As I mentioned elsewhere, Balibar's particular contribution to contemporary Marxist (or even dialectical thought) is replacing Althusser's "last instance" with the "other scene," the displacement of economic struggles onto political struggles, and vice versa. What Balibar proposes here with respect to the two scenes of cruelty is similar, but distinct. Balibar turns to Lacan's use of the Möbius strip, in which, to simplify somewhat, the object of desire passes over into reality, and vice versa. (I should note that I am less inclined to turn to Lacan on this point. It seems to me that the famous Proposition Seven of Part Two of the Ethics offers a similar structure of ideas and things) As Balibar writes.
As much as these subjective excesses must be criticized it is important to not lose sight of their connection to the more invisible forms of objective violence. As Balibar writes, "To think antiviolence as political innovation is to take up a position at a point in the analysis where ultrasubjectivity comes close to ultraobjectivity." Critiques of violence risk collapsing into reaction celebrations of the existing social order unless they are capable of perceiving and rendering explicit the violence that passes as daily life. Hence the importance of Marx for any such project. As Balibar writes, making a bold claim for Marx in any theory of violence, "There was, however, no theory of structural violence before Marx because there was no theory of domination as an element in a structure capable of being “reproduced” as a result of the play of its own contradictions or the conflict immanent in it, not the action of arbitrary forces or an external ill will."
Post-Script Added 10/29/2017
It occurred to me after posting this that the Möbius strip of ultraobjective and ultrasubjective violence could also be approached from a fundamentally different angle, that of horror films. This is something that I already wrote about zombie films, or, more specifically, the para-zombie films of the 28 series. At this point I would be tempted to say many horror films have a combination of ultraobjective and ultrasubjective violence. To take a few examples, in Alien the objective condition of the exploitation of the Nostromo, their expendability at the hand of the company, intersects with the malevolent xenomorph; or, in the case of Jaws, the shark's attacks are continually framed against the economic imperative of the small island to make it through tourist season. I would also add that the case of Alien, the violence crosses the Möbius strip, the corporation becomes more frightening than the alien because it is more hostile in its intentions. This is also why the Jaws sequels fail miserably, without some reason, some rational to keep people in the water, the films come with even more ridiculous reasons to put people in contact with the shark (something post-Jaws movies have brought to ludicrous extremes). So, to conclude this aside, as much as horror seems to be about ultrasubjective violence, the cruelty of monsters, slashers, and demons, it is most frightening when it returns to the ultraobjective violence of contemporary life.