Ruth Cain

“The closest that most of us come to a direct experience of the centerlessness of capitalism is an encounter with the call center. As a consumer in late capitalism, you increasingly exist in two, distinct realities: the one in which the services are provided without hitch, and another reality entirely, the crazed Kafkaesque labyrinth of call centers, a world without memory, where cause and effect connect together in mysterious, unfathomable ways, where it is a miracle that anything ever happens, and you lose hope of ever passing back over to the other side, where things seem to function smoothly. What exemplifies the failure of the neoliberal world to live up to its own PR better than the call center? Even so, the universality of bad experiences with call centers does nothing to unsettle the operating assumption that capitalism is inherently efficient, as if the problems with call centers weren’t the systemic consequences of a logic of Capital which means organizations are so fixated on making profits that they can’t actually sell you anything. The call center experience distils 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 could. 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 of 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. Call center angst is one more illustration of the way that Kafka is poorly understood as exclusively a writer on totalitarianism; a decentralized, market Stalinist bureaucracy is far more Kafkaesque than one in which there is a central authority. Read, for instance, the bleak farce of K’s encounter with the telephone system in the Castle, and it is hard not to see it as uncannily prophetic of the call center experience.”
― Mark Fisher, Capitalist Realism: Is There No Alternative?

“At one level, to be sure, it might look as if Green issues are very far from being ‘unrepresentable voids’ for capitalist culture. Climate change and the threat of resource-depletion are not being repressed so much as incorporated into advertising and marketing. What this treatment of environmental catastrophe illustrates is the fantasy structure on which capitalist realism depends: a presupposition that resources are infinite, that the earth itself is merely a husk which capital can at a certain point slough off like a used skin, and that any problem can be solved by the market”
― Mark Fisher, Capitalist Realism: Is There No Alternative?

“The novel's trick involved re-telling a classic Faery story —young women abducted into another world— using the conventions of realism. One of these conventions was giving the event a precise date. According to the novel, the three women disappeared on February 14th 1900... But Picnic at Hanging Rock is not set in our 1900, in which February 14th fell on a Wednesday, not a Saturday.”
― Mark Fisher, The Weird and the Eerie

“The slow cancellation of the future has been accompanied by a deflation of expectations. There can be few who believe that in the coming year a record as great as, say, the Stooges’ Funhouse or Sly Stone’s There’s A Riot Goin’ On will be released. Still less do we expect the kind of ruptures brought about by The Beatles or disco. The feeling of belatedness, of living after the gold rush, is as omnipresent as it is disavowed. Compare the fallow terrain of the current moment with the fecundity of previous periods and you will quickly be accused of ‘nostalgia’. But the reliance of current artists on styles that were established long ago suggests that the current moment is in the grip of a formal nostalgia, of which more shortly.

It is not that nothing happened in the period when the slow cancellation of the future set in. On the contrary, those thirty years has been a time of massive, traumatic change. In the UK, the election of Margaret Thatcher had brought to an end the uneasy compromises of the so-called postwar social consensus. Thatcher’s neoliberal programme in politics was reinforced by a transnational restructuring of the capitalist economy. The shift into so-called Post-Fordism – with globalization, ubiquitous computerization and the casualisation of labour – resulted in a complete transformation in the way that work and leisure were organised. In the last ten to fifteen years, meanwhile, the internet and mobile telecommunications technology have altered the texture of everyday experience beyond all recognition. Yet, perhaps because of all this, there’s an increasing sense that culture has lost the ability to grasp and articulate the present. Or it could be that, in one very important sense, there is no present to grasp and articulate anymore.”
― Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures