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- Bröndum, Lars, et al.
(författare)
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Work in Improvised Music : Playbour, Improvisation and Neo-liberalism
- 2019
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Ingår i: PARSE Journal. - Göteborg : University of Gothenburg & Platform for Artistic Research Sweden. - 2002-0953. ; :9
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Tidskriftsartikel (refereegranskat)abstract
- This paper is based on a combination of theoretical and practical research. The purpose of this paper is to discuss digitalisation and its effect on music in relation to the concept of “playbour”. It combines theories of games and labour with the practices of improvisation in live electronic music and economy. We observe similarities between these two research fields, one of which is rooted in the social sciences and philosophy and the other in artistic composition and creative methodologies. Although we make no assessment on a possible causality in the chain of events between theory and practice, we do want to investigate a cross-disciplinary field that combines improvisation, game studies and the organisation of labour. These three fields all use the notion of play to convey different outcomes, which are valorised differently according to the concepts of labour applied. The world of fine art and music composition has in the past been associated with that of game and play,1 and both have been seen as socially formative and educational for the participants. But, as we will argue, it is in our current digital economy that computer games, music production and organisation of work have converged as part of the neo-liberal economy. We will argue that the neo-liberal digital economy flattens the spectrum of musical performance so that it resembles modern play in computer games or in work life. As a consequence of this, improvised music in particular is devalued and the players degraded to immaterial labourers without wage compensation. Our aim is to question how improvisation is valued according to the digital economy, which does not duly compensate musicians for their labour. How can we see musical improvisation as a form of labour that is reduced to modern forms of play? What is it that produces wealth and value in improvised music?
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| 2. |
- Hansson, Karin
(författare)
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Artist’s Salary Now!
- 2019
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Ingår i: PARSE Journal. - 2002-0953. ; :9
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Hansson, Karin, et al.
(författare)
-
Artist's Salary Now!
- 2019
-
Ingår i: PARSE Journal. - Göteborg : PARSEJournal. - 2002-0953. ; :9
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- “Should we spend our time filling out forms or making art?” was the rhetorical question that acted as a starting point for “Konsnärslön nu!”, a series of events at Gallery Tegen2 in Stockholm in September 2018. Over a period of a month, a group of artists performed a think tank and set up a campaign headquarters as a means to provoke discussion. The exhibition also provided space for a series of semi-public talks in which the question of a possible basic income for artists was further developed. The talks engaged activists from the universal basic income movement, politicians, researchers and artists. In this report we describe the ideas behind the project and the discussions as they evolved in the talks and interviews with artists. As a result of the project we propose an artist’s salary as a pilot for a future basic income, a salary that eventually will be for everyone, not only artists: a salary to allow for time to take care of our commons and existential issues. A modest salary based on the modest needs of artists. Unlike a universal basic income, it is intended for a specific purpose: our shared society. And, since we claim that society is art, it is up to each one of us to define what society is.
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| 4. |
- Wikström, Josefine, 1983-
(författare)
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A Critique of Capitalism : The Mediation of Abstract Labour in Yvonne Rainers Task Dance
- 2019
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Ingår i: PARSE Journal. - Gothenburg : University of Gothenburg. - 2002-0953. ; :9
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Tidskriftsartikel (refereegranskat)abstract
- Art’s primary function, at least for a certain tradition of thinking, is to criticize capitalist society. But what in capitalism should be criticized? And how can art perform such a critique? Taking these questions as its staring point this article argues for three things mainly. First, by expanding on Frankfurt School thinker Theodor Adorno’s form theory, that art primarily should criticize capitalism through its form, understood as “sedimented content.” Secondly, taking Marx’s term abstract labour and the way it has been further theorized by contemporary thinkers such as Moishe Postone and Chris Arthur, that abstract labour is the main mediating social form of capitalism and therefore should be the main focus for critique. Finally that art can only negate the social form of abstract labour though its own form. These arguments are being discussed through American choreographer Yvonne Rainer’s (1934-) work, which can be categorised as “task-dance”, an artistic strategy that developed in the late 1950s and early 1960s by choreographers Anna Halprin, Simone Forti and Rainer. Through Adorno’s understanding of form, I argue that Rainer’s early task-dance works criticise capitalism at the level of form rather than at the level of representation.
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