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Thursday, May 19, 2022

Platform economy

From Wikipedia, the free encyclopedia

The platform economy is economic and social activity facilitated by platforms. Such platforms are typically online sales or technology frameworks. By far the most common type are "transaction platforms", also known as "digital matchmakers". Examples of transaction platforms include Amazon, Airbnb, Uber, and Baidu. A second type is the "innovation platform", which provides a common technology framework upon which others can build, such as the many independent developers who work on Microsoft's platform.

Forerunners to contemporary digital economic platforms can be found throughout history, especially in the second half of the 20th century. Yet it was only in the year 2000 that the "platform" metaphor started to be widely used to describe digital matchmakers and innovation platforms. Especially after the financial crises of 2008, companies operating with the new "platform business model" have swiftly come to control an increasing share of the world's overall economic activity, sometimes by disrupting traditional business. Examples include the decline of BlackBerry and Nokia due to competition from platform companies, the closing down of Blockbuster due to competition from the Netflix platform, or the many other brick and mortar retailers that have closed in part due to competition from Amazon and other online retailers. In 2013, platform expert Marshall Van Alstyne observed that three of the top five companies in the world used the platform business model. However, traditional businesses need not always be harmed by platforms; they can even benefit by creating their own or making use of existing third-party platforms. According to a 2016 survey by Accenture "81% of executives say platform-based business models will be core to their growth strategy within three years." In the year 2000 there were only a handful of large firms that could be described as platform companies. As of 2016, there were over 170 platform companies valued at US$1 billion or more. The creation and usage of digital platforms is also increasing in the government and NGO sectors.

The rise of platforms has been met by a mixed response from commentators. Many have been enthusiastic, arguing that platforms can improve productivity, reduce costs, reduce inefficiencies in existing markets, help create entirely new markets, provide flexibility and accessibility for workers, and be especially helpful for less developed countries. Arguments against platforms include that they may worsen technological unemployment, that they contribute to the replacement of traditional jobs with precarious forms of employment that have much less labour protection, that they can worsen declining tax revenues, and that excessive use of platforms can be psychologically damaging and corrosive to communities. Since the early 2010s, the platform economy has been the subject of many reviews by academic groups and NGOs, by national governments and by transnational organisations like the EU. Early reviews were generally against the imposition of heavy regulation for the platform economy. Since 2016, and especially in 2017, some jurisdictions began to take a more interventionist approach. Platform workers often work irregular and long hours, putting them at risk of cardiovascular diseases.

Platform Economy Visualization

Platform definition

The 'platform' metaphor has long been used in a variety of ways. In the context of platform economy, 21st-century usage of the word platform sometimes refers solely to online matchmakers – such as Uber, Airbnb, TaskRabbit etc. Academic work and some business books often use the term in a wider sense, to include non-digital matchmakers like a business park or a nightclub, and also to other entities whose function is not primarily to support transactions. Platform co-author Alex Moazed explains that “platforms don’t own the means of production, they create the means of connection.”  Platforms scholars Professor Carliss Y. Baldwin and Dr C. Jason Woodard have offered a generalised definition of economic platforms where the focus was on the technical side of the platform: "a set of stable components that support variety and evolvability in a system by constraining the linkages among the other components". Woodard and Baldwin have stated that at a high level of abstraction, the architecture of all platforms is the same: a system partitioned into a set of core components with low variety and a complementary set of peripheral components with high variety. Others define it based on the ecosystem perspective where the focus was on the actors around the platform ecosystem (e.g., buyers, sellers). For more discussion of definitions, see the paper Digital Platforms: A Review and Future Directions.

Related concepts

Also known as the digital platform or online platform economy, the platform economy is economic (the buying, selling and sharing of goods and services) and social activity facilitated by platforms. Such activity is wider than just commercial transactions, including for example online collaboration on projects such as Wikipedia. While scholarship on platforms sometimes includes discussion of non digital platforms, the term "platform economy" is often used in a sense that encompasses only online platforms.

"Platform economy" is one of a number of terms aiming to capture subsets of the overall economy which are now mediated by digital technology. The terms are used with diverse and sometimes overlapping meanings; some commentators use terms like "sharing economy" or "access economy" in such a broad sense they effectively mean the same thing. Other scholars and commentators do attempt to draw distinctions and use the various terms to delineate different parts of the wider digital economy. The term "platform economy" can be viewed as narrower in scope than "digital economy", but wider in scope than terms like "on demand economy", "sharing economy" or "gig economy". Several scholars have argued that "platform economy" is the preferable term for discussing several aspects of emergent digital phenomena in the early 21st century. The "platform economy" corresponds to the sum of "marketplaces", which form part of a larger entity analysed from a legal-philosophical perspective in a new glossary developed by an interdiscipinary team forming part of the Internet Governance Forum called the Dynamic Coalition of Platform Responsibility.

Digital economy

The term digital economy generally refers to all or nearly all economic activity relying on computers. As such it can be seen as having the widest scope; encompassing the platform economy, and also digital activities not mediated by actual platforms. For example, economic transactions completed solely by email, or exchanges over EDIs, some of which operate between only two companies so are too closed off to be considered platforms. Some scholars draw a distinction between platforms and earlier websites, excluding even sites such as Craigslist that are used to support economic transactions. Such sites can be considered outside the platform economy, not because they are too closed off, but as they are too open to be classed as platforms.

On-demand economy

The terms "On-demand" or access economy are sometimes used in a broad sense, to include all activity from transaction platforms, and much else. Some commentators, however, assign the access economy a narrower definition, so that it excludes platforms in the sharing economy. Even when sharing and on-demand platforms are distinguished in this way however, they are still both included in the wider "platform economy".

Sharing economy

The term sharing economy is also used with a wide range of scopes. According to Rachel Botsman, one of the prominent analysts of the sharing economy, the ‘sharing economy’ as a term has been incorrectly applied to ideas where there is just a model of matching supply with demand, but zero sharing and collaboration involved. There is a fundamental difference between platforms such as Deliveroo, Dashdoor which operates on the basis of meeting instant demand with a constant pool of labour and platforms like BlaBlaCar or Airbnb, which are genuinely built on the sharing of underused assets. So, mere delivery may not qualify as a sharing economy, but it is a mobile-driven version of point-to-point delivery. However, due to the positive connotations of the word "sharing", several platforms that don't involve sharing in the traditional sense of the word have still liked to define themselves as part of the sharing economy. Yet academic and some popular commentators define the sharing economy as only including activity that involves peer to peer transactions; in these narrow definition most of the platform economy is outside of the sharing economy.

Gig economy

The Gig economy refers to various forms of temporary work. The phrase is sometimes used with a broad scope, to include traditional offline temporary and contract work; in that sense, parts of the gig economy are outside the platform economy. In the narrow sense of the phrase, the gig economy refers solely to work mediated by online labour market platforms, for example PeoplePerHour. In this narrow sense, an important sub division is between local and remote gig work. Local gigs require the worker to be present in person – as is the case for Uber or most TaskRabbit work. For remote work, also known as the "human cloud", tasks can be done anywhere in the world, as is generally the case with Mechanical Turk or the upwork platform. A 2017 study estimated that worldwide, about 70 million people have registered on the remote labour platforms. The global gig economy, in 2018, generated $204 billion in gross volume (with vehicle for hire services comprising 58% of this value), while this number is expected to grow to $455 billion in 2023. Moreover, surveys yield that 5–9 per cent of adult Internet users in various European countries are involved in working through such platforms weekly, while annual growth rate of the gig platform users is forecasted to be 26 per cent.

The word 'gig' in the term 'gig economy' is suggestive of short-term arrangements typical of a musical event.  'Gig' suggests an arrangement similar to musicians being booked for a gig at a particular venue. Such bookings typically have a specified time and won't be long term. As a result, there is no guarantee of repeat bookings, and sometimes no defined method of payment. Parallels exist between etymological meaning of the term related to the musicians’ tasks and the gig economy. For example, gig jobs are classified as contingent work arrangements (in the US-context) rather than full-time or even hourly wage positions. Tasks in the gig economy have been characterized as short, temporary, precarious, and unpredictable. They can also increase accessibility, geographic, and social inclusion in the labour markets, and provide workers with a sense of autonomy.

History

Pre Internet era

Businesses operating on some of the principles underpinning contemporary digital platforms have been in operation for millennia. For example, matchmakers who helped men and women find suitable marriage partners operated in China since at least 1100 BC. Grain exchanges from ancient Greece have been compared to contemporary transactional platforms, as have medieval fairs. Examples of innovation platforms also predate the internet era. Such as geographic regions famous for particular types of production, institutions like Harvard Business School, or the Wintel technology platform that became prominent in the 1980s.

Post Internet

The viability of large scale transaction platforms was vastly increased due to improvements in communication and connectedness brought about by the Internet. Online market platforms such as Craigslist and eBay were launched in the 1990s. Forerunners to modern social media and online collaboration platforms were also launched in the 1990s,  with more successful platforms such as Myspace and Wikipedia emerging in the early 2000s. After the financial crisis of 2007–08, new types of online platforms have risen to prominence, including asset-sharing platforms such as Airbnb, and labour market platforms such as TaskRabbit.

Scholarship and etymology

According to the OED, the word "platform" has been used since the 16th century, both in the concrete sense to refer to a raised surface, and as a metaphor. However, it was only in the 1990s that the concept of economic platforms began to receive significant attention from academics. In the early 90s, such work tended to focus on innovation or product platforms, defined in a broad sense that did not focus on online activity. Even as late as 1998, there was little focus on transaction platforms, and according to professors David S. Evans and Richard L. Schmalensee, the platform business model as it would be understood in the 21st century was not then recognised by scholars.

The first academic paper to address the platform business model and its application to digital matchmakers is said to be Platform Competition in Two-Sided Markets by Jean-Charles Rochet and Jean Tirole.  An early management research book on platforms was Platform Leadership: How Intel, Microsoft and Cisco Drive Industry Innovation, by Annabelle Gawer and Michael Cusumano (published in 2002). One of the academics most responsible for connecting those working in the emerging field of platform scholarship was professor Annabelle Gawer; in 2008 she held the first international conference on platforms at London.

The platform business model

The platform business model involves profiting from a platform that allows two or more groups of users to interact. The model predates the internet; for example, a newspapers with a classified ads section effectively uses the platform business model. The emergence of digital technology has "turbocharged" the model, although it is by no means a sure path to success. While the most successful "born-social" firms can in just a few years achieve multibillion-dollar valuations, along with brand loyalty comparable to the largest traditional companies, most platform business start ups fail.

Some companies are dedicated to the platform business model; for example, many so-called born-social startups. Other companies can operate their own platform(s) yet still run much of their business on more traditional models. A third set of firms may not run their own platform, but still have a platform strategy for utilising third-party platforms. According to a 2016 survey by Accenture, "81% of executives say platform-based business models will be core to their growth strategy within three years." According to research published by McKinsey in 2019, 84% of traditional firms either owned their own platform or utilised one operated by a third party, while for born digital firms, only 5% lacked a platform strategy. Mckinsey found that firms with a platform presence - either their own or via a third party - enjoyed on average an almost 1.4% higher annual EBIT growth.

Some of the principles governing the operations of matchmaking platforms differ sharply when compared with traditional business models. The selling of products or services is central to most traditional businesses, whereas for transaction platforms, connecting different groups of users is the key focus. For example, a traditional mini cab company sells taxi services, whereas a platform company might connect drivers with passengers. Another distinguishing feature of the platform business model is that it emphasises network effects, and the inter-dependence of demand between the different groups that use the platform. So with a platform business, it often makes sense to provide services free to one side of the platform, e.g. to the users of a social media service like Facebook. The cost of this subsidy is more than offset by the extra demand a large user base generates for the revenue generating side(s) of the platform (e.g. advertisers).

According to authors Alex Moazed and Nicholas L. Johnson, BlackBerry Limited (formerly RIM) and Nokia lost massive market share to Apple and Google's Android in the early 2010s, as RIM and Nokia were acting as product companies in a world now best suited to platforms. As former Nokia CEO Stephen Elop wrote in 2011 "We’re not even fighting with the right weapons, ... The battle of devices has now become a war of ecosystems."

Creating a digital platform

Many books covering the platform economy devote chapters to the challenges involved in creating platforms: both for new platform startups, and for traditional organisations wishing to adopt a platform strategy. Some books are even dedicated just to certain aspects of operating a platform, such as nurturing ecosystems. The work involved in creating a platform can be broadly divided into elements relating to technical functionality and network effects; for many but not all platforms, a great deal of effort also needs to go into the cultivation of ecosystems.

Technical functionality

Developing the core technical functionality can sometimes be unexpectedly cheap. Courtney Boyd Myers wrote in 2013 that a platform with the core functionality of Twitter could be developed almost for free. A person who already had a laptop could take a $160 Ruby on Rails course, spend about 10 hours writing the code, and then host the Twitter clone on a free Web hosting service. A service that would have a chance of attracting a good user base, however, would need to be developed to at least the level of being a Minimum viable product (MVP). An MVP requires development well beyond a core set of technical functionality, for example, it needs to have a well-polished user experience layer. Boyd Meyers reported estimates that to develop an MVP for a platform like Twitter, the cost could range from $50,000 to $250,000, whereas for a platform needing more complex functionality such as Uber, the cost could range from $1 to $1.5 million. This was in 2013, considerably more has since been spent on technical development for the Uber platform. For other platforms, however, developing the needed technical functionality can be relatively easy. The more difficult task is to attract a large enough user base to ensure long term growth, in other words to create sufficient network effects.

Network effects

Platforms tend to be a strong beneficiary of network effects; phenomena that can act to increase the value of a platform to all participants as more people join. Sometimes it makes sense for a platform to treat different sides of their network differently. For example, a trading platform relies on both buyers and sellers, and if there is say a shortage of buyers compared to the number of sellers, it might make sense for the platform operator to subsidize buyers, at least temporarily. Perhaps with free access or even with rewards for choosing to use the platform. Sometimes the benefits of network effects can be overestimated, such as with the so-called "grab all the eyeballs fallacy", where a large audience is attracted to a platform, but there proves to be no profitable way to monetise it.

Ecosystems

In the context of digital platforms, ecosystems are collections of economic actors not controlled by the platform owner, yet who add value in ways that go beyond being a regular user. A common example is the community of independent developers who create applications for a platform, such as the many developers (both individuals and companies) that create apps for Facebook. With Microsoft, significant components of their ecosystem include not just developers, but computer and hardware peripheral manufactures, as well as maintenance and training providers. A traditional company embarking on a platform strategy has a head start in creating an ecosystem if they already have a list of partners, alliances and/or resellers. A startup company looking to grow an ecosystem might expose elements of its platform via publicly available APIs. Another approach is to have an easily accessible partnership sign up facility, with the offer of free or subsidised benefits for partners.

Platform owners usually attempt to promote and support all significant actors in their ecosystems, though sometimes there is a competitive relationship between the owner and some of the companies in their ecosystem, very occasionally even a hostile one.

A platform ecosystem can be viewed as an evolving meta-organizational form characterized by enabling platform architecture, supported by a set of platform governance mechanisms necessary to cooperate, coordinate and integrate a diverse set of organizations, actors, activities, and interfaces, resulting in an increased platform value for customers through customized platform services.

Typology

Scholars have acknowledged platforms are challenging to categorise, due to their variety. A relatively common approach is to divide platforms into four types, based on the principle ways they add utility, rather than being concerned with which particular sectors they serve. These four types are transaction, innovation, integrated, and investment. Other ways to categorize digital platforms are discussed in Digital Platforms: A Review and Future Directions

Transaction platforms

Also known as two-sided markets, multisided markets, or digital match making firms, transaction platforms are by far the most common type of platform. These platforms often facilitate various forms of online buying and selling, though sometimes most or all transactions supported by the platform will be free of charge.

Innovation platforms

Innovation platforms provide a technological foundation, often including a set of common standards, upon which an ecosystem of third parties can develop complementary products and services to resell to consumers and other businesses. Examples of platform companies include Microsoft and Intel. Innovation platforms often stimulate ecosystem innovation.

Integrated platforms

Integrated platforms combine features of both transaction and innovation platforms. Apple, Google, and Alibaba have been classified as integrated platforms. Several integrated platform companies operating multiple discreet platforms and could also be described as "platform conglomerates", while some others are more integrated and derive synergies from combining innovation and transaction platforms.

Investment platforms

Investment platforms are companies that might not themselves operate a major platform, but which act as holding vehicles for other platform companies, or which invest in multiple platform businesses. 

Global distribution, international development, and geostrategy

Platforms are sometimes studied through the lens of their differing distributions and impact across the world's geographic regions. Some early work speculated that the rise of the platform economy could be a new means by which the United States could maintain its hegemony. While the largest platform companies by market capitalisation remain US-based, platforms based in India and Asia are fast catching up, and several authors writing in 2016 and later took the opposite view, speculating that the platform economy will help accelerate a shift of economic power towards Asia.

Africa

An M-Pesa Agent in Tanzania. The M-Pesa platform provides a form of Financial inclusion for people without bank accounts. They can send and receive credit on cheap SMS mobile phones, then exchange the credit for cash or goods at numerous shops and kiosks, which are far more common than bank branches in much of Africa.

Numerous successful platforms have been launched in Africa, several of which have been home grown. In the early 2010s, there were reports by journalists, academics and development workers that Africa has been leading the world in some platform related technologies, such as by "leapfrogging" traditional fixed line internet applications and going straight to developing mobile apps. In the field of mobile money for example, it was the success of Kenya's M-Pesa that brought the technology to global attention.

Similar systems have been introduced elsewhere in Africa, for example, m-Sente in Uganda. M-Pesa itself has expanded out of Africa to both Asia and Eastern Europe. The system allows people who only have cheap SMS capable mobile phones to send and receive money. This and similar platform services have been enthusiastically welcomed both by the end-users, and by development workers who have noted their life-enhancing effects. Ushahidi is another set of technologies developed in Africa and widely used on platforms to deliver various social benefits. While many platforms in Africa are accessible just by SMS, uptake of smartphones is also high, with the FT reporting in 2015 that mobile internet adoption is happening at double the global rate. Compared to other regions, there may have been less negative effects caused by platforms in Africa, as there has been less legacy economic infrastructure to disrupt, which also has provided an opportunity to build new systems from "ground zero". Though some legacy businesses have still been disrupted by the rise of platforms in Africa, with sometimes only the more productive firms being able to overcome barriers to adopting digital technologies.

By 2017, some of the excitement concerning home grown platform technology and the wider Africa Rising narrative has cooled, in line with recent falls in commodity prices reducing the short-term economic prospects for much of the continent. Yet optimism remains that the continent is heading in the right direction. A global survey identified 176 platform companies with a valuation over one billion dollars, yet only one was based in Africa. This was Naspers, which is headquartered in Cape Town, a city that also hosts many other smaller platform companies. A survey focused on smaller platforms based in Africa found few are either wholly foreign or indigenously owned, with most being a mixture.

In 2019, Africa's digital platforms recorded a robust growth in form of 365 unique platforms, making up a 37% increase year on year. These represent freelance, shopping and e-hailing platforms. However, as the platform economy in the continent continue to grow, and new platforms enter the market, there is a high level of churn (high numbers of such platforms entering the market, and incumbent ones exiting). Hence, there is the existence of extreme competition for the incumbent platforms. About 64% of the overall platforms mediate activities that are place-based, thereby directly contributing to absorbing the capacity of local labor capacity. These place-based platforms are said to have been useful in the delivery of essential goods to consumers in the light of COVID-19 lockdown measures in key African geographies (Ghana, Kenya, Nigeria, Rwanda, South Africa, Tanzania, Uganda and Zambia).

Asia

The 2016 global survey found that Asia was home to the largest number of platform companies having a market capitalisation over $930bn. Asia had 82 such companies, though their combined market value was only $930bn, second to North America with market capitalization of $3,000bn. Much of Asia's platform companies are concentrated in hubs located in Bangalore and Hangzhou. More specifically, according to the 2016 regional survey, China significantly accounted for 73% of market cap while Northeast Asia, India, and ASEAN had 22%, 4%, and 1% respectively. Within China, homegrown platforms tend to dominate across the whole platform economy, with most of the big American platforms being banned. eBay is allowed to trade in China, but has a relatively small market share compared to Chinese eCommerce platforms and was eventually shut down in 2006. In 2018, Tmall (Alibaba) took the majority proportion of e-commerce market share in China at 61.5%, followed by JD at 24.2%. Outside of China, Asian-based platforms have been enjoying rapid growth in areas relating to eCommerce, yet until the rise of TikTok, less so in social media and search. Facebook, for example, is the most popular social media platform even in India, a country with several large homegrown platforms, while in Myanmar, the New York Times described Facebook as "so dominant that to many people it is the internet itself." In 2016, Northeast Asia that consists of Japan and Korea had 17 platform companies with collective market capitalization of $244bn; the top five platform companies and their origin were Softbank (Tokyo, Japan), Yahoo Japan (Tokyo, Japan), Nintendo (Tokyo, Japan), Naver (Seongnam, South Korea), and Rakuten (Tokyo, Japan). India had less platform companies than Northeast Asia. There were 9 major platform companies with collective market capitalization of $39bn and the biggest platforms were two e-commerce companies Flipkart and Snapdeal. The smallest number of market share went to Southeast Asia that was home to three platform companies Garena (Singapore), Grab (Malaysia), and GO-JEK (Indonesia) that collectively had market capitalization of $7bn.

Europe

Europe is home to a large number of platform companies, but most are quite small. In terms of platform companies that were valued over $1bn, Europe was found to have only 27 in the 2016 global survey. So far ahead of Africa and South America, but lagging well behind Asia and North America.

However, as of 2020 the German and French governments with backing from the European Commission are now pushing the idea of GAIA-X, an integrated super-platform that would give the EU digital autonomy from the influence of large American and Chinese platform providers, sometimes described as an "Airbus for Cloud".

North America

Market capitalisation of platform companies grouped by region, based on 2015 data from the United Nations. The global tech landscape changes rapidly, and all comparative data here should be regarded as a historical snapshot.

North America, in particular the United States, is home to the world's top 5 global platform companies – Google, Amazon, Apple, Facebook, and IBM. A 2016 global survey of all platform companies with a market cap over $1bn, found 44 such companies headquartered in the San Francisco Bay Area alone, with those companies having a total value of $2.2 trillion – 52% of the total worldwide value of such platform companies. Overall, the United States had 63 platform companies valued over $1bn, with Canada having one. While North America has less large platform companies than Asia, it is the clear leader in terms of overall market capitalisation, and in having platform companies with a global reach.

South America

According to data from early 2016, only three home grown platform companies with a market capitalisation greater than $1bn had emerged in South America: these are MercadoLibre, Despegar.com, and B2W. The continent is however home to many start up companies. In Brazil, the Portuguese language gives an advantage to home grown companies, with an especially active start up scene existing in São Paolo. Argentina has been the most successful in creating platforms used outside its own borders, with the countries relatively small home market encouraging a more global outlook from its start up platform companies.

With a high proportion of workers already employed on an informal basis, the platform-based gig economy has not grown as fast in South America as elsewhere. Though from a progressive perspective, scholars such as Adam Fishwick have noted that Latin America's tradition of worker organised activism may have valuable lessons for workers elsewhere seeking ways to mitigate the sometimes adverse effects of platforms on their economic security.

Platforms by ownership

Private sector

Most of the widely used platforms are owned by the private sector. In the 2016 GCE survey of platform companies valued over $1 billion, a total of 107 privately owned companies were found, versus 69 public companies (public in the sense of being private sector, but publicly traded ). While more numerous, the privately owned companies tended to be smaller, having a total market value of $300 billion, compared to $3,900 billion for the publicly traded companies.

Public sector

Some digital platforms are run by multilateral institutions, by national governments, and by local municipal bodies.

NGO

Over 90% of NGOs maintain a presence on the large privately owned social media platforms such as Facebook, with some also operating their own platforms.

Platform cooperatism

Platform cooperatism involves mutually owned platforms, being run "bottom up" by the people involved. Sometimes these platforms can effectively be competing for business with the privately owned platforms. In other cases, platform cooperatism seeks to help ordinary people have their say about political questions of the day, possibly supporting interaction with local government.

Assessment

Francesca Bria, an early critic of the large privately owned platforms and an advocate of platform cooperativism.

With the increasing centrality of digital platforms to the global economy following the 2008 financial crisis, there was an intensification of interest in assessing their impact on society and the wider economy. Many hundreds of reviews have been carried out: some by individual scholars, others by groups of academics, some by think tanks bringing together folk from a range of backgrounds, and yet others overseen by governments and transnational organisations such as the EU. Many of these reviews focussed on the overall platform economy, others on narrower areas such as the gig economy or the psychological impact of social media platforms on individuals and communities.

Much early assessment was highly positive, sometimes even taking a "utopian" view on the benefits of platforms. It's been argued and to some extent demonstrated that platforms can enhance the supply of services, improve productivity, reduce costs (e.g. by disintermediation), reduce inefficiencies in existing markets, help create entirely new markets, increase flexibility, and labour market accessibility for workers, and be especially helpful for less developed countries. Both the IMF and World Bank for example have suggested that it's the countries and industries that are quickest to adopt new platform technologies that achieve the fastest and most sustainable growth.

Various arguments have been made against platforms. They include that platforms may contribute to technological unemployment. That they accelerate the replacement of traditional jobs with precarious forms of employment that have much less labour protection. That they may contribute to declining tax revenues. That excessive use of platforms can be psychologically damaging and corrosive to communities. That they can increase inequality. That they can reproduce patterns of racism. That platforms have a net negative impact on the environment.

Post 2017 backlash

Until 2017, most mainstream assessments of the platform economy were largely positive about its benefits to wider society. There were some exceptions; a forthcoming techlash had been predicted by Adrian Wooldridge as far back as 2013. Further hardening of attitudes towards platforms from some commentators and regulators had been detectable from at least early 2015. There had been a few highly critical views, e.g. from Evgeny Morozov, who in 2015 described most platforms as "parasitic: feeding off existing social and economic relations". Yet such negative assessments were rare, especially from prominent commentators who had the attention of policy makers. This began to change in 2017. Across the world, the larger privately owned platforms were subject to increasing questioning about their expanding role and responsibilities.

In the US, the Financial Times reported a marked change of attitudes towards online platforms across the American political spectrum, triggered by their "sheer size and power". Among U.S. Democrats, leaders of the large platform companies reportedly went from "heroes to pariahs" in just a few months. There has also been growing hostility towards the large platform companies from some members of the American right. High-profile figures such as Steve Bannon and Richard Spencer have argued for the break up of the large tech companies, and more mainstream Republicans were reported to be running for the 2018 congressional elections on anti big-tech tickets.

2017 also saw increased critical attention towards the larger platforms from both European and Chinese regulators. In the case of China where several of the larger US owned platforms were already banned, the focus was on their biggest home grown platforms, with commentators expressing concerns that they have become too powerful.

Much recent criticism focusses on major platforms being too big; too powerful; anti competitive; damaging to democracy, such as with the Russian meddling in the 2016 election; and bad for users mental health. In December 2017 Facebook itself admitted passive consumption of social media could be harmful to mental health, though said active engagement can be helpful. In February 2018, Unilever, one of the world's leading spenders on advertising, threatened to pull adverts from digital platforms if they "create division, foster hate or fail to protect children."

Additional concerns have been raised due to the increasing role of AI. Some scientists argue that AI is a black-box and often lacks explainability. AI can operate as a black-box in which principles of conduct and end decisions may not have been predicted or perceived by the AI's creators, let alone users. Therefore, core operations carried out by AI in platforms can be criticized as biased and exploitative. The following threads of platform exploitation can be discerned: exploitation arising from relationship between algorithms and platform workers, from behavioural psychology tactics adapted to algorithmic management, and from information asymmetries enabling “soft” control.

Despite criticism from media figures and politicians, as of early 2018 the large privately owned platforms tended to remain "wildly popular" among ordinary consumers. After leading US platform companies revealed high Q1 revenue growth in late April 2018, the Financial Times reported they are untouched by the backlash, in a "stunning demonstration of their platform power". The techlash continued to gather momentum however. In January 2019 "techlash" was chosen as the digital word of the year by the American Dialect Society. Yet despite ongoing high-profile criticism and legal actions, including CEOs of platform giants being grilled by legislatures on both sides of the Atlantic, the Daily Telegraph suggested in December 2019 that the techlash had largely failed to halt the growing power of platforms. Further criticism of the big platform companies continued into 2020. In February Mark Zuckerberg himself repeated his view that the big platform companies need further regulation from the state.

By May 2020, as a result of the COVID-19 pandemic the techlash was reported to have been put on hold. In the early stages of the pandemic, several major platforms had made small, but useful and popular contributions to help society respond to the virus, such as Apple and Google forming a partnership to assist with contact tracing. Following the widespread introduction of lockdowns across the world, platforms were credited for helping to keep economies running and society connected, with polls showing the popularity of platform companies among the public had increased. Yet some commentators, for example Naomi Klein, remained concerned about the still growing power of platforms. In October 2020, antitrust charges were filed against Google in the U.S, starting legal proceedings that may take years to play out, but which have been described as the most significant challenge yet for big tech. Shortly after, the Federal Trade Commission began suing Facebook. Late 2020 saw Russia pass a law that would allow large fines to be levied against platform companies for various reasons, including if they censured Russian citizens. Also in late 2020, the Chinese government announced an antitrust probe of Alibaba, with officials noting the importance of the platform economy to China's development, but also expressing concerns about the risk for excessive market concentration. In February 2021, the Financial Times wrote that it was once again "business as usual" for the Techlash.

Regulation

During their early years, digital platforms tended to enjoy light regulation, sometimes benefiting from measures intended to help fledgling internet companies. The "inherently border-crossing" nature of platforms has made it challenging to regulate them, even when a desire has been there. Yet another difficulty has been lack of consensus about what exactly constitutes the platform economy. Critics have argued existing law was not designed to deal with platform based companies. They expressed concern about elements such as safety and hygiene standards, taxes, compliance, crime, protection of rights and interests, and fair competition.

With many large platforms concentrated in China or the U.S., two contrasting approaches to regulation emerged. In the U.S., platforms have largely been left to develop free of state regulation. In China, while large platform companies like Tencent or Baidu are privately owned and in theory have much more freedom than SOEs, they are still tightly controlled, and also protected by the state against foreign competition, at least in their home market.

As of 2017, there had been talk of a "third way" being developed in Europe, less Laissez-faire than the approach in the U.S., but less restrictive than the approach in China. Possibilities for Co-regulation, where public regulators and the platform companies themselves cooperative to design and enforce regulation, are also being explored. In March 2018, the EU published guidelines concerning the removal of illegal media from social media platforms, suggesting that if platform companies do not improve their self-regulation, new rules will come into effect at EU level before the end of the year. The OECD is looking at regulating platform work, while the European Commission has stated that with new forms of work must come modern and improved forms of protection, including for those working via online platforms. With this in mind, the European Commission is planning to launch a new initiative on improving the working conditions for platform workers. In parallel with this, the European Commission has proposed a reform initiative for an EU minimum wage. New and existing labour unions have begun to become increasingly involved in representing workers engaged in the labour market section of the platform economy. With remote platform work having created what is in effect a planetary labour market, an attempt to encourage suitable working conditions on a global scale is being undertaken by the Fairwork foundation. Fairwork are seeking to move towards mutually agreeable conditions with the co-operation of platform owners, workers, unions, and governments.

On 15 December 2020 European Commission published proposals for two regulations to regulate the platform economy: the digital services act (DSA) and the digital markets act (DMA). The aim of the digital services act is to rebalance responsibilities of users, platforms, and public authorities to European values and to foster innovation, growth and competitiveness, and facilitate the scaling up of smaller platforms, SMEs and start-ups. The digital markets act establishes a set of narrowly defined objective criteria for qualifying a large online platform as a so-called “gatekeeper”. Pursuant to the DMA proposal, gatekeeper is a company which:

  • has a strong economic position, significant impact on the internal market and is active in multiple EU countries;
  • has a strong intermediation position, meaning that it links a large user base to a large number of businesses;
  • has (or is about to have) an entrenched and durable position in the market, meaning that it is stable over time.

With the increasing concern about the platform economy and the related financial activities in Mainland China, the National Development and Reform Commission of China and seven other official departments published a note on 18 January 2022, indicating major proposals for future policy and regulation towards the fast-growing platform economy.  First of all, The note proposes that future amendments of the Anti Monopoly Law of China and the improvement of the supporting laws of the Data Security Law of the People's Republic of China and the Personal Information Protection Law of the People's Republic of China are required for prohibiting unfair competition on the Internet and clarifying the boundaries of platform responsibility. Moreover, the note puts an emphasis on the protection of customers’ information, which is regarded as a key corporate asset in the current competitive market. Second, certain guidance should be implemented for helping platform companies to strengthen negotiations with workers in new forms of employment. To ensure the openness and transparency of the system, employment directly related to the rights and interests of laborers shall be released to the public. Third, the proposal suggests strengthening the supervision of the financial sector, and strictly scrutinizing improper payment practices and any illegal operations are important to maintain the market order. Fourth, key industries and fields that are closely related to platform business require improved competition supervision and law enforcement in the entire chain. Last but not least, the note mentions that new policies will be imposed to guide platform companies to further leverage the platform’s market and data advantages. Moreover, a new working mechanism is required to protect the legitimate rights and interests of Chinese platform companies in regard to technological innovation, enhance core competitiveness, overseas intellectual property protection assistance, dispute mediation, etc.

Wednesday, May 18, 2022

Retrofuturism

From Wikipedia, the free encyclopedia

Retrofuturistic depiction of a flying locomotive, in a dieselpunk style reminiscent of the early 1940s
 
Proposed high speed ocean express ("Ozeanriese im Jahre 2.000") as in the year 2000, 1931 (Hamburg - New York in 40 hours).
 
Hotel on tracks ("Reisehotel") as in the year 2000, 1898
 
Sailing ship airborne ("White Cruiser of the clouds"), 1902

Retrofuturism (adjective retrofuturistic or retrofuture) is a movement in the creative arts showing the influence of depictions of the future produced in an earlier era. If futurism is sometimes called a "science" bent on anticipating what will come, retrofuturism is the remembering of that anticipation. Characterized by a blend of old-fashioned "retro styles" with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world".

Etymology

According to the Oxford English Dictionary, an early use of the term appears in a Bloomingdales advertisement in a 1983 issue of The New York Times. The ad talks of jewellery that is "silverized steel and sleek grey linked for a retro-futuristic look". In an example more related to retrofuturism as an exploration of past visions of the future, the term appears in the form of “retro-futurist” in a 1984 review of the film Brazil in The New Yorker. Critic Pauline Kael writes, "[Terry Gilliam] presents a retro-futurist fantasy."

Several websites have referenced a supposed 1967 book published by Pelican Books called Retro-Futurism by T. R. Hinchliffe as the origin of the term, but this account is unverified. There exist no records of this book or author.

Historiography

Retrofuturism builds on ideas of futurism, but the latter term functions differently in several different contexts. In avant-garde artistic, literary and design circles, futurism is a long-standing and well established term. But in its more popular form, futurism (sometimes referred to as futurology) is "an early optimism that focused on the past and was rooted in the nineteenth century, an early-twentieth-century 'golden age' that continued long into the 1960s' Space Age".

Retrofuturism is first and foremost based on modern but changing notions of "the future". As Guffey notes, retrofuturism is "a recent neologism", but it "builds on futurists' fevered visions of space colonies with flying cars, robotic servants, and interstellar travel on display there; where futurists took their promise for granted, retro-futurism emerged as a more skeptical reaction to these dreams". It took its current shape in the 1970s, a time when technology was rapidly changing. From the advent of the personal computer to the birth of the first test tube baby, this period was characterized by intense and rapid technological change. But many in the general public began to question whether applied science would achieve its earlier promise—that life would inevitably improve through technological progress. In the wake of the Vietnam War, environmental depredations, and the energy crisis, many commentators began to question the benefits of applied science. But they also wondered, sometimes in awe, sometimes in confusion, at the scientific positivism evinced by earlier generations. Retrofuturism "seeped into academic and popular culture in the 1960s and 1970s", inflecting George Lucas's Star Wars and the paintings of pop artist Kenny Scharf alike". Surveying the optimistic futurism of the early twentieth century, the historians Joe Corn and Brian Horrigan remind us that retrofuturism is "a history of an idea, or a system of ideas—an ideology. The future, or course, does not exist except as an act of belief or imagination."

Characteristics

Retrofuturism incorporates two overlapping trends which may be summarized as the future as seen from the past and the past as seen from the future.

The first trend, retrofuturism proper, is directly inspired by the imagined future which existed in the minds of writers, artists, and filmmakers in the pre-1960 period who attempted to predict the future, either in serious projections of existing technology (e.g. in magazines like Science and Invention) or in science fiction novels and stories. Such futuristic visions are refurbished and updated for the present, and offer a nostalgic, counterfactual image of what the future might have been, but is not.

The second trend is the inverse of the first: futuristic retro. It starts with the retro appeal of old styles of art, clothing, mores, and then grafts modern or futuristic technologies onto it, creating a mélange of past, present, and future elements. Steampunk, a term applying both to the retrojection of futuristic technology into an alternative Victorian age, and the application of neo-Victorian styles to modern technology, is a highly successful version of this second trend. In the movie Space Station 76 (2014), mankind has reached the stars, but clothes, technology, furnitures and above all social taboos are purposely highly reminiscent of the mid-1970s.

In practice, the two trends cannot be sharply distinguished, as they mutually contribute to similar visions. Retrofuturism of the first type is inevitably influenced by the scientific, technological, and social awareness of the present, and modern retrofuturistic creations are never simply copies of their pre-1960 inspirations; rather, they are given a new (often wry or ironic) twist by being seen from a modern perspective.

In the same way, futuristic retro owes much of its flavor to early science fiction (e.g. the works of Jules Verne and H. G. Wells), and in a quest for stylistic authenticity may continue to draw on writers and artists of the desired period.

Both retrofuturistic trends in themselves refer to no specific time. When a time period is supplied for a story, it might be a counterfactual present with unique technology; a fantastic version of the future; or an alternate past in which the imagined (fictitious or projected) inventions of the past were indeed real.

The import of retrofuturism has, in recent years, come under considerable discussion. Some, like the German architecture critic Niklas Maak, see retrofuturism as "nothing more than an aesthetic feedback loop recalling a lost belief in progress, the old images of the once radically new". Bruce McCall calls retrofuturism a "faux nostalgia"—the nostalgia for a future that never happened.

Themes

Although retrofuturism, due to the varying time-periods and futuristic visions to which it alludes, does not provide a unified thematic purpose or experience, a common thread is dissatisfaction or discomfort with the present, to which retrofuturism provides a nostalgic contrast.

A similar theme is dissatisfaction with the modern world itself. A world of high-speed air transport, computers, and space stations is (by any past standard) "futuristic"; yet the search for alternative and perhaps more promising futures suggests a feeling that the desired or expected future has failed to materialize. Retrofuturism suggests an alternative path, and in addition to pure nostalgia, may act as a reminder of older but now forgotten ideals. This dissatisfaction also manifests as political commentary in Retrofuturistic literature, in which visionary nostalgia is paradoxically linked to a utopian future modelled after conservative values as seen in the example of Fox News' use of BioShock's aesthetic in a 2014 broadcast.

Retrofuturism also implies a reevaluation of technology. Unlike the total rejection of post-medieval technology found in most fantasy genres, or the embrace of any and all possible technologies found in some science-fiction, retrofuturism calls for a human-scale, largely comprehensible technology, amenable to tinkering and less opaque than modern black-box technology.

Retrofuturism is not universally optimistic, and when its points of reference touch on gloomy periods like World War II, or the paranoia of the Cold War, it may itself become bleak and dystopian. In such cases, the alternative reality inspires fear, not hope, though it may still be coupled with nostalgia for a world of greater moral as well as mechanical transparency.

Genres

Genres of retrofuturism include cyberpunk, steampunk, dieselpunk, atompunk, and Raygun Gothic, each referring to a technology from a specific time period.

The first of these to be named and recognized as its own genre was cyberpunk, originating in the early to mid-1980s in literature with the works of Bruce Bethke, William Gibson, Bruce Sterling, and Pat Cadigan. Its setting is almost always a dystopian future, with a strong emphasis either upon outlaws hacking the futuristic world's machinery (often computers and computer networks), or even upon post-apocalyptic settings. The post-apocalyptic variant is the one usually associated with retrofuturism, where characters will rely upon a mixture of old and new technologies. Furthermore, synthwave and vaporwave are nostalgic, humorous and often retrofuturistic revivals of early cyberpunk aesthetic.

The second to be named and recognized was steampunk, in the late 1980s. It is generally more optimistic and brighter than cyberpunk, set within an alternate history closely resembling our Long 19th century from circa the Regency era onwards and up to circa 1914, only that 20th-century or even futuristic technologies are based upon steam power. The genre themes also often involve references to electricity as a yet-as-of-now mysterious force that is considered the utopian power source of the future and sometimes even regarded as possessing mystical healing powers (much as with nuclear energy around the middle of the 20th century). The genre often strongly resembles the original scientific romances and utopic novels of genre predecessors H. G. Wells and Jules Verne, and began in its modern form with literature such as Mervyn Peake's Titus Alone (1959), Ronald W. Clark's Queen Victoria's Bomb (1967), Michael Moorcock's A Nomad of the Time Streams series (1971–1981), K. W. Jeter's Morlock Night (1979), and William Gibson & Bruce Sterling's The Difference Engine (1990), and with films such as The Time Machine (1960) or Castle in the Sky (1986). A notable early example of steampunk in comics is the Franco-Belgian graphic novel series Les Cités obscures, started by its creators François Schuiten and Benoît Peeters in the early 1980s. At times, steampunk as a genre crosses into that of Weird West.

The most recently named and recognized retrofuturistic genre is dieselpunk aka decodence (the term dieselpunk is often associated with a more pulpish form and decodence, named after the contemporary art movement of Art Deco, with a more sophisticated form), set in alternate versions of an era located circa in the period of the 1920s–1950s. Early examples include the 1970s concept albums, their designs and marketing materials of the German band Kraftwerk (see below), the comic-book character Rocketeer (first appearing in his own series in 1982), the Fallout series of video games, and films such as Brazil (1985), Batman (1989), The Rocketeer (1991), Batman Returns (1992), The Hudsucker Proxy (1994), The City of Lost Children (1995), and Dark City (1998). Especially the lower end of the genre strongly mimic the pulp literature of the era (such as the 2004 film Sky Captain and the World of Tomorrow), and films of the genre often reference the cinematic styles of film noir and German Expressionism. At times, the genre overlaps with the alternate history genre of a different World War II, such as with an Axis victory.

Design and arts

Although loosely affiliated with early-twentieth century Futurism, retrofuturism draws from a wider range of sources. To be sure, retrofuturist art and literature often draws from the factories, buildings, cities, and transportation systems of the machine age. But it might be said that 20th century futuristic vision found its ultimate expression in the development of Googie or Populuxe design. As applied to fiction, this brand of retrofuturistic visual style began to take shape in William Gibson's short story "The Gernsback Continuum". Here and elsewhere it is referred to as Raygun Gothic, a catchall term for a visual style that incorporates various aspects of the Googie, Streamline Moderne, and Art Deco architectural styles when applied to retrofuturistic science fiction environments.

Although Raygun Gothic is most similar to the Googie or Populuxe style and sometimes synonymous with it, the name is primarily applied to images of science fiction. The style is also still a popular choice for retro sci-fi in film and video games. Raygun Gothic's primary influences include the set designs of Kenneth Strickfaden and Fritz Lang. The term was coined by William Gibson in his story "The Gernsback Continuum": "Cohen introduced us and explained that Dialta [a noted pop-art historian] was the prime mover behind the latest Barris-Watford project, an illustrated history of what she called 'American Streamlined Modern'. Cohen called it 'raygun Gothic'. Their working title was The Airstream Futuropolis: The Tomorrow That Never Was."

Aspects of this form of retrofuturism can also be associated with the late 1970s and early 1980s the neo-Constructivist revival that emerged in art and design circles. Designers like David King in the UK and Paula Scher in the US imitated the cool, futuristic look of the Russian avant-garde in the years following the Russian Revolution.

With three of their 1970s albums, German band Kraftwerk tapped into a larger retrofuturist vision, by combining their futuristic pioneering electronic music with nostalgic visuals. Kraftwerk's retro-futurism in their 1970s visual language has been referred to by German literary critic Uwe Schütte, a reader at Aston University, Birmingham, as "clear retro-style", and in the 2008 three-hour documentary Kraftwerk and the Electronic Revolution, Irish-British music scholar Mark J. Prendergast refers to Kraftwerk's peculiar "nostalgia for the future" clearly referencing "an interwar [progressive] Germany that never was but could've been, and now [due to their influence as a band] hopefully could happen again". Design historian Elizabeth Guffey has written that if Kraftwerk's machine imagery was lifted from Russian design motifs that were once considered futuristic, they also presented a "compelling, if somewhat chilling, vision of the world in which musical ecstasy is rendered cool, mechanical and precise." Kraftwerk's three retrofuturist albums are:

  • Kraftwerk's 1975 album Radio-Activity showed a contemporary 1930s radio on the cover, its inlay (which for its later CD re-release was widely expanded as a booklet illustrated in the same nostalgic style) showed the band photographed in black and white with old-fashioned suits and hairdos, and the music in its instrumentation as well as its ambiguous lyrics were (besides the other obvious theme of nuclear decay and nuclear power referenced by the album's titular pun) in hommage to the "Radio Stars", that is the pioneers of electronic music of the first half of the 20th century, such as Guglielmo Marconi, Léon Theremin, Pierre Schaeffer, and Karlheinz Stockhausen (due to whom the band referred to themselves as but the "second generation" of electronic music).
  • The European version of the band's 1977 album Trans-Europe Express had a similar 1930s-style black and white photo of the band members on the cover (the U.S. version even had a cover of a vintage-style colored photograph in the style of Golden Age Hollywood stars), the style of the sleeve design as well as the design of promotional material tying in with the album were influenced by Bauhaus, Art Deco, and Streamline Moderne, the record came with a large, hand-tinted black and white poster of the band members in early-1930s style suits (where band member Karl Bartos later said in Kraftwerk and the Electronic Revolution that their intention was to visually resemble "an interwar string orchestra electrified" and that the background was meant to be a pictorial Switzerland where the band was making a resting stop in-between two legs of their European tour on the eponymous Trans-Europe Express), the song lyrics referenced the "elegance and decadence" of an urban interwar Europe, and in the promo clip made for the album's title song (shot in black and white on purpose) and other promotional material, the eponymous Trans-Europe Express was portrayed by the Schienenzeppelin first employed by the Deutsche Reichsbahn in 1931 (footage of the large original was used in outdoor shots, and a miniature model of it was used for shots where the TEE moved through a futuristic cityscape strongly reminiscent of Fritz Lang's 1927 film Metropolis).
  • The cover and sleeve design of the 1978 album The Man-Machine exhibits an obvious stylistic nod to the Constructivism of 1920s artists such as El Lissitzky, Alexander Rodchenko, and László Moholy-Nagy (due to which band members have also referred to it as "the Russian album"), and one song references the film Metropolis again. From this album on, Kraftwerk would also use their "show-room dummies" aka robot lookalikes on stage and in promotional material and increase the use of slightly campish make-up on band members that also resembled 1920s' expressionist make-up that to a lesser degree had already appeared in the promotional material for their 1977 album Trans-Europe Express.

From their 1981 album Computer World onwards, Kraftwerk have largely abandoned their retro notions and appear mainly futuristic only. The only references to their earlier retro style today appear in excerpts from their 1970s' promo clips that are projected in between more modern segments in their stage shows during the performance of these old song.

Fashion

Retrofuturistic clothing is a particular imagined vision of the clothing that might be worn in the distant future, typically found in science fiction and science fiction films of the 1940s onwards, but also in journalism and other popular culture. The garments envisioned have most commonly been either one-piece garments, skin-tight garments, or both, typically ending up looking like either overalls or leotards, often worn together with plastic boots. In many cases, there is an assumption that the clothing of the future will be highly uniform.

The cliché of futuristic clothing has now become part of the idea of retrofuturism. Futuristic fashion plays on these now-hackneyed stereotypes, and recycles them as elements into the creation of real-world clothing fashions.

"We've actually seen this look creeping up on the runway as early as 1995, though it hasn't been widely popular or acceptable street wear even through 2008," said Brooke Kelley, fashion editor and Glamour magazine writer. "For the last 20 years, fashion has reviewed the times of past, decade by decade, and what we are seeing now is a combination of different eras into one complete look. Future fashion is a style beyond anything we've yet dared to wear, and it's going to be a trend setter's paradise."

Architecture

An example in Shanghai of a retrofuturistic design in architecture

Retrofuturism has appeared in some examples of postmodern architecture. To critics such as Niklas Maak, the term suggests that the "future style" is "a mere quotation of its own iconographic tradition" and retrofuturism is little more than "an aesthetic feedback loop" In the example seen at right, the upper portion of the building is not intended to be integrated with the building but rather to appear as a separate object—a huge flying saucer-like space ship only incidentally attached to a conventional building. This appears intended not to evoke an even remotely possible future, but rather a past imagination of that future, or a reembracing of the futuristic vision of Googie architecture.

The Theme Building at Los Angeles International Airport resembles a landed spacecraft

The once-futuristic Los Angeles International Airport Theme Building was built in 1961 as an expression of the then new jet and space ages, incorporating what later came to be known as Googie and Populuxe design elements. Plans unveiled in 2008 for LAX's expansion featured retrofuturist flying-saucer/spaceship themes in proposals for new terminals and concourses.

Video games

Retrofuturism has been also applied to video games, such as the following:

Music

  • Modern electro style, influenced by Detroit-based artist in the early 80s (such as Drexciya, Aux 88, Cybotron). This style blend old analog gear (Roland Tr-808 and synths) and sampling methods from the 80's with modern approach of electro. The records labels involved in this journey are AMZS Recording, Gosu, Osman, Traffic Records and many others.
  • Canadian band Alvvays's music video, "Dreams Tonite", which includes archival footage of Montreal's Expo 67 was described by the band as "fetishizing retro-futurism".
  • English band Electric Light Orchestra released their concept album "Time" in 1981. This album follows a man who wakes up in the year 2095 and how he reacts to this sudden change as well as his longing to be back in 1981. There are multiple descriptions of life and what technology is like in 2095.

Film

Authoritarian socialism

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