å Tuesday, September 22nd, 2015

Milkman’s want/should conflict:

School Professor Katherine Milkman defines the want/should conflict as an act that is driven by impulse and quickly made by what we think we want, rather being guided by the things that are “deeply-rooted desires” and should want instead. She believes that although many people know what is better for them, they opt for a much faster option. The “should” options are often seen as duty and the “want” as pleasure. Milkman believes it is this very notion that occurs when taking in knowledge and information online. The things that motivate people to look up specific topics, or books, movies, are actually being deciphered based on data taken by previous searches. This allows for the same items to be viewed and increases the number of “want” versus “should” desires.

Angeline Henriquez
Digital Media and Society
September 21, 2015

Chapter 2 Definitions- “Social Production”

Social Production is a term coined by NYU professor Clay Shirkly and it refers to the creation of culture by individuals scattered around the globe using digital technology “for the pleasure of it and without asking permission first”. It emphasizes the decentralization of the previous institutional model that reserved culture production only for a few and embraces a system that is open for everyone, using the internet and social media as a platform that allows for collaboration. On this decentralization, Taylor states “Barriers to entry have been removed, gatekeepers have been demolished, and the costs of creating and distributing culture have plummeted” (p.46). Other similar terms to describe this phenomenon are “peer production”, “crowdsourcing” and “wikinomics”. All terms agreeing that the intrinsic motivation to create culture or collaborate on its creation, trumps the quality of cultured made by professionals that are paid to produce it. “If people are intrinsically motivated to produce culture, and technology enables them to act on this motivation effortlessly and affordably and without financial reward, then amateurs are less compromised than compensated professionals and thus superior ”(p.47).

Although Taylor admits that the professional class is not faultless as she mentions the barriers they impose through licensing and credentialing, she is not completely sold on the ideas of the “new-media utopians”. First, she highlights the fact that new-media utopians assume that amateurs don’t expect any monetary compensation and that fame, admiration, and social status are as much as a reward. Second, she emphasizes that this theory doesn’t take into consideration production costs, which disregards that a decline in industry profitability affects artistic production. Finally, she states that “it is deeply cynical to deny professionals any emotional investment in their work”. How can passion be measured? The truth is most individuals exists somewhere in between amateurs and professionals, searching for a balance between passion and career.