{"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":53,"pdf_page":61,"physical_index":61,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"08f325236c32b23279f2fc98bd100f5bc5b73acc41e13364dc65cd391b35dc90"},"chapter":"Cultural Crowdfunding: Platform Capitalism, Labour and Globalization","content":"Conclusion\n\nAs a conclusion, we would like to return to the significance and role of these platforms in the development of culture. Although they allow some projects to meet their goals, or partial funding for more ambitious ones, many other projects are held back by the forms of competition involved and do not have such opportunities. This clearly calls into question their capacity to foster cultural diversity. The projects that will flourish are those that already boast a large community with suficient financial resources, whose tastes and cultural and social practices depend on their class allegiances (the impact of cultural capital, Bourdieu 1979) as well as their age range (generational impact) and their geographical location (Hugues and Peterson 1983). Our research shows that, apart from the class logic in play, and the inequalities in the distribution of backers and project creators across the country (see the conclusion to the preceding chapter), ‘innovative technological projects’ generate more interest and attract funding decisions, to the detriment of other cultural categories.\n\nThe same logic also favours projects which comply with pre-existing tastes and fashions, to the detriment of projects whose aesthetics, format, or concerns are remote from common preoccupations, or on the fringes of traditional or mainstream cultural expressions. This question is rendered still more acute by the ambiguity of the partnerships between private and public players, who support projects in line with their communications and marketing strategies and their own economic logics. Far from being alternatives to the logics and strategies of the cultural and creative industries, these platforms follow the logic of the capitalist ecosystem: stimulating competition between projects, and contributing to competitive hierarchizations of projects which are correlated with the necessity of rendering them visible, a process reinforced by inegalitarian forms of access and sharing (size of community, social origins, etc.). Finally, as we saw above in the case of the 2018 appeal to fund the rail workers’ strike in France, it raises questions around the systematic integration of any alternative or protest movement, a mechanism necessary to the survival of the capitalist economy (Boltanski and Chiapello 2018).\n\nFar from being alternatives, today’s platforms are newly integrated links in the cultural sector. By way of the ecosystems they work to create and/or strengthen, they produce complementarities between diferent players in various economic and institutional sectors, and also seek to federate others. A competitive logic nevertheless endures in this ‘collaborative’ market, contributing to the growth of rivalry between platforms but also, and above all, between projects and between project creators—far from a logic of equitable participation or of the commons. They therefore contribute to what Lash and Lury (2007) have called the culturization of the economy, by placing the ‘experience’ of the consumer/ citizen (defending a project, raising funds for it, participating in its success) as well as the ‘local’ dimension (a strategic element of what some economists call the ‘purple’ economy) at the heart of a system supposedly dependent on innovation and brand-based capitalization.\n\nFar from an Alternative: Intermediation Apparatuses\n\n53","previous_page":52,"next_page":54}