label
emotional labour
Linked to 2 items
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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.