‘Introduction’ to the <i>Grundrisse</i>

Marx, Karl; Carver, Terrell

doi:10.1017/cbo9780511810695.008

Cited by 64 publications

(45 citation statements)

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“…He contemplates how the technologically advanced society that emerged from the industrial revolution could still be charmed by Greek art, given the social conditions that created it, had dissipated. 21 He asks how, for example, Greek mythology and the Greek imagination can still be pertinent in a world with "self-acting mule spindles and railways and locomotives and electrical telegraph?" He evocatively…”

Section: Marx On Artmentioning

confidence: 99%

“…He moves back to live with his father but even this proved "both easy and empty". His father's extensive working hours meant Jed saw little of him which intensified his isolation (21). This sense of an alienated aesthetic self will be present throughout his life but it is important to notice at this stage that his art is not marketable and it is use-value over exchange-value that seems to be governing his work.…”

Section: Humans As Artistsmentioning

confidence: 99%

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Art as Ethics: The Aesthetic Self

Fraser¹

2015

Constructing Marxist Ethics

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Section: Marx On Artmentioning

confidence: 99%

Section: Humans As Artistsmentioning

confidence: 99%

Art as Ethics: The Aesthetic Self

Fraser¹

2015

Constructing Marxist Ethics

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“…De breuk tussen de menselĳke activiteit en zĳn inorganische, natuurlĳke condities, die pas volledig wordt binnen de kapitalistische productiewĳze, is volgens Marx het gevolg van een historisch proces, en moet ook zo verklaard worden 12 . Paul BurkeĴ, een andere pionier van het ecomarxisme, toont hoe deze breuk voortvloeit uit een proces dat een aantal eeuwen duurde, en uiteindelĳk vanaf eind 18de eeuw de ontwikkeling van de kapitalistische productiewĳze mogelĳk maakte 13 .…”

Section: Onteigening Van De Commonsunclassified

Marxisme en ecologie: een uitgestelde ontmoeting

Lievens¹

2012

De Uil Van Minerva

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“…It is a matter of putting to work the know-how, the social competence, or the accumulated knowledge that have emerged historically within a particular productive network. Marx used the term 'general intellect' to refer to this productive potential inherent in a particular language game (Marx, 1973). The individual worker has access to this by virtue of his or her socialization within a particular productive system.…”

Section: Immaterials Labour and General Intellectmentioning

confidence: 99%

Gameplay as design: uses of computer players' immaterial labour

Arvidsson¹,

Sandvik²

2007

Northern Lights: Film &Amp; Media Studies Yearbook

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The primary mode of reception in computer games is play. This implies that the agency performed by computer players does not limit itself to the process of reading, but is constituted by a creative enactment of the structures of interactive actions and events inherent in the game. As such, gameplay may be regarded as a kind of (unpaid) immaterial labour, implying players' socialization, creativity, and a general intellect, that is, the ability to appropriate and rework the computer game as a work of culture. This article investigates the immaterial labour of computer players and discusses how this is being put to work by the game industry at different levels -as a means of producing fascinating game experiences and by means of including player agency as a productive force in gamedesign processes -thus connecting it to the economy of computer-game production.The purpose of this article is to investigate the medium of the computer game not only as a cultural artefact, but also as an economic institution. Along with other observers like De Peuter and Dyer-Withford (2005) and Kline et al. (2003), we argue that the computer game provides a paradigmatic manifestation of the logic of contemporary media-saturated informational capital. This paradigmatic status derives chiefly from the fact that the value of a computer game builds primarily on its ability to appropriate and capture various forms of immaterial labour. As it has been developed by various thinkers over the recent decade such as Lazzarato (1997), Hardt andNegri (2004), andGorz (2003), the term 'immaterial labour' has come to refer to those productive activities that rely primarily on an activation of linguistic, communicative and affective skills (Lazzarato 1997;Hardt and Negri 2004;Gorz 2003). It is a matter of putting to work the human capacity to create a common world by means of language (cf. Arendt 1958), as this capacity has been enhanced and shaped by various media technologies. As De Peuter and Dyer-Withford (2005) have shown, the production of computer games provides an almost ideal example of the position of paid immaterial labour within the informational economy.Computer-game production is transnational and it relies on selfregulating productive networks. Labour is motivated by an ethic of enforced creativity and disciplinary freedom (in the sense that if you do not employ your freedom to be creative you have no career) and the end

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‘Introduction’ to the Grundrisse

Cited by 64 publications

References 0 publications

Art as Ethics: The Aesthetic Self

Art as Ethics: The Aesthetic Self

Marxisme en ecologie: een uitgestelde ontmoeting

Gameplay as design: uses of computer players' immaterial labour

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