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The London School of Economics and Political Science The London School of Economics and Political Science New Technologies and the Idea of Citizenship: Patterns of Public Participation in Two Cases Zoetanya Sujon A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy, London, July 2010. UMI Number: U615969 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U615969 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 lueses rifrsft ibraiyot Pokttca* Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorization does not, to the best of my belief, infringe the rights of any third party. Zoetanya Sujon, 2010. 2 Abstract Many kinds of social, participatory and citizen oriented platforms make up today’s media landscape. Many claim that open source and collaborative media change the ways we think about citizenship (Jenkins). Tim O’Reilly claims that Web 2.0 applications “have a natural architecture of participation” (2005). Yet social constructionists, feminists and sceptics caution against attributing new technologies with these kinds of natural characteristics. Drawing from the cultural history of early internet and mobile technologies, this research asks what, is meaningful about technologically specific ideas of citizenship? In order to answer this question, I draw from theories of standard and cultural citizenship; analyze a sample of technologically specific ideas of citizenship (e.g. netizenship, e-citizenship, technological citizenship, cyber citizenship); and conduct in depth empirical analysis of two case studies. Theoretically, this research synthesizes and builds upon citizenship theories beginning with T. H. Marshall and followed by cultural citizenship (e.g. Pakulski 1997; Isin and Wood 1999; Stevenson 2001; 2003). From this conceptual frame, the empirical patterns of connection are analyzed along three primary axes: membership systems; rights and obligations; and participatory strategies. Technologically specific ideas of citizenship fit well with theories of cultural citizenship and cultural rights closely resemble most of those rights that are also technologically specific such as rights to: participate, ideational and symbolic spheres, voice, to representation and to innovate. The cases are of two citizenship initiatives using internet or mobile platforms: the BBC’s iCan project and Proboscis’ Urban Tapestries project. While these projects emerged on the cusp of social media, both cases are early iterations of participatory media. Both cases provide insights into articulations of changing ideas of citizenship and participatory practices. Technologically specific ideas of citizenship are conditional. Project users engage different kinds of membership than producers and there is an uneven distribution of cultural rights which favours producers. As a result, users engage different and mostly shallow patterns of public participation. In contrast, producers have broader membership networks, stronger protection of rights and show more variation in deeper more collectively oriented participatory strategies. In the case of limited or partial forms of participation, findings suggest that citizenship language is used as an active manipulative strategy to centralize media organizations as dominant public sites. I argue that the characteristics of technologically specific ideas of citizenship mark a distinct moment in the history of media and citizenship; a moment characterized by the emergence of “public citizenship.” The idea of public citizenship attempts to capture the ways in which technologically specific ideas of citizenship, at least in practice, involve making space for ordinary people in cultural institutions. 3 Acknowledgements This thesis is dedicated to my brilliant father, John Verdon, without whom, undertaking and completing a PhD at the London School of Economics and Political Science would not have been possible. Knowledge is never the sole property of one individual, and in the process of writing this doctorate I have often experienced the social nature of knowledge generation, research and analysis. It is not possible to thank everyone who has informed my thinking, provided much needed emotional support and inspired mad rushes of writing or intense critical reflection. However, I am grateful to all those who have directly or indirectly made this project possible. While this work has benefitted from critical comments and insightful reflections from many people, any mistakes or oversights are my own. First and foremost, I want to thank my family, particularly my extraordinary mother and father, for their unwavering support, constant encouragement and unconditional faith. Second and also foremost, I want to thank my supervisors, Nick Couldry, Roger Silverstone and Sonia Livingstone for everything they have done for me. I was privileged to have Nick and Roger as co-supervisors and worked with both of them most closely at the beginning and middle stages of my PhD. While I owe special thanks to each of them, I want to thank Nick for continuing to critique chapter drafts, even after taking up a Professorship at Goldsmiths, University of London. Sonia Livingstone has been a pleasure to work with in part because she is able to deliver the sharpest insights with optimism and humour and in part, because her work is truly inspirational. Roger Silverstone’s death in 2006 was a terrible blow and a significant loss. I miss him greatly and am deeply saddened that he is not here to share in the completion of this project. Roger was a fantastic ally and an esteemed friend. While I hope that this thesis honours the work and intellectual traditions forged by all of my supervisors, I especially hope I have honoured his academic legacy. Third, I must thank all of my respondents, all of whom are remarkable people doing remarkable things. While I am indebted to each of them, I would like to make special mention of the Urban Tapestries and iCan teams whose commitment and vision are outstanding. Fourth, this research would not have been possible without the support of several funders, for which I am grateful: (SSHRC) Social Sciences and Humanities Research Council of Canada; (ORS) Overseas Research Scholarship; several LSE Research Studentships; the (CCSF) Canadian Centennial Scholarship; and the Media and Communications Department. Last, but certainly not least, I want to thank my friends, peers and intellectual communities for cheering me on and pointing to the light whenever I was lost in darkness. Nancy Thumim and Giota Alevizou have been good friends as well as setting high intellectual standards. I am grateful for Vanessa Cragoe’s presence in the department and for lending her impressive proof reading skills. I have been fortunate to study and work in an incredibly vibrant department. While I have benefitted from this inspirational environment, I am particularly appreciative of many thought provoking discussions with Maggie Scammell, Bart Cammaerts and Robin Mansell. I owe thanks to many colleagues elsewhere, particularly Nico Carpentier and Maja Tumsek Hancic. Many thanks go to my doctoral cohort, especially Elizabeth Van Couvering, David Brake, Suzanne Stein, Patrick McCurdy, Ellen Helsper, Ana Langer and Frederik Lesage. There are also people who have, in part, made me the person who I am today and whose support in whatever endeavours I take on is invaluable. Many thanks go to: Chloe, Ronjon, Tara, Liz, Heidi, Rob and Jeff. Extra special thanks go to Brian Drumm, Simon Jude and Misty Simpson, ail of whom have provided exceptional love and exceptional friendship in very different ways and at very different stages. Izaak, my world would not be the same without you; thank-you for being you. 4 Permissions Thank you to Giles Lane and Proboscis for permissions to reproduce screen shots and images from the Urban Tapestries platform. I obtained permission from individual respondents to reproduce any material they may have contributed. However, the BBC denied permissions to reproduce iCan or Action Network screen shots. BBC officials justified their denial of permission because the “range of sources” contributing to BBC online content which means negotiating “a variety of licensing and re-use agreements.” I have decided to reproduce these materials, based on section 14.3 of the British Academy’s “Copyright and research in the humanities and social sciences: Guidelines on Copyright and Academic Research” which clearly state:
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