Juan Martín Prada, "Forms of Resistance" for the online exhibit Tag ties and affective spies:
Would this be an argument for, or against, Dreamwidth as a commercial endeavor?
What might a "resistance to the fascination exerted by 'social media'” look like on, or through, or from within Dreamwidth?
In an interview with we make money not art, "Tag ties and affective spies" curator Daphne Dragona links the concepts of "[e]xposure, affection, and a kind of surveillance" with reference to Twitter. Does Dreamwidth's splitting of LJ's 'friend' function into 'subscribe' and 'grant access' unbundle these concepts, or simply multiply and disperse their points of intersection in new ways?
The primary aim of the large corporations that promote “social media” is that there be nothing we can be against. To that end, they constantly foster the proliferation of strategic plays of liberties and personal initiatives based on participatory logic and pleasurable flows of communicative social activity. Consequently, there is an almost inevitable acquiescence to the economic interests the entire system rests on, given that they are based on the most inalienable aspects of life: interpersonal communication, friendship, contact among people, feeling close to others, etc.
However, resistance to the fascination exerted by “social media” involves first and foremost a political analysis of their operating dynamics, limitations and exclusions. For “to resist” is to reflect critically on the processes of inclusion of the individual in the new network economy and his or her adaptation to it, demonstrating the strategies and effects that characterize the process as corporative interests colonize the forms of human interrelations. And the top priority of new forms of resistance must be an attempt to rescue – although in a merely anecdotal or symbolic way – the principles that currently comprise the foundations of online economic production, which are communication, affection, cooperation, friendship, company, etc., from the control of business.
However, resistance to the fascination exerted by “social media” involves first and foremost a political analysis of their operating dynamics, limitations and exclusions. For “to resist” is to reflect critically on the processes of inclusion of the individual in the new network economy and his or her adaptation to it, demonstrating the strategies and effects that characterize the process as corporative interests colonize the forms of human interrelations. And the top priority of new forms of resistance must be an attempt to rescue – although in a merely anecdotal or symbolic way – the principles that currently comprise the foundations of online economic production, which are communication, affection, cooperation, friendship, company, etc., from the control of business.
Would this be an argument for, or against, Dreamwidth as a commercial endeavor?
What might a "resistance to the fascination exerted by 'social media'” look like on, or through, or from within Dreamwidth?
In an interview with we make money not art, "Tag ties and affective spies" curator Daphne Dragona links the concepts of "[e]xposure, affection, and a kind of surveillance" with reference to Twitter. Does Dreamwidth's splitting of LJ's 'friend' function into 'subscribe' and 'grant access' unbundle these concepts, or simply multiply and disperse their points of intersection in new ways?
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