Net, Blogs and Rock'n'Roll

Participation and influence in social media

This post is a little update on one of themes I explored in the book concerning how people are different in the levels of commitment, participation and influence they bring to discovering culture. I started out with some market research about different kinds of music fans: "Savants", "Enthusiasts", "Casuals" and "Indifferents" (see full post about this classification). It doesn't seem far-fetched to imagine that some similar gradation of interest occurs in most, if not all, other fields. But then I speculated that this classification might map onto the different kinds of participation in social media proposed by Bradley Horowitz, where he distinguised

• Creators — 1% of the user population might start a group (or a thread within a group)
• Synthesisers — 10% of the user population might participate actively, and actually author content whether starting a thread or responding to a thread-in-progress
• Consumers — 100% of the user population benefits from the activities of the above groups (lurkers)

And then I went further and speculated about mapping that onto the distinction that some marketers make between advocates/influencers, 'brand adorers' and 'brand adopters'.

I mentioned in the book that it was questionable whether a pyramid is always the right way to represent these classifications. It implies a very top-down, one-way dynamic of influence. Intuition and everyday experience suggests that life isn't like that, and I gave examples of the most committed music fans being influenced indirectly by the more casual fans (Lord save us from being thought to share mainstream tastes!). But everyone seems to use pyramids to show influence, and that's the bit that stuck, while my nuanced caveats got forgotten. It still haunts me, which is why I have to write blog 'updates' like this…

But what prompted the return of this spectre was a couple of recent blog posts on participation and influence. First, Jay Cross shared the six levels of participation — represented as a ladder this time — identified by Jeremiah Owyang, a Forresters analyst:

Mufin.com: content-based recommendations

I get a fair number of people approaching me to tell me that their music recommender system is the best because of [insert special secret sauce here]. Usually this doesn't go much further: after all, the sauce is secret and can't be shared; so I say I'll be interested to keep in touch with their progress, and I bite my lip to resist repeating my sceptical view that any recommender system only has to be good enough to keep people coming back for more recommendations.

In the case of Berlin-based mufin.com, launching in private beta today, the story is slightly different, as they sent me all their publicity release information, and Petar Djekic was willing to talk to me on the record as it were. They even gave me an invite code to give away — that's my disclosure out of the way!

Mufin.com grew out of the Fraunhofer Institute, also the birthplace of the MP3 format, and the technically interesting part of what they're doing builds on that strong research base in audio and acoustics. What mufin.com does is known as content-based filtering rather than collaborative user-based filtering. In other words, rather than saying "people who like this artist/song also like this artist/song", it says "this song is similar in important ways to this song, so if you like one, you may like the other". Or in other words, think more like Pandora than Last.fm.

Fan culture and public service: media versus broadcasting

All through last week the smart people at BBC Radio Labs published a series of research summaries under the heading "fan cultures in radio".

The research projects covered different forms of fan participation around radio, from message boards, listeners to an avuncular breakfast DJ, and a long-running soap opera. The one I was waiting for — and which will possibly be of most interest to readers of this blog — was the relationship between 'specialist' music programmes and fans, by Andrew Dubber and Tim Wall.

The published summary doesn't give us much reporting of the actual behaviour of specialist music fans (any chance of a fuller account being made available, I wonder?), but focuses on the range of orientations of the BBC to meeting the needs of these fans:

Drawing on our examination of the fan activities of specialist music enthusiasts, and the way BBC staff who serve their interests conceive their professional practices, we think such a shift would allow discussion of the difference between a 'one-to-many', centre-to-receptive-audience model and the 'many-to-many' forms of communication that are more typical online. More to the point, the term 'broadcasting' pretty much just means radio and television, when in fact recorded popular music is a media form in itself.