Crafting our future
An opportunity for Labour?
It’s hard work being a Labour Party supporter. I suspect Obama supporters feel the same. Indeed, the failure of the left and the centre left (or in the US case, the liberals) to advance any credible progressive alternative is dispiriting in the extreme. What is all the more curious is that there IS the starting point of a progressive alternative staring them all in the face – but since it has not emerged from the increasingly insular world that party politics is now conducted in, then it has simply not been noticed.
The makings of an alternative are to be found in maker culture and active consumerism: in craft cafes, hacker spaces and especially in IKEA. It addresses some profound issues concerning how we innovate, how we create sustainable enterprise, and how we link this to a social agenda. It provides solutions for educational underachievement, models for urban and rural regeneration, and strategies to address critical skills shortages in fields as diverse as plumbing and programming. It demands that we rethink our conception of work, in order to make better use of the one vital resource that humans are provided with: our creativity. It connects with something very deep within us all: an inherent desire to make things for ourselves. And it requires that we ditch the one thing that ties us to redundant notions of our future: our labour. Perhaps that is the left’s problem.
What is interesting and significant is that this ‘new alternative’ has in recent weeks been the subject of coverage in UK and US business media, national media in the US, New Scientist, together with the technology and eco-activist blogosphere – but aside from one or two pieces in The Guardian, the Left’s media appears far more interested in the Occupy movement. Sorry, but I’ve spent time at St Paul’s and all I see is yet another marginal protest that the Left is so fond of.
Below is a summarised commentary on some of this recent coverage, prior to working it up into a more resolved piece of writing. I have emphasised recent writing rather than more extensive academic literature, such as David Gauntlett’s recent excellent book. The argument threading through it is that the emergent maker economy is of critical significance in the development of an alternative economic model that is capable of addressing economic regeneration, social renewal and individual fulfilment. While we have in the past been defined by our labours, in the future we will be defined by our works.
The indie capitalist revolution
In December 2011, The Economist reported on the significance of the maker movement under the headline “more than just digital quilting”. It recognised that its roots lie in digital culture at the confluence of the open source movement and the new technologies such as Arduino and MakerBot’s 3D printers. Setting its scene at the New York Maker Faire, The Economist explained how “this show and an even bigger one in Silicon Valley, held every May, are the most visible manifestations of what has come to be called the “maker” movement. It started on America’s West Coast but is spreading around the globe: a Maker Faire was held in Cairo in October.”
Physical spaces and tools are part of the maker movement’s landscape, along with online communities. There is a rich pluralism as hackers and corporates coexist alongside business startups, social enterprises, hobbyists and venture capitalists. In its conclusion, The Economist draws a pertinent parallel:
“The parallel with the hobbyist computer movement of the 1970s is striking. In both cases enthusiastic tinkerers, many on America’s West Coast, began playing with new technologies that had huge potential to disrupt business and society. Back then the machines manipulated bits; now the action is in atoms. This has prompted predictions of a new industrial revolution, in which more manufacturing is done by small firms or even by individuals. “The tools of factory production, from electronics assembly to 3D printing, are now available to individuals, in batches as small as a single unit,” writes Chris Anderson, the editor of Wired magazine.
“It is easy to laugh at the idea that hobbyists with 3D printers will change the world. But the original industrial revolution grew out of piecework done at home, and look what became of the clunky computers of the 1970s. The maker movement is worth watching.”
Also writing in December, Bruce Nussbaum – a former editor of Business Week – presents four reasons why the future of capitalism is homegrown, small scale, and independent. Indie capitalism, Nussbaum argues, is “a maker system of economics based on creating new value, not trading old value. It embraces all the strains of maker culture–food, indie music, DIY, craft, 3-D digital fabrication, bio-hacking, app enabling, CAD modeling, robotics, tinkering. Making is not a rare act performed by a few but a routine happening in which just about everyone participates.”
In contrast to The Economist, Nussbaum differentiates the culture of this new movement from the West Coast start up scene of the 70s that spawned Apple and Microsoft. He favours the term indie capitalism “because it captures more of the social context and values of this new economy. I think it is sufficiently different from the entrepreneurial, startup culture of Stanford/Silicon Valley to warrant its own name. The term feels more 21st century, while ‘startup’ sounds, well, 20th century. It’s socially focused, not technology focused, more designer/artist-centric than engineering-centric. I especially like ‘indie’ because the indie music scene reflects many of the distributive and social structures of this emergent form of capitalism. It’s no accident that Portland and New York have vibrant indie music scenes and are the centers of a rising new indie capitalism.” In Nussbaum’s, view, the time is right for this indie capitalism to usher in an indie economics and indie politics given that – from Occupy to the Tea Party – finance or ‘predatory’ capitalism is under attack. And so is high street retail capitalism.
In a blogpost entitled why 2012 will be year of the artist-entrepreneur, Michael Wolf argues that with distribution chains collapsing vertically across video, music and books, as online storefronts become the entire distribution chain, so this expands the role of the artist-entrepreneur who distributes themselves. “No doubt, the vast majority of economic wealth is still distributed through large corporate media, but as new technologies enable artists to reach consumers directly through push-button creation and distribution, there is a movement afoot. Expect this movement to expand in 2012 as more artists take control of their own economic destinies and become part of the artist-entrepreneur generation.”
Writing recently in the New York Times, William Deresiewicz frames this development even more profoundly: “The small business is the idealized social form of our time. Our culture hero is not the artist or reformer, not the saint or scientist, but the entrepreneur. (Think of Steve Jobs, our new deity.) Autonomy, adventure, imagination: entrepreneurship comprehends all this and more for us. The characteristic art form of our age may be the business plan.”
The Left almost certainly has a problem with the maker movement because it is bound up with entrepreneurialism. Which is strange, because many of the new entrepreneurs seemingly have no problems with politically progressive concerns and ideals. Yes, this is is the age of the business plan and the start up. Young people especially are doing it for themselves in terms of employment creation. Now, in part this is because many have no other choice; around 30 percent of new entrepreneurs in the US go into business because there is no other option for work. But whether reluctant or willing, increasing numbers of entrepreneurs are doing it less for the money and more to make a difference.
Danny Alexander, a design entrepreneur writing in the Stanford Social Innovation Review, takes issue with those who see entrepreneurship as purely in terms of wealth creation: “For many of us, entrepreneurship is our anger, our edge, and our ego. It is our social movement… I’m an entrepreneur because I see fundamental problems with society and want to be active in creating solutions.” Closer to home, there are dynamic new enterprises such as Snook which are pursuing a new politics and social vision through entrepreneurial action.
Labour isn’t working – the value of doing it yourself
Throughout the world, there is a generation of highly educated, aspirational young people with a strong sense of a social vision who have been failed by both labour markets and labour parties. Put simply, there are no jobs and no political vision about how to change the world in a progressive direction. The only solution to both problems is to do it yourself. Entrepreneurialism also addresses a third problem: most jobs suck.
In a piece entitled How British workers are losing the power to think, Guardian correspondent Aditya Chakrabortty has drawn on research that strongly suggests an erosion of autonomy in many occupations. “Since the mid-80s, academics have been carrying out regular skills surveys, asking detailed questions of thousands of employees. In 1986… 72% of professionals felt they had a great deal of independence in doing their jobs. By 2006, that had plummeted to just 38%.” Some researchers are suggesting a future workforce in which only 10-15% will have permission to think. “The rest of us will merely carry out their decisions; what the academics call ‘digital Taylorism’, in which graduates will end up on the white-collar equivalent of a factory line.” The options appear to be useful work (through creative entrepreneurialism) versus useless toil (by selling our increasingly devalued labour power). Put simply, whether creating a livelihood or building bookcases, people value doing it themselves. If you want proof – go to IKEA.
The IKEA effect has been documented and argued by behavioural economist Michael Norton of the Harvard Business School. In this month’s New Scientist, an article entitled The hard way: Our odd desire to do it ourselves explained how Norton and his colleagues set up experiments in which people were asked to assemble IKEA furniture or fold origami or build Lego sets. “The participants then had to bid small sums for the products of their labour, or for a custom- or expert-made equivalent. The results were impressive. People bid considerably more for their own creations, even when they were plain old IKEA boxes. When it came to origami, they stumped up nearly as much for their own forlorn frog or bird as for the same animal folded by an expert – even though other participants subsequently rated their efforts as ‘nearly worthless crumpled paper’”. The New Scientist piece describes other research that cumulatively demonstrates that the things we make we value far more – regardless of how well we make them.
Crafting the creative society
One of New Labour’s many problems was the incredibly narrow way that it viewed creativity, reducing it to the questionable notion of creative industries. The whole point was that the UK was to build up a particular set of consumer industries that required specific skills and knowledge that would be supplied through the labour market. Built on a theoretical bedrock that drew heavily from Richard Florida’s Creative Class thesis, this drove policy at both national and local government. There are three central problems with the creative industry emphasis. First, it is highly centralised: necessarily London will act as the key focus for such industries. Second, it is very fragile: the experience of the computer games industry in Dundee is evidence of that. Third, it is culturally defined by Florida’s Creative Class: DIY culture in north Wales or knitting in Shetland does not feature in its metropolitan landscape. As such, the creative economy as defined is exclusive.
Crafting an inclusive creative society demands a wholescale rethinking of education, work and the processes of civic society. Libby Brooks, writing in The Guardian, makes the following case:
“A recession invites fundamental reassessment of the place of work – and leisure – in our lives. Practically, this means recognising that teaching a tradable, portable skill is one of the best ways to lift people out of poverty. Philosophically, it invites an acceptance that a trade-off between hamster-wheel presenteeism and mollifying consumption has never been good for us and is not feasible in this economic climate. Crucially, craft is egalitarian. While some in the Labour party appear bent on resuscitating the canard of meritocracy, which divides the gifted few from the unexceptional mass, craft reminds us of the significance of equality of outcome, rather than of opportunity. Everyone shares the capacity to develop a skill, based on decent teaching, application and time – not raw talent.”
The question is, can Labour (or indeed The Left) envisage an egalitarian future in which people craft their own lives?