Real Subsumption of Life by Capitalism
Description
Steven Shaviro:
"What is the role of aesthetics, then, today? I said that beauty cannot be subsumed; yet we live in a time when financial mechanisms subsume everything there is. Capitalism has moved from “formal subsumption” to “real subsumption.” These terms, originally coined in passing by Marx, have been taken up and elaborated by thinkers in the Italian Autonomist tradition, most notably Michael Hardt and Antonio Negri. For Marx, it is labor that is “subsumed” under capital. In formal subsumption, capital appropriates, and extracts a surplus from, labor processes that precede capitalism, or that at the very least are not organized by capitalism. In real subsumption, there is no longer any such autonomy; labor itself is directly organized in capitalist terms (think of the factory and the assembly line).4
In Hardt and Negri’s expanded redefinition of “subsumption,” it isn’t just labor that is subsumed by capital, but all aspects of personal and social life. This means that everything in life must now be seen as a kind of labor: we are still working, even when we consume, and even when we are asleep. Affects and feelings, linguistic abilities, modes of cooperation, forms of know-how and of explicit knowledge, expressions of desire: all these are appropriated and turned into sources of surplus value. We have moved from a situation of extrinsic exploitation, in which capital subordinated labor and subjectivity to its purposes, to a situation of intrinsic exploitation, in which capital directly incorporates labor and subjectivity within its own processes.
This means that labor, subjectivity, and social life are no longer “outside” capital and antagonistic to it. Rather, they are immediately produced as parts of it. They cannot resist the depredations of capital, because they are themselves already functions of capital. This is what leads us to speak of such things as “social capital,” “cultural capital,” and “human capital”: as if our knowledge, our abilities, our beliefs, and our desires had only instrumental value, and needed to be invested. Everything we live and do, everything we experience, is quickly reduced to the status of “dead labour, that, vampire-like, only lives by sucking living labour, and lives the more, the more labour it sucks.” Under a regime of real subsumption, every living person is transformed into a capital stock that must not lie fallow, but has to be profitably invested. The individual is assumed—and indeed compelled—to be, as Foucault puts it, “an entrepreneur, an entrepreneur of himself … being for himself his own capital, being for himself his own producer, being for himself the source of [his] earnings.”
History
John Bellamy Foster:
"Automation associated with algorithms designed for computers, raising the possibility of intelligent machines displacing human labor, is an issue that has been around for more than a century and a half, going as far back as Charles Babbage’s Difference Engine and Karl Marx’s famous treatment of the “general intellect” in the Grundrisse and his subsequent concept of the “collective worker” in Capital.1 Yet, it was only with the rise of monopoly capitalism in the late nineteenth and early twentieth centuries that large-scale industry and the application of science to industry were able to introduce the “real” as opposed to “formal” subsumption of labor within production.2 Here knowledge of the labor process was removed systematically from the workers and concentrated within management in such a way that the labor process could be progressively broken down and subsumed within a logic dominated by machine technology. With the consolidation of monopoly capitalism after the Second World War and the development of cybernetics, the transistor, and digital technology, automation of production—and particularly what we now call artificial intelligence (AI)—constituted a growing threat to labor."
Discussion
Accelerationism as Aesthetic Strategy
Steven Shapiro:
"It is under the conditions of real subsumption that accelerationism first becomes a possible aesthetic strategy. It is a fairly recent invention. In the twentieth century, before the developments that I have recounted, the most vibrant art was all about transgression. Modernist artists sought to shatter taboos, to scandalize audiences, and to pass beyond the limits of bourgeois “good taste.” From Stravinsky to the Dadaists, from Bataille to the makers of Deep Throat, and from Charlie Parker to Elvis to Guns N’ Roses, the aim was always to stun audiences by pushing things further than they had ever been pushed before. Offensiveness was a measure of success. Transgression was simply and axiomatically taken to be subversive.
But this is no longer the case today. Neoliberalism has no problem with excess. Far from being subversive, transgression today is entirely normative. Nobody is really offended by Marilyn Manson or Quentin Tarantino. Every supposedly “transgressive” act or representation expands the field of capital investment. It opens up new territories to appropriate, and jump-starts new processes from which to extract surplus value. What else could happen, at a time when leisure and enjoyment have themselves become forms of labor? Business and marketing practices today are increasingly focused upon novelty and innovation. More rapid turnover is one way to combat what Marx called the tendential fall of the rate of profit. Far from being subversive or oppositional, transgression is the actual motor of capitalist expansion today: the way that it renews itself in orgies of “creative destruction.”