The movement against restrictive digital copyright protection arose largely in response to the excesses of the Digital Millennium Copyright Act (DMCA) of 1998. In The Digital Rights Movement, Hector Postigo shows that what began as an assertion of consumer rights to digital content has become something broader: a movement concerned not just with consumers and gadgets but with cultural ownership. Increasingly stringent laws and technological measures are more than incoveniences; they lock up access to our "cultural commons." Postigo describes the legislative history of the DMCA and how policy "blind spots" produced a law at odds with existing and emerging consumer practices. Yet the DMCA established a political and legal rationale brought to bear on digital media, the Internet, and other new technologies. Drawing on social movement theory and science and technology studies, Postigo presents case studies of resistance to increased control over digital media, describing a host of tactics that range from hacking to lobbying. Postigo discusses the movement's new, user-centered conception of "fair use" that seeks to legitimize noncommercial personal and creative uses such as copying legitimately purchased content and remixing music and video tracks. He introduces the concept of technological resistance--when hackers and users design and deploy technologies that allows access to digital content despite technological protection mechanisms--as the flip side to the technological enforcement represented by digital copy protection and a crucial tactic for the movement.

How we imagine our place within the structure of sociotechnical-human relationships—specifically, in domains of life affected by data-analytics and the probabilistic bets institutions and people in power make on the future of our credit worthiness, political leanings, shopping habits etc.—is our “algorithmic imagination.” The purpose of this panel is to explore the “algorithmic imagination” as it manifests in particular scholarly, historical, socio-cultural, and technical contexts. The panelists prioritize how social actors, situated in distinct settings, go about constructing an “algorithmic imagination” in conversation/opposition with how computational systems have “imagined” them; they will also reflect critically and self-reflexively on the implications of an algorithmic imagination, so conceived. Collectively, the panelists demure from monolithic understandings of the “algorithmic imagination” while also embracing algorithmic intersectionality. The primary contention of this panel is that the ways in which algorithms have been “thought,” or imagined, have made it difficult to conceive of practicable strategies for transforming algorithmic cultures and, indeed, for delinking them from both state and corporate control. The panel, thus, makes three primary contributions. First, we situate, define, and distinguish the concept, “algorithmic imagination.” Second, the panel provides analyses of key facets of the algorithmic imagination, in specific historical settings and life-worlds defined by intersectionality. Lastly, it aims to contribute, however provisionally, to a political theory that recognizes the deterministic power of computational systems but rejects the notion that power is inherently democratic or monolithically insurmountable.

This article uses the case of video game commentators and examples from research to highlight implications for conceptualizing the concept of “architectures of digital labor.” The concept draws attention not only to the social practices that position activities straddling labor/leisure into a commercial framework but also to the technological platforms that make that possible in a seemingly invisible fashion. The main analytical lens is that of “affordances.” It is used to map how technological features designed into YouTube create a set of probable uses/meanings/practices for users while serving YouTube’s business interests. The analysis is transferable to other social web platforms whose central business model focuses on user-generated content (UGC).

That social media are changing our professional lives may appear obvious to many of us researching and working in the mass media. Because that observation is increasingly commonplace, it often goes...

The fourth edition of an authoritative overview, with all new chapters that capture the state of the art in a rapidly growing field. Science and Technology Studies (STS) is a flourishing interdisciplinary field that examines the transformative power of science and technology to arrange and rearrange contemporary societies. The Handbook of Science and Technology Studies provides a comprehensive and authoritative overview of the field, reviewing current research and major theoretical and methodological approaches in a way that is accessible to both new and established scholars from a range of disciplines. This new edition, sponsored by the Society for Social Studies of Science, is the fourth in a series of volumes that have defined the field of STS. It features 36 chapters, each written for the fourth edition, that capture the state of the art in a rich and rapidly growing field. One especially notable development is the increasing integration of feminist, gender, and postcolonial studies into the body of STS knowledge. The book covers methods and participatory practices in STS research; mechanisms by which knowledge, people, and societies are coproduced; the design, construction, and use of material devices and infrastructures; the organization and governance of science; and STS and societal challenges including aging, agriculture, security, disasters, environmental justice, and climate change.

This essay introduces the special issue of Social Media + Society curated by the editors of Culture Digitally and drawn from the community of Culture Digitally contributors.

Milan Kundera, in his classic The Unbearable Lightness of Being undertook a consideration of the ephemeral. So I use it as a springboard for a brief consideration of social media and what is fixed and what is passing about its meaning to us as a self-aware species. Paradoxically that application of the concept slips into a conceptual tesseract as we attempt to hold social media to mean yet another contrivance for fixing our life experiences and then realize that who we were yesterday is not necessarily who we are today nor who we will be tomorrow, nor how we will be remembered once we're gone. To hold its meaning still is to enter a self-referential paradox where the meaning of the thing contradicts the nature of that which it represents and vice versa. All that to say that while it is impossible to confirm whether social media are simulation or simulacra, it is possible to orient their meaning, through how we use them and design them, toward our better natures. If we succeed, it will fix not individuals but our common humanity, which may be the one thing about us that has never been ephemeral.

The evolution of activism against the expansion of copyright in the digital domain, with case studies of resistance including eBook and iTunes hacks.The movement against restrictive digital copyright protection arose largely in response to the excesses of the Digital Millennium Copyright Act (DMCA) of 1998. In The Digital Rights Movement, Hector Postigo shows that what began as an assertion of consumer rights to digital content has become something broader: a movement concerned not just with consumers and gadgets but with cultural ownership. Increasingly stringent laws and technological measures are more than incoveniences; they lock up access to our "cultural commons."Postigo describes the legislative history of the DMCA and how policy "blind spots" produced a law at odds with existing and emerging consumer practices. Yet the DMCA established a political and legal rationale brought to bear on digital media, the Internet, and other new technologies. Drawing on social movement theory and science and technology studies, Postigo presents case studies of resistance to increased control over digital media, describing a host of tactics that range from hacking to lobbying.Postigo discusses the movement's new, user-centered conception of "fair use" that seeks to legitimize noncommercial personal and creative uses such as copying legitimately purchased content and remixing music and video tracks. He introduces the concept of technological resistance—when hackers and users design and deploy technologies that allows access to digital content despite technological protection mechanisms—as the flip side to the technological enforcement represented by digital copy protection and a crucial tactic for the movement.

The Digital Rights Movement: The Role of Technology in Subverting Digital Copyright — The evolution of activism against the expansion of copyright in the digital domain, with case studies of resistance including eBook and iTunes hacks.