Much to my surprise I am going to begin this post with a citation of Ross Douthat. In recent column "Woke Capital" Douthat argues that the current social consciousness of some corporations should be read along the lines of the the "Treaty of Detroit," in which the UAW agreed not to strike in exchange for benefits and cost of living increases. That Fordist compromise frames the basis by which we should understand the contemporary neoliberal compromise, a compromise not based on wages or productivity but image and identity. As Douthat writes,
Saturday, March 10, 2018
Tuesday, March 06, 2018
In all of the various attempts to produce and reproduce Spinozism, creating a Spinozist account of society, economy, and politics, little attention has been paid to Spinoza's aesthetics, or really anti-aesthetics. This Anti-Aesthetics is sketched between a few scattered propositions, scholium, and other remarks that address the basis of judgements of taste and value, at every point it shows that any aesthetics is at best an inadequate idea, making effects into causes, and at worst a kind of alienation.
Sunday, February 11, 2018
Once in class a student said, "Bernie Sanders wants to give free tuition to everyone: I can't pay for everyone else's tuition I am having a hard enough time just paying for my own." My interest in this statement has less to do with the merits of Bernie Sanders campaign, or such promises, than its strange logic. I admit that I almost had a stifle a laugh when this was uttered in class. I wasn't trying to be mean, but I thought that the student must by joking. When I saw that he wasn't, that he did not grasp the contradiction at the heart of what he was saying, it struck me as a stunning example of negative solidarity.
Thursday, February 01, 2018
On first glance nothing much connects American Beauty, Fight Club, and Office Space except the fact that they came out in the same year, 1999. They are distinct in terms of their genres, middle brow prestige picture, pseudo underground action thriller, and comedy, and their reception; the first was a critically lauded Oscar winner, the second a critically reviled cult film, while the third found its audience through repeat viewings on cable, making it a more passive sort of cult film. Despite these differences of genre and audience they are linked in that all films about the refusal of work.
Tuesday, January 16, 2018
Guillermo Del Toro's The Shape of Water is an odd and improbable creature, a monster movie that is a critical darling. The critical responses for the movie have themselves understood the movie as a different sort of chimera, a combination of "fairy tale" and nostalgia film, something at once timeless and caught in its own relation to a vanishing past.
Tuesday, January 09, 2018
I decided to illustrate this post with images from
Reading Elizabeth Anderson's Private Government: How Employers Rule Our Lives (and Why We Don't Talk About It) was an interested and somewhat bewildering experience. At first I thought that I agreed with everything she said, but only differed in how I would say it--a difference of philosophical style or orientation--but, the more I read, the more I thought that there might be some substance to this difference of style.