Liquid uncertainty, chaos and complexity: the gig economy and the open source movement
The gig economy has become a hot topic. The term itself derives from the world of entertainment, particularly live music, where performers striving for recognition hope to get a few ‘gigs’ – i.e. short-term and sporadic opportunities for paid employment, with the understanding that such engagements are limited and without any future obligation on either party – employer or employee. This seemingly gives both parties significant autonomy, albeit not in equal measure. I show how key aspects of Zygmunt Bauman’s work prepare us for an understanding and appreciation of the gig economy, and other more extensive ramifications; particularly those exemplified in the success of the Open Source model, and its potential – or not – to provide the basis for new institutional forms appropriate and acceptable for our current context.
SourceThe Future of Art, Economy, & Humanity in The Age of Algorithms
Some call it the fourth industrial revolution. The age of the Human-supported assembly line that began with Ford is long gone. This industrial revolution won’t be marked by a monstrous industrial machine supported by a robust middle-class, trained and molded by a public school system. This industrial revolution will be marked by machine learning, big data, and artificial intelligence making it possible for the giants of industry and tech to be bigger and more profitable, while relentlessly squeezing out the need for human labor. If all current trends hold, people will have no choice but to start to re-imagine their place in society. And though it may seem counter-intuitive, the answers to these questions will represent a giant societal leap forward. As the world pushes forward into the age of algorithms with a declining need for human labor, the stage is set for what comes next — a return to what brings us closer to being human; a great resurgence in the arts, entrepreneurship, and creativity; a global renaissance.
SourceDancers’ health in a globalizing, postmodern dance world
"As pedagogical and choreographic practices are quickly diversifying, this may be a crucial time to rethink, for example, the composition of the requisite daily technique class. (Do all dancers still “take a daily class”?) Perhaps we are ready to collectively agree on one new idea: that in the wake of globalization and post-colonialism there is no longer the possibility of a single utopian “neutral” or “basic” way of training all dancing bodies (and minds)."
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