“in any economic system there are numerous different forms of labor that exist side by side, but there is always one figure of labor that exerts hegemony over the others. This hegemonic figure serves as a vortex that gradually transforms other figures to adopt its central qualities.”

—  Antonio Negri , book Multitude: War and Democracy in the Age of Empire

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Multitude: War and Democracy in the Age of Empire

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Antonio Negri 63
Italian sociologist 1933

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Antonio Negri photo

“Immaterial labor has become hegemonic in qualitative terms and has imposed a tendency on other forms of labor and society itself. Immaterial labor, in other words, is today in the same position that industrial labor was 150 years ago, when it accounted for only a small fraction of global production and was concentrated in a small part of the world but nonetheless exerted hegemony over all other forms of production. Just as in that pgase all forms of labor and society itself had to industrialize, today, labor and society have to informationalize, become intelligent, become communicative, become affective.”

Antonio Negri book Multitude: War and Democracy in the Age of Empire

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Multitude: War and Democracy in the Age of Empire

Antonio Negri photo

“A second part of criticisms [of our concept, Multitude], which relate closely to the first, focus on the economic conception of the multitude. … "You are really against the workers!" … Industrial labor has been displaced from its hegemonic position over other forms of labor by immaterial labor, which now tends to transform all sectors of production and society itself in line with its qualities. Industrial workers remain important, then, but within the context of this new paradigm. Here arises, then, but within the second criticism of this pair, that our argument of hegemony of immaterial labor replaces the old vanguard of industrial workers with a new vanguard of immaterial workers - Microsoft programmers leading us on the shining path. "You are just postmodern Leninist in sheep's clothing!" they cry. No, the hegemonic position of a form of production in the economy should not imply any political hegemony. Our argument about the hegemony of immaterial labor and the becoming common of all forms of labor is aimed instead at establishing that contemporary conditions tending to form a general communication and collaboration of labor that can be the basis of the multitude.”

Antonio Negri book Multitude: War and Democracy in the Age of Empire

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Multitude: War and Democracy in the Age of Empire

Antonio Negri photo

“conventional terms such as service work, intellectual labor, and cognitive labor all refer to aspects of immaterial labor, but none of them captures its generality. As an initial approach, one can concieve immaterial labor in two principle forms. The first for refers to labor, that is primarily intellectual or linguistic such as problem solving, symbolic and analytical tasks, and linguistic expressions. This kind of immaterial labor produces ideas, symbols, codes, texts, linguistic figures, images and other such products. We call the other principle form of immaterial labor "affective labor."”

Antonio Negri book Multitude: War and Democracy in the Age of Empire

Affective labor, then, is labor that produces or manipulates affects such as a feeling of ease, well-being, satisfaction, excitement, or passion.
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Multitude: War and Democracy in the Age of Empire

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“Global poverty is an "input" on the supply side; the global economic system feeds on cheap labor.”

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Source: The Globalization of Poverty and the New World Order - Second Edition - (2003), Chapter 5, The Global Cheap-Labor Economy, p. 69 (See also: Rosa Luxemburg, Karl Marx)

“One quality in a person doesn't rule out any other quality. They can exist side by side, good and terrible. Socrates said it a lot better.”

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William Murray, 1st Earl of Mansfield (1705–1793) British judge

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“.. these reproductions were in Zwemmer's bookshop [in the 1920's]. I can see them now. They were black. There was one on Negro sculpture, one on Mexican sculpture, one on an Egyptian sculpture, and so on. And all these I knew. And in one of them was this small reproduction of the Chac Mool [famous Toltec-Maya sculpture]. It was the pose that struck me – this idea of a figure being on its back and turned upwards to the sky instead of lying on its side, which is a different sort of idea from the Renaissance, or Greek reclining figure, which is usually on its side. And this gave me all sorts of chances of making variations on it.”

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