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Abrams, S., Gerber H., Burgess, M. (2012). "Digital worlds and shifting borders: Popular culture, perception, and pedagogy. New media literacies and participatory popular culture across borders. Routledge, New York and London. Pp. 90-103.

Beach, R. (2007). Media ethnography studies. teachingmedialiteracy.com: A web-linked guide to resources and activities. Teachers College Press. New York. Pp. 55-64.

Beach, R. Finder, M. (1999). Students as ethnographers: Guiding alternative research projects. Journal of English. 89 (1). National Council of Teachers of English. Pp. 82-90.

Fiske, J. (1992) The Cultural Economy of Fandom. The adoring audience: Fan culture and popular media. Routledge. London. Pp. 30-49.

Lenhart, A. (2015, August 6). Teens, technology, and friendships. Retrieved from pewinternet.com.

Lenhart, A. Anderson, Smith, M. (2015, October 1). Teens, technology, and romantic relationships. Retrieved from pewinternet.com.

Lenhart, A. (2015, April 9). Teens, social media, and technology.  Retrieved from pewinternet.com.

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Ethnographers in the media study "how audiences have become active performers through participation in the media" (Beach, media, 55), which includes "direct observation" (Media, 56).

The three components of ethnography are: observation, interviews, and artifacts.

Observations can be key to understanding your environment, whether it be your primary discourse or one that you are looking at. Observing allows the observer to recognize his/her own assumptions and predispositions (Students, 86). This is used in conjunction with interviews to further understand others' points of view.

Interviews can be important, especially as one may develop a closer relationship with the interviewee. This person can serve to help the observer understand some of the behaviors that are not as visible or clear (Students, 86).

Artifacts are defined as "objects, documents, or visible behaviors" according to Beach, which allows students to further understand the discourse behaviors they are observing (Beach, Students, 83).

When all components of observation, interviews, and artifacts have been completed, or are at a point where they can be interpreted, students can reflect upon their information to help synthesize meaning.

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"Robbie explained how gaming enabled him to conceptualize academic discussions: ' Like when it says...this and that I can picture like what happened in the battle and why such happened'...Robbie's multimodal resource not only advanced his understanding of historical events, but also empowered him to experiment with a variety of strategies" (Abrams, Gerber, & Burgess, Pp. 96).

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"...there needs to be a shift in school cultures to help students become more aware of their meaning-making activities, how they are learning, and the implications and applications of their sills and knowledge developed in the virtual world" (Abrams, Gerber, & Burgess, Pp. 102).

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Mode of Enactment is the way that fans take the culture, predominantly their fan culture, and how they use it to their own uses. This can be seen through how they produce, how they discriminate, and how they accumulate knowledge and economic capital, as seen in the three examples by the same name.

This mode can run parallel to that of the written fandom, but may also derail from the original storyline, and may also fill in "gaps" that the original author(s) did not write.

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Capital Accumulation relates both to the economic value of the fandom in relation to the fan, such as collections of different memorabilia, but it also refers to the collection of knowledge. Fiske refers to knowledge as a cultural capital and equivalent to the economic capital one gains from collections (42-45).

Below is a website that is a collection of information for almost every episode of the series, major and minor characters, quotes, pictures, and various posts for and from fans. It is almost like a pop culture equivalent to some of the academic forums that lie within different disciplines.

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extradition ii: the actual extradition part

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This wiki is about all things Psych, and anyone can edit! Don't be a gooey chocolate chip cookie, start helping out! Not sure where to start? Pick a page at random! Can't find what you're looking for? Make a new page! Wait for iiit... The gang is back December 7, 2017!

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Fiske determines that there are three categories of production for fans: semiotic, enunciation, and textual. Each category effects the fan in their behaviors and personal projection (39).

Fans of the Psych variety often participate in textual production, meaning that they are often creating products from the fandom that are not making them any money. Often, it actually takes away from their personal economy.

An example of this is fan fiction, which is created by the fan for various reasons, but is not meant for mass production, although in some cases they are posted that way. The time it takes for these fans to create these fictions takes way from other productivities they are subject to.

Below are examples of this fan fiction for the Psych fandom.

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Discrimination within a fan behavior applies to the act of distinguishing the characteristics and knowledge one must possess in order to truly be a fan, according to Fiske (35).

Using the show "Psych," fans have created ways to distinguish "real" fans from those that just enjoy the show, as seen with this quiz entitled, "Psych True Fan Quiz."

This quiz not only asks questions that happen on the show, it also asks questions about the actors names, including those of minor characters, and additional questions in regard to specific obscure quotes. It is also timed.

In case you are wondering, I am not a "true" psych fan. I got a 68%.

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A quiz for true fans of the great TV show Psych.The quiz covers general questions and specific questions for seasons 1 - 4.Please DO NOT do this quiz if you haven't seen season 1 - 4 as there will be spoilers.

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One-quart (24%) of teen "daters" or roughly 8% of all teens have dated or hooked up with someone they first met online. Of those who have met a partner online, the majority met on social media sites, and the bulk of them met on Facebook.
(Lenhart, Anderson, Smith).

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Some 88% of teens have or have access to cell phones or smartphones and 90% of those teens with phones exchange texts. A typical teen sends and receives 30 texts per day.
(Lenhart, technology).

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92% of teens report going online daily--including 24% who say they go online "almost constantly."
(Lenhart, technology).

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64% of teens who have made a friend online met someone via social media (Facebook or Instagram), 36% by playing networked video games.
Girls who have met new friends online are more likely to meet them via social media (78% vs. 52% of boys), while boys are substantially more likely to meet new friends while playing games online (57% vs. 13% of girls).
(Lenhart, friendships).