In the introductory chapter, Henry Jenkins warns readers not to “expect the uncertainties surrounding convergence to be solved anytime soon” (24) and he uses the content of his book to present the notion that traditionally separated media outlets are becoming increasingly intertwined, assuming “all knowledge resides in humanity” (27) and that this knowledge is being virtually conglomerated through “new forms of participation and collaboration” (256). Using American Idol as an example of a television program that is representative of media as a whole, Jenkins outlines a new kind of messaging orchestrated by media companies that blurs the lines between entertainment and advertising while viewers and users are shifting “from real-time interaction towards asynchronous participation” (59). In this “new knowledge culture” (27), new virtual communities are created and defined through “voluntary, temporary, and tactical affiliations” (27). As a result of increased media convergence and as a means to keep the attention of these virtual communities, “compelling environments that cannot be fully explored or exhausted within a single work or even a single medium” (116) are created by media outlets using the concept of transmedia storytelling. In an age where a thirteen-year-old can create a website about Harry Potter to be read by millions of people, Jenkins argues that “consumer participation has emerged as the central conceptual problem” because “traditional gatekeepers want to hold onto control of cultural content” (215). Jenkins argues that these traditional gatekeepers need to release their grasp because users will be “more powerful within convergence culture, but only if they use that power as full participants in our culture” (270). In a culture where citizens are simply monitorial, perhaps the most detrimental effects can be seen in the decline of our democracy. Jenkins states that we can see beneficial democracy as an outcome of technological change, but “we need to fight to achieve [it] with every tool at our disposal” (294).
In the afterword, Jenkins discusses how the political landscape changes in “the age of YouTube” (271). When referencing the current virtual landscape, Jenkins makes the case that political participation “occurs at three levels here – those of production, selection, and distribution” (275). Using YouTube as a case study, Jenkins argues that digital media brings “all three functions together into a single platform and directs attention on the role of everyday people” (275). This statement effectively summarizes the power that convergence media has on the political process. In the 2008 presidential campaign we saw the power of participation in the virtual sphere. Impassioned supporters of Barack Obama created and contributed to virtual communities that organized people and mobilized them to successfully elect him. Digital democracy realized an apparent triumph during the 2008 presidential campaign because a large group of people got excited about participating in advocacy in online publics and they seemed to be departing from the passive mentality of merely monitoring information. Despite this, however, Jenkins argues that “an open platform does not necessarily ensure diversity” (290). Even though culture has seen a movement of people, through active participation, harness convergence media for the well being of democracy, Jenkins argues that the nature of a user-moderated virtual environment works “badly when [it] preempts the expression of minority perspective and hides unpopular and alternative content from view” (290). Online forums populated by users who are predominately for a certain position may not be open to a user who presents the opposite viewpoint. “For better and for worse,” Jenkins states, “this is what democracy looks like in the era of convergence culture” (293). With Convergence Culture, Jenkins shows the reader that “resources for activism and social commentary” are placed into “the hands of everyday citizens” (293). Now Jenkins wants us to use these resources, but he wants us to use them wisely, being “attentive to the ethical dimensions by which we are generating knowledge” (294). With our continually converging culture, “media change is bringing about transformations in the way other core institutions operate” (294). Political discourse is being shifted and molded with the convergence of culture, and Jenkins argues that we should participate.
In the afterword, Jenkins discusses how the political landscape changes in “the age of YouTube” (271). When referencing the current virtual landscape, Jenkins makes the case that political participation “occurs at three levels here – those of production, selection, and distribution” (275). Using YouTube as a case study, Jenkins argues that digital media brings “all three functions together into a single platform and directs attention on the role of everyday people” (275). This statement effectively summarizes the power that convergence media has on the political process. In the 2008 presidential campaign we saw the power of participation in the virtual sphere. Impassioned supporters of Barack Obama created and contributed to virtual communities that organized people and mobilized them to successfully elect him. Digital democracy realized an apparent triumph during the 2008 presidential campaign because a large group of people got excited about participating in advocacy in online publics and they seemed to be departing from the passive mentality of merely monitoring information. Despite this, however, Jenkins argues that “an open platform does not necessarily ensure diversity” (290). Even though culture has seen a movement of people, through active participation, harness convergence media for the well being of democracy, Jenkins argues that the nature of a user-moderated virtual environment works “badly when [it] preempts the expression of minority perspective and hides unpopular and alternative content from view” (290). Online forums populated by users who are predominately for a certain position may not be open to a user who presents the opposite viewpoint. “For better and for worse,” Jenkins states, “this is what democracy looks like in the era of convergence culture” (293). With Convergence Culture, Jenkins shows the reader that “resources for activism and social commentary” are placed into “the hands of everyday citizens” (293). Now Jenkins wants us to use these resources, but he wants us to use them wisely, being “attentive to the ethical dimensions by which we are generating knowledge” (294). With our continually converging culture, “media change is bringing about transformations in the way other core institutions operate” (294). Political discourse is being shifted and molded with the convergence of culture, and Jenkins argues that we should participate.
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