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This article develops a critical alternative to the common equation between participatory culture and democratic communication and argues that power on online participatory platforms should be understood as the governance of semiotic open-endedness. This article argues that the concept of cultural expression cannot be understood solely by looking at users’ cultural practices, but should be revisited to pay attention to the networked conditions that enable it. This involves tracing the governance of disparate processes such as protocols, software, linguistic processes, and cultural practices that make the production and circulation of meaning possible. Thus, communication on participatory platforms should be understood as the management of flows of meaning, that is, as the processes of codification of the informational, technical, cultural, and semiotic dynamics through which meanings are expressed. This makes it possible to understand the logics through which software platforms transform information into cultural signs and shape users’ perceptions and agencies.

26:T425,

This article analyzes three primetime television series: Chuck and Bionic Woman on NBC and Dollhouse on Fox. The narratives and representations in the three programs raise questions about the role of immaterial labor, gender, and technology in contemporary life. Each series articulates and reifies the unequal sexual division of labor around prized technological work. The texts also express the instability of humanity as it becomes ever more intimate with new technology. As cyborgs, the main protagonists are temporary subjects because technology is driven by capital’s need for newer products and newer iterations of existing technology. The potential for liberation and collective activity that comes with the newfound power, skill, and interconnection of cyborgs is closed off. The contemporary cyborg in Chuck and Bionic Woman is alienated and never far from being obsolete, while Dollhouse shows the possibility for working-class resistance.

27:T41c,

This article traces connections between the institutional configuration of the AMC basic cable channel and the deliberately paced narratives of its original series, such as Mad Men, Breaking Bad and Rubicon. Scholarly and popular discourses concerning U.S. drama series frequently observe the divergent ways in which the economic models of network and premium cable each influence series production, emphasizing the fundamental distinctions between the two institutional types. Yet such discourses, by relying on this paradigm of i