Table of Contents Preface AcknowledgementsIntroduction: 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
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).