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In Das Kapital, Karl Marx invented a strange image, that of the “ghost dance,” which may well represent the symbolic essence of capitalism: practical, social relationships of production are being reduced to abstractions, and conversely, the abstract (exchange value) is being transformed into something concrete. Thus, human beings actually live in an abstract world, that of trade and capital flows, and conversely, they live abstractly in the real world of work, proving the two to be interchangeable. This is the ghost dance that Marx described: Inanimate things start to dance like ghosts, while humans become the ghosts of themselves. Subjects become objects, and objects subjects. Things are personified, and relations of production are reified.

At the beginning of the twenty-first century, a period that could be called the political Anthropocene, this ghost dance not only concerns people and things in a relation of industrial production, but it places the subjects of the global economy and the global environment in a more dramatic reversal: the immaterial economy has invaded concrete geophysics, and the physical world has become a byproduct of the abstraction of capital. At an earlier stage of the capitalist system, when Marx discovered commodity fetishism, he described the worker as “alienated,” due to the lack of a living relationship with the product of their labor. Today, this alienation, inseparable from the accumulation of capital, extends to the biological and physicochemical: When a company files a patent to claim ownership of an Amazonian plant, when seeds become products, when natural resources become pure objects of speculation, it is capitalism that is the environment, and the environment is capital.