Jonathan Beller traces the history of the commodification of information and the financialization of everyday life, showing how contemporary capitalism is based in algorithms and the quantification of value that intensify social inequality.
Jonathan Beller traces the history of the commodification of information and the financialization of everyday life, showing how contemporary capitalism is based in algorithms and the quantification of value that intensify social inequality.
Jonathan Beller is a revered film theorist, culture critic and mediologist. He is Professor of Humanities and Media Studies at the Pratt Institute and Director of the Graduate Program in Media Studies. He is the author of The Cinematic Mode of Production (UPNE, 2006), Acquiring Eyes (Ateneo de Manila University Press, 2006) and The Message is Murder (Pluto, 2017).
Inhaltsangabe
Acknowledgments xi I. Computational Racial Capitalism Introduction: The Social Difference Engine and the World Computer 3 1. The Computational Unconscious: Technology as a Racial Formation 63 II. The Computational Mode of Production 2. M-I-C-I'-M': The Programmable Image of Photo-Capital 101 3. M-I-M': Informatic Labor and Data-Visual Interruptions in Capital's "Concise Style" 139 III. Derivative Conditions 4. Advertisarial Relations and Aesthetics of Survival 175 5. An Engine and a Camera 206 6. Derivative Living and Subaltern Futures: Film as Derivative, Cryptocurrency as Film 222 Appendix 1. The Derivative Machine: Life Cut, Bundled and Sold—Notes on the Cinema 255 Appendix 2. The Derivative Image: Interview by Susana Nascimento Duarte 267 Notes 285 References 301 Index 315
Acknowledgments xi I. Computational Racial Capitalism Introduction: The Social Difference Engine and the World Computer 3 1. The Computational Unconscious: Technology as a Racial Formation 63 II. The Computational Mode of Production 2. M-I-C-I'-M': The Programmable Image of Photo-Capital 101 3. M-I-M': Informatic Labor and Data-Visual Interruptions in Capital's "Concise Style" 139 III. Derivative Conditions 4. Advertisarial Relations and Aesthetics of Survival 175 5. An Engine and a Camera 206 6. Derivative Living and Subaltern Futures: Film as Derivative, Cryptocurrency as Film 222 Appendix 1. The Derivative Machine: Life Cut, Bundled and Sold—Notes on the Cinema 255 Appendix 2. The Derivative Image: Interview by Susana Nascimento Duarte 267 Notes 285 References 301 Index 315
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