Under post-Fordist conditions, the capitalisation of the immaterial work has managed to be integrated into artistic labour.
The precarious and the immune are no longer only in a relation of opposites in post-Fordist societies, but rather more and more also in a relation of overlapping, tending, in fact, to become indistinguishable.
The power of a cultural production resides not in its ability to immediately modify the present, but in its capacity to influence the future.
The fetish for glow, the iridescence, and shimmer growing over our bodies like a skin made of light, cannot be detached by references to enhancement, the almost untouchable, the undying dream of artificial.
The current crisis of democracy is the conjunction of a state of affairs that cannot and doesn’t want to change.
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