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Showing 3 similar quotes for quote #1444 from Capitalist Realism by Mark Fisher

Publisher: Zero Books (2014)

The call center experience distills the political phenomenology of late capitalism: the boredom and frustration punctuated by cheerily piped PR, the repeating of the same dreary details many times to different poorly trained and badly informed operatives, the building rage that must remain impotent because it can have no legitimate object, since - as is very quickly clear to the caller - there is no one who knows, and no one who could do anything even if they did. Anger can only be a matter of venting; it is aggression in a vacuum, directed at someone who is a fellow victim of the system but with whom there is no possibility communality. Just as the anger has no proper object, it will have no effect. In this experience of a system that is unresponsive, impersonal, centerless, abstract and fragmentary, you are as close as you can be to confronting the artificial stupidity of Capital in itself.

75-76

The reason that focus groups and capitalist feedback systems fail, even when they generate commodities that are immensely popular, is that people do not know what they want. This is not only because people's desire is already present but concealed from them (although this is often the case). Rather, the most powerful forms of desire are precisely cravings for the strange, the unexpected, the weird. These can only be supplied by artists and media professionals who are prepared to give people something different from that which already satisfies them; by those, that is to say, prepared to take a certain kind of risk. The Marxist Supernanny would not only be the one who laid down limitations, who acted in our own interests when we are incapable of recognizing them ourselves, but also the one prepared to take this kind of risk, to wager on the strange and our appetite for it. It is another irony that capitalism's 'society of risk' is much less likely to take this kind of risk than was the supposedly stodgy, centralized culture of the postwar social consensus. It was the public service-oriented BBC and Channel 4 that perplexed and delighted me with the likes of Tinker, Tailor, Soldier, Spy, Pinter plays and Tarkovsky seasons; it was this BBC that also funded the popular avant gardism of the BBC Radiophonic Workshop, which embedded sonic experimentalism into everyday life. Such innovations are unthinkable now that the public has been displaced by the consumer. The effect of permanent structural instability, the 'cancellation of the long term', is invariably stagnation and conservatism, not innovation. This is not a paradox. As Adam Curtis's remarks above make clear, the affects that predominate in late capitalism are fear and cynicism. These emotions do not inspire bold thinking or entrepreneurial leaps, they breed conformity and the cult of the minimal variation, the turning out of products which very closely resemble those that are already successful.

The power of capitalist realism derives in part from the way that capitalism subsumes and consumes all of previous history: one effect of its 'system of equivalence' which can assign all cultural objects, whether they are religious iconography, pornography or Das Kapital, a monetary value. Walk around the British Museum, where you see objects torn from their lifeworlds and assembled as if on the deck of some Predator spacecraft, and you have a powerful image of this process at work. In the conversion of practices and rituals into merely aesthetic objects, the beliefs of previous cultures are objectively ironized, transformed into artifacts.