Chapter three begins with the “prosumer,” an idea that Alexander and Rhodes borrow from Daniel Anderson. The “prosumer,” they describe, is “a convergence of the consumer and the professional in terms of new media tools” (106). Many new media tools allow consumers, formerly just receivers, to produce products, thereby acting as professionals. This, in turn, allows a more critical focus on production, as it is no longer black-boxed behind the usual channels, but in the hands of the consumer.
This similar idea–that of consumer as professional or producer–also connects with the Situationalist notion of “détournement,” a form of “pillaging or appropriation,” as Frances Stracey describes (qtd. in Alexander and Rhodes 112). The Situationalists argued that capitalism had the constant need to project a “spectacle” of needs that inspire consumers to thirst after products, so people should critically produce to counter this.
Alexander and Rhodes connect these ideas to current DIY movements, but emphasize the “critical” dimension of this production. In other words, it’s not simply enough to be critical, in a humanities sense, or to produce; one must use production in a critical way, engaging in multimodal production through new media tools. They provide the example of images that grew in “excess” from their work that argue their work or ethos as “queer rhetoric” scholars in different ways.