{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"171eb612-d523-4536-900d-5453dce83960","title":"Cultural Crowdfunding Platform Capitalism, Labour And Globalization","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"171eb612-d523-4536-900d-5453dce83960","id":"171eb612-d523-4536-900d-5453dce83960","uuid":"171eb612-d523-4536-900d-5453dce83960","title":"Cultural Crowdfunding Platform Capitalism, Labour And Globalization","normalized_title":"culturalcrowdfundingplatformcapitalismlabourandglobalization","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":128,"navigation_url":"https://workshop.closeclaw.top/ai/book/171eb612-d523-4536-900d-5453dce83960","title_url":"https://workshop.closeclaw.top/ai/title/Cultural%20Crowdfunding%20Platform%20Capitalism%2C%20Labour%20And%20Globalization","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/171eb612-d523-4536-900d-5453dce83960/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/171eb612-d523-4536-900d-5453dce83960/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/171eb612-d523-4536-900d-5453dce83960","page_url":"https://workshop.closeclaw.top/api/ai/books/171eb612-d523-4536-900d-5453dce83960/page","search_url":"https://workshop.closeclaw.top/api/ai/books/171eb612-d523-4536-900d-5453dce83960/search"},"page":{"printed_page":52,"pdf_page":60,"physical_index":60,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"3d8e813b2290d6f97dfe998a4a74ca256afe1deb4e5359d8e90f3316b6478a80"},"chapter":"Cultural Crowdfunding: Platform Capitalism, Labour and Globalization","content":"As in the financing stages of traditional cultural or audio-visual projects, the alternative seems to be not so much an alternative approach to ‘creation’ or difusion. Instead, it is as an intermediate phase in which one seeks financial support, including making a personal and financial investment, and this may succeed or fail.\n\nWell, it’s good that we asked for too much. For one, we didn’t manage to get as much as we wanted, but then there were people who contacted us afterwards because of it. People who came to it a bit late. So even though it failed, we tried, and now it also means that we’re better known. (Musician, 45 years old)\n\nCertain skills beyond the ‘creative’ talents specific to the project itself are needed for a successful crowdfunding campaign. Prescribed by the platforms (see chapter 3) and largely self-taught, these are basically marketing and communications skills. In terms of project management, they primarily involve creating and activating the network, generating a sense of, and creating and managing a community (Matthews, Rouzé and Vachet 2014; see digital appendixes, chapter 5). While crowdfunding is often presented as an alternative to the restrictive logics of the cultural industries, in this respect it seems more like a publicity and communications tool which drives other types of promotion.\n\nThis dimension of communications and publicity is well illustrated by museums. In turning to these modes of financing, museums aim to increase the visibility of their projects, and to build loyal communities around them. For instance, the Centre des Monuments Nationaux used the platform MyMajor-Company to collect funds for the restoration of a number of historical monuments, including Mont St. Michel. Ulule has hosted projects by the Musée d’Orsay and the Musée de la Marine. In the United States, the Smithsonian, MoMA, and the Marina Abramovic Institute have all used Kickstarter campaigns to restore or finance projects on various scales.\n\nIn France, as part of its policy for digital modernization baptized ‘the digital Louvre’, the Louvre has created an internal platform, ‘Tous Mécènes’, to publicize its restoration projects and to create a community of patrons to take on activities that were formerly the province of groups like the ‘friends of the museum’ (Mairesse 2016). Note that these campaigns should be understood more broadly, in the context of a network of injunctions that go beyond the question of funding innovations alone. In the heritage sector, for example, in 2007 Joëlle Le Marec conceptualized the modernist injunction to the museum to ‘get moving’ (Le Marec 2007, 169) and to be digitally up to date as a structural logic at work transversally across institutions, their services and their projects. Far from being an alternative, the use of such platforms is above all strategic. The opinions of members of staf may difer, and they might not always see such initiatives in a positive light.\n\n52\n\nCultural Crowdfunding: Platform Capitalism, Labour and Globalization","previous_page":51,"next_page":53}