Lisa Lavie no relation Internet culture
Spurring innovation through distributed communities
In the year following YouTube's 2005 launch, some early video creators gained large viewing audiences, while others created small, tight communities among mutual watchers. In 2010 TED curator Chris Anderson described a phenomenon by which geographically distributed individuals in a certain field share their independently developed skills in YouTube videos, thus challenging others to improve their own skills, and spurring invention and evolution in that field. Legion of Extraordinary Dancers producer Jon M. Chu described "a whole global laboratory online" in which "kids in Japan are taking moves from a YouTube video created in Detroit, building on it within days and releasing a new video, while teenagers in California are taking the Japanese video and remixing it with a Philly flair to create a whole new dance style in itself." Such fields include dance and music, with Chu saying the Internet was causing dance to evolve, and journalist Virginia Heffernan calling certain music videos "a portal into a worldwide microculture".Originally posted anonymously by a guitarist seeking suggestions on his playing, a 2005 YouTube cover of the "Canon Rock" adaptation of Pachelbel's Canon received millions of views and spawned hundreds of imitators in "a process of influence, imitation and inspiration". Journalist Virginia Heffernan asserted in The New York Times that such videos have "surprising implications" not only for YouTube, but also for the dissemination of culture and even the future of classical music.YouTube has provided inventors an audience for market testing their concepts, and a platform—albeit an inherently profitless one—for disseminating innovations more quickly and more widely than writing papers or speaking at conferences. Collaborative "meetings", a global online equivalent of the Homebrew Computer Club, take place virtually, via video.Three years after Google purchased YouTube and larger production companies had begun to dominate, a New York Times Magazine journalist said the website was "still incubating novel forms of creative expression and cultivating new audiences" as amateurs continued to create "microgenres" serving niche audiences, collectively creating what she described as an "art scene".Collaboration and crowdsourcing
In projects such as the YouTube Symphony Orchestra and The Legion of Extraordinary Dancers, geographically distributed artists were selected based on their individual online video auditions, and assembled on the same stage to perform, respectively, at Carnegie Hall (2009) and at the Academy Awards ceremonies (2010).A further step is to mix geographically distributed performances into a single work, without the performers ever physically meeting each other.  Like-minded or compatibly talented individuals have used Internet communication to overcome geographic separation to create crowdsourced YouTube videos to encourage donations, such as Lisa Lavie's 57-contributor charity collaboration video "We Are the World 25 for Haiti (YouTube edition)" to benefit victims of the 2010 Haiti earthquake. The Tokyo Times noted J Rice's "We Pray for You" YouTube video, benefitting victims of the 2011 Tōhoku earthquake and tsunami, as an example of a trend to use such crowdsourcing for charitable purposes.The 2011 film Life in a Day, a feature-length YouTube-partnered documentary comprising scenes selected from 4,500 hours of amateur video footage from 80,000 submitters, was the first  crowdsourced, user-generated film to be shown in cinemas. Director Kevin Macdonald explained that the film "wouldn't have been possible pre-Internet, specifically pre-YouTube".Personal connection and identity
In 2008, cultural anthropologist Michael Wesch observed that both YouTube vloggers and their viewers can experience a profound sense of connection, the distance and anonymity between them enabling them to avoid the constraining effect of conventional social norms (such as not staring at people). This sense of connection is said to occur in an era of "cultural inversion" in which we are driven to express our individualism and independence, yet still value community and relationships.In 2011, Willow Scobie asserted the anthropological significance of YouTube and noted evidence of a "transformative experience" for some people, and that some could actually identify as being a "YouTuber".
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