Superstructure

Ian (@ian_as_portrait) joins Natalie Smith to discuss the hyper-normative left rhetoric of philosophy instructor and frequent Jacobin contributor Ben Burgis. Emblematic of a certain deadpan logical sobriety seen in certain left circles, Burgis’s debate style downplays heterogeneity, pleasure, and generativity in an effort to convert libertarians and rightwingers to an incrementalist tax-to-spend vision of democratic socialism. Calling out the austerian and deeply fatalist assumptions of Burgis’s reactionary approach, Ian and Naty instead affirm the potentials of an inclusive, heterogenous, and emotionally wide-ranging left discourse.

Music: “Yum” from “This Would Be Funny If It Were Happening To Anyone But Me” EP by flirting.

http://flirtingfullstop.bandcamp.com

Twitter: @actualflirting

Maxximilian Seijo, Andrés Bernal and Scott Ferguson plunge into the latest Disney Plus streaming series, Loki (2021) as part of their ongoing examination of Phase Four of the Marvel Cinematic Universe (MCU). For all its deliciously queer aesthetic & political potentials, they argue, Loki represents another MCU tragedy about the promise & perpetual failure of social contract theory, and fascism’s seductive exploitation of that failure. In doing so, they critique how the show’s neoliberal and tacitly Deleuzean conception of time as “univocal difference” problematically pits care against heterogeneity in a zero-sum trade-off between fascism and democracy. At the same time, they suggest that Loki’s polyvalent and often-campy aesthetics nevertheless express new longings for alternative modes of questioning and organizing the world.

Music: “Yum” from “This Would Be Funny If It Were Happening To Anyone But Me” EP by flirting.

http://flirtingfullstop.bandcamp.com

Twitter: @actualflirting

Frederic Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (page 16-17)

In Processions, host Maxximilian Seijo reads and reflects on one page of a given text. Taking a tour through a vast array of thinkers, concepts and methods, one snapshot at a time, Maxx explores the redemptive capacity of the Money on the Left Editorial Collective’s method of analogical critique.

The episode concludes Season 1 of Processions. Stay tuned for announcements about Season 2.

Subscribe to our Patreon: www.patreon.com/MoLsuperstructure

Music by Nahneen Kula (www.nahneenkula.com)

Silvina Ocampo, "Forgotten Journey", in Thus Were Their Faces (page 1-3)

In Processions, host Maxximilian Seijo reads and reflects on one page of a given text, five days a week. Taking a tour through a vast array of thinkers, concepts and methods, one snapshot at a time, Maxx explores the redemptive capacity of the Money on the Left Editorial Collective’s method of analogical critique.

Processions will be released Monday, Wednesday, & Friday to the public, and Tuesday & Thursday as Patreon exclusives.

Subscribe to our Patreon: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula (https://www.nahneenkula.com)

Sean Cubitt, Finite Media: Environmental Implications of Digital Technology (page 7)

In Processions, host Maxximilian Seijo reads and reflects on one page of a given text, five days a week. Taking a tour through a vast array of thinkers, concepts and methods, one snapshot at a time, Maxx explores the redemptive capacity of the Money on the Left Editorial Collective’s method of analogical critique.

After the first five episodes, Processions will be released as a Patreon delayed exclusive. Episodes will be available for public listening seven days later.

Subscribe to our Patreon: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula (https://www.nahneenkula.com)

Virginia Woolf, A Room of One's Own (page 9-10)

In Processions, host Maxximilian Seijo reads and reflects on one page of a given text, five days a week. Taking a tour through a vast array of thinkers, concepts and methods, one snapshot at a time, Maxx explores the redemptive capacity of the Money on the Left Editorial Collective’s method of analogical critique.

After the first five episodes, Processions will be released as a Patreon delayed exclusive. Episodes will be available for public listening seven days later.

Subscribe to our Patreon: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula (https://www.nahneenkula.com)

Siegfried Kracauer, History, the Last Things Before the Last (page 42-43)

In Processions, host Maxximilian Seijo reads and reflects on one page of a given text, five days a week. Taking a tour through a vast array of thinkers, concepts and methods, one snapshot at a time, Maxx explores the redemptive capacity of the Money on the Left Editorial Collective’s method of analogical critique.

After the first five episodes, Processions will be released as a Patreon delayed exclusive. Episodes will be available for public listening seven days later.

Subscribe to our Patreon: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula (https://www.nahneenkula.com)

This Money on the Left/Superstructure teaser previews our seventh premium release from Scott Ferguson's "Neoliberal Blockbuster" course for Patreon subscribers.

For access to the full lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructure.

If you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.

Course Description

This course examines the neoliberal Blockbuster from the 1970s to the present. It focuses, in particular, on the social significance of the blockbuster's constitutive technologies: both those made visible in narratives and the off-screen tools that drive production and reception. Linking aesthetic shifts in American moving images to broader transformations in political economy, the course traces the historical transformation of screen action from the ethereal “dream factory” of pre-1960s cinema to the impact-driven “thrill ride” of the post-1970s blockbuster. In doing so, we attend to the blockbuster’s technological forms and study how they have variously contributed to social, economic, and political transformations over the past 40 years. We critically engage blockbusters as "reflexive allegories" of their own technosocial processes and pleasures. Above all, we think through the blockbuster's shifting relationship to monetary abstraction and the myriad additional abstractions monetary mediation entails.

Blockbusters:

2001: A Space Odyssey (Stanley Kubrick, 1968)

Jaws (Steven Spielberg, 1975)

Star Wars (George Lucas, 1977)

RoboCop (Paul Verhoeven, 1987)

Toy Story (John Lasseter, 1995)

Jurassic Park (Steven Spielberg, 1993)

The Matrix (Wachowskis, 1999)

Avengers: Infinity War (Joe & Anthony Russo, 2018)

Hosts Natalie Smith and Maxximilian Seijo dive into the world of personality types as exemplified by the likes of astrology, MBTI and Enneagram. Complicating John Ganz’s recent dismissal of personal types as univocal, alienating and repressive, Naty and Maxx queer such typologies, drawing attention to their playful, generative and relational meanings. Sprinkled with references to Adorno, Deleuze, Leibniz, and Hegel, the episode treats astrology, MBTI and Enneagram as analogical practices and asks how such practices can inform a non-zero-sum left politics of money.

Link to Ganz's essay: https://johnganz.substack.com/p/thats-not-a-personality-sweetie

Giorgio Agamben, The Use of Bodies, (Page 272-273)

In Processions, host Maxximilian Seijo reads and reflects on one page of a given text, five days a week. Taking a tour through a vast array of thinkers, concepts and methods, one snapshot at a time, Maxx explores the redemptive capacity of the Money on the Left Editorial Collective’s method of analogical critique.

After the first five episodes, Processions will be released as a Patreon delayed exclusive. Episodes will be available for public listening seven days later.

Subscribe to our Patreon: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula (https://www.nahneenkula.com)