Dallas Smythe Today - The Audience Commodity, the Digital Labour Debate, Marxist Political Economy and Critical Theory.

Fuchs, Christian

doi:10.31269/triplec.v10i2.443

Cited by 177 publications

(114 citation statements)

References 74 publications

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“…Here, workers are active users of technology and information, and their relations go over the framework of social capital to operate as means for alternative politics (Arvidsson 2009). Yet, such optimism seems to somewhat fade away with findings that these workers' activities are in constant negotiation with the new business models of commercial businesses (Fuchs 2012;van Dijck 2009) and difficult to be institutionalised.…”

Section: Creativity (Labour)-value Nexusmentioning

confidence: 99%

The political economy of ‘creative industries’

Lee

2017

Media, Culture & Society

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This article critically examines the fundamental premise of the creative industries discourse: human creativity as a distinctive input in the production process is the core source of economic value generation. It points out that this discourse emerged within the political-economic context of our time where creativity and knowledge are celebrated, while human labour itself as a factor of production and social force is increasingly de-legitimised and marginalised. The article argues that the radical potential in the discourse (the labour-value nexus) has failed to be recognised, and asks how it can be rediscovered and linked to contemporary socio-economic debates. Turning its attention to the creativity residing in the cultural sector, this article also argues that we should better understand its economic characteristics (productivity-low) and social consequences (diversity-high), and their implications for cultural policy.

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Section: Creativity (Labour)-value Nexusmentioning

confidence: 99%

The political economy of ‘creative industries’

Lee

2017

Media, Culture & Society

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“…These arguments have ramifications for our understanding of the concept of playbour as well as for the theory of audience labour advanced by Dallas Smythe (audiences were institutionalised by the mass media and their "audience-power" was sold to the advertisers) (Smythe 1984;Smythe 1977) and today used by for example Christian Fuchs (Fuchs 2012), and the theory of the social factory of the autonomist Marxists. This will be dealt with more in detail in the section on playing and labouring.…”

Section: Hans-georg Gadamer's View Compared To Christian Fuchs' View mentioning

confidence: 99%

Playing, Gaming, Working and Labouring: Framing the Con-cepts and Relations

Lund

2014

tripleC

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Abstract:The aim of this article is to define the concepts of playing, working, gaming, and labouring, through a literature study, and to construct a typology. This typology will be used to create a field model that is structured by the horizontal parameters of qualitative-quantitative (characteristics) and the vertical parameters of activity-result (in focus). It is shown how this model can be used to visualise different theoretical positions in empirical material, which connects to the concepts and their relations. Working and labouring are distinguished into a trans-historical and a historical, capitalist, category, and likewise playing and gaming, where the former is the trans-historical category and the latter the historical one. The main focus of the article, since working and labouring is well covered within the critical Marxist tradition, is on playing and its relation to working, with the aim of understanding and criticising the concept of playbour.

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“…Thus, the long cherished audience-as-commodity principle (Fuchs 2012;McStay 2011;Smythe 1981) finds renewed impetus and full realization as firms such as Mass Exchange lead the way in not only ad space futures exchange, but also audience future exchanges. This means that advertisers can buy guaranteed interest from people with desirable characteristics (for example, mothers in a given region on a certain income range between 18 and 25 years old).…”

Section: Liquidity In Advertisingmentioning

confidence: 99%