Introduction Part I: Informatics of Inscription/Inscription of Informatics 1. Gramsci's Press: Why We Game 2. A Message from Borges: The Informatic Labyrinth 3. Alan Turing's Self-Defense: On Not Castrating the Machines 4. Shannon/Hitchcock: Another Method for the Letters 5. The Internet of Value, by Karl Marx: Information as Cosmically Distributed Alienation Part II: Photo-graphology, Psychotic Calculus and Informatic Labor 6. Camera Obscura After All: The Racist Writing with Light 7. Pathologistics of Attention 8. Prosthetics of Whiteness: Drone Psychosis 9. The Capital of Information: Fractal Fascism, Informatic Labor and M-I-M' Appendix: From the Cinematic Mode of Production to Computational Capital - An Interview conducted by Ante Jeric and Diana Meheik for Kulturpunk Notes Index
Jonathan Beller is a revered film theorist, culture critic and mediologist. He is Professor of Humanities and Media Studies at the Pratt Institute and Director of the Graduate Program in Media Studies. He is the author of The Cinematic Mode of Production (UPNE, 2006), Acquiring Eyes (Ateneo de Manila University Press, 2006) and The Message is Murder (Pluto, 2017).
'Jonathan Beller powerfully addresses the most urgent issue of
today's political economy: the gradual merging of capital and
computation into new structures of power' -- Matteo Pasquinelli,
Professor of Media Theory, University of Arts and Design
'Beller is one of the leading and pioneering theorists of the political economy of attention. This book is extremely pertinent for a readership seeking news ways of understanding contemporary capitalism. Beller has developed an original strategy by placing media archaeology and critical race theory in dialogue with the popularized work of Marshall McLuhan, and also by using Marx and Borges as interlocutors of well-known cyber-theorists such as Turing and Shannon' -- Allen Feldman, Professor of Media, Culture, and Communication at New York University, and author of Archives of the Insensible
'So-called digital culture operates on and intensifies a substrate of racial-capitalist calculation that precedes the invention of the electronic digital computer. Jonathan Beller's remarkable book examines the implications of this foundational claim through 'poetico-theoretical' analyses of information theory, literature, and cinema. By tracking the co-constitutive operations of economics, informatics, visuality, and psychology, Beller reveals the violent formations that ground contemporary mediatic regimes' -- Seb Franklin, author of Control: Digitality as Cultural Logic