Speculation as a mode of production : forms of value subjectivity in art and capital t

In Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital, Marina Vishmidt offers a new perspective on one of the main categories of capitalist life in the historical present. Writing not under the shadow but in the spirit of Adorno’s negative dialectic, her work pursues speculation through its contested terrains of philosophy, finance, and art, to arrive at the most detailed analysis that we now possess of the role of speculation in the shaping of subjectivity by value relations. Featuring detailed critical discussions of recent tendencies in the artistic representation of labour, and a brilliant reconstruction of the philosophical concept of the speculative from its origins in German Romanticism, Speculation as a Mode of Production is an essential, widescreen theorisation of capital’s drive to self-expansion, and an urgent corrective to the narrow and one-sided periodisations to which it is most commonly subjected. ‎Contents 6 ‎Preface 8 ‎Acknowledgements 13 ‎Introduction. Speculation as a Mode of Production in Art and Capital 14 ‎1. Introduction 14 ‎2. Speculation as Method 18 ‎3. How Does Art Speculate? 22 ‎4. Is There a Speculative Mode of Production? 24 ‎5. Chapter Summaries 26 ‎Chapter 1. Speculation: the Subjectivity of Re-structuring and Re-structuring Subjectivity 41 ‎1. Speculation in the Negative 47 ‎2. Speculative Subjects 54 ‎3. Fetishism and the Production of Subjectivity 62 ‎4. Speculation or Real Subsumption 66 ‎5. To Human is Capital 72 ‎6. Human Capital and Art 74 ‎7. Speculation and Abstract Labour: an Abstract 76 ‎8. Self-Appreciation? 80 ‎9. From Self to Species-Being 84 ‎10. Value Equals Zero 86 ‎Chapter 2. Topologies of Speculation: the Tenses of Art, Labour and Finance 91 ‎1. ‘Counterproductive’ and Abstract Labour 99 ‎2. Autonomy in Generalised Speculation 106 ‎3. Speculation and Contingency 111 ‎4. What is an ‘Absolute Contingency’? 115 ‎5. Futures and the Future 118 ‎6. Art as Counterproductive Labour 126 ‎7. Invisible Labour 131 ‎8. Visible Finance 135 ‎9. Conclusion 137 ‎Chapter 3. Aesthetic Speculations and Antagonisms 139 ‎1. Is Art Working? 148 ‎2. Real Subsumption 159 ‎3. Negative Composition 166 ‎4. The Specialist of Non-specialism 167 ‎5. Negate Here 175 ‎6. The Critique of the Power of Judgement and the Critique of the Powers of Art: Kantian Interlude 179 ‎Chapter 4. Whatever Indicator: Indeterminacy, Judgement, and Putting the Speculative to Work 188 ‎1. Introduction 188 ‎2. The Name of Art 190 ‎3. To Be Done with the Judgement of Art 195 ‎4. Counter-artistic Production 198 ‎5. Whatever Indicator 201 ‎6. Reproductive Potentiality 206 ‎7. Subhuman Capital 210 ‎8. Artist Placement Group – Incidental Person, or Negation of the Artist? 212 ‎9. Excursus on Use-Value 219 ‎10. Artistic Communism – a Speculative Gesture 222 ‎11. Art – Departure or Destination? 227 ‎Conclusion. Whither Speculation? 230 ‎1. One More Time If You Would Be Useless 232 ‎2. Trajectories of the Generic 236 ‎3. Prognostic Coda 241 ‎Bibliography 244 ‎Index 264 La 4e de couv. indique : "In Speculation as a Mode of Production: Aesthetics and the Financialisation of the Subject, Marina Vishmidt offers a new perspective on one of the main categories of capitalist life in the present. Writing not under the shadow but in the spirit of Adorno's negative dialectic, her work pursues speculation through its contested terrains of philosophy, finance and art, to arrive at the most detailed analysis that we now possess of the role of speculation in the shaping of subjectivity by value relations. Featuring detailed critical discussions of recent tendencies in the artistic representation of labour, and a brilliant reconstruction of the philosophical concept of the speculative from its origins in German Romanticism, Speculation as a Mode of Production is an essential, widescreen theorization of capital's drive to self-expansion, and an urgent corrective to the narrow and one-sided periodisations to which it is most commonly subjected." "In Speculation as a Mode of Production: Aesthetics and the Financialisation of the Subject, Marina Vishmidt offers a new perspective on one of the main categories of capitalist life in the present. Writing not under the shadow but in the spirit of Adorno's negative dialectic, her work pursues speculation through its contested terrains of philosophy, finance and art, to arrive at the most detailed analysis that we now possess of the role of speculation in the shaping of subjectivity by value relations. Featuring detailed critical discussions of recent tendencies in the artistic representation of labour, and a brilliant reconstruction of the philosophical concept of the speculative from its origins in German Romanticism, Speculation as a Mode of Production is an essential, widescreen theorization of capital's drive to self-expansion, and an urgent corrective to the narrow and one-sided periodisations to which it is most commonly subjected"-- Provided by publisher