I suggest that we learn to think about capitalism coming to an end without assuming responsibility for answering the question of what one proposes to put in its place. It is a Marxist—or better: modernist—prejudice that capitalism as a historical epoch will end only when a new, better society is in sight, and a revolutionary subject ready to implement it for the advancement of mankind. This presupposes a degree of political control over our common fate of which we cannot even dream after the destruction of collective agency, and indeed the hope for it, in the neoliberal-globalist revolution. Neither a utopian vision of an alternative future nor superhuman foresight should be required to validate the claim that capitalism is facing its Götterdämmerung.I am willing to make exactly this claim, although I am aware of how many times capitalism has been declared dead in the past. In fact, all of the main theorists of capitalism have predicted its impending expiry, ever since the concept came into use in the mid-1800s. This includes not just radical critics like Marx or Polanyi, but also bourgeois theorists such as Weber, Schumpeter, Sombart and Keynes.

That something has failed to happen, in spite of reasonable predictions that it would, does not mean that it will never happen; here, too, there is no inductive proof. I believe that this time is different, one symptom being that even capitalism’s master technicians have no clue today how to make the system whole again—see, for example, the recently published minutes of the deliberations of the Federal Reserve’s board in 2008, or the desperate search of central bankers, mentioned above, for the right moment to end ‘quantitative easing’. This, however, is only the surface of the problem. Beneath it is the stark fact that capitalist progress has by now more or less destroyed any agency that could stabilize it by limiting it; the point being that the stability of capitalism as a socio-economic system depends on its Eigendynamik being contained by countervailing forces—by collective interests and institutions subjecting capital accumulation to social checks and balances. The implication is that capitalism may undermine itself by being too successful.

Every age has a theory of rising and falling, of growth and decay, of bloom and wilt: a theory of nature. Every age also has a theory about the past and the present, of what was and what is, a notion of time: a theory of history. Theories of history used to be supernatural: the divine ruled time; the hand of God, a special providence, lay behind the fall of each sparrow. If the present differed from the past, it was usually worse: supernatural theories of history tend to involve decline, a fall from grace, the loss of God’s favor, corruption. Beginning in the eighteenth century, as the intellectual historian Dorothy Ross once pointed out, theories of history became secular; then they started something new—historicism, the idea “that all events in historical time can be explained by prior events in historical time.” Things began looking up. First, there was that, then there was this, and this is better than that. The eighteenth century embraced the idea of progress; the nineteenth century had evolution; the twentieth century had growth and then innovation. Our era has disruption, which, despite its futurism, is atavistic. It’s a theory of history founded on a profound anxiety about financial collapse, an apocalyptic fear of global devastation, and shaky evidence.
katherinestasaph

With algorithmic culture, computers and algorithms are allowing a new level of real-time personalization and content selection on an individual basis that just wasn’t possible before. But rather than use these tools to serve our authentic interests, we have built a system that often serves a commercial interest that is often at odds with our interests – that’s corrupt personalization.

If I use the dominant forms of communication online today (Facebook, Google, Twitter, YouTube, etc.) I can expect content customized for others to use my name and my words without my consent, in ways I wouldn’t approve of. Content “personalized” for me includes material I don’t want, and obscures material that I do want. And it does so in a way that I may not be aware of.

Fascinating, super relevant post on how algorithms of websites like Facebook are making “our” interests their interests.  

Isn’t it striking that the most-typical and most-maligned genres of Instagram imagery happen to correspond to the primary genres of Western secular art? All that #foodporn is still-life; all those #selfies, self-portraits. All those vacation vistas are #landscape; art-historically speaking, #beachday pics evoke the hoariest cliché of middle-class leisure iconography. (As for the #nudes, I guess they are going on over on Snapchat.)

thefader
thefader:

FADER MIX: EAUX
TRACKLIST:
underground resistance – codebreake
black dice – things will never be the sam
the KLF – elvis on my radio, steel guitar in my sou
kassem mosse – c1
the ccm steel band – alberto balsalm
mark flash – eagle warriors (UR)
jon hopkins – open eye signal
lou reed – like a possum
paul mccartney – waterfalls
yellow magic orchestra – light in darkness
boredoms – super ae
blanck mass – polymorph
arthur russell – in the light of the miracle
Pantha Du Prince & The Bell Laboratory – Photon
head high – keep on talking (dirt mix)
steve moore – logotone
(phase iv film trailer by saul bass)
Group Doueh – Wazan Samat
Darkside – Freak, Go Home
bEEdEEgEE – empty vases (featuring douglas armour)
tongebirge vs. the elektroplankton

Eaux is a London trio featuring members of the now-defunct Sian Alice Group, who were criminally slept-on in the mid/late 00s. This looks like a good mix.

thefader:

FADER MIX: EAUX

TRACKLIST:

  1. underground resistance – codebreake
  2. black dice – things will never be the sam
  3. the KLF – elvis on my radio, steel guitar in my sou
  4. kassem mosse – c1
  5. the ccm steel band – alberto balsalm
  6. mark flash – eagle warriors (UR)
  7. jon hopkins – open eye signal
  8. lou reed – like a possum
  9. paul mccartney – waterfalls
  10. yellow magic orchestra – light in darkness
  11. boredoms – super ae
  12. blanck mass – polymorph
  13. arthur russell – in the light of the miracle
  14. Pantha Du Prince & The Bell Laboratory – Photon
  15. head high – keep on talking (dirt mix)
  16. steve moore – logotone
  17. (phase iv film trailer by saul bass)
  18. Group Doueh – Wazan Samat
  19. Darkside – Freak, Go Home
  20. bEEdEEgEE – empty vases (featuring douglas armour)
  21. tongebirge vs. the elektroplankton

Eaux is a London trio featuring members of the now-defunct Sian Alice Group, who were criminally slept-on in the mid/late 00s. This looks like a good mix.