Even though, precisely through the logic of the mass production of critical texts dealing with the above-mentioned context, this publication as well will ultimately exist in such a register, the distinctive feature of this publication is its aspiration to place the relationship between creativity and capital in the context of an analysis wherein capitalism is treated as the framework of a broader relationship of domination, which to a great degree goes beyond the currently popular critical niche focused on analyzing the relationship between creativity, abstraction or representation in general and capital.
Regardless of whether we speak of the ideological use of the concept of creativity in the name of rationalization of the neoliberal strategies of transforming the city into ghettoized class and racial apartheids, whether we speak of the exploitation of attention the economy of attention by financial capital or generally about the epistemological positioning of creativity, abstraction or the domain of representation within the dominant form of rationalization and reproduction of capitalism, this publication strives to retain a critical view that sees these processes as forms of the perpetuation of the hegemony of capitalism in the so-called contemporary era.
As regards the temporal framework encompassed in this publication, although certain texts, through the logic of the necessity of historicization of specific strategies and practices refer to historical periods preceding the 21 st century, the majority of the texts contained in this publication refer to social and political processes from the end of the 20 th and the beginning of the 21 st century, that is, the current period.
In this sense, the dominant ideological discourses, strategies and power relations of today constitute the focus of attention of the topics of this publication.
Before shortly introducing the texts it should be noted that this publication in its iteration in Serbian language contained one article that is not featured in this English iteration. From a structuralist position, Beller analyses the role which the commodification of the image, attention and abstraction plays in the neoliberal free market and its ideologies, but in those same contemporary forms of capitalism the author also detects a specific colonial and racial relationship of domination.
