“Entreprecariat – Siamo tutti imprenditori. Nessuno è al sicuro.” (fuori il 24 novembre)

Imprenditore o precario? Sono questi i termini di una dissonanza cognitiva in cui tutto pare una mastodontica startup. Silvio Lorusso ci guida alla scoperta dell’”imprendicariato”, un universo fatto di strumenti per la produttività, di poster motivazionali e di tecniche di auto-aiuto per risultare ottimisti. Non solo: un mix di ideologia imprenditoriale e precarietà diffusa è ciò che regola social media, mercati online per il lavoro autonomo e piattaforme di crowdfunding. Il risultato? Una vita in beta permanente, dai risvolti talora tragici.

Dal 24 novembre “ENTREPRECARIAT – Siamo tutti imprenditori. Nessuno è al sicuro.” di Silvio Lorusso, con prefazione di Geert Lovink e postfazione di Raffaele Alberto Ventura, è disponibile online e in libreria.

10,5 x 21 cm
carta lucida / carta usomano
brossura
228 pagine
italiano
€18,00

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The Poverty of Praxis and the Web

I’m jotting down some quick notes on what seems to have become an obsessive thought: the relationship between poiesis and praxis, as understood by Hannah Arendt in The Human Condition. In broad strokes: poiesis means fabrication, it is the activity of the homo faber, the craftman (be them an engineer or a sculptor); praxis means acting politically, taking initiative, while being seen by other human beings. Poiesis implies a shared world of things, praxis implies a public sphere.

The latter was originally considered the highest human activity but nowadays this is not the case anymore. And here I would like to argue, or at least to suggest, that praxis functions today as a surrogate for a poiesis that is hardly achievable by the most. In other words, people act politically (in a broad sense) because they are unable to make (design + fabricate) things or find gratification in this making.

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WORK & PLAY & INSIST (Milano, 24/11)

Il 24 novembre sarò a Milano per WORK AND PLAY AND INSIST, una giornata di workshop, installazioni, panel e live set a cura di Krisis Publishing, che presenta il nuovo ciclo di pubblicazioni e il progetto Undisclosed Recipient.

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Sei mesi di astinenza da Facebook

Sei mesi di astinenza da Facebook. Nel senso che per sei mesi non ho pubblicato nulla, se non in maniera per così dire omeopatica, ovvero attraverso la pagina che gestisco (i cui follower si contano sulle dita e il cui unico commentatore è un mio amico d’infanzia). A dire il vero avevo già sfrondato radicalmente i miei contatti e smesso di mettere Mi piace: se davvero ho qualcosa da dire, mi tocca commentare. La cosa più difficile? Resistere all’urgenza promozionale: ehi, ho fatto una collaborazioncina qui, ho scritto una cosina lì, sono bravo no? Ti prego, dimmi che lo sono… E magari contattami, ché il lavoro non è mai abbastanza. A cosa è servito tutto ciò? Non a molto. Forse, data la mia tendenza a inveire, mi sono fatto qualche nemico in meno, però non sono certo riuscito a intervenire sulle mie nevrosi da timeline. Continuo a scrollare e scrollare come facevo prima con la sola differenza che se mi viene in mente qualcosa lo tengo per me o lo dico altrove (ad esempio su Mastodon, che è proprio un bel progetto ma ci stanno tre italiani in croce). A detta degli scienziati di Facebook consumare contenuti senza produrne di propri rende gli utenti tristi. Ma la cosa veramente triste è che a nulla hanno portato gli schiamazzi intorno a Cambridge Analytica, i vari #deletefacebook, i rimbrotti dei pionieri del web che ci esortano a cancellare i nostri account. Siamo ancora tutti qui, immersi in questo tedio digitale, a ballare e cantare come si faceva durante i giorni più bui della Peste nera.

 

Lifelong Learning

Dear Reader,

let us be honest: we cannot easily put into words why this show is entitled “Lifelong Learning”. For this to become clear, it’s best to start from the beginning since Lifelong Learning is the material manifestation of endless conversations we have had for years.

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“A CV that Never Sleeps” – On LinkedIn

The writing of this essay, which was originally published on Modes of Criticism 3 under the title “LinkedIn Society”,  was concluded just before a quite drastic redesign of LinkedIn’s interface. In its conclusions I somehow predicted the elimination of the anomalous functionalities that made LinkedIn peculiar in comparison to the standards of other generalist social media platforms like Facebook. As I argued, these now obsolete functionalities illustrate a utilitarian transparency more genuinely adherent to the ideology and the aims driving the design of the platform than the full “rhetorical turn toward conviviality” (Davies 2016) that characterize other dominant social media and guided the current redesign of LinkedIn. Instead of updating the essay according to the new design, I decided to preserve my original analysis in order to provide a chronicle of  the recent history of social media and a proof of the difficulty to formulate a timely critique in a medial ecosystem that is in “permanent beta”, just like contemporary workers must be according to LinkedIn cofounder Reid Hoffman (2013).

 “Linkedin is a Waste of Time”

In  the last years, much has been written on the Facebook Like Economy, on the grassroots genealogy of the Twitter hashtag, on the formation of a narcissistic subjectivity on Instagram. During this period, LinkedIn has been almost completely ignored. In the Social Media Reader, published in 2012, it is not even mentioned once. In the Unlike Us Reader, published the year after and focused on possible alternatives, LinkedIn appears five times, but only as a fleeting example. Unlike generalist social media, LinkedIn has a specific focus, the world of professionals. IHowever, it is a platform where it’s possible to identify , both in its interface, its communication and its origins, some latent dynamicsthat presently orient social media and, therefore, society at large. This is what makes it  unique and therefore valuable in the current social media landscape. In this essay, I discuss LinkedIn’s unique functionalities, rhetorics and principles.

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Fake It till You Make It – Genesis of the Entrepreneurial Precariat

Originally published on Pagina99 under the title “Vi racconto gioie (poche) e dolori dell’imprecariato“. Illustration by Krisis Publishing

At first glance, the main common denominator for the large demographic segment that goes by the name of Millennials is technology. Those born between 1980 and 2000 are the first to have fully experienced the digital revolution, and already nostalgically commemorate its beginnings. Yet there is another aspect that distinguishes this generation from the previous ones. While the baby boomers have been able to count on a stable career and Generation X has complained about the limitations, for Millennials, a path deprived of detours is unrealistic if not outdated. It’s the very idea of a career that falters against a shared horizon characterized by constant uncertainty.

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Be Like Elon: Entrepreneurial Spirit, Bureaucreativity and Self-Design

Tomorrow I’m giving a talk at Sandberg Instituut and that’s why I was blessed with a flyer designed by the students of the graphic design department. Come and say hi, here’s the abstract:

Be Like Elon: Entrepreneurial Spirit, Bureaucreativity and Self-Design

“You must become an entrepreneur”. This is the obsessive refrain one can hear at any level of society and education. But what is entrepreneurship? What’s behind the elusive notion of entrepreneurial spirit? In this Quicksand talk, Silvio Lorusso will delve into the entrepreneurial culture formalized through the work of, among others, Joseph Schumpeter, Peter Drucker and Tom Peters to show that a radical attitude, one that passionately asks for change, might not be so different from the mindset prescribed by entrepreneurialism. When one’s disposition is instrumentalized to please an expanded bureaucracy that indifferently requires to think differently, design becomes first and foremost a matter of self-design.

 

La tragedia del crowdfunding

[Pubblicato originariamente su Not.]

«A che serve il crowdfunding?» «A finanziare collettivamente prodotti e servizi innovativi, album, documentari, libri, videogiochi, fumetti, ecc.», direte voi. In altre parole, se fate parte di quella minoranza che conosce il termine (il 61% degli statunitensi non ne ha mai sentito parlare) sarete probabilmente inclini ad associare il crowdfunding all’attività delle startup tecnologiche e delle cosiddette industrie creative. Ipotesi in parte confermata dai dati disponibili sulle campagne di crowdfunding che hanno ottenuto più fondi in assoluto. Escludendo una serie di campagne lanciate indipendentemente o tramite Ethereum (si tratta perlopiù di criptovalute) che si collocano nella top ten, la maggior parte dei restanti progetti è stata finanziata tramite piattaforme come Kickstarter o Indiegogo, entrambe dedicate principalmente a imprese creative o innovative.

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Time-space vs Space-time

We inhabit time-spaces, which means spaces organized by logistical time. Take the metro, wait five minutes, two stops, out. Go to the office, the meeting is at 10 and I’m late, lunch break, five more hours, out. The hackathon will last 24 hours from now… 3, 2, 1, start! Etc. The factory is the most blatant example of time-space: a productive space functionally organized by the chronometer. In time-spaces, time is king. Among the effects of the restructuring of time-space, there is the conflation of time with the counting of time: time becomes measurement.

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