{"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":74,"pdf_page":82,"physical_index":82,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"c8a83c9a07980bd0a6d47ef95816708e16a8dbb848867b4ef2f3a2203c1a5547"},"chapter":"Cultural Crowdfunding: Platform Capitalism, Labour and Globalization","content":"In efect, the building and the very functioning of platforms of digital intermediation demand that the diferent players who use it, aiming to capture economic value, must silently pass over the reality or the ‘operationality’ of most of the tasks they carry out. The foregrounding of a democratic, innovative, horizontal model (equally prominent in the management discourse of project creators in relation to their ‘communities’ as in the discursive and procedural management of platforms in relation to ‘creative’ workers) is an attempt to mask the logics of predation and competition that emerge more clearly as the number of projects grows. By ‘projects’ here we should understand both the individual fundraising campaigns and the ventures seeking to claim their share from the windfall of digital intermediation. Cultural crowdfunding platforms are obliged to reassure, to motivate and to mobilize by using a judicious mix of digital technology and marketing techniques (more or less innovative depending on configuration and partners), but in this regard they remain dependent on an ideological production that accounts for a significant proportion of the activities of the various managers. We find the counterpart of this intense work of production of cultural forms (Garnham 1990) among the artistic project creators who, with varying degrees of skill and elegance, improvise appeals to persuade their ‘community’ of backers to rally behind their project.\n\nThe aim of this analysis is not to situate the diferent forms of labour carried out by and on platforms on a single plane. Rather, it is to suggest some elements which let us compare the tasks which the agents connected by these platforms engage in or submit to—whether those players are managers (or employees with diferent degrees of responsibility), project creators, or various external ‘partners’ (primarily funders/donors in the case of crowdfunding campaigns). Each player objectively contributes their time, their capacities and their skills (their live or dead capital) to the general process of production and accumulation.\n\nIn fact, here it is not just a question of the artist as worker, but also of the mobilization of the artist’s ‘community’. This also has to contribute to the work of production and communication, as well as making a financial contribution. As with individual startups and incubators, this calls for the development of a ‘creative ecosystem’, even while attempting to evacuate the question of labour and its remuneration (and therefore its commercialization). Thus we observe the polymorphism of the entrepreneur, a sort of ‘matchmaker’ at the intersection between players, and between organizations and players, of very disparate origins and influences, whose logics, desires and strategies he must attempt to combine in order to generate economic value. The various facets of their enterprise contribute to the most general development of labour under contemporary capitalism, by participating in what is called, quite incorrectly, the ‘collaborative’ economy, and by sketching out new ‘suggested’ modalities perhaps made possible by even greater flexibility, mobility and insecurity.\n\n74\n\nCultural Crowdfunding: Platform Capitalism, Labour and Globalization","previous_page":73,"next_page":75}