<i>Crowdfunding</i> et préservation du patrimoine culturel

Guesmi, Samy; Delfosse, Julie; Laurence, Lemoine; Oliveri, Nicolas

doi:10.3166/rfg.2016.00056

Cited by 6 publications

(2 citation statements)

References 11 publications

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“…This territorial question is also important in heritage conservation, where citizens are more likely to become engaged in and support local projects (Guesmi et al 2015). Other studies that have looked at the motivations that drive Internet users to participate in and back projects also demonstrate the importance of affective and identity-based ties, and of supporting a cause which matches one's own values (Ordanini et al 2011;Gerber and Hui 2013).…”

Section: A New Paradigm For Production and Cultural Value?mentioning

confidence: 99%

Introduction

Rouzé¹

2019

Cultural Crowdfunding: Platform Capitalism, Labour and Globalization

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The early years of the twenty-first century saw the emergence of the idea of a 'collaborative' web, a Web 2.0 where Internet users would actively participate in producing content and creating value from it. Following the financial crises and especially the dotcom crash, the term 'Web 2.0' was coined in 2005 by the American entrepreneur and expert Tim O'Reilly, with a view to rebuilding confidence among investors in the Internet (Fuchs 2008). O'Reilly was one of the first to popularize the idea that the Internet would now be based on a participative model in which the user would go from being a mere consumer to a 'content generator' (Le Deuff 2007). An identical vision was implicit in the notion of 'social media' , which became common currency in the same period, despite its vagueness. In line with these different discursive propositions, specialized technical and economic apparatuses or dispositifs 1 for extracting value from communication flows on the web began to emerge: search engines, blogging platforms, content aggregators, virtual worlds, platforms for broadcasting video, social networks, and so on. Distinctive to these platforms is their heavy dependence on the contributions of their own user communities. The discourses underpinning the participative and/or collaborative aspect of the Internet, along with their 'implementations' , all seem to come back to the idea that pooling together the efforts of individuals can open up a better future, How to cite this book chapter:

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Section: A New Paradigm For Production and Cultural Value?mentioning

confidence: 99%

Introduction

Rouzé¹

2019

Cultural Crowdfunding: Platform Capitalism, Labour and Globalization

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“…D'autres, comme Mollick (2014) ou Belleflamme, Lambert et Schwienbacher (2014), montrent l'importance préalable du réseau et de la communauté dans le succès d'une campagne autant que sa mise en visibilité sur les réseaux sociaux. Il s'ensuit des tentatives de hiérarchisation des motivations des usagers de plateformes, comme l'attrait pour l'innovation technologique et l'importance de la gratification affective (Kuppuswamy et Bayus, 2013) ou l'attrait tenant à la valeur symbolique de l'objet, comme dans le cas, en France, de la rénovation du Panthéon (Guesmi et al, 2015), et la proximité géographique (Agrawal, Catalini et Goldfarb, 2011). Dans la continuité d'autres acteurs du Web, tels que Facebook 23 , les plateformes ouvrent des ateliers de formation, telle la Proartischool 24 , le Kickstarter Campus 25 ou encore le IndieGogo Education Center 26 .…”

Section: Le Régime De La Participationunclassified

Les plateformes de financement participatif culturel : une normalisation de la participation ?

Rouzé¹

2019

ticetsociete

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This article analyzes crowdfunding platforms for cultural goods and services. This article starts by defining the outlines of these platforms and showing how they are far from being alternatives to cultural industries. We then analyse how they become integrated as new intermediaries into what actors name "a creative ecosystem" that is dependent on logics of markets, on public politics, on partnerships and on education aimed at involving contributing/producing users.

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Lecrowdfundingsolidaire en contexte d’urgence

Chekkar

Renault

2020

Rev. Fr. Gest.

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Dans le cadre de la crise sanitaire liée à la Covid-19, des organisations et particuliers ont choisi de mobiliser le crowdfunding au service d’actions visant à venir en aide aux cibles impactées. En se basant sur l’analyse de 25 campagnes lancées sur KissKissBankBank et Ulule, la recherche, présentée dans cet article met en relief les spécificités et enjeux associés au recours à des plateformes de don moyennant contreparties pour soutenir des actions porteuses de solidarité dans des contextes d’urgence.

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Crowdfunding et préservation du patrimoine culturel

Cited by 6 publications

References 11 publications

Introduction

Introduction

Les plateformes de financement participatif culturel : une normalisation de la participation ?

Lecrowdfundingsolidaire en contexte d’urgence

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