{"id":8545,"date":"2014-01-09T02:00:00","date_gmt":"2014-01-09T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/01\/09\/temps-d-oci-temps-de-treball\/"},"modified":"2014-01-09T02:00:00","modified_gmt":"2014-01-09T02:00:00","slug":"temps-d-oci-temps-de-treball","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/temps-d-oci-temps-de-treball\/","title":{"rendered":"Temps d’oci \u2013 temps de treball. Networking i festa a L\u2019Estruch"},"content":{"rendered":"

\"Cl\u00c3\u00a0udia
\nCamilo Jos\u00e9 Cela descriu en el seu ‘Caf\u00e8 d’artistes’ situacions a les que totes les persones del sector de la creativitat estan m\u00e9s que acostumades. Editor i escriptor comentant novel\u00b7les, donant-se consells; pintors parlant sobre art, per\u00f2 tamb\u00e9 observant a la gent del caf\u00e8, bevent o simplement passant l’estona. La fina l\u00ednia que separa el temps d’oci del temps de treball o, el que \u00e9s el mateix, la vida del freelancer<\/em>, per al qual tot el temps \u00e9s temps \u00fatil. Cada ocasi\u00f3 social \u00e9s una ocasi\u00f3 de con\u00e8ixer a alg\u00fa interessant del sector, de fer un contacte dir\u00edem, un projecte en pot\u00e8ncia o una futura oportunitat d’alguna cosa.<\/p>\n

Carlo Padial criticava fa poc en un article<\/a> aquesta confusi\u00f3 entre l\u2019esbarjo i el treball en els esdeveniments culturals de Barcelona i Madrid, recopilant en to sarc\u00e0stic una s\u00e8rie de s\u00edmptomes perceptibles a simple vista que es donen entre les persones del sector creatiu que assisteixen a aquest tipus d’esdeveniments, i que van des de l’\u00e0nsia pel contacte visual amb els presents fins a tipologies de conversa entre artistes, tot amanit amb la soltesa que d\u00f3na la cervesa gratu\u00efta habitual. Sheila Heti tamb\u00e9 descriu a Com hauria de ser una persona? <\/a> una visita a una fira d’art en qu\u00e8 ella i la seva amiga es troben amb una galerista “lletja i grassa” que els cau malament per\u00f2 a qui saluden perqu\u00e8 t\u00e9 una galeria i una d\u2019elles dues pinta quadres.<\/p>\n

Del que estem parlant aqu\u00ed \u00e9s de networking<\/em>, \u00e9s a dir, treball en xarxa, per al qual s\u00f3n necessaris els contactes dins i fora del sector. Per al sector creatiu, les inauguracions, festes de presentaci\u00f3 i similars s\u00f3n lloc i moment per a l’establiment i cura d’aquestes relacions i aix\u00f2, encara que sigui f\u00e0cil caure en les bromes del tipus de \u201cpor el inter\u00e9s te quiero, Andr\u00e9s\u201d a les quals fan refer\u00e8ncia Padial i Heti, d\u00f3na lloc al que Cl\u00e0udia Pag\u00e8s Rabal defineix en el seu \u00faltim treball, presentat a L’Estruch de Sabadell el passat 5 de desembre, com “moments d’intensitat” que poden eventualment desembocar en un veritable networking molt m\u00e9s positiu.<\/p>\n

Networking monologue (or the song I wrote trying to find you)<\/a> \u00e9s una concatenaci\u00f3 de contrastos, una successi\u00f3 de contraposicions de conceptes en qu\u00e8 es relacionen idees aparentment contradict\u00f2ries, totes elles relacionades amb la tensi\u00f3 entre temps d’oci i temps de treball present en tot esdeveniment social. Com el t\u00edtol indica, la performance est\u00e0 basada en dos discursos solistes, el primer en format de mon\u00f2leg o m\u00e9s aviat de confer\u00e8ncia tipus Ted Talk i el segon \u00e9s un concert de m\u00fasica electr\u00f2nica \u00e0 la John Maus. De la ret\u00f2rica de l’\u00e8xit pr\u00f2pia de les Ted Talks, amb un estil sempre directe i finalista que no deixa espai ni al dubte ni a la r\u00e8plica, Cl\u00e0udia Pag\u00e8s Rabal passava a una performance musical amb un llenguatge corporal igualment clar i afirmatiu per\u00f2 molt menys calculat.<\/p>\n

De qu\u00e8 parlem quan parlem de capital social? Precisament d’un tipus de relaci\u00f3 interpersonal en qu\u00e8 es confon all\u00f2 professional amb all\u00f2 personal i d’un camp en el qual hi ha una gran tensi\u00f3 entre all\u00f2 individual i all\u00f2 col\u00b7laboratiu. Cl\u00e0udia Pag\u00e8s descriu situacions en qu\u00e8 tot el que passa t\u00e9 un alt component de potencialitat: saltar d’un possible contacte a un altre com es passa d’un tema a un altre en un mon\u00f2leg o d’una can\u00e7\u00f3 a una altra en un concert, d’uns moviments calculats a un ball m\u00e9s o menys espontani.<\/p>\n

Al final, el que s’est\u00e0 exposant aqu\u00ed \u00e9s una idea pr\u00f2pia de l’economia nietzscheana, la del networking, que no nom\u00e9s \u00e9s aplicable al camp de la creativitat sin\u00f3 a tots els \u00e0mbits de la vida a la societat postfordista. Cl\u00e0udia Pag\u00e8s contraposa una confer\u00e8ncia i un concert i el mateix fa Diedrich Diederichsen en un article de 2010[[Diedrich Diederichsen: \u201cPeople of Intensity, People of Power: The Nietzschean Economy\u201d, e-flux Journal #19, 10\/2010: http:\/\/www.e-flux.com\/journal\/people-of-intensity-people-of-power-the-nietzsche-economy\/]] confrontant m\u00fasica cl\u00e0ssica amb free jazz: el treball en xarxa se sustenta sobre contrastos que produeixen moments d’intensitat, tal com exposa “moments of Intensity”, la \u00faltima can\u00e7\u00f3 que va sonar l’altre dia a L’Estruch.<\/p>\n","protected":false},"excerpt":{"rendered":"

Camilo Jos\u00e9 Cela descriu en el seu ‘Caf\u00e8 d’artistes’ situacions a les que totes les persones del sector de la creativitat estan m\u00e9s que acostumades. Editor i escriptor comentant novel\u00b7les,…<\/p>\n","protected":false},"author":1276,"featured_media":8522,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782,5139],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nTemps d'oci \u2013 temps de treball. 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