Paolo Virno, A Grammar of the Multitude, trans. Isabella Bertoletti, James Cascaito, and Andrea Casson (New York: Semiotext(e), 2004).
Maurizio Lazzarato, “Immaterial Labour,” trans. Paul Colilli and Ed Emery, available at →.
Maurizio Lazzarato, Les Révolutions du capitalisme (Paris: Les Empêcheurs de penser en rond, 2004), 168–198.
Paolo Virno, “The Dismeasure of Art,”, interview by Pascal Gielen and Sonja Lavaert, Open, no. 17, →.
See Karl Marx, Grundrisse: Foundations of the Critique of Political Economy (Rough Draft), trans. Martin Nicolaus (London: Penguin, 1993), 706. “The development of fixed capital indicates to what degree general social knowledge has become a direct force of production, and to what degree, hence, the conditions of the process of social life itself have come under the control of the general intellect and been transformed in accordance with it.”
Paolo Virno, “General Intellect,” in Lessico postfordista: dizionario di idee della mutazione, eds. Adelino Zanini and Ubaldo Fadini (Milan: Feltrinelli, 2001), 146–151.
“The Idea of Communism: Philosophy and Art” was held in Berlin’s Volksbühne theater, June 25–27, 2010.
André Gorz, L’Immatériel: Connaissance, valeur et capital (Paris: Galilée 2003), 31.
Virno, “The Dismeasure of Art.”
Lazzarato, Les Révolutions du capitalisme, 193.
Gorz, L’Immatériel, 51.
Ibid.
Paolo Virno, “Virtuosity and Revolution,” trans. Ed Emory, available at →.
This thought was expressed at several points during the “Idea of Communism” conference (see above).
Gorz, L’Immatériel, 52.
See the series of films by Polish artist Artur Żmijewski called Selected Works (2007); Michael Glawogger’s film Workingman’s Death (2006); and the American artist Mika Rottenberg’s piece Dough (2006).
For more on the concept of “bare life,” see Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1998).
Aleksei Gastev, Trudovye ustanovki (Labor Configurations) (1924; Moscow: Ekonomika 1973). Also see his manifesto “Kak nado rabotat?” (How We Should Work), first published in Organizatsiya truda, 1921, and then in Poesija rabochego udara (The Poetry of the Worker’s Blow) (1918; Moscow: Ekonomika, 1976), 270–297.
Evald Ilyenkov, Filosofia y Kultura (Philosophy and Culture) (Moscow: Political Literature Publishers, 1991), 240.
Ibid, 238.
Ibid, 256.
Ibid, 268.
Whereas classical German idealism considered the world existing outside human consciousness to be material, and everything conceived by that consciousness to be ideal, the Marxist interpretation of the ideal used by Ilyenkov allows it to be seen dialectically: i.e., not opposing the material and ideal, but assuming the ideal to be a human potentiality; with the “human” being understood through the potentiality of liberated labor.
The representatives of the new wave in Russian film today are considered to be Boris Khlebnikov, Aleksei Popogrebsky, Vasily Sigarev, Nikolay Khomeriki, Bakur Bakuradze and Ivan Vyrypaev.
Translated from the Russian by Ainsley Morse.