Google), cloud platforms (Amazon Web Services), industrial platforms (GE), product platforms (Spotify), and lean platforms (Uber and Airbnb). Yet, while insightful, this categorization leaves less space for conceptualizing the practice of curator-users and is less useful for the research at hand.
4 In the last ten years or so the digital economy, which is the main driver of communicative capitalism, is not only developing fast but it is difused to all other sectors as digital platforms are at the top of world economy (Sadowski, 2020a). Indeed, in 2022, according to World Bank, digital economy, amounting to 15.5% of the world’s GDP, is growing two and a half times faster than the world’s GDP in the last 15 years (World Bank, 2022). This economy depends on the extraction of earth materials and the manufacturing sector mostly residing in Global South, upon which the exploitation of communication and sociality is grounded.
5 This for instance has been argued in relation to the privileging of specific narratives around COVID-19 and outlawing others in liberal capitalist democracies, for example, see Miconi, Pezzano and Risi (2023).
6 This is close to what the reflexivity theorists called “institutional reflexivity” (Beck, Giddens and Lash, 1994).
7 Mubi.com, accessed November 13, 2022.
8 For instance, on the Russian platform YouDo.com, the clients place an ad requesting some service and the workers bid for the job.
9 This is typical of labor in contemporary creative industries in general, such as romance fiction writers (Lois and Gregson, 2019).
References
Curating and Platforms
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