The financial crisis of 2007-8 sparked a variety of responses from elites and popular movements across the world. Its legacy also continues to shape capitalist societies through ongoing processes of regulatory reform, state restructuring, and financial innovation. While these processes are open-ended, they are increasingly subject to critical attention from a range of commentators. The usual suspects are out in force – academics, politicians, and pundits – but they are now joined by a wider array of theorists and activists, playwrights, novelists and artists. The financialisation of capitalism, it seems, has finally been met with a blooming of the financial imagination. Finance and Society will provide a space for the further development of this imagination, generating new insights into how money and finance organise social life.

This article argues that the problematic nature of money's ‘location’ is important to opening up its more fundamental ontology. Using examples from recent financial crises, I explore the (temporary) historical relationship between money and the nation state, the changing nature of money, and the paradoxes these produce in a world convinced that money is real and material. I conclude that whilst we cannot resolve these ingrained paradoxes, we should at the very least take account of them as we try to explain the vagaries of our money economies.

This article explores some aspects of money as a social relation. Starting from Polanyi, it explores the nature of money as a non-commodity, real commodity, quasi-commodity, and fictitious commodity. The development of credit-debt relations is important in the last respect, especially in market economies where money in the form of coins and banknotes plays a minor role. This argument is developed through some key concepts from Marx concerning money as a fetishised and contradictory social relation, especially his crucial distinction, absent from Polanyi, between money as money and money as capital, each with its own form of fetishism. Attention then turns to Minsky's work on Ponzi finance and what one might describe as cycles of the expansion of easy credit and the scramble for hard cash. This analysis is re-contextualised in terms of financialisation and finance-dominated accumulation, which promote securitisation and the autonomisation of credit money, interest-bearing capital. The article ends with brief reflections on the role of easy credit and hard cash in the surprising survival of neo-liberal economic and political regimes since the North Atlantic Financial Crisis became evident.

Recent decades of financialisation have seen a significant growth in art that mobilises various forms of money as artistic media. These range from the integration of material money (coins, bills, credit cards) into aesthetic processes, such as sculpture, painting, performance, and so on, to a preoccupation with more ephemeral thematics including debt, economics, and the dynamics of the art market. This article explores three (and a half) strategies that artists use to engage with money: crass opportunism; a stark revelation of money's power; a coy play with art's subjugation to money; and a more profound attempt to reveal the shared labour at the heart of both money and art's aesthetic-political power. Money's perennial appeal to artists stems from the irony of its tantalising capacity to almost represent capitalist totality. At their core, both money and art are animated by a certain creative labour, a suspension of disbelief, and a politics of representation. Artistic practices that use money can provide critical resources for studying, understanding, and seeing beyond the rule of speculative capital.

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.

Stephen Dunne recently sat down with Ole Bjerg to chair a discussion about his new book Making Money: The Philosophy of Crisis Capitalism (Verso, 2014). We publish an elaborated version of the book's concluding chapter - ‘Life after Debt’ - within this special issue. This interview and question and answer session puts Ole's argument there, as well as the arguments of his book more generally, into a broader context.

What happens to classic Marxist notions of revolution, exploitation and class struggle under the premise that we live in the age of financial rather than industrial capitalism? In this essay I argue that the logic of finance is the main structuring principle of the circulation of value, capital, and money today. Accordingly, we should no longer just think of class struggle in terms of workers and capitalists but also in terms of debtors and creditors. In financial capitalism class is determined by one's position relative to the production of money. This also means that a contemporary idea of revolution is a matter of radical change in the way that money comes into being.