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The myth of our time - Coggle Diagram

- - - - Nationalism played a significant role in elevating inventors as national heroes
      - Biographies of inventors often emphasise their contribution to human progress, although there is a trend towards reevaluating international figures
      - Self-promotion became increasingly important over time, contributing to the construction of a heroic image of innovators
    - - ANECDOTES - reinforce the notion of innate genius, portraying inventors as individuals apart from societal norms, driven by inner calling and mission
      - BOURDIEU - distinguishes people based on their innate abilities
      - LIFE CHANCES - Weber - blending the uniqueness of genius with the randomness of opportunity - element of chance makes the narratives of creative geniuses more realistic and unrealistic at the same time. Realistic = everyone has at least experienced something pleasant by chance, unrealistic = chance is random - which can be connect back to the ambivalent nature of myths
      - POVERY AND MISERY - Portraying inventors as rising from poverty or humble beginnings. Poverty serves as both a stimulus for inventive genius and a testament to the inventor's resilience, showcasing their ability to overcome hardships and achieve greatness
        
        SIMMER - the stanger
        
        The stranger is a member of the group in which he lives and participates and yet remains distant from other members of the group. In comparison to other forms of social distance and difference (such as class, gender, and even ethnicity) the distance of the stranger has to do with his "origins". The stranger is perceived as extraneous to the group and even though he is in constant relation to other group members; his "distance" is more emphasised than his "nearness". As one subsequent interpreter of the concept put it, the stranger is perceived as being in the group but not of the group.
      - SKEPTICISM - struggle against skepticism and disbelief from peers and society where the moment of triumph occurs when the inventor proves their detractors wrong, validating their work and achieving recognition for their genius
      - SERENDIPITY - occurrence of events by chance gives element of unpredictability to their narratives -> ISAAC NEWTON observation of an apple falling from the tree - underscores the fusion of genius and fortune in invention
- - - - Scholars face the challenge of interpreting narratives without dismissing them outright
- - - - Desire not to be creative is seen as incomprehensible in contemporary society, where creativity is highly valued both individually and institutionally
      - Shift from the group to the individual (opposite of Marx) -> emphasis on uniqueness
  - - - SELF-ACTUALISATION - ambitions and perception of one’s own abilities plays a pivotal role in highlighting or not
    - - WEBER
        
        DISENCHANTMENT
      - MARX - capitalism’s unlimited power of economic innovation → never-ending process of pure capital accumulation and the generation of surplus value, even drawing on life itself as a source of innovation/surplus value
    - - Economies of scale replaces with economies of speed -> fast fashion, and fast food
      - Flexible specialisation weakens the division of labours and “strict hierarchies”
      - Why has the current economy become effective? Goods which transmit sensitivity are attractive as they give the illusion of being taken care of by the market, on the other hand, and more practically it is convenient for markets and companies to do adapt to this sensibilisation. Additionally, operating in the capitalist market, the greater consumer satisfaction there is, the more consumers feel valued and are subject to consumer dependency - Apple journalism
      - RECKWITZ - “The current economy cannot be understood in rational or cognitive terms because its main processes are not rational or cognitive but, rather, sensuous and affective – processes of the aestheticisation of the economy”
    - - INNOVATION - increasingly seen to demand the cultural reform of routines, practices and employee skills
      - PRODUCTION OF NOVELTY - becomes increasingly symbolic, perceptual and affective. These kinds of work are thus directed to the creation of signs, perceptions and affects – to aesthetic innovation
      - NEO-ROMATIC MODEL OF WORK - which identifies satisfying work with creative work (our work has to have a meaning - Marx)
      - CONSUMERS REGARD THEMSLEVES AS CREATIVE - people not merely buying and using goods but actively producing meanings, experiences and emotions and melding them together into an individual lifestyle