According to Goffman, not only an actor or a performance artist, but every individual; a policeman, a hotel stuff, a violinist, a Vogue model; is trying to persuade others to believe in their character. To do this they need to deliver a performance, by which he means “all the activity of an individual which occurs during a period…before a set of observers and which has some influence on the observers” 5. This metaphor of social life as a theater is broadly understood as “conceptual framework for interaction analysis”. 6 It describes conditions of producing reality within social exchange. It covers setting of a whole situation, a place (theatre stage, or for example a hotel), actors (not only theater actors as mentioned above) and their audience (which is possibly also in a role). Based on this, Goffman argued the theatre metaphor is what social life is like, performativity is made possible through the framing of the social scene.
Automation of production made human labor needless and transformed it into occupation. Work leads to an end product, however occupation is an activity that doesn’t intend an end, rather a service or engagement. Everybody is nowadays constantly occupied and unable to distinguish between performance and life or working hours and free time; it is all mixed up together. Flexible working hours, overused especially in arts and design, signal that immaterial labor became Lütticken’s general performance. Time was made into currency, where quality is emphasized over quantity. I, as a designer, not only design things, but I often visit or take part at various design‑ related events, exhibition openings, symposiums, and talks and I don’t perceive it as leisure time, that’s my investment into potential future projects, future clients and collaborations. Being social is part of my self‑ presenting performance, it’s part of my occupation.