Michelangelo’s Creation of Adam.
RECAP: As we approach the opening of the (iron?) curtain to Marx’s Capital, we will set the stage by touching upon the work of those that Marx refers to in his magnum opus. Not only should excerpts of related thinkers help show how Capital is expected to be a step up from these, but they should also give a clue as to the power of Capital in highlighting with awesome lucidity the problematic nature of today’s capitalist social relations.
Today, we get closer to the examination of Marx’s Capital because, until now, we’ve presented elements of decor which were rather static: beginning with the worker’s desire, we zoomed out from his psyche and considered the existence of his “human nature”, then zoomed out once again until we saw chains binding him to the figure of the capitalist. In this post, we consider the dynamism of the relation between these two actors, with the help of Johann Heinrich von Thünen (1783-1850):
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Credits: Fine Art America.
Welcome to part 3! If you’ve made it this far, you’re set. It seems to me “Machine Praxis” was a big leap in theory compared to “Battery”, and I think this third part will be much easier, because we should be more focused on elements of the movies rather than on the theory.
So what have we seen until now? We’ve seen that 1) the material premise of the movie (a large majority of humans being grown for the reproduction of machines) is highly compatible with Marx’s account of the relation between Capital and Labour; 2) the language and actions of both machines (such as the Architect) and “rebels” (such as Morpheus) are characteristic of the properties Marx assigns to the Infrastructure-Superstructure conceptual couple (which ties into ideology), and uncharacteristic of revolutionary praxis.
At the end of “Reloaded”, Neo makes a choice which supposedly breaks the functioning of the Matrix, by refusing to return to the source of the Matrix, which would restart it and the whole process by which it maintains its existence. In part 4, we will deal with the consequences of this “choice”. In this part, I want to show clues among elements of the first two movies hinting that Neo’s choice in the Architect scene is not only possible, but probable, thus putting into question if we can really call this a “choice”.
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