Abstract

The understanding of democracy as a political organization form, has in many scenarios the debate on how pure is in a representative form and how effective is when is “pure” or direct democracy, as well as thought for the “polis” or places with an specific geographic location, contrary to the Saskia Sassen concept of “global cities”. From this discussion, we can address the television as a twentieth century mass media, funded and operated by governments or private companies, exercising symbolic power in a nation, as seen by the John B. Thompson power forms in modern societies, and as an organizational form that clearly exemplifies a representative democracy from the choice of themes, characters, speech and even workflow technology.

The Web 2.0 TV not only allows this massmediatic TV to migrate to a ubiquitous environment, flexible and powerful (that of cloud computing and mobility) but invites the audience to be part of as a production crew of this new television, which workflow is similar to the TV of the twentieth century, and to the new workflows purposed by major Internet players in the second decade of the XXI century. In Externado University this phenomena has been investigated thorough an empirical and intense way the migrated to Internet television, with a workflow similar to the 20th century massive TV, but with the intervention of actors (prosumer-students) in a more flexible and open way than the “representative” television. In addition of this, the arrival of Google Hangouts, which advocates for an opening to the end user with web skills, and social networks as a potential audience, which may also be involved in the production, the future of the TV in this century becomes by definition not only democratic, but also “direct” about this political organization form.

Abstract

Storytelling is a human action. Humankind practices it from memorial times until these days. Stories are important for species survival since through these knowledge is transfer from generation to the next one and social identity of communities is built. Each era is defined by social and cultural changes as well as technological innovations. At the same time, these three concepts weighs in the creation of stories, as set out today: stories are produced and widespread on social media as communicational actions, which are linked by a new teller: the media prosumer

Abstract

In the 1970s, the publications of Alvin Toffler and Jean Cloutier were essential for the emergence of two concepts, prosumer, and emirec, whose meanings have been mistakenly equated by numerous scholars and researchers. At the same time, the mercantilist theories linked to prosumption have made invisible the models of communication designed by Cloutier. In this article, configured as a review of the state of the art made from an exhaustive documentary analysis, we observe that, while the notion of prosumer represents vertical and hierarchical relations between companies and citizens, Cloutier's emirec evokes a horizontal relationship and an isonomy between professional and amateur media creators. The prosumption presents an alienated subject, which is integrated into the logic of the market under free work dynamics and from the extension of time and productive spaces, while the emirec is defined as a potentially empowered subject that establishes relations between equals. The theory of the prosumer reproduces the hegemonic economic model by seeking solutions from the field of marketing so that the media and entertainment industries must face the challenges they have to face in the digital world. On the contrary, the emirec theory connects with disruptive communicative models that introduce new relationships between media and audiences and the establishment of logic of affinity between communication participants.

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