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Copyright Undertaking Copyright Undertaking This thesis is protected by copyright, with all rights reserved. By reading and using the thesis, the reader understands and agrees to the following terms: 1. The reader will abide by the rules and legal ordinances governing copyright regarding the use of the thesis. 2. The reader will use the thesis for the purpose of research or private study only and not for distribution or further reproduction or any other purpose. 3. The reader agrees to indemnify and hold the University harmless from and against any loss, damage, cost, liability or expenses arising from copyright infringement or unauthorized usage. IMPORTANT If you have reasons to believe that any materials in this thesis are deemed not suitable to be distributed in this form, or a copyright owner having difficulty with the material being included in our database, please contact [email protected] providing details. The Library will look into your claim and consider taking remedial action upon receipt of the written requests. Pao Yue-kong Library, The Hong Kong Polytechnic University, Hung Hom, Kowloon, Hong Kong http://www.lib.polyu.edu.hk DAJIANGYOU: MEDIA PRACTICES OF VERNACULAR CREATIVITY IN POSTDIGITAL CHINA GABRIELE DE SETA Ph.D The Hong Kong Polytechnic University 2016 The Hong Kong Polytechnic University Department of Applied Social Sciences Dajiangyou: Media practices of vernacular creativity in postdigital China Gabriele de Seta A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2015 Certificate of Originality I hereby declare that this thesis is my own work and that, to the best of my knowledge and belief, it reproduces no material previously published or written, nor material that has been accepted for the award of any other degree or diploma, except where due acknowledgement has been made in the text. Gabriele de Seta Accumulate information, techniques, spread them about, stay with a situation long enough to understand its permutations. Find a conjunction of forces, behaviors, technologies, information systems, stretch it, make it open up and swell so that each of the means by which it senses and acts in the world become a landscape that can be explored and built in. Speed it up and slow it down so that its characteristic movements can be recognized at a glance. Lead it through a hall of mirrors until it loses a sense of its own proper border, begins to leak or creates a new zone. —Matthew Fuller, Media Ecologies, p. 106 Abstract This dissertation presents the account of a qualitative research project about the media practices of vernacular creativity of digital media users in contemporary Mainland China. The research project is based on a review of two decades of multidisciplinary research about the Internet in China, and positions its research questions at the intersection of three disciplinary domains: area studies, media anthropology, and Internet studies. The investigation has been conducted drawing on an ample methodological toolbox of established and experimental qualitative research strategies, including ethnographic participation, digital methods, and curatorial data collection. The principal topics discussed in this dissertation include the everyday experience of networked communication devices in different Chinese cities, the adoption and articulation of digital media platforms by Chinese Internet users, and the practices of linguistic and cultural creativity emerging from the use of these technologies. The main findings of this research project suggest that the Internet is experienced by Chinese users as a complex ensemble of devices, platforms, services, practices and possibilities of access; that the usage of digital media platforms in Mainland China is articulated through personal engagements with these complex media ecologies; and that user-generated content produced and consumed by a large majority of Chinese digital media users is creatively interpreted and negotiated across individual repertoires of semiotic resources. The conclusion of this dissertation theorizes the trivial aspects of everyday communication on digital media as media practices of vernacular creativity, and argues for the need of more ethnographically situated research on the topic in different local contexts. Acknowledgements Thanks to anyone who recognizes his, her or its voice in this text. Table of Contents 1. Introduction: Just buying soy sauce? ............................................................................................... 1 1.1 Dajiangyou ......................................................................................................................................... 1 1.2 China, the Internet, and culture ........................................................................................................ 4 1.3 A praxiography of digital folklore ...................................................................................................... 6 1.4 Just dajiangyou: The provoking triviality of media practice .............................................................. 8 2. Twenty years of Chinese Internet research .................................................................................... 10 2.1 Constructing the Chinese Internet: A genealogy ............................................................................. 10 2.2 e-Taming the Chinese Internet ........................................................................................................ 15 2.3 The Great Firewall & democratic determinism ............................................................................... 17 2.4 Netizens of the public sphere .......................................................................................................... 20 2.5 Users as addicts ............................................................................................................................... 23 2.6 (Micro)blogging the nation .............................................................................................................. 25 2.7 User-generated cultures .................................................................................................................. 29 2.8 RE: Concluding techno-orientalism ................................................................................................. 34 3. Elements for a postdigital praxiography ........................................................................................ 39 3.1 Are you here? .................................................................................................................................. 39 3.2 #ethnography #postdigital .............................................................................................................. 43 3.3 #field #site #net #work .................................................................................................................... 49 3.4 #observation #participation #dialogism .......................................................................................... 58 3.5 #small #trivial #data #mess ............................................................................................................. 64 3.6 #relational #ethics ........................................................................................................................... 78 3.7 #writing #media #practice ............................................................................................................... 83 4. Weishidai: Contemporary China’s postdigital media ecologies ....................................................... 86 4.1 A technomorphology of contemporary China ................................................................................. 86 4.2 Postdigital media in China ............................................................................................................... 99 4.2.1 After digital media ....................................................................................................................99 4.2.2 Wangluo in everyday life: A photographic essay on screens and mobility ............................102 4.3 Chinese media ecologies ............................................................................................................... 117 4.3.1 Media ecologies, and other metaphors of media articulation ...............................................119 4.3.2 Mapping media ecologies: Personal geographies of social software .....................................122 4.4 Weishidai: Media in the time of micro-practices .......................................................................... 132 5. Vernacular creativity: Making language and culture on Chinese digital media platforms ............... 136 5.1 Thirty minutes in a QQ group ........................................................................................................ 136 5.2 Wangluo yuyan: Languaging networks ......................................................................................... 145 5.2.1 Diaosi: A brief ethnographic portrait of a linguistic resource ................................................150 5.2.2 Vernacular repertoires: Mapping wangluo yuyan in practice ................................................157 5.3 Wangluo wenhua: Making culture on the Internet ....................................................................... 165 5.3.1 From Internet culture to digital folklore.................................................................................165 5.3.2 DUANG:
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