EMOTIONS,

TECHNOLOGY,
AND SOCIAL
MEDIA
Edited by

SHARON Y. TETTEGAH
Professor, University of Nevada, Las Vegas, College of
Education, Las Vegas, NV, USA

Beckman Institute for Advanced Science and Technology,

National Center for Supercomputing Applications, affiliate
University of Illinois, Urbana, IL, USA

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vi Contents

3. The Role of Shared Emotions in the Construction of the

Cyberculture: From Cultural Industries to Cultural
Actions: The Case of Crowdfunding 49
Gloria Gomez-Diago
From Cultural Industries to Cultural Actions 49
Virtual Communication as Context for Interaction 50
Origins and Principles of Crowdfunding 51
From Shared Emotions to Actions on Crowdfunding 53
Context and Crowdfunding 55
Conclusions 60
References 61
Further Reading 62

4. Social Media and Sorting Out Family Relationships 63

Jolynna Sinanan

Emotions and Anthropology 65

Polymedia 67
Trinidadian Families 70
Polymedia and Family Relationships 73
Conclusion 79
References 80

Section 2 Development, Social Media, Emotions, and the

Psychology of Learning 83
5. Understanding Emotional Expressions in Social Media
Through Data Mining 85
John Ranellucci, Eric G. Poitras, François Bouchet, Susanne P. Lajoie,
Nathan Hall
Emotion Terminology 86
Social Media and Social Networking Sites 87
Data Mining and Text Mining 89
Methodological Approaches to Social Network Data Mining 90
A Review of Social Network Data Mining 91
Mining Social Network Sites for Emotions in Education 95
Conclusion 100
References 100

6. Social Media as a Venue for Emotion Regulation Among

Adolescents 105
Fran C. Blumberg, Jaime L. Rice, Anne Dickmeis
What Is Emotion Regulation? 107
Emotional Regulation via the Media 108
CHAPTER 3

The Role of Shared Emotions in the

Construction of the Cyberculture:
From Cultural Industries
to Cultural Actions: The Case
of Crowdfunding
Gloria Gomez-Diago
Rey Juan Carlos University, Madrid, Spain

FROM CULTURAL INDUSTRIES TO CULTURAL ACTIONS

The concept of cultural industries, or creative industries, embraces industries
that combine the creation, production, and commercialization of creative
content, which can have the form of a good or a service. This term originated
from the concept of “culture industry” that was conceptualized by the critical
theorists Theodor Adorno (1903–69) and Max Horkheimer (1895–1973).
They maintained that mass media had negative effects on people.
Adorno and Horkheimer argued that by being spectators of the ideal
world that is represented through advertisement and films, citizens forget
their own reality and thus become easily manipulated. They argued that mass
media had entertainment as an objective because entertainment is meant to
be in agreement, and to be in agreement is possible only by insulating itself
from the totality of the social process. The cost that was needed to produce a
cultural product was very high at 20th century but when a product was
done, it was possible to make a lot of copies at low price. This process of
production motivated one cultural industry characterized by producing
few products for a global market. In this period (1895–1993) mass media
had a primary role to exercise power by communicating determinate ideas,
advertising products, and ignoring themes or issues that were not of interest.
The Internet presents the possibility of a radical switch away from the
long-term process of marketing and advertising by decentralizing the capital
structure of information, culture, and knowledge.

Emotions, Technology, and Social Media © 2016 Elsevier Inc.

http://dx.doi.org/10.1016/B978-0-12-801857-6.00003-8 All rights reserved. 49
 The Role of Shared Emotions in the Construction of Cyberculture 59

Table 3.2 Elements of project in Kickstarter and Indiegogo platforms

2. Project
2.1. Description
Presentation K, IG Video, resume of the project
Deadline K, IG Days to end the deadline
Rewards K, IG Types of rewards, depending on the money
given. Number of persons who gave the
different types of pledges
Support K, IG Number of backers, money received to date
2.2. Sharing K Possibility to share the project through
Facebook, Twitter, Tumblr, and also by
embedding it
IG Possibility to share the project through
Facebook, Twitter, Google +, email,
embedded link, and by following it
2.3. Knowing how a IG Possibility to see how many times a project
project is being shared has been shared by using Twitter and
Google + and possibility to access the
tweets posted about the project
2.4. Contributing K Possibility of backers to post a comment on
the project
IG Possibility of users to comment on the project
Abbreviations of crowdfunding platforms: K, Kickstarter and IG, Indiegogo.

completed by the authors on the platform. Contact represents the possibility

to communicate with the authors. Both platforms, Kickstarter and Indie-
gogo include a form to communicate with authors. Table 3.3 illustrates
the elements of Kickstarter and Indiegogo in the author context.

Update
Finally, we present the context called update. This context facilitates con-
tacting the users with the platform once they have logged out. This feature,
which Kickstarter and Indiegogo provide, makes it possible for users to
receive information based on their interests from the platforms through sub-
scriptions and by asking for notifications about specific actions performed on
the platform.
Table 3.4 illustrates the elements of Kickstarter and Indiegogo in the
update context.
Our research analyzed the Kickstarter and Indiegogo categories: user
profile, project, author, and update to identify different content involved
in the crowdfunding activity on these platforms.