Six Contradictions and the End of the Present. Trebor Scholz and Tiziana Terranova
Overexploited and Underpaid

Held on 12 Sep 2018
In the fourth session of the seminar Six Contradictions and the End of the Present, Trebor Scholz and Tiziana Terranova will explore the radical transformation of labour in the digital economies. The session will include a public lecture and a debate workshop led by both theorists.
In the posit-industrial world, paid work is becoming and increasingly scarce and privileged good that has nonetheless expanded in such a way that it encompasses any gesture, attitude or form, thus blurring the distinction between fixed-schedule jobs and the existential tasks of continuous duration – that is, life. Nowadays, work is permanent, subjective and cumulative. The business aspect prevails and every banal interaction is interpreted as a desire and therefore analysed, classified and, eventually, sold. This paradigm has brought about a new social class called “cognitariat”, which refers to those working on the basis of a highly specialised knowledge but who are also caught up in the structural precariousness of the new digital economies. Always connected, always impoverished.
Though the Internet was initially considered a public space based on the free interaction among equals, it is now conceived as a huge factory without walls where any aspect of the day-to-day life can be valorised, produced and commoditised. Is there any alternative to this scenario? This will be question posed in a seminar aimed at highlighting the power technology has to foster social emancipation at a huge scale when it is released form the logic of economic profit. For instance: automation could bring about release from work and, consequently, an unprecedented availability of time. Answering to the question, Trebor Scholz advocates for a “platform cooperativism” – as opposed to “platform capitalism” – that helps create a more just and equitable network. For her part, Tiziana Terranova argues for democratic re-appropriation of the Internet that entails a different way of governance. Working from different perspectives, both theorists agree on the necessity of re-inventing the Internet and its creative, productive and social ecosystem.
Participants
Trebor Scholz is Associate Professor of Culture & Media Studies at The New School, where he organizes conferences on digital labour since 2009. He has researched the uses of digital technology in the new protocols of production and their potential to create models and environments for productive and cooperative labour within financiarised and deregulated digital capitalism.[dropdown] He is a member of the Barcelona Advisory Council on Technological Sovereignty of Barcelona City Council, and author, among others, of Uberworked and Underpaid. How Workers Are Disrupting the Digital Economy (2016), Platform Cooperativism. Challenging the Corporate Sharing Economy (2016), Ours to Hack and to Own: Platform Cooperativism. A New Vision for the Future of Work and a Fairer Internet (co-edited with N. Schneider, 2016), Digital Labor: The Internet as Playground and Factory (2013), and From Mobile Playgrounds to Sweatshop City (co-authored with Laura Y. Liu, 2011). His articles have appeared in The Nation, The Chronicle of Higher Education, Le Monde, and The Washington Post.[/dropdown]
Tiziana Terranova is an activist and Associate Professor in Sociology of Communications in the Department of Human and Social Sciences at University ‘L’Orientale’ (Naples). She has also taught in the University of Essex, the University of East London and Goldsmith’s College.[dropdown] Her research focuses on knowledge economy; immaterial labour and cognitive capitalism; cultural studies and cultural politics in new media; social web and Web 2.0; and Italian post-operaismo (post-workerist) thought. She is author, among others, of Hypersocial: A Genealogy of Digital Social Networks (2018), Network Culture: Politics for the Information Age (2004), and Corpi nella rete. Interfacce multiple, cyberfemminismo e agora telematica (1996). [/dropdown]
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Blake Edwards. The Party
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In The Party, actor Hrundi V. Bakshi (Peter Sellers) is mistakenly invited to a glamorous dinner party in Hollywood. His curiosity and two left feet lead to one funny mishap after the other. During the soiree he consoles Michèle, a young actress who has been fired by her producer, and the chaos gathers momentum when Bakshi accidentally opens a retractable floor, making the guests fall into a swimming pool. A small hippie-style elephant gatecrashes the party, brought by a group of young people, and Bakshi asks the guests to wash the elephant as it is a sacred animal in his country. The house fills with soap suds, culminating in a wackily chaotic party.
When Stanley Kubrick was once asked who Peter Sellers was, he replied: “There is no such person as Peter Sellers”. The Party is one of the most widely recognised comedies in the history of film, its director Blake Edwards and the English actor making an entertaining critique of a fading conservative society. The cultural revolutions of the 1960s fit into the container of a choppy swimming pool: people from high society, an elephant, a Russian ballet, waiters, beatnik youth… similar to Sellers’s own identity: an empty vessel that can be refilled. In the film, Edwards tapped into the ingenious actor’s innate improvisation and the swimming pool as a container for revolutionary intent.

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Yorgos Lanthimos. Dogtooth
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Lanthimos builds a world that is surreal, comical and terrible. The swimming pool is the house’s central element, a limited, controlled space assimilated like the sea, yet under the father’s supervision. A space of imagination, but with sinister intentions: the children are indoctrinated under the water as they believe in a better world. Far from reality. The swimming pool’s limits are the limits of their freedom, a false state of well-being expressed in the weightless bodies in the water. The liquid element is an analgesic magma with the power to educate offspring under the latent fear of a shark bite.
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If there was a definition of the glistening blue pool in this sexual thriller, it would be the paradise of Adam and Eve, represented by the shots of happiness of Romy Schneider and Alain Delon in this swimming pool on France’s Côte d’Azur. The appearance of these two beautiful creatures kissing semi-naked by the water is one of film’s resonant images. The paradise cannot be fractured, not even by death. As in the crossing of the Tigris and Euphrates rivers, where humanity’s first lovers bathed naked in the water, innocent to their imminent end, the reflection of the crystalline water of The Swimming Pool shows this game, and the deep traumas which, under this mantle, are hidden in the amorous relationships and limits that only love is capable of breaking to solve.
In this session both endings to the film are screened: the original version, open and symbolic, and the Spanish version, marked by censorship during Francoism, and its sequence for a Spanish premiere — a stereotypical and reductive vision reflecting the sociological condition of the country.
