Transmedia facilitates a structure in which creators and consumers form an interpretive cycle, with each group sustaining the work of the other.  The "performance" principle of transmedia storytelling rests on Pierre Levy's idea that a work should function as a cultural attractor (drawing in an audience) and also as a cultural activator (encouraging audiences to decipher and expand on the text) .  In adapting Levy's work, Henry Jenkins stresses the variety of fan performances that emerge from this dynamic, conveying different understandings and investments in the text in question.

Jenkins acknowledges that, in a classroom setting, the "attractor" is the class itself, and thus the question then becomes how best to "activate" and motivate that captive audience, and to thoughtfully craft spaces in which student can perform the content of the class in ways which are personally resonant . 

Transmedia scholarship faces the inverse problem of transmedia education, in that there is no "captive audience."  Thus, the performance of cultural activation in the scholarship must be attentive to form, and that form's capacity to attract readers and further active critical expansions.  This might be accomplished by locating central nodes of a transmedia project in popular, spreadable venues (YouTube, blogs, social media sites, etc.), or actively performing the content of the project in these spaces.  Placing any of these works under a Creative Commons license would further encourage activation. 

Alexandra Juhasz's "Learning From YouTube"