Collective Production and Incentives

We analyse incentive problems in collective production environments where contributors are compensated according to their observed and ranked efforts. This provides incentives to the contributors to choose first best efforts

Collective Production and Incentives

We analyse incentive problems in collective production environments where contributors are compensated according to their observed and ranked efforts. This provides incentives to the contributors to choose first best efforts.

Electrostatic pair creation and recombination in quantum plasmas

The collective production of electron-positron pairs by electrostatic waves in quantum plasmas is investigated. In particular, a semi-classical governing set of equation for a self-consistent treatment of pair creation by the Schwinger mechanism in a quantum plasma is derived.Comment: 4 pages, 3 figures, to appear in JETP Letter

Social Structure and Mechanisms of Collective Production: Evidence from Wikipedia

In my dissertation I propose three counterintuitive social mechanisms to alleviate the risk that collective production will fail to maintain participant involvement and respond to demand. My first study, based on a panel dataset of edits and views of articles in the English Wikipedia, shows that, although collective production lacks a price-like mechanism to estimate demand for the goods it produces, consumers’ contributions act as such a signal to expert producers. In the second paper I examine the theory that collective production participation is greatest when social norms of collaboration are obeyed. Using a large panel dataset of production networks and normrelated behavior in Wikipedia, I show that social norm infringement is not completely detrimental to participation because norm enforcement increases the likelihood that the beneficiary producer continues participating. In my third paper, I rely on interviews with experienced Wikipedia producers to examine whether producers’ ties to non-participants in collective production increase the likelihood of turnover, and whether producers’ embeddedness in collective production reduces turnover risk. Surprisingly, I find that producers with networks rich in ties to non-producers and with a task-oriented approach to collective production are those least likely to stop participating

The bandit and his myths the collective production of violent charisma [Introduction]

From Pablo Escobar to Phoolan Devi, myths featuring bandits (more or less socially-responsible) have grown in popularity and reach and are disseminated through digital media. Constructed through processes of transcultural bricolage, these myths celebrate bandits, gangsters and mafia politicians, dead or alive, as effective weapons in the present. At the same time, they project an uncertain posthumous future for the bandit. In these myths, fact and fiction are fused to give birth to powerful fictional realities that exceed the life of these figures, giving them sometimes unexpected post-mortem careers. This introduction reveals how these fictional realities are elaborated through a process of ‘myth scripting’ that becomes constitutive of bandits’ authority. This concept is also our ethnographic object: we explore an everyday fabrication of seduction, fascination and terror indissociable from the bandits’ capacity to spur others to action that is essential to the criminal political economy

Jogging all the way to choir: changes in Australian leisure and culture

This paper presents definitions of leisure in Australian society, discusses various forms of leisure and its importance to the individual, community and nation. Recent observed changes to the nature of leisure are presented. It appears as though a shift from individual consumption to collective production of leisure is occurring; for example, &quot;jogging all the way to choir&quot;.<br /

Regulatory objectivity in action: Mild cognitive impairment and the collective production of uncertainty

In this paper, we investigate recent changes in the definition and approach to Alzheimer’s disease brought about by growing clinical, therapeutic and regulatory interest in the prodromal or preclinical aspects of this condition. In the last decade, there has been an increased interest in the biomolecular and epidemiological characterization of pre-clinical dementia. It is argued that early diagnosis of dementia, and particularly of Alzheimer‘s disease, will facilitate the prevention of dementing processes and lower the prevalence of the condition in the general population. The search for a diagnostic category or biomarker that would serve this purpose is an ongoing but problematic endeavour for research and clinical communities in this area. In this paper, we explore how clinical and research actors, in collaboration with regulatory institutions and pharmaceutical companies, come to frame these domains as uncertainties and how they re-deploy uncertainty in the ‘collective production’ of new diagnostic conventions and bioclinical standards. While drawing as background on ethnographic, documentary and interview data, the paper proposes an in-depth, contextual analysis of the proceedings of an international meeting organized by the Peripheral and Central Nervous System Drug Advisory Committee of the US Food and Drug Administration to discuss whether or not a particular diagnostic convention — mild cognitive impairment — exists and how best it ought to be studied. Based on this analysis we argue that the deployment of uncertainty is reflexively implicated in bioclinical collectives’ search for rules and conventions, and furthermore that the collective production of uncertainty is central to the ‘knowledge machinery’ of regulatory objectivity

The end of the curator: on curatorial acts as collective production of knowledge

'The End of The Curator: On Curatorial Acts as Collective Production of Knowledge' explores the convoluted liaison between knowledge production, collectivity and curating, through practices that have been neglected by mainstream curatorial platforms and art history. Bearing in mind the extensive usage of the notion knowledge production , my practice based research is guided by the question what forms of collective knowledge can curatorial practice produce

Social media for enriching collaborative open learning and collective knowledge

This paper demonstrates some pedagogical strategies for enriching collaborative open learning - “co-learning” and collective knowledge through social media. The study centres on the e-book Open Educational Resources and Social Networks (oer.kmi.open.ac.uk) developed by the open research network COLEARN during 2012. Its collaborative research question focused on how academic communities could make their work more accessible and reusable as Open Educational Resources using Social Media. A hundred and thirteen participants – researchers, lecturers, supervisors, postgraduates and undergraduates –, from thirty research groups of different universities and countries co-authored thirty-three chapters that draw upon their mainstream research and redesigned the content to make it more reusable and understandable for a broader target audience. The theoretical principles which our qualitative and quantitative analysis are grounded are: participatory media, Commons-Based Peer Production, Mass collaboration. Our outcomes show that through social knowledge media, co-learners can convey their views by sharing questions, information, tools, practices, methods, productions and reflections. They can also rate, tag, review, comment and share others’ collaborations. All of these contribute to the development of new thoughts, research and innovation towards open collective knowledge

The Artistic Thesis as Collective Production

Este escrito recupera la entrevista realizada en marzo de 2019 a Leopoldo Dameno, Camilo Garbin y Agustín Sirai, quienes coordinaron conjuntamente la etapa inaugural del Programa Tesis Colectivas Interdisciplinarias, un espacio que comenzó a funcionar en 2015 como parte de las políticas impulsadas por la Facultad de Bellas Artes para promover el egreso de las y los estudiantes. En el diálogo, los tres docentes comparten reflexiones acerca de las expectativas y las dificultades que signaron el período inicial del Programa y su desarrollo en el transcurso del tiempo y analizan la complejidad que implica concretar producciones artísticas colaborativas.This article recovers the interview conducted in March 2019 with Leopoldo Dameno, Camilo Garbin and Agustín Sirai, who jointly coordinated the inaugural stage of the Interdisciplinary Collective Theses Program, a space that began to function in 2015 as part of the policies promoted by the Faculty of Fine Arts to promote the graduation of students. In the dialogue, the three teachers share reflections about the expectations and difficulties that marked the initial period of the Program and its development over time and analyze the complexity involved in achieving collaborative artistic productions.Facultad de Bellas Arte