Fanon Calls bulls**t on your Revolution

Andrew Ross considers the impossible position of creatives in the industry in his piece No- Collar.   In the piece he complicates the misconception about the creative industry, namely that it exists. The existence of the “creative industry” as we understand it implies that there has been a shift away from the capitalist model from which it sought to escape. He says,

Among industry watchers, everyone knew artists and writers who behaved, after a fleeting bout of new media employment, as if they had been bodysnached. Even though they were steeped in bohemian lore and language, their speech patterns rapidly yielded to the Internet industry’s stilted version of Business English. “We will have to leverage our core competencies in hopes of monetizing our assets, so that our scalability and pre-revenue will translate into a value proposition for our investors and deliverables for our clients.” In a juvenile industry anxious to establish its credentials, the technical jargon of the trade— awash in “cross platform infrastructures,” “content aggregators” and “innovation systems integrators”— was deliberately enriched so that it took on a mystique that awed clients. But the exact meaning of the words mattered less than the fact that a convert’s language was being spoken— proof that the speaker was a signed- up member.  (45)

Individuals have reimagined the creative industry, seeing it as they want to see it. Not only can we problematize the societal

Fanon says no.

Fanon says no.

effects of the creative industry as they have affected our social spaces today, but their own systems fail. Though their output is

“creative” The industry itself has lost itself to the system, from which it originally moved away from. Unable to completely structure itself absent of the confines of the traditional capitalist industry the “creative industry” and its subjects are .

The idea of “bohemia” or “neo-bohemia” as Lloyd describes it is offensive, as it should be. Similarly, the idea of the “creative industry” as we understand it, is just plain wrong.  Not only do we fail to have a shift away from the capitalist systems we misunderstand the way in which the system is negatively affecting the product, the creative process.

The Fordist model has cycled through and remodel  the current industry, individuals  unknowingly move towards the capitalist goals of the “corporation.”   Convinced of their disruption of the system, (based on the prevalent signs of the revolution i.e. coffee-shop hipster, loft living space, other inconclusive representations of new age “revolution”). The creative industry of today is false if it assumes that it is not just as manipulated by the capitalist system as the collar industries. 


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