Richard Sennett

For several decades, the concept of narcissism has been used to criticize society and culture(s). This paper discusses the achievements and limits of such approaches. In a first step, it sketches controversies within psychoanalysis around the notion of narcissism itself. It then proposes a categorization of cultural theories that draw on narcissism in general. The main part of the paper deals with three exemplary theories: Christopher Lasch's The culture of narcissism; Richard Sennett's The fall of public man, and the philosophy of Robert Pfaller. A detailed analysis shows that theories which try to establish causal connections between society and the occurrence of personality disorders usually fail to explicate this connection in a satisfactory way. Theories that criticize society because it supposedly fosters narcissistic personalities prove to be unconvincing. Approaches that use the notion of narcissism in a broader, metaphorical sense, however, have the potential to cast a new light on certain developments in culture.

The paper attempts to situate Sennett philosophically by placing him in the tradition of ontological hermeneutics. This way of reading Sennett is justified not only by the core principles that govern Sennett’s social anthropology. It is also useful for tracing the trajectory of Sennett’s philosophically informed diagnoses of the times. These diagnoses focus on the role of work in shaping subjectivity. After reconstructing the basic conceptual shape of Sennett’s diagnoses of the work-related maladies of the “old” and the “new” capitalism, the paper presents some broader reflections on the philosophical presuppositions of social criticism that takes its departure from the centrality of work.

På spissen Denne boken kom ut første gang i 1962 i da forfatteren var 33 år gammel. Det dreier seg om en litt utvidet utgave av et såkalt habilitasjonsskriften postdoktoravhandling som normalt er nødvendig for å kunne bli professor i Tyskland. Skriftet vokste ut av et arbeid Habermas var med og skrev for det berømte Institut für Sozialforschung i Frankfurt, der lederne var Max Horkheimer og Theodor Adorno, også kjent som hovedpersoner i «Frankfurterskolen », som Habermas så skulle komme til å føre videre, på selvstendig grunnlag. Dette arbeidet, som fikk tittelen Student und Politik ii , var en undersøkelse omkring studenters politiske holdninger basert på intervjuer, og er det mest berømte sosiologiske arbeidet som er gjort på instituttet etter at det på ny ble grunnlagt i Tyskland, i forbindelse med Horkheimers og Adornos tilbakekomst etter annen verdenskrig. Hva empirien angår, ble arbeidet ledet av Ludwig von Friedeburg, mens Habermas blant annet skrev en teoretisk innledningen briljant 50 siders avhandling, der grunntankene i den foreliggende boken allerede kommer til uttrykk. Deretter fikk Habermas et stipend fra Det tyske forskningsråd for å kunne skrive Strukturforvandlingen av offentligheten, som den foreliggende boken het på tysk. Oversetterne til norsk valgte en litt mindre tung tittel, Borgerlig offentlighetdens fremvekst og forfall. Cambridge-historikeren T.C.W. Blanning har i ettertid skrevet om Borgerlig offentlighet: «Dette må sikkert vaere den mest innflytelsesrike akademiske avhandling som noen gang er trykket.» iii Her sikter han nok til avhandlinger som har vaert innlevert til doktorgrad eller habilitasjon, ikke avhandlinger i sin allmennhet. Det er likevel ikke lett å vurdere en slik påstand, og det slår meg at Michel Foucaults avhandling om Galskapens historie må vaere en svaert seriøs konkurrent. Men Blannings påstand står likevel; den står der hvor sannheter ifølge Adorno står best: på spissen. Slik er for øvrig også Habermas' bok: så omstendelig den ofte er formulert, så full av all slags kunnskap og synspunkter fra forskjellige teoritradisjoner den er, så nyansert og dialektisk naer sine teoretiske og politiske motstandere, så står boken likevel temmelig på spissen, blant annet med et ganske grelt kritisk perspektiv på etterkrigstidens velferdsstatlige demokratier, implisitt ikke minst

The concept of public space has a long history and very different meanings. In particular, the conceptions of political theory and philosophy differ from those heralded by urban planners and sociologists, fueling some confusion about the ‘public space’ applications. In this contribution, this complexity is put under tension with the type of planetary urbanization we were used to before the arrival of the covid19. We will end with a reflection on the possible effects that the pandemic has on the city and on its public space.

Films use architecture as visual shorthand to show viewers
what they need to know about characters in a short amount of
time. Using a phenomenological approach to look at a diverse
range of international, historical and contemporary films,
this book describes how we as viewers can read architecture
and design on the big screen to see a number of underlying
messages. Architecture’s representational capacity contributes
to the plausibility or realities that are possible in film. The book
provides an ontological understanding that clarifies and
stabilises the reciprocity between our actual and filmic worlds
of illusion and human imagination, thereby shedding light on
both cinema and architecture.

Richard SENNETT (2009), Zanaatkâr (Çev. Melih Pakdemir) (İstanbul: Ayrıntı Yayınları, 395 s.).
Zanaatkârlık, Endüstri Devrimi ile tahtından edilmiş bir üretim biçimi gibi ya da geçmişe ait maddi kültürü üreten eski bir yaşam tarzı olarak görülebilir. Yerini alan makineli üretim her ne kadar ihtiyaç duyulan ürünlerin çok daha hızlı ve ucuz imal edilmesini sağlamışsa da zanaatkârlığa olan ilgiyi ve ihtiyacı tümüyle ortadan kaldıramamıştır. Antropologların maddi kültür üretimi ile ilişkilendirdiği, yok olmaya yüz tutmuş bir yaşam tarzı olarak değerlendirebileceği bu üretim tarzının milyonlarca yıllık geçmişi, günümüzün toplumsal yaşamında, bireyin toplum ve doğa ile kurduğu ilişkide hala etkili olduğu görülmektedir.

Dentro de la Trilogía "Existencias al unísono"

Este epígrafe se puede citar del siguiente modo:

José Miguel Valle, Los sentimientos también tienen razón. El entramado afectivo en el quehacer diario, Editorial CulBuks, Sevilla, 2017, pp.132-134

¿Qué puede querer decir que la experiencia sea un oficio, tal y como lo son la alfarería, la música, o la programación, por ejemplo?". La pregunta es imprecisa. En su libro El Artesano, Richard Sennett no piensa la experiencia como un oficio en general, sino como "el oficio de la experiencia" (354). La experiencia no es de por sí un oficio; no es algo que esté necesaria e indisolublemente atado a la artesanía. El proyecto de El artesano es el de pensar la experiencia no como un fenómeno interior, que residiría más allá de toda reflexión que no le sea posterior, sino como un acontecimiento que abre la posibilidad de cultivar nuestras relaciones con el mundo y con nosotros mismos. "El oficio que consiste en producir objetos físicos proporciona una visión interior [insight] de las técnicas de la experiencia capaces de modelar nuestro trato con los demás" (355); en otras palabras,

Karakter Aşınması, birbirleriyle bağlantılı 8 ayrı bölümde kapitalizmdeki esnekliğe yönelen dönüşümün çalışanlar üzerinde yarattığı psikolojik, sosyolojik, kültürel, finansal ve yaşamsal etkileri inceliyor. Geçmişte "serbest" ya da "özel girişim" sıfatlarıyla isminde taşıdığı kötü çağrışımlardan kurtulmak isteyen kapitalizm bugünün endişe dolu yeni doğasını esneklik olarak tanımlıyor.

Theories of post-industrial society have since their earliest formulations had a questionable relation to actual processes of social change. This article explores why they nonetheless continue to hold influence. Drawing on Mannheim, it argues that theories of post-industrial society were originally formulated as utopia – hopeful speculations about the future. When their core concepts are used to describe present conditions, however, they take on the role of ideology, in
Mannheim’s sense of this term. The ideology of post-industrial society represents a specific world view in relation to work, knowledge and education. It elevates and celebrates ‘knowledge work’ and renders invisible existing forms of industry and workers’ knowledge necessary for practical work. When the present is viewed through the lens of these theories, practical work is cast as the work of yesterday and the people who do it as yesterday’s people.

We are living through a period of mature neoliberal governance in which the disorientation of working-class politics in affluent liberal democracies has reached a critical state. A salient feature of neoliberalism is the devaluation and virtual erasure of the rich heritage of a generations-long struggle waged by the working class to achieve political visibility at the formative stages of industrialized capitalism. This paper is an unpublished draft of the fourth and final chapter of my book, Landscape and Labour: Work, Place and the Working Class in Eliot, Hardy and Lawrence (Rowman & Littlefield). Motivated by the spirit of the British cultural theorists Raymond Williams and Richard Hoggart, the book examines crucial evocations of working-class life in the novels of Eliot, Hardy and Lawrence with a view to renewing contemporary democratic political culture.

Today (5.12.2018) we dealt with a short text from Richard Sennett's 'Flesh and Stone' - Sennett explains in here the ghettoization process that took place more than 500 years ago in Venice. Jews were at the core of this urban segregation; however, Germans or Turks were also segregated minorities within the once most metropolitan city of Europe. It is interesting to learn that the word "ghetto" emerged from the Italian verb which means "to pour" -the initial ghettos were within the once industrial zone where foundries were situated.

The Stonemason (1995), Cormac McCarthy’s first published play, is a sustained meditation on the values of the ethic of craft as opposed to mere work, as well as on the difficult application of such values to reality. On the one hand, craft is represented as the quintessential value; on the other,
it is measured against the real world in which values have to be constantly renegotiated in order to be useful. In this essay, I analyze how the tension between the ideal of the “craftsman hero,” represented by Papaw, and Ben’s attempt to live up to it traverses The Stonemason through three distinct if intertwined levels. First is the individual level, at which craft is intended as Ben’s personal experience of learning from Papaw how to lay stone upon stone as he struggles to hold his family together. Second is the social level: stonemasonry is one element of the economic system which is the battlefield for the struggle between the effort of the oppressed to improve
their position and the ever-renewing ways in which the oppressors defend and exercise their power. Finally, there is the symbolic-mythical level: here stonemasonry is seen as the archetypical craft embodying a view of the world as the product of either a benevolent or an evil God. It is in the tension between the ideal and the reality of craftsmanship as it crosses these three dimensions that one can appreciate the full scope and complexity of McCarthy’s ethic of craft.

with texts by: Dirk Baecker, Tobia Bezzola, Daniel Binswanger, Elisabeth Bronfen, Kathleen Bühler, Dolores Denaro, Diedrich Diederichsen, Anselm Franke, Marcy Goldberg, Walter Grasskamp, Peter Gross, Boris Groys, Jürgen Häusler, Vinzenz Hediger, Kornelia Imesch, Pius Knüsel, Tom Kummer, Markus Landert, Franz Liebl, Torsten Meyer, Sibylle Omlin, Karl-Josef Pazzini, Ulf Poschardt, Suzann-Viola Renninger, Richard Sennett, David Signer, Bettina Steinbrügge, Oliviero Toscani, Wolfgang Ullrich, Slavoj Zizek u.a.,

In metamodern culture, handicraft is everywhere. As I argue, the ‘artisanal turn’ is not just a symptom of postmodern nostalgia, i.e. past ‘options’ or ‘instances’ allowed to make a second appearance. Rather, it is our very experience of time that has changed. What seemed old can appear authentically new again. Today's interest in crafts and craftsmanship thus has less to do with the idolisation of pre-industrial handicrafts by John Ruskin or the anti-industrial Arts and Crafts movement founded by William Morris than with Bauhaus. Ever since, craft has been emancipating itself from the intimacy of the studio and the corresponding closed guild mind that values only the specifics of its metier and its skills. This transformation marks less the disappearance of craftsmanship after the end of art than its development into a general media literacy. Given a certain material, what is it capable of? It was perhaps in this metamodern sense that Deleuze and Guattari, in A Thousand Plateaus, proposed the concept of the modern artist as “cosmic artisan”. I offer a mannerist genealogy for metamodern crafts and craftsmanship. Starting from tensions brought about in matter-form relationships by contemporary digital design practices, I retrospectively problematise the division of labor between design and craft at the very moment it first appeared. In this way I expose an informal or cosmic dimension in both mannerist and metamodern craftsmanship, characterized by an infinite and continuous variation of manners rather than forms. I will then develop some of the ontological, epistemological and political implications of this dimension in the light of recent developments in Theory such as New Materialism, Object-Oriented Ontology (OOO), and the care for the plastic relationality of the Self, which themselves are interpreted as expressions of a metamodern sensibility.

Our history carries great responsibility in the foundation of who we truly are. Without our history, we wouldn't find ourselves in this particular place, because the past brought us to where we are standing right now in the present. This is nothing new, somewhere in our minds we all know this indeed, but understanding of our personal history, being led by our active memories, helps each of us understanding who we are, this unique personality everyone is. Like understanding national history gives great insight in the identity of a nation and the origin of its own culture, standards and rules. But unlike the collectiveness of a nations identity -coming from its collective, historical memories -personal identity, partly a result of personal memories has an individual character. Your own memories carry great responsibility in the foundation of who you truly are. Just as this uniqueness of personal memory and personality, the way of designing and perceiving for architects is unique and has this similar individual character. Every architect creates architecture in his/her own way because personality has an essential share in designing. Besides creation, every architect, as every person in general, has a personal, unique perception of everything. In the case of an architect, both his/her own work, architectural design, and the work of others, architectural experiences, are perceived in a unique way, because of this personality.

İletişim teknolojilerinde yaşanan gelişmeler, gündelik yaşamı doğrudan
değişime uğratmıştır. Kamusal ve özel alan arasındaki sınırlar yeniden
biçimlenmektedir. Toplumsal yaşamı anlamada, yeni medyanın gündelik hayattaki yeri
gittikçe önem kazanmaya başlamıştır. Yeni iletişim teknolojilerinde yaşanan gelişmeler,
kamusal/özel alan tartışmalarına da yansımış ve neyin kamusal, neyin özel olduğuna
dair düşünceleri daha da karmaşık hale getirmiştir. Kamusal ve özel alanda yaşanan bu
dönüşüm, bu kavramları yeni medya ile yeniden düşünmeyi gerekli kılmıştır.
Yeni medya kullanımıyla, insanların kamusal ve özel alan kavramları algısı
yeniden inşa olmaya başlamıştır. Bu çalışmada kamusal ve özel alan kavramları, “yeni
medya” kavramı ile yeniden düşünülerek, yeni medyanın nasıl bir alan oluşturduğu ele
alınmıştır. Tezin birinci bölümünde, Jürgen Habermas, Hannah Arendt ve Richard
Sennett’in kamusal ve özel alana yönelik düşünceleri incelenmiştir. Tezin ikinci
bölümünde, yeni medya kavramı ile mahremiyet kavramları birlikte ele alınarak, yeni
medya araçlarının hayatımıza girmesiyle birlikte mahremiyet algısının yeniden inşa
olma süreci tartışılmıştır. Tezin üçüncü bölümünde, yeni medya tanımı ele alınarak,
kamusal ve özel alan kavramları yeni medya üzerinden tekrar incelenerek yapılan
araştırmanın problemi, amacı ve bulguları aktarılmıştır.
Anahtar Kelimeler: Yeni Medya, Kamusal Alan, Özel Alan, Habermas, Arendt, Sennett

With the rise of the Internet, skills, patterns, and ideas are being shared more widely among people engaged in the crafts, which seems to break with some of the underlying assumptions about the lone genius craftsman. Much discourse about craft has been focused on the hands of the artisan, or the " tacit " knowledge used by the maker, but as crafters collaborate in a larger extent some other perspectives could be of use, especially since the surrounding environment seems to take a more active involvement in the production than the mere maker. Increasing Internet prevalence has made this even more obvious, as do-it-yourself instruction and the sharing of skills are abundant in craft forums online, blurring the borders between influences, makers, and situated modes of production. This article examines some concepts and metaphors by which some of the potentials of craft collaborations could be understood. Combining theories of cognition from super-organisms like ant colonies and their " bodyhood " with the " capabilities approach " of Amartya Sen and the concept of educational sloyd, the text builds an associative framework for a perspective on how collaborations actualize new craft capabilities. In conclusion, the article proposes a wider understanding of do-it-yourself activities as a shared endeavor toward

QTS, 20(1-2), 2020

Ambrogio Santambrogio, Editoriale

MONOGRAFICO
Forme e spazi della Teoria critica
A cura di Luca Corchia, Walter Privitera e Ambrogio Santambrogio

Luca Corchia, Walter Privitera, Ambrogio Santambrogio, Presentazione

SEZIONE PRIMA
Forme della Teoria critica

Ambrogio Santambrogio, Illuminismo della dialettica. La razionalità nascosta nella Dialettica dell’illuminismo
Lucio Cortella, Salvare l’individuo. Compito e oggetto della teoria critica in Adorno
Stefan Müller-Doohm, Habermas e la teoria comunicativa della società. Una mappa tematica
Virginio Marzocchi, La pragmatica trascendentale di K.-O. Apel. Critica immanente e trascendente del sociale
Matteo Bianchin, Ragioni, potere, dominio. Rainer Forst e la teoria critica del potere
Lorenzo Bruni, Riconoscimento e normatività in Axel Honneth. Variazioni normative del legame sociale
Eleonora Piromalli, La teoria critica di Rahel Jaeggi. A partire da Che cos’è la critica dell’ideologia?
Giorgio Fazio, Se l’accelerazione è il problema, la risonanza è la soluzione? Una lettura ricostruttiva del nuovo programma di teoria critica di Harmut Rosa
Franco Crespi, Tornare ad Adorno al di là di Habermas. Teoria critica e agire sociale

SEZIONE SECONDA
Habermas e la “Scuola di Francoforte”

Marina Calloni, La divergente unità della “cosiddetta” Scuola di Francoforte
Jürgen Habermas, Tre tesi sulla storia della recezione della Scuola di Francoforte
Jürgen Habermas, La Teoria critica e l’Università di Francoforte
Jürgen Habermas, Postfazione alla Dialettica dell’illuminismo
Jürgen Habermas, Una generazione separata da Adorno

SEZIONE TERZA
Sfera pubblica e teoria sociale in Habermas

Roman Yos, Il giovane Habermas e la genesi del concetto di sfera pubblica
William Outhwaite, La sfera pubblica nella teoria dell’evoluzione sociale
Bernhard Peters, La semantica del termine “sfera pubblica”
Antonio Floridia, Habermas e la democrazia deliberativa
Olimpia Affuso, Le sfere pubbliche alternative. Critica di un ideal-tipo
Luca Corchia, Roberta Bracciale, La sfera pubblica e i mass media. Una ricostruzione del modello habermasiano nella communication research
Stefan Müller-Doohm, L’Europa di fronte al capitalismo globale
Massimo Pendenza, Cosmopolitismi e cosmopoliti. Ripensare sociologicamente il cosmopolitismo
Leonardo Ceppa, La rinascita delle religioni all’interno della democrazia
Paolo Jedlowski, Socievolezza e sfera pubblica. Tipi di conversazione nei “luoghi terzi”
Walter Privitera, Ragione e comunicazione. La teoria di Habermas tra filosofia e scienze sociali

SEZIONE QUARTA
Dialoghi sullo spirito del tempo

Andrea Borghini, Norbert Elias e Jürgen Habermas. Un confronto critico
Barbara Henry, Habermas e Arendt a confronto con il paradigma oblativo del potere in Marco (Mc 10,41-45)
Vincenzo Romania, Lebenswelt, motivi e normatività in Habermas e Wright Mills
Pier Luigi Lecis, Le aporie del paradigma epistemico fra Apel e Habermas. Fallibilismo, consenso, verità
Laura Leonardi, Dahrendorf, Habermas, Giddens e il dibattito sulla “Terza via”. La diagnosi del mutamento e il controverso rapporto tra teoria e prassi
Roberta Iannone, Ilaria Iannuzzi, La tirannia dell’intimità. Mondi di vita e privatizzazione in Sennett e Habermas
Lidia Lo Schiavo, Il dibattito tra Foucault e Habermas. Illuminismo, critica, modernità
Massimo Cerulo, Sfera pubblica e opinione pubblica. Bourdieu e Habermas. Una comparazione
Paolo Costa, Un romanticismo critico. Charles Taylor e i disagi della modernità
Alessandro Ferrara, Habermas e Rawls. Ciò che la controversia intorno al “ragionevole” rivela
Antonio De Simone, Oltre il “Grand Hotel Abisso”. Soggettività, politica, dominio. Passaggi attra-verso Hegel, Habermas e Abensour
Mauro Piras, Sui fondamenti morali della democrazia. Da Habermas a Larmore e oltre (con Rawls)

CORRISPONDENZE

Franco Crespi, Lucio Cortella, Sull’ultimo libro di Jürgen Habermas

LIBRI IN DISCUSSIONE

Enrico Caniglia: Alain Ehrenberg, La meccanica delle passioni. Cervello, comportamento, società, Torino, Einaudi, 2019
Ruggero D’Alessandro: Edmond Goblot, La barriera e il livello. Studio sociologico sulla borghesia francese moderna, a cura di Francesco Pirone, Milano, Mimesis, 2019
Angela Perulli: Sonia Floriani, Paola Rebughini (a cura di), Sociologia e vita quotidiana. Sulla costruzione della contemporaneità, Napoli-Salerno, Orthotes, 2018
Corrado Piroddi: Matteo Santarelli, La vita interessata. Una proposta teorica a partire da John Dewey, Macerata, Quodlibet, 2019

This research is intended to investigate Cooperation and to understand how we can stop the self-interested behaviour of the individual from damaging the long-term interests of the group. Indeed, it is reasonable to think that following cooperation could lead to a mutual benefit for everyone. Nevertheless, reality is often controversial, as selfishness and individuality dominate. This creates problems, because people and organizations fail to coordinate and to make optimal decisions. Because of the wide-ranging nature of the issue, we relied on a largely interdisciplinary theoretical base, grounding on a managerial, micro-economic, financial, epistemological and sociological literature and empirical cases. Our methodological approach grounds on the Thompson’s Epistemic-Ontological Alignment Theory (2011), by combining an Entitative Dimension (models of reality) and a Process Dimension (flux of interactions) to create a consistent and justifiable Mid-Range Theory. By departing from the Prisoner’s Dilemma and the Axelrod’s solution, Coordination Games and models of cooperation between firms, we then analysed flux of cooperative interactions and knowledge creation. We eventually found out that the so-called Future Game® and the Scenario Game represent a practical embodiment of the Evolution of Cooperation envisaged by Axelrod, and an important contribution to the Reformation of Cooperation envisaged by Sennett, to avoid the spread of the uncooperative self. They also constitute an example of the emerging practice of gaming, acknowledged as the New Frontier of knowledge management and managerial consultancy. This work wants to be a new beginning for a new research stream around cooperation and knowledge creation through gaming, and around the Scenario Game and the related Future Game®, to create a base for further discussions by departing from the insights produced by our analysis.

The article discusses two accounts of tyranny of intimacy. The first one is provided by Richard Sennett, and the second one is presented by Eva Illouz. Although, both approaches explore two various phenomena that occurred in different time, it seem that they can be analysed as compatible descriptions of continuous process.

This paper provides an introduction to the enduring friendship between Hannah Arendt and Karl Jaspers. It shows how their intellectual development as public educators was sustained by their ongoing dialogue which flourished not in spite of but because of their huge differences of circumstance and personality. This friendship between two renowned scholars raises – by implication at least – the question as to what part friendship plays in academic and intellectual development and to what extent institutions, in their administrative systems and practices, encourage or even allow for the kind of friendship that Arendt and Jaspers shared. The paper does not seek address these questions directly, but rather to ground them in the particularities of a unique correspondence between two major public intellectuals and to highlight their relevance for those currently working in the higher education sector.

Reiterative art, art that remakes art, is a significant strand of twentieth and twenty-first century practice, encompassing the work of artists as diverse as Marcel Duchamp, Elaine Sturtevant, Kate Davis, and Yann Sérandour. Prevailing discourses on such works often focus on replication and appropriation as the source of their critique while overlooking what might be understood by exploring their making. Founded in an examination of my own work – predominantly drawings of extant works by others – this doctoral project frames reiterative art in terms of translation and its attendant theory, transforming the act of making into a close reading of its source, and following up on the implications of that reframing.
Translations plot trajectories away from their sources and towards specific targets, exposing the space, conceptual and actual,­ between precursor and product as one of making through remaking and where ‘an extended apprenticeship’ occurs (Briggs, 2013). An expanded description of translation is proposed encompassing visual and literary forms, incorporating the importance of resistance in complex making processes through the generation of sites of negotiated encounter (Sennett, 2008). Negotiation is considered here as a variant of the ongoing and contingent ‘figuring out’ of interlocutors, described by Jacques Rancière as a hallmark of emancipation, and predicated on a striving for an understanding that ‘must be understood in its true sense: not the decisive power to unveil things, but the power of translation that makes one speaker confront another’ (The Ignorant Schoolmaster, 1991).
In translation, as in the drawings produced for this research, negotiation is verifiable and tripartite: occurring between translator, source, and target works. Antoine Berman’s analytic, the ‘twelve deforming tendencies of translation’ (found in his essay Translation and Trials of the Foreign, 1985), when deployed to analyse visual rather than linguistic reiteration, facilitates this verifiability. Berman’s tendencies are revealed as a regulation of the maker’s voice, allowing the artist to understand how works of art are deformed even as they are made, and furthermore providing a new vocabulary for understanding works of art, particularly those founded on reiteration.

(Français : Ci-dessous)
What is the meaning of craftsmanship in the era of digital production? Applied Arts as Implied Art is a critical reflection on artistic creativity and its cultural significance today. In the light of a confrontation between the art theory of Aloïs Riegl and Frank Lloyd Wright, the essay debates the role of technology in craftsmanship and its impact on artmaking. Referring to the aesthetics of Paul Valéry and the design theory of Jacques Vienot, the author proposes a contemporary interpretation of applied arts as implied art, a form of art between fine art and design that describes human life, its experiences and the occasional poverty thereof.
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Quel est le sens de l'artisanat à l'ère de la productibilité numérique ? Arts appliqués, art impliqué est une réflexion critique sur la créativité artistique et son importance culturelle aujourd'hui. A la lumière d'une confrontation entre la théorie de l'art de Aloïs Riegl et Frank Lloyd Wright, l'essai discute le rôle de la technologie dans le design artisanal et son impact sur la création artistique. Se référant à l'esthétique de Paul Valéry et de la théorie de la conception de Jacques Viénot, l’auteur propose une interprétation contemporaine des arts appliqués comme art impliqué, une forme d'art entre les beaux-arts et le design qui raconte des histoires sur la vie humaine, ses expériences et de la pauvreté occasionnelle de ceux-ci.

Note: for an up to date and fully referenced version of this paper, please read Chapter 5 of my book 'Negative Capitalism: Cynicism in the Neoliberal Era' (Zero Books, 2013).

For an updated position on the same arguments, please read my article 'Spent? Capitalism's Growing Problem with Anxiety' in Roar Magazine (link above, under Articles).

Anxiety, precarity and depression have become the watchwords of an era wherein continuous productivity, connectivity and alertness is demanded at all hours. The increasing speeds and quantities of information to contend with, increasingly within the personal space of a hand-held media device, is unravelling the old disciplinary times of work and leisure, negating time, space and agency into a flattened society of control (Deleuze 1990). Whilst wary of succumbing to the pessimism of other Critical theorists, this paper uses and develops theory to account for the rising recorded rates of common mental disorders like anxiety, depression and stress. Anxiety is symptomatic of an era of 'non-stop inertia' (Southwood 2011), where workers and non-workers are compelled to produce and consume at all hours, with increasing performativity (Virno 2004), in the face of the vanishing horizon of a sustainable future.

This negation of time and space, features of what I call negative capitalism, has generated a specific kind of anxiety, using Tim Berners-Lee's vision of continuous connectivity – 'anything being potentially connected with anything' – machines, information systems and bodies become fused into one organic-biopolitical network (Berners-Lee 2000). The postwar consensus of Keynesianism and social democracy, Fordism and psychoanalysis, marked by a socialised politic, has shifted to post-Fordism, neoliberalism, psychopharmacology, an economic politic, where disorder is managed by mathematical-scientific reasoning and marketised interventions. Finally, a strategy of collective 'CBT' is outlined that identifies the cause of this anxiety, enacting a catharsis to overcome the collective feeling of anxiety and fear.

En el Centro Universitario del Sur (CUNSUR) de la Universidad de San Carlos de Guatemala se realizó una investigación de enfoque cuantitativo, no experimental– transaccional y con un alcance correlacional-explicativo para establecer el clima organizacional o clima laboral de los trabajadores. Asimismo, establecer su satisfacción laboral. Para ello se utilizaron los cuestionarios estandarizados y propuestos por Margarita Chiang Vega, M., Mauricio Salazar Botello, C., & Antonio Núñez Partido, Y. (2007), los cuales fueron adaptados al contexto institucional. El clima laboral se dividió en siete dimensiones y la variable satisfacción laboral se dividió en cinco dimensiones, utilizando la escala de respuesta de Likert de 5 puntos para ambos cuestionarios. Estos fueron contestados en un lapso de dos semanas por 143 trabajadores del Centro Universitario del Sur, los cuales pertenecen a las cinco carreras que se imparten, área de servicios, área administrativa y la unidad de investigación.

Tesis doctoral (defendida en 2013. Universitat Autònoma de Barcelona). Se plantea la importancia de la materialidad en objetos que tienen relevancia para pensar y analizar procesos de economización. Se recurre a la noción de objetos-máquina como dispositivos que hacen posible el ensamblaje de de elementos heterogéneos en procesos de valoración económica. En tales procesos participan dispositivos con capacidad de agenciamiento para que el valor se pueda traducir en precios y así lograr la mercantilización de objetos. Pero el proceso que potencia y sostiene el valor del objeto requiere de otras perspectivas, como las teorías sobre la magia, a fin de comprender cómo los dispositivos logran ser eficientes. Se propone analizar el objeto competencias como un dispositivo que aísla el trabajo humano como capacidad que sólo puede operar como recurso humano en el nuevo contexto de la empleabilidad. Las competencias son un dispositivo capaz de "hace querer" en cada individuo lo que se espera del "homo competens". Se hace el análisis del funcionamiento del objeto-competencias en el caso del nuevo modelo de educación universitaria, la formación por competencias, que se ha implementado en España a partir del proceso de Bolonia. El análisis de la formación por competencias permite comprender el proceso por el cual se produce valoración economizada de las competencias en el aprendizaje a partir de la mediación de la acción docente. Se trata de un proceso que tiene unas características de cuasi-ritual mágico y de conjuro en el origen de la valoración de las competencias y que posteriormente deriva en una medición que opera por procedimientos de nominación, ordenación y escalas numéricas rudimentarias, que generan las condiciones para traducir el valor cualitativo en valor de tipo numérico y susceptible de fijarse en precios. Cuando la valoración adquiere características de mesura, se generan las condiciones para la mercantilización de las competencias en el modelo de Bolonia, aunque también se produce la dilución de los uso de cuasi-magia en la valoración de las competencias. Con todo, el dispositivo ejerce su capacidad de "hacer prometer" que seremos competentes para la empleabilidad.

After speaking at Wimbledon College of Art, followed by a long Q+A session with students, I was scheduled to formally interview Briggs. We decided instead to initiate the following correspondence. I have removed the salutations and so on as we tended to address points by inserting text into one another's text.

Le Néo-baroque est devenu un canon de la littérature hispano-américaine. Comme Omar Calabrese (1988), entre autres, a si bien montré, le Néo-Baroque se déploie petit à petit à différentes expressions artistiques et pratiques discursives. Dans ce cadre de stabilité et de légitimation, que peut-il y avoir d’autre que la multiplication d’analyses ponctuelles? Dans l’effort d’apporter une contribution conceptuelle pour approfondir le débat, et d’élaborer une esthétique contemporaine à l’écoute des défis de notre époque, je propose d’établir un rapprochement entre le Néo-baroque et le camp à travers la catégorie de l’artifice. Pour entamer le débat, je dirais que l’actualité du Baroque, dans le cadre d’une société médiatique, et en tant qu’esthétique de l’artifice, se situe au-delà du Néo-baroque, dans le camp.

Rögglas Frage ist essentiell: Was kann politisches Theater heute sein? Sie hofft auf »eine gesellschaftliche Veränderung«. Theater ist für sie »nicht reines Spiel, nicht reines Ereignis, kein kritikloses Dabeisein mit der Wirklichkeit«. Sie suche nach »Formen des Sprechens (…), die den Gewaltzusammenhang gesellschaftlicher Verhältnisse deutlicher hervortreten lassen und gleichzeitig unterlaufen«.

l l l Quando provò a presentare se stesso in quella Autobiografia romanzesca che per colmo di sberleffo titolò I fatti, Philip Roth ribadì di non avere mai voluto mettere in piazza la sua vita «nuda e cruda», e si collocò in una via di mezzo fra due estremi, per lui emblematicamente rappresentati «dall'aggressivo esibizionismo di un Mailer» e dalla «maniacale ritrosia di un Salinger». Disse che non intendeva alimentare «la gratuita curiosità della gente», ma nemmeno eleggere la riservatezza a «feticcio sacro e inviolabile». E fatte queste premesse si apprestò a indirizzare al suo alter ego più famoso, Nathan Zuckerman, una sorta di confessione in forma di «trasparenza biografica», dove riversò passaggi fondamentali della sua vita, mascherandoli al doppio scopo di non farsi denunciare e di non rinunciare al gioco di trasformare la vita in finzione.