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In 2016 I wrote a piece on User-Generated content, taking YouTube as a case-example, from the theoretical perspective of cultural practices. For that purpose, I borrowed the expression ‘clip culture’, popularized 10 years earlier by Chad Hurley (The Economist, Clip culture: A start-up shows big media and mighty Google how to do web video. http://www.economist.com/node/6863616 . Last accessed 21 Mar 2024, 2006), one of the founders of YouTube and used to present the potential of YouTube -then still considered a ‘start-up’- for self-expression through grassroots short video content. That ‘clip culture’ was characterized by a series of assumptions, like short attention spans for viewers looking for immediate gratification, a distinctly ‘lean forward experience’ in relation to traditional television and a way to lower access barrier to video distribution. Much had already changed in video creation practices from 2006 to 2016, and we were then on the verge of an even more profound change. In this chapter I want to reflect on what is left of the utopian idea of a grassroots ‘clip culture’, and also to which extent practice theory can help us to understand where we are.

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A Practice Approach to the Traces of Clip Culture in a Platformised Age: The Case of TikTok

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  • 发表日期：

    2026年

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  • Antoni Roig

摘要

In 2016 I wrote a piece on User-Generated content, taking YouTube as a case-example, from the theoretical perspective of cultural practices. For that purpose, I borrowed the expression ‘clip culture’, popularized 10 years earlier by Chad Hurley (The Economist, Clip culture: A start-up shows big media and mighty Google how to do web video. http://www.economist.com/node/6863616 . Last accessed 21 Mar 2024, 2006), one of the founders of YouTube and used to present the potential of YouTube -then still considered a ‘start-up’- for self-expression through grassroots short video content. That ‘clip culture’ was characterized by a series of assumptions, like short attention spans for viewers looking for immediate gratification, a distinctly ‘lean forward experience’ in relation to traditional television and a way to lower access barrier to video distribution. Much had already changed in video creation practices from 2006 to 2016, and we were then on the verge of an even more profound change. In this chapter I want to reflect on what is left of the utopian idea of a grassroots ‘clip culture’, and also to which extent practice theory can help us to understand where we are.