Organizing Dark Matter: W.A.G.E. as Alternative Worker Organization

Since its founding in 2008, W.A.G.E. (Working Artists and the Greater Economy) has worked to reform the economic habits of US art institutions and of the artists upon whose cultural work these institutions are dependent. Inside a decade, W.A.G.E. went from a small grassroots collective to an internationally recognized, yet lean, organization, which not only advocates for labour standards in the nonprofit art sector, but also develops practical tools to begin the work of doing better by equality in the art world. This chapter positions W.A.G.E. as an example of what Immanuel Ness terms “new forms of worker organization.” Informed by W.A.G.E.-authored texts, media coverage of W.A.G.E., and interviews with the group’s core organizer and programmer, the chapter surveys W.A.G.E.’s strategies for organizing “dark matter,” a concept that Gregory Sholette has repurposed from physics as a metaphor for the majority of artists and activities that populate the art world and uphold and subsidize its most visible and commercially successful figures. W.A.G.E. is explored in five registers: its practice of parrhesia, algorithm of fairness, strategy of certification, post-horizontalist form of organization, and platformization of labour politics. While W.A.G.E. has been tackling dilemmas specific to the nonprofit arts, its strategies hold wider relevance to confronting the challenge of organizing workers who are outside of an employment relationship, who lack access to unions, and for whom the opportunity to be self-expressive or the promise of exposure may be regarded as compensation enough

Commons and Cooperatives

In the last decade, the commons has become a prevalent theme in discussions about collective but decentralized control over resources. This paper is a preliminary exploration of the potential linkages between commons and cooperatives through a discussion of the worker cooperative as one example of a labour commons. We view the worker coop as a response at once antagonistic and accommodative to capitalism. This perspective is amplified through a consideration of five aspects of an ideal-type worker cooperativism: associated labour, workplace democracy, surplus distribution, cooperation among cooperatives, and, controversially, links between worker cooperatives and socialist states. We conclude by suggesting that the radical potential of worker cooperatives might be extended, theoretically and practically, by elaborating connections with other commons struggles in a process we term the circulation of the common

Organizing Dark Matter: W.A.G.E. as Alternative Worker Organization

Since its founding in 2008, W.A.G.E. (Working Artists and the Greater Economy) has worked to reform the economic habits of US art institutions and of the artists upon whose cultural work these institutions are dependent. Inside a decade, W.A.G.E. went from a small grassroots collective to an internationally recognized, yet lean, organization, which not only advocates for labour standards in the nonprofit art sector, but also develops practical tools to begin the work of doing better by equality in the art world. This chapter positions W.A.G.E. as an example of what Immanuel Ness terms “new forms of worker organization.” Informed by W.A.G.E.-authored texts, media coverage of W.A.G.E., and interviews with the group’s core organizer and programmer, the chapter surveys W.A.G.E.’s strategies for organizing “dark matter,” a concept that Gregory Sholette has repurposed from physics as a metaphor for the majority of artists and activities that populate the art world and uphold and subsidize its most visible and commercially successful figures. W.A.G.E. is explored in five registers: its practice of parrhesia, algorithm of fairness, strategy of certification, post-horizontalist form of organization, and platformization of labour politics. While W.A.G.E. has been tackling dilemmas specific to the nonprofit arts, its strategies hold wider relevance to confronting the challenge of organizing workers who are outside of an employment relationship, who lack access to unions, and for whom the opportunity to be self-expressive or the promise of exposure may be regarded as compensation enough

Co-operatives, Work, and the Digital Economy: A Knowledge Synthesis Report

This report surveys recent literature on co-operative approaches to improving work and livelihoods in the digital economy, specifically in the gig economy, the tech sector, and digital creative industries. It introduces concepts that update co-operative theory and practice for the digital age, including platform cooperativism, open cooperativism, distributed co-operative organizations, and Exit to Community. It outlines how the co-operative model has been adopted by and for self-employed workers, platform workers, technologists and communication professionals, and data subjects. While the report presents evidence of co-ops’ potential to improve working conditions and mitigate power asymmetries in the digital economy, it also addresses challenges co-ops face. It explores perspectives on the infrastructure necessary to overcome these challenges and expand worker co-ops’ presence in the digital economy, including the formation of co-operative federations for sharing technology across co-ops. Despite the promise of co-ops in the digital economy, the literature cautions against viewing them as a panacea. Stressing that individual co-ops are not, on their own, a sufficient response to problems of work and inequality, several authors position co-ops as one among a diversity of worker-centered organizations and strategies necessary to improve work and livelihoods in the digital economy. The report concludes with suggestions for future research and policy recommendations

The Cosmos of a Public Sector Township: Democracy as an Intellectual Culture

The public sector plays an important role in responding to the rights of citizens and evolving norms of social interest (Qu 2015). Qu argues that the nature of public enterprise is never final and there is a constant negotiation between the private and the public emergence of life and rights. One such space where the tension between the private and the public manifests itself is the public sector township or the residential colony in India. The sociality of hierarchy in public sector organizations manifest itself in the public sector township and may nurture everyday aspirations, angsts and divides. The officer lives in a bigger hone, in a bungalow, and the clerk lives in a smaller home, many times with a larger family. [excerpt

Beyond the Model Worker: Surveying a Creative Precariat

The figure of the self-reliant, risk-bearing, non-unionised, self-exploiting, always-on flexibly employed worker in the creative industries has been positioned as a role model of contemporary capitalism. Although the notion of the model-worker is a compelling critical diagnostic of the self-management of precarity in post-Fordist times, I argue that it provides an insufficient perspective on labour and the so-called creative economy to the extent that it occludes the capacity to contest among the workforces it represents. Informed by a larger research project, this article thematises salient features of select collective responses to precarity that are emerging from workers in nonstandard employment in the arts, the media, and cultural industries. The discussion is structured in three main parts: the first, ag-gregation, identifies initiatives in which employment status - rather than a specific profession or sector - is the basis of assembly and advocacy; the second, compensation, highlights unpaid work as a growing point of contention across sectors; and the third, occupation, describes cases in which precarious cultural workers are voicing their grievances and engaging in direct action in the context of wider social movements. These dimensions of the contemporary response to precarisation in the creative industries are at risk of being overlooked if the research optic on workers’ strategies is focused upon a single sector or a particular profession. In conclusion, I emphasise that the organisations, campaigns, and proposals that are surveyed in this article are marked by tensions between and among accommodative adaption, incremental improvements, and radical reformism vis-à-vis precarity

Challenging Intern Nation: A Roundtable with Intern Labour Activists in Canada

Internships have gained critical attention in Canada, thanks largely to the efforts of intern labour activists, who have generated media coverage, lobbied and advised politicians, conducted education and outreach, and advocated for an end to the proliferation of unpaid internships in Canada. This roundtable interview with intern labour activists Ella Henry, Andrew Langille, Joshua Mandryk, and Claire Seaborn was conducted by Nicole Cohen and Greig de Peuter in Toronto on March 1, 2015. Follow up interviewing was conducted over e-mail in May 2015. The interview has been edited and condensed

Games of Multitude

Our hypothesis is that videogames are a paradigmatic media of Empire as described by Hardt and Negri–planetary, militarized hyper-capitalism–and of some of the forces presently challenging it. Why are virtual games the media of Empire, integral to and expressive of it like no other? They originated in the US military-industrial complex, the nuclear-armed core of capital’s global domination, to which power they remain umbilically connected. They were created by the hard-to-control hacker knowledge of a new type of intellectual worker, immaterial labour, vital to a fresh phase of capitalist expansion. In that phase, game machines have served as ubiquitous everyday incubators for the most advanced forces of production and communication, tutoring entire generations in digital technologies and networked communication. The game industry has pioneered methods of accumulation based on intellectual property rights, cognitive exploitation, cultural hybridization, transcontinentally subcontracted dirty work, and world-marketed commodities. Game making blurs the lines between work and play, production and consumption, voluntary activity and precarious exploitation, in a way that typifies the boundless exercise of biopower. At the same time, games themselves are an expensive consumer commodity which the global poor can only access illicitly, demonstrating the massive inequalities of this regime. Virtual games simulate identities as citizen-soldiers, free-agent workers, cyborg-adventurers, and corporate-criminals: virtual play trains flexible personalities for flexible jobs, shapes subjects for militarized markets, and makes becoming a neoliberal subject fun. And—taking us to the focus of this article—games exemplify Empire because they are also exemplary of the multitude, in that game culture includes subversive and alternative experiments searching for a way out. Just as the eighteenth-century novel was a textual apparatus generating the bourgeois personality required by mercantile colonialism (but also capable of criticizing it), and as twentieth-century cinema and television were integral to industrial consumerism (yet screened some of its darkest depictions), so virtual games are media constitutive of twenty-first century global hyper-capitalism and, perhaps, also of lines of exodus from it

A Playful Multitude? Mobilising and Counter-Mobilising Immaterial Game Labour

Using the conceptual grid of "immaterial labour" in the age of Empire, this article is a preliminary portrait of work in the video and computer game development industry, a sector of creative, cognitive labour that exemplifies the allure but also the peril of new media work. Drawing on interviews we conducted with game developers in Canada , we examine the conditions of labour in game studios, this cultural industry's "work as play" ethos, the pleasures and potentialities of game production, the blemishes that mar this attractive vista, and the new infractions these tensions provoke. Confirming that Empire sets in motion potentialities it cannot fully control, we also observe an emergent counter-mobilisation of game labour, whose manifestations range from digital piracy to dissident games produced in the context of activism. These experiments of a playful multitude flow into the wider currents of tactical media, hacktivism, open-source software, and distributed computing that are generating tumults throughout the circuits of Empire