Download Cartographies of the Absolute by Alberto Toscano, Jeff Kinkle PDF

By Alberto Toscano, Jeff Kinkle

Can capital be obvious? Cartographies of absolutely the surveys the disparate solutions to this question provided by means of artists, film-makers, writers and theorists during the last few many years. It zones in at the crises of illustration that experience followed the iconic situation of capitalism, foregrounding the construction of latest visions and artefacts that strive against with the vastness, invisibility and complexity of the abstractions that rule our lives.

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Such spatial disjunction has as its immediate consequence the inability to grasp the way the system functions as a whole. 15 Whence the imperial end of ‘immanence’: though the inhabitants of the imperial metropolis may still delude themselves that it is possible, by dint of various investigative and formal stratagems, to uncover the truths of their social world ‘from within’ – expanding experiential and cognitive horizons – this is no longer the case. M. Forster or Virginia Woolf as indices of a formal struggle with a new configuration of totality, and thus a new kind of absence.

Trespassing into the projection room would not improve matters much. The spectacle is continually reconstituted in the relationships people create in their everyday lives, which are obviously channelled by the media but also mediated by teachers, psychologists, politicians and the multifarious array of state and capitalist institutions. 51 Debord is at least partially at fault for encouraging a misinterpretation centred on the equation of media-imposed passivity and spectacle. Giving short thrift to any notion of active or emancipated spectatorship, Debord considered the latter to be the general condition of those living in the society of the spectacle.

45 That is precisely why it poses an aesthetic problem, in the sense of demanding ways of representing the complex and dynamic relations intervening between the domains of production, consumption and distribution, and their strategic political mediations, ways of making the invisible visible. A social theory of capitalism as a totality, and the imaginations and aesthetics that strive toward it, could only be marked by an excess of coherence – as its opponents see it – to the extent that it papered over the incoherence (or contradictoriness, difference, unevenness) in its object, and refused to acknowledge its own theoretical activity – with all of its highly artificial stylistic, political, and methodological devices.

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