content as capital

I think the defining economic reality of the modern platform media world is that all the platforms realized that an infinite supply of teenage creators are cheaper to deal with than media companies or groups of media individuals or powerful creators. And I’m curious for your read on the number of YouTubers that you see retiring or taking a step... See more

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

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.

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.

The slots that books that connected with readers once occupied are now increasingly occupied by the equivalent of the botshit that fills the first eight screens of your Google search results: book-shaped objects that have gamed their way to the top of the list.

Perhaps this pattern of radicalisation followed by recuperation has even happened with each emergent technology – newspapers, novels, film, (pirate) radio, the Internet. Each time, the new medium has a progressive force, dehabituating people from expected relations, offering new channels for experimental activity, mediatised subcultures, and the... See more

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