User:Pedro Sá Couto/Reading, Writing & Research Methodologies

Entreprecariat reader synopses and abstracts

Subjectivity in the "Gig Economy": From the entreprecariat to base union militancy by Jamie Woodcock

• Author: Jamie Woodcock
• Publisher and date: Pervasive Labour Union Zine #11 - The Entreprecariat, September 10th, 2017

Abstract

This article addresses the issue of the rise of the “gig-economy“ where temporary positions are endorsed instead of long-term work contracted jobs and also the relationship between this phenomenon and the digital mediated entrepreneurialism. It establishes the relationships among the development of the “gig-economy“, the digital context that this one lies in and the effect that both have on the rise of the Entreprecariat. Self-employed/independent workers are attracted for a job where they find a precarious sense of flexibility and are stuck to a platform that is in need of real demands made online. The deprivation of rights imposed to self-employed riders was used as a tool in the food-delivery sector. Workers that found themselves in this contractless situation claimed their right to organize strikes without the need to follow trade union rules.

Synopsis

Subjectivity in the “Gig Economy: From the entreprecariat to base union militancy” is an article by Jamie Woodcock published in the Issue #11 of the Pervasive Labour Union Zine from September 2017. The article addresses the issue of the rise of the “gig-economy“ where temporary positions are endorsed instead of long-term work contracted jobs and also the relationship between this phenomenon and the digital mediated entrepreneurialism. The author starts the article establishing the relationships among the development of the “gig-economy“, the digital context that this one lies in and the effect that both have on the rise of the Entreprecariat. In this precarious economy what is portrayed is that in the foundation of this contractless job positions there are employment places that provide a lot of freedom to those who are applying.

Companies created some sort of propaganda about this free space for someone with limited availability, but with the fast rise of what the author calls the “platform capitalism“ where companies outsource their work through online systems, the reality is that people are in reality in a precarious flexibility. Self-employed/independent workers are stuck to a platform that is in need of real demands made online, no minimum wages or sick pays are assured and you have to invest in your working equipment. It is interesting how this deprivation of rights was used by employers has a tool in the food-delivery sector. Workers that find themselves in this contractless situation and that are used as a company outsource claimed their right to organize strikes without the need to follow trade union rules. This strategy was only possible because, in theory, they are their self-employed. Workers who had no prior knowledge of organizing in mainstream trade unions are now taking action in their own self-union organizations.

Jamie Woodcock finishes his article raising awareness to the increase of this kind of business models and the fact that they are being used across different sectors but also bring up the fact that these self-employed people are reorganizing themselves collectively as a counter-power to work in the so-called “gig-economy“.

Original text

Contemporary work has been transformed. This can be seen most sharply with the rise of the so-called 'gig economy', which involves workers tying together of different forms of short term and unreliable work in order to make ends meet. Instead of long-term (or even reasonably short-term) work contracts, contemporary employment is becoming more precarious and increasingly mediated in a digital context. These kinds of arrangements are facilitating the rise of the Entreprecariat, which "refers to the reciprocal influence of an entrepreneurialist regime and pervasive precarity." [1] The entrepreneurialist regime is an ideological construction that promises freedom – often pitched as flexibility – achieved through sheer willpower and hard work. It builds upon the idea of 'Homo Economicus' – that people are rational and self-interested agents who will seek to maximise their own utility and profit. It is an attempt to convince workers that their own conditions are not due to the structure of society, but solely down to their own agency. Take, for example, a recent advert from Fiverr – the 'Freelance Services Marketplace for The Lean Entrepreneur' [2] – featured a portrait of a gaunt and tired-looking worker with the following text:

You eat a coffee for lunch.

You follow through on

your follow through. Sleep

deprivation is your drug of

choice. You might be a doer.

You – as the idealised "gig worker" – do not need the support of minimum wage legislation or holiday pay (let alone sick pay!) as you are a 'doer', drawing on your entrepreneurial skills to get ahead, unlike the supposed don’t-er, who are unwilling to take initiative.

The idea of the Entreprecariat has been popularised following the 2008 financial crisis. In the context of what Paul Mason has described as a 'jobless recovery' [3], there has been a rapid rise of 'platform capitalism' [4], in which companies have tried to[…] ment used for the work. The purported flexibility of this kind of work involves the transferral of risk from capital to labour, with very little in return. There is no opportunity for entrepreneurialism, with the work dictated by the demand for food delivery. While the labour process is controlled via immaterial smartphone apps, the work itself is definitely material. The food has to be sourced from ingredients and cooked into meals, and these then have to be transported across the physical environment of the city. This movement is powered through the burning of calories on a bicycle or the burning of petrol on mopeds. It requires long shifts, regardless of the weather and traffic, and risks injury and accidents.

The power of the Entreprecariat subjectivity has not lasted long in the "gig economy". Despite the marketing gimmicks about flexibility and the promise of liberation that would come from being a self-employed independent contractor, the grim realities of this kind of precarious work are increasingly coming to the surface. Instead, a new subjectivity is being formed in the offline spaces of these online platforms. In the case of Deliveroo, workers are assigned meeting points to ensure the fastest delivery[…] rank and file organisations have very different structures to mainstream trade unions, starting from workers’ self-organisation and action.

The success of the new business models in the "gig economy" means that the experiences of this kind of work are becoming increasingly common across different sectors. The model is an attempt to force workers to take on more risk and less pay, often with digital surveillance and control. But there is now an alternative to the Entreprecariat subjectivity of trying harder, working longer, and drinking much more coffee. Rather than individuals competing to get ahead, a new collective subjectivity of the 'doer' is being formed. This is the worker who refuses, who talks to other workers at the meetup point, who starts a WhatsApp group, who writes a leaflet, and who takes the first step to organising that refusal into an antagonism with management [7]. This new subjectivity is being forged through the collective struggle for counter-power at work.

Entreprecariat reader synopses and abstracts
26.09.18 PAD
CALENDAR 26-09-2018 -Event 1

What How Why 26.09.2018

WHAT

Neural is a magazine that started in Italy in 1993. Its’ first edition was released only edited in Italian, but eventually, in 2008 it started to earn its’ space internationally, assuming itself a magazine that only had an English edition.The intention since the beginning was to create a printed interface where themes like digital culture, media arts, hacktivism, and even electronic music could start to be displayed for the general public, always backed up by a contemporary design. Nowadays, the intentions are to innovate even more, creating a parallel between the analog printed medium and its’ website.

HOW

Neural had already been redesigned two times, being the last in 2008, and ten years later had the intention to change once again. I integrated the team that was going to do it for the third one. I assumed the role of the graphic designer in the team. Not only from the beginning we understood the need for this graphic work to be done but also knew that there was the need for a new management of how all the magazine parts interacted among themselves. We had to go through the categories that they used to have, see how they have developed during this ten years’ period and decide what would have to be redone and relinked.

WHY

I was about to finish my bachelor and we could either start a personal project or find an internship for ourselves. A university professor of mine that was a contributor to the magazine made the connection between the magazine editor and the graphic design department in FBAUP, from this sequence of events I ended up joining their team. We started the project and what it seemed to be only a graphic rebrand turned out to have deeper needs for different interventions. This changed my involvement in the process, challenging me to assume different roles and to step out the graphic designer bubble in which he is only processing information and changing how it might be displayed.

Second Text on What, Why and How

Neural is a magazine that started in Italy in 1993. The intention since the beginning was to create a printed medium, where themes like digital culture, media arts, hacktivism, and even electronic music could start to be displayed for the general public, always backed up by a contemporary design. Its first edition was released only edited in Italian and it was a translation of William Gibson’s book “Agrippa (a book of the dead)”. This changed in the second issue and it started to address topics like cyberpunk, electronic music, BBS (Bulletin board system), VR, media, science fiction and OVNIs. Eventually, in 2008 it started to earn its space internationally, assuming itself a magazine that only had an English edition. Nowadays, the intentions are to innovate even more, creating a parallel between the analog printed format and its digital website. Neural had already been redesigned two times, being the last in 2008, and ten years later had the intention to change once again, motivated by its dated graphic appearance and with a need for a structural change. I integrated the team that was going to do it for this third one. Our team had three members, Alessandro that was the editor, Miguel Carvalhais that was one of the contributors and also the bridge between the magazine and me. I had the role of the graphic designer. Not only from the beginning we understood the need for this graphic work to be done but also knew that there was the need for a new organization on how all the magazine categories interacted among themselves, connecting interviews, reports, and essays creating a structured narrative. I was about to finish my bachelor and we could either start a personal project or find an internship for ourselves. A university professor of mine that was a contributor to the magazine made the connection between the magazine editor and the graphic design department in FBAUP, from this sequence of events I ended up joining this team. We started the project and what it seemed to be only a graphic rebrand where we would create a new layout turned out to have deeper needs for different interventions, we found ourselves with the need to create new categories that would now be used in parallel with the digital edition of Neural, we had to restructure how reviews would now be presented and also what they would be reviewing. This changed my involvement in the process, challenging me to assume different roles and to step out the graphic designer bubble in which he is only processing information and changing how it might be displayed.

What How Why 26.09.2018

Closed Circuit, 2010,

Rod Dickinson in collaboration with Steve Rushton
3 Channel Video Installation with 2 teleprompters (and initially a Live Performance, 28 August 2010, 8 p.m. at Stara Elektrarna - The Old Power Station - Ljubljana, Slovenia as part of the International festival Mladi levi)
Commisioned and produced by Aksioma Institute for Contemporary Arts

http://vimeo.com/147674220

The Milgram Re-enactment, 2002,

Rod Dickinson in collaboration with Graeme Edler and Steve Rushton
Video Installation and installation of the laboratory / performance space comprising of electro shock equipment, tables, shelf, surveillance windows.
Total Dimensions Variable, Laboratory Dimensions: 5.5m x 3.6m x 3m
Commissioned By Vivienne Gaskin

http://vimeo.com/148086565