{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","title":"Curation in the Age of Platform Capitalism  The Value of Selection, Narration, and Expertise in New Media Cultures","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781032023007","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","id":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","uuid":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","title":"Curation in the Age of Platform Capitalism  The Value of Selection, Narration, and Expertise in New Media Cultures","normalized_title":"curationintheageofplatformcapitalismthevalueofselectionnarrationandexpertiseinnewmediacultures","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781032023007","isbns":["9781032023007","9781032023014","9781003182801"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":177,"navigation_url":"https://workshop.closeclaw.top/ai/book/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","title_url":"https://workshop.closeclaw.top/ai/title/Curation%20in%20the%20Age%20of%20Platform%20Capitalism%20%20The%20Value%20of%20Selection%2C%20Narration%2C%20and%20Expertise%20in%20New%20Media%20Cultures","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","page_url":"https://workshop.closeclaw.top/api/ai/books/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/page","search_url":"https://workshop.closeclaw.top/api/ai/books/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/search"},"page":{"printed_page":82,"pdf_page":92,"physical_index":92,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"f894d6bf51e73454fc6a3267f382fd407276d0b48af0ceedc3289721274bd4eb"},"chapter":"CURATION IN THE AGE OF PLATFORM CAPITALISM","content":"Symbolic rebellions are registered as such insofar as transgressive, underground, radical, or subcultural trends manage to, one way or another, intervene in the dominant lexicon of a creative field (Boltanski and Chiapello, 2018; McGuigan, 2015; Currid-Halkett, 2020). Such rebellions typically happen on behalf of middle- or high-class milieus, a process which has been notably termed as “radical chic” (Wolfe, 1970). The managed accommodation of aesthetically, politically, or socially radical postures is a way to insert managed dissent or friction into the network’s atmosphere. In terms of contemporary creative industries, such radical postures, for example, may refer to previously frowned upon or ignored art practices, such as the Duchampian readymade, subcultural musical styles such as punk, online communities such as gamers, or political actors such as revolutionaries (Kompatsiaris, 2017; Ciotti, 2020). As the managed accommodation of transgression makes a network look cool, we can argue, like Jim McGuigan, that cool capitalism is the “incorporation of disafection into capitalism itself” yet add that it is not simply disafection with capitalism but the deviation from any authority that mediates coolness (McGuigan, 2015: 1). Deviation, though, whether more or less politically and aesthetically radical, has to be curated, that is, packaged in narratives that would satisfy specific creative stakeholders, audiences, and milieus.\n\nLet us give an example of how a high-end art milieu curated its atmosphere through the ordinary practice of simply describing artworks. The 9th Athens Biennale (titled Eclipse) that took place in 2021 included in its program a film installation by the British artist and film director Steve McQueen titled End Credits. This installation was devoted to the Afroamerican baritone singer, athlete, and committed communist Paul Robeson, highlighting his persecution by the Federal Bureau of Investigation (FBI) as a result of his political activities. While Robeson was a revolutionary and a hardline communist, a fact that resulted in the FBI taking his passport for years and in efect destroying his life and career, in the biennial webpage he was portrayed as a “social activist […] blacklisted […] due to his struggle against racism”.10 This is, however, a customization of Robeson’s life that suits the biennial’s largely anti-communist stakeholders.11 This case shows a way to curate an element within a cool atmosphere, that is, to publicly edit out, select, and eventually distort the biographical details of someone like Paul Robeson so that the visitors, funders, and stakeholders see what they feel better seeing. Robeson appeared as a simple activist instead of a communist party member with strong ties to the Soviet Union (who even wrote paeans to Stalin). The curators of Eclipse, as key actors in the transnational Warhol Economy networks of Athens, curated a state of “controlled transgression” (“black but not communist”) performing and shaping the predispositions of its audiences and stakeholders.\n\n82\n\nCultures of Platform Capitalism","previous_page":81,"next_page":83}