The way that Boltanski and Chiappello talk about the new labor is much like how Robert Morris talked about his new artwork in ‘66. It’s not that the artwork is less important, it’s just less self-important. And that’s the new labor management idea: you transcend categories as your different contexts ask you to be different things. That’s a parallel between business literature and artworld discourse. The free agent and the social practice artist are both talked about as transcending categories, and the problem is—there are those people who get paid handsomely, who make a great living off doing that: hedge fund managers, venture capitalists. They’re the people that do precarity well and win at it, but it’s the same system that produces the people who don’t do so well. The hedge fund manager does a million different things and on the other side so does the person who works twelve different jobs in order to make one paycheck and has to be available 24/7 in case Walmart wants them to work the late shift or over the weekend. It’s precarity. Individuals who transcend categories are not only part of the system, they’re at the center of it. Then you’re not talking about the institution in the same way. In an information world, the institution is not brick and mortar. It’s discourse, it’s connections, it’s networks and moving around certain data in terms of its valuation—whether it’s hot or not or passé. If the old discourse about the old institution was about objects, if you came to terms with the institution by thinking about the context around objects, then the new primary unit is the subject, and you have to talk about the context around the subject.
Feeling great with Lane Relyea : Bad at Sports (via towerofsleep)