www.swarmtv.net : non-hierarchy through open source approaches to distributed filmmaking Jem Mackay A thesis is submitted in partial requirements of University of the Arts London in collaboration with Falmouth University for the award of Doctor of Philosophy. June 2014 2 Abstract An increasing number of filmmaking projects borrow approaches from open source programming methodologies in the practical process of film production. The potential benefits of open filmmaking include fast development times, customizable storytelling, less-biased reportage and a rich learning environment for future filmmakers, among others. There has been very little academic study about the challenges of this approach and the opportunities it affords for distributed filmmaking. This thesis explores the possibility of incorporating open source programming methodologies into the practice of distributed filmmaking. It develops a number of emergent policies and procedures that relate to this practice, and tests them out using an interactive website called “Swarm TV”. This online environment acts as a prototype for these policies and procedures, as well as functioning as a probe, testing their effectiveness in the filmmaking projects. Data is collected from the website and has been used from a number of projects over the last nine years, to reflect on how these emergent policies and procedures affect the dynamics of a filmmaking community. From the context of open source programming, the digital revolution has emphasized three main characteristics that are significant in open source methodologies: Openness, Non-hierarchy & Collaboration. These concepts are explored in this thesis to define guidelines for distributed filmmaking projects where open source methodologies are implemented. Analysis of the effectiveness of these policies and procedures is provided for filmmaking projects using Swarm TV, and conclusions are developed focused on the effectiveness of open source approaches to filmmaking projects in distributed communities. The practical research in this thesis demonstrates the extent to which open source methodologies are effective for the filmmaking process, and also, identifies the emergent policies and procedures that might facilitate distributed filmmaking in an online environment. 3 Acknowledgements I would especially like to thank Professor Phil Stenton, James Faure-Walker, Karl Phillips, Andrew Stiff, and Richard Osbourne for their help, guidance and time throughout the process of studying and writing this thesis. Also, to all the participants of the many filmmaking projects that were part of the research for this thesis. Thank you very much. Special thanks, also, to my family who have had to put up with a lot during this time: to Anne, Zian, Skye-Anna and Jewel - lots of love. 4 www.swarmtv.net : non-hierarchy through open source approaches to distributed filmmaking 1 Abstract 3 Acknowledgements 4 Introduction 7 CHAPTER 1 - THREE WAVES OF THE DIGITAL REVOLUTION 10 Rise of counterculture 10 First wave: Digitization 11 Second wave: The World Wide Web 12 Third wave: Web 2.0 13 Definition of ‘film’ 14 Other effects of the digital revolution on filmmaking 15 Open Source Software 15 Key questions from the Digital Revolution 17 CHAPTER 2 - THEORETICAL CONCEPTS FOR DISTRIBUTED FILMMAKING 20 Introduction 20 Rhizomatic Thinking 22 Openness 27 Collaboration 40 Non-hierarchy 54 Swarm Intelligence 65 CHAPTER 3 - FIVE EXISTING OPEN FILMMAKING PROJECTS 75 Introduction 75 The Simpsons on mob rule 75 Categories of Governance 77 Stray Cinema 79 Digital Tipping Point 82 A Swarm Of Angels 86 Elephant's Dream 89 The Be Kind Rewind Protocol 91 5 Conclusions from these open filmmaking projects 93 CHAPTER 4 - METHODOLOGY 97 Introduction 97 Software Requirements 99 Collection of data 101 Initial software 104 Kolb’s Learning Cycle 106 CHAPTER 5 - ANALYSIS OF RESEARCH PROJECTS USING SWARM TV 109 Introduction 109 Description of Swarm TV 109 Evolutionary changes to Swarm TV 109 List of Swarm TV projects 110 Legend of King Arthur 2.0 117 Project 2008 130 “This Weekend?” 147 Collaborative Practice 162 University of the Village 180 CHAPTER 6 - THESIS CONCLUSIONS 201 Introduction 201 Original contributions 201 Thesis findings 203 Specific Consequences 207 Reflective Observations 208 The Journey of the PhD 210 Incidental Findings 213 Future research 216 Bibliography 217 6 Introduction The aim of this thesis, as an exploration of non-hierarchy from open source approaches to distributed filmmaking, is to make a contribution to knowledge in the field of co-creation in digital arts. Although, the subject touches on aspects of filmmaking and also anthropology, the argument is fundamentally about ideas of co-creation and as such it is particularly significant for education and/or situations where a minority community feels that its voice is not being considered by mainstream media. It not only explores issues of non-hierarchy within co-creation, but it also provides a practical methodology for it. Traditionally, film is known for its hierarchical structures and so it is likely that if a non-hierarchical methodology can function in the field of film, then it will be effective in other disciplines of knowledge as well. This thesis, therefore, constructs a theoretical framework from diverse areas of knowledge and follows the implications from these areas through its argument. The principle areas of knowledge explored in this thesis are collaboration, open source methodology, non-hierarchy, self-organisation, emergence, and swarm intelligence. From these areas, characteristics are identified that may support the practice of co-creation. A number of collaborative filmmaking projects are reviewed with regard to these characteristics and, from projects organised as part of this thesis, these characteristics form a list of eighteen guidelines. These guidelines are likely to be of use, academically then, in any field of co-creation. From the field of open source computer programming, it is claimed that the more code is opened up to public scrutiny, the more the code is likely to be robust. But how far could this be applied to a creative filmmaking process? From the field of collaboration, there is evidence that suggests that overall project time can be dramatically reduced when there are many participants doing many small tasks. But how counterproductive could this be in the area of filmmaking where an aesthetic expression needs to be consistent, in order for an audience to understand what is supposed to be represented in the film? From the field of non-hierarchy, 7 the effect of a leaderless organisation emphasizes the relationships between the members of that organisation. But how beneficial is this likely to be, when the primary objective from the process of filmmaking is, traditionally, just the completed film? According to these assertions, an open source approach to distributed filmmaking could produce a film faster, cheaper and at the same time encourage participation from marginalized communities. However, the most significant reason for the exploration of non-hierarchical systems of co-creation is not only the possibility of realising the potential for each member of a community, but in so doing, the whole community is best able to realise its potential as well. The methodology in this thesis arose from the continuing trend in opening up approaches to the production of media that had traditionally been realized using very hierarchical methods. Where Charles Leadbeater explained how individuals could accumulate power by orchestrating the potential of users defining what they would like to consume (2009), Axel Bruns has argued for a model that he calls “produsage”, which can block commercial agendas from exploiting user-led content creation (2013). Henry Jenkins has contrasted the difference between centralized stickiness of the broadcast era against the value of spreadability, as is becoming more prevalent in social networks (2013). This is evidence of the development to relax control over content in preference for media with the virality to spread by itself, and Yochai Benkler believed that there is a systematic operation that protects hierarchical economies against the burgeoning proliferation of distributed co-creating networks (2006). Clay Shirky considered that a better world could be built with the trillions of hours of free time that human beings have at their disposal worldwide, if civic improvements were actively celebrated (2010). But Manuel Castells asserted that there is empirical evidence that within revolutionary networks against oppression, that “the transition from outrage to hope is accomplished in all movements by deliberation in the space of autonomy” (2012). Non-hierarchy has consequences culturally, socially and politically. Culturally, non-hierarchy allows marginalized groups to express their concerns and voice their opinions. Their lives and experiences have formed their mindset, 8 and they have developed a whole set of solutions to problems that many other cultures experience, but have approached from a different point of view. It is important that marginalized groups are able to participate in the process of co- creation, so that ideas and directions are not discounted before these ideas get a chance to be realized. Non-hierarchy increases the possibilities of originality. Socially, non-hierarchy is not a natural state of relationships. Within every set of associations, those who have the most social ability most readily influence the group. In this