Showing posts with label Labour. Show all posts
Showing posts with label Labour. Show all posts

Monday, April 3, 2023

You say you want a revolution…


Edward Ludlam’s name didn’t do the decent thing and die with its owner in the summer of 1776. Instead it emerged rudely triumphant more than 30 years after Edward – or Ned – was laid to rest at St Mary’s Church in Anstey.

If the name rings a bell, it’s because Ned Ludd was once used as a signatory by smash-happy men and women across Leicestershire, Derbyshire and Nottinghamshire. Men and women who were out of work because new knitting and stocking machines had taken their jobs.

During five years of hardship and strife, many a wooden frame was chopped to bits. Who dunnit? Ned Ludd dunnit officer. Duh.

Dead Ned’s name was to plague those technology-savvy industrialists who had brought poverty to thousands of families across the East Midlands. Threatening letters were sent to factory owners signed Ned Ludd, General Ludd and King Ludd.

The Luddites, as they now called themselves, destroyed 200 new stocking frames in one three-week period in early 1811. In the East Midlands, the heart of the country’s textile industry, the fighting spread from Nottinghamshire and then to Leicestershire and Derbyshire.

Parliament, as it is wont to do, cruelly rounded on the starving and desperate, passing legislation which made damaging machines punishable by death. At this time, almost 90 per cent of the 20,000 stocking frames in use in the country were located in the region, with records showing almost 12,000 were in Leicestershire.

Lord Byron, quite possibly the sexiest person who ever lived, was one of the few MPs to speak in defence of the starving people in his native Midlands. Byron, FYI, was a Nottinghamshire lad.

And factory owners, we know, had good cause to worry about their safety.

In 2006, underground passages and a chamber were found beneath a house in Loughborough that once belonged to lace magnate John Heathcote.

Heathcote had good reason to fear the Luddites – they had already destroyed a lace mill of his in Loughborough in 1816. But with all this, the mystery still remains – why did the Luddites take Ned Ludlam’s name?

It was a cover name, the same as Robin Hood,” local history enthusiast Brian Kibble told the Mercury in 2006.

They used it to protect their real names. The Luddites supposedly got their name by the actions of Ned Lud, or Edward Ludlam, from Anstey.

Ned, well, he wasn’t quite all there, and that is one of the stories that has come down.

There’s a story that he’d been teased by local children, and he chased them and he lost them. And, apparently, in his frustration, in one of the cottages, he smashed up this knitter’s frame.

The other legend was that he was the son of a knitting frame worker and his father had chastised him one day and, in revenge, he smashed up the frame.

Whatever the truth,” says Brian, “somewhere along the line he seems to have been responsible for smashing up machinery.”

Ned’s name lived on in the village down the years.

Apparently,” chortles Brian, “it used to be a saying in the village that if something was broken or damaged it had been Ned Ludded.”

Ever since, “Luddite” has been a Leicestershire-inspired entry in the Oxford English Dictionary. One, as a word for the English workers who fought for their jobs between 1811 and 1816, and now, more commonly, a disparaging word used for those opposed to or uneasy with new technology.

https://leicestershirelalala.com/you-say-you-want-a-revolution-the-luddites-were-chissits-too/




 

Monday, February 13, 2023

I’m a Luddite. You should be one too

I’m a Luddite. This is not a hesitant confession, but a proud proclamation. I’m also a social scientist who studies how new technologies affect politics, economics and society. For me, Luddism is not a naive feeling, but a considered position. 
And once you know what Luddism actually stands for, I’m willing to bet you will be one too — or at least much more sympathetic to the Luddite cause than you think. 
Today the term is mostly lobbed as an insult. Take this example from a recent report by global consulting firm Accenture on why the health-care industry should enthusiastically embrace artificial intelligence:
Excessive caution can be detrimental, creating a luddite culture of following the herd instead of forging forward.
To be a Luddite is seen as synonymous with being primitive — backwards in your outlook, ignorant of innovation’s wonders, and fearful of modern society. This all-or-nothing approach to debates about technology and society is based on severe misconceptions of the real history and politics of the original Luddites: English textile workers in the early 19th century who, under the cover of night, destroyed weaving machines in protest to changes in their working conditions.
Our circumstances today are more similar to theirs than it might seem, as new technologies are being used to transform our own working and social conditions — think increases in employee surveillance during lockdowns, or exploitation by gig labour platforms. It’s time we reconsider the lessons of Luddism.
Even among other social scientists who study these kinds of critical questions about technology, the label of “Luddite” is still largely an ironic one. It’s the kind of self-effacing thing you say when fumbling with screen-sharing on Zoom during a presentation: “Sorry, I’m such a Luddite!”
It wasn’t until I learned the true origins of Luddism that I began sincerely to regard myself as one of them. 
The Luddites were a secret organisation of workers who smashed machines in the textile factories of England in the early 1800s, a period of increasing industrialisation, economic hardship due to expensive conflicts with France and the United States, and widespread unrest among the working class. They took their name from the apocryphal tale of Ned Ludd, a weaver’s apprentice who supposedly smashed two knitting machines in a fit of rage.
The contemporary usage of Luddite has the machine-smashing part correct — but that’s about all it gets right.
First, the Luddites were not indiscriminate. They were intentional and purposeful about which machines they smashed. They targeted those owned by manufacturers who were known to pay low wages, disregard workers’ safety, and/or speed up the pace of work. Even within a single factory — which would contain machines owned by different capitalists — some machines were destroyed and others pardoned depending on the business practices of their owners.
Second, the Luddites were not ignorant. Smashing machines was not a kneejerk reaction to new technology, but a tactical response by workers based on their understanding of how owners were using those machines to make labour conditions more exploitative. As historian David Noble puts it, they understood “technology in the present tense”, by analysing its immediate, material impacts and acting accordingly.
Luddism was a working-class movement opposed to the political consequences of industrial capitalism. The Luddites wanted technology to be deployed in ways that made work more humane and gave workers more autonomy. The bosses, on the other hand, wanted to drive down costs and increase productivity. 
Third, the Luddites were not against innovation. Many of the technologies they destroyed weren’t even new inventions. As historian Adrian Randall points out, one machine they targeted, the gig mill, had been used for more than a century in textile manufacturing. Similarly, the power loom had been used for decades before the Luddite uprisings. 
It wasn’t the invention of these machines that provoked the Luddites to action. They only banded together once factory owners began using these machines to displace and disempower workers.
The factory owners won in the end: they succeeded in convincing the state to make “frame breaking” a treasonous crime punishable by hanging. The army was sent in to break up and hunt down the Luddites. 
The Luddite rebellion lasted from 1811 to 1816, and today (as Randall puts it), it has become “a cautionary moral tale”. The story is told to discourage workers from resisting the march of capitalist progress, lest they too end up like the Luddites.
Today, new technologies are being used to alter our lives, societies and working conditions no less profoundly than mechanical looms were used to transform those of the original Luddites. The excesses of big tech companies - Amazon’s inhumane exploitation of workers in warehouses driven by automation and machine vision, Uber’s gig-economy lobbying and disregard for labour law, Facebook’s unchecked extraction of unprecedented amounts of user data - are driving a public backlash that may contain the seeds of a neo-Luddite movement.
As Gavin Mueller writes in his new book on Luddism, our goal in taking up the Luddite banner should be “to study and learn from the history of past struggles, to recover the voices from past movements so that they might inform current ones”. 
What would Luddism look like today? It won’t necessarily (or only) be a movement that takes up hammers against smart fridges, data servers and e-commerce warehouses. Instead, it would treat technology as a political and economic phenomenon that deserves to be critically scrutinised and democratically governed, rather than a grab bag of neat apps and gadgets.
In a recent article in Nature, my colleagues and I argued that data must be reclaimed from corporate gatekeepers and managed as a collective good by public institutions. This kind of argument is deeply informed by the Luddite ethos, calling for the hammer of antitrust to break up the tech oligopoly that currently controls how data is created, accessed, and used.
A neo-Luddite movement would understand no technology is sacred in itself, but is only worthwhile insofar as it benefits society. It would confront the harms done by digital capitalism and seek to address them by giving people more power over the technological systems that structure their lives.
This is what it means to be a Luddite today. Two centuries ago, Luddism was a rallying call used by the working class to build solidarity in the battle for their livelihoods and autonomy. 
And so too should neo-Luddism be a banner that brings workers together in today’s fight for those same rights. Join me in reclaiming the name of Ludd!
Text by Jathan Sadowski 
https://theconversation.com/im-a-luddite-you-should-be-one-too-163172


Saturday, October 17, 2020

Fragment


Michael Longley 

 

Wednesday, April 25, 2018

Memo for labor


     Ryan Eckes, General Motors, 2018

Sunday, August 27, 2017

Work (All the cigarette breaks)

Pavel Büchler,
Work (All the cigarette breaks), 2007–2014

Thursday, January 19, 2017

Precision German Craftsmanship




The title was borrowed from a poem by the American poet Matthew Rohrer, in which he describes his ideas of German craftsmanship, especially with regards to the proverbial German thoroughness and precision. Kostis Velonis plays with this idea and intentionally creates crafts which are not based on such values. The smoothness and polish of typical design products are substituted by scratching on the raw surfaces and the aspect of deterioration and collapse of the cultural object. Most of the surfaces of these objects remain dirty, smudgy and stained, offering their own narratives.

Akademie Schloss Solitude, Stuttgart
January, 19 to March, 5, 2016




Tuesday, September 6, 2016

Songs of Labour and Pleasure, from Postpaganism to Neoliberalism


An idiosyncratic mixtape based on an impromptu listening seminar held at Labour Camp, part of Paul Chaney’s Critical Camps series at Kestle Barton, traces the relationship between work and eroticism through popular song.

Starting with a bucolic idyll of self-suffiency where labour is not yet separated from life, continuing with traditional English folk song in which collective pleasure is embedded in and resonates with the cyclical patterns of agricultural labour, the mix then traverses the industrial revolution, where the new mechanical tools are at first reinscribed into this postpagan cosmology of jouissance, going on to chart the divergence of pleasure and labour as their intertwining shifts, in early popular mass entertainment media, into mere burlesque and innuendo; remembering colonial slave labour and the appropriation of its affect and expression in Western popular music; arriving at the refusal of exploitation, the separation of work and love into mutual exclusivity, the culminating existential frustration of the commuter; and the thanatropic joy of being absorbed into the machine. It ends in the present day with the queasy rapture of a libidinal economy in which work and pleasure are once more integrated, but this time according to new meshings in which human desire no longer resonates with meadow and the cosmos, but is re-engineered and modulated by a fluid media apparatus.

Sunday, January 24, 2016

Paisaje de la Ciudad de Mexico


Juan O‘Gorman, Paisaje de la Ciudad de Mexico , 1947–49, tempera/masonite, 66 x120 cm (Collection of the Museo de Arte Moderno, Mexico City)

Saturday, November 21, 2015

Unité ouvriers paysans

Unité ouvriers paysans, Poster, 98 x 65 cm,1968

Tuesday, November 10, 2015

Architecture and Labour



We must start speaking about workers again, with programmes and projects that concern them directly, existentially.
Mario Tronti, ‘Politics at Work’, 2008

In her book The Human Condition, Hannah Arendt distinguishes labour from work. While work is the production of things that may be more enduring than the life of its producer (like a pot or a poem), labour is the sheer unending business of life reproduction: cooking, cleaning, giving birth, raising kids, taking care of the household. According to Arendt, labour is merely a performative activity confined within the space of the house that does not leave anything material behind. With the rise of industrialisation and the increasing division of labour, the distinction between labour and work does not exist anymore and the subjectivity of animal laborans becomes the fundamental datum of modern society. Within modernity labour no longer addresses a specific sphere of the human condition but the totality of life, since under capitalism it is life as bios that is put to work and made productive. As Karl Marx wrote in a crucial passage of Das Kapital ‘labour power is the aggregate of those mental and physical capabilities existing in the physical form, the living personality, of a human being’. This means that what is at stake in the concept of labour is not the production of things, but the production of the most crucial commodity within a capitalistic economy: subjectivity. Production of subjectivity becomes the fundamental goal of a capitalistic economy.
In this sense it is impossible to define the modern city and its architecture without understanding it through the lens of labour. And yet until today, with very few notable exceptions, very little has been written on the relationship between labour and architecture. While issues such as public space, politics, capitalism, neoliberalism and the commodification of the built environment are widely discussed, labour has rarely been confronted by the culture of architecture. The reason for this lack of discussion may be the ubiquity of labour itself as both spatial and social condition of our life. The symposium gathers for the first time a group of researchers who will attempt to read the relationship between labour and architecture in different contexts, from the intimacy of domestic space to the abstraction of post-industrial forms of production, to the role of the architect as producer. Rather than offering a comprehensive historical mapping, the symposium will offer critical insights towards a new understanding of architecture through the concept of labour.

  • Pier Vittorio Aureli

A Symposium organised by Pier Vittorio Aureli and the PhD programme ‘City/Architecture’
Pier Vittorio Aureli, Fabrizio Ballabio, Peggy Deamer, Fabrizio Gallanti, Maria S. Giudici, Peer Ilner, Francesco Marullo, Andreas Rumpfhuber

13/11/2015, Architectural Association School of Architecture

Sunday, March 29, 2015

Reserve

Reserve, 2014
Wood, acrylic, canvas 
46 x 29 cm

Tuesday, March 10, 2015

Spider's Habitat

Spider's Habitat 9Whistle While you Work Series), 2014
 Wood,concrete, soil, dried grass, seeds, insect nests, 110 x 111 x 10 cm.

Friday, December 26, 2014

Santa's real workshop: the town in China that makes the world's Christmas decorations



Santa’s workshop … 19-year-old Wei works in a factory in Yiwu, China, coating polystyrene snowflakes with red powder. Photograph: Imaginechina/Rex
Text by Oliver Wainwright

http://www.theguardian.com/artanddesign/architecture-design-blog/2014/dec/19/santas-real-workshop-the-town-in-china-that-makes-the-worlds-christmas-decorations 

Thursday, October 9, 2014

A Psalm of Life


What The Heart Of The Young Man Said To The Psalmist.
Tell me not, in mournful numbers, 
   Life is but an empty dream! 
For the soul is dead that slumbers, 
   And things are not what they seem. 

Life is real! Life is earnest! 
   And the grave is not its goal; 
Dust thou art, to dust returnest, 
   Was not spoken of the soul. 

Not enjoyment, and not sorrow, 
   Is our destined end or way; 
But to act, that each to-morrow 
   Find us farther than to-day. 

Art is long, and Time is fleeting, 
   And our hearts, though stout and brave, 
Still, like muffled drums, are beating 
   Funeral marches to the grave. 

In the world’s broad field of battle, 
   In the bivouac of Life, 
Be not like dumb, driven cattle! 
   Be a hero in the strife! 

Trust no Future, howe’er pleasant! 
   Let the dead Past bury its dead! 
Act,— act in the living Present! 
   Heart within, and God o’erhead! 

Lives of great men all remind us 
   We can make our lives sublime, 
And, departing, leave behind us 
   Footprints on the sands of time; 

Footprints, that perhaps another, 
   Sailing o’er life’s solemn main, 
A forlorn and shipwrecked brother, 
   Seeing, shall take heart again. 

Let us, then, be up and doing, 
   With a heart for any fate; 
Still achieving, still pursuing, 
   Learn to labor and to wait.

Henry Wadsworth Longfellow, 1847.

Thursday, June 12, 2014

Labor as a Tulip

Labor as a tulip
arrays its flame, nu
form, as the bulb-star,
interred, divines its ore

surging the gulf
rooting it into
appalled memento
pulsing will.

Leaf-blades score the heap.
Other wounds—penetralia—
other worlds, cries, far.
Filaments, simples

emblazoning the rei,
rebus of grief.
Unslumbering terra
premising her kill.
Karen Volkman, 2014

Tuesday, April 8, 2014

Tout n'est pas fleur

Tout n’est pas fleur, 2013, raw clay, pottery, wire, concrete, acrylic
28 Χ 34 Χ 31 cm