On the occasion of the publication of an anthology of her writing and the accession of a Wages for Housework NY archive at Mayday Rooms in London, Marina Vishmidt interviewed Silvia Federici on her extensive contribution to feminist thought and recent work on debt activism (with contributions by Mute, Mayday Rooms and George Caffentzis)
While much analysis has emphasised the flexible, precarious and improvisatory subjectivities of neoliberal ‘post-fordist’ society, the post-crunch period demonstrates that militarism, graft, and un-free labour are just as crucial for contemporary accumulation. In a detailed analysis of the role of the army in the Egyptian economy, L.S.
Brecht ventriloquised the questions of a worker who reads, and Walt Whitman declared the 'direct trial' of the poet to be – 'today'. In a time when questions, workers and trials aren't what they used to be, Anne Boyer multiplies the questions and shares their bibliography
‘What is the answer?’ Stein asked, and when no answer came she laughed and said: ‘What, then, is the question?’
The Domino sugar factory in Williamsburg, Brooklyn is currently being torn down and replaced with massive condominiums.
As it happens, these fly-thru-friendly towers (pictured above) uncannily resemble some absurd drawings for post-9/11 skyscrapers I made back when everyone was supposed to think the real threat of massive destruction was coming from Al-Qaida.
If the last four decades of protracted crisis stem from the increasing productivity of capitalist technology, how does culture index this and how (else) might poets respond to the rise of the machines? Joshua Clover periodises the persistence and restoration of conceptualism within capital’s machinic boom and bust, and considers its fading to be necessarily en route, if not yet complete
The theory of programmatism describes the struggle of labour to affirm itself as a class within and against capital. Here Daniel Spaulding explores the intimate relation between this politics and the inner logic of artistic modernism. If modernism and the value form were once antagonistic but inextricable utopias, does art today exist between obsolescence and abolition?