ABSTRACT
Networked publics must be understood in terms of “publics,” a contested and messy term with multiple meanings that is used across different disciplines to signal different concepts. One approach is to construct “public” as a collection of people who share “a common understanding of the world, a shared identity, a claim to inclusiveness, a consensus regarding the collective interest” (Livingstone, 2005, p. 9). In this sense, a public may refer to a local collection of people (e.g., one’s peers) or a much broader collection of people (e.g., members of a nation-state). Those invested in the civic functioning of publics often concern themselves with the potential accessibility of spaces and information to wide audiences-“the public”—and the creation of a shared “public sphere” (Habermas, 1991). Yet, as Benedict Anderson (2006) argues, the notion of a public is in many ways an “imagined community.” Some scholars contend that there is no single public, but many publics to which some people are included and others excluded (Warner, 2002). Cultural and media studies offer a different perspective on the notion of what constitutes a public. In locating the term “public” as synonymous with “audience,” Sonia Livingstone (2005) uses the term to refer to a group bounded by a shared text, whether a worldview or a performance. The audience produced by media is often by its very nature a public, but not necessarily a passive one. For example, Michel de Certeau (2002) argues that consumption and production of cultural objects are intimately connected, and Henry Jenkins (2006) applies these ideas to the creation and dissemination of media. Mizuko Ito extends this line of thinking to argue that “publics can be
reactors, (re)makers and (re)distributors, engaging in shared culture and knowledge through discourse and social exchange as well as through acts of media reception” (Ito, 2008, p. 3). It is precisely this use of public that upsets political theorists like Jurgen Habermas, who challenge the legitimacy of any depoliticized public preoccupied “with consumption of culture” (Habermas, 1991, p. 177). Of course, not all political scholars agree with Habermas’ objection to the cultural significance of publics. Feminist scholar Nancy Fraser argues that publics are not only a site of discourse and opinion but “arenas for the formation and enactment of social identities” (Fraser, 1992), while Craig Calhoun argues that one of Habermas’ weaknesses is his naive view that “identities and interests [are] settled within the private world and then brought fully formed into the public sphere” (Calhoun, 1992, p. 35). Networked publics exist against this backdrop. Mizuko Ito introduces the notion of networked publics to “reference a linked set of social, cultural, and technological developments that have accompanied the growing engagement with digitally networked media” (Ito, 2008, p. 2). Ito emphasizes the networked media, but I believe we must also focus on the ways in which this shapes publics-both in terms of space and collectives. In short, I contend that networked publics are publics that are restructured by networked technologies; they are simultaneously a space and a collection of people. In bringing forth the notion of networked publics, I am not seeking to resolve the different discursive threads around the notion of publics. My approach accepts the messiness and, instead, focuses on the ways in which networked technologies extend and complicate publics in all of their forms. What distinguishes networked publics from other types of publics is their underlying structure. Networked technologies reorganize how information flows and how people interact with information and each other. In essence, the architecture of networked publics differentiates them from more traditional notions of publics.
