Trebor Scholz: Platform Cooperativism: Challenging the Corporate Sharing Economy (2016) [EN, DE]

“The “sharing economy” wasn’t supposed to be this way. Aided by the tiny computers most of us carry with us all day, every day, we would be free from the burdens of ownership and making money in our spare time by renting out our unused possessions. The vison was—or at least appeared to be—an idealistic one. Even before they enter kindergarten, every child learns the value of sharing, and here were the beneficent forces of Silicon Valley bringing us innovative new tools to strengthen our communities, disrupt outdated ways of doing business, and maybe even reduce our carbon footprints.

The reality turned out to be a little different. Sure, Uber and its ilk offer remarkable convenience and a nearly magical user experience, but their innovation lies just as much in evading regulations as in developing new technology. Behind the apps lies an army of contract workers without the protections offered to ordinary employees, much less the backing of a union. This new economy is not really about sharing at all. Rather, as Trebor Scholz argues in this study, it is an on-demand service economy that is spreading market relations deeper into our lives.

With these new middlemen sucking profits out of previously un-monetized interactions, creating new forms of hyper-exploitation, and spreading precarity throughout the workforce, what can we do? Scholz insists that we need not just resistance but a positive alternative. He calls this alternative “platform cooperativism,” which encompasses new ownership models for the Internet. Platform cooperativism insists that we’ll only be able to address the myriad ills of the sharing economy—that is to say platform capitalism—by changing ownership, establishing democratic governance, and reinvigorating solidarity. In this paper, Scholz breathes life into this idea by describing both actually existing and possible examples of platform co-ops, outlining basic principles for fairly operating labor platforms on the Internet, and suggesting next steps.”

Publisher Rosa Luxemburg Stiftung, New York Office, Jan 2016
27 pages

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Platform Cooperativism (English, 2016, PDF, 6 MB)
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Rasmus Fleischer: Musikens politiska ekonomi: lagstiftningen, ljudmedierna och försvaret av den levande musiken, 1925-2000 (2012) [Swedish]

Historical study on copyright legislation and media technology in the 20th century.

“This book explores the intersections of politics and technology, economy and aesthetics. It concerns the changing preconditions for the commodification of music during the 20th century, caused by the use of loudspeakers and radio broadcasting, primarily in Sweden.

It was around 1930 that “live music” (levande musik) became a concept, strictly opposed to that of “mechanical music”, suggesting a kind of “aura” in the common presence of musicians and audience. About the same time, cinema musicians lost their employment and musicians’ trade unions began to fear that the “mechanization of music” would have disastrous consequences. The thesis explores how and why musicians – but also record companies – were granted legal rights to compensation for the use of recorded music, internationally standardized in the Rome Convention (1961). This led to new institutions of economic redistribution for the benefit of musicians. A recurrent problem was derived from the ambivalent status of musicians as royalty-earning artists and/or wage-earning workers.

Another problem was the practical impossibility of monitoring the actual use of loudspeaker music. The thesis shows how legislators have avoided the hardest decisions, preferring to delegate these to collecting societies. Furthermore, it highlights the influential role of Fascist Italy as an early partner of the record industry lobby. Musicians’ unions, on the other hand, allied themselves with the ILO (International Labour Organization), in opposition to the record industry.

In the 1960s, the “aura” of musical performance was questioned by avantgardists and bureaucrats. However, the trend changed in the 1970s with the rise of a leftist-radical music movement. Its idea about authenticity was absorbed by government agencies and by the Musicians’ union. The years 1977–82 marks a peak in the unionist struggle against “mechanical music”, with a brief but heated conflict between disc-jockeys and instrumentalists. The last empirical chapter examines the sudden rise of interest in “music export” within the context of the “new economy” of the 1990s.

Empirically, this thesis draws on a wide range of sources covering the period of 1925–2000: governmental investigations, publications from the Swedish Musicians’ Union, and archival material. The theoretical basis may be described as critical theory, which is combined with materialist media theory in the attempt to clarify how “music” can be sold as a commodity, while at the same time remain as an activity outside of the market. ”The political economy of music” is thus defined as a process of mediation, which may be understood as a dialectic of industrialization and aestheticization.”

Based on Ph.D. thesis from the Department of History, Lund University, 2012.

Publisher Ink bokförlag, Stockholm, 2012
ISBN 9197846945, 9789197846943
v+630 pages
via rsms

Reviews: Staffan Albinsson (Scandinavian Economic History Review, 2013, EN), Ulrik Volgsten (Respons, 2013, SW).

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Publisher (archive.org)
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ARG

More from Fleischer.

Reinhold Martin, Jacob Moore, Susanne Schindler (eds.): The Art of Inequality: Architecture, Housing, and Real Estate. A Provisional Report (2015)

This book builds on the research of the House Housing exhibitions, putting the historical relationship of architecture and real estate in the context of the contemporary debate about dramatically rising rates of inequality.

“In 2013, in the United States, the median-income white household’s net worth was thirteen times that of the median-income black household. In 2014, the world’s eighty-five richest individuals held as much wealth as the world’s poorest 3.5 billion. In 2015, 88,000 households applied for the chance to live in fifty-five below market-rate apartments, accessible through a “poor door” on New York City’s Upper West Side.

What is inequality? Typically, inequality is defined by a combination of economic measures referring to income and wealth. Entire populations, in the language of statistics, are measured and managed according to their place on the inequality spectrum: patronage for the 1%, morality for the ambiguous “middle class,” and austerity for the rest. This economic inequality is, however, inseparable from social disparities of other kinds—particularly in the provision of housing. More than just a building type or a market sector, housing is a primary architectural act—where architecture is understood as that which makes real estate real. It begins when a line is drawn that separates inside from outside, and ultimately, one house from another. The relation that results under the rule of real estate development is—by its very structure—unequal.

This is the art of inequality. Its geographies are local and global. Its histories are distant and present. Its design is ongoing. Its future is anything but certain.” (from the back cover)

With contributions by Manuel Shvartzberg Carrió, Erik Carver, Cezar Nicolescu, Pollyanna Rhee, and Sonya Ursell.

Publisher Buell Center, Columbia University, New York, September 2015
Open access
ISBN 9781941332221
238 pages
HT Dubravka Sekulić

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