The People’s Platform: Taking Back Power and Culture in the Digital Age
The internet has been hailed as an unprecedented democratising force, a place where everyone can participate. But how true is this? Dismantling the techno-utopian vision, ‘The People’s Platform’ argues that for all our “tweeting” and “sharing,” the internet in fact reflects and amplifies real-world inequalities as much as it reduces them. Online, just as off-line, attention accrues to those who already have plenty of it.What we have seen so far, Astra Taylor argues, has been not a revolution but a rearrangement. A handful of giants like Amazon, Apple, Google and Facebook are our gatekeepers. And the worst habits of the old media model – the pressure to seek easy celebrity – have proliferated. When culture is “free,” creative work has diminishing value and advertising fuels the system.We can do better, Taylor insists. The online world does offer a unique opportunity, but a democratic culture that supports the diverse and lasting will not spring up from technology alone. If we want the internet to be a people’s platform, we will have to make it so.
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CONTENTS
When I was twelve years old, while most of my peers were playing outside, I hunkered down in my family’s den, consumed by the project of making my own magazine. Obsessed with animal rights and environmentalism, I imagined my publication as a homemade corrective to corporate culture, a place where other kids could learn the truth that Saturday morning cartoons, big-budget movies, and advertisements for “Happy Meals” hid from them. I wrangled my friends into writing for it (I know it’s hard to believe I had any), used desktop publishing software to design it, and was thrilled that the father of one of my conspirators managed a local Kinkos, which meant we could make copies at a steep discount. Every couple of months my parents drove me to the handful of bookstores and food co-ops in Athens, Georgia, where I eagerly asked the proprietors if I could give them the latest issue, convinced that when enough young people read my cri de coeur the world would change.
It was a strange way to spend one’s preadolescence. But equally strange, now, is to think of how much work I had to do to get it into readers’ hands once everything was written and edited. That’s how it went back in the early nineties: each precious copy could be accounted for, either given to a friend, handed out on a street corner, shelved at a local store, or mailed to the few dozen precious subscribers I managed to amass. And I, with access to a computer, a printer, and ample professional copiers, had it pretty easy compared to those who had walked a similar road just decades before me: a veteran political organizer told me how he and his friends had to sell blood in order to raise the funds to buy a mimeograph machine so they could make a newsletter in the early sixties.
When I was working on my magazine I had only vague inklings that the Internet even existed. Today any kid with a smartphone and a message has the potential to reach more people with the push of a button than I did during two years of self-publishing. New technologies have opened up previously unimaginable avenues for self-expression and exposure to information, and each passing year has only made it easier to spread the word.
In many respects, my adult work as an independent filmmaker has been motivated by the same concerns as my childhood hobby: frustration with the mainstream media. So many subjects I cared about were being ignored; so many worthwhile stories went uncovered. I picked up a camera to fill in the gap, producing various documentaries focused on social justice and directing two features about philosophy. On the side I’ve written articles and essays for the independent press, covering topics including disability rights and alternative education. When Occupy Wall Street took off in the fall of 2011, I became one of the coeditors of a movement broadsheet called the Occupy! Gazette, five crowd-funded issues in total, which my cohorts and I gave away for free on the Web and in print.
I’m a prime candidate, in other words, for cheering on the revolution that is purportedly being ushered in by the Internet. The digital transformation has been hailed as the great cultural leveler, putting the tools of creation and dissemination in everyone’s hands and wresting control from long-established institutions and actors. Due to its remarkable architecture, the Internet facilitates creativity and communication in unprecedented ways. Each of us is now our own broadcaster; we are no longer passive consumers but active producers. Unlike the one-way, top-down transmission of radio or television and even records and books, we finally have a medium through which everyone’s voice can supposedly be heard.
To all of this I shout an enthusiastic hurrah. Progressives like myself have spent decades decrying mass culture and denouncing big media. Since 1944, when Max Horkheimer and Theodor Adorno published their influential essay “The Culture Industry: Enlightenment as Mass Deception,” critics have sounded the alarm about powerful corporate interests distorting our culture and drowning out democracy in pursuit of profit.
But while heirs to this tradition continue to worry about commercialism and media consolidation, there is now a countervailing tendency to assume that the Internet, by revolutionizing our media system, has rendered such concerns moot. In a digital world, the number of channels is theoretically infinite, and no one can tell anyone what to consume. We are the ultimate deciders, fully in charge of our media destinies, choosing what to look at, actively seeking and clicking instead of having our consumption foisted upon us by a cabal of corporate executives.
As a consequence of the Internet, it is assumed that traditional gatekeepers will crumble and middlemen will wither. The new orthodoxy envisions the Web as a kind of Robin Hood, stealing audience and influence away from the big and giving to the small. Networked technologies will put professionals and amateurs on an even playing field, or even give the latter an advantage. Artists and writers will thrive without institutional backing, able to reach their audiences directly. A golden age of sharing and collaboration will be ushered in, modeled on Wikipedia and open source software.
