Peer2Politics
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Peer2Politics
on peer-to-peer dynamics in politics, the economy and organizations
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P2P Foundation Wins Golden Nica from Prix Ars Electronica | P2P Foundation

What exactly is the P2P Foundation? I consider it an invaluable resource of archived information about the history of peer production and related topics.
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Radical Democracy: Reclaiming the #Commons Part 4 #Spain | P2P Foundation

Radical Democracy: Reclaiming the #Commons Part 4 #Spain | P2P Foundation | Peer2Politics | Scoop.it
For the last several years, Spain has been a laboratory for bottom-up organisation and empowerment.
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Spanda | Open Access semi-annual peer-reviewed journal

Spanda | Open Access semi-annual peer-reviewed journal | Peer2Politics | Scoop.it
Even though the Spanda Foundation is not a publishing house, it publishes – under its own inprint "Spanda Publishing" – occasional and working papers such as final reports of its projects, results and reflections from ongoing research, discussion and topical papers, conference proceedings and the like to stimulate and disseminate new insight in current issues. The series, published predominantly in English, is targeted at international policymakers, academics, journalists and the general public.
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#litgeeks | an unusually hardcore book club

#litgeeks | an unusually hardcore book club | Peer2Politics | Scoop.it

A Theory of Everybody: a platform for social poetics & planetary thought. We are an open-source cooperative of writers, readers, artists, thinkers, activists, and other misfits dedicated to exploring the question: How can art reimagine the world?

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The Creative Class and the Movies - The New Yorker

The Creative Class and the Movies - The New Yorker | Peer2Politics | Scoop.it

His two main culprits are the Internet—which has decimated the recording industry, the bricks-and-mortar outlet, and newspaper publishing—and rising economic inequality, which has depleted the public coffers and reduced public spending on cultural projects of all sorts, from the construction of museums and concert halls to the sustenance of orchestras and the financing of arts education in schools. But he adds some peripheral villains to the scene, including the rise in academia of cultural studies that renounce established cultural distinctions; literary theories that dethrone the humanistic and aesthetic approach to literature; longstanding American suspicion of intellectuals; and even the enduring romanticism regarding artists, who are, in this view, “either soaring deities or accursed gutter-dwellers”—thus helping to rationalize a culture that leaves artists no option but to succeed as celebrities or sink as obscurities.


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