The early 2020s commonplace that everything seems unreal is a material truth. Advances in logistics are generating more counterfeits. Blockchain technology promises to help stem the deluge of counterfeit products, but the Blockchain dream also reminds us that logistics is an imperfect performative art. The material good becomes the unreal figure, while airy speculation assumes greater predictability. All that is solid melts into air, but all that is air comes back to the ground.

Konings successfully mobilizes social theory to demonstrate how various post-Marxist, Polanyian, and Foucauldian analyses fail to make sense of financialization and neoliberal governance as persistent societal formations. In their place he offers an analysis focused on the logic of ‘leverage’, which he sees as a source of not only private gain but also governmental power. I fully endorse Konings' turn to social theory, and in particular to the work of Niklas Luhmann. But I suggest that, since Konings leaves out Luhmann's broader theory of society, he can neither capture the tight couplings between the economy and politics presupposed in neoliberal governance, nor contextualize this governance as a ‘provincial’, US-centred project.

In this essay, I argue that Christophers’ description of asset-manager society is best characterized by a logic of ‘acquire and extract’. I build on his insights to delve into the less-explored world of emancipatory alternatives. I argue for radical transformations – what I term ‘democratic ruptures’ – that shift the investment logic of asset managers toward one of ‘build and nourish’. With insights from the failure to establish economic democracy over large pools of finance by unions in the postwar period, I argue that the crucial missing ingredient in the social and ecological disaster of asset-manager society today is democracy. I conclude with a radical reimagining of financial democracy for the twenty-first century.

This article explores venture capital (VC) as a means and process of accumulating future social necessity. It explores the mechanisms of growth that make VC-backed firms distinct. I argue that a distinctive feature of surplus value capture through VC is valorization via socially necessary contracted space-time, a corrective to Marx’s theorization of socially necessary labor time, which appears incomplete in the context of VC. First, extending Marx’s general formula for capital, I develop a general formula for VC, demonstrating how the VC investment upends traditional theories of capitalist accumulation. Second, I argue that VC invests in firms seeking to capture ‘human capital’ resources and uncapitalized market ‘space’ (noncapitalist social logics of exchange) with the aim of achieving ‘product-market fit’. Third, I demonstrate how time and space are contracted under the VC process as a value capture (VC) mechanism relating to future social necessity. VC is, I argue, about accumulating today what we will all need to be consuming tomorrow, just to keep up with social norms. Finally, I explore how the valorization of crisis (VC) demonstrates the accumulation of future social necessity in practice. I conclude with thoughts concerning the possibility of alternatives beyond the overdetermined rapacity of ‘VC’.

Based on a reading of Joseph O'Neill's 2008 novel Netherland, this article discusses the relationship between cricket and finance capitalism from the perspective of time and temporality. Despite its function as a global commodity, cricket inserts a flow of postcolonial time into the temporal streams of transnational market culture, neoliberalism, and the increasing financialization of the world. Set in the aftermath of 9/11 and before the financial crisis of 2008, Netherland juxtaposes the deviant temporal power of cricket with the time structures of finance capitalism to illustrate how the conduct of Wall Street before the crisis can be understood as a colonial appropriation. In O'Neill's novel, this conflict is embodied in the precarious friendship of a cosmopolitan Dutch financial analyst and a Trinidadian version of Jay Gatsby.

The quest for social status is usually considered one of the main drivers of the demand for consumer credit. This article provides a nuanced take on consumer credit by exploring the interaction between consumption, borrowing, and class identity. To do so I pursue a cultural class analysis inspired by the work of Pierre Bourdieu. Drawing from 26 semi-structured interviews, the article has two main findings. First, it shows that people engage in borrowing not only to gain prestige, but also to assert their belongingness to symbolic groups, which embody the values of imagined communities. Second, against the idea that borrowing is undertaken mainly for conspicuous consumption, the article's findings show that middle-income families in Chile borrow to consume ‘ordinary’ goods. Through the consumption of these goods, the Chilean middle classes seek to stabilize their class identities through their life trajectories, thereby achieving a sense of place in a changing environment. These findings lead me to focus on the normalization of credit and the process through which borrowing practices turn consumer goods from wants into needs, ratcheting up the demand for credit. The article argues that this is an overlooked way in which competitive dynamics drive the demand for credit, which is a missing link in the explanation for the rise of household debt.

Assets thrive on liquidity but they also enact a freezing of their own, a freezing of the underlying. How can we undo the cold reign of the asset economy? By turning state practices of asset freezing into the basis for a pirate tactic of de-assetization. De-assetization means freezing over the pipes that keep capital circulating; it also means applying heat to the notion that everything in the world can and should be frozen in order to release more liquid flows of cash.

The work of the artist and writer Gerald Nestler explores finance and its social implications since the mid-1990s. Based on his professional experience as a trader as well as on post-disciplinary research, he has developed a unique approach that brings together theory and conversation with installation, video, performance, text, and other art forms. Probing into the narrative structures of contemporary capitalism, Nestler offers a techno-political critique directly from the core of the financial markets. This interview addresses his reading of the derivative as a world-producing apparatus that shapes the experience of the present by preconfiguring the future, and that provokes a shift from representational to performative speech in the actualization of biopower based on the exploitation of volatility and leverage. In conversation with Christian Kloeckner and Stefanie Mueller, he argues for the formation of specific human/non-human alliances that directly attack algorithmic as well as socio-economic black-boxing (schemes that monopolize inherently non-scarce resources), so as to open our imagination to skills and tactics that would allow us to navigate the rich but volatile flows of social, political, and economic abundance.

Attending to the peculiar significance of finance(s) and the financier in Old Regime France, this article analyzes narratives that rehabilitate both, circa 1740-1755, in their political, social and biographical contexts. Positive representations are not thought to have been common. Yet following the Law debacle, restoration of traditional court finance resulted in effective administrative practices, universalizing policies and opportunities for merit, combined with money, to drive advancement, competing with hereditary privilege. Across genres, Charles Pinot-Duclos and Charles de Fieux, the Chevalier de Mouhy, depicted how upstart elites enact virtue, philanthropy and patriotism through finance. Their depictions reflected State policies and served common interests of writers and their protectors and patrons. Yet by emphasizing tensions in mid-century society, their texts also challenged readers to reflect critically on relations among finance, politics, society and indebtedness, anticipating a later focus on political economy as such. For today's readers grappling with dilemmas of modern finance, society and obligation, they provide provocative precedents.

This essay explores the meaning that volatility assumes in the Chinese stock market context. Drawing on discussions from ‘mom and pop’ online forums, it argues investors operate in a relational position with the Chinese state regulators that both sustain and threaten their market activities. Chinese stock markets are known to be the most volatile in the world. To face the state's arbitrary intervention in the market, investors must constantly juggle the options of either leaning on and trusting the regulators’ capacity to protect and rescue their stocks or engaging in risky margin trading and short-selling activities. This contradictory behavior is reflected in the popular self-mocking meme that keeps circulating in investors online forums, the one of the jiucai (meaning ‘garlic chives’). The investors often use it with irony to describe their own tendency to throw cash into the markets again and again, hoping to regain the money they lost in previous investments, never learning a lesson. Linking the financial with the biopolitical dimension, the essay takes the jiucai meme to show the extent to which volatility points to the production of new subjects whose resilience involves the adoption of practices of speculation to conjure a future for themselves that is reborn multiple times.

There is no proper place within economic thought for the void. It appears nowhere in the canonical texts of political economy, let alone the discourse of conventional economics. Yet one cannot shake the sense that it is implied in most if not all financial commentary. At the very least, the void exerts a magnetic pull on a range of related terms in the lexicon. Could it be that through these it grounds the financial imagination in fundamental ways?

The interface of political economy with arts and literature has become dominated by a particular image: capital's Grinch-like theft of the future. But this image overlooks the peculiar temporal structure of neoliberalism, which renews its broken promises by making up ever more excuses for the past. Contemporary bailout society requires a form of critique that acknowledges these dynamics, that targets the way capital reconstructs our relationship to the past.

This article examines different ways in which finance models have become the ruling mode of spatializing relationships, arguing that the ongoing convergence of economic and spatial investment has transformed our environments into heavily contested ‘financescapes’. First, it reflects upon architecture's capacity to give both material and symbolic form to these processes and considers the impacts this has on the emergence of novel kinds of urban investment frontiers, including luxury brand real estate, free zones, private cities, and urban innovation hubs. Focusing on speculative urban developments in Morocco and the United Arab Emirates, the article then highlights the performative dimension of such building programs: how architectural capital is put to work by actively performing the frontiers of future development. Physically staking out future financial gains, this mode of operation is today becoming increasingly manifested in urban crowdfunding schemes. We argue that, far from promoting new models of civic participation, such schemes are functioning as a testbed for speculation around new patterns of spatial production in which architecture acts less as the flagstaff of capital than as a capital system in itself.

In Greek archaic literature and philosophy, Eros, the god of love and desire, has numerous origin stories, which lead to different understandings of his nature. These extend to both orthodox and heterodox texts within the economic canon, whose definitions of interest rearticulate the mythological subtext of desire. What might have happened if the Western world had not discarded the passions in its quest for material progress?

History in Financial Times sheds light on the historiography of contemporary finance. But there is a tension in the book that is inescapable: between the production of crisis historiography, on the one hand, and the practice of the concept of crisis, on the other. There is, in other words, a barely articulated distinction between crisis as a “metahistorical force” and crisis as a “peculiar, naturalist” category.

This article discusses the rise of modern banking, the invention of credit and a related persistent orientation to the future inherent in credit-based economies, through the example of the novel which, as a literary form, came into being at roughly the same time. As a distinctly commercial genre and as a product of the financial revolution, novels ask readers to ‘credit’ the stories they tell with truthfulness, and to invest them with a particular form of credibility as significant narratives. At the same time, novels invite readers to imagine ‘as if’ scenarios and possible worlds in much the same way that borrowed capital enables people to construct life worlds based on resources not yet realised through investment in a speculative economy. Therefore, by examining how finance and gambling debts circulate in one particular text from the eighteenth century - Francis Burney's Cecilia - as a primary example of how credit and fictionalisation grew up together, this article argues that credit and risk feed into the narrative accounting and recounting of the text and articulate the affective structure of the financialised future that we have now inherited, and which informs how we understand ourselves as subjects, as well as how we interact with finance as a form of entertainment.