{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","title":"DIGITAL LABOR THE INTERNET AS PLAYGROUND AND FACTORY","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780415896948","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","uuid":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","title":"DIGITAL LABOR THE INTERNET AS PLAYGROUND AND FACTORY","normalized_title":"digitallabortheinternetasplaygroundandfactory","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780415896948","isbns":["9780415896948","9780415896955","9780203145791"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":267,"navigation_url":"https://workshop.closeclaw.top/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7","title_url":"https://workshop.closeclaw.top/ai/title/DIGITAL%20LABOR%20THE%20INTERNET%20AS%20PLAYGROUND%20AND%20FACTORY","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/a31b1606-7526-4f42-a12d-1edcb41ff0e7","page_url":"https://workshop.closeclaw.top/api/ai/books/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page","search_url":"https://workshop.closeclaw.top/api/ai/books/a31b1606-7526-4f42-a12d-1edcb41ff0e7/search"},"page":{"printed_page":109,"pdf_page":116,"physical_index":116,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a4f0f8d46dd6148fa531c0ae96d25952d5bf723edcc80f32873f05b6f4d721f0"},"chapter":"DIGITAL LABOR","content":"Hills informs us that fans can also be “resistive\"to the commodity aspect of their favorite texts and objects because they see their appropriative activities as pure of financial motives—fans are interested in specific things because they feel an emotional, intellectual, psychological, or artistic connection to them, not because fans wish to profit from them. In fact, fans often think that it is official producers' profit-seeking motives that lead them to make incorrect or less-than-optimal decisions about their products, leaving fans to salvage or modify the products to which they have become attached, spurred by love and frustration, not by money. The opposition between finances and fandom posited in a great deal of fan discourse and fan studies scholarship does not provide fertile ground for fans to consider lobbying to receive payment for the value they add to companies' products.\n\nAnd Ross and Terranova claim that even when fans do think of their productivity as labor, they can justify giving away their time, energy, and creativity for free in ways that benefit corporations by regarding that donation as a necessary trade-off for the ability to participate in the Internet's largely unregulated social media sites. Their free labor buys them a free Internet.\n\nThe very idea of fans organizing officially, as a kind of labor union, is somewhat contrary to the underlying principles of fandom. For fans, although they do gather in groups around specific objects, do the work of customizing mass-produced things to fit their own unique desires and needs. The goal of most fan labor is to modify a commodity, which is made to suit everybody, so that it suits the fan laborer, and other fans who share the laborer's particular tastes, much better. It is unlikely that any sizeable number of fans would all come to agreement about the tópes of work they all wanted to perform on various corporate-made objectsand texts and propose some kind of pay schedule commensurate with clearly defined categories of production. Fan labor is, by nature, idiosyncratic, and each fan production arises from, and is shaped by, the peculiar interests of the fan producer.\n\nAlso, because it is unclear how much revenue is generated for companies by the brand extensions, publicity, and marketing materials created by fans, it would be difficult for fans to seek payment on a commission or revenue-sharing model. Fan-made videos, websites, commentary, posters and other artworks, stories, songs, and reviews merge with the stream of official advertising and promotion that surrounds any given product—fan labor can ramp up the buzz and reputation of the product, and it can reinforce the pull or allure that the product exerts on would-be consumers, but it would be impossible to tell what percentage of sales of the product had resulted from fans' efforts versus those of the paid corporate marketers.\n\nFan Compensation\n\nHowever, as much as the digital economy relies on unpaid, user-generated labor, the Internet has also been the site ofsome innovations in compensation that might serve fans well in the future. Garnering revenue from advertising has proved\n\nFandom as Free Labor\n\n109","previous_page":108,"next_page":null}