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It analyzes “viral marketing” and the related concept of “viral video,” distinguishing promotional uses from broader bottom-up cultural processes. It also reviews how the term “viral” and internet “meme” borrow biological metaphors, connects debates in memetics, and contrasts technical replication metaphors with everyday popular meanings.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/art-in-the-global-present-viral-video-youtube-and-the-dynamics-of-participatory-culture/429492/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/art-in-the-global-present-viral-video-youtube-and-the-dynamics-of-participatory-culture/429492.png","ImageObject",300,407,{"name":92,"@type":93},"Logic","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-25","2026-09-29",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What is the core focus of the chapter on viral video and YouTube?","Question",{"text":112,"@type":113},"It focuses on how viral video functions within YouTube and how these bottom-up dynamics relate to participatory popular culture online.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the work distinguish viral marketing from viral video dynamics?",{"text":117,"@type":113},"It notes that viral marketing aims to exploit network effects for promotional goals, while the chapter questions whether viral video’s grassroots dynamics can be mobilized for instrumental purposes.",{"name":119,"@type":110,"acceptedAnswer":120},"What meanings of “viral” and “internet meme” are discussed?",{"text":121,"@type":113},"It explains that “viral” and “meme” are loosely used biological metaphors, links the memetics debate to scientific proposals like Dawkins’ “meme,” and contrasts this with popular meanings of internet memes as widely imitated jokes or practices.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},429492,1791368705,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":34,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},1099513958762,"https://ap-avatar.wpscdn.com/avatar/1000023916a998db790?x-image-process=image/resize,m_fixed,w_180,h_180&k=1784791008015729253","This may be the author's version of a work that was submitted/accepted for publication in the following source:  \nBurgess, Jean (2014)  \n'All your chocolate rain are belong to us'?: Viral video, YouTube and the dynamics of participatory culture.  \nIn Lynn, V & Papastergiadis, N (Eds.) Art in the global present [CSR Books, Number1].  \nUTS ePRESS, Australia, pp. 86-96.  \nThis file was downloaded from: [https://eprints.qut.edu.au/82987/](https://eprints.qut.edu.au/82987/)  \n© 2014 The Authors  \nThis work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the document is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recognise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email [to qut.copyright@qut.edu.au](to qut.copyright@qut.edu.au)  \n[Notice](Notice: Please note that this document may not be the Version of Record)[:](Notice: Please note that this document may not be the Version of Record)[ Please note that this document may not be the Version of Record](Notice: Please note that this document may not be the Version of Record)[ ](Notice: Please note that this document may not be the Version of Record)(i. e. published version) of the work. Author manuscript versions (as Submitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear ance. If there is any doubt, please refer to the published source.  \n[http:// epress.lib.uts.edu.au/ books/ art-global-present](http:// epress.lib.uts.edu.au/ books/ art-global-present)  \nArt in the Global Present  \nCSR Books  \nCSR Books is a book series initiated by the journal Cultural Studies Review, and published as an e-book by UTS e-Press with print-on-demand paperbacks also available. The series has two aims: to bring new work in the broadly-conceived field of cultural studies to both current readers and new audiences, and to revisit themes or concerns that have preoccupied Cultural Studies Review since its inception.  \nThe general editors ofCSR Books are Chris Healy and Katrina Schlunke, guided and advised by distinguished members of the university consortium that publishes both the book series and the journal. We hope CSR Books will be an enduring adventure that will demonstrate the energy and creativity of cultural research and analysis, and the utility of what ‘the book’ is becoming.  \nKeep in touch with both the journal and the book:  \n\u003C[http://epress.lib.uts.edu.au/journals](http://epress.lib.uts.edu.au/journals)> or on twitter @CSReview1995.  \nCultural Studies Review and CSR Books are supported by Faculty of Arts, University of Melbourne; Faculty of Social Sciences, University of Technology, Sydney; Faculty of Law, University of Technology, Sydney; Centre for Critical and Cultural Studies, University of Queensland; Department of Gender and Cultural Studies, University of Sydney; School of Media, Culture and Creative Arts, Curtin University.  \n‘All Your Chocolate Rain are Belonging to Us?’:  \nViral Video, YouTube and the Dynamics of Participatory Culture  \nJean Burgess  \nMarketers and media producers for the past several years have been racing to capture the marketing potential of both online social networks and user-created content. ‘Viral marketing’, for example, is the attempt to exploit the network effects of word-of-mouth and internet communication to induce a massive number of users to pass on ‘marketing messages and brand information voluntarily’.1 The related term ‘viral video’has emerged to describe the phenomenon in which video clips become highly popular through rapid, user-led distribution ","cbCaiaY3H3Cg36lM","https://ap.wps.com/l/cbCaiaY3H3Cg36lM","pdf",118048,14,"English","# All your chocolate rain are belong to us?\n## Viral Video, YouTube and the Dynamics of Participatory Culture","[{\"question\":\"What is the core focus of the chapter on viral video and YouTube?\",\"answer\":\"It focuses on how viral video functions within YouTube and how these bottom-up dynamics relate to participatory popular culture online.\"},{\"question\":\"How does the work distinguish viral marketing from viral video dynamics?\",\"answer\":\"It notes that viral marketing aims to exploit network effects for promotional goals, while the chapter questions whether viral video’s grassroots dynamics can be mobilized for instrumental purposes.\"},{\"question\":\"What meanings of “viral” and “internet meme” are discussed?\",\"answer\":\"It explains that “viral” and “meme” are loosely used biological metaphors, links the memetics debate to scientific proposals like Dawkins’ “meme,” and contrasts this with popular meanings of internet memes as widely imitated jokes or practices.\"}]","Art in the Global Present - Viral Video, YouTube and the Dynamics of Participatory Culture | PDF",1790650342,22]