nanopolitics handbook - Minor Compositions

en its double meaning in Spanish. ‘Las cuentas’ refers to ‘accounts’ in termsof money, bills, etc. But ‘contar’ alludes to both ‘to count’ and ‘to tell’. How dowe count and tell the narratives of our collective wealth and our accounts?Thinking about ‘las cuentas’ (accounts, bills) raised the question of which activitiesand tasks in our process should be considered as waged work. Whendoes a task count as work? What tasks in our collectives do we consider tobe waged work? When is a job paid and when is it voluntary? How can thisdistinction be delineated?These questions also led us to broader issues around the value that we producetogether and that evidently cannot be reduced to an economic dimension,but that scatters itself diffusely all throughout our emotional and discursiveproductions, our networks of affinity and our relationships in common.The logic of the discourses and the practices that promote the constitution ofthe neoliberal city linked to forms of immaterial production, is based on theadministration of the value that emerges through the collective productionof symbols, ideas and products from the field of knowledge and innovation,and which highlights, in a specific way, peculiarities and affective relationshipswith others. In spite of this productive cooperation of the collective, weparadoxically find ourselves constantly questioned by a structure based on ahierarchy which works to make precariousness and forms of repression individualisedthrough sophisticated forms of social control.Stemming from some of these reflections we find ourselves traversed bycertain questions: what do we do with the wealth(s) that we generate together?What counts as resource, wealth and value? How does one think collectivelyin and about a resource, how to mind, administer and distribute sharedwealth? How should this community that nurtures and maintains it, arrangeand modulate itself in compositional terms? And particularly, how do wecompose in a context in which wealth and resources tend to be identified andstructured in dichotomised apparatuses between the public and the individual-private?componendas 18It is vital to us to distance ourselves from the production of individual tools tobe able to continue being ‘OK’ and to ‘better bear’ The Outside. Without a political‘agenda’ but pierced by present events, we organised ourselves to ‘hack’the codes of encounter and of the production of hegemonic data, searching forspaces to invent other subjectivities. More than projects, we see it as necessaryto venture into processes of invention and learning around our forms of assemblingand making life shared: to fabricate ways of living, to be craftswomen and53