Reflections of a “Book Pirate”

Or, The Unintentional Consequences of Impersonal Social Media Systems

tl;dr – I was accused of being a book pirate for returning a book. (Picture of email below.)

Throughout the past semester — the first in my five-year PhD program — I’ve been trying to build out my personal Internet-and-digital-media-centric book library (inspired in part by the dozens of books my mentor, danah boyd has in her massive collection at Microsoft Research). Like most academics, I prefer physical copies of what I read, for the purpose of taking notes. The process of searching-and-buying has boiled down to me coming across interesting, new titles or texts I know I need to own but don’t and then going to Amazon.com to purchase a used copy (or new, if it’s below fifteen dollars).

I’m trying to be as frugal as possible, since I’ll probably end up buying dozens and dozens of books over the next couple of years; at the same time, I prefer clean physical copies, so if the new book is too expensive, I’ll scour the Used section for “Very Good” markers, making sure to note if the text has any folds or notes or highlights.

About a month ago, I remembered that I did not own a copy of Paul du Gay’s seminal media text, Doing cultural studies: the story of the Sony Walkman. While searching around, I also happened upon another book by du Gay, entitled Production of culture/cultures of production. This jumped out at me, because I’m doing a project on “open-source culture” and the production of digital creative works (see 1 and 2), and I figured this text might be relevant.

Without any further research, I (ignorantly) purchased the book: a “Used – Like New” copy for $6.79 with $3.99 shipping from tomweberfilms (5-star, 100% rating).

Eventually Poc/cop arrived; I flipped through the pristine copy. But I realized: it’s an undergraduate textbook. Fail.

Not that these types of books are necessarily bad: they’re actually really helpful for the citations at the end of each chapter. But a textbook with the sole purpose of occupying a place on an undergraduate syllabus isn’t the kind of material I’m willing to keep on my bookshelf.

So I waited a few weeks to return the book, since I had a handful of other items to return as well (in addition to the honest fact that I was busy at the end of the semester, plus being a bit lazy going about it, since the Amazon return policy is 30 days). Usually returning items on Amazon is fairly simple: you fill out a very short form stating the reason for returning the item and then print out a shipping label. Done. For example, if you return a piece of clothing that you buy via Amazon (or an Amazon affiliate), the options are:

  • Too small
  • Too large
  • Style not as expected
  • Ordered wrong style/size/color
  • Different from website description
  • Damaged during shipping
  • Different from what was ordered
  • Defective/Does not work properly
  • Arrived in addition to what was ordered
  • Better price available
  • Missed estimate delivery date
  • Accidental order
  • No longer needed/wanted

However, when you return an item to vendors that use Amazon to list and sell their items (but are not necessarily Amazon affiliates), you have to send them a message noting the reason for the return (literally “Submit for approval”) before they can endorse the transaction. When you select the reasons for a book, you get:

  • Accidental order
  • Better price available
  • Damanged due to inappropriate packaging
  • Missed estimated delivery date
  • Missing parts of accessories
  • Damaged during shipping
  • Different from what was ordered
  • Defective/Does not work properly
  • Arrived in addition to what was ordered
  • No longer needed/wanted
  • Unauthorized purchase
  • Different from website description

But none of these selections really fit the nuance of my situation: I simply realized after the purchase that I shouldn’t have ordered the book. Ultimately, I went with “No longer needed/wanted” and sent off the request for approval.

A day or two later, I received the following response:


Screenshot taken at 4:31pm PST, 18 December 2011

I got a refund… but if you didn’t catch it, let me cut out the important part:

Notes: You purchased this book three weeks ago and now you decide that you do not want/need the item. I believe you are taking advantage of the system. You had ample time to photocopy or scan the book at my expense. You may dispose of the book as you see fit.

… what? Was I just accused of being a book pirate? I was hilariously surprised, in response to this unexpected development (additionally unexpected because I still got the refund, including shipping), but also from a critical standpoint, with regard to the assumptions embedded in the response.

“I believe you are taking advantage of the system… at my expense.

Assumption: Users who purchase physical media on Amazon and return them (especially those who choose the “No longer needed/wanted” option) are clearly copying the object(s).
Assumption: The selection items in the return request accurately depict a motivation or intention of the consumer.
Assumption: The selection items over-empower the consumers and exploit the vendors.
Assumption: It takes three weeks to scan a 356-page book.

Perhaps the second point is the more interesting one to muse on: as a consumer, I don’t really think much about the option I choose as a reason for the return. But apparently, for the vendor, the reason provides a level of measurement regarding motivations and other unseen processes that elude Amazon’s merchant analytics dashboard.

The issue was resolved with a quick response email:

Me: Sorry about the lag in the return time. I understand the situation you described that the delay might imply. (Do you actually have a lot of experience with book piracy through Amazon? I wouldn’t have necessarily expected that, but I guess it makes sense…) I’d still like to return the book, if that’s an option.

Vendor: You sound like a good person and I’m sure you just didn’t get around to it. Sorry for the accusing tone of my e-mail, but I’m sure it happens that people buy books, scan them or make notes from them, and then return them. If you want to ship the book back to me, that would be appreciated. Whatever the lowest cost option is.

The piracy invocation still provoked a number of questions with regard to how unintended consequences can emerge from interactions in social media:

  • Does the vendor have a personal bias against media piracy?
  • Does the vendor have experience with book piracy through Amazon? If not, what is the motivation behind the accusation?
  • Has the vendor made these accusations to other customers in the past?
  • How does is the accusation situated in relation to the 5-star, 100% Amazon rating and (lack of negative) comments?
  • What does the vendor mean by “You may dispose of the book as you see fit?”

The situation, at least, provides a unique thought experiment about the role of social media — particularly socially-mediated systems, like Amazon, or more vaguely like ratings systems and response forms.

It seems like the current context of rapid and easy content circulation and the impersonal business-to-consumer relationships masquerading as social media consumer “engagement” has led to a conflux of hyperaware metrics (consumer tracking) with the uncertainty of social ingenuity (what some might call lifehacking). This is a situation that perhaps The Cluetrain Manifesto could not have predicted.

And it’s not like consumers are the only ones with the agency and power to exploit these systems. You’ve probably heard about Amazons’ $23,698,655.93 book about flies. More recently, on an episode of the GeekNights podcast, the hosts suggested that some vendors on Amazon are listing items that they don’t actually own (under the premise that they’ll buy the item for cheaper elsewhere in time to resell when the item is purchased).

Plainly, this incident is awkward, but at least it gave me a chance to sit down and think more about the role that social systems play in the coordination of communication, particularly in impersonal situations. I wonder if there have been other instances of assumptions embedded in or emergent from the use of neutral (more like “vague”) tagging systems to mediate transactions with the purpose of categorization, management, and metrics but from which materialize other unintended consequences. A cool study to do might be investigating the responses that vendors have to the types of form responses they receive — for example, do most vendors tend to have negative opinions of return requests they receive marked “no longer need/want”? How would reactions vary between the various possible drop-down responses.

It’s also interesting to weigh reactions like this against the cultural value of the ratings system. For instance, when I’m looking for a used book on Amazon, I’m mainly paying attention to the quality of the book. A difference of 100% and 90% in the stars-ratings of the store itself doesn’t necessarily faze me. Though I assume for the vendor, one negative review completely offsets their reputation within the marketplace (and I know that many eBay vendors have been particularly meticulous, even petulant, about grooming their ratings).

Oh, and of course an answer: no, I didn’t copy the book. (Though I have to admit, it’d be a pretty ingenious scheme, even if I’d probably use the library instead of Amazon.)

Edited 19 December 2011 for clarity.


Alex Leavitt is a PhD student in the Annenberg School for Communication & Journalism at the University of Southern California, where he studies the internet. While he has actually never copied an entire book (and though he frequently scans chapters from dozens), he does ideologically support projects like http://www.diybookscanner.org/ that help disseminate values of free culture. For more frequent updates, you can find him on Twitter at @alexleavitt.

Comparative Media Studies

Earlier this year, after returning from my semester in Kyoto, I decided to pursue the composition of a book. The idea of writing a book intrigued me, excited me, and inspired me to devote a “page” of this blog to my plans:

Otaku Movement Book

Working title:
• “Otaku Movement: The History and Fans of Anime in America”
• “Fan Tribe: The Cultural Economy of Anime in America”

“Otaku Movement: The History and Fans of Anime in America” is a future publication about the history of the anime fandom in the United States and its implications on media institutions, intellectual property, and cross-cultural reception.

I sent out a dozen emails to a number of academics and even met with Professors Ian Condry (MIT), Susan Napier (Tufts), and Henry Jenkins (MIT/UCS Annenberg) to discuss organizing research and arranging plans for graduate school.

During the spring semester, I decided to begin writing a lot about my personal interests, critiques, and analyses of anime & manga on this blog (which has previously housed the same tripartie then reserved for developments in digital media, Internet studies, etc.).

In May, I contacted the Convergence Culture Consortium, a major think tank in the Comparative Media Studies department at MIT, about potentially working there as a research assistant. Instead, and much to my surprise, I was awarded the opportunity to submit a proposal for a year-long research project of my own to pursue during the next academic year. Of course, I chose a focus on anime, manga, & fan culture.

This past Monday, my proposal was accepted, and I’m happy (and relieved) to announce that beginning in September, I’ll be working with the Convergence Culture Consortium, pursuing research and publications about developments surrounding and the maturation of the American anime & manga fandom. Basically, I was awarded my dream job (especially since after I applied for the graduate MA program in Comparative Media Studies in December ’08, Henry Jenkins announced his move to USC Annenberg, propelling the termination of the CMS program).

The news that I can announce right now is that this project (and any subsequent publications) will replace the book proposal (see above) that I initially hosted on this blog.

While the exact details of my project will be evolving over the coming weeks, I’ve posted my initial proposal below, in case anyone’s interested in reading it. We’ve narrowed the project down a lot from this foundation (Joshua Green, the head researcher at C3, stated that this proposal would form a solid 4-year PhD project, but was too broad for a “case study” in the Consortium).

Proposal

While Japanese popular culture has achieved relative popularity on an international level, critics have targeted fans — the loyal consuming audience of these comics and cartoons — as one potential cause of the currently faltering commercial market for anime and manga. Particularly in America, though, the relationship between audience and media has played an important role in the development of both the fandom and industry. Given the fifty-year history of this media in the United States, the developments related to the growth of the fandom and industry provide a historical context with which to analyze and assess the progress of contemporary convergence culture.

This white paper proposes a narrative of value over time in a specific fan economy. How do fans attach value to media? How does that value compete with the value imposed on fans by the industry? The American anime fandom, originating in the 1960s and coordinated in the 1970s, developed a profit-oriented market from a tradition of fan-to-fan practices. Initially, fans spread copies of taped, untranslated anime through the United States postal service to fellow viewers interested in seeing something new. Eventually, translations entered the network, first as scripts, then followed by fan-composed subtitles (fansubs). While the Japanese industry attempted to intersect this development in the 1980s, the Japanese withdrew, allowing the market to evolve independent of Japanese exportation. Once the commercial sector matured, American companies reapproached Japanese producers to import and spread media to foreign audiences, through print and broadcast. The early, pre-2000 history of this fandom presents a unique yet discordant convergence of business and fan practices, as well as an instance of cultural dissonance, that exhibits a changing landscape of fan interest in foreign entertainment.

In the past decade, the fan demographic has begun to change, and participation by a new generation of fandom, propagated and shaped by developments in broadcast and Internet technologies, has introduced both beneficial and destructive potential to commercial growth in the American market space. The proliferation of fansubbing and scanlations caught the attention of a large portion of Japanese producers, who now decry the fan activities as much as American companies. However, fans across the globe find value in free content as much as in the media they purchase. The question of how much value fans of anime and manga locate in the media they consume may provide a scope for analyzing commercial trends for the near future, particularly as Japan establishes foreign policy around cultural exportation. From NBC in 1963 to Crunchyroll.com in 2007, fan practices continue to inform theories of convergence culture and the ever-evolving nature of audiences.

Unexpectedly, given the recent trends in declining sales of comic books and DVDs, attendance numbers at anime conventions in the United States have increased. Whether this increase depends on changing fan demographics or an evolution in fan-centric values, it provokes a new realm of thought that complements the narrative: What succeeds convergence culture? This white paper aims to construct a narrative of the development of value fans derive from media alongside the value assumed by the industry. While the report primarily attempts to examine a historical period in light of recent convergence culture discourse, the continual advancements in the American anime fandom may shed light on the direction in which this specific converged culture, as well as other converging cultures, will proceed. An account of the forty-year history of the American anime fandom provides critical analysis of a previously-established intersection between producers and consumers, with implications for both Japanese and American economies.

Notes from Berkman Luncheon w/ Anne Balsamo

As soon as I saw a derivative of the term “culture” in Anne Balsamo’s bio linked to from the Berkman website, I knew I wanted to attend this luncheon. Ironically, there was only mention of cultural reproduction (though it’s apparently present in her book, soon to be released), with much of the discussion focused around the future of libraries and museums (still interesting). The initial idea that jumped out at me from Anne’s presentation was her point about media as reproduction, specifically alluding to biological functions, and how this metaphoric/literal process defines and reworks our notions of gender online. Three other points were brought up that I want to discuss in future articles:
- Memory, remembering, and the evolution of stories and their telling in the move to the digital environment
- The future of the meritocracy of professorships in relation to publications
- The potential importance of Harvard’s Houghton Library after digital literary curation/publication and the hypothetical revolution of personal paper-based printing & publication

For now, the notes:

Designing Culture: The Technological Imagination at Work: Anne Balsamo

book: transmedia project

addresses 3 points:

technological innovation: transform what is known to what is possible
technological imagination: engage materiality of world to create conditions for future world making
cultural reproduction: development of new narratives, myths, rituals;

technology, the world, culture: created anew
training of technological imagination: necessary

designers: work scene of technological emergence

ch. 1 – culture in the age of innovation

polemic of book: need to train imaginations to take seriously technological innovations: responsibility of educators across curriculum
how humanities can serve as resources: to engage new technologies

ch. 2 – gendering the technological imagination

always gendered, but we didn’t recognize it as such
biological reproductive technologies: connects to media technologies as premier reproductive technologies of our age: draws from feminist criticism on reproduction

ch. 3 – the performance of innovation

work on future of reading: w/ embryonic technologies

ch. – public interactives and technological literacies
designed to communicate history that is all of ours
future of literacies

ch. – working the paradigm shift
focus on literal labor: participatory culture: call people to the hard work required by the paradigm shift

ch. – the work of the book in a digital age
Q: why are you writing a print-based book?

transmedia project: relates to other previous projects:

interactive multimedia documentary (“women of the world talk back”) on women’s rights held by UN in Beijing

practices on new media journalism

museum exhibit: designed to probe how we might read in the future: not abandon but rethink the print-based book

we need to do something different to bridge the two cultures
need to create new institutional places: multidisciplinary research/projects

new participants: women, underrepresented participants
new commitments: requires everyone to be learners again
collaborative teams: from early work in feminist organizing
new spaces: where people can work together on technological things

distributed research network: in UC Irvine, Boston, New York, Los Angeles, San Francisco, Chicago
scholarship in a digital age: will look different: local and distributed
understanding technological infrastructure to support distributed research network

digital research & learning @ McArthur: funded: museums, libraries, schools, recreation, home, after-school
claim: learning is changing in a digital age: eg. learning occurs in distributed environment, not just one local place
think about how museums/libraries will function in distributed learning environment

What’s next?

XFR: Take 2
Digital Learning Objects: Open Education
MIxed Reality Learning Environments: Morse’s Law, Nintendo Wii (gesture-based interface)
Thinking with Objects: DIY movement, makers culture movement (making things with your hands; virtual: only simulations of what we used to do with our hands)

Q: what has everyone been thinking about futures of museums/libraries

Q&A:

Q: what is the future of designing librarians; how do you design professionals to adapt to new changes?

A: information designers: need standardization of metadata; also need people to understand how (meta-)information also has narrative, cultural effectivity; when we get to semantic web: it can’t be stupid

Q: Weinberger: future of paper-based books?

A: many genres of paper-based books that will migrate to the digital space; other genres: that aren’t going to disappear, because of physicality: paper-based: will long outlive human lives: part of case history; have to maintain digital archive
libraries: becoming museums of books that have ‘collections’

Q: Weinberger: in future w/ electronic readers: publishers won’t actually print books: will want to move directly to digital

A: things that are slipping away in a digital age: we will want to preserve

Q: humanities in the future: esp. w/ focus on publication

A: rethink scholarly publication, but I’m not the one to take on such a project;
have to learn to read again
UChicago: thinking about new paradigm of peer-review process for publication
tenure cases for those w/ digital scholarship

Q: printing a book: just output form; talk about crafting in digital environment: you: on laptop, w/ word processor

A: these kind of questions are critical, esp. w/ close reading of electronic text
authoring backwards
designer parallels with author

discussion:
libraries: providing ACCESS to books, etc.; cost of maintaining digital libraries: low, but not zero; decisions will always need to be made about curation
assumption: possibility of a canon: where all the ‘good’ books are

Q: “science fiction: the mythology of the industrial age”

Q: what do you think might be lost?

A: course: history of literacy: ongoing question of why is it important to remember?: disturbing: youth: just-in-time learners/rememberers
we haven’t taught value of remembering
culturally: remembering was more valuable to the other generation: ties to why history is important: ties to “future of the past”

digital divide: the other way: economic/social reasons
need to have interdisciplinary places of learning