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Theories
of Culture, Theories of Cultural Production possible by new digital technologies and which are ‘enabling new forms of participation and collaboration’ (2006: 256).
In
this respect, Jenkins is one of a number of intelligent digital optimists who celebrate the democratising possibilities of digital technologies.
As indi- cated earlier, this digital optimism now extends way beyond cultural studies.
The populists and optimists have been joined by a
powerful army of journal- ists, authors, bloggers and academics
from other disciplines, all of whom have inherited the countercultural belief that computers have the potential to liberate knowledge and creativity. This makes digital optimism a formidable cultural force (see Chapter 2 and especially Chapter 9, where I shall discuss this at much greater length).
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