Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
This essay seeks to draw connections between, on the one hand, the financialization of the global economy and everyday life in the post – Bretton Woods era (post-1973) and, on the other, the simultaneous rise to prominence of discourses of creativity in the “new economy.” It argues that the financial sector both orchestrates a fundamentally unequal global division of creative labor and lays claim to an inherent creative power and a duty to unleash “creative destruction” on social and economic life. The essay suggests that the idea of the derivative can help illuminate the wooly rhetoric of “creative capitalism,” “creative cities,” and the “creative economy,” as well as the stark realities of precariousness and self-exploitation that animate labor today. Not only is the derivative the emblematic technology of a financial system based on the quasi-scientific management of risk, it also names creativity's antonym, and the tension between the two allows one to reconceive both the financial system and the idea of creativity itself.
Radical History Review – Duke University Press
Published: Dec 21, 2014
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.