label
emotional labour
Linked to 4 items
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from: Irene de Craen (chapter)
So one of the things I’m very happy about with a publication is that it doesn’t have a space. Especially being an independent publisher, there is no space to take care of. sustainability of workflowsI also made sure that Errant is not published periodically, I publish whenever the hell I am ready to publish — and this is a structure that I've set up that funders find a little bit hard to understand. When you are interested in including certain voices, you should also give space to people having those voices. I always use the example of the second issue, which was about the environment, and it was delayed because one of the contributors was in a court case against Shell. So this is a good reason to extend the deadline, and because there is no space, you can create at your own pace. It is the same with Gaza: the last issue was delayed a bit because someone was trying to get a friend out of Gaza. emotional labourI'm trying to set up an organization that can make space for people's lives, and the issues people are dealing with that are usually directly connected to (geopolitical) issues Errant aims to address. In this way, the work is not removed or cut off from the actual lives and work of people I work with. Do you want to know more about how I work with the actual contributions or with editing?
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from: Irene de Craen (chapter)
As for the public events, like I said, I don’t really like doing public events. I just cancelled one actually. In my many years of doing public events, emotional labourI decided that I don't want to talk if I don't feel I have something to say. Sure, these moments are important for selling Errant and get more subscribers, but I didn’t feel I had anything to say that relates in a meaningful way to the world right now. The genocide in Gaza is the main thing that is on my mind these days, so honestly it felt wrong to organize an event to sell my magazine or talk about anything else, so I cancelled it.
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from: Silvio Lorusso (chapter)
32:18 It was a commission to do a book of fictional memos, the ones you have internally in a company. For example, Zuckerberg sending them to Meta. And my idea was to imagine a giant company that was called Culture Industry. I wanted to say, “Okay, from now on, we behave like this when we invite a guest”. So, for example, the first thing that I say is: “Let’s begin with the basics. From now on, you will relinquish the nasty habit of withholding the fee amount in the very first interaction with guests. Especially when the fee is symbolic. You won’t make them feel uncomfortable by asking at the bottom of the reply.” It’s not something that changes the world, this series of guidelines. emotional labourBut in the micro-economy of small gigs, this changes a lot. For example, when you have to chase payments, that takes hours in most of the production of what is published. And all that time, it’s time stolen from content, from research, from ideas, from works. I hope this helps explain it better.
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from: Silvio Lorusso (chapter)
35:34 First of all, I thank you for having this reading of the book, which is not a common reading. What you say is true, it’s in the book. emotional labourAnd what I say in the book is that we are not just victims, we didn’t just internalize the toxic activity. We need to consider ourselves partly responsible, otherwise, we don’t believe in any kind of free will, in any kind of autonomy. This kind of take also derives from a consideration, based on direct and semi-direct experience, that small and medium artists/designers are worse actors than companies in terms of bad practices, and exploitation, and that’s scary. Criticality is not enough because criticality is not a tool of change. This is also explained in the book “The Undercommons”, criticality is a form of professionalization of institutional critique.