{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","title":"DIGITAL LABOR THE INTERNET AS PLAYGROUND AND FACTORY","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780415896948","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","id":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","uuid":"a31b1606-7526-4f42-a12d-1edcb41ff0e7","title":"DIGITAL LABOR THE INTERNET AS PLAYGROUND AND FACTORY","normalized_title":"digitallabortheinternetasplaygroundandfactory","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9780415896948","isbns":["9780415896948","9780415896955","9780203145791"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":267,"navigation_url":"https://workshop.closeclaw.top/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7","title_url":"https://workshop.closeclaw.top/ai/title/DIGITAL%20LABOR%20THE%20INTERNET%20AS%20PLAYGROUND%20AND%20FACTORY","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/a31b1606-7526-4f42-a12d-1edcb41ff0e7","page_url":"https://workshop.closeclaw.top/api/ai/books/a31b1606-7526-4f42-a12d-1edcb41ff0e7/page","search_url":"https://workshop.closeclaw.top/api/ai/books/a31b1606-7526-4f42-a12d-1edcb41ff0e7/search"},"page":{"printed_page":21,"pdf_page":28,"physical_index":28,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"35183cb2f5b43a21c0014aa612e47bfb7049afaee1bc7b6891064ee4c1d169a7"},"chapter":"DIGITAL LABOR","content":"One of the ways to contextualize the rise of the creative industries over the course of the last decade is to interpret it quite literally as an effort to industrialize creativity, aimed, of course, at the market prize of intellectual property. Adapting the tempo of creative work to an industrial template is an acute managerial challenge, however, and, in a jackpot intellectual property economy, the costs of competing are considerable. The turn to crowdsourcing offers a more impersonal solution that slices costs and delivers owners from any employer-type obligations The crowd is not only smarter than trained employees, you don't need to make social security contributions to take advantage of its wisdom or put up with the wayward personalities of the creatives on payroll.\n\nCrowdsourcing and allied techniques are the progeny of strange bedfellows. On the one hand, there is a clear debt to the collaborative basis of the open-source movement, shareware, and the hacker ethic, which is profoundly proto-anarchistic in its embrace of the principle of the commons. The underlóing spirit of mutuality, or what Trebor Scholz and Geert Lovink call “the art of free cooperation,” has been surprisingly tenacious in the face of concerted efforts on the part of would-be monopolists to enclose, privatize, and commercialize the digital domain.12After all, a handful of corporate giants—Google, AOL, Facebook, Yahoo, and Microsoft—now account for the overwhelming majority of daily web traffic. On the other hand, the corporate race to the bottom in pursuit of cut-price labor costs is also drawing heavily on the same collaborative spirit. It is no surprise that entrepreneurs scouting around for a fresh, dressed-to-impress business model have seized on crowdsourcing as a technique that unleashes the latent, or native, genius of Internet culture.\n\nMany readers will no doubt conclude that this dual utilization is all part of some big-picture trade-off. After all, the social web has opened up a whole new universe of information-rich public goods—including the potential for anticapitalist\n\nIn Search of the Lost Paycheck\n\n21","previous_page":20,"next_page":null}