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Journal #54 - Stephen Squibb - Genres of Capitalism, Part II
Journal #54
Journal #54 - April 2014
Genres of Capitalism, Part II
Continued from "Genres of Capitalism, Part I"
The first part of these notes presented spiritualism, commercialism, and productivism as three ways of reading "capitalism," which have formed, over time, into genres. This exercise proceeded from a slow-building impression that we don't know precisely what we are talking about when we talk about "capitalism." Or simply that the way we talk, read, and write about "capitalism" is not as helpful as it could be. Part I ended by noting that "capitalism" is sometimes read as an abbreviation and expansion of the related concept of "the mode of production." Part II begins with an extended consideration of this phrase. It shows, first, how its centrality has been detrimental to critical political economy, and, second, just what sort of things "capitalism" can be seen to obscure.
Film still extracted from Luis Buñuel's The Discreet Charm of the Bourgeoisie, 1972.
Capitalism as a Mode of Production
In an ingenious essay for the London Review of Books, John Lanchester demonstrated the slipperiness of the common use of "capitalism" by quoting several passages from Marx, with the word "bourgeoisie" in the original text replaced by the word "capitalism."1 The effect of this substitution was to highlight how capitalism is today ascribed a kind of agency that in the past would have been reserved for a class. "Capitalism" resembles "the bourgeoisie," even as it represents "the capitalist mode of production" (the phrase with which Capital proper begins).
Certainly much could be said about this resemblance between the role of "capitalism" in the twentieth century and that of "the bourgeoisie" in the nineteenth, especially as it concerns the history of the novel. But it is the second signification, linking the notion of "capitalism" to that of "the mode of production," that allows us to reconsider the relationship developing between "genre" and "capitalism," by drawing our attention to the different levels of analysis to which these concepts refer.
The fastest way for these different levels to fall into relief is to consider the term "mode," which, in addition to appearing in the middle of the "capitalist mode of production," also has a central place in genre theory. In particular, it is helpful to think about Alastair Fowler's positioning of "mode" as the middle moment in the progression "genre, mode, subgenre," where each term specifies the previous one.2 Thus, genre is substantive, and mode is adjectival, as in "lyric poem"—lyric is the mode, poem is the genre. We cannot recognize the lyricism of the poem in question without reference to its location within a larger generic framework.
A similar necessity lies behind the "capitalist mode of production"; "capitalist" is the mode and "production" is the genre. Capitalist is adjectival, production is substantive. The capitalistic nature of the capitalist mode of production can only be recognized in relation to production, in the same way that the lyric poem falls into relief against the category of poetry. In this respect, the mode of production, capitalist or otherwise, is very specifically not a genre, but a mode, a subset of the genre of production. The capitalist mode of production is more specific still, and exists when and where a form of circulation—capital—begins to organize the entire substance of production, producing a mode, the capitalist mode of production.3
Speaking of "genres of capitalism" rather than "modes of production" thus draws our attention to the movement of "capitalism" up the conceptual ladder from the particular towards the generic—from a subset of one genre, a mode of production, past the level of genre itself—into something more like an entire field.
In other words, this analogy illustrates something about where "capitalism" takes place in our thinking: a position precisely not analogous to "lyric poetry"—and often, not even to "poetry"—but rather somewhat closer to "literature," insofar as both literature and capitalism roll up into a single identity the manifold genres that constitute the various forms of their appearance. The important thing to notice is that this expansion happens in both directions: not only does "capitalism" reach downward and absorb the particularities of the various modes of production, distribution, circulation, and exchange, but it also reaches upwards, claiming to exhaust the entire political economy. "Capitalism" has its origins as a mode (lyric poetry) and sounds like a genre (poetry), but in practice often signifies something more total (literature as such). The following table illustrates:
If this comparison is to be helpful we must then ask: What are the names for the genres and the modes that "capitalism" subsumes—the political-economic equivalents, in our analogy, not only of poetry, prose, and drama, but also the lyric, epic, romance, and so on? In the first case, the answer seems clear: the four genres subsumed by "capitalism" are production, circulation, consumption, and distribution.4 And we recognize, in the first two of these, the first two of my "genres of capitalism." I will return to some of the modes in which we frequently encounter these genres.
It will be objected that this comparison is misleading, an uncalled-for deployment of a conceptual framework where it does not belong. It seems justified for two reasons. First, I am not claiming that political economy is organized in the way that literature is, so much as I am interested in delimiting a political-economic vocabulary that is at least as specific as the one we have for literature. Second, in the same way that literary criticism evolves to clarify and enable conversation about texts in the world, political economy responds to sites of struggle. One problem with the discourse of "capitalism" is the extent to which it cannot account for the contemporary class struggle, which appears only as a courtesy, an insignificant exception to an otherwise general law.
Put otherwise, the paradigm of capitalism as we have inherited it has too many anomalies, and these anomalies are too important, to simply continue amending it as we go along. The concluding, unscientific postscript to "capitalism" has become home to the most vital movements of the twentieth century, and it is this newness of our peoples, as Enrique Dussel points out, that must be reflected in our thinking, and not the other way around.5 Bending "capitalism" to fit the contemporary world becomes the analytic equivalent of trying to read all of literature in terms of lyric poetry.
Avoiding this fate requires that we recover the missing elements, the generic equivalents, in this metaphor, of prose and drama. These are production, distribution, consumption, and circulation, which—like drama, poetry, and prose—can be understood as distinct theaters of social antagonism, complete with their own historically specific dramatis personae of forces and relations, or modes.6 It is only against this conceptual background that the dynamic tension between circulation and production called the "capitalist mode of production" appears in focus. And it is this dynamic tension that is falsely resolved when "capitalism" is considered as a genre or a field unto itself. Instead of continuing to think at the level of the mode, too many have instead preferred to fight—always in the form of a debate about "capitalism"—over which genre Marx was talking about, production or circulation, when in fact he was not dealing with either of these on their own but with an uncanny amalgam of the two.
There was a reason for this, as David Harvey explains in his companion to volume 2 of Capital.7 It was not simply that Marx preferred "production" over distribution or consumption, but rather that Marx believed that the different genres allowed for different degrees of scholarly or scientific rigor. In the same way that one cannot study plate tectonics by the same method that one studies particle physics, Marx thought that the different genres of political economy lent themselves to a greater or lesser degree of scientific apprehension. For Marx, production was generic in a way that consumption was not. This was a position inherited from classical political economy; Harvey quotes Marx: "Thus production, distribution, exchange and consumption form a regular syllogism; production is the generality, distribution and exchange the particularity, and consumption the singularity in which the whole is joined together."8
As Harvey points out, Marx is essentially ambivalent about this framework, mocking it as a "shallow syllogism" even as he nevertheless relies on it throughout Capital. However, Harvey also indicates that elsewhere, particularly in the Grundrisse, Marx effects what he calls "a radical break" with the same tradition, and it is here that the great knot of "capitalism" finally begins to loosen.
Harvey points out that the nature of Marx's break with classical political economy involves two distinct understandings of "production," and that this doubling has been an endless source of confusion. What sets Marx apart from his predecessors is not the emphasis on "production" as something distinct from distribution or exchange; rather, it is a second, predominating meta-relation called "the production of surplus value" which is the substance of this radical break. As Harvey clarifies:
The production that "predominates" within a capitalist mode of production is the production of surplus-value, and surplus-value is a social and not a physical, material relation … The production of surplus value through the circulation of capital is, in short, the pivot upon which the lawlike character of a capitalist mode of production turns: no surplus-value, no capital. This was the fundamental break that Marx made with classical political economy.9
And this is distinct from our genre precisely because it exceeds it. The "production of surplus value" now becomes something more like the total field of political economy, the proper equivalent to our "literature." We can now return to our diagram from earlier:
Harvey finds both "productions" at work in the following section from the Grundrisse: "A definite production thus determines a definite consumption, distribution and exchange as well as definite relations between these different moments. Admittedly, however, in its one-sided form, production is itself determined by the other moments."10
The first, definite production is "the production of surplus value" and the second, one-sided production is the moment distinct from distribution, consumption, and exchange. This ambugity is still with us, and a full accounting of its effects would require its own essay. 11 In any case it seems essential to seperate these two different "productions," so I will refer to the "production of surplus value" with a suitably ostentatious signifier—alchemy—and leave the simple, or one-sided, generic "production" as such.12 And so, as Harvey indicates, Marx does in fact break with the "shallow syllogism"—it is not "production" that gives the lawlike, general quality to Marx's analysis, but rather alchemy understood as the generation of a surplus between different politically economic moments.
"Lawlike" is meant here in two senses. There is the sense of law as that which is revealed by science, and there is law as legislation: law as force, and law as relationship. The distinction is captured in this old science joke: "186 thousand miles per second isn't just a good idea, it's the law." For many Marxists, alchemy, or the creation of surplus value, is a law in both senses: it behaves simultaneously like a law of gravity and a reverse speed limit, something that is both revealed by science, and a socially determined minimum pace at which everything must operate if it is not to be disciplined out of existence.13
Even readers unconvinced by my substitution of 'alchemy' for 'the production of surplus value' will admit the importance of distinguishing between the two senses of 'production' discussed above. Insisting on a distinction like the one proposed between alchemy and production reveals the manifold confusions occasioned by their conflation, confusions which we can now recognize as mistakenly moving between one level of analysis and another. Production and alchemy do not differ in the way that a square is different from a triangle, but rather in the way that squares and triangles differ from the more abstract concept of shape. Those accounts of political economy that expand the "mode of production" into a total social explanation are misregonizing a part of the political economy for the whole. Two diagrams illustrate this.14 The first is Fredric Jameson's rendering of the orthodox Marxist vision:
We can see that the failure to distinguish adequately between alchemy and production has the effect of installing "the mode of production" in its one-sided ambiguity as primary and original. This ambiguity is then compounded by the further equation of 'the mode of production' with 'the economic' as such. 15 Rather than understanding production as one of several genres that are always already both political and economic—that is, comprised of both forces and relations determined not only by alchemy but also by the struggle against it—politics and economics are relegated to different spaces entirely. A quick glance at the diagram is sufficent, for example, to confirm the judgement of history that within orthodox Marxism there is no such thing as trade union politics, as these would be exhausted by the thoroughly economic 'relations of production.' Jameson then introduces (what he understands to be) the Althusserian revision, which aims to shorten somewhat this distance between the politcal and economic :
We have recovered the economic, but only by adding a new predicate to 'the mode of production' which is now identified with structure. We still have the ambiguous doubling of "production," such that it is set off from itself by the economic, and separated entirely from the political, while ideology has the same status as culture. Most importantly, there is no indication of how struggle impacts any of these divisions. We remain in the grip of a profound confusion concerning the principles and elements of the political economy. 16
Once we have made a distinction between production and alchemy, we recover the former as one site of struggle among others. It is class struggle, in other words, that determines the various modes, and not the other way around. In order to make this clear, I have used "autonomy" as the name for the counter-tendency to alchemy—or that which stands opposed to the accumulation of surplus for its own sake:
The diagram above allows us to see the various objects of analysis to which we have seen "capitalism" refer. Spiritualism is concerned with the total field of alchemy, while productivism and commercialism usually describe the genre/mode relation in production and/or circulation, respectively. In the fourth genre, representaionalism, we find a secularized return to the total field defined by the social-historical relationship of alchemy.
Capitalism as Representationalism
Representationalism reads capitalism as a malignant or deceitful regime of appearance. 17 Like performance art, it can be understood as a secular radicalization of the Abrahamic prohibition on graven images, expanded to encompass the entirety of lived experience. "The spectacle" Debord wrote, "is not a collection of images but a social relationship between people, mediated by images." Representationalism combines aspects of spiritualism and commercialism, both discussed in Part I, insofar as it understands capitalism to be a generalization or spiritualization of those deceitful or occluding representations whose origins lie in commercial exchange. For the representationalist, iconoclasm is often tactic, strategy and theory simultaneously, its history ranging from smashing stained-glass windows to all those efforts to turn this or that remittance, note, or bill of exchange back into paper, for example, by burning 1 million pounds sterling as the KLF famously did.
The origins of representationalism's articulation as a genre of capitalism likely lie with Aristotle's theory of exchange which opens a distinction between appearance that invites consumption - or the recognition of utility - and appearance which facilitates exchange - or the representation of price. Marx radicalized this distance with his charismatic but confused concept of the fetishism of commodities, or the ability of an object of exchange to both conceal and represent the social totality that produced it, in the way of religious totems. Hence the need, to "take flight into the misty realm of religion," according to Marx, when attempting to understand commodity exchange.
Unlike spiritualism, which sees capitalism as instituted by adherents to this or that specific idea of God, representationalism has capitalism establishing itself, via the obfuscating mechanism of commodity exchange, as a new, godlike power. The generalization of this process of exchange is alienating because it inaccurately separates individuals from social objects of their own making. Alienation is the failure of the objects of our collective labor or issue to represent themselves as such. We are alienated when we do not recognize ourselves represented in our work. Like God, or the gods, that is, capitalism is fundamentally a product of human thoughts and behavior but is represented otherwise, as something eternal and all-powerful. Hence the issue, for representationalists, is the failure of the entire social-historical system to represent its human origins, a failure they call 'capitalism.'
Lukács's History and Class Consciousness provides the conventional hallmark of representationalism, namely an expanded reading of the chapter on commodity fetishism that opens Capital, the fetish being, again, a part of something taken to signify the whole of it; the hair fetishist worships hair in place of the whole person, the shoe fetishist the shoe, etc. etc. In the same way that this misplaced attachment to a part of an individual supplants the reality the whole, Marx argues, the commodity supplants the reality of the whole system of production. Equipped with a price tag and sitting on a shelf, the commodity appears to be merely an object of exchange, but in fact it is an object of production as well. Capitalism is a mode of representation when its primary dynamic is to conceal the reality of the later by emphasizing the former.
The audacity of the early Lukács was to claim that what is hidden by the commodity's incomplete representation of itself is not merely the mode of its production, but all of social life, a process he called reification, or the misrecognition of non-things as things. In a move that brings him extremely close to his fascist contemporary Martin Heidegger's concern with fallen-ness, or the inauthenticity of modern, everyday life, it is the quantitative process of calculation that drains humanity of its qualitative, vital connection with the blood and soil of the lifeworld.
The commodity character of the commodity, the abstract, quantitative mode of calculability shows itself … in its purest form [in] the reified mind … just as the capitalist system continuously produces and reproduces itself economically on higher and higher levels, the structure of reification progressively sinks more deeply, more fatefully, and more definitively into the consciousness of man.18
For representationalist anti-capitalists, the capacity for abstract representation functions as a kind of original sin, pulling ignorant humanity ever deeper into a shared postlapsarian nightmare. Lukacs, for his part, would later recant this vision, arguing that he failed to distinguish between the recognition of the object as a necessary moment in the knowledge-process and the 'bad' objectification called reification. It was this confusion that allowed him to present a world in which individuals really are transformed into inert objects when in fact it is precisely the impossibility of this transformation that makes the tendency so violent. As Castoriadis says of reification:
The essential tendency of capitalism can never be wholly realized. If it were, if the system were actually able to change individuals into things moved only by economic 'forces,' it would collapse not in the long run, but immediately. The struggle of people against reification is, just as much as the tendency towards reification, the condition for the functioning of capitalism. A factory in which the workers were really and totally mere cogs in the machine, blindly executing the orders of management, would come to a stop in a quarter of an hour. 19
Unsurprisingly, perhaps, representationalists have favored the city as the terrain of their analysis, where the totality of the built environment provides a kind of scaffolding for a vision of the world completely transformed by capital. Here we can think of Walter Benjamin and Henri Lefebvre, in addition to Guy Debord.
Representationalism has been so dominant that its proliferating examples threaten to obscure their more fundamental generic affinity. We can think here of Stephen Greenblatt's indication in "Towards a Poetics of Culture" that for Fredric Jameson and Jean-François Lyotard, capitalism meant two apparently different things.20 For Jameson, capitalism fragments, isolating distinct individuals and misrepresenting what is alike as different, while for Lyotard, capitalism amalgamates, reducing the differences between people, offering them up for consumption by a larger system and misrepresenting what is different as the same.
Film still extracted from Guy Debord's The Society of the Spectacle, 1973.
Capitalism and Institutionalism
In what amounts to our first contemporary example of "capitalism," Wolfgang Streeck closes his examination of the German economy, Re-Forming Capitalism, with a chapter entitled "Bringing Capitalism Back In."21 He offers a sketch for what he calls a "historical-institutionalist" model of capitalism. Institutional economics, Streeck writes, "must drop its pretensions at timeless and placeless general theory and focus instead, not on institutions as such, and not even on economic institutions, but on the economic institutions of capitalism."22 Moreover, Streeck renders the very appeal of institutionalism in a way that recalls Greenblatt's frustration with "capitalism" as a unitary demonic principle, in writing that "by focusing on capitalism as a really existing social and economic order in historical time, institutionalist analysis avoids … speaking of an abstract 'economy.'"23
Such a focus on the economic institutions of capitalism can be seen at least as far back as what is known as the Regulation School.24 One could probably trace this even farther, all the way back to Althusser's positing of "ideological state apparatuses" that secure the reproduction of society.25 Althusser's examples for these sinister-sounding organizations—churches, schools, unions—are what we now call institutions. It was a short step to bundle these together into broader accounts of their complementary interaction; concepts like mode of regulation, regime of accumulation,26and later, worlds of welfare capitalism, liberal market economy, and coordinated market economy, are all, in some sense, groupings of ideological state apparatuses concerned with the maintenance of a given economic arrangement.
Althusser saw himself as pushing back against an undue Hegelian influence—against, that is, a certain spiritualism. A classic confrontation between representationalism and early institutionalism can be found in Manuel Castells's The Urban Question.27 In it, he sharply attacks Henri Lefebvre for allowing "the urban" to operate ideologically—that is, as a determining factor in contemporary economic reproduction, rather than as a transhistorical form common to most of recorded history and thus to many different economic arrangements. For Castells, the city cannot be ideological, in terms of reproducing the status quo, because as an institution it has continued to exist across many different political-economic histories. Translated to our own framework, Castells accuses Lefebvre of putting the urban in the place of surplus — of elevating it to a total social force — when in fact the urban is never entirely on one side or the other, but is instead a site of struggle.
Institutionalism is not introduced here to minimize the distance between a concept like Fordism28 and one like diversified quality production, but rather to indicate a generic affinity for political-economic explanation in terms of institutional complementarities drawn from across the genres—that is, a preference for thinking at the level of the mode, wherein institutional sets become the building blocks of the political economy.
Streeck is certainly correct to note that this focus has had the effect of dislodging "capitalism" from the center of analysis. However, as we have seen, this was because capitalism had become an abstract and history-less monologue of domination. This tension is particularly evident in Alain Lipietz, an early regulationist, writing already in 1977:
To argue that world capitalism has from the outset been a single regime of accumulation with forms of global regulation is tantamount to saying that some sovereign power established regular trade flows, codified and guaranteed universally applicable social norms and procedures, and then, when the need arose, delegated its powers to local states that were simultaneously established throughout the world. It is tantamount to saying that every compromise and every shift in the balance of power at any given point on the surface of the earth corresponds to the need to adjust a totally adaptable and perfectly homeostatic cybernetic system.29
In phrases like "sovereign power," "universally applicable," and "perfectly homeostatic cybernetic system," we can hear echoes of spiritualism and representationalism alike. The contrast between analyses focused at the modal, institutional level of the political economy, and ones focused on the more general one is clear when we compare Lipietz's desire for particularity with Wendy Brown's move in the opposite direction:
Capitalism remains our life form. Understood not just as a mode of production, distribution, or exchange but as an unparalleled maker of history, capital arguably remains the dominant force in the organization of collective human existence, conditioning every element of social, political, cultural, intellectual, emotional, and kin life.30
Similarly, Streeck returns to "capitalism" precisely because he does see a common institutional trend across many specific national contexts, namely the trend towards liberalization under the influence of globalization. This might not be Lipietz's "perfectly homeostatic cybernetic system" or Brown's "life form," but it is enough, for Streeck, to justify speaking again in terms of capitalism.
Two Contemporary Approaches to "Capitalism"
Hopefully, we have come some distance in our understanding of what is going on behind this word. We have seen how it confuses distinct levels of analysis and how it thus obscures the different genres of the political economy. Two final, contemporary approaches to "capitalism" reinforce this reading, indicating how the word continues to point in opposite directions.
1. Market Society contra Capitalism
Despite reaching the opposite conclusion, the sociologist Fred Block draws on the same Polanyian framework as Streeck to argue, in his 2012 essay "Varieties of What? Should We Still Be Using the Concept of Capitalism?," that the term be abandoned in favor of Polanyi's "market society."31 Block gives the two most "coherent" definitions of "capitalism" as those offered by Marx and Engels, on the one hand, and by Immanuel Wallerstein, on the other. The first Block refers to as the "genetic theory of capitalism" in that
It is fundamentally similar to the idea that the DNA encoded in each cell shapes the structure and development of the entire organism. Rather than the cell, the basic unit is the production unit where surplus is extracted. The dominant mode of surplus extraction, in turn, shapes the structure and development of the entire society.32
We recognize the problem: so long as production remains indistinguishable from the creation of surplus value, then the theory of capitalism becomes the series of hybridized exceptions with which I began Part I. For Block, this hyphenation almost always involves the state, and is "characteristic of virtually all" of twentieth-century Marxist theorizing: Lenin, Luxemburg, Hilferding, Baran and Sweezy, Ernest Mandel, and the French regulation theorists all "seek to delineate different stages or phases of capitalist development by analyzing the different ways in which the state seeks to resolve and manage the underlying contradictions of the system." But, crucially, Block argues that each of these fixes "could give you societies with different class structures, different dynamics, and different contradictions," and that thus change or eliminate "the unifying element" that defines capitalism as a system for Marx and Engels.33
Block argues that this impasse was resolved by Immanuel Wallerstein, who shifted the element underpinning capitalism from surplus-value extraction to the existence of a system of global trade. This solved the problem of accounting for the various changes in capitalist nations by offering capitalism as "a world system that exerts unrelenting pressure on societies to obey its commands."34 For Block, however, this solution opens up the problem that gives his essay its title—namely, how to account for the significant variety of different regimes that exist despite the apparently univocal discipline of the capitalist world system:
[Wallerstein's theory offers] no real acknowledgement that under a particular hegemon, there is a possibility of a variety of different regimes that would provide different levels of constraint on governmental choices. And some of these regimes could open up space for some societies to pursue greater equality and greater democratization of economic decision making than anyone associates with the idea of capitalism.35
Again, if this is the case, it is because the "idea of capitalism" is always already confusing at least two of our three levels of analysis. All Wallerstein has done is reposition an international mode of circulation so that it can be seen to operate in tension with the nationalist mode of distribution. Indeed, the failure to read distribution as a distinct mode of social conflict, complete with its own historical set of antagonisms, accounts for Block's fixation on "government" or "state-sponsored fixes." Most of these are located within the moment of distribution, insofar as they concern institutions whose jurisdiction is the price of land, labor, and capital. Today, by and large, such institutions are national ones. Nationalism, understood as a mode of distribution, not only allows for different regimes, but actually requires them, as it is the ability of nations to enforce differences in the price of labor that allows for the global discipline of the workforce.
In both Block and Streeck, "capitalism" is thus a summoner of final vocabularies, revealing what each writer takes to be the most significant problem facing his respective tradition. For Streeck, "capitalism" has in fact been absent from the institutionalist tradition to which he belongs; however, he underestimates the extent to which that absence was enabling and emancipatory, even inaugural for that approach. For Block, addressing himself to the amalgam of commercialist, productivist, and representationalist approaches he understands to be Marxist, "capitalism" has consistently covered over the political stakes of these approaches. However, it is too much to declare that capitalism has always entailed a forgetting or an absence of the political tout court; rather, it provincializes it, making some genres merely political and others merely economic, rather than understanding each as a moment of political economy.
Furthermore, it was precisely in order to recover these specific political histories at the level of their institutional evolution, adaptation, drift, and decay that concepts like the "mode of regulation" or the "liberal market economy" were first formulated.36 Indeed, Block's proposed swap of "market society" for "capitalism" is already contained in the ostensible target of his article, the "varieties of capitalism" approach that substituted two kinds of market economy, liberal and coordinated, for one homogenous "capitalism."37
Daniel Cockersell, Chaos War Mammoth, undated. PVC figurine from the game Storm of Magic. The figurine is a replica of an original sculpture by Jes Goodwin.
2. Capitalism as Temporality
We have seen, I hope, that the more "capitalism" refers to misrecognition or accumulation as such, rather than a specific mode or genre, the broader and more totalizing the claims that can be made for it.
In this respect, William Sewell's argument in "The Temporalities of Capitalism" that "capitalism" is best understood as a kind of time is perhaps the most honest of all the examples considered.38 Capitalism, for Sewell, acts to structure an otherwise fundamentally discontinuous historical chronology—it stands opposed, that is, to precisely the vision of history for which Sewell is known. Amidst his radically anti-teleological conception of historical time, Sewell has located some consistency in the world system since 1700, and he calls this consistency "capitalist temporality." Thus, in the same way that Lyotard exempted capitalism from an otherwise total skepticism towards metanarratives, Sewell argues that, to the extent that a transhistorical mode of time can be understood to exist, this should be called capitalism.
On its face, Sewell's is a representationalist understanding of capitalism—he cites Lukács and Postone—even as he appreciates the importance of institutional analyses like those of Kathleen Thelan. Eventually, his spiritualism becomes explicit, as when he claims that one would have "to be a God to write a truly adequate history of capitalism."39 If Sewell's analysis has a unique value today it is because, unlike typical examples of spiritualism, it recovers the sense of "capitalism" as being an incomplete project, as something that is always encountering resistance, even if this resistance remains entirely contingent and open.
It is interesting, finally, that while Streeck contrasts the need for "stability in human affairs" with the "dynamism of capitalism," for Sewell, this dynamism, however expansive and flexible, nevertheless represents the only stability in an otherwise radically unstable—discontinuous, contingent, and temporally open—account of history. For Block, too, "capitalism" stands opposed to singularity (albeit the singularity of political decisions) and so it must be jettisoned.
While Streeck cites Polanyi to bring "capitalism" back in, Block cites him to drive it out; where Sewell sees dynamic capitalism as the only stable structure at work throughout history, Streeck sees its dynamism as a source of instability; and when Block sees capitalism as apolitical and mired in economic determinism, both Sewell and Streeck seem to valorize its conceptual utility for precisely this reason—for the way it explains and determines otherwise disparate and apparently unrelated political and social events. It was this nexus of contradictory uses of the term "capitalism"—which appeared particularly troublesome in the light of a recent political setback—that launched this rapidly concluding inquiry.
Absent the awareness of the different levels of analysis at work in political economy, "capitalism" inevitably elevates distinct and conflicting relations within and between the modes of reproduction, representation, production, and distribution, confusing them with an overwhelming para-natural force. The result is that, in one way or another, every "capitalism" is always already a spiritualism, a mystification that places the actual levers of collective emancipation out of reach.
It is in many ways the specific virtue of the institutionalist tradition that it recovered these elemental and analytic distinctions—in order, of course, to knit them up together in new combinations, like that of the "regime of accumulation,"40wherein a concept like Fordism is fashioned precisely to account for the combination of productive and reproductive modes into a single accumulative logic. Any anxiety over Streeck's reformation of "capitalism" is thus precisely a concern for the potential loss of this level of specificity in political-economic analysis. Instead, it is better to talk about an international mode of representation, which interacts with the nationalist mode of distribution, than to return to, or invite back in, "capitalism."
In this respect, the term "capitalism" should be retired, not because it is too determining or apolitical, but rather because it is not determined enough, having never shed the spiritualist essence of its popular origins in Sombart and Weber. It elides precisely those distinctions that critical political economy intended to recover, confusing conjunctural or historical analysis of the generic or the modal kind with attempts to consider surplus separately from its every instance of appearance.
This position—call it radical anti-"capitalism"—has the virtue of allowing for struggles occurring in different moments and across different modes to be understood as engaging in a common project. No longer will it be necessary to sublimate the campaigns of certain class formations—like those against the patriarchal mode of reproduction41—to others like the refusal of Taylorism on the factory floor. Similarly, it will be equally difficult to understand a successful struggle in one moment—like the destruction of private property—as being sufficient for emancipation in all the others. Such is the hope, at least, for a world without "capitalism." 42
Stephen Squibb is a student and a writer who divides his time between Cambridge, Massachusetts and Brooklyn, New York.
© 2014 e-flux and the author
Journal # 54
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1. The historical socialist societies were usually severely criticized for their restrictions on sexual freedom. At the same time, the undergrounds of these same socialist societies were researched for manifestations of the sexuality that was supposedly suppressed because of ideological control. Researchers tried to discover the concealed practices of sexual liberation and subversive behavior, which would enable them to confirm that the expression of sexuality automatically subverts the...
Poetics of Entropy: The Post-Suprematist Art of Mladen Stilinović
The modern/contemporary subject tends to react to a "system" with a desire to change it, to undermine its order or escape its control. At the same time, the dominant system seems almost omnipotent, because the technology at its disposal is incommensurate with the forces and capabilities of an individual. Thus, the fight against the system appears lost from the beginning. That is why the modern subject is so often described as the subject of an impossible desire, or rather of a desire for the...
Gentleman Next Door: Antonio G. Lauer, a.k.a. Tomislav Gotovac, and the Man Undressed in Times of Socialism
Tenderness, unburdened sentiments, and freedom are rarely found in the cinematographic spectrum of the 1950s. Arne Mattsson's 1951 film One Summer of Happiness already assures us with its title that we are going to see something perishable. Just as the water of the lake where the two protagonists swim glitters only on the surface, and only when the sun is going down, the moments they share in this fluid and forgiving medium are already doomed. The film's rather predictable boy-meets-girl...
Geert Lovink
Hermes on the Hudson: Notes on Media Theory after Snowden
Slogans for 2014: "Hope is the mother of fools" (Polish saying) — Search for Yourself — "Views stated in this email are not my own and cannot be used against me" (footer) — The No-Excuses Truth to Understanding Anarchism (book title) — Tame Your Junk (three-day course) — "Hardwired for Nonsense" — "Make the most hegemoney with a career in Gramscience" (Ian Bogost) — "Why [popular technology] is [unexpected opinion]" (4chan) — Encountering Algorithmic Flags on Content — "not just...
Ross Wolfe
Repetition-Compulsion: World-Historical Rhythms in Architecture
In studies of repetition blindness, it is unclear whether the failure to recognize recurring items in a sequence owes primarily to an inability to notice similarities the second time something appears. Conflicting evidence indicates that it could just as easily involve an inability to remember the qualities something displayed the first time around. Psychologists are still split over this question. 1 A person must first be allowed to perambulate a structure, eyes gliding along its...
Walid Raad
Index XXVI: Red
If you look closely, you can see the white lines on this fragment of wall. And those who read Arabic can tell that these lines are actually letters and names. These are the names of men and women who have lived and worked in Lebanon as painters and sculptors over the past century. They are also the names that I have been receiving telepathically from artists in the future over the past nine years. If, like me, you have experienced telepathic reception, then you know that you can...
Continued from " Genres of Capitalism, Part I " The first part of these notes presented spiritualism, commercialism, and productivism as three ways of reading "capitalism," which have formed, over time, into genres. This exercise proceeded from a slow-building impression that we don't know precisely what we are talking about when we talk about "capitalism." Or simply that the way we talk, read, and write about "capitalism" is not as helpful as it could be. Part I ended by noting...
E. C. Feiss
Response to Grant Kester's "The Device Laid Bare"
In response to Grant Kester's "The Device Laid Bare: On Some Limitations in Current Art Criticism," 1 I have some concerns about the characterization of my work, but more importantly, it seems there is perhaps another "device" to be laid bare here, at the risk of being stale. As Anselm Frank writes in issue #8 of this journal, "critique, itself a modern practice, has entered into the often lamented crisis we currently face, foregrounding its complicities in upholding the power of the...
Conversations - Genres of Capitalism, Part II
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Notes - Genres of Capitalism, Part II
Lanchester, "Marx at 193," London Review of Books vol. 34, no. 7 (April 5, 2012) →
Alastair Fowler, "Mode and Subgenre," chap. 7 in Kinds of Literature: An Introduction to the Theory of Genres and Modes (Cambridge, MA: Harvard University Press, 1982).
I must reference Kojin Karatani's essential Transcritique, which I encountered for the first time in the middle of this writing. Karatani's point that "surplus value … comes from the difference of value systems in the circulation process … and yet this difference is created by technological innovation in the production process," is similar to my own. The fine details of the distinction need not concern us here—it's more important to indicate a shared debt to Kozo Uno. See Kojin Karatani, Transcritique: On Kant and Marx, trans. Sabu Kohso (Cambridge, MA: MIT Press, 2005), 11.
Some posit only three, with consumption belonging to circulation. My preference for four, rearticulated as production, representation, reproduction, and distribution, reflects a desire to create a framework capable of recording more variations in the class struggle than has been possible hitherto.
Enrique Dussel, Philosophy of Liberation (Eugene, OR: Wipf and Stock, 2003), 39.
It may be best today to substitute "reproduction" for "consumption" and "representation" for "circulation."
Harvey, A Companion to Marx's Capital, Volume 2 (New York: Verso, 2013).
Ibid., 17–18. Originally in Marx, Grundrisse, trans. Martin Nicolaus (London: Penguin Classics, 1993), 89.
Harvey, A Companion to Marx's Capital, Volume 2, 23. Emphasis in original.
Quoted in ibid., 23. Originally in Marx, Grundrisse, 99. Emphasis in Marx's original.
Two particularly pregnant examples would be Foucault's attempt to distinguish between the productive and juridical modes of power in his History of Sexuality; and Derrida's identification of 'the concept of production' as the reason for his distance from Marxism in his interview with Michael Sprinker included in The Althusserian Legacy.
I use 'alchemy' to signify the alchemist's contradictory desire to discover new technology for producing value, on the one hand, and then to restrict the dissemination of this technology on the other. To wit: if it really were possible to fashion gold from lead, than the demand for gold motivating the search for such a method would collapse with the resulting explosion in supply. Hence the alchemist wants to discover how to make gold, but maintain the scarcity that gives that discovery its value. This is the contradiction at the center of Marx's 'production of surplus value' insofar as it is the ultimate impossibility of restricting the dissemination of productive technology that leaves accumulators no choice but to exploit the sellers of labor-power in order to triumph in a competitive marketplace. Of course history unspools as a series of exceptions to this alchemical tendency intended to relocate or mitigate its destabilizing effects, much in the same way that the history of gravity is a history of exceptions to the speed of a falling object on account of the wind, or the presence of feathers, etc. etc.
The fascist Mircea Eliade's book, The Forge and the Crucible, is useful on the contradictions at work in the alchemical imagination.
Fredric Jameson, The Political Unconscious (Ithaca, NY: Cornell University Press, 1981), 32, 36. I have left out Erik Olin Wright's similar accounting in Classes (p. 9), which also privileges mode of production in the overdetermined way.
Anyone familiar with the origins of the term 'economic' in the Greek word for household, oikos, will be surprised to see it merge with 'the mode of production' a term which emerged precisely at that point when production leaves home, so to speak, as what were formerly cottage industries take up residence in the factory. Anyone familiar with the vexed history of socialist feminism in getting a hearing for these issues will perhaps be less so.
Jameson, in fairness, is representing Althusser accurately, as the latter is unable to separate Marx's notion of production - which has its origins in a struggle against the Hegelian fondness for pure spirit, on the one hand, and a second struggle, against the anarchist fascination for 'pure commercial exchange' on the other - from Althusser's own, which has its origins in the rationalist tradition of the French philosophy of science, in particular Bachelard and Canguilhem. Anti-spritualist and anti-commercialist 'production' cannot be easily reconciled with 'production' as a concept in the scientific sense that 'reflex' is a concept. The role of Hegelian-style negation in forming the former inhibits the clarity appropriate to the latter. Hence Althusser's immediate relapse, having identified the significance of production in For Marx, into a derivative, tripartite structure of economic/political/cultural more appropriate to Locke. On this last point see Kosseleck, Critique and Crisis; on Althusser's debt to Bachelard et al, see Lecourt, Marxism and Epistemology; on Marx's remaining trapped within his fight with anarchists and Hegelians, a fate with which we can all identify, see J.E. King, "Value and Exploitation: Some Recent Debates" in Classical and Marxian Political Economy: Essays in Honor of Ronald L Meek and the conclusion to Samuel Hollander's The Economics of Karl Marx
I borrow the term 'representationalism' from the philosophy of science. See, in particular, Ian Hacking's Representing and Intervening from 1983 and more importantly its discussion in Karan Barad's Meeting the Universe Halfway, from 2007.
Georg Lukács, History and Class Consciousness, trans. Rodney Livingstone (Cambridge, MA: MIT Press, 1967), 94.
Castoriadis, The Imaginary Institution of Society, trans. Kathleen Blamey (Cambridge, MA: MIT Press, 1987), 16.
Stephen Greenblatt, "Towards a Poetics of Culture," in The New Historicism, ed. H. Aram Veeser (New York: Routledge, 1989), 8.
Streeck, Re-Forming Capitalism: Institutional Change in the German Political Economy (Oxford: Oxford University Press, 2009), 230–272.
Ibid., 230. Emphasis in original.
Ibid., 232.
Typically represented by Michel Aglietta, Robert Boyer, Bob Jessob, and Alain Lipietz.
Althusser, Lenin and Philosophy and Other Essays (New York: Monthly Review Press, 2001), 85–126.
Alain Lipietz: "A regime of accumulation describes the fairly long-term stabilization of the allocation of social production between consumption and accumulation." Mirages and Miracles: The Crises of Global Fordism, trans. David Macey (London: Verso), 1987, 20.
Castells, The Urban Question: A Marxist Approach (Cambridge, MA: MIT Press, 1979).
Lipietz: "The set of internalized rules and social procedures which incorporate social elements into individual behavior is referred to as a mode of regulation. Thus, the dominant regime of accumulation in the OECD countries during the postwar period—an intensive regime centered upon mass consumption—has a very different mode of regulation to that operating in nineteenth-century capitalism … we now refer to it as Fordism." Mirages and Miracles, 21.
Ibid., 19.
Wendy Brown, "At the Edge: The Future of Political Theory," in Edgework: Critical Essays in Knowledge and Politics (New York: Princeton University Press, 2005), 68.
Fred Block, "Varieties of What? Should We Still Be Using the Concept of Capitalism?" in Political Power and Social Theory, vol. 23, ed. Julian Go (Bingley, UK: Emerald Books, 2012), 269–291.
Ibid., 278. Recall Harvey's point about the two meanings of "production" in Marx, cited above.
These four concepts come from Streeck and Kathleen Thelan, "Introduction: Institutional Change in Advanced Political Economies," in Beyond Continuity: Institutional Change in Advanced Political Economies, eds. Wolfgang Streeck and Kathleen Thelan (New York: Oxford University Press, 2005), 1–39.
Peter A. Hall and David Soskice, Varieties of Capitalism: The Institutional Foundations of Comparative Advantage (New York: Oxford University Press, 2001).
Sewell, "The Temporalities of Capitalism," Socio-Economic Review vol. 6, no. 3 (2008): 517–37.
This term appeared no less than fourteen times in Perry Anderson's recent article on American politics—a repetition most worthy of analysis. See Anderson, "Homeland," New Left Review 81 (May–June 2013), 5–32 →
Formerly "consumption."
I take this opportunity to thank Peter Hall, Kathleen Thelan, and Martha Rosler for their valuable comments on earlier versions of this text. None of them are in any way responsible for any errors, misrepresentations, and distortions.
Share - Genres of Capitalism, Part II


A great blog article deserves a great blog title to go along with it - and that title can make all the difference between getting your target readers to your page or not.
So, what's the formula for creating a great blog title? Steamfeed has some great ideas sure to pump up your own blog titles with a little more pizazz.
Think of a "swipe file" as your digital brainstorming hub (or, you know, something like a Pinterest board for blog titles). As you go about your daily web browsing, keep an eye out for particularly catchy blog titles - and add those to your swipe file.
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Revisit your swipe file on a rainy day when you're just not sure what your blog title should be.
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What kinds of blog titles do you enjoy reading? Have any secrets you'd like to share? Drop a comment or send us an email - we'd love to hear from you!


Honolulu International ( see the Wikipedia article here ) is a scenery developed for Microsoft Flight Simulator X (FSX) and Flight Simulator 2004 ( FS9 ). It's has been created with great attention to visual quality and performance, using the latest available programming techniques, both in FSX and FS9.
Please download and install the demo version first!
The FS9 version is compatible with FS9 with the 9.1 upgrade installed.
The FSX version is compatible with FSX+SP2 minimum, or FSX+Acceleration Pack or Lookheed Martin Prepar3D all versions.
Windows XP (with SP3) or Windows Vista or Windows 7, 32 and 64 bit editions are supported.


Stefan&Katherine. . HD Wallpaper and background images in the Delena & Steferine club tagged: vampire diaries katherine pierce stefan salvatore steferine wallpaper 2x04 2x07.
This Delena & Steferine photo contains occhiali da sole, occhiali scuri, ombre, and sfumature. There might also be ritratto, headshot, primo piano, and closeup.


Another lovely linear so similar to that of 'Koto no ito', one wonders what the difference is.
Well,'Kinshi' grows more vigorously and turns bright orange in autumn.
Its foliage seems to be slightly fluffier than Koto.


Isabella Products announced Fable, a 7-inch android powered tablet, designed specially for kids. It feature intuitive Isabella's patent-pending carousel navigation interface and will come pre-loaded with world-famous children's content from their strategic partner Houghton Mifflin Harcourt.
There isn't much information about the specs of the new children's tablet, but it will run a customized version of the Android operating system coupled with a secure connection to Isabella's VizitMe.com content management system, and will enables children to interact with educational and entertaining content at home, school or on-the-go. The tablet will have a build in camera, also will include drawing, gaming and photo sharing apps, will come with selected content from HMH's treasured storybook collection and the option to purchase additional eBooks from Isabella's VizitMe bookstore or directly from the bookstore located on the Fable device.
The tablets will allow parents controls over the device's access to new content and also to adjust the tablet's settings remotelyt hrough a password-protected account at VizitMe.com. The Fable tablet will be available in mid 2011 at a price point between $149 and $179.


Situato a 20 minuti da Newport e Providence, Bristol è la destinazione perfetta per la vostra vacanza.
Vieni a "America's Most Patriotic Town", sede della più antica parata del 4 luglio di Nation!
Situato in una zona tranquilla famiglia amichevole minuti a Downtown, Colt State Park, spiagge locali, ristoranti e tutto ciò che Bristol ha da offrire!
Tutti i comfort di casa lontano da casa!
Much fun at your vrbo. The beds were comfortable, the kitchen was well stocked, the fruit, cheese etc were welcomed, and the home was nicely furnished. Thank you, Steve!
This rental exceeded our expectations. Steve was great to work with and very responsive. He provided all the nicest touches and his home is beautiful and well decorated. Comfy beds. Keurig coffee machine. All the necessities to cook a meal. We look forward to staying again on our next visit to bristol.
So glad you enjoyed your stay with us! We would love to have you stay with us anytime!
We spent several weeks at this property, and it was great! It had everything we needed, was clean, and super convenient to Bristol. The home owner was very nice, and responsive to any questions.
Would definitely recommend this quiet, spacious house!
I enjoyed my stay at this property, it was everything I was hoping for.
Steve was a delight to work with, couldn't have asked for more.
catching up. We were very comfortable in this house and I would rent again.
This house was exactly what we needed. Very spacious and comfortable. House is nice and modern and updated. Steve was a pleasure to communicate with. Very helpful. My group and I already agreed that we would love to come back very soon.
Our host, Was very helpful in walking us thru VRBO stuff. Accomadations were spacious, clean, updated. Nice linens, ALL kitchen needs and wants were there. All appeared new. Location was ideal for tons of activities. Easy drive into Providence.


text:
Le Turkman est une rivière d'Afghanistan qui coule dans les provinces de Wardak et de Parwân. C'est un affluent du Ghorband en rive gauche, donc un sous-affluent de l'Indus par le Ghorband, puis le Pandjchir, enfin la rivière Kaboul.

Géographie

Le Turkman naît dans le district Hisa-i-Awali Bihsud du nord-est de la province de Wardak. Sa direction générale va du sud-ouest vers le nord-est. Il pénètre bientôt en province de Parwân, où son bassin correspond presque exactement au district de Surkhi Parsa. Il conflue en rive droite avec le Ghorband à une quinzaine de kilomètres en aval de la localité de Cheikh Ali.

Lien externe

Voir aussi

 Les Turkmuns

Notes et références

Cours d'eau en Afghanistan
4Turkman

redpajama_set_name: RedPajamaWikipedia


Patricia A. Mayerhofer, 72, passed away peacefully with her loving family by her side on Monday April 15, 2019 at her home in Pawleys Island, South Carolina. She was born on August 3, 1946 in the Bronx, New York to the late Joseph Larkin & Margaret Mulhull Larkin.
A faithful woman, Patricia was a proud and active parishioner of Precious Blood of Christ Catholic Church in Pawleys Island. Patricia was a selfless woman who dedicated her time and inspiration to the Dragon Boat at the Beach. Her family and friends would describe Patricia as having a personality larger than life, a smile that could light up the darkest of rooms, and a sense of humor that was infectious. Patricia will always be remembered for the amazing wife, mother, nana, sister, aunt and friend. She will be truly missed by all who had the honor of getting to know her.
Left to cherish Patricia's memory are her beloved husband, George T. Mayerhofer, with whom they would have celebrated 50 years of marriage in May of this year. She also leaves her daughter, Christine Elliott and her husband, Thomas of New York; her adoring grandchildren, Tommy, Jack & Ryan; as well as her brother, James Larkin and his wife, Stephanie of Ohio.
A Celebration of Patricia's life will be held on Tuesday April 23, 2019 at 11:00AM at Precious Blood of Christ Catholic Church, 1633 Waverly Rd, Pawleys Island, SC 29585. Inurnment will follow immediately within the church columbarium.
Burroughs Funeral home & Cremation Services of Murrells Inlet (843.651.1440) is honored to be assisting the family during this difficult time.


text:
Family Tree är en samlingsbox av den isländska musikern Björk, utgivet den 4 november 2002 på One Little Indian Records. Boxen består av en bok med texter betitlad "Words", fem 3-tums CD-skivor med sällsynt och tidigare outgivet material samt en vanlig CD bestående av "Greatest Hits" (ej att förväxla med albumet Greatest Hits som släpptes samma år) som Björk valt ut själv.

Innehåll

CD 1: Roots 1
Längd: 14:05.

"Síðasta Ég" (The Elgar Sisters) - 3.00 (Ursprungligen från singeln Big Time Sensuality)
"Glóra" (The Elgar Sisters) - 1.42 (Flute instrumental, ursprungligen från singeln Big Time Sensuality)
"Fuglar" (KUKL) - 3.00
"Ammæli" (The Sugarcubes) - 3:55 (Första gången den släpptes på CD)
"Mamma" (The Sugarcubes) - 02:57

CD 2: Roots 2
Längd: 17:28.

"Immature" - 02:53 (Björk's version, ursprungligen från singeln Jóga)
"Cover Me" - 03:07 (Cave version, ursprungligen från singeln  Army of Me)
"Generous Palmstroke" - 04:42 (Live, även på albumet Vespertine Live)
 "Jóga" (Strings & Vocals) - 04:42 (Ursprungligen från singeln  Jóga)
 "Mother Heroic" - 02:44 (B-sida, ursprungligen från singeln Hidden Place)

CD 3: Beats
Längd: 16:28.

"The Modern Things" - 04:11 (Demo version, tidigare outgiven)
"Karvel" - 04:30 (Ursprungligen från singeln  I Miss You)
"I Go Humble" - 04:47 (Ursprungligen från singeln  Isobel)
"Nature Is Ancient" - 03:40 (Ursprungligen från singeln Bachelorette med titeln "My Snare")

CD 4: Strings 1
Längd: 18:18.

Alla låtar är stråkversioner av respektive originallåt.

"Unravel" - 03:38 (Live at Union Chapel)
"Cover Me" - 02.50 (Live)
"Possibly Maybe" - 04:55 (Live)
"The Anchor Song" - 03:44 (Live)
"Hunter" - 04:31 (Studio)

CD 5: Strings 2
Längd: 19:00.

Alla låtar är stråkversioner av respektive originallåt.

"All Neon Like" - 05:07 (Live at Union Chapel)
"I've Seen It All" - 05:59 (Live)
"Bachelorette" - 05:09 (Studio)
"Play Dead" - 03:25 (Studio)

CD 6: Greatest Hits as Chosen by Björk
Längd: 59:25.

"Venus as a Boy" - 04:41
"Hyperballad" - 05:23
"You've Been Flirting Again" - 02:29
"Isobel" - 05:23
"Jóga" - 05:04
"Unravel" - 03:18
"Bachelorette" - 05:17
"All Is Full of Love" - 04:46 (Video version)
"Scatterheart" - 06:39
"I've Seen It All" - 05:29
"Pagan Poetry" - 05:14
"It's Not Up To You" - 05:08

Booklet - Words

"All is Full of Love" (Björk)
"Aurora" (Björk)
"Cocoon" (Björk and Thomas Knak)
"Cover Me" (Björk)
"Headphones" (Björk och Tricky)
"Human Behaviour" (Björk)
"Hyperballad" (Björk)
"Jóga" (Björk och Sjón)
"Pagan Poetry" (Björk)
"Pluto" (Björk and Mark Bell)
"Scatterheart" (Björk, Sjón och Lars von Trier)
"The Anchor Song" (Björk)
"The Modern Things" (Björk)
"Unravel" (Björk)
"Venus as a Boy" (Björk)
"All Neon Like" (Björk)

Referenser

Externa länkar
 Family Tree på Allmusic

Album av Björk
Musikalbum 2002
Album utgivna på One Little Indian Records

en:Family Tree


This is so amazing. Looking through this website is making me so emotional. It is people like you who give me hope. I'm only sixteen, and one day I want to marry the beautiful girl who I love. I hope my generation is privileged enough to bare witness to gay marriage legalisation in Australia. You two look so happy and in love - This really is something that gives me hope in my whole life. Thank you so much.
Laura - We are so touched by your comment. And yes - the way we look is the way it is :-) And will be for you too for sure!
And you should know that your hope for a better wold is a powerful thing - hold on to it - and work towards it!


Create a pair of miracle sneakers by hand in just 1 day, no machines or glue involved!
Making a pair of shoes is not only a transformative experience, it is a skill that has almost disappeared in NZ. Shoe School is changing this by giving you the skills to make your own shoes. Our Sneaker workshop is our most accessible of all, there is no specialised equipment involved and you'll be wearing a pair of shoes - of your own creation - in just one day!
The leather used in the workshops are end-of-line leathers sourced from a shoemaking factory in Dunedin. The rubber soles are end-of-line products sourced from a local designer, with some smaller sole sizes missing in the range that have been sourced from China.
Huge thanks to the Arts Centre & Creative New Zealand for supporting the festival and this workshop.


How many such pairs of letters are there in the word DEVELOPMENT each of which has as many letters between them (in both forward and backward directions) in the word as in the English alphabetical series ?
In a certain code BEAUTY is written as $, #, ?, % 75 and TRUELY is written as 7 @, %, #, B, 5. How would ALBRT be written in that code ?
In the five groups of letters, one is different from the rest. Find the odd one out.
If it is possible to make a meaningful word with the third, sixth, eighth and tenth letters of the word CONSISTENT, the second letter from the left is your answer. If no such word can be formed, your answer is X; and if more than one such word can be formed, your answer is Y.
Direction (Q. 6 - 10) : Study the following information to answer the given questions.
In a certain code, 'strong financial economy' is written as 'mo tic su', 'financial inclusion needed' is written as 'da ra su' and 'ecnomy crisis inclusion' is written as 'ye da mo'.
What is the code for 'financial' ?
What does 'tic' stand for ?
Which of the following is the code for 'economy inclusion' ?
Which of the following is represented by 'ye tic ra' ?
Which of the following is a possible code for 'economy needed recovery' ?


The wonderful cityscape of Dresden.
Good morning Dresden… a wonderful sunset over the city, such a great colour in the sky.
A walker in the snow at sunset in Altenberg, Germany.
Cityscape from a well photographed position on Marien Brücke. A beautiful cityscape of a beautiful city !
Two of the three castles over looking the river Elbe in Dresden Germany.


text:
AAM Markosia
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Aleister Crowley: Wandering the Waste
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In 401 B.C. Xenophon, disciple of Socrates, accepts a friend's invitation to participate as an observer with a group of Greek mercenaries hired by a prince of Persia called Cyrus the Younger. He gathers a mighty army and launches a campaign against the Pisidians. This sets in motion the vicious cycle of lies and bloodshed, which revolutionizes the life of a young man, and affects the entire span... [click here for more] AAM Markosia $3.99
Ancestors #1
30.000 years ago, Homo Sapiens shared the Earth with the Neanderthals, albeit in isolated communities. While the Neanderthals lived on carrion left by their neighbours, Homo Sapiens flourished and developed under the guidance of a strange feminine creature that had a divine presence. In the present day, the Hayes family try to cope with the grief of losing their youngest child who died in terrible... [click here for more] AAM Markosia $1.99
12,000 years ago - North Europe. Humans live in small communities established in the high valleys. A severe winter leads to a confrontation between the men and women about leaving the mountains. Leaving is contrary to the advice from the Goddess, and the women will not disobey her wishes. In the present-day, Samuel Hayes visits his sister in jail, which leads to a series of revelations that will entangle... [click here for more] AAM Markosia $1.99
Samuel Hayes attends the launch of The Book of All Lies, which seems to be at the centre of all the mysteries surrounding his family. He meets Zion West, who makes revelations that will turn his life upside down, changing everything that he thought he knew about his life and the very existence of humanity. 9000 years in the past, an old man tells the story of how ancient gods helped man develop and... [click here for more] AAM Markosia $1.99
In the distant past, the construction work on the Temple of All Gods is close to an end and Hidior-ak will not let anyone or anything interfere with his sacred mission. In the present day, Rachel Hayes struggles with her own dramas and will have to make a mystical decision in her life that unknowingly could affect the future of mankind. ... [click here for more] AAM Markosia $1.99
Ash To Black Water
Imagine a country that was closed to the outside world for centuries? This is how life was in Japan 160 years ago. Whilst a claustrophobic population ripples with unrest, can the Tokugawa Shogunate's tight grip over a nation possibly be unravelled by a small group of individuals? Fact and fiction are combined in this story of how passionate ambition sparked the end of an empire. ... [click here for more] AAM Markosia $3.99
Assault On Fortress Doom
May 7th, 1945: Hitler is dead and the world prepares to celebrate victory in Europe. But for a tiny band of courageous commandos, the battle to save mankind from extermination has only just begun. As rogue Nazi General Wolfgang von Khan and his personal army prepare to launch the gigantic doomsday device Goliath, an eccentric team of heroes find themselves with less than 2 hours to harness top-secret... [click here for more] AAM Markosia $4.99
Beowulf: The Graphic Novel
Before Lord of the Rings, before Conan, there was BEOWULF! The Viking warrior must defeat the ogre Grendel and his vengeful mother before facing the fire-breathing dragon that will spell his doom. This stunning graphic novel captures the power and majesty of the greatest sword and sorcery hero of them all! ... [click here for more] AAM Markosia $2.99
An island paradise, rich with gold and silver, livestock and slaves - and the world's most powerful military machine wants it all for itself. The Roman Empire will brook no resistance to its plundering of the lush, green land, it calls "Britannia." The Queen of the Iceni must decide whether to endure the Roman yoke or be faithful to her oppressed people. With the help of a brilliant... [click here for more] AAM Markosia $3.99
Caravaggio: A Light Before the Darkness
The turn of the 17th Century is a time when The Catholic Church struggles to maintain its power against The Reformation. The artist Caravaggio arrives armed with secret painting techniques of the Renaissance, a revolutionary and compassionate vision, and a volatile penchant for defeating opponents at the point of his sword. ... [click here for more] AAM Markosia $25.99 $4.99
Caravaggio: A Light Before the Darkness #1
His art saved the Catholic Church. Ambition exposed his secret lover. His sword sealed their tragic fate. The artist known as Caravaggio must flee Milan to escape a vendetta and protect his lover from The Inquisition. In Rome, he begins his meteoric rise as The Church's savior. His works spur the faithful to return to the pews at the time of The Counter-Reformation. Then hubris exposes his secret... [click here for more] AAM Markosia $1.99
The artist known as Caravaggio arrives in Rome and begins his meteoric rise as The Church's savior. His works spur The Counter-Reformation until fate deals him a blow on the road to dominion. ... [click here for more] AAM Markosia $1.99
The artist known as Caravaggio recuperates from an injury to his chest, but the damage leaves a scar that hardens his heart and heightens his anxiety. ... [click here for more] AAM Markosia $1.99
The artist known as Caravaggio braves a voyage by sea to become a Knight of Malta on his quest for salvation and a Noble Title but arrives on an island of intrigue. ... [click here for more] AAM Markosia $1.99
The painter known as Caravaggio becomes embroiled in a plan to overthrow The Grandmaster of the Knights of Malta. ... [click here for more] AAM Markosia $1.99
In this super-sized concluding issue, the painter known as Caravaggio finds himself imprisoned in Malta's "Well of Sorrows" by those who seek ultimate power at his expense. ... [click here for more] AAM Markosia $1.99
Clockwork Furnace
It is 1784 in the Age of Enlightenment and these are the chronicles of the Society of Incredible Exploits. In the small hamlet of Grimsthorpe, ancient and deadly forces are being released. Squire Sebastian Flint, a supporter of the newly discovered power of steam, and his brother Lord Lucien Flint, a champion of clockwork mechanisms, must solve the mystery of the Devil's Bell, the myth of the Immortal... [click here for more] AAM Markosia $3.99
1962: the Cold War is at its peak as the Cuban Missile Crisis threatens to launch the world into a nuclear holocaust. The timing couldn't be worse for Russia's latest secret weapon to go rogue. Genetically created Vampires. Twisted mutated victims left over from Nazi experimentation – designed to infiltrate missile sites and cause havoc. Their destination… Cuba. With... [click here for more] AAM Markosia $3.99
Dark Lines Of London
The Da Vinci Code meets Timeline when a London Grad Student find himself in a race against the clock to not only find John Dee's missing grimoire, but to use it to contact Dee himself; in the process stopping a chain of events that would end the world. Spun off historical facts and characters, it is a quintessentially British time-travel story with a strong conspiracy and government cover-up... [click here for more] AAM Markosia $3.99
Dark Mists: Kurotobi Skies
Leading Geisha and unofficial Yakuza assassin, Kimi, is missing, in the wake of her lover's murder, leaving corrupt Government official Osamu primed to infiltrate the Government with his Yakuza army and worryingly for Kimis sisters: control Gion. Meanwhile in a small village, a girl is found floating in the river. ... [click here for more] AAM Markosia $3.99
Deiciders #1
A horror/fantasy miniseries set in the Viking Age, "Deiciders #1" follows Ulfrith, Svein and Olaf, three seasoned warriors facing their biggest challenge yet…a wolf-like god! ... [click here for more] AAM Markosia $0.99
Tired and broken after putting down a Wolf God, Ulfrith and Olaf cross the icy plains of Scandinavia to kill a mythical dragon when they come upon a mysterious stranger. But is it friend…or foe? ... [click here for more] AAM Markosia $0.99
Venice 1756. As the majestic city of Venice sleeps, hidden from prying eyes, black magic rituals are performed in old and damp cellars. Necromancers prepare the arrival of the Devourer, the Great Consumer of Souls, who is said to give them the power to rule both day and night...for all time. There is only one man capable of stopping them, one... [click here for more] AAM Markosia $3.99
El Rival #1
Venice 1756. As the majestic city of Venice sleeps, hidden from prying eyes, black magic rituals are performed in old and damp cellars. Necromancers prepare the arrival of the Devourer, the Great Consumer of Souls, who is said to give them the power to rule both day and night...for all time. There is only one man capable of stopping them, one... [click here for more] AAM Markosia FREE
Faith Fallon Vol 1: What Price Fame?
Who is Faith Fallon? Faith Fallon was America's sweetheart during the fabulous 50s. She burst onto the Hollywood scene like a shooting star. Men wanted her. Women wanted to be her. Alas, as is the fate of so many young starlets in Hollywood, her star eventually faded, and she fell out of favour. Faith's career and personal life continued on its downward spiral until she was found dead in her... [click here for more] AAM Markosia $16.99 $3.99
Faith Fallon Vol 2: Vengeance and Damnation
Faith Fallon had it all, Money, Fame, Stardom and lost it all in a moment of weakness. Now she must pay for the sins of her past. Payment in the form of Vengeance and Damnation is demanded. Faith will die but she will never give up! She will rise! "This series is like taking a drug that gives you hallucinations or all too vivid dreams (Sustiva) which can only be taken before sleep and if that... [click here for more] AAM Markosia $16.99 $3.99
Faith Fallon Vol 3: Dreams Come True
Faith lived a life of poverty, followed by fame, fortune, death and resurrection. immortal and eternally beautiful Faith fights to ensure she enjoys and thrives in a fabulous afterlife and nothing will prevent her from making her dreams come true. "With an extremely unique character and layers upon layers of amazing depth in the writing Steven manages to engage your mind, your senses and expand... [click here for more] AAM Markosia $16.99 $3.99
Foxy Ladies
Foxy Ladies is the chronicle of an America emerging from the social and political upheaval of the 1960s, with women, gays, lesbians, African-Americans and others on the fringes of society becoming empowered and creating a new paradigm. It's also the very personal story of Zoe Heller, a talented designer who rises in the ranks of the advertising department of a major Los Angeles department store... [click here for more] AAM Markosia $3.99
Heart of War
1968: Vietnam. Deep in the battle ravaged jungle twelve US Marines confront an enemy infinitely more terrifying and savage than the Viet Cong. An immortal evil. An agent of the apocalypse lurks watching... Waiting... 1988: Manhattan. The economic hub of global commerce. Six survivors must reunite to destroy the bloodthirsty horror they believed defeated and buried... [click here for more] AAM Markosia $3.99
Heart of War #1
1968: Vietnam. Deep in the battle ravaged jungle twelve US Marines confront an enemy infinitely more terrifying and savage than the Viet Cong. An immortal evil. An agent of the apocalypse lurks watching... Waiting... 1988: Manhattan. The economic hub of global commerce. Six survivors must reunite to destroy the bloodthirsty horror they believed defeated and buried... [click here for more] AAM Markosia FREE
Heirs of Rome
Germania Inferior, province of rome. Spring 431 AD. As the great migrations ravage the borders of the crumbling roman empire, king Chlodio 'Long-Hair' of the Franks seizes the opportunity to invade Gaul. The infamous warlord, bor 'the invincible', follows his king faithfully into battle, dragging his son along in his wake. Fifty years later the son of bor would become known... [click here for more] AAM Markosia $3.99
Houdini: International Spy
Houdini: Magician. Escape Artist…. International Spy. To countless fans around the globe, Harry Houdini is the world's greatest magician. To the US government, he's their most brilliant spy operating at the dawn of the dangerous and dynamic 20thcentury. Fresh from his sold-out run at London's famed Alhambra Theatre, Houdini is dispatched to Vienna to locate Dr. Wallace... [click here for more] AAM Markosia $2.99
Hushers
A VERY VICTORIAN APOCALYPSE England, 1848: A huge, civilisation-ending meteor, Astraea, is on a collision course with Earth. Outside of the British establishment no one knows… except a downtrodden young woman named Sarah Buckman. Desperate and alone, Sarah teams up with enigmatic Frenchman Jacques and a band of anarchists and criminals called the Lambeth Rats. Their plan... [click here for more] AAM Markosia $3.99
Jamshid 1
Jamshid, ruler of Jamkard in ancient Persia, must fight the evil and supernatural beasts that threaten his kingdom and people. He enlists a faithful army to battle the demons and restore peace to the region however, along the way he finds betrayal within his ranks. An epic battle of Good v. Evil and a man's sacrifice to save his kingdom. ... [click here for more] AAM Markosia $2.99
Jamshid, triumphant ruler of Jamkard enjoys the success of his hard-won battle against the omnimalevolent Ahriman. He becomes vainglorious, decadent and intoxicated by his own power losing sight of his virtuous path in protecting his people and kingdom which will lead to his demise. ... [click here for more] AAM Markosia $2.99
After defeating Malkus, the demon of cold, Jamshid decides to unite the tribes who took refuge in Jamkard. He aims to start a war against Ahriman and destroy him…but he war goes against the will of Yazdan and breaks his covenant with the Azhgahan giants. However, Jamshid, who claims sole credit for the victory against Malkus and recapturing Jamkard, ignores Yazdan's will, breaks his covenant... [click here for more] AAM Markosia $2.99
Kitty lives an unremarkable life with her ageing parents and her job in the Post Office. She escapes into daydreams of dancing and romance to relieve the monotony of her daily routine. Her story provides a glimpse into a generation of women whose lives were shaped by the limits of their education, class and social expectation. ... [click here for more] AAM Markosia $3.99
Have you ever wanted something so bad you'd kill for it? Did you ever kill someone to get it? Finnish creators Petri Hänninen (To End All Wars Anthology) and Petri Hiltunen (Anabasis) have extended the meaning of "Nordic noir" with this stylish black-and-white retelling of Shakespeare's immortal Scottish play. When three witches tell general Macbeth that one day he'll be the next king of... [click here for more] AAM Markosia $3.99
Noah: The True Story Of The Flood #1
When one of the ancient B'Nai visits Noah and warns him that a great flood is coming it sets him on path that leads to the building of a giant ship, The Ark. Will Noah survive the coming deluge, and, more importantly, will his relationship with his son survive the journey? ... [click here for more] AAM Markosia $1.99
Noah is summoned to the palace of Azazel and Samyaza to explain why he's building a giant ship in the middle of the desert...but will they let him leave? ... [click here for more] AAM Markosia $1.99
Riddler's Fayre: Book 1 – The First Matter
Set in 1199 AD: a veteran of the Third Crusade, Comte Ludovic Parvel of Claremont, is in a desperate quest for the identity of the First Matter; the substance required to start the Alchemical process to create the Philosopher's Stone, in the hope that with this power he can re-equip the armies of Christendom. Meanwhile, Aeden, a young Saxon amnesiac, is being escorted from England to Vichy... [click here for more] AAM Markosia $2.99
Riddler's Fayre: Book 2 – The Game of Revenge
Surrounded by a band of new-found allies, Aeden travels to London in the winter of 1199, more in search of his identity than the Alchemical secret. As a fighter for money he is the talk of the town, but, in London, he encounters the city's underworld and the power of the Alderman who controls it. Ludovic Parvel is close behind and about to confront his own past as he becomes involved in someone... [click here for more] AAM Markosia $2.99
Serpent Wars #1
Set in the mid-1800's, a young scientist smuggles himself aboard the war ship of a British Lord bound for South America, only to discover a land filled with serpent gods destined to rule mankind. With the aid of a spiritual goddess, the brave adventurer must battle to free the island and humanity from the tyranny of these giant creatures. ... [click here for more] AAM Markosia FREE
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#TBT to When We First Met Imagine Dragons (June 2012)
Jun 18, 2015 - (0) comments - Alex Da Kid, Brandon Enyeart, Continued Silence, Continued Silence EP, Dan Reynolds, EP, Imagine Dragons, Interscope Records, Interview, Las Vegas, Radioactive
Have you ever been to Las Vegas? Well if you have, I doubt you have ever returned with bigger winnings than these guys. Going by the name of Imagine Dragons, this Sin City quartet is hard not to obsess over. Whether it's their powerful rock sounds, their beautifully written lyrics or the fact that their moniker is in fact an anagram that nobody (including their moms) knows…I have literally spent days coming up with ideas……true story. Lead singer and lyricist Dan Reynolds took some time to chat with me and although their name may still be a mystery, their near future isn't. These guys are going places.
Tell is a little about getting your start in Las Vegas. It seems like it would be a little different than scenes like in L.A. and Seattle?
Dan: Yeah, it was pretty different, but it really was nice for us. In the very beginning to make ends meet I'd play half cover gigs at a lot of the casinos with half originals and I think it was good for us. It taught us how to grab the attention of people and take their eyes off the slot machines and onto the stage. It's not over saturated like it is in other places either, so I think that was really good for us.
The EP is so solid, I have played it 10+ times in a row in my car and I am a critic I am supposed to be listening to LOTS of different music!
Dan: *laughs*
When it all comes down to it you guys are rock., but there are even some hip-hop beats mixed in on the Continued Silence EP. What was the thought process going into this debut major label EP?
Dan: Well first of all thank you man. You know we write constantly; we are almost freaks of nature in the sense that none of us have social lives, none of us do anything, but make music. None of us have ever been the coolest people in school you know? Growing up, all we did was write write write. Going into this EP we had written close to 100 songs to pick from and to rework to how we wanted them to sound. Then also having the brilliance of Alex da Kid – who's a real genius producer – to come on board and provide us his insight, it was just a lot of fun, that's the only way I can put it. I'm at the Palms right now in Las Vegas working on our full length album that will come out in September and we're just here all day everyday.
I was actually going to ask you what it was like working with Alex da Kid, so it was quite the experience?
Dan: Yeah, he just has such an ear and so much experience. It was cool too, because he comes from the UK, so he grew up listening to some of the music that was beyond my reach. I just hadn't heard of a lot of the bands that he had been listening to, whether it's underground hip-hop or punk bands out of the UK. All the guys in the band went to The Berklee College of Music – besides myself – they are all amazing musicians and I'm just always trying to keep up with them, you know? We're all trying to stretch ourselves and I think Alex has done a really incredible job of mentoring us.
One of my favorite's off the album is "Radioactive". What's the story behind that track?
Dan: Well, I write all of the lyrics and, you know, I write from the heart. I write about my hopes and my fears, dark times, happy times and "Radioactive" was a song I wrote when I was kind of in transition, I guess? You know, a lot of the songs on that EP were written in transitional times, because there comes a time when you kind of have to decide whether you are going to do music as a hobby or whether it is going to be a career. That can be such a scary thing, especially with how the world is right now. So in my own life I kind of had to decide what I had to do and I had a lot of fears about it.
I do like to leave a lot up to the listener, I can think of times where I – as a fan – really thought I knew what a song was about and then a band would be like, "It's about a girl I met." And I'd be like, "What!?" *laughs* It would totally change the song for me, so without getting too far into detail, what "Radioactive" is about is about not being afraid.
For all the national readers, you guys will be touring with AWOLNATION this fall, but for the readers in my neck of the woods (Seattle). Can we expect to see you here soon?
Dan: Yeah, actually Seattle – and I am not just saying this – Seattle is my favorite city to play in the U.S. when we go on tour. I love Seattle, I love the ocean there, I just love it. It's just a beautiful place. I love the culture there, it's really sick, the people there are really cool, so I know we'll definitely be playing Seattle before the year ends. You can probably hold me to that statement.
You guys mention that you once played a six-hour set at O'Shea's which would end up being a real significant event for you, as it helped create a real bond between you guys. Tell us a little more about that show.
Dan: It was so crazy, man. We would start at like 10pm and play until like 4am. I remember that particular show you're talking about and on the last song I passed out on stage; I fell backwards onto the drums,*laughs* but I got up and finished the song and got a standing ovation from all these drunk dudes at four in the morning! *laughs* It was so good for us…honestly, like any band who hasn't played for years and years and had hundreds and hundreds of hours performing together; I think it's a big mistake. In those hours we really learned each other's weaknesses, but we also learned our strengths and how to groove together. When you can groove together at four in the morning all tired, calloused and your voice is dead, that's when you know you have a great group of guys.
Check out Imagine Dragons' new video for "It's Time" Below.
brandonenyeart
Editor in Chief of Lemonade Magazine
View more post by brandonenyeart
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Medveđa est un toponyme qui peut désigner :
Medveđa, une ville et une municipalité de Serbie situées dans le district de Jablanica ;
Medveđa, un village de Serbie situé dans la municipalité de Despotovac, district de Pomoravlje ;
Medveđa, une localité de Serbie située dans la municipalité de Trstenik, district de Rasina.