Tracing Where Spreadable Media Has Spread

One of the most exciting aspects of the Spreadable Media project is to see where ideas from the book spread. Here is a wide range of places where ideas from the book have appeared over the past several months:
  • Giovanni Boccia Artieri’s piece in December (in Italian) for Tech Economy focuses on “dark clouds” hovering over the culture of digital circulation in Italy. Giovanni considers the conflicting logics of the moral economies of Italian commercial logics and the logic of citizens when it comes to copyright issues, and in particular troubling rulings from AGCOM, the Italian Communications Regulatory Authority, drawing on Spreadable Media. Giovanni wrote an original piece for the Italian version of the book.
  •  at the Centre de Cultura Contemporània de Barcelona provides thoughts on Spreadable Media’s implications for museums and other cultural institutions, in English and in Spanish.
  • Peabody Essex Museum Associate Director of Integrated Media Ed Rodley wrote a fascinating three-part series on his Thinking about museums blog from October-December 2013 entitled “Tilting at Windmills,” looking at issues and controversies in the art museum world on immersionexperience and participation, and visitor picture-taking in museum spaces. The piece on picture-taking draws on an argument from The Participatory Museum author Nina Simon and her use of the If It Doesn’t Spread, It’s Dead that was an early part of the “Spreadable Media” project to help show that museum photo policies should be open because people’s photos from a museum ultimately “promote(s) and spread(s) your content to new audiences in authentic ways.” Both Simon’s original piece and Rodley’s full series is fascinating as a look at how several issues explored in Spreadable Media are affecting the art museum space.
  • In his September 2013 “Script Symbology” column for Script, John Fraim considers the state of the traditional Hollywood film alongside the perceived diminishment of attention spans and the rise in a more participatory culture. Fraim draws on Spreadable Media to refer to the rising visibility of stories created by fans and other active audiences, resulting in some debate about what this means for the future of feature-length films.
  • Peter Froelich with Indiana University Press has published a new piece, “How to Spot Ugly Black Ducklings,” in the latest edition of Learned Publishing. While that publication isn’t available online, he has shared a pre-print version of the piece on his blog, which draws on Spreadable Media, as well as the American Association of University Presses event co-author Sam Ford spoke at in 2013.
  • University of Texas at Austin radio-television-film graduate student Charlotte Howell and Georgia State University communication graduate student Kyle Wrather use of the television series Parks and Recreation to respond to the U.S. government shutdown via Tumblr was highly spread online. See a recap of their project and Howell’s Storify, “Birth of a Spreadable Meme,” which cites Spreadable Media and a Fall 2013 visit from co-author Henry Jenkins as inspiring their approach to this project.
  • Mélanie Bourdaa’s October 2013 piece at France’s INA Global on “Fansubbing, a Cultural Mediation Practice,” makes reference to the practice’s existence among a larger culture of spreadability among fan communities that cross national and cultural borders, in particular mentioning Spreadable Media. See Bourdaa’s piece in English and in French. Also, see Bourdaa’s review of Spreadable Media for INA Global here.
  • Lisa Peyton draws on the book’s consideration of aspects of a media text that makes it more likely to be spread in her examination of a marketing campaign from restaurant chain Chipotle.
  • Italian newspaper Correre della Sera draws on Spreadable Media in this December 2013 piece when discussing the success of the latest season of the Italian version of X Factor, particularly talking about the importance of “spreadability” when it comes to online discussion around live television and challenges for subscription TV models.
  • Andrés Valdivia at Noise-Media in Chile writes about his interest in issues of media convergence after reading Spreadable Media and hearing the authors speak at South by Southwest. Valdivia recounts a grassroots reaction to television programming about the coup and dictatorship of Pinochet and how it both gave audiences a chance to use social media to share their emotions and have conversation around the television programming while also giving experts, including journalists and academics, the opportunity to provide additional contextual information. Valdivia asks how content creators might learn from that example when it comes to creating opportunities for potential engagement across multiple platforms.
  • Marcos Hiller at Trevesan Business School in Brazil integrates Spreadable Media into this online reflection about changes in the ways people participate with companies and around their content in today’s communication environment (in Portuguese).
  • Julia Errens at Brand Perfect questions whether a focus on “spreadability” makes sense for luxury brands that thrive on their inaccessibility in her piece “The Luxury Conundrum.”
  • Jon Lisi’s November “Socially Mediated” PopMatters piece asks, “Does Tinder Transform Dating Culture?” In seeking an answer, Lisi evokes Spreadable Media to help pose questions of what people are doing proactively with new technologies, largely to further the sorts of practices they do in the “un-virtual” world.
  • Creativity in Public Relations author Andy Green writes about the difference between creating “sticky” content and the business logic behind stickiness‹as well as the importance of language regarding concepts in marketing and communications, drawing on Spreadable Media and his participation in a webinar with co-author Sam Ford.
  • Art critic Pierre Berger references the book in his review of the opening of Jean-Jacque Launier’s “entertainment art” museum Art Ludique, le musée, in Paris. Berger writes that the museum opens up a space to further look at the connection of the entertainment and art worlds, which has become particularly important with the current “explosion of ‘spreadable media.’” Spreadable Media also appears in Berger’s DICCAN (Digital Creation Critical Analysis) “dictionary of digital art,” under the entry for co-author Henry Jenkins.
  • New York University’s Melanie Kohnen evokes Spreadable Media when writing about her experiences at the New York Television Festival’s Digital Day 2013 for media and cultural studies blog Antenna, in particular referencing the TV industry’s key focus on Twitter for audience feedback and show promotion and discussion at the event to shift away from a “stickiness” logic promoting show websites from the network to more dispersed participation among cast and crew in discussions with fans via sites like Twitter, where the discussions are already happening.
  • The blog of “Tobytall” makes a short but provocative point about Spreadable Media vis-a-vis the nature of the publishing world today. She shares a quote from the book about the importance of sharing stories alongside the copyright warning that says no part of the book may be copied and shared.
  • City University of New York John Jay College of Criminal Justice English professor Carmen Kynard includes Spreadable Media among the bibliography on her “Soul Children 2.0: Reflections of an AfroDigital Writing Teacher” project for her site “Education, Liberation & Black Radical Traditions: A Teaching & Research Site on Race, Writing and College Classrooms.
  • Middlebury College student Miriam Nielsen kept extensive notes via the blog for her thesis as she read through the book. See her reactions here.
  • 3KHz studio owner Paul Maddocks writes about the nature of “spreadable media” and the business models of the companies that facilitate online sharing, drawing on the co-authors’ MIT Futures of Entertainment talk, as well as the original white paper that inspired the book.
  • University of Queensland Centre for Critical and Cultural Studies’ Karen Brooks refers to Spreadable Media in her review of the film One Chance, which is about former Britain’s Got Talent winner Paul Potts for The Courier-Mail in Brisbane, Australia.
  • De Montfort University’s Rob Watson draws on Spreadable Media in this reflection of what the city of Leicester needs to do to build its cultural identity in a way that connects with and reflects the desires of its people.
  • Stefanie Silveira, a Ph.D. researcher in Communication at The University of São Paulo in Brazil, provides a presentation which looks at themes from Spreadable Media in connection with Henry Jenkins’ previous book, Convergence Culture.
  • Lee Lindsey, Learning Technology Leader at Genworth Financial, gave a presentation entitled “Transmedia Storytelling and Mobile Devices: The Future of mLearning?,” as part of The eLearning Guild’s Online Forum entitled “mLearning: Tips and Techniques for Planning, Analysis, and Design,” in September 2013. In it, he recommends Spreadable Media as a resource.
  • Could understanding “spreadable media” get you a job? For their new j position Graduate Developer, Alternate Reality Games, London-based company Transmedia Storyteller lists understanding the concept as a “desirable” skill/attribute.
  • “Based on what you know about digital narratives, what do you think the term ‘spreadable media’ applies to?” This and other questions about civics and storytelling from Houghton Mifflin Harcourt’s “Digital Storytelling Quiz.”