Theory & Practice

In her groundbreaking book about emotional labor, The Managed Heart, Arlie Russell Hochshild suggests that emotions are not simply stored in us waiting to be expressed: they are also produced and managed. The notion and practice of affects management, both privately and socially, are not specific to capitalism. Hellenistic philosophers made up a new word to convey this very idea: metriopatheia, from pathos, affect, and metrios, a word that conveys both the notion of measure and that of moderation. As Foucault correctly noted, the management or negotiation of pathē in Greek and Roman philosophers, and in particular in the Stoics, is constitutive part of a process of subject formation, utilizing what Foucault calls techniques of the self, through which a specific and historically determined subject constitutes himself as capable of self-determination and self-mastery through a process that was social and individual at the same time. …

“In a series of posts, Jeff Goldfarb and I [Iddo Tavory] have been sketching an outline for the study of the social condition — the predictable dilemmas that haunt social life. We argue that one of the core intellectual missions of sociology is to account for the ways in which social patterns set up these dilemmas that actors experience as crucial for their lives and how they define themselves.”

I have been following this inquiry into the social condition for a while, and I suggest that it will help to further understanding this condition if we take seriously the daily dramas of consumption, both as comedy and tragedy. “Say Yes to the Dress” is one of these social dramas, based on the very premise that buying a wedding dress really matters, that people do not make their consumption decisions lightly. …

The Black Notebooks (Die Schwarzen Hefte), containing Martin Heidegger’s assorted thoughts from the 1930s and 40s, throw new light on the self-aggrandizement into totalitarianism of the most German of all philosophers.

The Freiburg professor of philosophy was not yet 50 years old when, in 1937 and 1938, he retraced his way of thought (Denkweg): He conjoined manuscripts of his various books, talks and lectures in a factual (sachlich) and discerning manner, with a view to ascertaining how all of it should be continued, including a publication strategy. Buoyed by the feeling that he had already achieved the “authentic” breakthrough by 1936, as he wrote to his brother Fritz in 1948, he was henceforward convinced of his ability to lead Western philosophy into a form of “thinking” purified by a history of being and event (or enowning) (seins-und ereignisgeschichtlich geläutert) and thus freed …

There is a widespread sense today that capitalism is in critical condition, and more so than ever since the end of the Second World War. Looking back, the crash of 2008 was only the latest in a long sequence of political and economic disorders that began with the end of postwar prosperity in the mid-1970s. Successive crises turned out to be ever more severe, spreading more widely and rapidly through an increasingly interconnected global economy. Global inflation in the 1970s was followed by rising public debt in the 1980s, and fiscal consolidation in the 1990s was accompanied by a steep increase in private sector indebtedness (Streeck 2011; 2013a). For four decades now, disequilibrium has more or less been the normal condition of OECD capitalism, both at the national and the global levels. In fact, with time, the crises of postwar capitalism have become so pervasive that they are increasingly perceived as more than just economic in nature, in a rediscovery of the older notion of a capitalist society: …

When first published in 2002, The Rise of the Creative Class quickly established its author Richard Florida as an urban policy and business management guru. The Rise of the Creative Class heralded the emergence of a new class of worker who promised to lead the economy, and along with it the rest of society, to unprecedented levels of prosperity. The creative class, according to Florida, included scientists, engineers, artists, designers, media producers, and others whose primary function is “to create new ideas, new technology and/or creative content.” They are abetted in this endeavor by a whole host of high-level information workers—doctors, lawyers, accountants, educators, and the like—who draw upon complex bodies of knowledge to solve difficult problems that require high degrees of autonomy. To mark a decade of influence, the book was re-released in 2012 in a substantially updated version, The Rise of the Creative Class, Revisited, now out in paperback. …

This post is the first of two making a series of points: Here I answer Jeff Goldfarb’s points in the post he devoted to our common classes. In the second, I will stress a couple of issues that have to do with my central concern: the role of media as “showing.”

On media power and resistance:

Goldfarb writes, “Dayan thinks the media set the agenda more thoroughly than I think actually happens. I see not only the possibility, but also the reality of resistance, even when it doesn’t prevail… The power of big media is great, but it is something else completely if it faces persistent resistance.”

In answer to these two points, let me answer that I am less interested in quantifying power than qualifying power.

In my view, the power of the media lies not only in the consequences of what they show, but in the very fact of showing it. …