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1. Don DeLillo (1936 - )

2. Don DeLillo (1936 - ) White Noise (1985)
3. Don DeLillo (1936 - ) White Noise (1985) Underworld (1997)
4. Don DeLillo (1936 - ) White Noise (1985) Underworld (1997) Cosmopolis (2003)
5. New York Times, April 13, 2003 “Though Don DeLillo gives his characters names, he might as well just assign them serial numbers. The barely corporeal cerebral entities that populate the pages of ''Cosmopolis,'' a novel about the alleged insanity of Nasdaq-era hypercapitalism, aren't so much people as walking topic headings.”
6. New York Times, April 13, 2003 “Though Don DeLillo gives his characters names, he might as well just assign them serial numbers. The barely corporeal cerebral entities that populate the pages of ''Cosmopolis,'' a novel about the alleged insanity of Nasdaq-era hypercapitalism, aren't so much people as walking topic headings.”
7. New York Times, April 13, 2003 “Though Don DeLillo gives his characters names, he might as well just assign them serial numbers. The barely corporeal cerebral entities that populate the pages of ''Cosmopolis,'' a novel about the alleged insanity of Nasdaq-era hypercapitalism, aren't so much people as walking topic headings.” “Beware the novel of ideas, particularly when the ideas come first and all the novel stuff (like the story) comes second.” –Walter Kim
8. New York Times, April 13, 2003 “Though Don DeLillo gives his characters names, he might as well just assign them serial numbers. The barely corporeal cerebral entities that populate the pages of ''Cosmopolis,'' a novel about the alleged insanity of Nasdaq-era hypercapitalism, aren't so much people as walking topic headings.” “Beware the novel of ideas, particularly when the ideas come first and all the novel stuff (like the story) comes second.” –Walter Kim
9. The Guardian, June 14, 2012 “DeLillo's highly charged language, when parcelled up into film dialogue, is cumbersome and self-conscious without the original speck of deadpan drollery. It is possible to read Cosmopolis as a premonition of the economic crash we now know all about, but really it looks like an exercise in zeitgeist-connoisseurship that appears obtuse, self-indulgent and fatally shallow.” –Peter Bradshaw
10. The Guardian, June 14, 2012 “DeLillo's highly charged language, when parcelled up into film dialogue, is cumbersome and self-conscious without the original speck of deadpan drollery. It is possible to read Cosmopolis as a premonition of the economic crash we now know all about, but really it looks like an exercise in zeitgeist-connoisseurship that appears obtuse, self-indulgent and fatally shallow.” –Peter Bradshaw
11. Los Angeles Review of Books The democratic idealism of a left movement dedicated to raising the consciousness of the masses to their own real interests and persuading peoplethat capitalism can be sort of, you know, excessive and unkind is exposed as foolishly ineffectual. All opposition to the techno-capitalist nexus in Cosmopolis is reduced to loud but merely cathartic protest, symbolic gesture, and at its outer reaches, literal martyrdom, assassination and terror. It’s all impotence and despair. History’s done. Techno-capitalism won.” --Cornel Bonca
12. Los Angeles Review of Books The democratic idealism of a left movement dedicated to raising the consciousness of the masses to their own real interests and persuading peoplethat capitalism can be sort of, you know, excessive and unkindis exposed as foolishly ineffectual. All opposition to the techno-capitalist nexus in Cosmopolis is reduced to loud but merely cathartic protest, symbolic gesture, and at its outer reaches, literal martyrdom, assassination and terror. It’s all impotence and despair. History’s done. Techno-capitalism won.” --Cornel Bonca
13. New Yorker, August 27, 2012 We can feel DeLillo’s loathing for the dematerialized world of financial manipulation; he makes Eric a kind of science-fiction metaphor of a human being, and Cronenberg cast the right man for a living cyborg. – David Denby
14. New Yorker, August 27, 2012 We can feel DeLillo’sloathing for the dematerialized world of financial manipulation; he makes Eric a kind of science-fiction metaphor of a human being, and Cronenberg cast the right man for a living cyborg. – David Denby
15. New Yorker Cronenberg has retained much of DeLillo’s dialogue, which is, by turns, clipped and expansive and idea-studded—a kind of postmodernist exposition of how money functions in cyberspace. And he has come up with an equivalent to DeLillo’s curt and cool equipoise—a style of filmmaking that is classically measured and calm, without an extra shot or cut.
16. New Yorker Cronenberg has retained much of DeLillo’s dialogue, which is, by turns, clipped and expansive and idea-studded—a kind of postmodernist exposition of how money functions in cyberspace. And he has come up with an equivalent to DeLillo’s curt and cool equipoise—a style of filmmaking that is classically measured and calm, without an extra shot or cut.
17. Cosmopolis Problems: Novel of ideas
18. Cosmopolis Problems: Novel of ideas Relation to capitalism before and after dot.combubble
19. Cosmopolis Problems: Novel of ideas Relation to capitalism before and after dot.com bubble Anticipating financial crisis
20. The machine age is over: “He took out his hand organizer and poked a note to himself about the anachronistic quality of the word skyscraper. No recent structure ought to bear this word. It belonged to the olden soul of awe, to the arrowed towers that were a narrative long before he was born” (9).
21. The machine age is over: “He took out his hand organizer and poked a note to himself about the anachronistic quality of the word skyscraper. No recent structure ought to bear this word. It belonged to the olden soul of awe, to the arrowed towers that were a narrative long before he was born” (9). “Why do we still have airports?” (22)
22. “They [the bank towers] looked empty from here . He liked that idea. They were made to be the last tall things, made empty, designed to hasten the future. They were the end of the outside world. They weren’t here, exactly. They were in the future, a time beyond geography and touchable money and the people who stack and count it. (36)
23. rats Epigraph: “A rat became the unit of currency” Zbigniew Herbert (Polish poet and essayist)
24. Parker and Chin “There’s a poem I read in which a rat becomes the unit of currency.” “Yes. That would be interesting,” Chin said. “Yes. That would impact the world economy.” “The name alone. Better than the dong or the kwacha.” “The name says everything.” “Yes. The rat,” Chin said. “ Yes. The rat closed lower today against the euro.” (23)
25. Electronic display: “A RAT BECAME THE UNIT OF CURRENCY” (96) Following: A SPECTRE IS HAUNTING THE WORLD—THE SPECTER OF CAPITALISM
26. Protest “Even with the beatings and gassings, the jolt of explosives, even in the assault on the investment bank, he thought there was something theatrical about the protest, ingratiating, even, in the parachutes and skateboards, the styrofoam rat, in the tactical coup of reprogramming the stock tickers with poetry and Karl Marx” (99).
27. Protest “Even with the beatings and gassings, the jolt of explosives, even in the assault on the investment bank, he thought there was something theatrical about the protest, ingratiating, even, in the parachutes and skateboards, the styrofoam rat, in the tactical coup of reprogramming the stock tickers with poetry and Karl Marx” (99).
28. Protest performance 1 [first clip: 01:41 ]
29. Protest performance 1 [first clip: 01:41 ] Protest performance 2 [second clip: 58:39]
30. Protest performance 1 [first clip: 01:41 ] Protest performance 2 [second clip: 58:39] Security performance [01:41]
31. Digital sublime “He studied the figural diagrams that brought organic patterns into play, birdwing and chambered shell. It was shallow thinking to maintain that numbers and charts were the cold compression of unruly human energies, every sort of yearning and midnight sweat reduced to lucid units in the financial markets. In fact data itself was soulful and glowing, a dynamic aspect of the life process. This was the eloquence of alphabets and numeric systems, now fully realized in electronic form, in the zero-oneness of the world, the digital imperative that defined every breath of the planet’s living billions. (24)
32. Digital sublime “He studied the figural diagrams that brought organic patterns into play, birdwing and chambered shell. It was shallow thinking to maintain that numbers and charts were the cold compression of unruly human energies, every sort of yearning and midnight sweat reduced to lucid units in the financial markets. In fact data itself was soulful and glowing, a dynamic aspect of the life process. This was the eloquence of alphabets and numeric systems, now fully realized in electronic form, in the zero-oneness of the world, the digital imperative that defined every breath of the planet’s living billions. (24)
33. Adam Smith (1723 – 1790)
34. Adam Smith (1723 – 1790) Professor of Logic, moral philosophy Theory of Moral Sentiments (1859) Sympathy Self-interest Market (competition) Division of labor Invisible hand
35. Adam Smith (1723 – 1790) System of perfect liberty, hampered by Monopolies Guilds Import dues and taxes
36. Adam Smith (1723 – 1790) Role of the government Defense Justice Infrastructure Education

37. Benjamin Franklin (1706 – 1790)

38. Benjamin Franklin (06 – 1790)The Art of Virtue
39. Benjamin Franklin (1706 – 1790)The Art of Virtue Frugality: “Make no expense but to do good to others or yourself; i.e. waste nothing.” Industry: Lose no time; be always employed in something useful; cut off all unnecessary actions” (83)
40. Benjamin Franklin (1706 – 1790) Life writing (autobiography): creation of self Mode of life, including values and habits (culture) These values are geared towards increase in wealth They are realized by calculation, a form of book keeping (his method).
41. Max Weber (1862 – 1920) Capitalism exists everywhere
42. Max Weber (1862 – 1920) Capitalism exists everywhere Greed
43. Max Weber (1862 – 1920) Capitalism exists everywhere Greed (self-interest) Capitalist adventurers (irrational speculation)
44. Max Weber (1862 – 1920) Capitalism exists everywhere Greed (self-interest) Capitalist adventurers (irrational speculation) War expenditures
45. Max Weber (1862 – 1920) Capitalism exists everywhere BUT
46. Max Weber (1862 – 1920) Capitalism exists everywhere BUT It becomes a dominant system in Christian countries
47. Max Weber (1862 – 1920) Capitalism exists everywhere BUT It becomes a dominant system in Christian countries AND It thrives in Protestant countries as well as Protestant areas of multi-confessional countries more than in Catholic ones
48. What is worldly asceticism? Benjamin Franklin: frugality and industry This mean: Limits on consumption. Cradle of modern economic man. Work as ascetic practice, not means to an end. Work as calling (vocation). Fixed calling (Luther) justification for division of labor.

49. Herman Melville (1819 – 1891)

50. PilviTakala, The Trainee (2008) Deloitte: audit, consulting, financial advisory, risk management firm Takala was just Just sitting there, without a computer Spending all day in elevator
51. Ibsen’s World Doctors, lawyers, real estate developers, bankers World of bourgeois capitalism (Weber) Not set at the office or workplace Home

52. Harley Granville Barker (1877 – 1946)

53. Preferred shares (Alguazils preferred) Atherley Trust 4 ½ percent (government bonds) Land lease Mortages
54. Risk Interest Debt Tax

55. George Bernard Shaw (1856 – 1950)

56. Weapon manufacturing – Salvation Army Act II+III: conflict between these two institutions and their interrelation

57. Karl Marx (1818 – 1883)

58. Communist Manifesto as world literature Revolutionary character of the bourgeoisie, creating a globalized world Sublime force of bourgeois capitalism But the bourgeoisie creates its successor: the proletariat (dialectics)
59. Historical materialism Materialism as inversion of idealism: Marx turns Hegel around: economic conditions determine ideas, not the other way around. Marx turns Hegel back on his feet. (Economic) base – (political and cultural) superstructure
60. Cultural explanation: Question of origin: a mode of life originating elsewhere (Puritanism) gets “selected” because it happens to suit capitalism (agency lies with capitalism) Question of (ultimate) cause: sometimes ideas transform economic relations
61. KarelČapek (1890 – 1938)
62. R.U.R. = Rossum’s Universal Robots Robota = serf labor, hard, manual work Rozum = reason
63. Economic explanation Industrialization created a class that will overthrow bourgeoisie: the workers (Robots) Reforms (Helen), seeking recognition of workers as human, are useless Only nationalism can avert united front of workers Historical reference point: WWI and Russian Revolution
64. Ending? Robots become human: emotions superfluous words admire beauty uselessness (Helen and Helen Robot) they will procreate like animals/humans (Alquist: “If you want to live you’ll have to breed, like animals!”) Robots are re-naturalized: evolution continues
65. Eugene O’Neill (1888 -1953)
66. Hairy Ape (1922) First Machine Age: Steam engine Rail road Steel Heavy industry
67. Muybridge, Horse in motion
68. Chronophotograph (1882)
69. Marcel Duchamp, Nude Descending A Staircase (1912)
70. Frederick Winslow Taylor Against rule-of-thumb method; experiment in order to economize all movements Break down motions into parts; eliminate unnecessary motions Conserving energy Paths way for Henry Ford’s assembly line
71. VsevolodMeyerhold (1874 – 1940) Theater of the first machine age New acting and movement: biomechanics Taylorism for the stage
72. Fritz Lang (1890 – 1976)
73. Future (futurism): Metropolis (2026) Model for 20th century science fiction, such as Blade Runner Vertical organization Elimination of nature
74. Tower of Babel, Peter Bruegel the Elder (1563)

75. Charlie Chaplin (1889 – 1977)

76. Chaplin and the machine: Keeping up with machine Repetitive movements Concentration (absorption) Becoming one with the machine Interruptions Work and leisure

77. Sophie Treadwell (1885 – 1970)

78. Ruth Snyer
79. Office machine Home machine Honeymoon machine Maternal machine Law machine Electric chair

80. Bertolt Brecht (1898 – 1956)

81. Paul Samson-Körner
82. Brecht’s emerging theory of theater Going to the theater like watching sports Not about motives, but moves in a game Do not empathize, but observe impartially Brecht’s admiration for the “objective” fighting style of Boxer Paul Samson-Körner, to whom he devotes a (unfinished) play called “The Human Fighting Machine”
83. ShenTe and Shui Ta played by same actor Visible costume change: audience knows something the other characters don’t Expert audience Estranged acting
84. Brecht on Chinese acting No fourth wall Use of symbols visible scene changes “the actors openly choose those positions which will best show them off to the audience, just as if they were acrobats”
85. Joseph Schumpeter, Harvard Yard
86. Source of creative destruction is entrepreneur Entrepreneur emerges from the culture (or spirit) of capitalism

87. Ayn Rand (1905 – 1982)

88. Alan Greenspan, Chairman of the Federal Reserve 1987 - 2006
89. Rand portrays not the rational, calculating economic actor but exemplifies in her characters and the world she constructs around them the “philosophical base” of capitalism, a world that is meant to reveal the values of capitalism
90. Rand and Brecht Views on charity? Manifesto-like speeches? Construction of character? Techniques of political art?
91. Wright, Falling Water

92. David Mamet (1947 - )

93. How language works: Threats Fantasies Insinuations Robbery plot: just listening means being implicated [third bookmark: 0:45]