A plea to reclaim the internet from addictive platform capitalism, from the author of Sad by Design. However often you delete apps from your phone, the seduction of the platform draws you back. There is a rising disaffection with "platform" culture--with megacorporations such as Google and Facebook that provide the foundational software for others to use, and to which we are almost all addicted. What can be done against it?
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US new media artist Ben Grosser and I met at the 2013 Unlike Us #3 Institute of Network Cultures event in Amsterdam where he presented his Demetricator, a free web browser extension that hides all the metrics on Facebook. I have followed his work ever since. We got in contact again in 2019 when he premiered his video art clip Order of Magnitude.[1] The cut-up piece features Mark Zuckerberg’s obsession with growth. Instead of taking the traditional critical approach, Ben Grosser magnifies particular words that return in each and every one of his sentences: more, millions, billions, trillions. Covering the earliest days of Facebook in 2004 up through Zuckerberg’s compelled appearances before the US Congress in 2018, Grosser viewed every one of these recordings and used them to build a supercut drawn from three of Mark’s most favoured words: more, grow, and his every utterance of a metric such as two million or one billion. Inside the exploding galaxy of Facebook there are no limits of growth. After a few minutes the viewer gets exhausted and is ready to swipe the video away, stand up and walk out: the exact opposite response to what we experience when we’re on Facebook, Instagram, or WhatsApp. The emptiness of the guy suffocates. Well done, Ben.
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What is platformization and why is it a relevant category in the contemporary political landscape? How is it related to cybernetics and the history of computation? This book tries to answer such questions by engaging in multidisciplinary dialogues about the first ten years of the emerging fields of platform studies and platform theory. It deploys a narrative and playful approach that makes use of anecdotes, personal histories, etymologies, and futurable speculations to investigate both the fragmented genealogy that led to platformization and the organizational and economic trends that guide nowadays platform sociotechnical imaginaries. The dialogues cover fields such as media studies, software studies, internet governance, network theory, urban studies, social movement studies, political economy, management, and platform regulation. The interviews are set up to develop a network of internal cross-references that highlight the multi-layered connections from which platform power emerges.
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Measures such as ‘ethical AI’ and ‘good data’ will not bring about social justice, end racial capitalism or forestall climate disaster. How to channel discontent and counter-hegemony into an actual transfer of power in the late platform age?
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About this publication: In their new work research collective Ippolita provides a critical investigation of the inner workings of Facebook as a model for all commercial social networks. Facebook is an extraordinary platform that can generate large profit from the daily activities of its users. Facebook may appear to be a form of free entertainment and self-promotion but in reality its users are working for the development of a new type of market where they trade relationships. As users of social media we have willingly submitted to a vast social, economic and cultural experiment.By critically examining the theories of Californian right-libertarians, Ippolita show the thread con- necting Facebook to the European Pirate Parties, WikiLeaks and beyond. An important task today is to reverse the logic of radical transparency and apply it to the technologies we use on a daily basis. The algorithms used for online advertising by the new masters of the digital world – Facebook, Apple, Google and Amazon – are the same as those used by despotic governments for personalized repression. Ippolita argues we should not give in to the logic of conspiracy or paranoia instead we must seek to develop new ways of autonomous living in our networked society.
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Are the so-called “new” business models focused on “sharing” actually promoting new behaviour or are they simply using old behaviour of the provider/consumer in a new technological environment? Are the new tech companies in the sharing economy with their “new” business models grabbing too much power, unnoticeably?
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Introduction: The Netherlands has been known as one of the pioneers in the sharing economy. At the beginning of the 2010s, many local initiatives such as Peerby (borrow tools and other things from your neighbours), SnappCar (p2p car-sharing), and Thuisafgehaald (cook for your neighbours) launched that enabled consumers to share underused resources or provide services to each other. This was accompanied by a wide interest from the Dutch media, zooming in on the perceived social and environmental benefits of these platforms. Commercial platforms such as Uber, UberPop and Airbnb followed soon after. After their entrance to the market, the societal debate about the impact of these platforms also started to include the negative consequences. Early on, universities and national research and policy institutes took part in these discussions by providing definitions, frameworks, and analyses. In the last few years, the attention has shifted from the sharing economy to the much broader defined platform economy.
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Richard Barbrook and Andy Cameron’s The Californian Ideology, originally published in 1995 by Mute magazine and the nettime mailinglist, is the iconic text of the first wave of Net criticism. The internet might have fundamentally changed in the last two decades, but their demolition of the neoliberal orthodoxies of Silicon Valley remains shocking and provocative. They question the cult of the dot-com entrepreneur, challenging the theory of technological determinism and refuting the myths of American history. Denounced as the work of ‘looney lefties’ by Silicon Valley’s boosters when it first appeared, The Californian Ideology has since been vindicated by the corporate take-over of the Net and the exposure of the NSA’s mass surveillance programmes.Published in 1999 at the peak of the dot-com bubble, Richard Barbrook’s Cyber-Communism offers an alternative vision of the shape of things to come, inspired by Marshall McLuhan’s paradoxical ‘thought probes’. With the Californian Ideology growing stronger, the Net was celebrated as the mechanical perfection of neoliberal economics. Barbrook shows how this futurist prophecy is borrowed from America’s defunct Cold War enemy: Stalinist Russia. Technological progress was the catalyst of social transformation. With copyright weakening, intellectual commodities were mutating into gifts. Invented in capitalist America, the Net in the late-1990s had become the first working model of communism in human history.In an introduction written specially for this 20th anniversary edition, Richard Barbrook takes a fresh look at the hippie capitalists who shaped Silicon Valley and explains how their influence continues to this day. These thought probes are still relevant in understanding the contradictory impact of ubiquitous social media within the modern world. As McLuhan had insisted, theoretical provocation creates political understanding.Richard Barbrook is Senior Lecturer in the Department of Politics and International Relations at the University of Westminster, London, England. He is a trustee of Cybersalon and a founder member of Class Wargames. He has written about the politics of the Net and gaming in his books Media Freedom: The Contradictions of Communications in the Age of Modernity; The Class of the New; Imaginary Futures: From Thinking Machines to the Global Village; and Class Wargames: Ludic Subversion Against Spectacular Capitalism.
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About this publication: What is the correlation among the creative industries, creative industry policies, new media paradigms and capitalism as colonial relations of dominance? What is the role of these industries in the prioritization of the interests of capital at the expense of those of society and how can these paradigms be criticized in the context of the actual, neoliberal, flexible regime of reproduction of capital? To what measure is this regime ‘flexible’ and to what measure it is just an extension of rigid, feudal and racial logics that underline (post)modern representational discourses? To what measure do the concepts of creativity, transparency, openness and flexibility conceal the hegemonic nature of modern hierarchies of exploitation?This publication brings together six essays that offer a critique of the relationship between the creative industries and capital. It treats ‘the networked world’ — its democracies, cognitivities, its attention and its paradigmatic cultural discourses — as one of the domains wherein and by which capitalism and its colonial relations of dominance are being reproduced, reorganized, perpetuated and ‘modernized’.The Gray Zones of Creativity and Capital (eds. Gordana Nikolić and Šefik Tatlić) consists of works from a diverse range of authors from around the globe: Jonathan Beller, Josephine Berry Slater, Marc James Léger, Ana Vilenica, Sandi Abram & Irmgard Emmelheinz. The book first appeared in Serbian in 2015.
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