scholarly journals ANALYZING PLATFORM POWER IN THE CULTURAL INDUSTRIES

2021 ◽  
Author(s):  
David B. Nieborg ◽  
Thomas Poell ◽  
Brooke Erin Duffy
Keyword(s):  
Cultural Production ◽  
Science And Technology Studies ◽  
Analytical Framework ◽  
Economic Life ◽  
Power Relationship ◽  
Cultural Industries ◽  
Digital Platforms ◽  
Business Studies ◽  
Software Studies ◽  
Political Economic

Across cultures and contexts, digital platforms like YouTube, TikTok/Douyin, WeChat, and Spotify are fundamentally reshaping both the processes and products of cultural production—from music and news to entertainment and advertising. But, despite considerable attention to the perverse power of algorithms in various spheres of social and economic life, we contend that existing political economic frameworks fail to account for the distinctiveness of the cultural industries. Challenging essentialist theories of platform dominance, this paper argues that claims of platform power need to be qualified in the context of industry- and culture-specific inquiries. Building on research in science and technology studies (STS), software studies, political economy, business studies, and media industries studies, the paper presents a new analytical framework to analyse the evolving power relationship between platforms and cultural producers. It is argued that the decision space of cultural producers in their role as platform complementors is shaped by three key variables: 1) platform evolution, 2) cultural industry segments, and 3) stages of production. The proposed framework makes clear that, while the relationship between platforms and cultural producers is staggeringly uneven and, at times, highly volatile, it should be understood as one of mutual dependence. That is, platforms exert mechanisms of power over the phases of the creation, distribution, monetization, and marketing of culture; but they also furnish space for negotiation and contestation. Acknowledging this requires a framework that is less deterministic and sensitive to the nuance inherent in cultural production.

scholarly journals Bit by (Twitch) Bit: “Platform Capture” and the Evolution of Digital Platforms

2020 ◽  
Vol 6 (3) ◽  
pp. 205630512093398
Author(s):  
William Clyde Partin
Keyword(s):  
Cultural Production ◽  
Third Party ◽  
Management Service ◽  
Management Tools ◽  
Digital Platforms ◽  
Business Studies ◽  
The Third ◽  
History Of ◽  
The Many

This article considers the history of donation management tools on the livestreaming platform Twitch. In particular, it details the technical and economic contexts that led to the development of Twitch Bits, a first-party donation management service introduced in 2016. Two contributions to research on the platformization of cultural production are made. One, this article expands the empirical record regarding Twitch by chronicling the role of viewer donations in livestreaming since 2010, as well as the many tools that have facilitated this practice. It is argued that this history traces the complex and co-productive interactions between Twitch as a sociotechnical architecture and a political economy. Two, by considering how the first-party donation tool Twitch Bits has gradually challenged the dominance of the third-party tools that preceded it, this article theorizes the notion of platform capture, a critical rereading of platform envelopment, a popular concept in business studies. Ultimately, it is argued that platform capture demonstrates how platform owners leverage power asymmetries over dependents to aid in their platform’s technical evolution.

scholarly journals The platformization of cultural production: Theorizing the contingent cultural commodity

2018 ◽  
Vol 20 (11) ◽  
pp. 4275-4292 ◽  
Author(s):  
David B Nieborg ◽  
Thomas Poell
Keyword(s):  
Political Economy ◽  
Cultural Production ◽  
Pricing Strategies ◽  
Market Structures ◽  
Business Studies ◽  
Software Studies ◽  
Platform Governance ◽  
Production Distribution ◽  
Cultural Content ◽  
Cultural Commodity

This article explores how the political economy of the cultural industries changes through platformization: the penetration of economic and infrastructural extensions of online platforms into the web, affecting the production, distribution, and circulation of cultural content. It pursues this investigation in critical dialogue with current research in business studies, political economy, and software studies. Focusing on the production of news and games, the analysis shows that in economic terms platformization entails the replacement of two-sided market structures with complex multisided platform configurations, dominated by big platform corporations. Cultural content producers have to continuously grapple with seemingly serendipitous changes in platform governance, ranging from content curation to pricing strategies. Simultaneously, these producers are enticed by new platform services and infrastructural changes. In the process, cultural commodities become fundamentally “contingent,” that is increasingly modular in design and continuously reworked and repackaged, informed by datafied user feedback.

scholarly journals IN(TER)DEPENDENCE IN PLATFORMED CREATION

2021 ◽  
Author(s):  
Angele L Christin ◽  
Christopher Persaud ◽  
David Hesmondhalgh ◽  
Michael Siciliano ◽  
Nancy Baym ◽  
...  
Keyword(s):  
Cultural Production ◽  
Book Publishing ◽  
Cultural Industries ◽  
Close Attention ◽  
Cultural Economic ◽  
Digital Platforms ◽  
Digital World ◽  
Modern Capitalism ◽  
Art Works ◽  
Online Audiences

In recent years, a variety of cultural industries have been transformed by platformization – a process in which technology companies serve as intermediaries connecting different parties (most importantly cultural producers and audiences) through websites and applications. From music to book publishing, movie production, and the visual arts, cultural production has undergone massive changes due to platforms such as Spotify, Apple Music, Amazon, Goodreads, YouTube, Facebook, Instagram, TikTok, Etsy, etc. In most cultural sectors, creators now have to grapple with the platforms that make their work visible to online audiences. This often means paying close attention to the quantitative infrastructure of platforms, namely their algorithms and analytics, which drive visibility and commercial success. This panel examines what these economic and technological changes imply for the independence of cultural production. Classical studies of culture often emphasized the role that the values of independence and autonomy play in shaping artists’ worldviews and practices. From Bourdieu’s analysis of “fields of cultural production” as “the economic world reversed” to Becker’s theory of “art worlds” where internal dynamics redefine external constraints, or the Frankfurt School’s critical take on the demise of aura through mechanical reproduction, sociological approaches have paid close attention to the threats to independence emerging under modern capitalism. In fact, most classical sociology saw cultural producers in the mass cultural industries as having little independence, often assuming (sometimes without empirical research) that the massification of culture would destroy original and critical art works. Here we revisit the question of independence in the context of platformed creation – a term that embraces all forms of cultural production that are mediated, in part or completely, through digital platforms. By bringing together scholars studying different aspects of platformed creation and reflecting on the concept of independence through diverse disciplinary lenses, we ask: what does independence look like in the context of platformed creation? What are some of the theoretical and methodological tools available to scholars for making sense of cultural, economic, and technological independence in the case of platformed creation? And how do these evolving forms of independence affect the kinds of art works and cultural tropes that circulate online? These different studies aim to put the concept of independence in dialogue with the question of interdependence (among cultural producers, audiences, and platforms) in a mediated digital world.

scholarly journals The Nested Precarities of Creative Labor on Social Media

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110213
Author(s):  
Brooke Erin Duffy ◽  
Annika Pinch ◽  
Shruti Sannon ◽  
Megan Sawey
Keyword(s):  
Social Media ◽  
Cultural Production ◽  
Ecological Model ◽  
Creative Economy ◽  
Cultural Industries ◽  
Professional Success ◽  
Social Media Platforms ◽  
The Media ◽  
Depth Interviews

While metrics have long played an important, albeit fraught, role in the media and cultural industries, quantified indices of online visibility—likes, favorites, subscribers, and shares—have been indelibly cast as routes to professional success and status in the digital creative economy. Against this backdrop, this study sought to examine how creative laborers’ pursuit of social media visibility impacts their processes and products. Drawing upon in-depth interviews with 30 aspiring and professional content creators on a range of social media platforms—Instagram, YouTube, TikTok, Pinterest, and Twitter—we contend that their experiences are not only shaped by the promise of visibility, but also by its precarity. As such, we present a framework for assessing the volatile nature of visibility in platformized creative labor, which includes unpredictability across three levels: (1) markets, (2) industries, and (3) platform features and algorithms. After mapping out this ecological model of the nested precarities of visibility, we conclude by addressing both continuities with—and departures from—the earlier modes of instability that characterized cultural production, with a focus on the guiding logic of platform capitalism.

scholarly journals Democratizing ownership and participation in the 4th Industrial Revolution: challenges and opportunities in cellular agriculture

2021 ◽  
Author(s):  
Robert M. Chiles ◽  
Garrett Broad ◽  
Mark Gagnon ◽  
Nicole Negowetti ◽  
Leland Glenna ◽  
...  
Keyword(s):  
Business Models ◽  
Industrial Revolution ◽  
Cultured Cells ◽  
Advanced Materials ◽  
High Stakes ◽  
Digital Platforms ◽  
Challenges And Opportunities ◽  
The Status ◽  
Political Economic ◽  
Industry Sectors

AbstractThe emergence of the “4th Industrial Revolution,” i.e. the convergence of artificial intelligence, the Internet of Things, advanced materials, and bioengineering technologies, could accelerate socioeconomic insecurities and anxieties or provide beneficial alternatives to the status quo. In the post-Covid-19 era, the entities that are best positioned to capitalize on these innovations are large firms, which use digital platforms and big data to orchestrate vast ecosystems of users and extract market share across industry sectors. Nonetheless, these technologies also have the potential to democratize ownership, broaden political-economic participation, and reduce environmental harms. We articulate the potential sociotechnical pathways in this high-stakes crossroads by analyzing cellular agriculture, an exemplary 4th Industrial Revolution technology that synergizes computer science, biopharma, tissue engineering, and food science to grow cultured meat, dairy, and egg products from cultured cells and/or genetically modified yeast. Our exploration of this space involved multi-sited ethnographic research in both (a) the cellular agriculture community and (b) alternative economic organizations devoted to open source licensing, member-owned cooperatives, social financing, and platform business models. Upon discussing how these latter approaches could potentially facilitate alternative sociotechnical pathways in cellular agriculture, we reflect upon the broader implications of this work with respect to the 4th Industrial Revolution and the enduring need for public policy reform.

The Political Economy of Attention

2021 ◽  
Vol 50 (1) ◽  
Author(s):  
Morten Axel Pedersen ◽  
Kristoffer Albris ◽  
Nick Seaver
Keyword(s):  
Political Economy ◽  
Online Publication ◽  
The Political ◽  
Annual Review ◽  
Publication Date ◽  
Moral Concern ◽  
Digital Platforms ◽  
Political Economic

Attention has become an issue of intense political, economic, and moral concern over recent years: from the commodification of attention by digital platforms to the alleged loss of the attentional capacities of screen-addicted children (and their parents). While attention has rarely been an explicit focus of anthropological inquiry, it has still played an important if mostly tacit part in many anthropological debates and subfields. Focusing on anthropological scholarship on digital worlds and ritual forms, we review resources for colleagues interested in this burgeoning topic of research and identify potential avenues for an incipient anthropology of attention, which studies how attentional technologies and techniques mold human minds and bodies in more or less intentional ways. Expected final online publication date for the Annual Review of Anthropology, Volume 50 is October 2021. Please see http://www.annualreviews.org/page/journal/pubdates for revised estimates.

scholarly journals ‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’

2000 ◽  
Vol 5 (1) ◽  
pp. 116-129 ◽  
Author(s):  
Nicola Richards ◽  
Katie Milestone
Keyword(s):  
Popular Music ◽  
Urban Space ◽  
Cultural Production ◽  
Consumption Patterns ◽  
Cultural Industries ◽  
Production And Consumption ◽  
Gender Characteristics ◽  
Gender Power ◽  
The City ◽  
Experiences Of Women

This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.

Swipe To Unlock

2015 ◽  
Vol 1 (1) ◽  
pp. 55-72 ◽  
Author(s):  
Stefan Werning
Keyword(s):  
Cultural Production ◽  
Haptic Feedback ◽  
User Interaction ◽  
Epistemic Status ◽  
Experience Design ◽  
User Experience Design ◽  
Software Applications ◽  
Software Studies ◽  
Cultural Imaginary ◽  
Digital Material

Abstract Since the release of iconic devices like the Nintendo DS (2004) and particularly the first iPhone (2007), touchscreen interfaces have become almost omnipresent and arguably shaped a “touchscreen generation”. But how do touchscreen experiences operate as complex assemblages of material contingencies, electronics, algorithms and user interaction? And how do they function in actual software applications? In order to address these questions, the paper outlines a comparative software studies perspective, which comprises four consecutive steps. The introduction draws on cultural studies research on touchscreen interfaces to establish a theoretical framework for understanding the shifting epistemic status of the screen and the complex relationship between technical affordances and cognitive processes. Second, the paper explores aesthetic implications of the materiality of touchscreens, including the shift from vertical to horizontal navigational logic and the focus on physical contiguity in user experience design. Third, a series of short, interconnected case studies serves to illustrate the more specific implications on practices of media use and cultural production in a variety of applications. For example, apps like Vine evoke the ‘tangibility’ of digital material by allowing users to start and stop recording video by touching and releasing the screen respectively. Other, even more iconic examples include the swipe mechanic employed in Tinder and particularly the ‘swipe to unlock’ gesture used in the Android operating system. Finally, the previous findings are contextualised by briefly investigating the cultural imaginary of the touchscreen, which manifests itself in the form of haptic feedback as well as curved and even wearable touch-sensitive surfaces.

South Africa and the Question of Hegemony in Africa

2017 ◽  
Vol 33 (4) ◽  
pp. 428-447 ◽  
Author(s):  
Olusola Ogunnubi ◽  
Adeoye Akinola
Keyword(s):  
South Africa ◽  
Foreign Policy ◽  
Weak Link ◽  
African State ◽  
Critical Evaluation ◽  
Analytical Framework ◽  
Power Dynamics ◽  
Hegemonic Discourse ◽  
Political Economic ◽  
Development Paradigm

This article examines the viability of mainstream neo-realist international relations scholarship for understanding regional power dynamics within Africa by offering a critical evaluation of the categorization of South Africa as a hegemonic power on the continent. Using the theoretical framework of hegemonic stability theory, it argues that there is a somewhat weak link between South Africa’s foreign policy character and its hegemonic disposition in Africa. The South African state, which is the driving force for political, economic and foreign policy processes, is itself subordinate in relation to international capital and lacks the influence expected of a regional hegemon. Despite South Africa’s development, the article demonstrates that its dependency provides the theoretical construct for understanding the country’s ambiguous hegemonic projection. This analytical framework captures the crux of the “hegemonic debate” as well as other conversations in relation to the adaptation of the concept of hegemony to Africa. Therefore, any application of the hegemonic discourse to South Africa necessarily requires a deeper understanding that takes cognizance of the fact that country’s regional hegemony operates within the orbit of a dependent-development paradigm in the global economic order, a neo-liberal order that continues to deepen Africa’s dependency syndrome. Dependency, as well as other complexities, impedes the reality of South Africa’s hegemonic ambitions in Africa.

scholarly journals Studying Platforms and Cultural Production: Methods, Institutions, and Practices

2020 ◽  
Vol 6 (3) ◽  
pp. 205630512094327
Author(s):  
David B Nieborg ◽  
Brooke Erin Duffy ◽  
Thomas Poell
Keyword(s):  
Cultural Production ◽  
Participant Observation ◽  
Cultural Industries ◽  
Media Industry ◽  
Structured Interviews ◽  
Market Theory ◽  
Industry Studies ◽  
Production Methods ◽  
Theoretical Approaches ◽  
Time Transformations

This introduction to the second special collection of articles on the platformization of the cultural industries foregrounds research methods and practices. Drawing from the 12 articles included in this collection, as well as the 14 articles published in the first collection, we identify commonalities in approaches, consistencies in traditions, and uniform modes of analysis. We argue that approaches that have been deployed in media industry studies for decades—semi-structured interviews, discourse analysis, content analysis, and participant observation—remain productive. At the same time, transformations in the temporalities and curation of cultural production require updated modes of investigation and analysis. As such, we spotlight contributors’ novel methods and innovative theoretical approaches, such as the walkthrough method and multi-sided market theory.

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