{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","title":"Digital Capitalism","author":null,"edition":null,"publisher":null,"year":null,"isbn":"2021022153","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","id":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","uuid":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","title":"Digital Capitalism","normalized_title":"digitalcapitalism","author":null,"edition":null,"publisher":null,"year":null,"isbn":"2021022153","isbns":["2021022153","9781032119182","9781032119205","9781003222149","2405518376"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":343,"navigation_url":"https://workshop.closeclaw.top/ai/book/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","title_url":"https://workshop.closeclaw.top/ai/title/Digital%20Capitalism","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","page_url":"https://workshop.closeclaw.top/api/ai/books/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/page","search_url":"https://workshop.closeclaw.top/api/ai/books/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/search"},"page":{"printed_page":149,"pdf_page":163,"physical_index":163,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"bd1c9b635073e93b78502734a4a781b455574eb9db875931e2c76e80d08bc548"},"chapter":"DIGITAL CAPITALISM","content":"In the age of digital capitalism, a significant share of everyday life time is spent on social media platforms such as YouTube, Facebook, Instagram, and Twitter. In 2020, the average Internet user aged between 16 and 64 years spent 6 hours and 43 minutes per day on the Internet, 3 hours and 18 minutes watching television, 2 hours and 24 minutes on social media, 1 hour and 26 minutes listening to music on an online streaming platform, and 1 hour and 10 minutes playing video games (We Are Social 2020, 31). In April 2020, the most-watched YouTube video of all times was Luis Fonsi’s music video “Despacito”<sup>4</sup>. Social media is primarily about entertainment, advertising, and commerce. The difference to the traditional culture industry is that users actively search, browse, and click for content that is quickly consumed, is very short, and is processed and distributed at very high speed. Compensation and distraction online take place in a more active manner than in the mass media, with a high volume of produced, distributed, and consumed content that is processed at very high speed; with little time spent on a single cultural unit such as a tweet, a Facebook posting, a YouTube video, or an Instagram image than in the traditional mass media; and with interactive possibilities for user-generated content, likes, and comments.\n\nLefebvre criticises capitalist television as a form of ideology. Television in capitalism “allows every household to look at the spectacle of the world” is a form of “noncommunication”, “non-participation”, and “receptive passivity”; it presents everyday life as “unusual or picturesque and overloading it with meaning” (CEL2, 76).\n\nUsing highly sophisticated techniques, mass communications bring masterpieces of art and culture to everyone; […] Modern techniques make taste more sophisticated, raise the level of culture, instruct, educate, and bring an encyclopaedic culture to the people. At the same time, they make their audience passive. They make them infantile. They “present” the world in a particular mode, the mode of spectacle and the gaze, with all the ambiguity we have already noted and which we continue to emphasize: nonparticipation in a false presence. (223–224)\n\nIn his discussion of advertising, Lefebvre argues that in capitalism, everyday time becomes “both homogeneous and dispersed. Work time falls into line with family-life time and leisure time, if not vice versa” (CEL2, 79). There are certain parallels here between Lefebvre and Dallas Smythe’s (1977) argument that in advertising, audiences are workers who produce an audience commodity that advertisers sell to clients. The consumption of advertising takes place in everyday life and during all daytime. Everyday spaces such as the home where leisure time and family-life time take place are the factories where advertising capital exploits audiences as workers who create attention to ads. In the age of Facebook, audience labour has taken on a new form. Facebook, YouTube, and other Internet platforms that are based on targeted ads exploit users’ digital labour that creates online content, attention, data, meta-data, social relations, and attention (Fuchs 2021b). Users’ and audiences’ leisure time is labour time that creates advertising companies’ profits. There is today a general tendency that labour time absorbs leisure time so that humans work long hours from a variety of places, including the home, cafés, public spaces, means of transportation, the Internet, the mobile phone, and so forth. The blurring of the boundaries between labour/leisure, the office/the home, production/consumption, labour/play, public/private, and so forth has resulted from the capitalist colonisation of everyday life so that the logic of profit, accumulation, capital, and labour determines ever more spaces and time of human life.\n\nChapter Five | Communication in Everyday (Digital) Life\n\n149\n\nThe Communication of Ideology\n\n4 https://en.wikipedia.org/wiki/List\\_of\\_most-viewed\\_YouTube\\_videos, accessed on 29 April 2020.","previous_page":148,"next_page":150}