Arguably the world's most iconic platform organization, Uber relies on a disaggregated labour force and a technology application accessible to users on mobile devices. The company contracts with over three million drivers worldwide and has curated an infrastructure of platform-based control characterized by algorithmic processes. The effects of this new wave of control on the driver-led workforce are unclear. Drawing on interviews with 36 Uber drivers, mainly from Australia and France, this research investigates how the ‘gig economy’ workforce engages with platform-based control. We find that the platform organization's control algorithms operate with strong disciplinary effects. Drawing on Foucault's concept of self-formation, we examine worker responses to the new order of work. We highlight the way workers engage in practices to ‘take care of oneself’, by enduring, subverting or exiting the conditions of algorithmic management. We find that these practices are related to the distance embedded in the field between management and the workforce. In this way, we argue that the gig economy operates differently upon the ‘governable self’ and urge caution in relation to the use of algorithms to control at a distance.

Art represents one of the world’s most sacred cultural resources, with the total value of artworks currently in circulation worldwide estimated to exceed $1.5 trillion. Despite its undoubted historical and cultural significance, art, like other culture-based assets, has been frequently qualified as ‘difficult to value’. This study aims to understand the ways in which valuation work constructs artworks as being of value. Building upon research into categorisation and valuation work, we present our findings based on 41 interviews with agents specialised in art valuation (art dealers, art auctioneers, and art valuers) in the United States and Australia, combined with one year of participant observation at a major international art institution. We distinguish four categories of artworks according to their degree of cultural recognition: decorative art, emerging art, trending art, and blue-chip art. Depending on how an art production is categorised, we find that actors engage in three different modes of overlapping and mutually constitutive valuation work: interpreting, credentialing, and projecting value. This categorisation of cultural significance makes the valuation of artworks both hierarchical and performative.