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Nation-States' Interest in the New Media Industries New Media and Digital Culture Master’s thesis Countries, South by Southwest: Nation-States’ Interest in the New Media Industries Keywords: New Media, Discourse, Legitimacy, Norway, SXSW Author: Ståle Bjørlykke Grut Supervisor: Dr. Michael Stevenson Words: 18 361 Pages: 64 Course: New Media and Digital Culture Date: 29/07-2018 Department of Humanities 2018 University of Amsterdam List of Abbreviations BIE Bureau International des Expositions CSR Corporate Social Responsibility Ed-tech Education Technology IN Innovation Norway SXSW South By Southwest SXSWi South By Southwest Interactive SDG The United Nations’ Sustainable Development Goals Tech Technology Tech scene Technology scene UK United Kingdom / Britain UN The United Nations VC Venture Capital 2 Abstract The South by Southwest (SXSW) conference and festivals are widely recognised as the premier event for the new media industries. The event has evolved from a small music festival to a venue dominated by new media and technology, attracting hundreds of thousands of attendees. As such, it has also become a desired place for countries to be represented. High ranking officials and dignitaries from around the world are travelling to Austin, Texas to promote their countries’ achievements in new media, technology and a range of other sectors at SXSW. This thesis investigates the presence of Norway, Germany and Britain at SXSW, and assesses how these countries adapt to the values and discourses preferred by the new media industries. As the new media industries are increasingly drawn into conventional politics, the close analysis of speeches, textual and audio-visual content presented by states at SXSW uncovers a reverse process. Here, state officials conform to the values and logic of the new media industries by aligning with a discourse favoured by the industry. Additionally, it shows how officials from various countries strategically seek to exchange symbolic capital from the field of governance with cultural capital from these perceived “cool” new media industries and its actors, in order to attract economic capital to the country. 3 Table of Contents CHAPTER 1 – INTRODUCTION ........................................................................................................................ 5 1.2 RESEARCH QUESTION ..................................................................................................................................... 6 1.3 DEFINING NEW MEDIA INDUSTRIES AND ASSOCIATED TERMINOLOGY .......................................................... 7 1.4 OUTLINE OF THESIS ........................................................................................................................................ 8 CHAPTER 2 – THEORETICAL FRAMEWORK: UNDERSTANDING DISCURSIVE ALIGNMENT .... 9 2.2 NEGOTIATIONS BETWEEN OLD AND NEW POWER ........................................................................................ 10 2.3 A PORTRAIT OF THE NEW MEDIA INDUSTRIES’ CORE VALUES .................................................................... 13 2.3.2 Individualism ........................................................................................................................................ 15 2.3.3 “No Collar” ......................................................................................................................................... 15 2.3.4 Fun ....................................................................................................................................................... 16 2.3.4 Doing good ........................................................................................................................................... 17 2.4 A TECHNOLOGY CONFERENCE AS A MEETING PLACE FOR OLD AND NEW POWER ...................................... 18 CHAPTER 3 – MOTIVATIONS COUNTRIES CLAIM FOR THEIR PRESENCE AT SXSW ................ 21 3.2 THE CASE OF NORWAY: FROM OLD TO NEW SECTORS ................................................................................ 21 3.2.2 From Oil to New Media ....................................................................................................................... 22 3.3 GERMAN, BRITISH AND SPANISH OFFICIAL PRESENCE AT SXSW ................................................................ 25 CHAPTER 4 – DISCURSIVE ALIGNMENT: AN INTENDED STRATEGY BY NATION-STATES ..... 28 4.2 NORWEGIAN NEGOTIATIONS BETWEEN OLD MONARCHY AND NEW ENTREPRENEURSHIP .......................... 28 4.3 TACTICS USED BY DIGNITARIES TO DESCEND AT SXSW AND LEVEL WITH ENTREPRENEURS .................... 29 4.4 INTERNATIONAL DISCURSIVE ALIGNMENT WITH THE DIMENSION OF FUN AND DOING GOOD ..................... 31 CHAPTER 5 – DISCURSIVE ALIGNMENT: THREE CASES FROM SXSW 2018 .................................. 33 5.2 COMPANIES, COUNTRIES AND START-UPS: A WORD CLOUD ....................................................................... 34 5.3 THE NORWEGIAN CROWN PRINCE’S SPEECH AT SXSW ............................................................................... 34 5.3.2 Entrepreneurial Ideals: Big Growth and Large Scale ......................................................................... 38 5.3.3 The Norwegian Way: Doing Good Through Sustainability ................................................................. 39 5.3.4 An Appeal to New Media’s Appetite for Fun ....................................................................................... 40 5.4 GERMANY AND BRITAIN’S DIVERGING ALIGNMENT AT SXSW 2018 .......................................................... 41 5.4.2 Germany’s Focus on Creativity and Interdisciplinarity ...................................................................... 41 5.4.3 Britain Promoting Creativity, Technology – and Dissent.................................................................... 43 CHAPTER 6 – DISCUSSION AND CONCLUSION ....................................................................................... 45 6.2 PLACING THE STUDY IN A BROADER CONTEXT ............................................................................................ 47 6.4 CONSIDERATIONS AND FUTURE RESEARCH .................................................................................................. 49 7 BIBLIOGRAPHY .............................................................................................................................................. 51 4 Chapter 1 – Introduction “Thank you all for coming. Have a good South by Southwest. Make it count!” the well-dressed man exclaimed, standing on a podium wearing an unbuttoned shirt. A thunderous applause had already started erupting among the audience facing him. The inconspicuous hotel conference room he was standing in was air-conditioned cold and packed to the brim with people. As all chairs in the room were taken, many had lined up against the walls to see, with even more people being turned down at the door. By the time the ovation drew to a close, some of the people in the back had already started to rush towards the stage to speak to His Royal Highness, Haakon Magnus, crown prince of Norway. The crown prince smiled and shook a few hands. Had it not been for his double-breasted blazer and crony in full military uniform at his side at all times, the crown prince could have looked just like any other entrepreneur or business professional attending the event. However, even an untrained eye would place a double-breasted blazer far to the formal side of the hoodies and sneakers that are usually donned at SXSW. At this year’s event, the crown prince had a particular mission. He was marketing the country he will soon rule to a crowd of technologists, creatives and public officials. His appearance is part of a trend where nation-states looking for new business opportunities are increasingly becoming visible at the traditionally new media-focused SXSW (Cannon; Zurcher). The trend begets the question why and in what form states are present at the conference. To answer these questions, this thesis will explore how the states represented at SXSW discursively align themselves with the new media industries dominating the event. SXSW was first held as a music festival in 1987 to showcase local bands in Austin, Texas (Swenson). By 1994, new media became a significant focus for SXSW as it added the events “SXSW Film” and “SXSW Interactive” (SXSWi). Thrust by SXSW’s established standing in the music industry and general popular culture, SXSWi quickly became “the biggest [event] of its kind” (Geiser) and one of the most important events in the new media industries (Marwick 112). The small music festival of the past has today evolved into a mega-event that attracted over 400,000 participants in 2018 (SXSW, “Event Statistics”). A working definition of the event is that SXSW is a conference and festival for music, new media, technology and culture, increasingly in combination due to digitisation. While the music and film events remain popular, SXSWi surpassed the others in terms of the number of participants in the early 2010s and, as the largest event, ended up subsidising the others 5 (Silverman 60). SXSW has the last few years disbanded SXSWi as a separate event and integrated it in to the main SXSW’s “Conference” or “Festival” program (Cannon). Today, SXSW is a concentrated space in time where the world’s elite in new media, technology and culture are gathered. Hence, a range of companies and industry professionals hope to “make it” during the event. As the whole event has grown in size, it has not just caught the attention of
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