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Modern public relations has, in its own parlance, an image problem. As an investigation copublished by the Columbia Journalism Review and ProPublica put it, the industry was literally birthed from a train wreck.... In stark contrast to newsrooms, in which women have never exceeded 38 percent, public relations operates as a solidly pink-collar sector of the creative industries and comprises a labor force that is currently over 85 percent female. The palpable distaste for PR practitioners that continues to swell — spearheaded by the very same members of the media with whom publicists theoretically enjoy a symbiotic relationship — requires, then, a deeper look at how gendered assumptions about work continue to shape our contemporary notions of creative labor under capitalism.
The entire Morozov aesthetic is in this sentence: the venom, the derision, the reverse jujitsu of his opponents’ sanctimony, the bald accusation that all the talk about a new age of human flourishing is nothing but an attempt to vamp the speaker’s consulting business. Tech enthusiasts channel hope. Tech skeptics channel worry. Morozov channels anger, and this can be a very satisfying emotion to anyone unconvinced that everything is getting better. Leon Wieseltier, who has published some of Morozov’s most acid criticism at The New Republic, compares him to the ferocious jazz musician Charles Mingus, who once responded to an interviewer who accused him of “hollerin’ ” by saying, “I feel like hollerin’.” I asked Morozov if he considers his Twitter feed, which spews a constant stream of invective and absurdist satire, to be performative. This was a bit like asking Mingus if he considers jazz performative. “Absolutely,” he said. “I consider it art.”[more inside]