Such a dispensation or permission-to-think segues into the transition to post-Fordist
technology and new forms of communications and information-based production.
Thomas Adams argues that low-mark-up, high-volume discount retailers did not create but perfected the managerial control strategies of the post-Fordist
Digging deeper, Jarrett argues that this image of empowered consumers is possible partly because post-Fordist
production regimes require the constant generation of consumer demand.
The effects of our post-Fordist
political economy on the Hastings community are clearly explicated under Lowes' skillful guidance.
That is why it has constantly to be replaced, inevitably by equally empty neologisms like post-modern, post-industrial, and post-Fordist
To exclude Carr's massive history of the Soviet Union because the Soviet Union has disintegrated and we now live in a post-Fordist
society seems to me to be an unduly narrow view of what constitutes evidence.
The papers in this collection, which are based on the proceedings of the conference "Global Competition in the Automobile Industry" held at the State University of New York in 1991, greatly enrich the post-Fordist
debate on the contemporary transition to new production systems.
Sculpture, adapting the Fibonacci sequence previously used by Donald Judd and Mario Merz, phenomenologically reworks Minimalism's durational subject, hollow objects, and post-Fordist
It has become a commonplace in recent decades to observe the apparent resonance between the language and rhetorical priorities of some strands of the 'counterculture', and the forms of radicalism associated with '1968' and its aftermath, and the shift towards the celebration of creativity, worker autonomy, anti-bureaucracy and non-hierarchical and non-linear organisational systems in post-fordist
management theory since around the middle of the 1980s.
As is typical for the differentiations of post-Fordist
, neoliberal capitalism, every Olympics has a specific genius loci.
It is the straining to excavate and imagine new modes of critical art in relief from post-Fordist
entrepreneurial strategies that makes the articles here on specific art practice so challenging, from Gustav Metzger's early computer art, the genre specificity of net art, or the Artist Placement Group, to musique concrete, and the appropriation of 'free' sound.
However incredibly productive and oppositional this deconstructive insight has proven to be over the years, Negri argues that our contemporary masters (corporations, media conglomerates, spin doctors, finance capitalists, post-Fordist
outsourcers of all kinds) no longer dream of a kind of exclusionary, binary totalization, and don't achieve their hegemonic effects primarily through a normatively repressive logocentrism.