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This collection of essays explores the interfaces between new
information technologies and their impact on contemporary culture,
and recent transformations in capitalist production. From a
transnational frame, the essays investigate some of the key facets
of contemporary global capitalism: the ascendance of finance
capital, and the increasing importance of immaterial labor
(understood here as a post-Fordist notion of work that privileges
the art of communication, affect, and virtuosity). The contributors
address these transformation by exploring their relation to new
digital media (YouTube, MySpace, digital image and video
technology, information networks, etc.) and various cultural forms
including the Hispanic television talk show, indigenous video
production, documentary film in Southern California, the Latin
American stock market, German security surveillance, transnational
videoconferencing, and Japanese tourists? use of visual images on
cell phones. The authors argue that the seemingly radical newness
and alleged immateriality of contemporary speculative capitalism,
turns out to be less dramatically new and more grounded in
colonial/racial histories of both material and immaterial
exploitation than one might at first imagine. Similarly, human
interaction with digital media and virtuality, ostensibly a double
marker for the contemporary and economically privileged subject, in
fact reveals itself in many cases as transgressive of racial,
economic and historical categories.
This collection of essays explores the interfaces between new
information technologies and their impact on contemporary culture,
and recent transformations in capitalist production. From a
transnational frame, the essays investigate some of the key facets
of contemporary global capitalism: the ascendance of finance
capital, and the increasing importance of immaterial labor
(understood here as a post-Fordist notion of work that privileges
the art of communication, affect, and virtuosity). The contributors
address these transformation by exploring their relation to new
digital media (YouTube, MySpace, digital image and video
technology, information networks, etc.) and various cultural forms
including the Hispanic television talk show, indigenous video
production, documentary film in Southern California, the Latin
American stock market, German security surveillance, transnational
videoconferencing, and Japanese tourists' use of visual images on
cell phones. The authors argue that the seemingly radical newness
and alleged immateriality of contemporary speculative capitalism,
turns out to be less dramatically new and more grounded in
colonial/racial histories of both material and immaterial
exploitation than one might at first imagine. Similarly, human
interaction with digital media and virtuality, ostensibly a double
marker for the contemporary and economically privileged subject, in
fact reveals itself in many cases as transgressive of racial,
economic and historical categories.
The Open Invitation explores the relationship between prefigurative
politics and activist video. Schiwy analyzes activist videos from
the 2006 uprising in Oaxaca, the Zapatista's Other Campaign, as
well as collaborative and community video from the Yucatan. Schiwy
argues that transnational activist videos and community videos in
indigenous languages reveal collaborations and that their political
impact cannot be grasped through the concept of the public sphere.
Instead, she places these videos in dialogue with recent efforts to
understand the political with communality, a mode of governance
articulated in indigenous struggles for autonomy, and with
cinematic politics of affect.
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