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.

A New Perspective on Viral Videos: FCKH8

How does your video spread around the internet? Do people talk about it? Do they share links via email? Do they post it on Facebook? Or…

Do they upload it?


Are you one of those fuckwads who has a fucking problem with my gay son getting married?

FCKH8.com is a new initiative by non-profit media campaigner Luke Montgomery in support of LGBT issues. The website gives a big, ol’ Fuck You to the haters of gay marriage and the proponents of denying gay couples benefits like health insurance.

I came across FCKH8 because a gay friend from high school had posted the video to his Facebook wall, and it had turned up in my newsfeed. The bright pink background caught my eye, and the “You will be offended.” tagline inspired the final clickthrough.

Although the embed contains enough expletives to ward off some viewers, especially if they’re viewing in their workplace, it’s a professionally produced video: great aesthetic quality, good caliber of sound, and an energetic cast that gets the point of “screwing hate” across strongly and proudly.

And the marketing has done pretty well so far. Spanning across all of the major sharing sites — Facebook, Twitter, and StumbleUpon — the pink FCKH8 message has already as of yesterday raised close to $30,000 selling T-shirts and other schwag.

But the most interesting part of the FCKH8 campaign is the video strategy. And this strategy is bringing a whole new perspective to how we think about virality, spreadability, whatever you want to call it.

The FCKH8 channel hosts two official videos on their YouTube channel: http://www.youtube.com/watch?v=1amIrR-VMAI (“NSFW”) and http://www.youtube.com/watch?v=aVwLaOtOlQ8 (censored).

However, yesterday, the FCKH8 Twitter account announced that the video had been flagged for removal: “YOUTUBE CENSORS: H8ers campaigned to flag R main video. Uploaded again! Share the FCK out of it!,” seemingly by anti-GLBT protestors.

The interesting note to be made about this message, though, is that “Share the FCK out of it” meant more than just “Share the video, embed it, send the link to your friends, etc.” Instead, dozens of users were inspired and allowed to reupload the original FCKH8 video on their own YouTube channels. Searching “FCKH8″ on YouTube yields “96″ videos, most of which are the original with its iconic hot pink background, with a sprinkling of other response and support vids.


To which I have to say… Fuck. Yes.

When we think about online video strategy by brands, entertainment companies, and producers, we tend to focus on two elements:

1. A piece of media uploaded in lieu of the copyright holders is considered by them, and then — given a positive reception of the illegal uploading — allowed to remain online, an existence from which the copyright holders can reap additional monetary benefits (usually in the form of ads).

2. A piece of media is intended to be spread by users, moving from the “influentials” to their followers and hopefully spreading amongst diverse communities. But this usually includes spreading one piece of media through multiple groups. If there are multiple pieces of media to be spread, companies tend to follow some sort of “transmedia” initiative, where the brand or media is adapted — or sometimes just copied without any change — to other media forms (such as from TV to film to webisode, etc.).

But with this FCKH8 case study, I believe it’s one of the first times when an initiative to spread has allowed users to copy the original media and subsequently spread it, be in via the same or entirely new communities and networks. If we think in terms of the current discourse on piracy, this is astounding.

What makes this case study doubly interesting is that we’re talking about collaborative disruption. Although this initiative is small (less than 100 videos), they are in practice bombing YouTube with repetitive information. Yes, it’s in the face of censorship — although it appears that YouTube has collaborated with the videomakers to reupload the original video after it was flagged for removal. And we can’t necessarily call it “bombing,” because all of the videos either have the same title or append a [MIRROR] tag to the video. In other words, it wouldn’t be difficult for YouTube to suppress the collective action.

But we can compare this to the DDoSing recently by 4chan against the MPAA and other anti-piracy websites or even Justin Bieber fans taking over Twitter’s trending topics (and Bieber’s subsequent complaint about the removal of his fans’ signs of devotion).

Of course, the benefit of FCKH8′s grassroots mass uploading is the eventual spread of a meaningful human rights campaign. Go check out the video, and share it with your friends!

Bowing and Begging: Resisting Anime/Manga Industry Failure Through Fan Loyalty

Cross-posted from the Convergence Culture Consortium.

The Japanese popular culture industry, especially for anime and manga, is an interesting case study for global fandom, but also for global industry. The comics, television, and film industry for animated popular culture in Japan has its own history, structure, and approaches, but over the past five decades, as it has reached millions of new, international viewers, new industries have risen to cater to these fans. Still, with the rise of the Internet and the economic troubles that most industries have gone through over the past decade, both the domestic and international manga and anime industries have been hurting for money, even with a surfeit of fans.

The anime and manga industry is especially volatile, because its domestic and international audiences have utilized the Internet to spread and consume the media at the expense of industrial and commercial models that cannot keep up with the audiences’ changing tastes, modes of consumption, and cultural behaviors of media consumption (sharing with friends, international online distribution, the culture of collectors versus mere viewers, etc.). The industries, both in Japan and elsewhere, must change: however, the success that anime and manga brought a decade ago have influenced the producers of these media to stick with old models that are no longer fully applicable to the current fan cultures that drive the markets.

Today, I want to discuss two very recent issues of the manga and anime industries — in Japan and in America — publicizing comments to fans in a way that might be seen by many as “giving up”: without adapting to technological, cultural, and commercial changes, the industries representatives have voiced concerns to fans by pleading with them to stop behaving as they current are — mostly by using the Internet to circumvent commercial models for their media consumption — and to think ethically about how these behaviors are affecting the respective industries.

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