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Despite extensive literature on content creators’ identities, strategies, and activities, there remains a gap in understanding how the constantly changing platform environment impacts their brand subjectivities. Against this backdrop, our article explores how evolutions in platforms—including constant updates to their affordances—shape the activities and interpretive processes of content creators. Drawing on interviews with 35 Chilean content creators in the field of fashion and lifestyle, along with an analysis of their Instagram images (N = 165) and stories (N = 150), we show how creators feel compelled to enact different versions of their brand subjectivities. Our findings show how creators experience platform changes based on three interrelated levels: in the form of communicative styles, as a sense of temporal acceleration, and as a constant negotiation with other actors in the social network through which commercial activities are configured. Thus, when platforms tend to make changes to improve their commercial viability, content creators have to adapt their brand subjectivities and practices across platforms and affordances. In addition to shedding light on the new routines and intensified economic pressures demanded of today’s digital workers, we also reveal how the ideal of creation has been supplanted with intensified competition amid constantly changing technological, social, and commercial ecologies.

This article examines the transformative effects of platforms on cultural production through an analysis of the LINE “super app.” Super apps are apps that do-everything; mega-platforms unto themselves. They are particularly prevalent in East Asia. Like China’s WeChat or South Korea’s KakaoTalk, Japan’s LINE has evolved from a single purpose chat app to the do-everything platform for everyday cultural and economic activities. It is also the very reason for the global proliferation of stickers or large-size emoji in other chat apps, from Apple’s iMessage to Facebook’s Messenger to Tencent’s WeChat. This article offers a close examination of LINE to highlight and theorize the process of the “platformization of cultural production.” To do so, it traces Japan’s longer history of platforms going back to the i-mode mobile platform launched in 1999, and examines LINE’s regionally specific sticker-oriented strategies in East Asia. With a focus on the entrepreneurial work of sticker designers as cultural producers, this article also mobilizes LINE to both highlight the specificities of this platform and contest the excessive attention paid to platforms from Silicon Valley, or, at best, their Chinese counterparts. LINE and the regional convergences of super apps in East Asia are a potent reminder of the need to analyze platforms outside of the bi-polar hegemony of the United States versus Chinese tech world—which increasingly frames journalistic discourse and academic research—and of the need to attend to the historical and regional particularities of platforms and their cultural impacts.

A decade after the term was coined, “platformization” has evolved from describing the infrastructural expansion of platforms into other domains to capturing a broader transformation in how platforms organize (digital) life. This article traces this shift from the early social web to today’s AI-centered platform models. The retirement of Facebook’s Like button and Google’s “Suncatcher” space-based AI initiative are used as illustrative examples to demonstrate how platforms continually adapt their expansion strategies. Although the concept has been productively adopted across disciplines, its frequent conflation with the term “digitization” has led to conceptual erosion, weakening its analytical precision. To reclaim its explanatory power, this article redefines platformization as a form of platform-specific “transcoding”: a situated process whereby practices and domains are made “platform-ready.”

The rise of contemporary platforms—from GAFAM in the West to the “three kingdoms” of the Chinese Internet—is reconfiguring the production, distribution, and monetization of cultural content in staggering and complex ways. Given the nature and extent of these transformations, how can we systematically examine the platformization of cultural production? In this introduction, we propose that a comprehensive understanding of this process is as much institutional (markets, governance, and infrastructures), as it is rooted in everyday cultural practices. It is in this vein that we present fourteen original articles that reveal how platformization involves key shifts in practices of labor, creativity, and citizenship. Diverse in their methodological approaches and topical foci, these contributions allow us to see how platformization is unfolding across cultural, geographic, and sectoral-industrial contexts. Despite their breadth and scope, these articles can be mapped along four thematic clusters: continuity and change; diversity and creativity; labor in an age of algorithmic systems; and power, autonomy, and citizenship.

Drawing on Mark Katz’s notion of phonographic effects—where musicians, during the advent of early recording technology, altered their style of play to be better captured by microphones—this article explores some of the “platform effects” that arise in the shift to platformization and how cultural goods and user practices are re-formatted in the process. In particular, I examine the case of the music streaming service Spotify to think through the variety of means, sonic, and otherwise, that artists, labels, and other platform stakeholders use to “optimize” music to respond to the pressures platformization creates. I develop a typology of strategies—sonic optimization, data optimization, and infrastructural optimization—to consider the creative and logistical challenges optimization poses for platforms, artists, and users alike. From creating playlist friendly songs to musical spam to artificial play counts, I use the blurry lines these cases create to explore the tensions between the competing needs of platform providers, content producers, and users. I argue that music, as data, adds pressure on musicians and producers to think and act like software developers and coders, treating their music not just as songs that need to reach listeners, but as an intermingling of sonic content and coded metadata that needs to be prepared and readied for discovery. This optimization of culture, and the pressures it creates, affects not just musicians, but content producers of all kinds (e.g., video, podcasts, apps, books, etc.) who are forced to negotiate their relationships digital culture and the platforms through which it circulates.

This article studies the platformization of cultural production in China through the specific lens of Kuaishou, an algorithm-based video-sharing platform targeting second- and third-tier cities as well as the countryside. It enables the forming of an “unlikely” creative class in contemporary China. Kuaishou’s platform business fits into the Party State’s socio-economic agenda of “Internet+” and “Mass Entrepreneurship and Innovation,” and is also folded into the state’s demand for cultural censorship and social stability. As we will show, this state-commerce relationship largely shapes Kuaishou’s interface and its affordances as encoded in its algorithm. Nevertheless, Kuaishou enables the diverse, often marginalized, Chinese living outside the urban centers of the country to become “unlikely” creative workers, who have become self-employed creative, digital entrepreneurs. For these “grassroots individuals,” creativity, life, and individuality are constantly mobilized and calculated according to the workings of the platform. This grassroots entrepreneurship, in tandem with the institutional regulation and censorship of the Internet, contributes to the transformation of Chinese economy and the production of social stability and a digital culture permeated with contingency and negotiation.

This article examines the phenomenon of Instagram influencer “engagement pods” as an emergent form of resistance that responds to the reconfigured working conditions of platformized cultural production. Engagement pods are grassroots communities that agree to mutually like, comment on, share, or otherwise engage with each other’s posts, no matter the content, to game Instagram’s algorithm into prioritizing the participants’ content and show it to a broader audience. I argue that engagement pods represent a response to the material conditions of platformized cultural production on Instagram, where proprietary curation algorithms wrest knowledge and control of the labor process from producers. Cooperative algorithm hacking of this sort, although quite distinct from traditional organizing strategies, responds to the coercive force of the “threat of invisibility” that necessitates constant data production. They represent a collective attempt to exert some control over their “conditions of presence-to-others” and, in so doing, combat precarity and protect wages in the field. In a post-industrial economy where traditional models of labor organizing have struggled to address the conditions of platformized cultural work, I argue that the unusual phenomenon of Instagram engagement pods represents an organic form of worker resistance that responds to the unique conditions of these workers.

Does music sound all the same nowadays? This article revives the Frankfurt School’s critique of the culture industry by recontextualizing it within contemporary financialized platform capitalism. We argue that Digital Streaming Platforms (DSPs) like Spotify showcase the proliferation of the future-oriented asset logic inherent to both financialization and platformization. This process intensifies the standardization of music that was first recognized by Theodor Adorno. The playlist is the central device of this assetization of music, contributing to a noticeable decrease in sonic and stylistic diversity in music. We illustrate this novel development through a diachronic content analysis of hip-hop music, comparing Apple Music’s Hip-Hop/R&B Hits: 2002 playlist based on hip-hop charts from the pre-DSP era and Spotify’s largest in-house curated playlist RapCaviar (from 2022). Rather than democratizing the music market, as Spotify is often hailed to do, the twenty-first-century culture industry facilitates further homogenization of artistic expression. Our findings contribute to ongoing political economy debates about the effects of financialization, platformization, and assetization on music, culture, and the everyday.