LEARNING THE 5 LESSONS OF YOUTUBE
NOTES: Origins & Context | See Also
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Origins of this content
This article was first published on paper by Cinema Journal and then was re-designed for publication on the internet by IJLM, in part, because "Cinema Journal" was not yet technically capable of going on-line except in the most rudimentary ways (putting a pdf on-line). The writing was developed in 2008 as I attempted to pen concise, systematic "lessons" from the output and experiences of LFYT 07.
Contextualization
"DIY" was a term embraced by a group of anti-consumer non-conformist punks before it was a shopping network. Henry Jenkins blogs: " Do It Yourself" is too easy to assimilate back into some vague and comfortable notion of "personal expression" or "individual voice" that Americans can assimilate into long-standing beliefs in "rugged individualism" and "self-reliance." Yet, what may be radical about the DIY ethos is that learning relies on these mutual support networks, creativity is understood as a trait of communities, and expression occurs through collaboration. Given these circumstances, phrases like "Do It Ourselves" or "Do It Together" better capture collective enterprises within networked publics."
Cyber-studies is often bifurcated by a euphoria/pessimism divide focusing on questions like whether the internet opens or closes conversation and community; is democratic or corporate-controlled particularly around issues of copyright and intellectual property; produces new forums for expression or calcifies prevailing borders as well as possibilities for surveillance.
Critical Pedagogy "has traditionally referred to educational theory and teaching and learning practices that are designed to raise learners' critical consciousness regarding oppressive social conditions. In addition to its focus on personal liberation through the development of critical consciousness, critical pedagogy also has a more collective political component, in that critical consciousness is positioned as the necessary first step of a larger collective political struggle to challenge and transform oppressive social conditions and to create a more egalitarian society."
One of my ten founding terms for this project is PRODUCER: We need to expand the role of the artist/intellectual in society: who makes, when, what and with which supports. This begs us to consider the difference between a politics of self-expression and that of cultural revolution.
Cyber-studies is often bifurcated by a euphoria/pessimism divide focusing on questions like whether the internet opens or closes conversation and community; is democratic or corporate-controlled particularly around issues of copyright and intellectual property; produces new forums for expression or calcifies prevailing borders as well as possibilities for surveillance.
Critical Pedagogy "has traditionally referred to educational theory and teaching and learning practices that are designed to raise learners' critical consciousness regarding oppressive social conditions. In addition to its focus on personal liberation through the development of critical consciousness, critical pedagogy also has a more collective political component, in that critical consciousness is positioned as the necessary first step of a larger collective political struggle to challenge and transform oppressive social conditions and to create a more egalitarian society."
One of my ten founding terms for this project is PRODUCER: We need to expand the role of the artist/intellectual in society: who makes, when, what and with which supports. This begs us to consider the difference between a politics of self-expression and that of cultural revolution.
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More videos related to the content of this page
(This article was first published at IJLM and Cinema Journal.)
DIY is new media's latest buzz-word: "prosumers" mashing up the Simpsons, Jessica or Bart; YouTubers uploading streams of lonely video. Bollocks! Let's do pay mind to the buzz-cocks. DIY is nothing new. While web 2.0 may radically expand access and distribution of media to its erstwhile viewers, DIY was once punk, and it meant much more than friendly citizen-practitioner. "Common punk views include the DIY ethic, rejection of conformity, direct action for political change, and not selling out to mainstream interests for personal gain." Punk was Rotten and Vicious. Sincere, or even Cynical contributions to the corporate machine do not a DIY ethics make. I am a professor of Media Studies whose work has focused upon the activist media of non-conformists.
In the fall of 2007, I decided to look more closely at YouTube. The banal videos I regularly saw there did not align with the ethics underpinning the revolutionary discourses I study, nor those heralding the new powers of on-line social networking. So, I taught a course, Learning from YouTube, about and also on the site: all class sessions and course work were posted as videos or comments and were open to the public. One press release later, and we actually became the media relay we were attempting to understand. Immediately networked, to be largely mocked through the predictable anti-intellectual stance used at least annually to report on events like the meetings of the MLA (a scholarly paper on melancholy? and Keanu Reeves!), my students and I will have the last laugh. We learned a great deal about how this site limits the truly revolutionary potential of the technology.
DIY is new media's latest buzz-word: "prosumers" mashing up the Simpsons, Jessica or Bart; YouTubers uploading streams of lonely video. Bollocks! Let's do pay mind to the buzz-cocks. DIY is nothing new. While web 2.0 may radically expand access and distribution of media to its erstwhile viewers, DIY was once punk, and it meant much more than friendly citizen-practitioner. "Common punk views include the DIY ethic, rejection of conformity, direct action for political change, and not selling out to mainstream interests for personal gain." Punk was Rotten and Vicious. Sincere, or even Cynical contributions to the corporate machine do not a DIY ethics make. I am a professor of Media Studies whose work has focused upon the activist media of non-conformists.
In the fall of 2007, I decided to look more closely at YouTube. The banal videos I regularly saw there did not align with the ethics underpinning the revolutionary discourses I study, nor those heralding the new powers of on-line social networking. So, I taught a course, Learning from YouTube, about and also on the site: all class sessions and course work were posted as videos or comments and were open to the public. One press release later, and we actually became the media relay we were attempting to understand. Immediately networked, to be largely mocked through the predictable anti-intellectual stance used at least annually to report on events like the meetings of the MLA (a scholarly paper on melancholy? and Keanu Reeves!), my students and I will have the last laugh. We learned a great deal about how this site limits the truly revolutionary potential of the technology.

