In a context of isolation that marked a before and after for art, Alejandro Gómez Escorcia reflects on a possible becoming for museums in digital spaces based on free culture as a strategy of resistance to platform capitalism, which they embrace without question.
Platform capitalism is a concept proposed by Nick Srnicek, it is based on the overturning of capitalism on data to contain its crisis of production of goods and services in the face of the depletion of natural resources and the employment regime (Argentina: Caja negra, 2018).
In Tristes por diseño: Las redes sociales como ideología, Geert Lovink describes solutionism as the recovery of the television spectatorship model in social networks and the main reason to consider that the figure of the prosumer (producer + consumer) on the internet is ceasing to be operative (Spain: Consonni, 2019).
Free culture is a movement created in the 18th century that opposed restrictive copyright measures. In the late 1980s in the 20th century, Richard Stallman revived this debate when the commercial Internet was born with the aim of creating software platforms for the free sharing of information. At the beginning of the 21st century, Lawrence Lessig, also a member of the free culture movement on the Internet founded by Stallman, formalized these principles in the Creative Commons licenses, which are still insufficient today to counteract the obstacles to creativity posed by copyright.
This point can be echoed in the manifesto that the writer Orhan Pamuk dedicated to museums in 2016.
This text is the remediation from a lecture I presented at the course; Estrategias y alternativas museográficas dentro y fuera de la sala de exhibición del Museo Legislativo del Congreso de la Unión en el Palacio de San Lázaro, held in July 2021 in digital format. I am grateful to Erik López, Mariana Delgado and Paola Talavera for their collaboration in executing this article.