Perspectives and questions on the advent of cultural and information platforms 37 Let us add that these PFs are of interest to both expatriates and locals; it is a condition of its viability. *** For more than a century, cultural and informational products have resulted from the often competitive and therefore conflictual, but ultimately more or less negotiated, “encounter” between the strategies of actors whose interests are far from al- ways convergent: namely, 1. the strategies of the main communication industries, now overtaken by the promoters of the large digital platforms; 2. the strategies of disseminators, producers or editors of content and, subsequently, the contributions of artists, intellectuals and information specialists, to the conception or creation of this same content; 3. structuring trends in cultural and informational practices and, particularly, in the expansion of com- mercial consumption; 4. what is produced by technical changes and innova- tions, and particularly by the uses resulting from technical means; and 5. the activities of reception, appropriation and re- interpretation of content by the recipients, i.e., consumers. This scheme could be presented in a more reasoned way, but it essentially sheds light on the ongoing changes in me- dia coverage of infocultural phenomena and remains relevant even if it has become more complex. Many (e.g., among digital ideologues or experts in digital humanities) hoped that, with the development of digital techniques, this would represent the end of this standard; and there was indeed an evolution to- wards (more) direct relationships between creators and users, but much more decisive was the interposition of the Digital Giants, mainly, but not exclusively in the intermediation phase. This intervention took place quickly and even brutally, favored by the fascination linked to digital technology, as well as the virtual absence of regulatory measures (in Europe, but also other
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