certain event constitutes a measure of its success? Or could the increasing sum of citizen voices, for instance online, in itself threaten genuine political interaction?
  4. What is the trade-off between present and future participations? How can bottom-up cultural initiatives e.g. become anchored within the long-term planning of spaces, cities and institutions, and should proper political participation even result in lasting changes of spaces, discourses, policies or institutions? And if so, how should future participatory projects relate to these lasting results of previous projects
  5. How and to what extent is political or cultural participation threatened by institutional and/or economic strategies trying to profit from the work of users? Or could the intertwinement of fundamentally diverse agencies and agendas really be perceived as an opportunity for profound citizen empowerment?

When submitting your abstract please point out which of the above mentioned five challenges your paper is addressing. To collectively investigate them we invite papers from across the fields of e.g. cultural studies, architecture, geography, entrepreneurship, experience economy, media studies, political science, philosophy, art studies and sociology. We also invite practitioners to explore and present viable methods for individual citizens to become proactive in their involvement with their city, their neighborhood, and the surrounding world. The exploration can take place during and/or the results can be presented at the conference.

Thematically papers could deal with a range of issues and actual projects related to e.g: the formation of social movements, protest movements, creative online/offline activism, mobilization, social inclusion, artivism, urban planning, critical urban interventions, digital democracy and inclusion, the politics of aesthetic experience, relational aesthetics, contested spaces related to culture driven urban regeneration, DIY urbanism, the concept “participatory culture”.

After the submission deadline the organizers will, together with local organizations, creative activists and invited international researchers experiment with different ways of integrating the presentations and sessions in different political and cultural settings in Aarhus (e.g. by inviting a relevant audience of decision-makers or possible collaborators, by formulating a common task to be solved or discussed). In other words sessions will be staged in a way that increases their ability to affect both the academic community and the actual surroundings of the conference.

Please submit your abstract proposals (max 300 words) to Deadline for submission of abstracts: June 20, 2013.

The conference is funded by RETHINK 2017 and is the first in a series of conferences leading to Aarhus being European Capital of Culture in 2017:

Main organizers: Louise Fabian, Department of Culture and Society, AU; Carsten Stage, Department of Aesthetics and Communication, AU; Jan Löhmann Stephensen, AU IDEAS Pilot Centre The Democratic Public Sphere, AU; Birgit Eriksson, Department of Aesthetics and Communication, AU; Dorthe Refslund Christensen, Department of Aesthetics and Communication, AU.