{"title":"The platformisation of software development: Connective coding and platform vernaculars on GitHub","authors":"Liliana Bounegru","doi":"10.1177/13548565231205867","DOIUrl":"https://doi.org/10.1177/13548565231205867","url":null,"abstract":"This article contributes to recent scholarship on platform, software and media studies by critically engaging with the ‘social coding’ platform GitHub, one of the most prominent actors in the online proprietary and F/OSS (free and/or open-source software) code hosting space. It examines the platformisation of software and project development on GitHub by combining institutional and cultural analysis. The institutional analysis focuses on critically examining the platform from a material-economic perspective to understand how it configures contemporary software and project development work. It proposes the concept of ‘connective coding’ to characterise how software intermediaries such as GitHub configure, valorise and capitalise on public repositories, developer and organisation profiles. This institutional perspective is complemented by a case study analysing cultural practices mediated by the platform. The case study examines the platform vernaculars of news media and journalism initiatives highlighted by Source, a key publication in the newsroom software development space, and how GitHub modulates visibility in this space. It finds that the high-visibility platform vernacular of this news media and journalism space is dominated by a mix of established actors such as the New York Times, the Guardian and Bloomberg, as well as more recent actors and initiatives such as ProPublica and Document Cloud. This high-visibility news media and journalism platform vernacular is characterised by multiple F/OSS and F/OSS-inspired practices and styles. Finally, by contrast, low-visibility public repositories in this space may be seen as indicative of GitHub’s role in facilitating various kinds of ‘post-F/OSS’ software development cultures.","PeriodicalId":505001,"journal":{"name":"Convergence: The International Journal of Research into New Media Technologies","volume":"19 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139256952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Workers’ right to the subject: The social relations of data production","authors":"Phoebe V Moore","doi":"10.1177/13548565231199971","DOIUrl":"https://doi.org/10.1177/13548565231199971","url":null,"abstract":"The use of data to profile and make decisions about data subjects for citizenship, targeted advertising, job recruitment and other reasons, has been eminently normalised, which is an emerging threat to protected spaces for personal subjectivation and identity formation. The ‘right to the subject’; or to agency via personal subject formation outside bilateral profiling; is at stake. This is especially true for workers. Algorithmic management infused with worker control mechanisms occurs in structurally and objectively unequal conditions within subjective, and unequal, social relations. Data harms protections in European privacy and data protection law, despite being heralded as the strongest in the world, are insufficient to protect workers’ right to the subject. Indeed, structural features of inequality within the capitalist data political economy mean that workers experience different power relations to consumers and citizens. Analysing the social relations surrounding policy features of ‘consent’, and ‘risk’, with focus on the General Data Protection Regulation (GDPR) and the negotiations for the AI Act, it is not difficult to see that these policies do not protect all data subjects’ rights to the subject identically. Indeed, workers never have the capacity to truly consent at work; and the risks workers face are different from that of other data subjects, such as consumers. Data subjects do not, across categories, have equal access to equality, within, and because of, the social relations of data production. From a cross-disciplinary perspective and with contributions to sociology, critical theory, media and policy studies, this article argues that workers’ right to the subject is at stake, in datafied social relations.","PeriodicalId":505001,"journal":{"name":"Convergence: The International Journal of Research into New Media Technologies","volume":"6 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139262736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Salad Fingers: Pre-YouTube digital uncanny and the ‘weird’ future of animation","authors":"J. Balanzategui, C. Albarrán-Torres","doi":"10.1177/13548565231208569","DOIUrl":"https://doi.org/10.1177/13548565231208569","url":null,"abstract":"In 2004, artist David Firth launched the lo-fi animation Salad Fingers in the user-generated content sharing platform Newgrounds. The series, focused on a strange, unsettling narrative about a character that acts as a child but commits unhinged violent acts, went on to become viral in the earliest days of YouTube. Created with the software Flash (launched by Macromedia and then acquired by Adobe), which generates vector images, Salad Fingers is a significant stylistic and generic contribution to the early period of participatory digital cultures. The series operates as a bridge between analogue and digital artforms that privilege the sensorial over narrative cohesion, while also cultivating a distinctive ‘uncanny-weird’ mode tied to early participatory digital cultures, trends that perdure in contemporary animation. We articulate how Salad Fingers operates in the distinctive ‘digital uncanny’, an aesthetic and cultural mode that would become pervasive in visual media cultures on YouTube and beyond.","PeriodicalId":505001,"journal":{"name":"Convergence: The International Journal of Research into New Media Technologies","volume":"39 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}