Балама Бұқаралық Ақпарат Күралдары

Media sources that differ from established or dominant types of media

Alternative media are media sources that differ from established or dominant types of media (such as mainstream media or mass media) in terms of their content, production, or distribution. Sometimes the term independent media is used as a synonym, indicating independence from large media corporations, but generally independent media is used to describe a different meaning around freedom of the press and independence from government control. Alternative media does not refer to a specific format and may be inclusive of print, audio, film/video, online/digital and street art, among others. Some examples include the counter culture zines of the 1960s, ethnic and indigenous media such as the First People's television network in Canada (later rebranded Aboriginal Peoples Television Network), and more recently online open publishing journalism sites such as Indymedia. In contrast to mainstream mass media, alternative media tend to be "non commercial projects that advocate the interests of those excluded from the mainstream", for example, the poor, political and ethnic minorities, labor groups, and LGBT identities. These media disseminate marginalized viewpoints, such as those heard in the progressive news program Democracy Now!, and create communities of identity, as seen for example in the It Gets Better Project that was posted on YouTube in response to a rise in gay teen suicides at the time of its creation. Alternative media challenge the dominant beliefs and values of a culture and have been described as "counter hegemonic" by adherents of Antonio Gramsci's theory of cultural hegemony; however, since the definition of alternative media as merely counter to the mainstream is limiting, some approaches to the study of alternative media also address the question of how and where these media are created, as well as the dynamic relationship between the media and the participants that create and use them.

There are various definitions of "alternative media". John Downing, for example, defines "radical alternative media" as media "that express an alternative vision to hegemonic policies, priorities, and perspectives". In his assessment of a variety of definitions for the term, Chris Atton notes repeatedly the importance of alternative media production originating from small scale, counter hegemonic groups and individuals. Christian Fuchs also argues that alternative media must have four distinct properties. The first being that the audience of these media must be involved in the creation of what is put out in alternative media. The second is that it has to be different from the mainstream. Journalistic Practices says "Alternative media not only allow but also facilitate the participation (in its more radical meaning) of its members (or the community) in both the produced content and the content producing organization.' In this sense, participation in alternative media as described and reflected upon by the participants in this study can best be understood as a form of active citizenship".

Approaches to the academic study of alternative media attempt to understand the ways in which these media are significant, each emphasizing a different aspect of media, including the role of the public sphere, social movements, and the participation by communities that create the media.

One way of understanding alternative media is to consider their role in the process of democratic communication. Philosopher Jürgen Habermas proposed that a healthy democratic community requires a space where rational debate can take place between engaged citizens. It is essential that the dialogue in this public sphere occurs outside the control of any authority so that citizens can exchange ideas as equals. This translates to the need for free speech and a free press. In Habermas's idea of the public sphere, participation is open to everyone, all participants are considered equal, and any issue can be raised for debate.

Social movements are a type of collective action. They involve large, sometimes informal, groups or organizations which focus on specific political or social issues and promote, instigate, resist or undo the social change. Social movement media is how social movements use media, and oftentimes, due to the nature of social movements, that media tends to be an alternative. Communication is vital to the success of social movements. Research shows that social movements experience significant difficulties communicating through mainstream media because the mainstream media often systematically distort, stigmatize, or ignore social movement viewpoints. They may deny social movements' access or
representation at critical moments in their development, employ message frames that undermine or weaken public perceptions of a movement's legitimacy or implicitly encourage movement actors who seek coverage to cater to the questionable values of mainstream reportage on social activism, including a heightened interest in violence, emotionality, and slogans. For more information about social movements, and alternative media, see social movement theory. Alternative media tend to be activist by nature. Social movements in areas such as human rights, the environmental movement, and civil rights produce alternative media to further their goals, spread awareness, and inspire participation and support.

An example of an environment movement using alternative media is the group Greenpeace. Greenpeace is a non governmental environmental organization whose goal is to "ensure the ability of the Earth to nurture life in all its diversity and focuses its campaigning on worldwide issues such as climate change, deforestation, overfishing, commercial whaling, genetic engineering, and anti nuclear issues. It uses direct action, lobbying, and research to achieve its goals, as well as alternative media. They use online tactics such as podcasts and blogs as well as performance art.

An example of a civil rights group using alternative media was the Student Non violent Coordinating Committee (SNCC). SNCC was one of the most important organizations of the American Civil Rights Movement in
the 1960s. SNCC was involved in voter registration rights in the south, established Freedom Schools, organized the Mississippi Freedom Democratic Party (MFDP), among many other accomplishments. Alternative media tactics used by SNCC included establishing a dedicated Communication Section which included a photography arm, its own printing press (which published its newsletter the Student Voice), published publicity materials, and created an alternative wire press.

Alternative media have frequently been studied as a manifestation of participatory culture, in which citizens do not act as consumers only, but as contributors or producers as well. By opening up access to media production, participatory culture is believed to further democracy, civic engagement, and creative expression. Participatory culture pre dates the Internet. Amateur Press Associations are a form of participatory culture that emerged late in the 19th century. Members of such associations typeset and print their own publications, which are mailed through a network of subscribers. Zines, community supported radio stations, and other types of projects were predecessors of blogs, podcasts, wikis, and social networks. Web services such as Tumblr, Imgur, Reddit, Medium, TikTok, and YouTube, among others, allow users to distribute original content to wider audiences, which makes media production more participatory. Alternative media are also created by participatory journalism as citizens play an active role in collecting, reporting, analyzing, and disseminating news and information. This form of alternative and activist news gathering and reporting functions outside of mainstream media institutions, often as a response to the shortcomings of professional journalism. It engages in journalistic practices but is driven by goals other than profit making, has different ideals, and relies on alternative sources of legitimacy. Participatory media approaches consider participation in producing media content as well as in making decisions about media production processes as a defining feature of alternative media. One of the most significant questions in subaltern studies is posed by Gayatri Chakravorty Spivak, "Can the subaltern speak?" which she asks in her seminal essay of the same name. Spivak investigates whether the subaltern has a voice within hegemonic political discourses, and if so if their voices are being heard, allowing them to participate. This is important, as the subaltern's ability to participate in politics and other social and cultural practices is key in establishing—as well as challenging—their subaltern status. This particular body of scholarship is useful to the study and discussion of alternative media due to their shared preoccupation with the ability of disenfranchised peoples to participate and contribute to mainstream hegemonic discourses, especially in regards to ethnic and racial media in which these groups speak from a subaltern position. This connection is strengthened in the work of alternative media scholar Clemencia Rodriguez. In her discussion of citizenship, Rodriguez comments that "Citizens have to enact their citizenship on a day to day basis, through their participation in everyday political practices As citizens actively participate in actions that reshape their own identities, the identities of others, and their social environments, they produce power." So it could be said that by subaltern groups creating alternative media, they are indeed expressing their citizenship, producing their power, and letting their voice be heard.

The alternative press consists of printed publications that provide a different or dissident viewpoint than that provided by major mainstream and corporate newspapers, magazines, and other print media. Factsheet Five publisher Mike Gunderloy described the alternative press as "sort of the 'grown up' underground press. Whole Earth, the Boston Phoenix, and Mother Jones are the sorts of things that fall in this classification." In contrast, Gunderloy described the underground press as "the real thing, before it gets slick, co opted, and profitable. The underground press comes out in small quantities, is often illegible, treads on the thin ice of unmentionable subjects, and never carries ads for designer jeans." a collection of software to keep data secure and safe for NGOs operating in potentially hostile political climates, and their new short form toolkit 10 Tactics, which " provides original and artful ways for rights advocates to capture attention and communicate a cause".

Radio has been a significant form of alternative media due to its low cost, ease of use, and near ubiquity. In the US, the first listener supported independent station, KPFA, began in 1949 in order to provide an avenue for free speech unconstrained by the commercial interests that characterized mainstream radio. Alternative radio often, though not always, takes the form of community radio, which is generally understood as participatory, open, non profit, and made by and for a community. These radio stations may broadcast legally or illegally, as pirate radio. Alternative radio is a global phenomenon. However, its particular genre, content, and form vary widely. It is often produced in non profit organizational contexts, such as video art collectives (e. g. Videotage, Los Angeles Filmmakers' Cooperative) or grassroots social justice organizations (e. g. Line Break, CINEP—Center for Research and Popular Education). Participatory video projects in which marginalized or under resourced groups tell their stories through video demonstrate the possibility for access and participation in video making to empower those involved, circulate representations unseen in mainstream media, and challenge existing power relations. Though initiated in the 1960s and 1970s, radical video making reached an apex in the 1980s, as technology became more accessible. Public access television provided a broadcast outlet for oftentimes punk and hip hop influenced radical cultural critique. Deep Dish TV, for instance, is a television network which seeks to provide media access to grassroots organizations and to marginalized or misrepresented perspectives through public access television. Today, portable, accessible recording technology and the internet allow increasing opportunities for global participation in the production, consumption, and exchange of alternative video content.

With the increasing importance attributed to digital technologies, questions have arisen about where digital media fit in the dichotomy between alternative and mainstream media. First, blogs, Facebook, Twitter and other similar sites, while not necessarily created to be information media, increasingly are being used to spread news and information, potentially acting as alternative media as they allow ordinary citizens to bypass the gatekeepers of traditional, mainstream media and share the information and perspectives these citizens deem important. Second, the Internet provides an alternative space for mobilization through the cultivation of interpersonal networks, collective action towards social change, and making information much readily accessible. Typically, among those with deviant, dissident or non traditional views, Internet platforms allow for the creation of new, alternative communities that can provide a voice for those normally marginalized by the mainstream media. In addition, the Internet has also led to an alternative form of programming, which allows both professionals and amateurs to subvert or evade commercial and political restraints on open access to information and information technologies. In the form of graffiti, stencil, mural, and print, street art appropriates or alters public spaces as a means of protest and social commentary. Important aspects of street art as an alternative form are its blend of aesthetics and social engagement, use of urban spaces, and interaction with the social landscape of the area in which the art is made. The street art movement gained popularity in the 1980s as a form of art distinct from high art and commercial venues, but as popularity grew, some street artists moved from the alternative venues of the streets to gallery and museum showings. Cities such as Paris, Buenos Aires, and São Paulo rose to prominence in using street art as legitimate alternative media through artist collectives and competitions, bringing attention to alternative voices. The internet has also influenced street art greatly by functioning as a platform for artists and fans to share pictures of street art from around the world. Websites like Streetsy. com and WoosterCollective. com are among the most popular of street art sharing sites.

Performance as an alternative medium uses theater, song, and performance art as a means of engaging audiences and furthering social agendas. Performance art is an avant garde art form that typically uses live performances to challenge traditional forms of visual art. It operates as "the antithesis of theatre, challenging orthodox art forms and cultural norms." Playing an important role in social and cultural movements from Dada and Surrealism to Post Minimalism, performance art reflects the political environment of the time. While performance art is often relegated to high art, street theater is typically used in a grassroots fashion, utilizing local communities for performance or conversation. It can be used as a form of guerilla theater to protest, like in the case of The Living Theatre which is dedicated to transforming the hierarchy of power in society through experimental theater.

Certain genres of music and musical performance can be categorized as alternative media. Independent music, or indie music, is music that is produced separate from commercial record labels. Professor David Hesmondhalgh describes indie music's alternative nature as a "hard headed network of post punk companies which made significant challenges to the commercial organization of cultural production favoured by the major record companies." Its subversive roots of sound or lyrics and alternative models of distribution distinguish it from the commercial record companies.

Some alternative media can be associated with the political left in the United States, the political right in the United States, and various political positions in the United Kingdom. Primarily concerned with the growing role of new media in alternative media projects, communication scholar Leah Lievrouw identifies five genres of contemporary new media based alternative and activist media: culture jamming, alternative computing, participatory journalism, mediated mobilization, and commons knowledge. Culture jamming generally attempts to critique popular cultures such as entertainment, advertising, and art. Today, culture jamming can come in the form of internet memes and guerrilla marketing. Alternative computing deals with the material infrastructure of informational and communications technologies. It seeks to critique and reconfigure systems with the intention of subverting or evading commercial and political restraints on open access to information and information technologies. Some examples of alternative computing are hacking, open source software or systems, and file sharing. Participatory journalism refers to web based sources of critical or radical news either in the form of online news services or blogs. These alternative outlets of news often adopt the philosophies of citizen journalism and view themselves as providing an alternative to mainstream news and opinion. Participatory journalism projects may cover underreported groups and issues. Within this genre authors and readers of some of these alternative media projects have the ability contribute alike and therefore has the characteristic of being participatory or interactive. An example of participatory journalism is Indymedia and wearecgange. org
Mobilization media relate to communication practices that mobilization or organization social movements, identity, or cultural projects through the use of new media tools and platforms such as Facebook or YouTube. Characteristics of this genre include the cultivation of interpersonal networks, collective action towards social change, and making information much readily accessible. Wikipedia is an excellent example of this genre. Thinking of current forms of alternative media in terms of the genre not only allows one to identify the features and conventions of certain modes of communication, but also how "they allow people to express themselves appropriately, and to achieve their various purposes or intentions." In other words, one can begin to understand how the creators and participants of alternative new media projects actively shape their communication practices. YouTube is considered to be not only a commercial enterprise but also a platform designed to encourage cultural participation by ordinary citizens. Although YouTube aimed to be foremost a commercial enterprise, nevertheless, it has become a community media as one of the forms of alternative media. Scholars assume that YouTube's commercial drive may have increased the probability of participation in online video culture for a broader spectrum of participants than before. This idea allows one to shift our concern away from the false contradiction between market driven and non market driven culture towards the tensions between corporate logics and unruly and emergent traits of participatory culture, and the limits of YouTube model for cross cultural diversity and global communication. In theory, YouTube stands as a site of cosmopolitan cultural citizenship. Uploading foreign soap opera episodes and dividing into several pieces to pass YouTube's content limits, can be seen as acts of cultural citizenship similar to the media sharing practices of diverse communities identified by Cunningham and Nguyen (2000). However, people who have the highest chance of encountering other cultural citizens are those who have the access to various contents, information and platforms; this is commonly referred to as the 'participation gap'. The notion of participation gap makes both digital literacy and digital divide such important issues for cultural politics. Therefore, it is still controversial whether YouTube is just another conduit for strengthening cultural imperialism or one of the alternative media.

In association with experimental and innovative modes of production and collaboration, aesthetics in alternative media can be a political tool used to subvert dominant power. Like many makers of alternative media, scholar Crispin Sartwell identifies politics as an aesthetic environment. As such, these art political systems not only use aesthetics as a tool to gain power but are also produced via aesthetic forms within all media. Thus, it is not uncommon for alternative media to seek new artistic, non traditional, or avant garde means to represent its content. In this case, the use of aesthetics allows alternative media to address otherwise banal content in a manner which re aligns, re negotiates, or exposes the politics at work within it.

Scholars have linked the Avant garde art movements as one arena where alternative aesthetics are used as a political tool. Movements such as Futurism, Dada, and Situationism looked to challenge the formal rules regarding what art was, how it looked or sounded like, or where it could be in order to radically alter public and political ideology. The logic, reason, and rules of style and beauty, mandated by the dominant class, was rejected as an affirmation of subjugation.

While some alternative makers look to radically break away from the suffocating restraints of the dominant class by rejecting their dominant visual dogma, others appropriate, twist, and remix in order to subvert dominant language and messaging through mimicry, mockery, and satire. The détournement (and its successor culture jamming) of the Situationists, the mimicry of Pop Art, and the reworking of normative narratives in slash fiction are examples of appropriation of mainstream media texts.

Avant garde movements that have emphasized audience participation include Futurism, Dadaism, Surrealism, Situationism, Pop art, Neo concretism, and the Theatre of the Oppressed. By inviting the audience to participate in the creation of media, collaborators look to subvert or critique hierarchical structures (capitalism, the ivory tower) within society by embracing democratic modes of production. Strategies that involve the input or collaboration of all stakeholders often result in less formally 'correct' aesthetics.