Saturday, July 31, 2021
Monday, July 19, 2021
Of all of the zoom events, conferences, and presentations that I have attended (zoomed?) this year the one dedicated to Spinoza after Marx was the most engaging, the one most capable of breaking through the zoom screen that makes everything feel further away even as it is so close, inches away even. This is in part because of the participants, but it was also due to the work of the organizers who, in an interesting variation on organizing around a common theme, presented a common set of theses that were discussed and debated over the course of the three days. Of course as great as this was as an online event it is hard not to think about how those conversations would have continued over dinner, at bars, and coffee shops. The event did create a collective act of thought, of thinking in common, but as Spinoza and Marx both know there is no thinking together, thinking in common, without acting and feeling in common.
Saturday, July 03, 2021
After a mercurial career Steven Soderbergh seems to have more or less settled into the heist film. The three Oceans films, Logan Lucky (dubbed Oceans 7-11 for the way it transposed those films into a different class milieu), and now No Sudden Move. The return to the same genre does not dispense with the shifts and shimmers through other genres and styles, the latest is a noir period piece set in fifties Detroit, and with that shift comes another shift. Jameson states that heist films are in some sense about the representation of work. Or, more to the point, he states that they are about unalienated work. However, I would like to turn his assertion, as offhand as it is, into a question. How does the heist film represent work, and how does this representation relate to the question of how work is undertaken and understood in capitalism.