Abolish Silicon Valley—How to Liberate Technology from Capitalism

Abolish Silicon Valley—How to Liberate Technology from Capitalism

A Conversation with WENDY LIU

Abolishing Silicon Valley means freeing the development of technology from a system that will always relegate it to a subordinate role, that of entrenching existing power relations. It means designing a new system that isn't deluged in the logic of the bucket. It means liberating our worlds from the illegitimate ring of capital. Perhaps this sounds unfair to capital. Perhaps I sound like I'm not grateful enough for everything that capital has given us, but we don't owe capital anything; the things we attribute to capital were built by workers. People can labor and sometimes die in a process. Their contributions are unrecognized in death as in life. So don't thank capital. It doesn't deserve our gratitude, and it doesn't need it. Thank the people who created everything that capital always takes credit for. Capital is a means of accounting for wealth ownership, not its creation. And that means it's perpetually shrouded in a fundamental untruth; we can leap the swamp of capital behind and start over with something new. 

In this episode on Speaking Out of Place podcast Professor David Palumbo-Liutalks with Wendy Liu. Ever since its publication, Abolish Silicon Valley—How to Liberate Technology from Capitalism has proven to be more urgent and insightful. Today, he talks with author Wendy Liu about how developments like AI and LLM, further erosions of intellectual property, and increased invasions of privacy make the case for abolishing Silicon Valley even more important. They talk about how abolition is critical at a time when more and more the private sector has come to eviscerate the public good. Turning to the genocide in Gaza, they discuss the ways Capital has enlisted technology in deadly and horrific manners. They end with a meditation on the commons and how one can live with fewer commodities and find value in common projects to make life more valuable and worthwhile outside of the logic of the market.

Everything for Everyone: An Oral History of the New York Commune, 2052-2072

Everything for Everyone: An Oral History of the New York Commune, 2052-2072

A Conversation with M. E. O’BRIEN & EMAN ABDELHADI

The book is a speculative fiction novel that imagines a transition out of capitalism in the nation-state in the next few decades, but it is composed of a series of fictional oral history interviews. We imagine ourselves in the future, and we are writing a book to celebrate the 20th anniversary of a food riot that launches the New York version of this kind of revolutionary transition. We are conducting various oral histories with different actors, some who participated in the revolution and some who grew up in the new social form, which is the commune. The book consists of a series of 12 interviews that we trade off as interviewers. It was actually Michelle’s idea to write the book. She had written a fictional oral history interview for an online magazine and invited me to create a whole novel of these interviews. We both have a relationship with oral history as a form of research and engagement with the world. I conduct life history interviews for my sociological research, and Michelle ran a New York Trans Oral History project, which is a great archive that people should check out. It has 200 interviews, so we both have experience in this field. We are both science fiction fans, friends, and comrades. I have spent many years discussing politics, the future, and the left. The book is a culmination of all these elements, representing an intersection of various facets of our lives as scholars, as well as our friendship and comradeship. We pitched the book to Common Notions, presenting a general outline of the world and brief paragraphs about each character we thought we might write about. They encouraged us to proceed, and the rest is history.

THE DREAM HOTEL with LAILA LALAMI

THE DREAM HOTEL with LAILA LALAMI

A Conversation with Author LAILA LALAMI
on Dreaming Beyond the Algorithmic State

What happens when the state, with the pretext of protecting public safety, can detain indefinitely certain individuals whose dreams seem to indicate they may be capable of committing a crime?  Set in a precarious world where sleep-enhancing devices and algorithms provide the tools and formulae for making one’s unconscious a witness to one’s possible waking life, this novel touches on a myriad of political, philosophical, and moral concerns as they particularly connect to issues of gender, race, ethnicity, privacy, and the security state.

TAO LEIGH GOFFE on Poetics, Poesis & Un-making the Climate Crisis

TAO LEIGH GOFFE on Poetics, Poesis & Un-making the Climate Crisis

with TAO LEIGH GOFFE · Author of Dark Laboratory: On Columbus, the Caribbean, and the Origins of the Climate Crisis

We manage to create a poetics out of that which wishes to destroy us and the planet. How else will we be able to live in ‘the after’? We must reassess what a problem is.  Living is not a problem, as Audrey Lorde reminds us. I would add that dying is not a problem either. Decomposing is essential to the natural order and cycle of life. Living at the expense of others is a problem.

We Grow the World Together: Parenting Toward Abolition with MAYA SCHENWAR & KIM WILSON

We Grow the World Together: Parenting Toward Abolition with MAYA SCHENWAR & KIM WILSON

Parenting Toward Abolition
A Conversation with MAYA SCHENWAR & KIM WILSON about what inspired them to commission a wide range of amazing activists, artists, scholars, and organizers to write whatever came to their minds about the topic of parenting and abolition. The result is a rich mosaic of unique insights expressed in diverse forms, but each one touching deeply on the interdependency of living beings and the importance of caregiving in all its forms. It is this commitment that leads us always to imagine an abolitionist future for ourselves, and all children.

Building Worlds Beyond Modernity’s Double Fracture: A Discussion with Azucena Castro & Malcom Ferdinand

Building Worlds Beyond Modernity’s Double Fracture: A Discussion with Azucena Castro & Malcom Ferdinand

A Discussion with Azucena Castro & Malcom Ferdinand

Ferdinand discusses the “double fracture”—the environmental division of humans from their connection to the biosphere, and the colonial division instantiated by white supremacism and patriarchy. He insists that we not see these two phenomena as separate, rather as intimately connected. This double fracture makes any attempts to solve either environmental violence or colonial violence ineffective. In her foreword to Ferdinand’s Decolonial Ecologies, Angela Y. Davis writes that as she read the book, she “recognized how perfectly his conceptualizations illuminate the frameworks we need for both philosophical and popular understandings of our planetary conditions today.” The conversation covers how art, film, and poetry can manifest some of those frameworks, and Azucena takes us into a deep discussion of this and reads two poems in Spanish and then in English translation and has Malcom gloss them for us.

Shaping Iranian Diasporic Identities in Times of Crisis & Change: A Conversation with Persis Karim & Roya Ahmadi

Shaping Iranian Diasporic Identities in Times of Crisis & Change: A Conversation with Persis Karim & Roya Ahmadi

on a new documentary film, The Dawn is Too Far: Stories of Iranian-American Life. The film captures the lives of young Iranian-Americans who come to the San Francisco Bay Area around the time of the Iranian Revolution, and find themselves involved with, and helping to shape, a vibrant, international culture of politics and art.

The Dialectic is in the Sea: A Conversation with Christen A. Smith on the Work of Black Feminist Beatrix Nascimento

The Dialectic is in the Sea: A Conversation with Christen A. Smith on the Work of Black Feminist Beatrix Nascimento

Beatriz was a critical figure in Brazil’s Black Movement until her untimely death in 1995. Although she published only a handful of articles before she died and left only a few other recorded thoughts, her ideas about the symbolic relationship between quilombos (Afro-Brazilian maroon societies) and black subjectivity encourage us to re-imagine the meaning of Black liberation from a transnational, Black feminist perspective.

The New Indonesian Regime & Revitalizing the Decolonial Critique

The New Indonesian Regime & Revitalizing the Decolonial Critique

A Conversation with Intan Paramaditha and Michael Vann

Today, Sunday morning, October 20, former general Prabowo Subianto is being sworn in as Indonesia’s new president. In this episode on Speaking Out of Place podcast Professor David Palumbo-Liu and Azeezah Kanji talk with Intan Paramaditha and Michael Vann about the road leading up to this inauguration, beginning in the 1960s with the Suharto regime.  Prabowo is a strong-arm authoritarian figure with a bloody record of human rights violations, yet he has remade his image as a cuddly, elder populist figure.  We spend some time talking about how his regime is likely to continue, if not accelerate, aggressive and brutal economic development policies that have wrecked the environment and displaced Indigenous peoples.  We talk a lot about how both the Indonesian media and some of its art world has been enlisted to promote this regime, and how decolonial feminists and others have taken on the task to both resist and present, and embody, other ways of being through listening to and engaging with voices from outside Jakarta and the liberal elites.

PRIYAMVADA GOPAL & FRANÇOISE VERGÈS on the Recent Elections in Britain & France

PRIYAMVADA GOPAL & FRANÇOISE VERGÈS on the Recent Elections in Britain & France

on the Recent Elections in Britain and France

I would say what we can celebrate is the incredible mobilization of the young people. They went everywhere, they knocked on the door, they mobilized. This was an incredible, incredible mobilization. So that was extraordinary because it showed real mobilization and an understanding that the National Rally was a real threat. We knew that if they came to power, the first people who would be targeted would be people of color, and that was absolutely clear.

Black Geographics with CAMILLA HAWTHORNE - SPEAKING OUT OF PLACE

Black Geographics with CAMILLA HAWTHORNE - SPEAKING OUT OF PLACE

Co-Editor of The Black Geographic: Praxis, Resistance, Futurity
Author of Contesting Race and Citizenship: Youth Politics in the Black Mediterranean

A Black geographic perspective for me was really helpful in trying to clarify how we can simultaneously understand Blackness as a global project, that is anti-national, that transcends borders, but that also takes on really specific meanings and practices in different places…engagements with Black geographies that are looking just beyond the framework of North America.

Speaking Out of Place: VEENA DUBAL discusses how Uber, Lyft, Instacart, DoorDash…use algorithmic wage discrimination against their workers

Speaking Out of Place: VEENA DUBAL discusses how Uber, Lyft, Instacart, DoorDash…use algorithmic wage discrimination against their workers

on how Uber, Lyft, Instacart, DoorDash and others use algorithmic wage discrimination against their workers

In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liu speaks with Professor Veena Dubal about how such companies have exported globally a technique of algorithmic wage discrimination that pays workers based on data to which they have no access. Owners dangle bonuses before workers but take away work from them as they draw close to achieving their targets; they use psychological tricks derived from video games to create a casino-like environment where the house always wins. Dubal urges us not to fall into the trap of competing against the house, but back to “good old-fashioned organizing.”

Highlights - Actress CATHERINE CURTIN (Orange is the New Black) & Artistic Director KATE MUETH (Director, Educator, Choreographer)

Highlights - Actress CATHERINE CURTIN (Orange is the New Black) & Artistic Director KATE MUETH (Director, Educator, Choreographer)

"I don't know why we would really want to tell stories without being connected to the meaning. And I think that's especially for women, but I do think for human beings, that is how we can work as hard and be able to get up the next morning and keep going. Because we are working through the meaning, and it feeds us as we're like making sense of it all, trying to make sense of it, and for being in community and communion.” - Kate Mueth
”What we've done today is we've made everything so fast and so easy that I think there's something to the creative process about it being a little bit more of an exploration than it is wham bam, it's done. Let's go have lunch. And I think there is something to the creative process where it's allowed to develop. It's called process because it is a process. I'm always glad to just relax in the creative process, and I'm always very grateful for that. I think it's why I do so much indie film because it's really fun.” -Catherine Curtin

Actress CATHERINE CURTIN (Stranger Things) & Artistic Director KATE MUETH (Neo-Political Cowgirls)

Actress CATHERINE CURTIN (Stranger Things) & Artistic Director KATE MUETH (Neo-Political Cowgirls)

"I don't know why we would really want to tell stories without being connected to the meaning. And I think that's especially for women, but I do think for human beings, that is how we can work as hard and be able to get up the next morning and keep going. Because we are working through the meaning, and it feeds us as we're like making sense of it all, trying to make sense of it, and for being in community and communion.” - Kate Mueth
”What we've done today is we've made everything so fast and so easy that I think there's something to the creative process about it being a little bit more of an exploration than it is wham bam, it's done. Let's go have lunch. And I think there is something to the creative process where it's allowed to develop. It's called process because it is a process. I'm always glad to just relax in the creative process, and I'm always very grateful for that. I think it's why I do so much indie film because it's really fun.” -Catherine Curtin

Highlights - MICHAEL BEGLER - Showrunner of PERRY MASON starring Matthew Rhys, Juliet Rylance - THE KNICK starring Clive Owen, dir. Steven Soderbergh

Highlights - MICHAEL BEGLER - Showrunner of PERRY MASON starring Matthew Rhys, Juliet Rylance - THE KNICK starring Clive Owen, dir. Steven Soderbergh

Showrunner · Writer & Executive Producer
Perry Mason starring Matthew Rhys, Juliet Rylance, Shea Whigham, Hope Davis
The Knick starring Clive Owen · directed by Steven Soderbergh

Storytelling is our oldest art form. We can't silence the arts and those voices because if we do, we lose something that is so crucial to who we are just as human beings. We want to tell stories. We want to express things. For example, I cannot draw. And one day the teacher wanted us to do negative space drawings. And I said, "What is that?" And they explained that it's looking at what's around the object and not the object. And it clicked, and it made me look at things from a whole different perspective. And you know, what? That became where I was most successful. And so for me, there's are an infinite number of ways to tell a story that you never run out of ideas, that you can always find another road, another way to look at something. That's probably one of the key elements to my career.

MICHAEL BEGLER - Showrunner of PERRY MASON starring Matthew Rhys, Juliet Rylance, Shea Whigham, Hope Davis

MICHAEL BEGLER - Showrunner of PERRY MASON starring Matthew Rhys, Juliet Rylance, Shea Whigham, Hope Davis

Showrunner · Writer & Executive Producer
Perry Mason starring Matthew Rhys, Juliet Rylance, Shea Whigham, Hope Davis
The Knick starring Clive Owen · directed by Steven Soderbergh

Storytelling is our oldest art form. We can't silence the arts and those voices because if we do, we lose something that is so crucial to who we are just as human beings. We want to tell stories. We want to express things. For example, I cannot draw. And one day the teacher wanted us to do negative space drawings. And I said, "What is that?" And they explained that it's looking at what's around the object and not the object. And it clicked, and it made me look at things from a whole different perspective. And you know, what? That became where I was most successful. And so for me, there's are an infinite number of ways to tell a story that you never run out of ideas, that you can always find another road, another way to look at something. That's probably one of the key elements to my career.

Highlights - JOY GORMAN WETTELS - Exec. Producer “UnPrisoned”, “13 Reasons Why”, "Home Before Dark”, “Eyes on the Prize: Hallowed Ground”

Highlights - JOY GORMAN WETTELS - Exec. Producer “UnPrisoned”, “13 Reasons Why”, "Home Before Dark”, “Eyes on the Prize: Hallowed Ground”

Award-winning Executive Producer of UnPrisoned starring Kerry Washington & Delroy Lindo
13 Reasons Why · Home Before Dark · Eyes on the Prize: Hallowed Ground
Founder of Joy Coalition

With UnPrisoned and with really my whole body of work as a producer, I'm really drawn to stories that make people feel seen that take issues that have stigma and shame attached to them, and making those issues just more palatable and more human. And few people realize that 50% of American families are touched by incarceration. And when you meet someone like Tracy McMillan, who really is a miracle, this is a woman who's now in her fifties who grew up in 22 different foster homes because her father was incarcerated when she was so little. And yet for all of his mistakes, the fact that he was a career criminal, he still, when he could change her diapers, he was present when he could be there. He braided her hair, and there was real love there. But they were separated not only by his mistakes, but by a system that is really unforgiving and really unfair, especially to black and brown men. So, the idea that we could tell a story where a young woman who was raised that way and by that person turns out to be Kerry Washington. You know, turns out to be somebody who you want to be, turns out to be "Olivia Pope", this woman that we all see as so beautiful and such a hero and so strong and so powerful, I felt was just an incredible opportunity. And when we first put Tracy and Kerry in the same room, Kerry said to Tracy, "You know you're a miracle, right?"

JOY GORMAN WETTELS - Exec. Producer “UnPrisoned” starring Kerry Washington, “13 Reasons Why”, Founder of Joy Coalition

JOY GORMAN WETTELS - Exec. Producer “UnPrisoned” starring Kerry Washington, “13 Reasons Why”, Founder of Joy Coalition

Award-winning Executive Producer of UnPrisoned starring Kerry Washington & Delroy Lindo
13 Reasons Why · Home Before Dark · Eyes on the Prize: Hallowed Ground
Founder of Joy Coalition

With UnPrisoned and with really my whole body of work as a producer, I'm really drawn to stories that make people feel seen that take issues that have stigma and shame attached to them, and making those issues just more palatable and more human. And few people realize that 50% of American families are touched by incarceration. And when you meet someone like Tracy McMillan, who really is a miracle, this is a woman who's now in her fifties who grew up in 22 different foster homes because her father was incarcerated when she was so little. And yet for all of his mistakes, the fact that he was a career criminal, he still, when he could change her diapers, he was present when he could be there. He braided her hair, and there was real love there. But they were separated not only by his mistakes, but by a system that is really unforgiving and really unfair, especially to black and brown men. So, the idea that we could tell a story where a young woman who was raised that way and by that person turns out to be Kerry Washington. You know, turns out to be somebody who you want to be, turns out to be "Olivia Pope", this woman that we all see as so beautiful and such a hero and so strong and so powerful, I felt was just an incredible opportunity. And when we first put Tracy and Kerry in the same room, Kerry said to Tracy, "You know you're a miracle, right?"

Highlights - Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Highlights - Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Award-winning Poet, Filmmaker & Speaker
Creator of the Stand-Up Poetry Special Words That Move

Technology has very much changed the way we read and take in information and shortened it into quick bursts and attention spans. We're living in a new world, for sure. And how do we communicate in this new world? Not just in a way that gets the reach, because there are whole industries aimed at what do I do to get the most likes or the most attention, and all of that, which I don't think is very fulfilling as artists.

It's sort of a diminishing of our art form to try and play the game because then we're getting the attention and getting the hits, as opposed to what do I really want to create? How do I really want to create it? How do I want to display this? And can I do it in a way that breaks through so that if I do it my way, it's still going to get the attention, great. But if it doesn't, can I be cool with that? And can I be okay creating what I want to create, knowing that that's what it's about. It's about sharing in an honest, authentic way what I want to express without letting the tentacles of social media drip into my brain and take over why I'm literally doing the things that I'm doing.

Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Award-winning Poet, Filmmaker & Speaker
Creator of the Stand-Up Poetry Special Words That Move

Technology has very much changed the way we read and take in information and shortened it into quick bursts and attention spans. We're living in a new world, for sure. And how do we communicate in this new world? Not just in a way that gets the reach, because there are whole industries aimed at what do I do to get the most likes or the most attention, and all of that, which I don't think is very fulfilling as artists.

It's sort of a diminishing of our art form to try and play the game because then we're getting the attention and getting the hits, as opposed to what do I really want to create? How do I really want to create it? How do I want to display this? And can I do it in a way that breaks through so that if I do it my way, it's still going to get the attention, great. But if it doesn't, can I be cool with that? And can I be okay creating what I want to create, knowing that that's what it's about. It's about sharing in an honest, authentic way what I want to express without letting the tentacles of social media drip into my brain and take over why I'm literally doing the things that I'm doing.