Abstract

Subscription crowdfunding platforms, such as Patreon and Twitch, market themselves as spaces where digital creative workers can secure stable income from a loyal group of patrons, and where patrons can reap exclusive rewards and strengthen their relationship with beloved creators. Drawing on Zelizer’s concept of relational work, this study examines how digital creative workers simultaneously connect and transact with their patrons on such platforms. A thematic analysis of forty Patreon campaigns revealed that digital artists employ parasocial relational work to obscure the economic nature of crowdfunding. Artists frame monetary subscriptions as social support between two intimate parties and compensate their patrons with socially intimate rewards, such as self-disclosure and real-time interaction. In sum, digital artists encourage their patrons to support them as friends would by promising to treat their patrons as friends in return, a finding in line with current trends in creative labor and audience studies.

摘要

预订众筹平台（例如Patreon和Twitch）将自己定位为一个空间，在这里数字创意工作者可以从一群忠实的顾客那里获得稳定的收入，在这里顾客可以获得独家奖励并加强与喜爱的创作者的关系。这项研究基于Zelizer的关系工作概念，研究了数字创意工作者如何在这样的平台上同时与顾客进行联系和交易。对40个Patreon活动的主题分析表明，数字艺术家使用超社会关系工作掩盖了众筹的经济性质。艺术家将金钱订阅作为两个亲密聚会之间的社会支持，并用社交亲密的奖励（例如自我披露和实时互动）来补偿他们的顾客。总共，