Something went wrong trying to save https://www-jstor-org.libproxy.mit.edu/stable/pdf/2930269.pdf?refreqid=excelsior%3A24c2adbd3e941175a38f67c5c2e4e556.
Jodi Dean, a political philosopher, introduced the term “communicative capitalism” to describe a situation where telecom networks make every message equally valuable and equally worthless. When only connections matter, as Dean argues is the case in an online landscape where tweets and Facebook “likes” are the most powerful currency, signification becomes impossible. Dean’s way of thinking is too totalizing and deterministic for me. Words still mean things and now, as ever, the effectiveness of an utterance depends more on the speaker’s will and the listeners’ engagement than on whatever technologies and ideologies lie in the way. But Dean is right to point out that networks create and amplify noise, making it easier for people to harness their distributed power. The Jogging models and exploits the workings of communicative capitalism, and many of the individual posts, including Shenk’s nonsensical but much “liked” images, could be seen as illustrations of Dean’s pessimistic theory
from Young Incorporated artists
Fresh art school grads are already jaded from imagining a future of jockeying for solo shows and invitations to dine with collectors. Instead, they test an alternate path to success. Unable to ascend immediately to Jeff Koons status, they incorporate—they form collectives without the utopian principles of communal collaboration that art historians and critics have tended to associate with dispersed authorship. Let’s call them young incorporated artists.