This document discusses exploring an economy for and of culture. It begins by introducing contributors and examining micro-economics relationships between cultural players. Various knowledge, experiences, and skills are listed as being wanted or for sale. It then examines characteristics of economy and culture, noting how the modern platform economy differs from regulated work hours. Various aspects of cultural landscape are outlined, and culture as a commons is discussed, examining ideas of furtherfield and DIWO (Do It With Others). Principles of managing commons from Elinor Ostrom are provided. Authors and topics related to cultural capital, value, and alternative models are recommended for reading.

1. Exploring an Economy
FOR and OF
CULTURE
a reader-in-progress

2. Contributors
Pedro
Torro Arias
Bryan
Amat
Jorge San
Vicente
Ana
Javierre

3. Contributors

4. Micro-Economics
What is it that we want /
what is it that we have to
offer?
Let‘s start establishing a
micro-economic relaBons
between us.
Let‘s be aware of the market
we create and look at each
other as economic players.

5. Micro-Economics
Knowledge /
Experience
Wanted! For sale!
Time
Experiences / ideas of
sustainability on the
cultura sector
Local experiences in other
places like Madrid
Women‘s perspecBves
working on the cultural
sector
InformaBon about other
alterntaBve cultural
acBviBes
Learning how cultural
insBtuBons work
Networking with different
people and experiences
Tips about economies in
the cultural scene
Curious about economic
policies in culture
MoBvaBon
Co-OrganizaBon
Making connecBons
WriBng and ediBng skills
Personal and professional
experience in cultural
events
Networking capaciBes
Experience in different
cultural sectors
Horrible jokes
ExperBse in poliBcal/
militant strategie and
poliBcal culture

6. Characteristics of Economy and Culture
Regulated workhours?
Wait a minute...this is not
any more the economy we
live in!

7. Today, we live in a Platform Economy world
Image courtesy of Accenture

8. Players of the platform economy

9. AND BY WHAT CULTURE ARE WE
SUROUNDED?

10. Cultural Landscape
Cultural &
CreaBve
Industries
New cultural
phenomena:
YouTube Stars for
instance
„The common
cultural realm“!
Cultural Heritage
Independent
Culture
Subsidized
culture, such as theater,
dance,
opera etc. „Counterculture“

11. CULTURE
AS COMMONS

12. Cornelia Sollfrank:
In $mes of constant economic and ecological crisis the
global commons movement is growing in search for
bo#om-up solu+ons.
In the most general sense, commons can be described
as alterna+ve modes of ownership and collec+ve
ways of dealing with resources.
The suggested defini$on of the commons allows for
dis$nguishing between goods, people and social
rela+ons and to understand them, at the same $me,
as integral parts of the commons as social ins+tu+on.
These dis$nc$ons do not work for all Commons
equally, but they provide a useful set of references for
analysis.

13. What Ruth Catlow is
planning to do with FURTHERFIELD:
With Furtherfield Commons, we also want to
experiment with how a commons might work for an
arts- and technology-led organisa+on.
Discussions of the commons oDen (unhelpfully) centre
around how to manage and share scarce resources –
materials, knowledge, praxis – and get stuck on
ques$ons of ownership, fairness, etc.
For us, it is at least as important to imagine, devise,
maintain and steward together places,
infrastructures, systems and communi+es; for a good
life, for more diverse people, and all living things.

14. DO IT WITH OTHERS!
Image courtesy of Furtherfield.com

15. It‘s DIWO if it‘s...
• Enlarges arBsBc freedoms.
• Uses the metaphors, tools, cultures and processes
of digital & physical networks.
• Is led by experimental arBsBc processes rather than
uBlitarian or theoreBcal concerns.
• Disrupts tradiBonal hierarchies and concepts of
ownership working with decentralized peer 2 peer
pracBces.
• Involves diverse parBcipants (unwiang and acBve
collaborators), ideas and social ecologies.
• Generates unruly and provocaBve relaBonships
between symbolic meanings and material effects.
• Co-creates a new, freer, art context for more and
more diverse people.
Courtesy of Furtherfield.com

16. Our collecBve right to the
natural Commons
The need to educate people about
the Commons
Our shared responsibility to protect
our Commons

17. The concept of the Commons
might sound idealisBc today
but...

18. 1768 BostonCommon byChrisBanRemick

19. 1769 Boston Common Map By William Price, Courtesy of Wiki Commons

20. So...
what happened?

23. Well,
are the Commons
doomed?
Image courtesy of Jac Depczyk, published in „The Economist“

24. „There is no reason to believe that bureaucrats and poli$cians, no maJer
how well meaning, are beJer at solving problems than the people on the
spot, who have the strongest incen$ve to get the solu$on right!“
Elinor Ostrom
Image courtesy of Nobelprize.com

25. MARKETS
GOVERN-
MENT
POLICIES
COLLECTIVE
ACTION
How we should approach
a commons project....
MulO-stakeholder approach, according to Elinor Ostrom

26. Elinor Ostrom: 8 Principles for Managing a Commons
1. Define clear group boundaries.
2. Match rules governing use of common goods to local needs and condiBons.
3. Ensure that those affected by the rules can parBcipate in modifying the rules.
4. Make sure the rule-making rights of community members are respected by outside
authoriBes.
5. Develop a system, carried out by community members, for monitoring members’
behavior.
6. Use graduated sancBons for rule violators.
7. Provide accessible, low-cost means for dispute resoluBon.
8. Build responsibility for governing the common resource in nested Bers from the lowest
level up to the enBre interconnected system.

27. Why are so many cultural
organizaOons dysfuncOonal?

28. What doesn‘t work

29. What doesn‘t work

30. What doesn‘t work

31. Cultural Capital &
Cultural Value

32. Cultural Capital
A form of wealth or value that, although it can be enjoyed individually, “is a
mutual creaBon that uses the resources of shared tradiBons and the collecBve
imaginaBon to generate a public, not a private, good.”
„the policy toward culture and the arts that “seeks to privaBze this shared
wealth, absorbing it into the circulaBon of commodiBes, and puang it to
instrumental use.”
Robert Hewison „Cultural Capital“

33. Cultural Value of your
own project / organizaOon?

34. Business Model Canvas

35. Internal Values

36. PlaXorm CooperaOvism
Future Models

37. PlaXormcoops.com

38. AUTHORS AND ARTISTS TO READ
AND ENJOY, related to our topic

39. Vandana Shiva: The Commons
Elinor Ostrom: The Commons
PlaXform Coop Website: hps://plaXorm.coop/resources
Robert Hewison: Cultural Capital
Frederik Laloux: ReinvenOng OrganizaOons
CriOque of PlaXorm Economy and Gig Economy: hps://plaXorm.coop/resources
Cornelia Sollfrank: Arts & Commons
Ruth Catlow: Arts & Commons
Sharing Economy vs plaXorm cooperaOvism / Trebor Scholz: hps://medium.com/@trebors/
plaXorm-cooperaOvism-vs-the-sharing-economy-2ea737f1b5ad
hp://www.nyamnyam.net/
hp://lagrietaonline.com/
hp://www.hosOaunlibro.com
hp://www.supermarkt-berlin.net/
acuatropatas.info

40. Air is very important during the processes of food fermenta+on. This is
also true for social processes. Space and free +me, the leisure to experi-
ment and play are both perceived as luxuries in current day society. In
reality they are essen+al for the crea+on of ideas and resources that
help confront social challenges and economic crises.
This is a reminder that the most wonderful things
happen during breaks or over lunch:
Quote from the Microcultures booklet

41. THANK YOU!