Karl Marx’s
Capital is not an economics manual.
It is a philosophy of labour. This
distinction is not academic — it is the
condition for understanding what Marx
was truly trying to say, beyond the
ideological readings that transformed a
work of thought into a political
catechism or a polemical target.
Marx begins with an
elementary question: what happens to a
human being when they work within the
capitalist system? The answer, sketched
in the Economic and Philosophic
Manuscripts of 1844 and later
developed in Capital of 1867, is
called alienation. Labour, in the
Marxian view, is not a simple productive
activity. It is the act through which
the human being objectifies itself in
the world, recognises itself in the
things it produces, builds its own
identity through the transformation of
matter. To work is the way in which a
person says: I was here. I changed
something. This exists because I made it.
Capitalism breaks
this bond. It separates the worker from
the product of their labour — which
belongs to those who own the means of
production, not to those who used them.
It separates the worker from the
productive process — which is subdivided,
parcelled out, rendered incomprehensible
in its totality. It separates the worker
from other workers — because competition
replaces collaboration as the organising
principle. And it separates the worker
from themselves — because what they do
at work does not express who they are,
but who they must be in order to survive.
Within this framework,
visual control is not an aberration. It
is not a residue of cultural
backwardness that will vanish with the
right management training. It is a
structural necessity of capital.
When the capitalist
purchases the worker’s time —
labour-power, in Marx’s language — they
purchase a potentiality, not a certainty.
Labour-power is the capacity to work,
not the actual work. Transforming
potentiality into reality, extracting
actual labour from purchased
labour-power, is the capitalist’s
fundamental problem. And the historical
solution to this problem is
surveillance.
The overseer — the
foreman, the plant manager, the office
manager — is not an accident of the
system. Not one organisational choice
among many. It is the function capital
gives itself to ensure that purchased
time is transformed into extracted
labour. It is the system rendering
itself visible in a human figure. Marx
analyses this in Capital with a
precision that has lost nothing in
nearly two centuries: the capitalist
production process is a process of
valorisation of capital, and
surveillance is the condition of that
valorisation.
“If I cannot see you,
you are not working.” This sentence —
uttered by multinational CEOs in 2026
with the same matter-of-factness with
which a fifteenth-century estate manager
would have said it — is not stupid. It
is not ignorant. It is the logic of
capital stated without euphemism.
Capital does not buy results — it buys
time. And time is controlled
with the eye.
This explains why
data are not enough. For decades,
empirical research on agile work has
produced convergent results:
productivity does not decline, often
increases; workers report higher levels
of satisfaction and motivation;
voluntary resignation rates fall;
companies reduce operating costs. A
randomised controlled trial conducted by
Stanford University economist Nicholas
Bloom, on over sixteen hundred employees
of a technology company — published in
the scientific journal Nature in 2024 —
found that working from home two days a
week produces no negative effects on
either productivity or career
advancement prospects. The study also
documented a finding that management
struggles to absorb: before the
experiment, managers predicted on
average that remote work would reduce
productivity by 2.6 per cent. By the
experiment’s end, they had changed their
minds. International surveys of
employees in hybrid arrangements
consistently record high proportions
declaring themselves more effective than
when they were always on-site.
These numbers exist,
are accessible, have been published in
academic journals and industry platforms.
They are not cited in the meetings where
it is decided to call everyone back to
the office five days a week. They are
not cited because the problem does not
lie there. The problem is that capital
does not measure productivity — it
measures control. And visual
control is the only form of surveillance
the capitalist has known since the
nineteenth century.
There is, however,
something that the Marxian reading alone
does not fully capture. Marx explains
the objective structure. He explains why
the system needs visual control. He does
not explain — or does not explain
sufficiently — why the individual
manager, the person in flesh and blood
sitting in the room with an unobstructed
view of the desks, feels something
resembling pleasure when they see the
chairs occupied. Why that eye on the
employee is not merely an instrument:
it is a need.
That is why one must
go to Jung.
Carl Gustav Jung
never wrote about agile work. He never
analysed corporate presenteeism,
nor the return to office policies
of large corporations. But he developed
a map of the human psyche that applies
to these phenomena with a precision no
more recent instrument has managed to
match. Applying Jung to management is
not a rhetorical exercise. It is an
attempt to see, beneath the surface of
the organisational decision, what truly
drives it.
The starting point is
the concept of the Shadow — not as a
generic metaphor for the dark side, but
as a precise technical category. The
Shadow, in Jung, is the part of the
personality that the conscious ego
refuses to recognise as its own. It is
not evil in a moral sense. It is
everything that has been excluded from
conscious identity: everything censored,
repressed, declared incompatible with
the image one holds of oneself. It may
contain negative impulses, but also
positive qualities that for some reason
one cannot accept as one’s own. The
structure is always the same: the
conscious ego constructs itself by
differentiation, excluding what it
cannot integrate.
The Shadow does not
disappear because it has been excluded.
It continues to exist in the unconscious,
accumulating energy there. Sooner or
later it seeks an outlet. The mechanism
through which it manifests without being
recognised is projection: the
Shadow is attributed to the other. What
one does not wish to see in oneself
becomes what one sees in the other with
crystalline clarity. The accusation
levelled at others is often a portrait
of oneself that one cannot accept.
The mechanism of
projection is the heart of the dynamic
under analysis. The manager who does not
trust the employee they cannot see is
projecting onto them something that
belongs to themselves. What are they
projecting? Precisely what they fear:
the desire to evade control, the
temptation not to work when no one is
watching, the impulse to do something
else, to stop, to get lost. Human things,
universal, known to everyone. But which
the manager’s conscious ego refuses to
acknowledge as its own, because they are
incompatible with the image it holds of
itself: the one who always works, the
one who can be counted on, the one who
never stops.
“If I cannot see you,
you are not working.” Jungian
translation: “If they cannot see me,
I am not working.” The sentence
describes the subject who utters it, not
the recipient. It is a confession
disguised as an accusation. And like all
projections, it is all the more violent
the more the subject is incapable of
recognising it as such.
It is worth pausing
on this mechanism, because it is more
subtle than it appears on first reading.
Projection is not a deliberate lie. It
is not a calculated strategy to shift
blame onto the other. It is an
unconscious process — the projecting
subject is genuinely convinced they are
describing the other, not themselves.
This is what makes it so resistant: it
cannot be dismantled with logic, because
it was not built with logic. It is
dismantled — when it is dismantled at
all — only through a process of
consciousness-raising that requires time,
willingness, and often the mediation of
someone standing outside the projective
field.
The manager who
summons everyone to the office five days
a week is not lying when they say they
do it for collaboration, for company
culture, for the transmission of
knowledge. They believe it. This is the
most important thing to understand: they
genuinely believe it. Ideology —
in the Marxian sense, as a system of
representations that conceals the real
relations of production — does not
operate through conscious deception. It
operates through the sincere conviction
of telling the truth.
But the projection of
the Shadow is only the first layer.
Beneath it lies another, denser one,
concerning the structure of the
manager’s self as a function of role.
Jung distinguishes
between the ego — the centre of
consciousness — and the persona,
the social mask the individual wears to
relate to the external world. The
persona is not false in a
pathological sense: it is necessary, it
is the form that social life imposes.
The physician who dons the white coat,
the judge who dons the gown, the manager
who dons the jacket and sits at the desk
with an unobstructed view of everyone
else’s desks: all are performing a
persona, all occupying a social role
that has a precise, recognisable,
transmitted form.
The problem arises
when the individual identifies entirely
with the persona, when they cease
to know who they are beyond the role
they play. When the mask becomes the
face. Jung describes this condition with
a certain severity: whoever identifies
with the persona is like an actor
who cannot step out of character even
when the curtain has fallen. Their
identity is entirely external — it
depends on recognition by others, on
social confirmation, on the visibility
of their own role.
The middle manager —
the one who does not set strategy but
manages people, positioned midway in the
hierarchy, high enough to hold power and
low enough to be subjected to something
far greater — is particularly exposed to
this identification. Their identity is
built entirely around the visibility of
their own power. They have no
spectacular results from the corporate
apex to exhibit. They have no technical
expertise of the frontline worker to
draw on. They have the role. And the
role manifests through the visible
management of the people beneath them.
The desk with the
slightly higher chair. The office with
the glass door through which one sees
and is seen. The meeting that is not
always necessary, but is always called.
The corridor traversed with a purposeful
step. The open-plan floor of desks
across which their gaze runs freely,
without obstacles, without blind spots.
These are all elements of a set that
produces a sense of self. They are
concrete proof, daily renewed, that they
are someone. That they count. That they
have people working beneath their eye.
The full office is a
mirror. The manager who arrives in the
morning and sees the desks occupied sees
themselves reflected in that scene: I
am the centre of this system, without me
it would not function, my presence
organises the presence of the others.
It is not an explicit, conscious thought.
It is something more visceral, more
rapid, something that occurs before
thought. An immediate and somatic
confirmation of the identity the role
has built for them.
The empty office is a
mirror that reflects nothing. The
manager who arrives and finds no one
dramatically loses that confirmation. It
is not merely a matter of productive
control — it is a matter of the
survival of the self-image. The
employee working from home is not merely
evading surveillance: they are depriving
the manager of their reason for being
visible. And this produces something
resembling anxiety — not irritation, not
rational concern about productivity.
Anxiety. That form of objectless unease
that Jung associates with threats to the
integrity of the self.
“It’s nicer to see
people in person.”
As a statement it
deserves to be taken seriously, because
it says something true about the
psychology of those who utter it, even
if it says nothing useful about the
subject it purports to address.
The beauty of the
sight. The purely aesthetic
pleasure of the full office. This
sentence — which genuinely circulates,
pronounced by executives of contemporary
companies with a disconcerting ease — is
the most honest of the three formulas of
visual control. It does not pretend to
be an argument. It does not cite
collaboration, does not invoke
creativity, does not speak of company
culture. It is an aesthetic, precisely.
The employer who contemplates their
employees seated at their desks feels
something. It is not the pleasure of
productivity. It is the pleasure of
sight. The satisfaction of one who
gazes upon what they possess and sees it
where it should be, according to their
own personal conception.
Organisational
psychology studies document this
phenomenon with some regularity:
managers report higher levels of job
satisfaction when their collaborators
are physically present, regardless of
measured productivity. It is not
sadism. It is not malevolence. It is an
addiction — to a self-image that control
produces and that without control
vanishes. An addiction that cannot be
cured with education for change, nor
with training courses on agile working.
Because it is not rational. It comes
from further away.
Here Jung introduces
a third category, the most difficult and
the most necessary: archetypal
possession. Not in the supernatural
and folkloristic sense of the term, but
in the precise technical sense Jung
attributes to it in his work on the
collective unconscious. We are in the
presence of archetypal possession when
an individual ceases to be the subject
of their own choices and becomes the
vehicle through which a collective
psychic complex expresses itself. When
they do not choose, but are chosen. When
they do not act, but are acted upon by
something that precedes and surpasses
them.
The collective
unconscious, in analytical psychology,
is not the sum of individual
unconsciouses. It is the deepest layer
of the psyche, shared by all of humanity,
containing the fundamental structures of
human experience: the archetypes.
Archetypes are not fixed images. They
are dispositions, empty forms that fill
with historical and cultural content.
The Father. The King. The Warrior. The
Trickster. The Shadow. The Anima. Each
of these patterns organises experience
in a characteristic way, produces
recognisable emotions, generates typical
behaviours. They activate when
circumstances require it — or when the
ego is weak enough not to be able to
contain them.
The Master —
not in the legal-contractual sense, but
in the archetypal sense — is one of
these forms. It is the figure of the one
who possesses, who disposes of others’
labour, who has the right to see and to
judge. It is not an invention of
industrial capitalism: it is a psychic
structure as ancient as the human
division of labour. The Mesopotamian
master who supervised the servants in
the fields. The feudal lord who counted
the villages from the castle. The
nineteenth-century manufacturer who
walked among the looms. The call
centre director who watched the
monitor showing response times. The 2026
manager counting occupied chairs at nine
in the morning. The form changes. The
archetypal structure remains.
Capitalism filled
that archetype with specific content,
gave it a precise institutional form,
legitimised it through contract and
private property. But the underlying
disposition — someone who watches,
someone who is watched, and watching as
an exercise of power — is far older than
any mode of production. This explains
why resistance to remote work is not a
specifically capitalist phenomenon, in
the strict sense. It is the response of
an archetypal psychic structure to the
threat of its own dissolution.
The manager who wants
to see the desks occupied is not making
a rational managerial choice. They are
embodying this archetype. They are
allowing that ancient form to speak
through them in the voice of the present.
It is not an individual failing. It is
not a psychological weakness to be
corrected with coaching. It is
possession in the precise Jungian
technical sense: a collective psychic
complex that takes control of the ego
and uses it as an instrument. Whoever is
possessed by an archetype does not know
it. They believe they are choosing
freely. This is precisely the nature of
possession.
The Industrial
Revolution materialised this archetype
in precise architectures and practices
that have sedimented into the collective
unconscious. The factory as a site of
absolute control over the body and time.
Taylorism as its most scientific form:
work decomposed into elementary
movements, each measured, each optimised,
each supervised. The call centre
of the nineties as its reincarnation in
immaterial labour: the fixed
workstation, the headset, the monitor
recording every second of inactivity.
The open space office of the
2000s as its most sophisticated
aesthetic form: no walls, no hiding
places, the unobstructed view as
architectural principle, control
transformed into design.
Every era has had its
form of surveillance. Every form has
left a trace in the collective
unconscious of those who work and those
who make others work. They stratify.
They sediment. They become habitus
— in the sense Bourdieu gives the term:
incorporated dispositions, schemes of
perception and action that operate below
consciousness, that seem natural because
they have been internalised so deeply as
to be no longer distinguishable from
nature itself. The manager who cannot
imagine work that is not seen is not
exercising their own will: they are
executing a programme that history has
written into them through generations of
practice, imitation, and unconscious
incorporation.
It is worth citing a
documented case that illuminates this
dynamic with an almost surgical clarity.
In 2023, when several large American
technology companies — those that above
all others had built their identity on
the idea of reinventing the future of
work — imposed a return to the
office on their employees, the stated
reasons were exactly those expected:
collaboration, innovation, company
culture. But researchers who analysed
internal data found something different:
middle managers were the most ardent
supporters of the return, far more so
than senior leadership and far more so
than frontline workers. And middle
managers were also those whose
coordination function — their very
reason for existing in the corporate
hierarchy — was most easily replaceable
by digital tools. The return to the
office was not an organisational choice:
it was an identity defence.
The invisible
employee — the one who works from home,
who cannot be seen, who requires no
physical coordination — does not merely
call into question the productivity of
the system. They call into question the
necessity of the manager as a figure.
And this is a threat of an entirely
different order, one that cannot be
resolved with productivity data and
cannot be placated by research from
Stanford. Because it touches identity,
not performance.
There is still one
final layer to explore, the most
uncomfortable. Jung analysed with
precision the relationship between power
and psychic libido. Power, in his
reading, is not merely an instrument of
external control: it is a source of
psychic energy for those who exercise it.
Exercising power produces excitement,
produces vitality, produces a sense of
expansion of the self. Not
necessarily in conscious or perverse
forms — it can be something very quiet,
almost imperceptible. The satisfaction
of the one who organises, who decides,
who has beneath them something that
obeys.
Visual control is one
form of this pleasure. Not the most
violent, not the most explicit. But one
of the most quotidian and most deeply
rooted. The eye that runs across the
occupied desks performs an act of
possession. It is not a metaphor: it is
psychology. The object possessed, seen,
controlled, reassures the possessor of
their own identity and power. When the
object disappears from sight, it is not
merely absent: it calls into question
the possessor themselves. The addiction
manifests in that moment — in the
anxiety before the empty chair, in the
unease of the half-deserted office, in
the need to call a meeting simply to see
faces again.
This is why mandatory
return to the office has never truly
been a matter of productivity. The data
have contradicted it for too many years
for anyone to still believe it in good
faith. It is a matter of identity, of
confirmation, of the pleasure of control,
of archetypal possession feeding on
itself. It is the psychology of the
master that has found in the physical
workplace its natural theatre, and that
has no intention of surrendering it —
not because it cannot, but because it
does not know who it would be without.
Why, then, are data
not enough? Why do productivity research,
wellbeing studies, energy-saving
calculations shift nothing of substance?
Not because they are false — they are
true, verified, replicated. But because
they are rational arguments addressed to
a problem that is not rational.
The synthesis of Marx
and Jung produces a diagnosis that
neither alone could formulate in its
entirety. Marx explains the objective
structure: visual control is a necessity
of capital, not an individual choice. It
is the form the system gives itself to
extract value from purchased
labour-power. It does not disappear when
it is shown to be unnecessary — because
it was never necessary in a productive
sense. It is necessary in a systemic
sense: it is the way in which capital
ensures that its logic is respected even
when no one is explicitly overseeing it.
Jung explains the
subjective dynamic: visual control is
also a neurosis of power, a
psychological need that feeds on itself,
an archetypal possession that the
individual manager experiences as if it
were a free and rational choice when in
reality it is the product of a history
that inhabits them. The Industrial
Revolution speaks through them.
Taylorism speaks through them. A hundred
and fifty years of discipline of the
working body speak through them. They
are convinced they are deciding. In
reality they are obeying something far
older than any decision they have ever
made.
Taken together, the
two planes produce something precise:
resistance to remote work is not
irrational from the point of view of
those who exercise it. It is perfectly
coherent within a logic — that of
capital which needs to see in order to
control, that of the psyche which needs
to see in order to exist. The problem is
not the logic itself: it is that this
logic has become invisible to itself. It
disguises itself as an organisational
principle, as company culture, as
concern for collaboration. It does not
recognise itself for what it is.
A system that
functions through structural necessity
and through archetypal possession cannot
be dismantled with a PowerPoint
presentation. It cannot be dismantled
with numbers. It cannot be dismantled by
demonstrating that productivity has not
fallen. It is dismantled by making
visible what conceals itself. By naming
the power structure that visual control
serves. By recognising the psychology of
the master for what it is, without
moralism but without indulgence.
The 2026 energy
crisis has made all of this urgent in a
way that had never been so clear. It
demonstrated, with the brutal precision
of facts, that the daily commute is not
a neutral choice: it is an energy,
environmental and economic cost that
falls on everyone. It demonstrated that
visual control is not merely a private
matter between employer and employee: it
is a choice with global consequences.
And it demonstrated that those who
refuse to change it are not defending
productivity. They are defending their
own eye.
The master’s eye
fattens the horse, as the proverb says.
But the proverb was written when the
horse was the only engine available and
there were no alternatives to direct
control. Today the alternatives exist,
are proven, are economically
advantageous and energetically necessary.
The master’s eye no longer fattens any
horse. It burns oil.