What surfaced with the 2007 crisis is the fact that the derivative has taken hold outside the arcane world of financial speculation: exploiting algorithmic processes that leverage the dynamic recalibration of contingent claims (another term for derivatives) is not only characteristic of finance. Rather, its performative language has become the template for a technocapitalism (i.e., data-driven financial and platform capitalism) in which the future turns from an uncertain and unknown horizon to a trajectory to directly act in and on the present. In a nutshell, the future emerges today within a derivative paradigm. 

White Cube (2020) is a powerful and provocative dissection of art, class and decolonisation. The film follows the Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), a plantation workers’ cooperative based on a former Unilever plantation in the Congolese town of Lusanga, as they attempt to end the destructive system of monoculture on their lands – by building upon it a gallery, the ‘white cube’ of the title.

Martijn Konings is Professor of Political Economy and Social Theory at the University of Sydney. He is the author of The Development of American Finance (2011), The Emotional Logic of Capitalism (2015), Neoliberalism (with Damien Cahill, 2017), Capital and Time: For a New Critique of Neoliberal reason (2018), and The Asset Economy (with Lisa Adkins and Melinda Cooper, 2020). He is currently working on a book on the politics of asset inflation. He is also the co-editor of the book series Currencies: New Thinking for Financial Times. at Stanford University Press. During the 2021-22 academic year he holds a fellowship at the Berggruen Institute in Los Angeles.

With each passing year, the danger of drowning in our own liquidity is growing exponentially. Staying afloat in these exceptional times requires exceptional measures. What if you could start making money? Like, literally?

Artist, technologist and software developer Sarah Friend works on the imbricated fringes of art, finance and blockchain technology. From an NFT marketplace incentivizing coordination to scaling trust with the crypto-UBI project Circles, Friend uses software as a medium to parody, question and re-invent value and our social behavior towards capital.

Creativity is the capacity human beings have to generate new ideas. This capacity tends to flourish in extremes or times of crises, although not exclusively. When creativity emerges as a response to conditions of emergency or scarcity, it acquires predominance in all areas of cultural, economic, and social organization, as is the case of Cuba.

Creating an NFT from an art work on a Blockchain known to require the energy expenditure rivaling that of most countries where people will begin to suffer exponentially and extraordinarily is to assume the final evolution of artist as entrepreneur: No longer creator of beauty or meaning but of value.

Carmen is a 15 year-old GCSE student and content creator based in London. Since 2018, she has made over a 100 videos for her Youtube channel. Alongside Will, she also co-hosts "The Overthinking Podcast". @carmennyt / @theoverthinking.podcast

Interview with Evgeny Morozov

In order to turn the world into a swarm of living commons rather than self-abstracting, debased corporate entities, we need to engage further into how monetary systems, financial apparatuses and business models actually work.

Before the virus there was tear gas. Before tear gas there was flaming trash. Bassem Saad makes specific figurations with our grief.