content as capital

Much of the pleasure of “generating content” — whether through a machine or by some other means, about oneself or about other things or about other things as a way to signify oneself — is in imagining that someone else might also want it. The content is not just for you to consume but to anchor shared experience, or at least allow us to imagine its... See more

That's why we have intermediaries, and why disintermediation always leads to some degree of re-intermediation. There's a lot of explicit and implicit knowledge and specialized skill required to connect buyers and sellers, creators and audiences, and other sides of two-sided markets. Some producers can do some of this stuff for themselves, and a... See more

The distinction Wark makes of the vectoralist class vs. the capitalist is its power not to actually own anything but to simply extract enormous profit from various flows of value.

What’s more, art is no longer semblance. It fuses with reality.

The unabated “creative destruction” of one kind of capital after another has only further increased the wealth of a few and done nothing to emancipate the overall collective creative spirit, which has remained stagnant. Today, almost every artistic effort inevitably (perhaps unknowingly) reinscribes the values of the ruling capitalist class.

What we’re seeing isn’t just a media trend. It’s a shift in the architecture of power. Attention → Speculation → Allocation. This is the new supply chain.

Traditional economic theory assumes information flows serve resource allocation. But increasingly, resource allocation serves attention flows. We've moved from an economy where attention supports... See more

How do we create a world where we are free to create for the love of it?