The People’s Platform: Taking Back Power and Culture in the Digital Age. Astra Taylor

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      What’s missing, as Ribot sees it, is a way to understand how the economy has evolved away from the old industrial model and how value is extracted within the new order. “I think that people, not just musicians, need to do an analysis so they stop asking the question, ‘Who is my legal employer?’ and start asking, ‘Who works, who creates things that people need, and who profits from it?’” These questions, Ribot wagers, could be the first step to understanding the model of freelance, flexible labor that has become increasingly dominant across all sectors of the economy, not just in creative fields.

      We are told that a war is being waged between the decaying institutions of the off-line world and emerging digital dynamos, between closed industrial systems and open networked ones, between professionals who cling to the past and amateurs who represent the future. The cheerleaders of technological disruption are not alone in their hyperbole. Champions of the old order also talk in terms that reinforce a seemingly unbridgeable divide.

      Unpaid amateurs have been likened to monkeys with typewriters, gate-crashing the cultural conversation without having been vetted by an official credentialing authority or given the approval of an established institution. “The professional is being replaced by the amateur, the lexicographer by the layperson, the Harvard professor by the unschooled populace,” according to Andrew Keen, obstinately oblivious to the failings of professionally produced mass culture he defends.

      The Internet is decried as a province of know-nothing narcissists motivated by a juvenile desire for fame and fortune, a virtual backwater of vulgarity and phoniness. Jaron Lanier, the technologist turned skeptic, has taken aim at what he calls “digital Maoism” and the ascendance of the “hive mind.” Social media, as Lanier sees it, demean rather than elevate us, emphasizing the machine over the human, the crowd over the individual, the partial over the integral. The problem is not just that Web 2.0 erodes professionalism but, more fundamentally, that it threatens originality and autonomy.

      Outrage has taken hold on both sides. But the lines in the sand are not as neatly drawn as the two camps maintain. Wikipedia, considered the ultimate example of amateur triumph as well as the cause of endless hand-wringing, hardly hails the “death of the expert” (the common claim by both those who love the site and those who despise it). While it is true that anyone can contribute to the encyclopedia, their entries must have references, and many of the sources referenced qualify as professional. Most entries boast citations of academic articles, traditional books, and news stories. Similarly, social production does not exist quite outside the mainstream. Up to 85 percent of the open source Linux developers said to be paradigmatic of this new age of volunteerism are, in fact, employees of large corporations that depend on nonproprietary software.³³

      More generally, there is little evidence that the Internet has precipitated a mass rejection of more traditionally produced fare. What we are witnessing is a convergence, not a coup. Peer-to-peer sites—estimated to take up half the Internet’s bandwidth—are overwhelmingly used to distribute traditional commercial content, namely mainstream movies and music. People gather on message boards to comment on their favorite television shows, which they download or stream online. The most popular videos on YouTube, year after year, are the product of conglomerate record labels, not bedroom inventions. Some of the most visited sites are corporate productions like CNN. Most links circulated on social media are professionally produced. The challenge is to understand how power and influence are distributed within this mongrel space where professional and amateur combine.

      Consider, for a moment, Clay Shirky, whose back-flap biography boasts corporate consulting gigs with Nokia, News Corp, BP, the U.S. Navy, Lego, and others. Shirky embodies the strange mix of technological utopianism and business opportunism common to many Internet entrepreneurs and commentators, a combination of populist rhetoric and unrepentant commercialism. Many of amateurism’s loudest advocates are also business apologists, claiming to promote cultural democracy while actually advising corporations on how to seize “collaboration and self-organization as powerful new levers to cut costs” in order to “discover the true dividends of collective capability and genius” and “usher their organizations into the twenty-first century.”³⁴

      The grassroots rhetoric of networked amateurism has been harnessed to corporate strategy, continuing a nefarious tradition. Since the 1970s populist outrage has been yoked to free-market ideology by those who exploit cultural grievances to shore up their power and influence, directing public animus away from economic elites and toward cultural ones, away from plutocrats and toward professionals. But it doesn’t follow that criticizing “professionals” or “experts” or “cultural elites” means that we are striking a blow against the real powers; and when we uphold amateur creativity, we are not necessarily resolving the deeper problems of entrenched privilege or the irresistible imperative of profit. Where online platforms are concerned, our digital pastimes can sometimes promote positive social change and sometimes hasten the transfer of wealth to Silicon Valley billionaires.

      Even well-intentioned celebration of networked amateurism has the potential to obscure the way money still circulates. That’s the problem with PressPausePlay, a slick documentary about the digital revolution that premiered at a leading American film festival. The directors examine the ways new tools have sparked a creative overhaul by allowing everyone to participate—or at least everyone who owns the latest Apple products. That many of the liberated media makers featured in the movie turn out to work in advertising and promotion, like celebrity business writer Seth Godin, who boasts of his ability to turn his books into bestsellers by harnessing the power of the Web, underscores how the hype around the cultural upheaval sparked by connective technologies easily slides from making to marketing. While the filmmakers pay tribute to DIY principles and praise the empowering potential of digital tools unavailable a decade ago, they make little mention of the fact that the telecommunications giant Ericsson provided half of the movie’s seven-hundred-thousand-dollar budget and promotional support.³⁵

      We should be skeptical of the narrative of democratization by technology alone. The promotion of Internet-enabled amateurism is a lazy substitute for real equality of opportunity. More deeply, it’s a symptom of the retreat over the past half century from the ideals of meaningful work, free time, and shared prosperity—an agenda that entailed enlisting technological innovation for the welfare of each person, not just the enrichment of the few.

      Instead of devising truly liberating ways to harness machines to remake the economy, whether by designing satisfying jobs or through the social provision of a basic income to everyone regardless of work status, we have Amazon employees toiling on the warehouse floor for eleven dollars an hour and Google contract workers who get fired after a year so they don’t have to be brought on full-time. Cutting-edge new-media companies valued in the tens of billions retain employees numbering in the lowly thousands, and everyone else is out of luck. At the same time, they hoard their record-setting profits, sitting on mountains of cash instead of investing it in ways that would benefit us all.

      The zeal for amateurism looks less emancipatory—as much necessity as choice—when you consider the crisis of rising educational costs, indebtedness, and high unemployment, all while the top 1 percent captures an ever-growing portion of the surplus generated by increased productivity. (Though productivity has risen 23 percent since 2000, real hourly pay has effectively stagnated.)³⁶ The consequences are particularly stark for young people: between 1984 and 2009, the median net worth for householders under thirty-five was down 68 percent while rising 42 percent for those over sixty-five.³⁷ Many are delaying starting families of their own and moving back in with Mom and Dad.

      Our society’s increasing dependence on free labor—online and off—is immoral in this light. The celebration of networked amateurism—and of social production and the cognitive surplus—glosses over the question of who benefits from our uncompensated participation online. Though some internships are enjoyable and useful, the real beneficiary of this arrangement is corporate СКАЧАТЬ