The paper focuses on affective resistance with an emphasis on the context in which resistant action emerges, and on the liberating power of laughter. It adopts the approach of ‘affective ethnographic history’ to examine the activities of the Polish oppositional artistic collective, the Orange Alternative (OA), between 1986 and 1989. The OA organized interventions in the streets of Polish cities which engaged the general public as participants. The focus of the interventions was on the creation of affective atmospheres leading to affective transitions in the participants from fear to the lack of fear. The paper contributes to scholarly debates on resistance in three ways: (1) it proposes that resistance and its efficacy should be assessed not in terms of the form of resistance, but through consideration of resistant action in relation to the context of its emergence; (2) it demonstrates how affective resistance operates through affective atmospheres that result in affective transitions to the state of lack of fear; and (3) it reconsiders the significance of laughter as an affective force that has liberating consequences both within a particular resistance assemblage and beyond it.
Emerging from the changing social, technological and cultural changes to work, coworking has been positioned as a new economic engine composed of collaboration and community, providing support for entrepreneurship, innovation and soft infrastructure for economic development. However, an alternative interpretation of coworking suggests it responds to the isolation and insecurity of self-employment by the formation of 'community' to provide mutual support to navigate precarious work conditions. Faced with contrasting accounts of coworking, using in-depth interviews and ethnography of a coworking space, this paper explores the support members of the community offer by drawing on the concept of social support. It contributes to our understanding of social support in an entrepreneurial context and explores a more nuanced and darker side to social support in coworking spaces. While coworkers engaged with others to provide emotional, informational and instrumental support, social support also revealed exchange relationships underpinned by reciprocity, which reinforced precarious work conditions.
This article aims to contrast positive interpretations of enterprise in creative work, which are characterised by freedom, autonomy and choice with less optimistic accounts of the nature of enterprise in the creative industries. By examining extant literature, it illustrates the entrepreneurial responses of designers to instable and dynamic market conditions. It charts how designers adapt to market forces by reconciling creative and commercial pressures, enhancing their labour mobility and commercialising their own labour potential. This article argues that designer's normative feelings about their work enable them to reconcile the challenging aspects of their work.
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