Телеграм канал «Политическая теория и философия (Political theory and philosophy)»

Производство настоящего. «По эту сторону истории» Ахима Ландвера

Как устроено историческое время и почему сегодня все труднее мыслить историю как поступательное движение из прошлого в будущее? Что меняется, если вместо линейной модели прогресса мы начинаем видеть множественность времен, сосуществующих в одном настоящем? И почему спор о времени помогает по-новому поставить вопрос о нашей современности?

В новом выпуске подкаста «Умные книги» вместе с философом и теоретиком истории Андреем Олейниковым обсуждаем книгу Ахима Ландвера «По эту сторону истории. В защиту другой историографии».

0:20 — Гость и книга выпуска
1:33 — Кто читатель книги?
2:47 — Интеллектуальный контекст книги. «Темпоральный поворот»
5:35 — В чем проблема «классического исторического времени»
13:18 — Теория будущего по Ландверу
21:48 — Историк vs философ
30:20 — С кем спорит Ландвер?

https://www.youtube.com/watch?v=uooJdbIg53o

Карл Поланьи - В поисках средств к существованию: введение к книге

В незавершённой и не публиковавшейся при жизни автора книге «В поисках средств к существованию», впервые изданной в 1977 г., Карл Поланьи продолжает развивать идеи, которые ранее были им изложены в монументальном труде «Великая трансформация» (1944 г.) В «Великой трансформации» Поланьи подчёркивал: чтобы получить более реалистичное представление о роли экономики в человеческом обществе, необходимо пересмотреть всеобщую экономическую историю, опираясь на более широкие концептуальные основания. В центр книги «В поисках средств к существованию» автор также помещает проблему о средствах существования человека, переосмысление которой происходит на трёх уровнях.

Stevphen Shukaitis & Joanna Figiel - The Wages of Dreamwork. Class Composition & the Social Reproduction of Cultural Labor
 
Surviving as a cultural or artistic worker in the city has never been easy. Creative workers find themselves celebrated as engines of economic growth, economic recovery and urban revitalization even as the conditions for our continued survival becomes more precarious. How can you make a living today in such a situation? That is, how to hold together the demands of paying the rent and bills while managing all the tasks necessary to support one’s practice? How to manage the tensions between creating spaces for creativity and imagination while working through the constraints posed by economic conditions?
 
In a more traditional workplace it is generally easy to distinguish between those who planned and managed the labor process and those who were involved in its executions: between the managers and the managed. For creative workers these distinctions become increasingly hard to make. Today the passionate and self-motivated labor of the artisan increasingly becomes the model for a self-disciplining, self-managed labor force that works harder, longer, and often for less pay precisely because of its attachment to some degree of personal fulfillment in forms of engaging work. And that ain’t no way to make a living, having to struggle three times as hard for just to have a sense of engagement in meaningful work.
 
The Wages of Dreamwork investigates how cultural workers in the modern metropolis manage these competing tensions and demands. Does the cultural economy treat you as a tool? If so, perhaps it’s time to rethink how to down tools in this metropolitan factory.

Unlearning Exercises. Art Organizations as Sites for Unlearning
 
Learning is often progress-oriented, institutionally driven, and focused on the accumulation of knowledge, skills, and behaviors. In contrast, unlearning is directed towards embodied forms of knowledge and habitual ways of thinking and doing. This book shares the collective study of processes of unlearning, taking art and art institutions as sites for unlearning. Casco Art Institute: Working for the Commons becomes the experimental case with collective unlearning exercises expressing the conditions, modalities, and implications of a particular group of art workers. Unlearning processes make way for social transformations that lead towards the culture of equality and difference which we call the culture of the commons. 
 
Learning is often progress-oriented, institutionally driven, and focused on the accumulation of knowledge, skills, and behaviour. In contrast, unlearning is directed towards embodied forms of knowledge and the (un)-conscious operation of ways of thinking and doing. Unlearning denotes an active critical investigation of normative structures and practices in order to become aware and get rid of taken-for-granted truths of theory and practice. This book shares the process of unlearning, taking art and art institutions as sites for unlearning and Casco Art Institute: Working for the Commons as an experimental case.
 
Unlearning Exercises range from daily practices like cleaning together and off-balancing chairs, to those concerning systemic, seemingly unresolvable issues such as collective authorship and fair wage. These exercises can be adapted to your specific (institutional) contexts within and beyond the arts. The book also includes related personal accounts, essays, political criticism, and collective conversations on institutionalized habits.