Search results

The purpose of this study is to investigate how social media features enable crowdsourcing and to gain rich understanding of mechanisms that lead from online community design practices to success in crowdsourcing initiatives.

Inductive qualitative methods were used for investigating the case of crowdsourcing-based microstock business model. Twenty-three in-depth interviews with stock photography industry insiders were combined with netnography data and documents.

Two mechanisms influencing participants’ motivation and peer-to-peer learning were identified. Both extrinsic and intrinsic motivations are important for participants’ engagement.

Findings of this inductive effort should be replicated in other industry settings and used to develop testable propositions of antecedents and outcomes of crowdsourcing implementations.

Companies embarking on crowdsourcing initiatives can enhance participants’ motivations through social media and enable learning through online communities. Managers must understand who participates in the crowd and what their motivation is.

This study is investigating under-researched peer-vetted creative production crowdsourcing model. Managers can use presented ideas for developing crowdsourcing online communities.

This research demonstrates that the combination of two methodologies to describe photographs — Nobrade and Sepiades — together with the contextualization and identification of the content informational model of the photograph facilitates the reconstruction of institutional memory. This exploratory research based on case study adopted a set of metadata from Nobrade and Sepiades aiming at the organization and availability of the set of information extrinsic to the 20 portraits of the rectors of the Federal University of Pernambuco from 1946 to 1971. For the contextualization of this period, some of the events that occurred in Brazil were highlighted, as they influenced the academic environments during the Democratic Period and the Military Regime. The description of the photography was made in four parts: first part was called administrative dates resulting in the photo identification information; second part was the provenance data, that is, data about its origin and context; third part was composed of the technical data of the photograph; and fourth part was composed of the image data which contains information about the content of the photograph. The second and fourth parts using context and content information enable the photograph to be understood beyond what can be seen and contribute to the reconstruction of institutional memory. This research contributes to the elaboration of a documentary system using a combination of methodologies, focusing on photographs, not only as an institutional technical activity, but also as an activity necessary for the reconstruction of the institutional memory.

This chapter reviews published studies of the use of pictorial information. Examining image user studies surfaces several research questions often addressed by this body of work, as well as some frequently encountered problems. These questions and problems organize this survey of the literature. Image user studies were included in two valuable reviews of digital image research and development, published by Christie Stephenson and Corinne Jörgensen in 1999 (Jörgensen, 1999; Stephenson, 1999). This overview considers research since that time, focusing on assessment that was not targeted at a single system or service. While attempting to incorporate some interesting research from the information and educational technology communities, this discussion of image delivery as an aspect of digital library development limits coverage of those important literatures.

In this article, we develop and advance an understanding of institutions as multimodal accomplishments. We draw on social semiotics and the linguistic concept of metafunctions to establish the visual as a specific mode of meaning construction. In addition, we make semiotic modes conducive to institutional inquiry by introducing the notion of distinct “modal registers” – specialized configurations of linguistic signs within a particular mode that are adapted and applied in the reproduction of institutions or institutional domains. At the core of our article, we operationalize metafunctions to develop methodology for the analysis of visual registers. We illustrate our approach with data from Corporate Social Responsibility (CSR) reporting in Austria.

This chapter considers the ways in which city images “travel” and are consumed at a distance. A significant body of existing research has examined UMPs in terms of attempts to produce particular images of cities for global circulation. Much less attention has been paid to assessing the “success” of imaging strategies – the means by (and extent to) which city images actually circulate and are consumed. Focusing on the travel of UMPs constructed in and around the Malaysian capital, Kuala Lumpur (KL) in the 1990s, the chapter seeks to provide a corrective to the production-centeredness of existing scholarship. Extending fieldwork-based research carried out in Malaysia in the 1990s, the chapter focuses on a series of accidental “encounters” with KL's UMPs outside Malaysia. Part of the aim of the chapter is precisely to begin to think about how the “consumption” side of UMPs, and associated effects, could be examined in more systematic ways in the future. Extra-Malaysian encounters with KL-sited UMPs such as the Kuala Lumpur City Center (KLCC) project are examined in terms of a range of means through which city images circulate: in film and TV performances, as tourist souvenirs and planning models, in building height charts and commercial advertising, and even through academic practices. Most instances in which UMPs are “consumed” at a distance might be banal and seemingly unworthy of study but, collectively, they can serve to forge new imaginings which, in turn, can have profound material implications for the cities concerned.

With the ubiquitous spread of the Selfie as a central feature of millennial digital practices, this article examines the impact of digital media on the traditional uses of the snapshot as a record of private life, particularly in terms of the family and circles of friends. It argues that the affordances of digital photography and social media lead to a transformation of the snapshot into the Selfie. The Selfie as a kind of performance impacts the social practices of family photography in a variety of ways. Some positive, in that the affordances of digital photography put the opportunity for the public circulation of self-selected Kodak “moments” which show the individual in the best possible light; and some negative since the new emphasis on the body as a vehicle of self-expression sustains a tournament based on appearances. The resultant shift from notions of the gift economy implicit in practices of family photography leads to the personal snapshot becoming a proto-commodity form in which the competitive logic of Celebrity culture pervades the social exchange of the photograph. The chapter closes with consideration of the importance of the Selfie across the life course and the logic of self-impression management as a digital performance.

In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people in Britain spent over 1 billion on cameras, film and processing and the number of photographs taken had exceeded 3 billion.¹ There is little doubt that most people are familiar with cameras, and the majority will be engaged in forms of photographic practice as amateurs, that is as a “pastime” or hobby or as an adjunct to events, activities and leisure in their everyday lives.

Using visual materials to understand a social object requires the researcher to know that object's purpose, and this is true whether the object is an artifact, a restricted event, a small social world, or something as massive as the modern city. I argue that the purpose of the city as a settlement is driven by the need to safely sleep in peace at night while satisfying other basic biophysical needs during the day as conveniently as possible. An examination of these needs identifies 10 functional prerequisites for human settlement, entangling its inhabitants in involuntary community with entities and events other than themselves, whether they like it or not. In addition, the rise of the modern city exacerbates the challenge of living in a reluctant community and pressures its inhabitants to come to terms with the consequences for how these relationships affect daily life. I highlight nine challenges posed as questions that have been particularly salient in American urban history since the mid-nineteenth century. How these challenges have been addressed indicates not only what it takes to make a modern city a settlement suitable for satisfying human needs, but also just how deeply invested its residents are in making the city work. Finally, the 10 functional prerequisites and nine moral challenges not only provide a framework for researching the city, but also suggest a coherent outline for imagining a “shooting script” or guide for conducting visual research.