The collective nature of the crowd
Crowdfunding has become a bit of a buzzword over recent years, so firstly letâs look at what is crowdfunding? Itâs a fundraising practice that utilises connections much like networked publics to gather funding in support of a specific project (Doan & Toledana 2017, p. 38). To put this practice into a fun pop-culture perspective we can look at a successful crowdfunding campaign instigated by Kevin Roberts in 2013. Veronica Mars, a detective drama following the adventures of a high school/college student by day and teen detective by night was revitalised as a feature-length film through networked crowdfunding seven years after the series was cancelled from network television (Yahr 2014). Roberts employed the help of Kickstart.com, a website dedicated to helping raise funds for creative projects. Roberts initially requested $2 million dollars for the project but by the end of the crowdfunding campaign, he had raised a staggering $5,702,153 (Hills 2015, p. 2). If you consider that this project targeted a very specific niche demographic it highlights the impact and possibilities of using networked publics to generate connections by utilising the affordance of spreadability to link dispersed individuals who can come together to fund a common goal, it also tells me that teen detective dramas are wildly more popular and I may be missing out on quality television.
Veronica Mars (Shellstropaljamil 2016)
If itâs possible to not just generate involvement but to exceed expectations for the value of entertainment, can we take the same basic principle of using online networks collective nature and converge in collective democratic action? This is exactly what the developers of Ushahidi proceed to do in the aftermath of the 2007 Kenyan elections. Post-election protests turned into widespread violence, which leads Kenyan blogger Ory Okolloh to make a public appeal to her followers asking for ideas of how it may be possible to collect information regarding the names of Kenyan citizens who lost their lives in the violence throughout this turbulent period. Approximately twenty develops came to the aid and offered their time and labour to develop a tracking system via SMS and an online platform, and in a week Ushahidi was born (Ford 2012 p. 33-34). Ushahidi was developed through the collective nature of crowdsourcing, crowdsourcing goes beyond the collective funding, crowdsourcing commodity is people power, its a collective of individuals and their skills sets brought together to create and find solutions to a task or problem (Shepherd 2012, p. 11).
Crisis Mapping Japan (Ushahidi 2011)
Ushahidiâs success is its ability to utilize networked publics affordances of direct participation, as Henry Jenkins eloquently states, âcrowdsourcing is about shifting the power relations between audience and producersâ (2013 p. 248). The collective nature of Ushahidi promotes the co-creative involvement of collective groups establishing a bottom-up networks (Zorina 2016, p. 85). Since the turbulent Kenyan election of 2007, countless Ushahidi maps have been developed in over 159 countries (Hyman 2014, p. 28) to track an abundance of social, political and environmental issues. Ushahidi is a constantly evolving platform with users embracing the affordance of crowdsourcing collaborative nature helping to stimulate a worldwide social consciousness âto help improve the bottom-up flow of informationâ (Ushahidi 2018).
Ushahidiâs Crisis Mapping in 40 seconds (99 Faces TV 2011)
Reference List
Aljona, Z 2016, âFrom a competing to a collaborative crowd: Tactics for co-creation with innovative bottom-up communities: Tactics for co-creation with innovative bottom-up communitiesâ, Organizational Dynamics, vol. 45, no. 2, pp.80-93.
Doan, M & Toledano, M 2018, âBeyond organization-centred public relations: Collective action through a civic crowdfunding campaignâ, Public Relations Review, vol. 44, no. 1, pp. 37-46.
Ford, H 2012, âCrowd Wisdomâ, Index on Censorship, vol. 41, no. 4, pp. 33-39.
Hills, M 2015, âVeronica Mars , fandom, and the âAffective Economicsâ of crowdfunding poachersâ, New Media & Society, vol. 17, no. 2, pp.183-197.
Hyman, P 2014, âPeace Technologiesâ Enable Eyewitness Reporting When Disasters Strikeâ, Communications of the ACM, vol. 57, no. 1, pp. 27-29.
Jenkins, H, Â Ford, S & Green, J 2013, Spreadable Media - Creating Value and Meaning in a Networked Culture, NYU Press, Ebook Central (ProQuest).
99 Faces TV 2011, Ushahidiâs Crisis Mapping in 40 seconds, 24 March, viewed 17 May 2018, <https://youtu.be/SakTPDHs6iI>.
Shellstropaljamil 2016, âVeronica Mars Amazingâ, [image], Tumblr, viewed 17 May 2018, <https://78.media.tumblr.com/9da1690a02ecc1f6ca8281bddd9588ae/tumblr_nmjn88Iuo11rohg16o3_250.gif>.
Shepherd, H 2012, âCrowdsourcingâ, Contexts, vol. 11, no. 2, pp. 10-11.
Ushahidi 2011, â Crisis Mapping Japanâ, [image], Ushahidi, viewed 17 May 2018, <https://2ee8a9b674d3b6a52133-b7785f8c6e03b0b67de30b88e1b0fcb9.ssl.cf2.rackcdn.com/2011/04/sinsai-500x348.png>.
Ushahidi 2018, About Ushahidi, Ushahidi, viewed 15 May 2018,<https://www.ushahidi.com/about>.
Yahr, E 2014, âVeronica Marsâ creator Rob Thomas explains how his canceled show rose from the ashes for a groundbreaking movie, The Washington Post, viewed 15 May 2018, <https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/03/13/veronica-mars-creator-rob-thomas-explains-how-his-canceled-show-rose-from-the-ashes-for-a-groundbreaking-movie/?noredirect=on&utm_term=.d3b70ae07666>.
Thanks for sharing this Ken, I do like how youâve drawn attention to the internetâs affordances for spreadability. In more serious issues like global crisisâ this spreadability has seen digital citizens banding together to assist those affected, this almost immediate community support is something that could have only been possible through ICT.











