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'Amateur Creation and Entrepreneurialism: A Critical Study of Artistic Production in Post-Fordist Structures

Mylonas, Yiannis LU (2012) In TripleC 10(1). p.1-11
Abstract
Based on an interview with a hip-hop artist from Eastern Poland, this article critically assesses amateur art pro-duction proliferating throughout the globe today through individuals’ creative usages of new ICTs and new media affordances. The post-Fordist material and ideological context of contemporary social life is the main focus point of the article’s critique. Scarcity, dispossession, and entrepreneurship are the main analytical concepts used to develop a critical analysis and explanation of mainstream realities of amateur artistic production today. Within a context defined by precarious work conditions and prospects, material scarcity, and consumerist aspirations, media and technological potentialities are strategically used by the... (More)
Based on an interview with a hip-hop artist from Eastern Poland, this article critically assesses amateur art pro-duction proliferating throughout the globe today through individuals’ creative usages of new ICTs and new media affordances. The post-Fordist material and ideological context of contemporary social life is the main focus point of the article’s critique. Scarcity, dispossession, and entrepreneurship are the main analytical concepts used to develop a critical analysis and explanation of mainstream realities of amateur artistic production today. Within a context defined by precarious work conditions and prospects, material scarcity, and consumerist aspirations, media and technological potentialities are strategically used by the amateur artist-entrepreneur a) as resources where creativity is put to work for potential socio-economic elevation and inclusion in the global industrial artistic scene (in the case of private ICT), b) as “free” resources, appropriated for entrepreneurial aspirations (in the case of “free“ digital material circulating online, particularly through peer to peer networks), c) as channels for self promotion and networking (in the case of web 2.0 structures). What is often less apparent to the amateur artists, though, concerns the exploitative capacities of corporate Internet to dispossess amateur work and online social relations for the purposes of capital accumulation and reproduction. Unless critiqued, “free culture” -generated by new ICTs and new media- is assimilated by the material and ideological power of late capitalism and is “put to work” for the (re)production of late capitalism. The article concludes by suggesting the critical challenging of the mainstream artistic identity and the critical use and appropriation of new media/ICT’s potentialities. (Less)
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author
organization
publishing date
type
Contribution to journal
publication status
published
subject
keywords
Entrepreneurialism, Subjectivity, ICT, Internet, Post-Fordism, Neoliberalism, Amateurism, Artists
in
TripleC
volume
10
issue
1
pages
1 - 11
publisher
Universitaet Salzburg, Center for Advanced Studies and Research
external identifiers
  • scopus:84857004522
ISSN
1726-670X
language
English
LU publication?
yes
id
664f9aa6-e7e8-44db-8958-dc09bddc9e0a (old id 3045045)
date added to LUP
2012-09-04 13:02:49
date last changed
2017-01-01 05:49:09
@article{664f9aa6-e7e8-44db-8958-dc09bddc9e0a,
  abstract     = {Based on an interview with a hip-hop artist from Eastern Poland, this article critically assesses amateur art pro-duction proliferating throughout the globe today through individuals’ creative usages of new ICTs and new media affordances. The post-Fordist material and ideological context of contemporary social life is the main focus point of the article’s critique. Scarcity, dispossession, and entrepreneurship are the main analytical concepts used to develop a critical analysis and explanation of mainstream realities of amateur artistic production today. Within a context defined by precarious work conditions and prospects, material scarcity, and consumerist aspirations, media and technological potentialities are strategically used by the amateur artist-entrepreneur a) as resources where creativity is put to work for potential socio-economic elevation and inclusion in the global industrial artistic scene (in the case of private ICT), b) as “free” resources, appropriated for entrepreneurial aspirations (in the case of “free“ digital material circulating online, particularly through peer to peer networks), c) as channels for self promotion and networking (in the case of web 2.0 structures). What is often less apparent to the amateur artists, though, concerns the exploitative capacities of corporate Internet to dispossess amateur work and online social relations for the purposes of capital accumulation and reproduction. Unless critiqued, “free culture” -generated by new ICTs and new media- is assimilated by the material and ideological power of late capitalism and is “put to work” for the (re)production of late capitalism. The article concludes by suggesting the critical challenging of the mainstream artistic identity and the critical use and appropriation of new media/ICT’s potentialities.},
  author       = {Mylonas, Yiannis},
  issn         = {1726-670X},
  keyword      = {Entrepreneurialism,Subjectivity,ICT,Internet,Post-Fordism,Neoliberalism,Amateurism,Artists},
  language     = {eng},
  number       = {1},
  pages        = {1--11},
  publisher    = {Universitaet Salzburg, Center for Advanced Studies and Research},
  series       = {TripleC},
  title        = {'Amateur Creation and Entrepreneurialism: A Critical Study of Artistic Production in Post-Fordist Structures},
  volume       = {10},
  year         = {2012},
}