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What we are dealing with now is not the incorporation of materials that previously seemed to possess subversive potentials, but instead, their precor… - Mark Fisher
" "What we are dealing with now is not the incorporation of materials that previously seemed to possess subversive potentials, but instead, their precorporation:the pre-emptive formatting and shaping of desires, aspirations and hopes by capitalist culture. WItness, for instance, the establishment of settled 'alternative' or 'independent' cultural zones, which endlessly repeat older gestures or rebellion and contestation as if for the first time. 'Alternative' and independent' don't designate something outside mainstream culture; rather, they are styles, in fact 'the' dominant styles, within the meainstream.
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About Mark Fisher
Mark Fisher (11 July 1968 – 13 January 2017), also known as "k-punk", was a British writer, critic, cultural theorist, and teacher based in the Department of Visual Cultures at Goldsmiths, University of London. Fisher published several books, including the unexpected success Capitalist Realism: Is there no alternative? (2009), and contributed to publications such as The Wire, Fact, New Statesman and Sight & Sound. He was also the co-founder of Zero Books, and later Repeater Books. He died in January 2017, shortly before the publication of his latest book The Weird and the Eerie (2017).
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k-punk
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Additional quotes by Mark Fisher
The power of capitalist realism derives in part from the way that capitalism subsumes and consumes all of previous history: one effect of its ‘system of equivalence’ which can assign all cultural objects, whether they are religious iconography, pornography, or Das Kapital, a monetary value. Walk around the British Museum, where you see objects torn from their lifeworlds and assembled as if on the deck of some Predator spacecraft, and you have a powerful image of this process at work. In the conversion of practices and rituals into merely aesthetic objects, the beliefs of previous cultures are objectively ironized, transformed into artifacts. Capitalist realism is therefore not a particular type of realism; it is more like realism in itself.
It would be a mistake to regard this market Stalinism as some deviation from the ‘true spirit’ of capitalism. On the contrary, it would be better to say that an essential dimension of Stalinism was inhibited by its association with a social project like socialism and can only emerge in a late capitalist culture in which images acquire an autonomous force. The way value is generated on the stock exchange depends of course less on what a company ‘really does’, and more on perceptions of, and beliefs about, its (future) performance. In capitalism, that is to say, all that is solid melts into PR, and late capitalism is defined at least as much by this ubiquitous tendency towards PR-production as it is by the imposition of market mechanisms.
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