边缘的平台治理:社交媒体创作者在算法可见性方面的经验

IF 2.3 1区 文学 Q1 COMMUNICATION
B. Duffy, Colten Meisner
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引用次数: 23

摘要

虽然“新”创意经济的拥护者一直在大肆宣传YouTube、Instagram、TikTok等提供的职业机会,但批评者却把焦点放在了依赖平台的创意劳动中不太吉利的因素上:剥削、不安全感和过度工作的文化。此外,社交媒体创作者还受制于平台“不可思议的”社会技术系统的变幻莫测,尤其是那些使其可见性得以实现(或相反地,阻碍其可见性)的算法。本文对30位社交媒体创作者进行了深度访谈,这些创作者来自历史上被边缘化的身份和/或被污名化的内容类型,探讨了他们对算法可见性的看法和经验。总之,他们的账户表明了一种共同的理解,即平台实施治理的方式是不公平的——无论是通过正式的(人工和/或自动内容审核)还是非正式的(阴影禁令、有偏见的算法提升)手段。创作者的理解涉及从自我审查到协同努力规避算法干预的经验实践。最后,我们考虑了构成社交媒体经济的纪律和惩罚制度是如何系统性地使边缘化的创作者和被视为不规范的文化表达处于不利地位的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Platform governance at the margins: Social media creators’ experiences with algorithmic (in)visibility
While champions of the “new” creative economy consistently hype the career possibilities furnished by YouTube, Instagram, TikTok, and the like, critics have cast a spotlight on the less auspicious elements of platform-dependent creative labor: exploitation, insecurity, and a culture of overwork. Social media creators are, moreover, beholden to the vagaries of platforms’ “inscrutable” socio-technical systems, particularly the algorithms that enable (or – conversely – thwart) their visibility. This article draws upon in-depth interviews with 30 social media creators – sampled from historically marginalized identities and/or stigmatized content genres – to explore their perceptions of, and experiences with, algorithmic (in)visibility. Together, their accounts evince a shared understanding that platforms enact governance unevenly – be it through formal (human and/or automated content moderation) or informal (shadowbans, biased algorithmic boosts) means. Creators’ understandings are implicated in experiential practices ranging from self-censorship to concerted efforts to circumvent algorithmic intervention. In closing, we consider how the regimes of discipline and punishment that structure the social media economy systematically disadvantage marginalized creators and cultural expressions deemed non-normative.
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来源期刊
CiteScore
6.40
自引率
12.10%
发文量
101
期刊介绍: Media, Culture & Society provides a major international forum for the presentation of research and discussion concerning the media, including the newer information and communication technologies, within their political, economic, cultural and historical contexts. It regularly engages with a wider range of issues in cultural and social analysis. Its focus is on substantive topics and on critique and innovation in theory and method. An interdisciplinary journal, it welcomes contributions in any relevant areas and from a worldwide authorship.
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