Marina Vishmidt is a writer and editor. She teaches at Goldsmiths, University of London, and is the co-author of Reproducing Autonomy (with Kerstin Stakemeier) (Mute, 2016).

Table of Contents

Preface

Acknowledgements

Introduction: Speculation as a Mode of Production in Art and Capital

1 Introduction

2 Speculation as Method

3 How Does Art Speculate?

4 Is There a Speculative Mode of Production?

5 Chapter Outline

1 Speculation: The Subjectivity of Re-structuring and Re-structuring Subjectivity

1 Speculation in the Negative

2 Speculative Subjects

3 Fetishism and the Production of Subjectivity

4 Speculation or Real Subsumption

5 To Human is Capital

6 Human Capital and Art

7 Speculation and Abstract Labour: An Abstract

8 Self-Appreciation?

9 From Self to Species-Being

10 Value Equals Zero

2 Topologies of Speculation: The Tenses of Art, Labour and Finance

1 &'Counterproductive' and Abstract Labour

2 Autonomy in Generalised Speculation

3 Speculation and Contingency

4 What is an &'Absolute Contingency'?

5 Futures and the Future

6 Art as Counterproductive Labour

7 Invisible Labour

8 Visible Finance

9 Conclusion

3 Aesthetic Speculations and Antagonisms

1 Is Art Working?

2 Real Subsumption

3 Negative Composition

4 The Specialist of Non-Specialism

5 Negate Here

6 The Critique of the Power of Judgement and the Critique of the Powers of Art: Kantian Interlude

4 Whatever Indicator: Indeterminacy, Judgement, and Putting the Speculative to Work

1 Introduction

2 The Name of Art

3 To Be Done with the Judgement of Art

4 Counter-Artistic Production

5 Whatever Indicator

6 Reproductive Potentiality

7 Subhuman Capital

8 Artist Placement Group - Incidental Person, or Negation of the Artist?

9 Excursus on Use-Value

10 Artistic Communism - A Speculative Gesture

11 Art - Departure or Destination?

Conclusion: Whither Speculation?

1 One More Time If You Would Be Useless

2 Trajectories of the Generic

3 Prognostic Coda