1. Transclasses (social non-reproduction) 2.

Dystopian Realism, onto-imagination

on social freedom, or how to become what dystopias say about current culture and
different while remaining oneself world

3. Speculative history of Corporations 4. Joker as Curator

why we have corporations and what to do history of curating and subversivity of
about it (poetry and finance) laughter

+ Nolifers X Life Player

what the current online ecologies do to us

2023/24
AVU, UMPRUM
Teorie Médií a Umění
Harvesting Contemporary Art
Václav Janoščík
ggrachus@gmail.com
Sociální Reprodukce 1. seminář – 3.10. – 2023 ZS
Who am I X What am I? (Hannah Arendt) … What is your habitus?
From which class I have come, to which class I am passing?
Does Art cons琀椀tute its own class/habitus, or does it cons琀椀tute the passing, the in-between?
Do I want to remain the same? Am I 昀氀uid enough? Can I disa琀琀ach myself from my iden琀椀琀椀es?
Is classness a french topic?
Can I sublimate my anger-shame-su昀昀ering? Into what?

昀昀 Transclass =the in-between di昀昀ferent classes /

posi琀椀ons / iden琀椀琀椀es
Non-reproduc琀椀on = of ones social class / habitus
Class = a system of ordering society whereby
people are divided into sets based on
perceived social or economic status.

昀昀
Pierre Bourdieu
Habitus = “a subjec琀椀ve but not individual system of internalised structures, schemes of percep琀椀on,
concep琀椀on, and ac琀椀on common to all members of the same group or class”
- Habitus is one of Bourdieu’s most in昀氀uen琀椀al yet ambiguous concepts. It refers to the physical
embodiment of cultural capital, to the deeply ingrained habits, skills, and disposi琀椀ons that we
possess due to our life experiences.
- Habitus also extends to our “taste” for cultural objects such as art, food, and clothing.
Habit (individual pa琀琀ern) -> Habitus (rules of the game)
+ Pa琀琀erns, subjec琀椀ve, strategies
Cultural Capital – „skills, tastes, posture, clothing, mannerisms, material belongings, creden琀椀als, etc. that
one acquires through being part of a par琀椀cular social class.“
/Social Cap – network
/Economic - money

Chantal Jaquet
Reasons of non-rep. – Ambi琀椀on, Family Model, Educa琀椀onal Model

Deconstruc琀椀on of Personal / Social Self

Idea of a self = reproduc琀椀on
Complex passing – the In-between X sameness, stereotypiza琀椀on, conformity

Transclasses – inbetween 琀椀midity and audacity, inhibi琀椀on and comba琀椀vness

Transclass X soci. Ascent („problem is not to rise, but in rising to remain oneself.“)

A昀昀ects and Encounters (Desire adn Friendship)

A昀昀ect = „what mo琀椀vates us, what touches us, what moves us.“ s.48
Redemp琀椀on or sublima琀椀on of su昀昀ering – hatred, anger, shame, indigna琀椀on, desire for jus琀椀ce
„… to not to be ashamed of oneself“

Context – Deleuze Gua琀琀ari (Thousand Plateaus, schizoanalysis, An琀椀-Oedipus) transgression (as THE
poststructuralist topic?)
Poli琀椀cs of Iden琀椀ty (what is?)
All pdfs on libgen/z-lib
Chantal Jaquet – Transclasses a Theory of Non-Reproduc琀椀on. Verso 2023.
Edouard Louis – Change (2021 in orig)
Didier Eribon – Returning to Reims (2009 in orig)
+ Annie Ernaux
+ Pierre Bourdieu, Baruch Spinoza, Blaise Pascal
 Introduction

. within Distinction
oistinct1on
·t rs and Reproduction, Pierre Bo~ ieu and
The Inhert o . . . .
In d Passeron examine how educat1~ l ins_ tutlons
Jean-Clau esocial era y and ~-:1 - t1on. . i
perpetuate . . . .
Although it cause a stir among idealists who believed 1n
the virtues of e~ state educ ation , the thesis has
come to be ~ dely known and accept ~ The education system
reproduces the ~xisting orde: 1 on the one hand by ensuring
that scions of the aominant classes obtain the best degrees
and, cultural capital in hand, occup y the most advantageous
social positions; on the othe r, by legitimizing academic rank-
ing, the success or failure of individuals, by recourse to innate
qualities and an ideolo gy of 'giftedness' that transform social
selectioninto penalty for personal deficiency.
. Yet ed€ a' n represents just one of the _sogs of reprod uc
t1on. More generally, the process relies on handing down a
7 =
familialand social legacy from one generation to the next. This
inheritancedoes not boil down to the trio of material assets
knowledge,and power. Bourdieu bases his theory of reproduc-'
tio~ on the transmission of four types of eapitaTI ~n o~
capital,~ capital, ~ci~apital , and ~bo~ caprtaf.To
the economic, cultural , anct'social resources confe rred on indi-
viduals by wealth, theoretical or practical knowledge, and the

I This book derives from a semina r conducted at the Sorbonne in

20 1 0-11 and 012-1 3 . I would like to thank my students for giving
2 me
the strength to write it.

I
 TRANSCLASSIS

nrrwork of rdationshipsimperativefor acquiring

ragrs, we rnust ,1dd all forms of capital (economic
sodal, and so on) that trilnsfor111power relationsinto' rela .
of n1c,u1ingand producesy1nboliceffects by inducingoth tiOJia
acknowledgethe Jcgitin1acy of the don1inant position
· 1·1ze t I1cir
a:: to
1ntcrn,1 . dommatc
. d status. to
Reproductionrelics not only on the institutionsand procc.
durcs that favour and perpetuate it but also on shaping habi..
tus through inculcatingand conditioningconduct related to
soci:1I das~ and individualcot~ditionsof exis~ence.~ -
an en1bod1ed system of acquired and endunng d1spos1t1ons
that generate represeiitations and practices - thus emerges as
the very lifeblood of reproduction. First defined by Bourdieu
in Outline of a Theory of Practice in @! his key concept
was continually reworked and refined thereafter.
In ogic of Practice (;r.980), Bourdieu stresses how
ocialization lea · ividuals to · corporate· rul
and thinking in order to a apt to their con 1tions of existence.
These rules will govern future conduct without necessarily
being conscious or deliberately followed:

The conditioningsassociatedwith a particularclass of condi-

tions of existenceproduce8 it~ ems__o~, trans-
d~~ ~sed to
function as structuringstructures,that is, as principles which
generate and organize practices and representationsthat can
be objectively adapted to their outcomeswithoutpresupposing
a conscious aiming at ends or an express masteryof the opera-
tions necessaryin order to attain them. Objectively'regulated'
and 'regular' without being in any way the product of obedi-
ence to rules, they can be collectively orchestrated without
being the product of the organizingaction of a conductor. 2

2 Pierre Bourdieu, The Logic of Practice, transl. Richard Nice

(Stanford,CA: StanfordUniversityPress, 1990), P· 53·

2,
 INTRODUCTION

. n of the social w·orld and liYed C..'\.l'CflC?k.~

Artf1ti.'11 ·x · --onduc ·it go,·erns str.aajt-S of~
• . e n1atn- ____,,, . . . b . .
1
t¢_is and Jelines a way -~t 1tc a~J ~nman.ly ,m~
3~~n:non. Thus, no one 1~ born a \\
orker {1r .a l-\)SS: ont
Jistt°'" ·h from father to son ..... or .;lmost. ·
::on1es su~ ' . f .
•
be'=I tJCt, the impl acab lelogic o repr oduc ~-~ ......_"'
. .,\\':'l~ .., .............
rion
n . e ri(fo rously anal ysed by Bourd1eu ~nj P.;.s.~:Y" . , .... '
.1-ms ar :, .
n ~ • _ exception~l~•ca~ s ~.1! the §ha!3_9\\·s . And not }~~ 4 ,:i
Iea,e!, . . 1 h . .
.. ... . pnnc1pa t eonst elud~Jn ·:i .......~- . . ..
J ~ doxe s is .that its . •• :-'•--,-...,~
the par-J .
. ,.e he freed himself (or ,vas treed.. ) fro111 the ~o::s::ri:::~ t.~
Sllr0 Tl
born .mto. 1e son ot a 111.111 .. wmer (,'I'\~ 1..... _...
e 1,
-
C-"
ss he was - •· """".' .............
th
Posonaster) a~d a n:other fro1n a peasant ~.ln'lilJ; &::r.:~~:1
followed a social tra1ectory he w,:is not pred1spoS{'Jt1..)., p·re:1
·s on·oins.How do we explain that some indiYidui1"~1·~..1.!\."' ':...~-..
. . . . .......
hl t,
do not necessariyl reproduce the conduct of their d~s.." :-:::r
')( ass from o ass to anotl er? Such ano"i;11ies~ m.1i~ E::·J
spot in the theory o r production, and the JS$lle 1s .b)w :-0
account for them.
Remarkably, Sketch for J Self-Ar:..ilysis doe.s not ~~3t.r
why Bourdieu did not reproduce the family modeL &-\.1rb,~:::::i
he provides the keys for understanding his intdl ecnu l h:$:-~;. .
and his focus on sociology instead of philosophy" ~hen J •.fr~~:t,
ted to the Ecole Normale Superieureand the .;~-.,-fg.;.ti. . .
does not look into the background factors ,ontriburiti.~t'-) h~s
academic success and social ascent. Instead, his rct1~\."1-:,):':.$
begin with an analysis of the intellectual dinutc in l'..u:s
during the 19 50s; the only biographicalelemt'.'ntshe in~h:2~
are those required to explain his subsequent~1c.1Jcm.i~ ,"'.ln.'cr)
His native social environment is only menriontJ ~n the
end of the book when discussing how ccruin Jisp()~1ri~:~s
associated with his origins helped determine his intdl~n:.il
practice. If he alludes in snippets to his ~hilJh°'-J ~lnJ

. d. Sk tch t''or a Sdf-,.\n.1/r sis,tt.msl. Ri~h.irJ ~1'.~

3 P1erre Bour 1eu, e ·
(Cambridge:Polity, 1004), P· 9·
3
 TRANSCLASSES

experie nce as a class defector (transfuge),~ he never d

evotes
sustained attention to why he excelled academically
. . tra1ector
.
en1oyed a social y so d•f'l £ h
1 rerent rom t e children
and
·
small-scale farmers, artisans, an d tra desmen wit· h whom hof
attended primary school, and whose circumstances, by hi:
O\Vn account, he shared. Therewith, Bourdieu himself offers
striking proof of the need to conceive · inctio
~- ~he question is how - failin! a revolu 1On or ~rass-
roots collective reform movement -(social non-reproduct10~
~ossible; and how to understand the~ulaj!t¥ o~s
1n a process where things seem doomed tothe repet1t1onof the
same.
Disgruntled people might think that Bourdieu deliberately
x obscures the issue because it casts doubt on his theory. This is
~se, since he himself allows fo~ept~. While he
rejects the idea of 'free will' with its train otvoluntarist illu-
sions, Bourdieu never regards reproduction as a matter of
destiny or an iron law. Even if his position has often been
misunderstood, his aim is not to encourage quietism or resigna-
tion, but to understand the forms of social determination in
order to provide instruments for freeing ourselves from them.
In The Inheritors, Bourdieu and Passeron are at pains to point
out that social factors of class differentiation do not take the
form of a mechanical determinism; and they consider two types
of exception that confirm the rule of social reproduction.
In the first place, it would be unrealistic to think that
1 cultural inheritance works in automatic, identi~al fashion for
those who benefit from it.S In fact, there are two possible ways
to use a legacy: by exploiting it or by squandering it.6 Inheritors
can make rational use of their cultural inheritance not only by

4 Ibid., p. 84. .
5 Pierre Bourdieuand Jean-ClaudePasseron,!he lnh~tors: ~,enc,,
Students and Their Relation to Culture, transl. Richard Nice (Chicago
Universityof Chicago Press, 1979), P· 1 5·
6 Ibid., pp. 10-11, 2.5.

4
 \NTROOUCT\ON

re se
r brea
thlt
n•
. ,it but ..,s\ o by cu\ti
,ng ' . \ "re hhorious
k w1t l me ,
-~
v~,tiru\it with an case an

. _. • Conversely they
reproduction and expr
.
d grace
ess
>
· e cr ca n ..lvast e,,thcir cultural
genutn \can,rin it).
di\ettantish ' attit. udes in .
ht,.rita,~e ,s 10'~ g school or extrava-
. d" .
societv leading eventua l\
y to t \1eir
· ru ·
T •
t spcn mg 111 1 in.
gln - 1\. noun.lieu and '
seconu ~' Pa ss er on observe that some
1)
is
dren from d adv·intaged backgrounds manage not to be eh
chi\-
•
l
. . J in the educational select . m-
ion process; they attribu . .
inlte te th is
to gre..,ter adaptability to l . . f h'
t 1e exig enci
es o teac ing an a d
supportivefamily environ1
ne1~t.Even though the
not go into this phenon1e authors do
non 111 depth, they enco
researchby emphasizing urage further
the 'need for n1ore deta
the causes or reasons iled study of
which govern these
exceptional
destinies',7
That is why the logic of th
e the y of repro ·on requi s
~s to examin~
o obtain a fuller understand-
mg of their status and sc
ope. The 1dea of non-re
must be carefully consid production
ered and merits closer
the value and scope of 'non attention, for
-' cannot be determined
In strictly logical terms, a priori.
negation may express
tion or contrariness. In th contradic-
e case of a contradictory
eproductio .~,n,1....,,e, opposition,
-re roductio cannot
quently,if one is true, the ot coexist: conse-
her 1s necessarily false. A
in the case of a ntrary lternatively,
ositio the two theses ar
ible. In short, the point e compat-
is to nd out whether
disproves or proves the an exception
rule. At stake in thi ·
nature of human power uiry are the
and the range o erso
, r---r--
Noq-reproduction brings
mo e o . into play the ossi 1 ·
..
tence w1 1 an esta 1_..,. 0
na reedom.
inv~n mg
orde m the
____

abse~e of social upheav '

al or revolution. X. 'd
..- ...
~t is not certain, in this• s01 • ti( t this
indi ual-leve1 and
respect, t as the lawsv1 of reproduction
qU1te exceptional phenom
enon esca~ can be a
or stands outside the soci product of it
al sySt em . ey
il\ retUtn to this point in
7 Ibid.,P· i,6. We w Part I.

5
 TRANSCLASSES

. h by the existence of alternative models or by th

e1t er . . . . e es
lishment of political 1nst1tut1onsand economic resources tab,
.
Cl
Affects and Encounters

Whatever their feeling of d tude, indi~ uals are not enti-

ties that exist on their own, or door ~ , wJ_qdowless monad
-... s.
They are relational beings constantly affected by external
causes that modify them and which they alter in their
encounters. To understand an individual is therefore to
understand the dynamic constitution of their being in action
through their affects. By affect, we do not mean a form of
psychological determination or a character trait, but (follow-
ing Spinoza) the set of physical and mental modifications
that ha: e an impact on the de~ of each erson, enhancing
or reducing their power of action. 49 Th ~ ffeo/efers to what
to~ ~tiva~ ~ us, and moves us. It is the expression
of an encounter'oet ween the causal power of an individual
and that of the external ,@ld; and it refers both to what
forms and fashions individuals, and to what they form and
fashion, inasmuch as everyone is at once affecting and
affected. Given that it is impossible to extricate ourselves
entir~ _from the action external causes, human beings
are ~ Ject to a mult~ of m~ ions and tossed
about by contrary affects. The affect has its own kind of
necessity: it does not obey the commands of reason ~nd does
not disappear by decree. Its p~ stems from external
causes that continue to produce and leave traces.

49 Benedict de Spinoza, Ethics, ed. and transl. Edw· C

(Lond?n: Penguin, 1996): 'By affect I understand af(ections ~~h ~r1~y
0
by which the body's power of acting is increased or diminished • do y
restrained, and at the same time, the ideas of these affections n'at e .t' or
"f b h d
1 we e t e a equate cause of any of these affections, I underst
• ererore
d b'
the affect an action; otherwise, a passion' (p. 70). an . Y
 TH E CAUS ES OF NON- REPRODUCTION

. why (so Spinoza tells us) 'an atA,... cannot be

'fh3t ·ned
is " G-/
or taken away, except by an affect opposite to
' '
restra1 nger than, tl1e a ffect to be restrained' ·so
and stro .
In the case to hand, ,ve are se~k1n g to understand t
of affects that determine a child to assert, an,
,otnbt·nation
b!
bolster,a desire buffet~d c?ntradictory forces, which imp
he child both to remain w1th1n and to leave their native milieu
to be, like Eribon, an excellent pupil forever on the point of
rejectingthe educational institution. If the t~ on from one
world to the other can be made in the face of all opposition,it
is via affects that shore it up and counterbalance contrary
forces. Before taking the form of a conscious, deliberate
choice,the eruption of a sovereign is the result o11fder-
ground work.
In the case of Didier Eribon, it is clear that identification
with the cultural model embodied by the teaching body did
not occur immediatelyand self-evidentlyThe . switch from one
world to another is largely made throughan~r, an
affect, that will later be understood as being like amorous
desire, but which to his thirteen-year-oldadolescenteyes took
the form of a bond of friendshipwith a young lad in his class,
the son of a university professor.This affective detachment
helped him pass through the doors of a world where he always
felt himself to be an interloper- and to appropriatethe alien
culture treated with derision by the popularclasses. During a
lesson on music, disciplineof distinctionpar excellence,w~en
the teacher asked for the identityof the composerof a musical
'di'er Eribon was astounded to hear this
extract, the young Dl swer after only a few bars, and found
. h . lesson grotesque
boy give.t e. correct .an He who found this
.
,
h1s certamt1eswaver . , ing.
bearable-at home, should one happen
· l music un
and ' classica · 't 't was switched off
. nune broadcasting 1 , 1
on a radio progta , , t church' - discoveredthat the
. h h ....n11ent· we re not a
Wlt t e COu~ •
Onto-imaginace Dystopie // Afek琀椀vní čtení dystopií (2) Teorie Médií a Umění - 17.10. 2023
Why is dystopianism so popular in current 昀椀c琀椀on?
Do we currently live in dystopia?
Does everything originates in the trauma?
How to interpret / study dystopias? - What is contemporary thinkin (as opposed to philosophy)?
What to do with/about Capitalist realism (with Dystopian realism)? – What can we learn from dystopias?

昀昀 Kapitalistický realismus = „it is easier to imagine the

end of the world than the of capitalism“
Dystopický realismus = dystopias do not close the
dimension of future, but open space for
experimentation (with social relations)
Korporátní realismus = (Succession; Sisiphus: The
Myth)
Financial Realism = 昀椀nancializa琀椀on of life
Traumatický realismus = (Mare of Eastown; Sharp
Objects)
昀昀 Realismus = aesthitics defining the condition of what is
considered to be real

A琀�tudes…
- - Poli琀椀cal reading (of the pol. Systems of future soc.) … turbofeudalism
Fisher – dystopia as the absence of future
- Worldbuilding – onto-imaginace, mythopoe琀椀c, ooo, sr etc
- a昀昀ec琀椀ve reading – focus-iden琀椀琀椀es, coreOfDystopia-trauma

Enlightenment – ra琀椀onality X aesthe琀椀c / roman琀椀cism – primacy of the aesthe琀椀c (over the ra琀椀onal) >> today
aesthe琀椀c subsumed to the ra琀椀onal through technology (fusion of computa琀椀on and media)
Image and reality switching their places.

Gaming and worldbuilding – cosmic pessimism / specula琀椀ve 昀椀c琀椀on / wow ontology / abstrac琀椀on / Cosmotechnics
Eugene Thacker / Donna Haraway / Tim Morton / Reza Negarestani / Yuk Hui
Yellow jackets 2021
Last of Us 2013 / 2023 Shauna - normie, nevěra, vášeň >> Callie Sta琀椀on Eleven 2021
- Joel (Pedro Pascal) Taissa - queer, ambi琀椀on >> Sammy - - Jeevan - the caretaker
- Ellie (Bella Ramsey) přenos traumatu (sacri昀椀ce)
- Bill (Nick O昀昀erman) Misty - perverse a昀케rma琀椀on (of trauma)- - Kirsten - the hero ((tragedy))
- Franka (Murray Bartle琀琀) Lo琀�e – psychodivergence - Miranda - the creator
Natalie – trauma (father) - Tyler - the prophet
Jackie - cheerleader - Arthur Leander - the model
Laura Lee - religious tragedy - Clark Thompson - the king

tragedy = form of (non)reconcilia琀椀on of opopsites (individual X cosmic, freedom X poli琀椀cs) (Yuk hui, Bernard S琀椀egler)

Ekoby琀 (Tim Morton) // Care for people around.

A昀昀ects and Encounters (Desire and Friendship) … humans as a昀昀ec琀椀ve beings

Redemp琀椀on or sublima琀椀on of dystopia/su昀昀ering – hatred, anger, shame, indigna琀椀on, desire for jus琀椀ce
„… to not to be ashamed of oneself“
>> Social Non-reproduc琀椀on (freedom)
(Joseph Conrad – heroism)

All pdfs on libgen/z-lib

Mark Fisher – Capitalist Realism, Zero Books 2009.
Václav Janoščík – Dystopický realismus aneb jak se učit skrz kapitalismus a temné budoucnos琀椀, NAVU 2021.
Yuk Hui – Art and Cosmotechnics, e-昀氀ux 2019.
Chantal Jaquet – Transclasses a Theory of Non-Reproduc琀椀on. Verso 2023.
(+ Bernard S琀椀egler, Frederic Jameson, Edouard Louis – Change, Didier Eribon – Returning to Reims, Annie
Ernaux, Pierre Bourdieu, Baruch Spinoza)
 1

It's easier to imagine the end of the world than the

end of capitalism

In one of the key scenes in Alfonso Cuaron's 2006 film Children of

Men, Clive Owen's character, Theo, visits a friend at Battersea
Power Station, which is now some combination of government
building and private collection. Cultural treasures
Michelangelo's David, Picasso's Guernica, Pink Floyd's inflatable
pig - are preserved in a building that is itself a refurbished
heritage artifact. This is our only glimpse into the lives of the
elite, holed up against the effects of a catastrophe which has
caused mass sterility: no children have been born for a gener-
ation. Theo asks the question, 'how all this can matter if there
will be no-one to see it?' The alibi can no longer be future gener-
ations, since there will be none. The response is nihilistic
hedonism: 'I try not to think about it'.
What is unique about the dystopia in Children of Men is that it
is specific to late capitalism. This isn't the familiar totalitarian
scenario routinely trotted out in cinematic dystopias (see, for
example, James McTeigue's 2005 V for Vendetta). In the P.O. James
novel on which the film is based, democracy is suspended and
the country is ruled over by a self-appointed Warden, but,
Wisely, the film downplays all this. For all that we know, the
authoritarian measures that are everywhere in place could have
been implemented within a political structure that remains,
notionally, democratic. The War on Terror has prepared us for
such a development: the normalization of crisis produces a
situation in which the repealing of measures brought in to deal
with an emergency becomes unimaginable (when will the war be
over?)
 Capitalist Realism

Watching Childrell of Mell, we are inevitably reminded of the

phrase attributed to Fredric Jameson and Slavoj Zizek, that it is
easier to imagine the end of the world than it is to imagine the
end of capitalism. That slogan captures precisely what I mean by
'capitalist realism': the widespread sense that not only is
capitalism the only viable political and economic system, but also
that it is now impossible even to imagille a coherent alternative to
it. Once, dystopian films and novels were exercises in such acts of
imagination - the disasters they depicted acting as narrative
pretext for the emergence of different ways of living. Not so in
Childml of Mell. The world that it projects seems more like an
extrapolation or exacerbation of ours than an alternative to it. In
its world, as in ours, ultra-authoritarianism and Capital are by no
means incompatible: internment camps and franchise coffee bars
co-exist. In Children of Men, public space is abandoned, given over
to uncollected garbage and stalking animals (one especially
resonant scene takes place inside a derelict school, through which
a deer runs). Neoliberals, the capitalist realists par excellence,
have celebrated the destruction of public space but, contrary to
their official hopes, there is no withering away of the state in
Children of Men, only a stripping back of the state to its core
military and police functions (I say 'official' hopes since neoliber-
alism surreptitiously relied on the state even while it has ideolog-
ically excoriated it. This was made spectacularly clear during the
banking crisis of 2008, when, at the invitation of neoliberal
ideologues, the state rushed in to shore up the banking system.)
The catastrophe in Childrell of Men is neither waiting down the
road, nor has it already happened. Rather, it is being lived
through. There is no punctual moment of disaster; the world
doesn't end with a bang, it winks out, unravels, gradually falls
apart. What caused the catastrophe to occur, who knows; its
cause lies long in the past, so absolutely detached from the
present as to seem like the caprice of a malign being: a negative
miracle, a malediction which no penitence can ameliorate. Such a
 It's easier to imagine the end of the worLd..

blight can only be eased by an intervention that can no more be

anticipated than was the onset of the curse in the first place.
Action is pointless; only senseless hope makes sense.
Superstition and religion, the first resorts of the helpless, prolif-
erate.
But what of the catastrophe itself? It is evident that the theme
of sterility must be read metaphorically, as the displacement of
another kind of anxiety. I want to argue this anxiety cries out to
be read in cultural terms, and the question the film poses is: how
long can a culture persist without the new? What happens if the
young are no longer capable of producing surprises?
Children of Men connects with the suspicion that the end has
already come, the thought that it could well be the case that the
future harbors only reiteration and re-permutation. Could it be
that there are no breaks, no 'shocks of the new' to come? Such
anxieties tend to result in a bi-polar oscillation: the 'weak
messianic' hope that there must be something new on the way
lapses into the morose conviction that nothing new can ever
happen. The focus shifts from the Next Big Thing to the last big
thing - how long ago did it happen and just how big was it?
T.S. Eliot looms in the background of Children of Men, which,
after all, inherits the theme of sterility from The Waste Land. The
film's closing epigraph 'shantih shantih shantih' has more to do
with Eliot's fragmentary pieces than the Upanishads' peace.
Perhaps it is possible to see the concerns of another Eliot - the
Eliot of 'Tradition and the Individual Talent' - ciphered in
Children of Men. It was in this essay that Eliot, in anticipation of
Harold Bloom, described the reciprocal relationship between the
canonical and the new. The new defines itself in response to what
is already established; at the same time, the established has to
reconfigure itself in response to the new. Eliot's claim was that
the exhaustion of the future does not even leave us with the past.
Tradition counts for nothing when it is no longer contested and
modified. A culture that is merely preserved is no culture at all.
 Capitalist Realism

The fate of Picasso's Cuemica in the film - once a howl of anguish

and outrage against Fascist atrocities, now a wall-hanging - is
exemplary. Like its Battersea hanging space in the film, the
painting is accorded 'iconic' status only when it is deprived of
any possible function or context. No cultural object can retain its
power when there are no longer new eyes to see it.
We do not need to wait for Children of Men's near-future to
arrive to see this transformation of culture into museum pieces.
The power of capitalist realism derives in part from the way that
capitalism subsumes and consumes all of previous history: one
effect of its 'system of equivalence' which can assign all cultural
objects, whether they are religious iconography, pornography, or
Das Kapital, a monetary value. Walk around the British Museum,
where you see objects torn from their Iifeworlds and assembled
as if on the deck of some Predator spacecraft, and you have a
powerful image of this process at work. In the conversion of
practices and rituals into merely aesthetic objects, the beliefs of
previous cultures are objectively ironized, transformed into
artifacts. Capitalist realism is therefore not a particular type of
realism; it is more like realism in itself. As Marx and Engels
themselves observed in The Communist Manifesto,

[Capital] has drowned the most heavenly ecstasies of religious

fervor, of chivalrous enthusiasm, of philistine sentimentalism,
in the icy water of egotistical calculation. It has resolved
personal worth into exchange value, and in place of the
numberless indefeasible chartered freedoms, has set up that
single, unconscionable freedom - Free Trade. In one word,
for exploitation, veiled by religious and political illusions, it
has substituted naked, shameless, direct, brutal exploitation.

Capitalism is what is left when beliefs have collapsed at the level

of ritual or symbolic elaboration, and all that is left is the
consumer-spectator, trudging through the ruins and the relics.
 It's easier to imagine the end of the world ..

Yet this turn from belief to aesthetics, from engagement to

spectatorship, is held to be one of the virtues of capitalist
realism. In claiming, as Badiou puts it, to have' delivered us from
the "fatal abstractions" inspired by the "ideologies of the past"',
capitalist realism presents itself as a shield protecting us from
the perils posed by belief itself. The attitude of ironic distance
proper to postmodern capitalism is supposed to immunize us
against the seductions of fanaticism. Lowering our expectations,
we are told, is a small price to pay for being protected from terror
and totalitarianism. 'We live in a contradiction,' Badiou has
observed:

a brutal state of affairs, profoundly inegalitarian - where all

existence is evaluated in terms of money alone - is presented
to us as ideal. To justify their conservatism, the partisans of
the established order cannot really call it ideal or wonderful.
So instead, they have decided to say that all the rest is
horrible. Sure, they say, we may not live in a condition of
perfect Goodness. But we're lucky that we don't live in a
condition of Evil. Our democracy is not perfect. But it's better
than the bloody dictatorships. Capitalism is unjust. But it's
not criminal like Stalinism. We let millions of Africans die of
AIDS, but we don't make racist nationalist declarations like
Milosevic. We kill Iraqis with our airplanes, but we don't cut
their throats with machetes like they do in Rwanda, etc.

The 'realism' here is analogous to the deflationary perspective of

a depreSSive who believes that any positive state, any hope, is a
dangerous illusion.

In their account of capitalism, surely the most impressive since

Marx's, Deleuze and Guattari describe capitalism as a kind of
dark potentiality which haunted all previous social systems.
Capital, they argue, is the 'unnamable Thing', the abomination,
 Capitalist Realism

which primitive and feudal societies 'warded off in advance'.

When it actually arrives, capitalism brings with it a massive
desacralization of culture. It is a system which is no longer
governed by any transcendent Law; on the contrary, it dismantles
all such codes, only to re-install them on an ad hoc basis. The
limits of capitalism are not fixed by fiat, but defined (and re-
defined) pragmatically and improvisationally. This makes
capitalism very much like the Thing in John Carpenter's film of
the same name: a monstrous, infinitely plastic entity, capable of
metabolizing and absorbing anything with which it comes into
contact. Capital, Deleuze and Guattari says, is a 'motley painting
of everything that ever was'; a strange hybrid of the ultra-modern
and the archaic. In the years since Deleuze and Guattari wrote the
two volumes of their Capitalism And Schizophrenia, it has seemed
as if the deterritorializing impulses of capitalism have been
confined to finance, leaving culture presided over by the forces of
reterritorialization.
This malaise, the feeling that there is nothing new, is itself
nothing new of course. We find ourselves at the notorious 'end of
history' trumpeted by Francis Fukuyama after the fall of the
Berlin Wall. Fukuyama's thesis that history has climaxed with
liberal capitalism may have been widely derided, but it is
accepted, even assumed, at the level of the cultural unconscious.
It should be remembered, though, that even when Fukuyama
advanced it, the idea that history had reached a 'terminal beach'
was not merely triumphalist. Fukuyama warned that his radiant
city would be haunted, but he thought its specters would be
Nietzschean rather than Marxian. Some of Nietzsche's most
prescient pages are those in which he describes the 'oversatu-
ration of an age with history'. 'It leads an age into a dangerous
mood of irony in regard to itself', he wrote in Untimely
Meditations, and subsequently into the even more dangerous
I

mood of cynicism', in which 'cosmopolitan fingering', a detached

spectatorialism, replaces engagement and involvement. This is
 It's easier to imagine the end of the world ..

the condition of Nietzsche's Last Man, who has seen everything,

but is decadently enfeebled precisely by this excess of (self)
awareness.
Fukuyama's position is in some ways a mirror image of
Fredric Jameson's. Jameson famously claimed that postmod-
emism is the' cultural logic of late capitalism'. He argued that
the failure of the future was constitutive of a postmodern
culrural scene which, as he correctly prophesied, would become
dominated by pastiche and revivalism. Given that Jameson has
made a convincing case for the relationship between postmodern
culrure and certain tendencies in consumer (or post-Fordist)
capitalism, it could appear that there is no need for the concept
of capitalist realism at all. In some ways, this is true. What I'm
calling capitalist realism can be subsumed under the rubric of
postmodernism as theorized by Jameson. Yet, despite Jameson's
heroic work of clarification, postmodernism remains a hugely
contested term, its meanings, appropriately but unhelpfully,
unsettled and multiple. More importantly, I would want to argue
that some of the processes which Jameson described and
analyzed have now become so aggravated and chronic that they
have gone through a change in kind.
Ultimately, there are three reasons that I prefer the term
capitalist realism to postmodernism. In the 1980s, when Jameson
first advanced his thesis about postmodernism, there were still,
in name at least, political alternatives to capitalism. What we are
dealing with now, however, is a deeper, far more pervasive,
sense of exhaustion, of cultural and political sterility. In the 80s,
'Really Existing Socialism' still persisted, albeit in its final phase
of collapse. In Britain, the fault lines of class antagonism were
fully exposed in an event like the Miners' Strike of 1984-1985,
and the defeat of the miners was an important moment in the
development of capitalist realism, at least as significant in its
symbolic dimension as in its practical effects. The closure of pits
Was defended precisely on the grounds that keeping them open
7
 Capitalist Realism

was not 'economically realistic', and the miners were cast in the
role of the last actors in a doomed proletarian romance. The 80s
were the period when capitalist realism was fought for and estab-
lished, when Margaret Thatcher's doctrine that 'there is no alter-
native' - as succinct a slogan of capitalist realism as you could
hope for - became a brutally self-fulfilling prophecy.
Secondly, postmodernism involved some relationship to
modernism. Jameson's work on postmodernism began with an
interrogation of the idea, cherished by the likes of Adorno, that
modernism possessed revolutionary potentials by virtue of its
formal innovations alone. What Jameson saw happening instead
was the incorporation of modernist motifs into popular culture
(suddenly, for example, Surrealist techniques would appear in
advertising). At the same time as particular modernist forms
were absorbed and commodified, modernism's credos - its
supposed belief in elitism and its monological, top-down model
of culture - were challenged and rejected in the name of
'difference', 'diversity' and 'multiplicity'. Capitalist realism no
longer stages this kind of confrontation with modernism. On the
contrary, it takes the vanquishing of modernism for granted:
modernism is now something that can periodically return, but
only as a frozen aesthetic style, never as an ideal for living.
Thirdly, a whole generation has passed since the collapse of
the Berlin Wall. In the 1960s and 1970s, capitalism had to face the
problem of how to contain and absorb energies from outside. It
now, in fact, has the opposite problem; having all-too success-
fully incorporated externality, how can it function without an
outside it can colonize and appropriate? For most people under
twenty in Europe and North America, the lack of alternatives to
capitalism is no longer even an issue. Capitalism seamlessly
occupies the horizons of the thinkable. Jameson used to report in
horror about the ways that capitalism had seeped into the very
unconscious; now, the fact that capitalism has colonized the
dreaming life of the population is so taken for granted that it is
 It's easier to imagine the end of the world ..

no longer worthy of comment. It would be dangerous and

misleading to imagine that the near past was some prelapsarian
state rife with political potentials, so it's as well to remember the
role that commodification played in the production of culture
throughout the twentieth century. Yet the old struggle between
detournementand recuperation, between subversion and incorpo-
ration, seems to have been played out. What we are dealing with
noW is not the incorporation of materials that previously seemed
to possess subversive potentials, but instead, their precorporation:
the pre-emptive formatting and shaping of desires, aspirations
and hopes by capitalist culture. Witness, for instance, the estab-
lishment of settled 'alternative' or 'independent' cultural zones,
which endlessly repeat older gestures of rebellion and contes-
tation as if for the first time. 'Alternative' and 'independent' don't
designate something outside mainstream culture; rather, they
are styles, in fact the dominant styles, within the mainstream.
No-one embodied (and struggled with) this deadlock more than
Kurt Cobain and Nirvana. In his dreadful lassitude and
objectless rage, Cobain seemed to give wearied voice to the
despondency of the generation that had come after history,
whose every move was anticipated, tracked, bought and sold
before it had even happened. Cobain knew that he was just
another piece of spectacle, that nothing runs better on MTV than
a protest against MTV; knew that his every move was a cliche
scripted in advance, knew that even realizing it is a cliche. The
impasse that paralyzed Cobain is precisely the one that Jameson
described: like postmodern culture in general, Cobain found
himself in 'a world in which stylistic innovation is no longer
possible, [where] all that is left is to imitate dead styles, to speak
through the masks and with the voices of the styles in the
imaginary museum'. Here, even success meant failure, since to
succeed would only mean that you were the new meat on which
the system could feed. But the high existential angst of Nirvana
and Cobain belongs to an older moment; what succeeded them
 Capitalist Realism

was a pastiche-rock which reproduced the forms of the past

without anxiety.
Cobain's death confirmed the defeat and incorporation of
rock's utopian and promethean ambitions. When he died, rock
was already being eclipsed by hip hop, whose global success has
presupposed just the kind of precorporation by capital which I
alluded to above. For much hip hop, any 'naIve' hope that youth
culture could change anything has been replaced by the hard-
headed embracing of a brutally reductive version of 'reality'. 'In
hip hop', Simon Reynolds pointed out in a 1996 essay in The Wire
magazine,

'real' has two meanings. First, it means authentic, uncompro-

mised music that refuses to sell out to the music industry and
soften its message for crossover. 'Real' also signifies that the
music reflects a 'reality' constituted by late capitalist economic
instability, institutionalized racism, and increased surveil-
lance and harassment of youth by the police. 'Real' means the
death of the social: it means corporations who respond to
increased profits not by raising payor improving benefits but
by .... downsizing (the laying-off the permanent workforce in
order to create a floating employment pool of part-time and
freelance workers without benefits or job security).

In the end, it was precisely hip hop's performance of this first

version of the real - 'the uncompromising' - that enabled its
easy absorption into the second, the reality of late capitalist
economic instability, where such authenticity has proven highly
marketable. Gangster rap neither merely reflects pre-existing
social conditions, as many of its advocates claim, nor does it
simply cause those conditions, as its critics argue - rather the
circuit whereby hip hop and the late capitalist social field feed
into each other is one of the means by which capitalist realism
transforms itself into a kind of anti-mythical myth. The affinity
 It's easier to imagine the end of the world ..

between hip hop and gangster movies such as Scarface, The

Godfather films, Reservoir Dogs, Goodfelias and Pulp Fiction arises
from their common claim to have stripped the world of senti-
mental illusions and seen it for 'what it really is': a Hobbesian
war of all against all, a system of perpetual exploitation and
generalized criminality. In hip hop, Reynolds writes, 'To "get
real" is to confront a state-of-nature where dog eats dog, where
you're either a winner or a loser, and where most will be losers'.

The same neo-noir worldview can be found in the comic books of

Frank Miller and in the novels of James Ellroy. There is a kind of
machismo of demythologization in Miller and Ellroy's works.
They pose as unflinching observers who refuse to prettify the
world so that it can be fitted into the supposedly simple ethical
binaries of the superhero comic and the traditional crime novel.
The 'realism' here is somehow underscored, rather than
undercut, by their fixation on the luridly venal - even though
the hyperbolic insistence on cruelty, betrayal and savagery in
both writers quickly becomes pantomimic. 'In his pitch
blackness', Mike Davis wrote of Ellroy in 1992, 'there is no light
left to cast shadows and evil becomes a forensic banality. The
result feels very much like the actual moral texture of the
Reagan-Bush era: a supersaturation of corruption that fails any
longer to outrage or even interest'. Yet this very desensitization
serves a function for capitalist realism: Davis hypothesized that
'the role of L.A. noir' may have been 'to endorse the emergence
of homo reaganus'.
Specula琀椀ve History of CORPORATIONS (2) Teorie Médií a Umění - 7.11. 2023
What / why / when are corpora琀椀ons? ? // What is CAPITAL and CAPITALIZATION?
Why is de昀氀a琀椀on „bad“ (for capitalism)? // What happened in 20th centure and year 1977

昀昀 Capitalization = future stream of profit into present value

(market capitalization = value of company
Financialization = revenue realized by financial instruments
more than actual growth / applying the „logic“ of
capitalization (plus financialization of nature)

Market Value (of equities and Bonds)

-> Market cpaitaliza琀椀on
X Cost of Corrporate Fixed Assets

昀昀

1977
Death of Chaplin – human-face-
capitalism // RAF dead // StarWars
franchise start. //. Bologna student
riots. // SexPistols – NoFuture
DavidBowie – Heroes // TheS
tranglers – NoMoreHeroes

Nitzan/Bichler – Capital as Power

Both mainstream economy – capital WITHOUT power. >> fail
cri琀椀cal (neo-marxist) economy - capital AND power >> fail
-> Nitzan/Bichler – capital AS power

CAPITAL =not hedonism

=not abstract labour
= CAPITALIZATION of expected future (earnings)

Order = (social) megamachine

Creorder = is a portmanteau of "create" and "order," and it refers to the way power structures create and maintain social
and economic order.

Hyperstition = „„self-fullfilling prophecy““

Nick Land – Dark Enlightenment / CCRU Di昀昀eren琀椀al Capitaliza琀椀on
Di昀昀eren琀椀al Accumula琀椀on
Internal external
Breadth green-昀椀eld mergers
Depth stag昀氀a琀椀on cost cu琀�ng
In昀氀a琀椀on = rise of price (demand-pull, cost-push
De昀氀a琀椀on = decrease of price level
(growth de昀氀a琀椀on, credit de昀氀a琀椀on …)

De昀氀a琀椀on crises
- The crisis of 1905–1920 was resolved with a shift from robber-baron capitalism to large-scale business enterprise.
- The crisis of 1928–1948 saw the rise of the Keynesian welfare-warfare state and large government. "Unregulated"
capitalism ended.
- The crisis of 1968–1981 saw neoliberal globalization, increasingly worldwide capital flows and the closing down of
the Keynesian state

All pdfs on libgen/z-lib

Franco Bifo Berardi – The Uprising: On Poetry and Finance. Cambridge: Semiotext(e) 2012.
Mark Fisher – Capitalist Realism, Zero Books 2009.
Václav Janoščík – Dystopický realismus aneb jak se učit skrz kapitalismus a temné budoucnos琀椀, NAVU 2021.
Arne De Boever, Finance Fictions: Realism and Psychosis in a Time of Economic Crisis. New York: Fordham University Press 2018.
Jonathan Nitzan, Shimshon Bichler – Order and Creorder: A Study of Order and Creorder, London: Routlege 2009.
Louis Althusser – On the Reproduc琀椀on of Capitalism
 machine , th e h orribl 11 Beginning in 1977, the
word
lifce and de . e .machine , co.rn· 1 : •
is dec 1 ve . ono-
straying d .1 crucial term for ec
. a1 y life, but a11 ng into d ·1 violence. . ,, ecomes the 'd d
social confl1'ct, of socia so h ea1 y uno cons1 ere
- - -- Ch l
conscioUsn , oft e .ag of •'
,,,.
" rnp e , know if economics can ·be· h 1
arlie Chapl. is
1 ki at the in
.
the
.m an on the
ess so1idarih, 1 f
1· ts · on
rn s. nee I d on
t 't think it can. I th'1nk 1t 1s a tee no -

I €S'9~~
oo ng c. r Watch -,. transforma-
1 king at the ty
1 cro.rn a
pe ril ou s v: towet a scte . · hnology whose aim is the
.
oo e Poin/ It 1s a tee abor- 1m · mto~,
cy of ti.me, bur als0antag ~gy- f . e into labor, and
..W. ;,
~r
where time ca n bc1
e neg · ated and g
ot1
at th
e city
' l .
t1on o om sformation of our re at1on w1. . nature
'th
In 1977 Ch rl1. e Ch ,I: and the rran
!~
overned umption.
(!) , a :Ail n die d B . I f scarcity' need, and cons f
want to rememb
O o
: , ,, into one ject of the sci en ce
1977 is th~ Ut I also But since 1977, the pro
),~~ -·_ Steve Jobs and _;r et atWozn:-'- . Year When (or technology, I don't know
) is the sub-
~vu~ ~~V
- l~, In their ships to one single goal:
;r,
,
ga e m"Sif1con Va
rag ~human relation
created the user-fri::11
interfaces for the di . ., ~ompetition. Now
cc let tion and lllandatoryy ~.competition ,.....f ompetition
unification of t'Ime. T he A "c~ petition" h.;;·become.~
a natural word, a normal
. e!?trade.rnark Was
registered in 1977 . because "competition "
word. This is not right,
That same veu the Metropoli I . means violence, war.
· th J' ,
tan nd1ans rioted mpetition. Otherwise,
in e streets of R the This is the meaning of co
banks of the Th om e. and Bologna; and on of words. You forget tha
t
ames in the. Queens Jubilee, a , you forget the meaning
ng B .. h s1c . Deleuze a.IJ.d Guattari , in
grou p ~ £
ou
rit is mu 1 fc h competition equals Wc!,r,
• . foture. Don' h. ans or t e first time try to define fascism ;. and ..
-..
\A cne4 rio A Thousand Plateaus,
~,.,// don,t have onf.' t t S1~dk a~~ut your future
d th
. You
they say~ is when
a war machine is hidden
' \..
s . t 1 -- V1c10 an / -,,,
_ ...:.:~-·-- -- ~amed
final premonition f:;; i-, --:
ec ared in 1977 was the
e other

he
i every-niche, when in
crann ~ dai!JJife a war
every nook and in every
machine is hidden. This
W~:
end of industrial caopn . ale' nd of odern .imes .
d th is fascism. r ;"
1 er 1s is the most --
ism an of
, a new age.!. which is • age of'total . 1e egmnmg So I would say that o
1 _b
an VIO ence: financia
l _,] t
g O aliz~tion "'d eregu 1at1on t 0 tal
-... . ism in terms of Deleuze and
• I:'. ~
~ -- ' competition,
pe rfe ct for m o asc
is the conceal- '3'
mnnite war. Guattari's definition .
. . ~ _!!_ishe of daily life: =:::;
If capitalism Wants t o contm ue to ist in the
ex me nt of a
history of manki d h the history f n is fascism perfected.
n ' t en al . 1
ki the kingdom of competitio
h to o ma n .nd
as to become a site of
t v10 ence, because only

dy/ 95
94/Th e u Pfl·51·ng: On Poetry a~" ' F. ge, Economy, and the Bo
' ""' 1nance
 4 hold ,be l,eaSt in abeyance l...]
"'" trh''d co p1iCS shares the language of psy·
0 .
depres510n, lows and
'fbllS econ o"" .
inflauon,
POETRY h hol\urnps
ch0. pat t:,1' and peaks, investments and loss-
AND FINANCE
betg•ndt, 5
5 th< .
,cono"'Y remains .
caught .m man1pu-
es, .... of acting stimulated or depressed, drawing
1auons
at«ntlon to itself, egotistically unaware of its
oW• soul- Economists, brokers, accountants, ftn-
,nciets, all assisted by lawyers, are the priests of
EMANCIPAT
ION TOF HE SIGN·
the cult of money, reciting their prayers to make
FINAN CE IN THE
the pawer of money work without imagination.
.;;-- ·--~ I\..WENTIETH . POETRY
¥- X 20
7~ENTURY ANO (Sardello 1983, 1-2)

...
ey. are noth.
no~vuUlltg_and
age have s
the omething in Fin~~ based o e auto omiza- 63
the ling 0Utsymbo1 Y. move everyrh· common:
rion of the dynamics moru , but more deeply

i
Y have the power s,fconven tlons, · in The
act Yare on the autonomization o value production from
, to work, to o persua ·n h tus vocis, but
transfor g uman .
M ----- '- m physical th" eings to the physical interaction of things.
The passage from the industrial abscrac1..• · _ _________._ !
o~ey mak-' . _....-,:;; mgs.
es th· work to the.di ital abstracti of wurld implies an '
action
. m· the world · is the
mgs ha ppen. It
w immaterialization o t e labor process.
e invest in and perha s source of
every . Perhaps . p the onl
y power
J n Baudrillard as proposed a general semiol-
. other val tn every oh
giving money';;,' bankruptcy hast er respect, in ogy of simu auon based on the ~remi~
demanding e power of been declared of referentiali , in ,he economic ~II as m the
I to b some ' linguistic ,e\d. In The Mirror of Production,
onger persuades e recognized. Ee sacred deity,
Baudrillard writes: •need, use value, and the referent
cannot make the bmoney to heh onomics no
ave. Numb ers
)< 'do not eidsY 'fh<Y are only concepts produced
east lie d own and
sit up and d o tricks b ~ed into a generic dimension by the
al 0
ong, econom· · Thus as e quiet "' f the very system of exchange
,
eco nomics is ics falseIy imitat we suspected allr 0
a ne urosis f es science. A t best,
money, d evel oprne••
,, (Baudrillard 1975, 30)
0
, a symptom v alue.
Poetrv and Finance / 135
134
 20 Why write a book about capital?
. hy write a book about capital? 21
w~rld, ho~ it impo~s its will on_society, how it tries to mec
being~. It 1s t~e architec ture of capitalis t power. haniie hun,an fer to imagine two ities'. The lirst entity is the
This architec ture, though, tells us very little about the h whose pattern is in ed on so · ty. The gyration s artd
are subjected to its power.Of course we observe the1·r 'beh av1our' u_man beings Wh 11 of this creorder can
be S\ te to a s stematic , quantitative
' h . o
f 't cap1t~lt · ·
stthreats, their 'choice' of capitalist temptatio 't eir 'reac. d ow The second entity is a 1th umane soc1e . This society
ion o
~lose_to ~othing about their consciousness,aware ns. Yet We know th~orY O stly as an unknow n potentia l lally, 1 1 ormant and ti-r_,.
~m~ginat1onand aspiratio ns. To paraphr ase Cornet ntentions ~,o~t~btnl Occasionally, though, it erup t ten without warning , to c
inv1s1 e. times threaten the .mst1tut . . f . 1· h
~s hk~ a •~agma ' to us, a smooth surface that m - -.---= ... humanit;
e 1ons o capita 1st power. T ese eruptions _
and som f II be
he time its movements are fairly predictable But und h . i Most of and their conseque~ces - do not o ow a pre-set pattern . They cannot
Ian . a er. t surface lurk
au~onomous qualities and energies.
neither describe nor comprehend the
The
f. ge of cap1tahst Power c
. It kno an
stematicallytheorized .
sy For this reason , we do not pretend to offer a . ral theory capitalis
t
nothing about their magnitude and se q~a 1t1es and energies . ws • ty • We limit ourselves to the study of th capita I reorde only, the
and how. they w1·11 erupt. potential. It can never ant" • 1c1pate when soc1e orld from a
d amic order of those who rule. To rule mea to see tn
Consider that none of the d" . logic, to be subserv ient to your
pun its - communist or anti-comm . •yngularviewpoint, to be locked into a unitary
foresaw the col sin n architecture of power . Domina nt capital cannot deviate from the bound-
liberalism was altho th . un1st -
~~es of this architec ture, even if it wants to . Its individu al member s are forced
in France. Thi milarl ""'-~ e Victory of
im 68 revolution to accept the very logic they impose on the rest of humani ty. And the more
century. And yet, even a few d po~nt revolution of the twen . predicta ble they themsel ves
effectivethey are in imposing that logic, the more
~~servative or radical- had a clu:y:s~:~:tits explo~ion, no sociolo;;~t~ become. This is why their world can be theorize d and to some extent
start 20~3). The story repeats itself with th was coming (Anonymous 1968· predicted.
in
'orie~~s!;.~:Jhe uprising took everyone~y~:st ~ale~tinian_Intifada tha~ Over the past century, the power logic of capitalism has been incarnated
the belief that there
Th ~~~~hodox PLO establishm rp se, mcludmg the critical the process o~a~ that is to say, in
reaso;seThr~lu •• instancescannot be thent: The list goes on . is a 'normal r~m'~italists are obliged to 'beat' it. This is
'- · ey are rooted in the or,gznal . . eonzed easily d c gy . Instead of the Holy Scriptures, we
cannot be treated . . spark of free h ' an ,or a good the gist of the new capitalis t cosmolo
Arthur K ' _as nits m .. uman creativity. '[M]en now have the universa l languag e of busines s account ing and corporate
. oestler, because t ey ob i ,
. s c , observes finance. The power of God, once vested in priest and king, now reveals itself
mte, which dislocate all h
and creativi ty cannot :at ~mattca loperatio ns' (l 949. 76) ~nd the inti- as the power o~ v~sted~investor '.
-' They cannot be predicted ~Y~i:e~_or reduced to hist~ricaiyiie1roriginal
ity And as the~~ spreads and penetrates , the "".orldseems
the
Th5t!re~·~ue. a ically. They do folio aws of motion. increasingly 'determmistic' . The determinism of~~ ts now
w a clear pattern . ne'stim ate 'devi-
. Karl arx the first to inv . ~ft~', the benchmark against w~eca
1?ed to use the two movem ations' 'distortions , ' risk' and 'return'. It is a logic that looks unquestionable
smgle language. For h · to those who rule and omnipotent to those who are being ruled.
------=-- t this determinism of capitalization has nothing to do with 'Jaws of XN
'
ical st le of
analysed b~ one b~sic lo
this
ers

fusi
--~--..... ..,,
.i..-::i.,. __.,
-....;..:,-
r into a
e po lit-
om and
> ature , or the 'inevitable ' p
ru mg class, and only of th ruli
ssi
lass
f history . It is the ~l)f(s m of !he
It works only insofaX s the ruhng 6~
..x._ In ou~~ •
most of the time. However, huma~
<:J Cl, the Iogi~ur (and class rules. Admitte dly, that appe
this
not denominate the pee -.-~- impose beings do have the capacity to understand the autonomous nature of
e can- rules are imposed on the~ by
_ u~i~s of abstract labour '>(_lsieterminism;. And when they realize that the
genous
p f .·\
, ,,,,.. J I distinct processes, each
flf'l~;;;;Jt?h;,:;p..,...l,J) are two other human beings, deter~sa~pears, repla~~~l~:-~ :;~~o :-
1...,r \ these two processes is ical instant- by the hum)Kfeprom1sc?"Qt_~.mocrac.
D /A !.·'": ) itself cannot be understo od with ____ '111'll& l!lrr;-- clash of
---------- e dialectic I
I
- - ~· I,
J1 Caatoria disdevelops the ontology of the ma
Chapter7 or 1'1r. I
of Sot:wty (1981). 1,..Q,,"4,
)' bi,,i11111on \
I
 Fiction, mirroror distortl ?
on. 181
180 Capitalizatio n • . ,
. said to invert dunng a bust. This 1s where fie .
. urrent replacementcost. But the thin line is differ
red 1n c this line shows the rate of growth of capitaliza,ent. ~ereas
Th
eprocess1s . ,
decelerates but investors, aee1mg as 1f • ar kick
the sk . a1.n l'b
'real' economY.ces far m;re than implied by the 'underlyi~t~ falling, b'e
1-;e,,e
511
10.3 here it shows the actual rate of growth 89 It t7in 1t1pulated
i~ theon',drnar ts. And the differencecouldn'thave~ olded on the
down.asset P~ous illustrationis offered by th r at De reg . Producti~d ~y 11d b0~ sta
cap · ti.on, insteadof amplifyingth rker.
capae1ty. A fa from 1928 to 1932, the dollar value of corpor ssion. Durj e .,oe~ 8 auon ""· • • . . ose of 'real'
fo:~;~~
the
cont~ ed ~r 20
per cent, while the market value of equities coft:"ed
cent (we have no aggregate figures for bond5)Psed by 111
asS::
,. fllegyr tlY the oppos1ce ect10 . It 1s 1mponant to
in e~c ot with short-term ctuationsof the busine!otethat we are
assets,

70ng occurredduring the 1997~ ian fina~ 111\ 0ghere n waves of roughly 30-yearduration. Funherm cycle, th but with
\ ampliJi~~t ial crisis •• A sirniJ•• 1011s·te~J11gbut accidental.In fact, it is rather systemati~re,h e pattern
'undershooting· occu• • • • With uthtn t h
ontractingby so per cent m many cases, against a growth lllarket "' 'f(•1
,,,.flls a0r f 'real' et ece1era es, t e growth rate ~ap ... w enever th .
. .
value c oderatedecline in the dollar value of the 'real' capi'tal slowdoWn .,,.. ,h rat o
1 1zat1on accei
e
or a very m . . 1s. clear.. the 1rra
the relationship . t'1onaI coIIapse of 'fict't• stock 91
,0 "''andalitY
here, too,exaggerated . Yet erates: viceputsa.the worl
h 'th the rational
. 1ious va1ue' . tt ead. One could perhaps concede t
moves toget er w1 decel flt!S re do not have a mater1a quantum-yet pretend as we ha
however. , ' eration ' '
hai
'productivewealth • . . . . of
's bounded irrationahty1s illustratedby the thm line in F'
Th 1 h . I I d tgure 10 3
Note that this series is a hypo~ euca construct.. t escribeswhat the .. 25
capitalizationmight took hke when neoclass1calorthodoxyis growth percent
0f b · Market Vatu, of Corporate
by 'irrationality' and 'market a errattons' . The value for each augmented . Equltln & Bond,
· · d . t
hypotheticalseries is compute m wo steps. F'trSt, we calculatetheYear d tn . .the 20 (annual % change)
of the growth rate of the (smoothed) 'real' series from its historical eviation
if the smoothed growth rate during • •the •year is 8 per cent and the h~etan _(so
is oncal 15
mean rate is 6.7 per cent'. th.e dev1~10:,1s 1:3 per cent). Second, we add 25
times the value of the dev1at1ontot e 1stonca1mean (so in our exampl h
x
hypotheticalsmoothedgrowth rate would be 2.5 1.3 + 6.7 = 9.95 per~
The coefficientof 2.5 is purelyarbitrary. A largeror smallercoefficientwo:ld
\e 10

generate a larger or smaller amplification,but the cyclical pattern would

remain the same.
This simulation solves the riddle of the fluctuating Tobin's Q. It shows CurrentCost of
...., jf how, due to market im rfectionsa~lity, the growth of CorporeteFixed Asset,
:;,...... capitalil.ati n ov o 're~mul~n on the upswing, therefore (annual % change)
causing Tobin s Q to nse, and undersliootsit on the downswing, causing I,

. Tobin'sQtodecline. -5
And so everythingfalls into lace. Tobin's Q averagesmore tha l ue to
www.bnarch1v11.~t1
an invisible,yet very mtangi revoluf . And it fluctuates eavily -
admittedly because the market is im ect and humans are not always
1930 1940 1950 1960 1970 1980 1990 2000 2010 202°
rational- but these oscillationsare safely bounded and pretty predicable.
Capitalizationindeed deviates from the 'real' assets, though in the end it Figure 10.4 US capital accumulation:which is the 'real', which the 'fictitious'?
alwaysrevertsback to the 'fundamentals'. Not · Th · f , · holdin.. by US resi•
den e. market value of corporateequitiesand bonds 1s net o ,oreign ,,..
Or does it? ts.Seriesare smoothedas 10-yearmovingaverages.
/ Source:See Fiaure 10.2.
I The~azy 7 Gi
. . . (beore1ical value in
oom.ven ~ur rejection of 'material' measures of capital, .there 11 : 'real' 1enns. But just
It turns out that while the ne-~-•e~- were busy fortifyingthe faith,
the gods were havingfun with":~::: ~suit is illustratedin figure 1o.4
to :"g the growth of the two series when measured 111 -'°1·1
•cc deflator of gross
in use the scepticism,we deflated the two series by the unp ici~n result is similar to
~:~ere~ th ~riesagain are smoothed~s IO-yearmovingaverages).The tltic! Fi'IC$1Jnent and calculated their respective 'real' rates of change. e
'as m Figure 10.3, shows the rate of change of corporatefixed asse l&Ure I0.4: the two growth rates move in oppositedirections.
 r1~0 .
Capitali:atton .
182 ehow this nonexistentquantum is Pro
to do here, that som Id further accept that the doIlar value Porti
f, 0ttate to , capitalization
f dollar pri~- one couitexcludesthe invisible'dark matter' 0 t
teat• llsse 1ta
misleadingmsofart:fthe total) - yet nonetheless be conJntanKibte11,ts~ t1 i:;let11entaryparticles
(up to so. per ~:ie assets follow the same pattern as the n~ that
invisibt~ntangl could allow economicagents to be irrationv~thlo..ta118ib
1

ones. F1~a_lly, ~n:al pricing of assets ends up oscillatingarouad-Yetas, ~

11111
that thetr irrat~o(whateverthey may be). But it seems a bit too n the ration.~
1
d claim that the long-term growth rate of capitalizar
'f ndamentas much t_o •ob~ "'
/.!!" Fisher an tation of 'real' assets when the two processesi ~on is drivtn
by the accumu_ . n •act mo .
site directtons. .. Ve 1n
oppo d t that is preciselywhat neoclass1cis!Uand Marxist
An ' Y;~th emphasizethe growthoireal~t s as the foun~~s Well) SCetn
to~arsu:• facts say the very opposite. ~ rding to Figure iotof~ches~
···""d,i.. y, ..... ,.p,ma.. WTimgly,.. .,d..,,,
-M1ch~,!fouellebecq,n,e Ele,n;;;,,,.,,P,
· ~., arttt:le1
w , when the dollar value of 'real assets' expand~d tunng the 1

---
1
... capt
·1at'sts
1
saw their capitalizationgrowth dwindle. And when tht e fastes~
• h d d ·
a urmg the 19
. ·zatio uses a ~to ~ treani of ture min to Der
.... 'real assets' decelerated- as 1t 50:"~~=--
.. ~;:.·:•~ vatu
~60s e of pi.-'".....-· "'""u . But th1~ s . men-tis-~el'}'. o~aque and lac mg in
again, during the I9~ - the capitalistswere tauglimgall th~ ::d, t ei~ P 1 earningsare bemg,.d1scou~ted?Do cap1tahsts'know'what these
deta~I. are _ and if so, howy'What discount rate do they use? How is this
./ 'Z to the stock and bond markets. y
Given this dismal record, why do capita · conti to empto earningtsblished?Moreover, accumulation is a dynamic process of change
mists and subsidizetheir universitydepartments?>l'l [J)u-ldn't they fire~hecooo- rate es a . , 1· . d h " . . . ,
involving the growth of cap1hta tzadttona~ t erhe1odr~ va~1at1onsm earningsand
. ?N I d ..__ emau
and close the ta~ of aca . ey· 0 a , a~ for the simplest of the discount rate. What, t .en, etermdmes td ~f 1rect1on and magnitude of
reasons: misleadm xplanat10 he ttentt from w t ll 1hese
variations? Are they mterre1ate - an t so, how and why? Are the
·
matters. The ~?nomlffl-w.l. lll_Id ha e us e1·~eve th at the 're ing' isreathey . h' s~able, or .d they chhangew1th · time?
·
patterns of these relat1ondsfi1ps
Academicexpertsan manc1a1practtt1oners ave saved no effortin trying
stock~and hat the nomt~~ s th.ii reahty' with unfortu- 1 answer these questions. But the general thrust of their inquiry has been
nate · . This view may appeal to ~ but it has nothingto do ~ ticaly d~ . Explicitlyor implicitly, they all look for the philos-
with t ;{1 tt o umulati . For the capitalist, the real thing is the opherrsi one. They seek to discover the 'na~ ce', the
no · a capi i uture earni s. This ap1 · at10 is not 'connected' universal principlesthat, according to Frank Fetter, have governed capital-
~ ~ ty; · · e reah . An w at matters t at rea t y is not production ization since the beginningof time.
..... / ~ sum 10n, owe This nominal reality of power is the capitalist The path to this knowledge of riches is summarized by the motto of the
J,::;J" nd that shout u startingpoint. Cowles Commission: 'Science is Measurement'. The Commission was
founded in 1932 by Alfred Cowles III and Irving Fisher, two disgruntled
investorswho had just lost a fortune in the 1929 market crash. Their explicit
goal was to put the study of finance and economicson a quantitativefooting.
An_d, ~n the face of it, they certainlysucceeded.The establishmentof ~uanti-
lative Journals, beginning with Econometricain 1933 under the auspices of
I ~he Cowles Commission,and continuingwith The Journalof Finance(1946),
' °!'rna/ of Finance and Quantitative Analysis (1966) and the Journal of
~lllan~ial Economics (1974), among others, helped transform the nature of
:n~al research,And this transformation,togetherwith the parallelq~an-
~catto~ of busin chool curricula since the 1960s, turned the analysisof
n lassicalecono cs. 1
---
ance into a echani e ·0
t Por_aa_____ _
Ptcts of this transfonnation,see Whitley(1986) and Bernsiein (1992>·
I
Joker as Curator Teorie Médií a Umění // Harves4ng Contemporary Art – 5.12. 2023
Did contemporary art begin because of the advent of curators? Rela9on of pop culture and curatorial discourse? Is Joker jus a
deranged ar9st, or is he the first curator? Are (celebrity) curators the villains? Would you study at the Joker’s Art In9tute?
Alfred S)eglitz - 1911 – fisrt cura)ng 1938 – * Superman
Alfred H. Barr – 1939 – defining museum cura)ng 1939 - * Batman
Arnold Bode – 1955 – Documenta * 1940 - * Joker
Harald Szeemann – 1968 – independent curator * 1954 – Comics Code Authority
Magiciens de la Terre - 1989 – postcolonial condi)on 1966 – Batman TV show with Adam West
(the most important global topic upto date) 1986 – The Dark Knight Returns – Frank Miller (Batman got old
Hans Ulrich Obrist „HUO“ – the no1 celebrity curator and cynical) -> DARK AGE of comics
Nicolas Bourriad – 2009 – the peak of curator power 1989 – Arkham Asylum – Grant Morrison (Batman gets Mad as
Sun & Sea (Marina) – 2019 Joker)
Documenta 15 – Ruangruppa – 2022 – aVack on 2009 Dark Knight Returns – Christopher Nolan – peak of realist
curators and artworld superhero movie
2019 – Joker – Todd Philips
2022 – Batman – MaV Reeves

All pdfs on libgen/z-lib

Nicolas Bourriaud – Postprodukce. Praha: Tranzit 2004.
Nicolas Bourriaud – RelaConal AestheCcs
Michel Foucault – Slova a Věci

LIVE PLAYERS X NOLIFERS Teorie Médií a Umění // Harves4ng Contemporary Art – 12.12. 2023
What is gonna bet he next vibe? In whoose control or interest it will operate? (Do we even care?)
Is artworld just a bank of cultural and social capital? hJp://khole.net/about/ - trendforecasCng
collecCve
1 Warhol chronopoli-cs of fashion / 80-es
NORMCORE: a style of dressing that
Next shi) – without coherent elite involves the deliberate choice
2 BOOM BOOM of unremarkable or unfashionable casua
Why? Money is agency—or at least our era’s most legible form of it. l clothes.
Shi) in power – now no leader -> When the social stack is in flux, Vibeshid = describing the moment as a
everyone is a live player. major point of cultural inflection, when
3 MELTDOWN MODE popular tastes undergo a rare sea
There is a triad of capital—financial, social, and cultural—and only those change
who hold all three forms can be considered true elites.
FINANCIAL CAP - As the only form of capital you can create individually,
it’s also the easiest to accrue. You can’t build social or cultural capital
alone. Those are team sports. 6 GLOBALIZATION AESTHETICS
cyberspace. And it'll freeze the enSre species. Everything will
SOCIAL CAP is the Holy Ghost of the Trinity, the most ephemeral of the
stop dead in its tracks. Everyone will think the same thing at
three. It consists of trust, networks, relaSonships, norms, values, and
purpose. the same Sme.
CULTURAL CAP the underdog of the pack. Probably because it relies Global uniformity
enSrely on knowingness. 2000s -perspecSval, madonna, imac, globalizaSon was a
horizon
-> People worry about culture because they know it sets the agenda for
the future. Vs 2010s – flat, monochrome, iphone brick, vectors
And who wouldn’t want to be in charge of that? 7 THE TECHNO-OPTIMIST PITCH
But TECH – rejected culture… “We had a problem of isolaSon, so we invented the Internet.”
Did the Internet solve this problem?
The collapse has been so complete that its no exaggeraSon to say that
8 SOCIAL SUBSTITUTION GOODS
there are mulSple realiSes co-present in the United States and we have
no clear path to negoSate mutual intelligibility between the them. The Internet did not solve isolaSon so much as operaSonalize.
In 2023, the throne is empty. You can now be isolated and work. You can be isolated and
4 COLLECTIVE ACTION PROBLEM date. You can be isolated and socialize. Never before in human
Last decade, the shi) away from gatekeeping and toward history have so many people lived alone. Without the social
democraSzaSon, fucked all this up. subsStuSon goods offered by the Internet (Zoom, Raya,
The flight to social media fla^ened the disSncSon between legacy Instagram) this would be impossible.
brand—Vogue, Random House, MTV, Hot 97, MoMA, even The New 9 THE INTERNET IS MUNDANE
York Times—and internet personality. First, we let go of memory, and gave that to the cloud. Then,
Online:
5 THE CULTURAL LIFESTYLE we let go of idenSty. We gave that to social media. Next, we
We used to believe we would find agency online. Today, we know gave up choice. That went to the algorithms. Finally, we
agency comes from other people. conceded emo-ons. Memes now coordinate which current
a good party is something money can’t buy thing we should be upset about. Today, some are trying to
outsource thought to ChatGPT—or at least the lower forms of
it.
- For naviga/on a usefull ar/cle on vibeshi6 nad Monahan: 10 ENTER THE NOLIFER
Thus the Nolifer faces a choice: he can either follow the path of
A Vibe Shi6 Is Coming. Will Any of Us Survive It? the normies and become an NPC (non-player character) or seek
- Sean Monahan, LIVE PLAYERS. 8ball Report: his fortune elsewhere—beyond the apps.
hMps://sta/c1.squarespace.com/sta/c/5d9e32554234c5224cd16771/t/65690a4963663c7d4b8dY8e/1701382734495/8Ball—
11 EXIT THE LIVE PLAYER
Live+Players+Pt+1.pdf For live players who think it’s Sme to build, the Internet does
not provide stable ground. Only the past can do that.
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 REPORT N O 22O231120—34.0549° N, 118.2426° W

We used to believe we would Þnd agency
online. Today, we know agency comes from
other people. In an era of change, small groups
do big things.
We can see this in the recent phenomenon of
clout bombing (as Brad Troemel calls it)Ñthe
strategy of leveraging massive group photo-ops
for fashion brands like CŽline and Heaven by
Marc Jacobs as proof of cultural relevance. Like
the now defunct hype houses, internet
personalities realize clout is interpersonal. They
seek alliances and a seat at the literal table.
(See: Gonzo Culture Pt. 2)
This is the self-selected avant-garde. You see it
LIVE PLAYERS
blood red. Disoriented, we amble out of the
warehouse to an Uber and head to another
party.
During the crypto bubble, tech took a page out
of the fashion and art world playbooks, realizing
travel itself was the contemporary cultural
lifestyle. NFT this. ETH that. There were festivals
and assemblies and camps.
This fall, at Urbit Assembly in Lisbon, a Zoomer
tells me, ÒThere arenÕt enough hot people here. I
need to join another subculture.Ó Networking
has had a comebackÑwhich means the quality
of the people deÞne the quality of the event. A
good party is something money canÕt buy.

in New York at a gala beneÞt. You see it in Los

Angeles at a party in the hills. You see it in Case in point: at BAYC Hong Kong, there was a
London at a private dinner. Culture has a door. mass blinding event due to the decorative use
Culture has a list. Culture is a party. of sterilizing UV lampsÑpresumably because
they were more expensive.
It occurred to me at a Courr•ges party in Paris,
two summers ago. Hosted at a dismal rag
recycling warehouse somewhere outside the
PŽriphŽrique, a nod toward sustainability.
Attendees were goth in vegan leather or looked
like a Babylon extra from Queer as Folk. It was
signature cocktails, kimchi bowls, and techno.
A giant mirror emblazoned with the brandÕs logo
loomed above the crowd while people talked
about the publicist who set up Kanye West with
Julia Fox, summer travel plans, and rehab.

Dancing in the crush behind the DJ booth,

sunset obscured by smoke machines, my friend
screams, ÒIsnÕt this amazing! This is how culture
is made.Ó Someone in a k-hole knocks over a
fan and the crowd lurches sideways. SheÕs
unhurt. The sun sets and the lighting design
adapts, strobing between Yves Klein blue and

© 2023 8BALL 019

 REPORT N O 22O231120—34.0549° N, 118.2426° W
LIVE PLAYERS

a good party
is something
money can’t
buy

© 2023 8BALL 020

 REPORT N O 22O231120—34.0549° N, 118.2426° W

GLOBALIZATION
LIVE PLAYERS

AESTHETICS

© 2023 8BALL 021

 REPORT N O 22O231120—34.0549° N, 118.2426° W

In The Matrix, weÕre told that 1998 was the

pinnacle of human civilization. The sentiment
was captured in a tweet some time ago: the
decommissioned Concorde landing in front of
the destroyed Twin Towers in New York.
Someone comments, imagine telling someone
in three years both will be gone.

The interest in the era is two-fold. First, the

truism about nostalgia running on a twenty year
cycle is entirely correct. Second, the turn of the
century feels connected to a historical
continuum in a way that our current era does
not.

They say you stop maturing when you become

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famous. Above a certain number of social

connections and the possibility of growing
becomes onerous if not impossible. You not
only have to change yourself, which is hard
enough, you now have to renegotiate your
relationships based on that changeÑa logistical
impossibility.

This explains why former teen heartthrobs date

college co-eds, as well as our broader
civilizational gridlock. Jeff GoldblumÕs character
Ian Malcolm predicts this in Michael CrightonÕs
1990 thriller, Jurassic Park:

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In a mass-media world, there's

less of everything except the
top ten books, records, movies,
ideas. People worry about losing
species diversity in the rain
forest. But what about
intellectual diversity—our most
necessary resource? That's
disappearing faster than trees.
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But we haven't figured that out,

so now we're planning to put
five billion people together in
cyberspace. And it'll freeze the
entire species. Everything will
stop dead in its tracks.
Everyone will think the same
thing at the same time.
Global uniformity.
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So we return to the Y2K aesthetic and look for

a way around social media induced frozen time.

I wonder if the disenchantment of the last few

years has something to do with optimizing
culture for the iPhone. The New Aesthetic that
dominated the 2010s was ßat, simpliÞed,
monochrome. It was cafes that looked better in
photos than in person, logos visible from a mile
away, funky vector illustrations customizable to
any resolution (i.e. corporate Memphis). It was
legible, but affectless. Flat. No vibe.

By contrast, the globalization aesthetic of the

new millennium was perspectival. Madonna
gyrating in front of time lapse trafÞc rushing
toward the future in ÒRay of Light.Ó Zooming
through Tyler DurdenÕs CGI brain in the opening
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sequence of Fight Club. It was transcluscent

iMacs, not glass brick iPhones. It was ßight
paths, urban crowds, container ships.
Globalization was a horizon line. And we were
going there.

Did the use of perspective and depth cultivate a

culture that could handle ambiguity and
nuance? Did the ßattening and vectorization of
iPhone aesthetics cause us to become more
literal and undermine our sophistication? The
haziness in the distance was never a problem
that could be solved by better resolution. Can
we return to looking forward, rather than down?

If people are obsessed with Elon MuskÕs

Starship, itÕs because Þnally someone is going
somewhere, even if we donÕt know where.

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THE TECHNO-
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OPTIMIST PITCH

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It was a new limitless frontier, bringing the ethos

of space exploration into every home. Hence
cyberspace. Only you didnÕt need a billion
dollars and a NASA contract to begin
prospecting. Any ISP would do.

The techno-optimist era was brief though,

lasting roughly from the fall of the Berlin Wall to
the election of Donald Trump. A ßash in the pan:
possibility there, then gone. The Internet, that
vast web of communications infrastructure that
weaves together global industrial civilization
feels less like a machine and more like the
mundane condition of 21st century life.

Like all consumer technology, it transited from

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being a radical vector for human creativity to an

optimized for everyone product. (This is called
scale.) Cars were once objects of beauty and
design. TheyÕre now budget line items, the
skeuomorphic expression of fuel efÞciency
regulations.

Marc AndreessenÕs The Techno-Optimist

Manifesto encapsulates eliteÑor maybe,
counter-elite opinion. ItÕs broadly correct. We do
live in a technological civilization. It is
responsible for our unprecedented health and
prosperity. Solutions to societyÕs problems will
more likely be found via innovation, not
regulationÉ

But one error sticks out. The line: ÒWe had a

problem of isolation, so we invented the
Internet.Ó

Did the Internet solve this problem?

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SOCIAL
SUBSTITUTION
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GOODS

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Americans, in particular, report being lonelier WeÕre experiencing a vibe shift akin to the
than ever. The Internet did not solve isolation so collapse of communist faith in the late Soviet
much as operationalize. You can now be years. (AndreessenÕs Hail Mary piece is, after all,
isolated and work. You can be isolated and a manifesto.) Fellow travelers of the past had to
date. You can be isolated and socialize. Never account for Actually Existing Socialism then.
before in human history have so many people Venture capitalists must deal with the Actually
lived alone. Without the social substitution Existing Internet now. We can no longer speak
goods offered by the Internet (Zoom, Raya, aspirationally about what the Internet may
Instagram) this would be impossible. become, only about what it is: a Potemkin
reality.
In a business context, digitization was just a
hostile takeover. Digital substitution goods were
cheaper, more convenient, and more scalable
than their pre-Internet competitors. Max may be
digital cable with slightly worse content, Uber
may be digital cabs that price gouge you when
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you need them most, and Airbnb may be digital

hotels run by the worldÕs largest slumlord. But
they still deliver their core offering (entertain-
ment, transportation, hospitality).

We may grumble, but we still use the services.

Our revealed preference betrays the op-eds.
Like the cramped, indignant passengers ßying
Basic Economy on SpiritÑthe unhappy
consumers of digital substitution goods have an
easy solution to their woes. Pay for the
upgrade.

With social substitution goods, the nature of the

transaction complicates things. They sell one
outcome, but deliver another. Their angle isnÕt
using regulatory arbitrage to create a pricing
advantage i.e. ÒAirbnbs arenÕt really hotels.Ó ItÕs
snake oil. Tinder didnÕt improve the dating
market, it decimated it. Twitter didnÕt debunk
propaganda, it lowered the barriers to entry for
would-be propagandists. Instagram didnÕt
foster connection, it swapped out strong bonds
(friendships) for weak ones (followers).

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