Capitalism

It seems odd now to recall that up until a few years ago, the concept of capitalism largely had fallen out of favor as a subject of academic inquiry and critique. Most scholars in the humanities and social sciences regarded the term as too broad, too vague, too encumbered by associations with either Marxism or laissez-faire. Following the collapse of the Soviet Union, capitalism could be taken for granted, it seemed. No person or nation could escape the discipline of efficient, spontaneous, self-regulating, globalizing markets.

Economists cut economies loose from society, institutions, culture, and history. They repositioned their discipline upon models that assumed that rational, utility-maximizing individual parts represented and explained the behavior of the economy-as-a-whole. Many social scientists — especially in political science — embraced these rational-actor models. Others joined historians and humanities scholars in the “cultural turn.” …

Racialized chattel slaves were the capital that made capitalism. While most theories of capitalism set slavery apart, as something utterly distinct, because under slavery, workers do not labor for a wage, new historical research reveals that for centuries, a single economic system encompassed both the plantation and the factory.

At the dawn of the industrial age commentators like Rev. Thomas Malthus could not envision that capital — an asset that is used but not consumed in the production of goods and services — could compound and diversify its forms, increasing productivity and engendering economic growth. Yet, ironically, when Malthus penned his Essay on the Principle of Population in 1798, the economies of Western Europe already had crawled their way out of the so-called “Malthusian trap.” The New World yielded vast quantities of “drug foods” like tobacco, tea, coffee, chocolate, and sugar for world markets. Europeans worked a little bit harder to satiate their hunger for these “drug foods.” …

When first published in 2002, The Rise of the Creative Class quickly established its author Richard Florida as an urban policy and business management guru. The Rise of the Creative Class heralded the emergence of a new class of worker who promised to lead the economy, and along with it the rest of society, to unprecedented levels of prosperity. The creative class, according to Florida, included scientists, engineers, artists, designers, media producers, and others whose primary function is “to create new ideas, new technology and/or creative content.” They are abetted in this endeavor by a whole host of high-level information workers—doctors, lawyers, accountants, educators, and the like—who draw upon complex bodies of knowledge to solve difficult problems that require high degrees of autonomy. To mark a decade of influence, the book was re-released in 2012 in a substantially updated version, The Rise of the Creative Class, Revisited, now out in paperback. …

The 1930s was one of the one eventful and productive decades in Dewey’s life. He published more than a half dozen books including Logic: The Theory of Inquiry. It was during this decade that he sharpened his understanding of radical democracy and a renascent liberalism. He interrupted his scholarly work to travel to Mexico as the Chair of the Trotsky Commission — or to give its full title, “The Commission of Inquiry into the Charges Made against Leon Trotsky in the Moscow Trials.” …

As someone who grew up with Paul Verhoeven’s original 1987 RoboCop, I can’t help but feel the dystopic and critical social commentary of the movie was lost in its reboot. What was once a critical and distopic film exploring the dangers of unchecked corporate power has become a soft endorsement of corporate warfare. Yet, some elements of the remake do provide useful insights into our changing social politics that are worth considering. The evolution of RoboCop reveals how both capitalism and imperialism have changed and deepened their hold on our cultural imaginary in less than pleasant ways.

There are basically four key sets of players in the original story: Omni Consumer Products or OmniCorp (OCP), the mega corporation which builds RoboCop, runs the Detroit police force and plans to construct a corporate utopia called “Delta City” in the ruins of old Detroit; Alex Murphy, the Detroit cop who becomes RoboCop; the police department run by OCP; and crime boss Clarence Boddicker, who is in cahoots with OCP executive Dick Jones,  The connections among these players were central to the original story. …