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Despite today's ruling of neoliberal capitalism, New Media Art could be regarded as a place of resistance, where radical ideologies such as communist utopias and other social discourses are able to proliferate and spread through social connectivity. [1] By looking into this apparent contradiction, we find that whereas New Media Art-work discourses are full of passion,self-realization, freedom, creativity, anti-capitalist values, etc., their material conditions of production are remarkably complex and operate on self-disciplinarity, flexibility, precarity, [2] [3]and "˜lottery economy' work. [4] Moreover, the neoliberal regulation of "˜mainstream and acceptable' art as well as the creative aesthetic processes as potential economic sources of income has also extended these conditions to most new media creative practices,which exist as separated from the mainstream art world. [5]This paper endeavors to capture a detailed view of the previous assumption, based on the analysis of some examples and posing these material conditions side by side with the discourses of creative work, which rely almost solely on old romantic notions of creativity evoking the rewards of such work and yet, the relinquishments -in terms of stable work conditions- to be also made as a counterpart of creative grace. The research we present focuses on initiatives which mediate between creators and industry, specifically comparing the cases of the Talent Factory and Disonancias, both based in the Spanish territory.Some examples could be found in the early years of net.art (as in the cases of ®TM Mark or Technologies to the People) and also currently in the social networks such as Wikipedia.M. Lazzarato, "Immaterial Labour," in Radical Thought in Italy: A Potential Politics (Minneapolis: University of Minnesota Press, 1996) 133-147.A. McRobbie, "Making a Living in London's Small-scale Creative Sector," in Cultural Industries and the Production of Culture, ed. Dominic Power and Allen John Scott (London and New York: Routledge, 2004), 130-146.A. Ross, Nice Work If You Can Get It: Life and Labor in Precarious Times (New York: New York University Press, 2009).R. Florida, The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life (New York: Basic Books, 2002).

Images are part of the communication strategies of both the hegemonic powers and political activism. Images have recently been the focus of studies on social movements, highlighting the importance of visual activism in social media. However, the relationship between these visual narratives and mythological structures and how they operate to mobilize social change has not been significantly explored. This study analyses the role of environmental activism memes on social media and how, in anthropological terms, they can be understood as myths or narratives that offer a model for perceiving, understanding, judging and acting in the world. We draw from ongoing research into eco-influencers on Instagram, taking environmental memes characterized by binary oppositions of "before" and "after" as the study subject. This contrast establishes a temporal narrative and future prediction, involving a cause-and-effect relationship and a moral judgement of our actions. We argue that, in the case of the environmental meme, the myth-based approach helps in understanding its role in articulating the cosmic, social and personal orders as it brings human action into harmony with the cosmic order while projecting its images onto the human experience.

Las imágenes forman parte de las estrategias y prácticas comunicativas de los poderes hegemónicos y del activismo político. Recientemente se ha incorporado la imagen al estudio de los movimientos sociales, destacando la importancia del activismo visual en las redes sociales y sus nuevas formas narrativas. Sin embargo, se ha explorado con menor profundidad la relación entre estas narrativas visuales y las estructuras mitológicas y cómo operan para movilizar al cambio social. En este artículo analizaremos el papel de las imágenes meméticas en el activismo medioambiental en las redes sociales y cómo podemos entenderlas desde una perspectiva antropológica como mitos o narraciones que proponen un modelo para percibir, comprender, juzgar y actuar en el mundo. Nos basaremos en una investigación en curso sobre los «eco-influencers» en Instagram, tomando como objeto de análisis memes medioambientales caracterizados por plantear oposiciones binarias entre un «antes» y un «después». Este contraste establece una narrativa temporal y una proyección de futuro, que conlleva una relación de causa y efecto y una valoración moral de nuestra acción en el mundo. Argumentaremos que, en el caso del meme medioambiental, la aproximación desde el mito nos ayuda a comprender su agencia en la articulación del orden cósmico, social y personal en cuanto armoniza las acciones humanas con un orden cósmico a la vez que proyecta imágenes del orden cósmico al plano de la experiencia humana ; Images are part of the communication strategies of both the hegemonic powers and political activism. Images have recently been the focus of studies on social movements, highlighting the importance of visual activism in social media. However, the relationship between these visual narratives and mythological structures and how they operate to mobilize social change has not been significantly explored. This study analyses the role of environmental activism memes on social media and how, in anthropological terms, they can be understood as myths or narratives that offer a model for perceiving, understanding, judging and acting in the world. We draw from ongoing research into eco-influencers on Instagram, taking environmental memes characterized by binary oppositions of "before" and "after" as the study subject. This contrast establishes a temporal narrative and future prediction, involving a cause-and-effect relationship and a moral judgement of our actions. We argue that, in the case of the environmental meme, the myth-based approach helps in understanding its role in articulating the cosmic, social and personal orders as it brings human action into harmony with the cosmic order while projecting its images onto the human experience