Poetizando o Fordismo

Há algum tempo a gente vem observando a avalanche de vídeo-poesias, verdadeiras odes ao feito-a-mão. Sim, já sabemos que os paises desenvolvidos têm de voltar a valorizar este tipo de trabalho e retornar à produção para dentro de casa. Que não há vagas para tantos doutores ( e que, depois do o aumento das taxas, não haverão mesmo tantos doutores). Que enobrecer tudo que é braçal vai ser, perdoe o trocadinho, uma “mão na roda”. Já percebemos que não é mais nem uma questão de competição com os produtos feitos na China. Que vai muito além da sobrebivência. Para mim, é mais por aqui ó:

A society in which intention and focus are on top and intensity and wastefulness are at the bottom—also existing, perhaps, on the romantic margins of leisure, of bohemianism and puberty—is being reshuffled into a society where all these relations are reversed. And if we accept that this is a social fact, we can describe this development in terms of a larger diagnosis of the transition from Fordism to post-Fordism, from a society of discipline to one of control, as the victory of artistic critique as described by Luc Boltanski and Ève Chiapello, or in terms of the much-touted ideas of the artist as entrepreneur and of the creative cities in which the creative class allegedly leads a life that is as creatively intense as it is economically productive and successful.


All these early models of a wasteful working environment, however, still have a good-natured entrepreneur holding the whole thing together. Someone who is, deep-down, a Fordist planner, incorporating the irrationalism of disruption and wastefulness at selected moments, much like a forest official who shoots some game to manage the wildlife stock or a firefighter who sets a fire to fight a larger fire. This situation changes the moment the traditional style of entrepreneurial subjectivity—planning—meets two new competitors: on the one hand, the casino-style capitalism that has served as its own form of income, but has also come under increasing public scrutiny; on the other hand, the invention of the “passion to perform”—prominently manifested in Deutsche Bank’s motto: “Leistung aus Leidenschaft”—which is to say, the introduction of entrepreneurial principles into the everyday operations of business.

In today’s working world, that belief can be sustained by agreeing to an exchange (outsourcing, freelancing, and sham freelancing provide the corresponding economic and social form) that functions this way: I forsake any possibility of projecting myself as a private self, independent from my work, ultimately also renouncing any chance at negotiation, co-determination, or living the conflict of interest between capital and labor, and instead project myself as a holistic total self that is identical to my work. In return, I regain the intensification, the force, the power of my early years. All the miserable humiliations I suffer, as well as the successes that fill me with euphoria, are pushed as far as possible into the sub-subjective realm, the realm of psychology—of emotional experience. I agree to talk about them in the language and imagery of a widespread narcissism and its models and stereotypes, as events taking place between me and myself, between I and the self, where they constantly engender provisional objectivations of these experiences as they are displaced into my inner life. The result are rituals of introduction and bar-chatter openings of “I’m the kind of person who….”. [Trecho deste texto incrível de Diedrich Diederichsen]




2 Comentários | Categoria(s): tendências

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2 Comentários

  1. Helo Coltro disse:

    adorei! estava com um rascunho de post sobre o tema!!! =)

  2. Ana Luiza disse:

    Que bom Helo!