UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC
This article explores the transformations suffered by the notion of utopia with the passage from an industrial to a post-industrial society. This involves posing the question regarding the historical specificity of the notion of utopia. This does not mean, however, to simply develop a historic accou...
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Universidad Diego Portales
2017
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oai:ojs.revista180.cl:article-4012017-12-22T13:31:42Z UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC UTOPÍA, TRABAJO Y POSFORDISMO: SOBRE COUNTER-MUSIC DE HARUN FAROCKI Celis Bueno, Claudio city; Marx; non-place; labour; utopia ciudad; Marx; no lugar; trabajo; utopía This article explores the transformations suffered by the notion of utopia with the passage from an industrial to a post-industrial society. This involves posing the question regarding the historical specificity of the notion of utopia. This does not mean, however, to simply develop a historic account of a specific concept. The aim is to explore the internal relationship between the transformations of the capitalist mode of production and the changes experienced by the idea of utopia. To do so, this article explores the shift from a modernidea of a utopian city towards the city as a non-place as presented by Harun Farocki in his video installation Counter-Music. The main hypothesis is twofold: firstly, I argue that the modern idea of a utopian city conceives the city from the perspective of the rational organization of the use value of labour; secondly, I suggest that the rise of post-industrial capitalism challenges this idea of the utopian city and the use value of labour is replaced by what Negri and Hardt called the nonplace of exploitation. In this new social context, the eternal present of capital’s self-valorisation makes it impossible to imagine a utopian future based on the use value of labour. This twofold hypothesis will be illustrated through the analysis of Harun Farocki’s video installation Counter-Music. El presente artículo examina la evolución de la noción de utopía durante la transición desde la sociedad industrial a la posindustrial. Esto implica plantear la pregunta acerca de la especificidad histórica de la noción de utopía, lo cual no significa, sin embargo, desarrollar un mero recuento historiográfico de un concepto determinado. El objetivo es examinar la relación interna entre las transformaciones del modo de producción capitalista y los cambios sufridos por la noción de utopía. Para ello, el presente artículo explora la transición desde la idea moderna de una ciudad utópica hacia la concepción de la ciudad como no lugar presentada por Harun Farocki en su video-instalación Counter-Music (2004). La hipótesis central que se busca desarrollar es doble: en primer lugar, se propone que la idea moderna de ciudad utópica concibe la ciudad desde la perspectiva de la organización social del valor de uso del trabajo; en segundo lugar, este artículo busca demostrar que con el pasaje hacia el capitalismo posindustrial, esta noción de ciudad utópica se desvanece y con ello el valor de uso del trabajo es reemplazado por aquello que Hardt y Negri han definido como el no lugar de la explotación. En este nuevo contexto, el eterno presente de la valorización capitalista impide cualquier posibilidad de imaginar un futuro utópico basado en el valor de uso del trabajo. Esta doble hipótesis será ilustrada través del análisis de la instalación de Farocki. Universidad Diego Portales Fondecyt 2017-08-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/401 10.32995/rev180.Num-39.(2017).art-401 Revista 180; Núm. 39 (2017) Revista 180; Núm. 39 (2017) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/401/319 Copyright (c) 2017 Revista 180 https://creativecommons.org/licenses/by/4.0 |
| institution |
Universidad Diego Portales |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
Celis Bueno, Claudio |
| spellingShingle |
Celis Bueno, Claudio UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC |
| author_facet |
Celis Bueno, Claudio |
| author_sort |
Celis Bueno, Claudio |
| title |
UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC |
| title_short |
UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC |
| title_full |
UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC |
| title_fullStr |
UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC |
| title_full_unstemmed |
UTOPIA, LABOUR, AND POST-FORDISM: ON HARUN FAROCKI’S COUNTER-MUSIC |
| title_sort |
utopia, labour, and post-fordism: on harun farocki’s counter-music |
| description |
This article explores the transformations suffered by the notion of utopia with the passage from an industrial to a post-industrial society. This involves posing the question regarding the historical specificity of the notion of utopia. This does not mean, however, to simply develop a historic account of a specific concept. The aim is to explore the internal relationship between the transformations of the capitalist mode of production and the changes experienced by the idea of utopia. To do so, this article explores the shift from a modernidea of a utopian city towards the city as a non-place as presented by Harun Farocki in his video installation Counter-Music. The main hypothesis is twofold: firstly, I argue that the modern idea of a utopian city conceives the city from the perspective of the rational organization of the use value of labour; secondly, I suggest that the rise of post-industrial capitalism challenges this idea of the utopian city and the use value of labour is replaced by what Negri and Hardt called the nonplace of exploitation. In this new social context, the eternal present of capital’s self-valorisation makes it impossible to imagine a utopian future based on the use value of labour. This twofold hypothesis will be illustrated through the analysis of Harun Farocki’s video installation Counter-Music. |
| publisher |
Universidad Diego Portales |
| publishDate |
2017 |
| url |
https://www.revista180.udp.cl/index.php/revista180/article/view/401 |
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