The document discusses circulation versus distribution in media. It argues that media like radio and television are designed for one-way transmission rather than reciprocal communication between transmitter and receiver. New technologies offer opportunities for mass participation and socialized production if used to facilitate two-way communication between content creators and audiences. However, current models of "free labor" by fans online exploit their work to increase the value of media properties without compensation.

6. Circulation
vs.
Distribution

10. “The radio would be the
finest possible
communication apparatus in
public life, a vast network
of pipes. That is to say, it
would be if it knew how to
receive as well as transmit,
how to let the listener
speak as well as hear, how
to bring him into a
relationship instead of
isolating him. On this
principle the radio should
step out of the supply
business and organise its
listeners as suppliers."

11. “FOR THE FIRST TIME IN
HISTORY, THE MEDIA ARE MAKING
POSSIBLE MASS PARTICIPATION IN
A SOCIAL AND SOCIALIZED
PRODUCTIVE PROCESS, THE
PRACTICAL MEANS OF WHICH ARE IN
THE HANDS OF THE MASSES
THEMSELVES. SUCH A USE OF THEM
WOULD BRING THE COMMUNICATIONS
MEDIA, WHICH UP TO NOW HAVE NOT
DESERVED THE NAME, INTO THEIR
OWN. IN ITS PRESENT FORM,
EQUIPMENT LIKE TELEVISION OR
FILM DOES NOT SERVE
COMMUNICATION BUT PREVENT IT.
IT ALLOWS NO RECIPROCAL ACTION
BETWEEN TRANSMITTER AND
RECEIVER."

12. "The multiplication of communication
and information technologies extend
the terrains of struggle, modifies the
forms struggle may take, and makes
it even more imperative that people
grasp the opportunities for struggle
that the multiplying of technologies
offers."-- John Fiske

15. “What is disturbing about the "free"
model of fan labor, in which fans "get" to
increase the worth of mass media
products without receiving pay, in
exchange for the relief they feel at the
prospect of never being sued for creating
value, is that it settles for too little, too
soon, in the ongoing negotiations between
the culture industries, capitalist markets,
and individual consumers/laborers. “ ‐‐
De Kosnik
"Free labor is the moment where this
knowledgeable consumption of culture is
translated into productive activities that are
pleasurably embraced and at the same time
often shamelessly exploited [ . . . ] The fruit of
collective cultural labor has been not simply
appropriated, but voluntarily channeled and
controversially structured within capitalist
business practices." ‐‐ Terranova

27. **Research by Lori Kido Lopez**