It has been an honor to participate in this conference. I hesitate to use the word ‘contribute’, but it’s been a pleasure to be here.
The topic of our final panel is ‘Looking Ahead’. My principal concern is the future of unions in the digital industry. The good news is we have something of a head start. Along with airlines, media/entertainment is the most heavily unionized private-sector industry in the United States. However, as with the airlines, our employers are huge and rapidly getting huger.
This conference was a tremendous and long-overdue opportunity to unite knowledge workers of all kinds. Media workers and university professors and other culture workers need to work together because no one else can or will do what is needed. There is no white knight on the horizon, no one waiting to ride in and solve the many issues of media transformation, value for content or the infinite work expectations created by digital technology.
This is an on-the-ground review of what has taken place in the so-called ‘digital revolution’ in my industry, the media industry.
According to Schlegel critique ought to transgress the received Kantian notion of critique. Instead of judging the work of art condescendingly, assessing its pros and cons, telling it what to do and not to do, confining it within certain limits, the true work of the critic consists in helping the work of art realize itself, in helping it become even more 'transparent', in assisting it to transgress itself in order to become more fully what it already strives to be. (Sverre Raffnsøe, 2010, personal correspondence)
In mid-2008 the editor of Turbulens.net Peder Holm-Pedersen brought together film director and author Jørgen Leth and Sverre Raffnsøe, Professor of Philosophy at the Copenhagen Business School and head of the research program Management of Self-Management, to talk about rules, freedom and productivity in art and the modern workplace. We reprint a translated version of the conversation in this issue.
Released in 2003 by internationally renowned Danish directors Lars von Trier and Jørgen Leth, The Five Obstructions is a short film, 88 minutes long. As will be evident in this section of the special issue, however, this ‘minor’ work is also a unique, dense, multi-layered, and intriguing piece of art, with a wide range of implications.
In recent years, much of our economy – and now, almost the entirety of our global media – has come to rest on a public display of authenticity: ads that bemoan the notion of the sales pitch, heartfelt apologies by perpetrators of large-scale bank frauds or environmental disasters that run on the evening news, and the possibility that our own financial worries may cease when we are made the stars of our own reality television programs. These are all common aspects of modern life.
Between 1751 and 1772 Denis Diderot and Jean le Rond d’Alembert published their Encyclopédie, ou dictionnaire raissoné des sciences, des arts et des metiers. The work, of which the Discours Préliminaire des Éditeurs could be seen as the programmatic outline, is nowadays often regarded as one of the monuments of European Enlightenment. It formed an enormous project which had an almost gargantuan aim that reached beyond the geographical borders of France.
Critical Management Studies (CMS) has been quite successful at establishing a respectable place for itself within the academic community; at least in the UK, it is associated with well-recognised journals, conferences and key figures (Grey and Willmott, 2002; Rowlinson and Hassard, 2011).
In art and art education, when those representing protest speak, write, perform, or otherwise distribute their labours, they encounter a conflict of consumption. This conflict is fought over the returnability of such actions into the system of funding, validation, and recognition that generally defines the climate of art’s research culture today – a research culture dominated, on the whole, by contemporary neoliberal policies in UK education.