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Organization for Transformative Works

From Wikipedia, the free encyclopedia

Organization for Transformative Works
AbbreviationOTW
Formation17 May 2007; 16 years ago (2007-05-17)[1]
Typenon-profit
Main organ
board of directors, elected annually
Websitewww.transformativeworks.org Edit this at Wikidata

The Organization for Transformative Works (OTW) is a nonprofit, fan activist organization. Its mission is to serve fans by preserving and encouraging transformative fan activity, known as "fanwork", and by making fanwork widely accessible.[3]

OTW advocates for the transformative, legal, and legitimate nature of fan labor activities, including fan fiction, fan videos, fan art, anime music videos, podfic (audio recordings of fan fiction[4]), and real person fiction.[5][6] Its vision is to nurture fans and fan culture, and to protect fans' transformative work from legal snafus and commercial exploitation.[3][7]

OTW has 1,010 volunteers, net assets of $2.5 million and at least 15,810 paying members according to its annual report in 2021.[8]

YouTube Encyclopedic

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  • Can Fandom Change Society? | Off Book | PBS Digital Studios
  • Transformative Works as a Means to Develop Critical Perspectives in the Tolkien Fan Community

Transcription

Fandom, at the very basic level, is one of the dominant modes of engagement online. Fandom is something that has become really pervasive. Whatever your interest is you can probably find a community of people into that same thing. We're in a culture that "I read you, you read me." We're all in it together. It's a smaller community, much more personalized. If you want to be in fandom, fandom wants you. Fandom is saying that I really like a much more active participation with my culture. That I don't just see a movie and walk away from it but I wanna discuss it afterwards. I want to write stories it. I want to draw fan art. What we had is a kind of aberrational hundred years of mass media culture where the idea of how to enjoy stories has become really passive and that fan culture and the internet is a return to the kind of previous culture that you saw going through to the end of the nineteenth century where people retold stories to each other because there was no mass media. Fans are drawn to texts and universes that are really complex. Creative worlds where you get a sense that what you saw was only the merest sliver of what was possible. And so one of the things that fans do is like to explore the cultural levels of a universe, adding different kinds of characters, more representative characters: by giving bigger roles to women, by creating different kinds of roles for queer people and racial minorities, for portraying disabled people. So all of these have been really important loci for people to come together and to tell stories that express political values, social values, cultural values that are very different from what the mass-market can offer and so to self identify as a fan is to say that you're interested in engaging culture in this really broad and rich way. Bronies are males fans of My Little Pony: Friendship is Magic. Generally between the ages of sixteen to twenty-five. And they fiercely love the show. For a man in today's society to tell someone you're a fan of My Little Pony a lot of the times they might cock their head a little bit and be like well what's wrong with you. One of the most appealing things is how much it directly challenges our heteronormative expectations of what it means to be a man. The bronies that I've encountered in real life have mostly been completely earnest, more than ready and willing to talk about their favorite episode, their favorite pony. They want to bro-hoof and they want to welcome you to the herd. Men traditionally have certain societal expectations and really that comes down to a larger problem with homophobia. Andrew W.K's on your side, you're still masculine. I mean who doesn't want to imagine a world with magic and happiness and awesome flying ponies. We've got this very heavily gender segregated world we're living in in America and I think a lot of women are drawn to Transformers because we can step outside that. I write almost entirely in the Transformers fandom. Our canon has one gender, there is one female character. That makes everybody who's not female some sort of gendered- other and I like exploring the idea of what does it mean if you are free of those dynamics that we see so often, like heteronormative. This is sort of a chance to push back against that. You can play around with that idea of who is the receptive one is that really feminized in any way or is the one who's using the male analog part, is that the male, is that the sort of top emotionally in the relationship? To use the idea of domination and control and sort of reinscribe those tropes. It really allows for that kind of thing when we're taking, in a sense, gender norms that we are living with. In fandom, we're a community. We're no longer inscribed in that men do this and women do this. It's everybody is, in a sense, gender equal. Holmies arose out of the Aurora shooting tragedy. After it happened, on tumblr, a group of people in their fan-ish engagement started to post strange photoshop stuff that seemed to be in support of James Holmes, who was the shooter. Within a few hours of that, Buzzfeed posted a listicle about look at all this stuff that the holmies are doing and then suddenly it became a story. Originally it was about six to ten people but the way that it was reported it sounded like there were tens of thousands of people. The resulting media attention meant that more people we're gonna be brought to that space. And the media attention guaranteed that the holmie phenomenon would turn into a trollish phenomenon. One of the great facilitators of community is having an outside. You can only define a community in terms of borders and so, with holmies, they were playing into that trope in an extreme way where only a handful of people would get it. I would argue a lot of trollish behavior is actually a kind of fandom. So where do we draw that line, how do we cordon off what's faniish and what's not? It's really important to consider that spectrum because it's what people do online. Most corporations want to do a kind of branding. They don't want anybody to think about their product in a way that doesn't fit with their take on their product. The fanfiction that they're objecting to the most is the fan fiction that is most protected under law because it's the most transformative. It's a specific part of copyright which basically says that even though somebody has the right to control their intellectual property, the rest of us have certain rights to respond to that, whether it takes the original work and does something different, changes the meaning of it, changes the form of it, as opposed to simply copying. Most fanfic writers are not actually interested in going commercial. They want to share their work for pleasure with other fans and that's the amazing thing that we want to protect. If you're a fan doing this just for love and you get a cease and desist on Warner Brothers letterhead saying you were going to be sued, every violations has a hundred fifty thousand dollar fine. You're like "oh my god, I have to take all my fan fiction off the internet. I have to erase my website. I have to vanish completely." Except, of course, these stories that entertainment corporations tell enter our consciousness. You know, you can't say don't have Harry and Hermoine get together. You can't tell people not to have that thought. That's why fan culture is important. To be able to nurture creativity and share our stories and our art with other people. Why wouldn't we value that? Why wouldn't we let people have this kind of expression? Fan culture really depends both on free speech and fair use. And free speech means sometimes taking speech that you don't like. It challenges people's expectations of what they consider to be acceptable in society. Here's this space with the rules are different, the world is very different from the world I live in and there are set rules and there are set characters and we relate to each other on a different level. And it's something that someone can switch between; different fandoms, different communities, different platforms. It lets many more people have a voice and it lets many people tell stories that would otherwise not get heard.

Services and platforms

The Organization for Transformative Works offers the following services and platforms to fans in a myriad of fandoms:

Legal activism

The OTW provides legal assistance to the fandom community, addressing the legal issues with fan fiction and other fan works. Rebecca Tushnet, a noted legal scholar on fanfiction and fair use in copyright and trademark law, works with the OTW's legal project. In 2008, the OTW (in coordination with the Electronic Frontier Foundation) successfully submitted requests to the Library of Congress for further exceptions to the Digital Millennium Copyright Act to allow the fair use of video clips for certain noncommercial uses such as video remixes, commentary, and education, as well as to protect technology used for such purposes. The exceptions were also successfully renewed in 2012 and expanded in 2015.[13][14][15] The OTW, the Electronic Frontier Foundation, and New Media Rights submitted a new petition for exemptions in 2018.[16]

The OTW has also submitted several amicus briefs to the courts in several cases involving intellectual property law:

  • In Fox vs. Dish, the OTW (in coalition with the Electronic Frontier Foundation and Public Knowledge) submitted an amicus brief which argued in defense of digital recording methods used by Dish Network, claiming that "The popular fanwork genre of noncommercial videos ('vids') uses clips from television shows or film, reworking them in a way that comments on or critiques the original. The Copyright Office has held that substantial numbers of vids constitute fair uses. But the creation of fan vids requires intermediate digital copying and processing in order to produce the transformative final product. OTW thus believes that intermediate copying performed to facilitate fair use constitutes fair use."[17]
  • In the case of Ryan Hart vs. Electronic Arts, the OTW (in combination with the Digital Media Law Project and the International Documentary Association) submitted a brief arguing that Electronic Arts's use of factual information (such as the height, weight, and jersey number of football players) in creative works (in this case, video games) is protected by the First Amendment to the United States Constitution.[18]

Fandom archival projects

The OTW has also instituted several projects for preserving fan history and culture. One such project was the creation of Fanlore, a wiki for preserving fandom history. The Fanlore wiki was first revealed in beta in 2008, with a full release in December 2010.[19] In June 2018, there were approximately 45,000 articles and 800,000 edits to the wiki,[20] and it passed a million edits in January 2021.[21]

The OTW also has several "Open Doors" projects dedicated to the preservation of fannish historical artifacts. These projects include The Fan Culture Preservation Project, a joint venture between the OTW and the Special Collections department at the University of Iowa[22] to archive and preserve fanzines and other non-digital forms of fan culture, and The GeoCities Rescue Project, which attempted to preserve content originally hosted on Yahoo's GeoCities by transferring that content to new locations on the Archive of Our Own or within the Fanlore wiki.[23] Other miscellaneous artifacts and collections are stored on the OTW's main servers in the Special Collections gallery.

Archive of Our Own

Created by the OTW, the Archive of Our Own (often shortened to AO3) is an open-source, non-commercial, non-profit archive for fan fiction and other transformative fanwork. The Archive is built and run entirely by volunteers, many without previous coding experience.[24] The Archive was publicly launched into open beta on 14 November 2009,[25] and has been growing steadily since.[26]

Time magazine included Archive of Our Own on its list of "50 Best Websites 2013". Time said that AO3 "serves all fandoms equally, from The A-Team to Zachary Quinto and beyond", and also called it "the most carefully curated, sanely organized, easily browsable and searchable nonprofit collection of fan fiction on the Web...".[27]

Fans post, tag and categorize their own works on AO3.[28] Volunteer "tag wranglers" link similar tags so readers can search for works in the categories and types they want.[29] The tagging system allows easy compilation of statistics (stats).

Fan fiction ranges in length, from fewer than one thousand words (flash fiction, or one-hundred-word drabbles) to novel-length works, up to millions of words in length. According to an article on fandom statistics published on The Daily Dot newspaper in 2013, AO3 hosts more very short works than long ones, but readers prefer the longer works. The average very short story received fewer than 150 hits, while novel-length works are more likely to receive around 1,500 hits.[30]

A writer who posts a story on AO3 can record its word count on the story's header, along with other information such as the story's fandom, ships, and other tropes. Some fan works are 'crossovers' that draw on two or more universes or characters. Writers can also note if their story is finished or a work in progress (WIP).[31]

As of 2018, the archive hosts more than 4.2 million works in more than 30,000 fandoms.[32] Destination Toast, fan and statistician,[33] compiles and analyzes fandom statistics, especially stats from Archive of Our Own, which she says is "the most easily searchable archive I know of."[34] In January 2016, she posted "2015: A (Statistical) Year in Fandom." It includes statistics from two other large fan fiction archives, FanFiction.Net (FFN) and Wattpad as well as the popular microblog platform Tumblr. The post shows that the most active fandoms on AO3 in 2015 were (largest first) Supernatural, Dragon Age, Harry Potter, The Avengers, Teen Wolf, and Sherlock.[35] Other media sources include movies, television shows, and books including The Lord of the Rings, Doctor Who, and The Hunger Games.

References

  1. ^ Organization for Transformative Works (2007), Annual Report 2007, vol. 1, p. 4, retrieved 2 October 2021
  2. ^ Organization for Transformative Works, Official website for the Organization for Transformative Works, retrieved 8 February 2016
  3. ^ a b "What We Believe | Organization for Transformative Works". transformativeworks.org. Retrieved 8 February 2016.
  4. ^ "Wiki editors debate audio fiction's place in fandom". The Daily Dot. 25 September 2012. Retrieved 12 February 2016.
  5. ^ Ulaby, Neda (25 February 2009). "Vidders Talk Back To Their Pop-Culture Muses". NPR. Retrieved 28 November 2009.
  6. ^ Hill, Logan (12 November 2007). "The Vidder". New York Magazine. Retrieved 28 November 2009.
  7. ^ Lieb, Rebecca (28 March 2008). "Transformative Fans Transform Brands". ClickZ. Retrieved 30 August 2009.
  8. ^ Organization for Transformative Works. "Annual Report 2021".
  9. ^ "Fanlore:About - Fanlore". fanlore.org. Retrieved 8 February 2016.
  10. ^ "Legal Advocacy | Organization for Transformative Works". transformativeworks.org. Retrieved 8 February 2016.
  11. ^ Jenkins, Henry (5 December 2008). "Fan Vidding: A Labor of Love (Part One)". Retrieved 28 November 2009.
  12. ^ "About". Fanhackers. Retrieved 12 February 2016.
  13. ^ Estavillo, Maricel (November 2012). "US Makes New Exemptions To Digital Millennium Copyright Act Provision". Intellectual Property Watch. Retrieved 30 April 2013.
  14. ^ Staff. "EFF Wins Renewal of Smartphone Jailbreaking Rights". Kansas City InfoZine. Archived from the original on 27 March 2013. Retrieved 30 April 2012.
  15. ^ Mao, David S. (20 October 2015). "Exemption to Prohibition on Circumvention of Copyright Protection Systems for Access Control Technologies" (PDF). United States Library of Congress. Retrieved 9 June 2018.
  16. ^ "Comments of the Electronic Frontier Foundation, New Media Rights, Organizational for Transformative Works on Proposed Class 1 – Audovisual Works – Criticism and Comment" (PDF). United States Copyright Office. Retrieved 9 June 2018.
  17. ^ "Fox vs. Dish Amici Brief" (PDF). Organization for Transformative Works. Archived from the original (PDF) on 29 April 2014. Retrieved 30 April 2013.
  18. ^ "Ryan Hart vs. Electronic Arts Amici Brief" (PDF). Organization for Transformative Works. Archived from the original (PDF) on 8 November 2012. Retrieved 30 April 2013.
  19. ^ "Our Projects: Fanlore". Organization for Transformative Works. Retrieved 30 April 2013.
  20. ^ "Main Page". Fanlore. 12 May 2018. Retrieved 9 June 2018. 45,229 articles, 793,761 edits
  21. ^ Jess H (18 January 2021). "Fanlore Celebrates One Million Edits". Organization for Transformative Works. Retrieved 4 February 2021.
  22. ^ "ArchivesSpace at the University of Iowa, Public Interface | University of Iowa Special Collections | Organization for Transformative Works Fanzine and Fan Fiction Collection". aspace.lib.uiowa.edu. Retrieved 12 February 2016.
  23. ^ "Open Doors Projects". Organization for Transformative Works. Retrieved 30 April 2013.
  24. ^ Torkington, Nat (19 May 2009). "Four short links: 19 May 2009 -- Recession Map, Gaming Psychology, Charging For Unwanted Content, and Two Great Projects". O'Reilly Radar. Retrieved 28 November 2009.
  25. ^ "Announcing Open Beta". AO3 News. 14 November 2009. Retrieved 19 November 2009.
  26. ^ Organization for Transformative Works. "Site Stats: A Look at 2013 and Beyond, Part 1, Archive of Our Own". archiveofourown.org. Retrieved 10 February 2016.
  27. ^ Grossman, Lev. "50 Best Websites 2013". Time. Retrieved 8 February 2016.
  28. ^ Baker-Whitelaw, Gavia (15 July 2013). "Unpacking the unofficial fanfiction census". The Daily Dot. Retrieved 8 February 2016.
  29. ^ Works, Organization for Transformative. "Show Wrangling Guideline | Archive of Our Own". archiveofourown.org. Retrieved 8 February 2016.
  30. ^ "Unpacking the unofficial fanfiction census". The Daily Dot. 15 July 2013. Retrieved 12 February 2016.
  31. ^ Riley, Olivia (2015). "Archive of Our Own and the Gift Culture of Fanfiction: Analysis of an AO3 Fic Header" (PDF). University of Minnesota Libraries: Digital Conservancy (Author's Thesis). pp. 44–58. Retrieved 10 February 2016.
  32. ^ Works, Organization for Transformative. "Home | Archive of Our Own". archiveofourown.org. Retrieved 1 November 2018.
  33. ^ Romano, Aja (30 January 2016). "Is it possible to quantify fandom? Here's one statistician who's crunching the numbers". The Daily Dot. Retrieved 8 February 2016.
  34. ^ "Fandom stats". destinationtoast.tumblr.com. Retrieved 10 February 2016.
  35. ^ "2015: A (Statistical) Year in Fandom". ToastyStats. destinationtoast.tumblr.com. January 2015. Retrieved 8 February 2016.

External links

This page was last edited on 20 April 2024, at 21:19
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