convergence as restricting the capacities of those who engage with it is also made by Sarah Banet-Weiser in reference to the commodification of creativity. She argues that as convergence is "a crucial element to the logic of capitalism," the democratisation of creative capacity that has been enabled by media convergence, through platforms such as YouTube, serves a commercial purpose. In this account, users become workers and the vast majority of convergence-enabled creative output, by virtue of the profit-driven platforms on which it takes place, can be seen as a byproduct of the profit-imperative. In contrast to Bratich's and Banet-Weiser's perspectives, in Jenkins' 2014 response to the critical special issue, he wrote that "These new platforms and practices potentially enable forms of collective action that are difficult to launch and sustain under a broadcast model, yet these platforms and practices do not guarantee any particular outcome, do not necessarily inculcate democratic values or develop shared ethical norms, do not necessarily respect and value diversity, do not necessarily provide key educational resources, and do not ensure that anyone will listen when groups speak out about injustices they encounter." Jenkins' position is that he has argued consistently - including in his 2006 book Convergence Culture - against any inherent outcomes of convergence. Limited focus Catherine Driscoll, Melissa Gregg, Laurie Ouellette, and Julie Wilson refer to Jenkins' work in the 2011 special issue as part of their challenging of the larger framework of media convergence scholarship. They argue that the willing submission of the user to the corporate interests fuelling media convergence is also gendered as the logic of convergence, which is, to a large extent, informed by the logic of capitalism, albeit in an online environment, perpetuating the ongoing exploitation of women through a replication of the 'free' labour built into social expectations of women. And Richard Maxwell & Toby Miller in the same issue also reference Jenkins' work to critique the broader discourse of media convergence, arguing that the logic of convergence is one of ceaseless growth and innovation that inevitably preferences commercial over individual interests.(In Jenkins' 2014 response, he counters that throughout his scholarship he has emphasized collective agency not individual agency). Furthermore, Maxwell & Miller argue prevailing discussions of convergence have attended to the micro level of technological progress over the macro level of rampant economic exploitation, through concepts like 'playbour' (labour freely provided by users as they interact with