What can we learn about contemporary politics of work, service economy and culture industry from an old book from 1867? We can read – precisely in Chapter 25 of Marx’s Capital – a long disquisition on the industrial reserve army (LW628 section three of chapter 25). Much of the chapter is also on wages (and therefor probably moved from the once promised book on wages) and was included to emphasise the trick of accumulated capital – as unpaid labour power of a collective kind. If today the contribution economy, algorithms of advertising and circulation, and struggles over democracy in the media and on the street are questions of precarious life, does it matter that many have misunderstood Marx’s argument, his movement from individual worker to collective worker, and simple reproduction to capitalist reproduction, in Capital? If his argument is credited, then the ‘prekärer’ is the condition of all precarious workers (P793 D669 LW640), and all reproduction within capitalism is precarious. We then have to consider the proximity of the floating, latent and stagnant reserve army that keeps everyone ducking and diving to stay in place, keeps aspirations in check, keeps wages down, and is an unavoidable question of inside and outside that must always be put under pressure. Where Marx calls for workers and unemployed to organise together, we miss a trick if the sociological analysis remains at the level of the individual not collective. In this analysis, Capital is many, but the ‘we’ is more. What does this mean 150 years later for the organisation of social movements such that may or may not be linked to Occupy (Gezi, Umbrella, Indignados, Dataran).
Earlier – here.
Choose a genre (music, film, horror, sci fi), discipline (anthropology, sociology, management, psychiatry) or a favourite author (who has written a lot, Bataille, Burroughs, Spivak, Toer) and find at least one example of each of the following tropes (below):
not a complete list….
For curio’s sake – and for its [mild] critique of anthropology – there is this short chapter from Orhan Pamuk’s ‘Museum of Innocence’. You only need to know that the ‘author’ of the text has been deliriously in love with Fusan for years. What is impressive however is the way empirical evidence gets into the novel, a documentation of this obsession. It is even possible to visit the museum and see the butts lovingly displayed.