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Claire Fontaine, Change, 2006
Remembering Foucault, however, we would also need to decipher the link between notions of creativity in reconstituting workers as infinitely self-enhancing assets or “human capital.”15 While this can only be touched on here, creativity as a complex of overt and implicit presuppositions about the relation between labor and value does not just generalize the “creativity” of capital in relation to labor. It also marks the point where management intervenes in labor, where management is internalized. The mobilization of the entrepreneur is guided by creativity both as a productive norm at work and a way to transcend the constraints of labor, while of course not escaping the demands of value.
Creativity thus marks the joint between self-management and self-exploitation, autonomy and heteronomy. The capacity of creativity to be easily internalized as a workplace norm renders it the form of governmentality that obtains specifically in the workplace, even as the entrepreneur can principally operate anywhere, most visibly in the cultural field and as a labor template for the no-longer-autonomous artist. Creativity thus functions as a springboard for capitalist populism, assuring every exploited worker and discontented artist that their interests are no different from those of capital. These interests signally coincide in the performance of labor that is inventive, fulfilling, and that would be a joyful experience whether or not there was money involved. “Mimesis of the Hardened and Alienated”: Social Practice as Business Model | e-flux
Duchamp’s infrathin/slim as delineator of  the space between self-management and self-exploitation. (or for the art historians, is this not Bifo Berardi after ‘Kant after Duchamp’?)

Claire Fontaine, Change, 2006

Remembering Foucault, however, we would also need to decipher the link between notions of creativity in reconstituting workers as infinitely self-enhancing assets or “human capital.”15 While this can only be touched on here, creativity as a complex of overt and implicit presuppositions about the relation between labor and value does not just generalize the “creativity” of capital in relation to labor. It also marks the point where management intervenes in labor, where management is internalized. The mobilization of the entrepreneur is guided by creativity both as a productive norm at work and a way to transcend the constraints of labor, while of course not escaping the demands of value.

Creativity thus marks the joint between self-management and self-exploitation, autonomy and heteronomy. The capacity of creativity to be easily internalized as a workplace norm renders it the form of governmentality that obtains specifically in the workplace, even as the entrepreneur can principally operate anywhere, most visibly in the cultural field and as a labor template for the no-longer-autonomous artist. Creativity thus functions as a springboard for capitalist populism, assuring every exploited worker and discontented artist that their interests are no different from those of capital. These interests signally coincide in the performance of labor that is inventive, fulfilling, and that would be a joyful experience whether or not there was money involved. “Mimesis of the Hardened and Alienated”: Social Practice as Business Model | e-flux

Duchamp’s infrathin/slim as delineator of  the space between self-management and self-exploitation. (or for the art historians, is this not Bifo Berardi after ‘Kant after Duchamp’?)

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