The b2o Review is a non-peer reviewed publication, published and edited by the boundary 2 editorial collective and specific topic editors, featuring book reviews, interventions, videos, and collaborative projects.  

  • Sarah Brouillette — Couple Up: Review of “Family Values: Between Neoliberalism and the New Social Conservatism”

    Sarah Brouillette — Couple Up: Review of “Family Values: Between Neoliberalism and the New Social Conservatism”

    by Sarah Brouillette

    Review of Melinda Cooper, Family Values: Between Neoliberalism and the New Social Conservatism (New York: Zone Books, 2017)

    The basics of neoliberalism are by now well known. Pressured to be wary of public deficit spending, and trying to find ways to rejuvenate depressed economies, neoliberal governments cut spending on welfare and other social services, and turn the programs that do remain into job training “workfare.” Policies at the same time shift to give priority to the needs of businesses wanting to keep wages low, to offshore production, and to make few or no commitments to workers. The power of unions is undercut as a result, so it is decreasingly possible to look to that form of collectivity as a shelter.[1] Politicians, advisors, sympathetic management consultants and business professors meanwhile emphasize private initiative and personal merit as the keys to success. As a result, work has been trending toward the less regular, less routine, less secure, less protected by union membership, with wages stagnant and less likely to be supplemented by things like affordable public education, low rents, tax credits, and childcare benefit payments.

    The working individual suited to this environment will naturally possess certain traits, as people are encouraged to look to themselves for more and more of what they need. Everything becomes a matter of personal responsibility: invest smartly for the future, take out a loan to pay for college, be your own brand, find your joy, “live your life.” If there is a culture of neoliberalism, it is all about interiority and the individual psychic life: therapeutic culture, because there is little state funding for mental health treatment. Find out who you really are, do what you love, look within, take your natural resilience as the base of every struggle and its overcoming; experience setbacks, Pop Idol style, as welcome occasions to overcome every hurdle. Self-improve. Self-actualize.

    The causal relations are sometimes murky and eminently debatable. Don’t governments in fact fund wellness initiatives, especially targeting underprivileged communities? And what about all the counternarratives emphasizing the necessity of communities coming together – the British Tories’ “Big Society,” for instance? But the general account of neoliberalism is quite uniform. It pinpoints the force of biographization, responsibilization, individualization, self-management, a DIY ethos, and customization of personal preference as the lifeblood of the neoliberal order.[2]

    Against all this, Melinda Cooper’s Family Values: Between Neoliberalism and the New Social Conservatism argues that the key social unit of neoliberalism is not the individual but the family, and not just any family but the family in perpetual crisis. She presents the postwar Fordist family wage – basically, a state-backed wage high enough to support a family with only one parent working – as a “mechanism for the normalization of gender and sexual relationships” (8), and for this reason sees no reason to lament its demise. As an “instrument of redistribution,” she writes, it “policed the boundaries between women and men’s work and white and black men’s labor” and was “inseparable from the imperative of sexual normativity” (23). “Few African American men enjoyed the family wage privileges of the unionized industrial labor force,” and their disproportionately high unemployment is evidence of the “multiple exclusions serving to define the boundaries of state-subsidized reproduction” (35-6).

    Just as the “Fordist politics of class … established white, married masculinity as point of access to full social protection” (23), the fundamental concern for neoliberals like Gary Becker was how to respond to the breakdown of this masculinity and the family built around it. “Neoliberals are particularly concerned about the enormous social costs that derive from the breakdown of the stable Fordist family,” Cooper argues. They aim “to reestablish the private family as the primary source of economic security and the comprehensive alternative to the welfare state” (9). Basically, they want the traditional family intact as a compensation for precarity.

    The data show that in the neoliberal era private family wealth is increasingly decisive in “shaping and restricting social mobility” (125), and this is a result of concerted policymaking. In the 1960s, inflation eroded the wealth at the top tiers, as it translated into the deflation of financial assets. Inflation was at the time understood in precisely this way, as a redistributive tax, “intensifying progressive tendencies” of the period: “Free-market economists insinuated that inflation was a form of state-sanctioned fraud – a covert tax designed to extort wealth from investors and transfer is to the lower classes” (127). The neoliberal “paradigm shift in American fiscal and monetary policy” sets about ending this redistributive movement. If the Employment Act of 1946 wanted to “promote maximum employment, production and purchasing power,” where wage and price inflation were understood as signs of growth and as “benign trade-offs to full employment,” the neoliberals overturned all this.

    Figures such as Milton Friedman and Paul Volcker “turn[ed] inflation-targeting into the prime objective of monetary policy,” thus restricting the money supply and pushing up interest rates. Whereas bondholders in the 1970s saw assets depreciate and the Federal Reserve “deferred to the interests of unionized labor and welfare constituencies,” in the new era the Fed would strive “to repress wages and consumer prices in the service of asset price appreciation.” These policies led to a sure turnaround in the distribution of national income; the “share of national income flowing to financial investors went from negative or stagnant in the 1970s to ‘substantially positive’ in the 1980s”; while “labor’s share of national income declined proportionately” (134). By 1983, Cooper writes, “wealth concentration had reverted to its 1962 level and by the end of the decade had plummeted to levels comparable to 1929” (135).

    There has thus been, at the top tier, a massive “resurgence of large family fortunes” (137). Nearly everywhere else, though, with stagnant wages, unemployment, and the transfer of the costs of things like higher education and health care back to families, lack of access to familial wealth can condemn one to a lifetime of debt. Hence Cooper’s argument about the importance of the family: intergenerational familial support in the form of housing, or money, or willingness to be signatories to loans, is a neoliberal necessity for many, and the pressure to combine dependence on parents with married coupledom just compounds the effect.[3] According to statistics gathered by the Pew Research Center, 1960 was the year in which people under 25 were most likely to live independently. In more recent decades, however, young people have been exhorted to invest in the future, save for retirement, and acquire assets (houses and university degrees). At the same time, and often in relation to this, they have been forced into debt and into insecure employment. No wonder they are more inclined to live with parents or partners. Of course, there is such a thing as a non-normative family, and perhaps living independently from relatives is not something we should unduly idealize. Cooper’s interest, though, is in what sort of family arrangements government programs prefer, and how preferences shift given combined pressure from neoliberal economic policy and the new social conservativism. We will return to her idealization of independence, however.

    The more common argument, of course, is that neoliberalism is destructive to family life, as it encourages workers to be “low drag,” moveable, flexible, always working, losing any sense of a private life outside of work, and also alone in leisure in front of a personally selected entertainment service displayed on a privately watched device. Yet, as Annie McClanahan has recently argued, not many people are really these footloose mobile workers.[4] For most employers, it is probably more important that those they hire be replaceable than that they be mobile. Only workers in relatively elite sectors (high tech, higher education, entertainment) are in a better position if they can move from thing to thing without worrying about family obligations.[5]

    This is not to deny that there is now also a more general animus against the restrictions and burdens of family life – the boredom of marriage, and drudgery of raising children (all captured so well by a show like Mad Men, for instance, which crystalizes the individualizing ethos so perfectly). However, there is just as much pressure to maintain the bonds of coupledom, and this tension between rejection and embrace may in fact be the point worth emphasizing. It seems that people are increasingly wondering if marriage is “worth it,” while decreasingly being able to exit it, and this is a cause of general anxiety, finding outlet in things like the dating site for adulterers, Ashley Madison, which was notorious for a minute in 2016 after its user data was stolen. When it turned out that most of the male customers were at least some of the time corresponding with bots rather than real women, I couldn’t help thinking that in a way it didn’t matter: the point is that users find an outlet for their sense of being stuck in a social relation (marriage!) on which they are dependent. Indeed, the bot’s lack of reality, lack of availability, is what makes the “affair” appealingly nonthreatening to the user’s IRL relationships. Moralistic attacks on these men – the fact that some of those caught are family-values conservatives is, to be sure, a rich irony – miss the point: they are not having affairs; they are staying in unhappy marriages that they depend on in various ways.

    They depend on marriage because it is still the normative standard for people (if you aren’t married there is something wrong with you; if you don’t have kids you are deviant in some way). They depend on it in that they can’t afford a house without two salaries, because for tax purposes it is better to be a legally recognized couple, because the lifestyle they aspire to requires it, because caring for children alone is very hard, because shifting work hours and temporary contracts make the second salary a necessity, even if it too is precarious. They depend on it because they are too tired and generally physically weary to try to have any other sort of relationship. Being non-normative can feel like SO. MUCH. WORK. A film like 2009’s Up in the Air makes the point very well: the protagonist is the epitome of the roving high-powered executive entrepreneur (indeed, his job is to fire people), but his story is not a celebration of the escape from normativity. It is rather a lament about the psychic misery of solitude. The message is clear: couple up!  

    How did the family start to lose its normative power? For Cooper, conservatives skewering feminism, and more leftist thinkers trying to understand the foundations of neoliberalism, are in agreement about the force of 1960s and 1970s countercultural and antinormative critiques of the family. In Wolfgang Streeck’s analysis, the revolution in family law and intimate relationships – for example, the availability of no-fault divorce – destroyed the Fordist family wage because women were not stuck in the kitchen dependent on men any more. The family became a more flexible form because, in Cooper’s paraphrase of Streeck, feminists sought “an independent wage on a par with men,” eventually “transforming marriage from a long-term, noncontractual obligation into a contract that could be dissolved at will” (11). Cooper reads Eve Chiapello and Luc Boltanski’s argument as similar, in that they show how “the artistic left prepared the groundwork for the neoliberal assault on economic and social security by destroying its intimate foundations in the postwar family” (12). She quotes Nancy Fraser, also, who has written that “critique of the family wage … now supplies a good part of the romance that invests flexible capitalism with a higher meaning and moral point” (12). In each case, the idea is that feminism is somehow to blame for neoliberalization, because in seeking to free women from certain kinds of normative obligation and dependency they have demonized dependency in general, fetishizing independence from supports of any kind. Against these analyses, Cooper asks: what breakdown of the family, anyway? The apparent post-normativity of contemporary life is entirely compatible with the establishment of new norms. We continue to be form-determined after we no longer see social forms’ normative force. Put simply: the traditional family, which for Cooper is a family coerced into existence by exigency and normativity, is not broken enough.

    The economy in depression no longer affords the state-supported Fordist wage, but the family is re-inscribed and reformulated even as it is queried and undermined by antinormative movements. If the foundations of neoliberal policy are thoroughly economic, neoconservativism enters Cooper’s account as a largely compatible reaction formation. The neoconservative agenda, formed deliberately against the liberation movements of the 1960s and their challenge to the normativity of the traditional family, served neoliberalization far more than the countercultural left’s challenges to social convention. Cooper argues that, whereas nostalgia for the Fordist wage became a “hallmark of the left,” neoconservatives, allied with thrifty neoliberals, preferred “the strategic reinvention of a much older, poor-law tradition of private family responsibility.” In a policy formation that reflected both neoliberal and neoconservative thought, social welfare was not to disappear, but instead to be made into “an immense federal apparatus for policing the private family responsibilities of the poor” (21).

    As a public assistance program targeted at the noncontributing poor – workers paying into funds that would support them in the event of unemployment were always more palatable (34) – the fate of AFDC (Aid for Families with Dependent Children) is one of Cooper’s main cases. It allows her to show how social welfare extended to the poor – especially to single women, especially mothers, especially black mothers – became “associated with a general crisis of the American family” (29). As the composition of the program changed, with the number of African American women signing up outpacing that of white woman, and divorced or never-married women joined the rolls, fears were heightened. Because “racial and sexual normativities were truly foundational to the social order of American Fordism, determining just who would be included and who would be excluded from the redistributive benefits of the social wage” (36), the inclusivity evident in the 1960s in the AFDC’s provision for non-married mothers proved to be short-lived. Arguments for reinstating the stability offered by the traditional family had significant influence at this juncture.

    Nor were these arguments solely made by conservatives. In the 1960s there was in fact significant leftist promotion of the African American male-breadwinner family and a related impetus against “non-normative lifestyles of unattached African American women” (37); hence the tendency to identify the AFDC as a cause of family breakdown while promoting the “male breadwinner’s wage” (41). An article by Richard A. Cloward and Frances Fox Piven, published in The Nation in 1966 and presented as “a strategy to end poverty,” laments that the state was “substituting check-writing machines for male wage earners,” thereby “robb[ing] men of manhood, women of husbands, and children of father.” The authors continue: “To create a stable monogamous family, we need to provide men (especially Negro men) with the opportunity to be men, and that involves enabling them to perform occupationally” (qtd. 42).

    What they saw were “perverse disincentives to family formation built into the AFDC program” (43), whereas women left more to their own devices would naturally be more likely to find men to support them. With the 1970s economic downturn, and anxieties directed at inflation in particular, the program became a touchstone for debates for neoconservatives formulating their “new political philosophy of non-redistributive family values” (47). While neoliberals “called for an ongoing reduction in budget allocations dedicated to welfare—intent on undercutting any possibility that the social wage might compete with the free-market wage,” neoconservatives advocated an expanded role for state in regulating sexuality. On both fronts, the point was the urgent necessity of “reinstating the family as the foundation of social and economic order” (49).

    Cooper discusses Milton Friedman’s concern that the “natural obligations” that “once compelled children to look after their parents in old age” have given way to “an impersonal system of social insurance whose long-term effect is to usurp the place of the family” (58). Friedman wrote that whereas once “Children helped their parents out of love or duty,” they now “contribute to the support of someone else’s parents out of compulsion and fear” (qtd. 58). State-based redistribution was a poor substitute for proper familial support and wealth transmission. For Gary Becker, also, the postwar welfare state destroys the “natural altruism of the family” (60). Becker’s theory of human capital is perhaps the premier theorization of individual self-management and self-appreciation. Michel Foucault treated Becker’s work as exemplary of the way that neoliberal analyses entail “replacement every time of homo economicus as partner of exchange with a homo economicus as entrepreneur of himself, being for himself his own capital … a capital that we will call human capital inasmuch as the ability-machine of which it is the income cannot be separated from the human individual who is its bearer.”[6] Becker also featured recently in a Merriam-Webster tweet of the term “human capital” – “turning people into statistics since 1799,” the tweet quipped – which linked to the full dictionary entry, where Becker’s work is cited as “taking a holistic view of a person’s life and experiences as they can be applied within the workforce.” Becker took personal investment in one’s own human capital appreciation as preferable to state investment (the benefits of high human capital only accruing to oneself, after all), and thus supported rising tuition costs and the student loan industry as a major part of the growing importance of private credit. Yet Cooper shows that his arguments also preferred a supportive wealth-generating family: the older generations would back student loans where necessary, as they naturally want children and grandchildren to bear human capital that self-appreciates at a greater pace and with results that are more lucrative. Becker celebrated Ronald Reagan for restoring kinship bonds.

    Reagan drastically cut the AFDC, before Bill Clinton eliminated it. It was replaced with the TANF program (Temporary Assistance for Needy Families), whose availability was contingent on states’ willingness to track down and enforce paternity obligations. TANF’s defenders claimed it is better for a woman and her children to be reliant on alimony and child support than to turn to the government for assistance (67). Here we get to the heart of Cooper’s refutation of the idea that neoliberalism privileges the footloose free agent. In fact, in her account, neoliberalism is more likely to pressure people to sustain unhealthy and unsustainable family and intimate relationships, including tying children to fathers who do not know them or want them. Clinton’s extensive welfare reform reflected and codified what she calls “a new bipartisan consensus on the social value of monogamous, legally validated relationships.” His government reformed welfare spending while devising “initiatives to promote the moral obligations of family, including a special budget allocation to finance marriage promotion programs and … bonus funds to states that could demonstrate that they had successfully reduced illegitimate births without increasing the abortion rate” (68). Barack Obama’s “healthy marriage and responsible fatherhood” initiatives continued in this direction.

    Cooper suggestively connects these initiatives to the “first experiment in federal relief ever implemented by Congress”: the 1865 creation of the Freedmen’s Bureau following the Emancipation Proclamation of 1863. Before 1863, slaves were precluded from legally sanctioned marriage. The Freedman’s Bureau instructed that freedom to participate in the labor market came with “the right to marry and the responsibility to support wife and child” (79). Its support for freed slaves entailed a vigorous campaign to promote marriage, with Bureau agents authorized to perform marriages and a “sustained pedagogy of domestic life, schooling men in the notion that they were to become the breadwinners of the family and women in a new kind of economic dependence” (80). There were penalties for people cohabiting without marriage; and Bureau-assigned wage scales that penalized women, precisely because of the “social costs of dependency” that fell upon the state if forced to support unmarried women and their children (81).

    Like the more recent insistence that women secure alimony and child support before turning to welfare, these policies empowered men to assert rights over women and children. Indeed, the assumptions upon which they were based were not fundamentally threatened until the 1960s liberalization of family law, which made divorce easier and eased the stigmatizing of non-marital unions and cohabitation. “For an all too brief moment,” she argues, “revised AFDC rules allow divorced or never-married women and their children to live independently of a man while receiving a state-guaranteed income free of moral conditions” (97). That moment is over, however. “The modern child support system serves to demonstrate that the state is willing to enforce—indeed create—legal relationships of familial obligation and dependence where none have been established by mutual consent,” Cooper writes (105).

    We should pause here now on the figure of the never-married woman living independently thanks to welfare. Cooper argues that, in a context of relatively healthy public welfare spending, and of the pressures put on states by countercultural and antinormative activisms, there was a time when social welfare was “making women independent of individual men and freeing them from the obligations of the private family” (97). Hence, the fuel for the neoconservative backlash that soon followed – a backlash that gained traction because of the failing economy to which neoliberals were also turning their attention. A perfect storm. Yet Cooper’s celebration of the period in which social welfare possibly freed women from the constraints of marriage has her falling back into the trap she dismantles elsewhere: nostalgia for state provision.

    The image of the single woman with children, living with a state-based income “free of moral conditions,” reads as an idealization. Certainly, supporting children as a single parent on welfare has never been a cakewalk; and, are we meant to conclude that “freeing” men from the burdens of paternity is an unalloyed boon to women? She needs this figure, though. Cooper’s idealization of the state-supported single mother alerts us to the fact that her ultimate objection is not to social welfare but rather to the restriction of its benefits to the Fordist white male breadwinner, and to the way welfare programs get tied to normative policies and programs emphasizing the preferability of turning to family, especially marriage, to marshal the necessary resources to get by.[7] She avoids the stronger critique of social welfare, which might emphasize the global accumulative regime and resource extraction on which US prosperity was built, how nation-based welfare disperses the benefits of prosperity to some and not others, and the welfare state’s various regulatory and pacifying functions.[8]

    Does neoliberalism feel different to some people simply because it follows on the moment of postwar prosperity and the relatively expansive Keynesian social welfare that flowed from it, in which there was palpable faith in the civic virtue attending government spending on social programs? Neoliberal policies have threatened protections and comforts that these programs offered to some people – people like American and British university professors, who produce the analyses of the unique wrongs of the neoliberal order. Is all the worry about neoliberalism just a symptom of the decline of the hegemony of liberal democracy?

    The economy that supported the pre-neoliberal era of relatively high wages, and relatively generous public deficit spending on welfare and education, was also hugely resource extractive and suburbanizing. The capacity to redistribute wealth more evenly in the US was, in addition, contingent upon broader economic transformation that required dispossessions, expulsions, enclosures, primitive accumulations, US hegemony propped up by global wars, and the origins of the whole phenomenon of US industrial triumph after WWII in wartime accumulation and relative devastation across Europe.[9] Wherever one looks, the accumulation of wealth requires these devastations, making even the lushest times at the ADFC, and the possibility for a temporary flourishing of alternative kinds of family structures, into a troubled gain. For these reasons, it may be that work that avoids the terminology of neoliberalism, or uses it warily – work by Endnotes, by Silvia Federici, or by Robert Brenner, for instance – provides better purchase on contemporary conditions. Because when they fail to name the fundamental, global, totalizing causes of policy shifts, accounts of neoliberalism miss the ruthlessly intensifying dynamics of capital accumulation that are simply propelled onward with extended credit.[10]

    Finally, if Keynesian social welfare is a wage supplement designed to encourage consumer spending, in which sense is it wise to pit it against the dominance of commerce and private interests? If extensive public deficit spending on social programs and neoliberal monetarism are just different ways of managing the economy, and if one takes the capitalist economy as fundamentally anathema to universal human flourishing, to what extent should we worry about the difference that neoliberalism makes? Family Values doesn’t quite answer these questions. However, it does do the crucially important work of historicizing the rise of private credit in relation to family-values conservativism, and dismantling the left-liberal tendency to lament neoliberalization because it clawed back the gains of the immediate postwar period. Without suggesting that no gains were made, Cooper shows how they were thoroughly mitigated by normative racial, sexual and gender ascription – ascription that determined how to divvy up Fordism’s generous provisions, and that continues to push people, especially the already suffering, into unwanted contracts in life and work.

    Notes

    [1] For a recent account along these lines see Wendy Brown, Undoing the Demos: Neoliberalism’s Stealth Revolution (New York: Zone Books, 2015).

    [2] See for instance Ronen Shamir, “The age of responsibilization: on market-embedded morality,” Economy and Society (37.1: 2008): 1-19.

    [3] I discuss Cooper’s blistering account of the student loan industry elsewhere.

    [4] Annie McClanahan, “Becoming Non-Economic: Human Capital Theory and Wendy Brown’s Undoing the Demos,” Theory & Event 20.2 (2017): 510-519.

    [5] Even scholars suggesting that, in being less interested in keeping people in regular work, crisis-era capitalism allows for “queer liberation” from cis-hetero norms, insist in the next breath that some elements of queer life are tolerable and easy assimilated – think pink washing and gay marriage – and some are not.

    [6] Michel Foucault, The Birth of Biopolitics:  Lectures at the Collège de France 1978-1979, trans. Graham Burchell (Palgrave, 2008): 226.

    [7] In an earlier work, where the figure of the state-supported single mother is absent, her take is more ambivalent. She argues that the welfare state “undertakes to protect life by redistributing the fruits of national wealth to all its citizens, even those who cannot work, but in exchange it imposes a reciprocal obligation: its contractors must in turn give their lives to the nation” (Melinda Cooper, Life as Surplus: Biotechnology and Capitalism in the Neoliberal Era [University of Washington Press, 2008]: 8).

    [8] Gavin Walker has recently argued that “the function of ‘welfare’ within capitalism has never been something separate from its workings; rather, it is something co-emergent and central to the operation of the capital-relation itself”: “Rather than being a political development in which capital’s violence is ameliorated through social spending, we should rather understand the welfare state as the primary mechanism through which the process of primitive accumulation can be continuously sustained in the advanced capitalist countries” (“The ‘Ideal Total Capitalist”: On the State-Form in the Critique of Political Economy,” Crisis & Critique 3.3 [2016]: 434-455).

    [9] For an account along these lines see “Misery and Debt,” Endnotes 2 (April 2010): 20-51.

    [10] I owe this point to discussion with Tim Kreiner.

  • Naomi Waltham-Smith — Review of “Sonic Intimacy: Voice, Species, Technics (Or, How to Listen to the World)”

    Naomi Waltham-Smith — Review of “Sonic Intimacy: Voice, Species, Technics (Or, How to Listen to the World)”

    by Naomi Waltham-Smith

    Review of Dominic Pettman, Sonic Intimacy: Voice, Species, Technics (Or, How to Listen to the World) 

    What if the world had a voice? What would a world suffering under the burden of human dominance over the environment—what would that geological epoch known as the Anthropocene—say to us? Dominic Pettman asks us to imagine such a world in which not just human beings or animals but all living and inanimate objects, and even virtual technologies have voices. Sonic Intimacy invites us to tune into the seductive voice of an OS in Spike Jonze’s 2013 film Her, the swansong of the Sirens, the meowing of a cat, the melancholy songs of a lonely whale, the wind in the trees, even “the imploring squeal of a garden gate, crying out for oil” (49). This is a world in which listening, too, is not confined to human ears. In Pettman’s book, listening is even extended beyond the animal world in a range of examples both banal and symbolic: if mothers listen to their daughters’ voices on the phone and dogs to His Master’s Voice on the gramophone, lamps also prick up their ears at the clap of a hand and microphones listen for algorithmically determined shapes in order to identity specific words or even voices.

    Pettman’s call to hear those other voices and thus become those other kinds of listeners stems to no small degree from our deafness to what is arguably the greatest threat the world faces today and to the human and ecological crises that climate change is already precipitating. “Alarmed scientists try to tell us on a daily basis,” Pettman points out, “that we are not listening to the earth, which is—elliptically perhaps, and in its own cryptic way—trying to tell us that it is in trouble” (6–7). He argues that in the ongoing calamity that is the Anthropocene, it is vital that we challenge anthropocentric constructions of the voice and of the ear. If there is one main target in Sonic Intimacy, it is human exceptionalism. This critical outlook has shaped Pettman’s work in post-humanism more generally. For instance, the recent Creaturely Love observes how the images of human desire we construct tend to disavow our own animal natures.[1] Pettman’s earlier Human Error (published in 2011) explored mistaken efforts to define humanity in its opposition to machines and instead posits a cybernetic triangle of human, animal, and machine so as to decenter the human.[2] Humanity’s species-being, as he argued in that book, had become “specious-being,” not simply a mistaken identity, but the mistake of identity.

    Each of Sonic Intimacy’s four chapters explores a voice that is, if not post-human, in some way more or less than human—a negation of the human. The first, devoted to the voices that speak to us from machines, centers on a discussion of Jonze’s Her, in which a heart-broken man falls in love with his operating system “Samantha.” The film illustrates that bodies do not simply produce voices; conversely, voices can also produce bodies. As an awkward scene in which Samantha ventriloquizes the body of a mute stranger shows, acousmatic voices can be more involving and erotic than actual bodies. In this way Pettman establishes the idea of a sonic intimacy that is intimate precisely in having shed its physical presence. This observation leads Pettman to seek to explain the absence of “aural porn” on the internet (yes, dear reader, such are the surprising twists and turns of this riveting book!). If the voice, untethered from the overdetermined female body, were allowed to circulate unchecked, it would threaten the entire patriarchal system—a system that depends precisely on the exclusion and capture of an inarticulate cry consistently coded as female or animal. Hence—paving the way for the next chapter on the gendered voice—there exists a voyeuristic regime of listening that “wrenches a sexual sound from the body of the other” (21) in order to gratify the male listener with an assurance of their subjective agency.

    In this logic we can discern a trace of the critique of sovereignty advanced by Giorgio Agamben, a thinker whom Pettman evokes on more than one occasion and who, like Pettman, takes his inspiration from the deconstructive logic of exappropriation. Deconstructive essays such as Jacques Derrida’s “Tympan,” for example, suggest that philosophical listening does not simply exclude its outside but seeks to master it and make it its own. But Agamben’s point—as Pettman acknowledges in a note referencing the book Echolalias by Agamben’s translator Daniel Heller-Roazen (100n17)—is that what appears to be outside language is in fact its condition of possibility.[3] As Agamben argues in Language and Death, meaningful human speech can only emerge on condition that the inarticulate animal cry withdraws. Philosophy, though, has traditionally forgotten precisely this withdrawal that makes language possible (what Derrida calls the withdrawal of the withdrawal) and has imagined in its place in its place a bodily presence that appears to lie beyond the bounds of the linguistic. Agamben on the contrary argues that the apparently non-linguistic is nothing other the pure possibility of language that goes unheard in every act of speaking.[4]

    That much of this theory remains in the background leaves Pettman free to write engagingly without getting mired in thorny philosophical debates. Keeping the sustained theorizing largely underground lets Pettman’s prose sparkle. Provocative ideas flow with one intriguing example after another, but this is one of the moments when I would have welcomed a more rigorous corps-à-corps confrontation with Agamben’s theory of Voice. Agamben has a lot to say about what happens when the disavowed condition of possibility begins to circulate in an autonomous sphere—something he specifically connects to analyses of the glorious body, of commodification, and of pornography. Agamben’s commodified body is detached in the pure spectacle from its sacralization, its ineffability and its legally and culturally authorized uses and hence appears as a pure potentiality for new uses. How could Pettman develop Agamben’s reflections on pornography that have always focused on the visual, shifting the focus from visibility to audibility? And how would he situate his own arguments in relation to Agamben’s efforts to dislocate the aporias of metaphysics? When at the beginning of the book, Pettman recalls the prenatal experience of sound, how does this compare with Agamben’s notion of infancy (referenced only in passing at 108n5)? There is little discussion—with the possible exception of Hedy Lamarr’s silent on-screen orgasm—of voices that hold their capacity to sound in reserve.

    Pettman turns in the third chapter to the animal voice. In a chapter indebted to the late Derrida’s ideas on animality, the highlight is a scene with a cockatoo that Pettman contends “deconstructs the cherished metaphysics of (humanist) presence, far more economically and effectively than Derrida does in his writings” (62). The cockatoo was adopted by new owners after a bitter divorce but continues to reenact the no doubt traumatizing arguments it was forced to witness in its previous life with an invective of curse words hurled out with a bitter tone and even the aggravated body language of rejection and resentment. This scene illustrates the difficulty of assigning an owner to the voice: while it is on one level the bird’s voice, audible and present in the room, it also brings to life vividly the original arguing couple. This cockatoo, like the parrot that betrays its owner by reproducing the salacious sounds of the porn he secretly watches, reveals that it is not just imitative animals who are ventriloquized, but we humans too, especially “when we are in the ecstatic, agonistic throes of jouissance or fury.”

    From this Pettman draws the conclusion—albeit one that is hardly new—that there is no simple hierarchy of human over animal, for humans can readily be “reduced” to the “animalistic” under the pressure of certain circumstances. The more thoroughgoing Derridean point that this scene makes—one that Pettman hints at without saying it explicitly—is not only that the human-animal opposition may be deconstructed but that this moreover hinges on a more radical deconstruction of the proper tout court. There is no proper human voice not because humans sometimes cry out in animal voices or because animals sometimes seem to speak to one another. Rather, it is impossible to decide between the two because there is no voice that belongs to any of us, whether human or animal.

    Against a tradition that reserves meaningful speaking and listening as a uniquely human privilege, Pettman thus calls in the final chapter for us to lend our ears to all the voices of the earth, to the vox mundi in which all manner of creatures, entities, and phenomena are present to us. In this Pettman reveals that his concerns are not simply ecological or political but are also properly philosophical, even if he is sometimes coy about asserting this ambition. In other words, Pettman is interested in how Being is present to us as a voice—how it exists for us as we listen to those voices. To this extent, Sonic Intimacy is, despite the framing it often adopts, not chiefly about issues of technology, ecology, or desire. Rather, these themes become occasions to pursue an unashamedly philosophical project: that is, the deconstruction of the metaphysics of voice. To this extent, Pettman’s continues a sequence that extends from Heidegger through French deconstruction: philosophy as listening to Being.

    The parenthetical description in the subtitle “Or, How to Listen to the World,” reveals that there is one philosophical voice in particular that commands Pettman’s attention, even if it is not given the sustained hearing that one might expect. It is Jean-Luc Nancy who tells us, in the face of a rampant globalization that renders the world uninhabitable, that, to be a part of a world and not a mere agglomeration of wealth, we must “share a part of its inner resonances.”[5] Only then can the world take place and can we inhabit it. There are tantalizing references to Nancy scattered throughout the text. There’s a brief mention of his conception of ontology as resonant referral to explain the expropriation of the voice (44–45) and later there’s an unacknowledged and undeveloped evocation of Nancy’s phrase “birth to presence” (89).

    Pettman writes frequently of acousmatic voices where the actual sounding is separated from the source, like the cockatoo. It is tempting, therefore, to imagine Nancy as a kind of disavowed ventriloquist, for Sonic Intimacy—deliberately mixing metaphors here to show the contact between resonance-as-spacing and touch—has Nancy’s fingerprints all over it. The Birth to Presence begins precisely with the same question of defining the human that preoccupies Pettman. The epoch of representation, suggests Nancy, originates with human exceptionalism, with the moment at which the human species being acquired its identity by virtue of one defining characteristic or another. “There is, perhaps, no humanity (and, perhaps, no animality)” wonders Nancy, “that does not include representation.”[6] The task is to think the unraveling of this limit, to think “what, in man, passes infinitely beyond man.” So, if Nancy asks what it is in the human that exceeds the bounds of its exceptional determination, Pettman examines how the exceptional exceeds the bounds of its human definition and thus dissolves the exception. For example, if the human is defined by having a voice, there is part of the human that is not exhausted in its vocality, and there is part of vocality that is not exhausted by the category of the human. Voice and humanity do not coincide. These are two faces of a mutual contamination. Humanity is thereby liberated from its phonocentric determination and vocality spills over the edges of the human into animal cries and the sounds produced by plants, inanimate objects, and intangible algorithms—disseminated throughout the univocity of the vox mundi at large.

    Nancy’s terms of “listening,” “world,” and “being” bear distinctly Heideggerian overtones. Pettman dismisses Heidegger’s suggestion that the animal is poor in world and hence poor in hearing. Adopting Agamben’s critique of what he calls the “anthropological machine” and Derrida’s notion of animot, Pettman has elsewhere not hesitated to point out that Agamben himself fails to get beyond the Heideggerian horizon when he retains boredom, for instance, “as a uniquely human curse and/or privilege.”[7] It is precisely the attunement between beings and their environment that Pettman challenges with his notion of intimacy. He suggests that a sense of self—one intimacy with one’s self if you like—is produced “through the vocal back-and-forths with others—and with the environment” (59). Although Pettman here attributes this notion of back-and-forth to Deleuze and Guattari’s formulation of the refrain, it would surely not have escaped his attention that Nancy describes presence as a “coming and going,” a “back and forth”[8]—what he elsewhere calls a “diapason-subject.”[9]

    This leaves one wondering about the nature of the back-and-forths between Pettman and deconstruction. Does Nancy provide the tools to think about the voice beyond the horizon of anthropogenesis, or are the examples of post-human and non-human voices ways to realize the full implications of Nancy’s deconstruction of sonic presence? One challenge for the reader is that Pettman tends to marginalize precisely those thinkers with whom he is most intimate. He spills more ink, for instance, critiquing Adriana Cavarero than engaging with Derrida. A discussion of the concept of intimacy comes only in the conclusion and many of Pettman’s back-and-forths with deconstruction are reserved to endnotes. One thing that the book could define more clearly is the extent to which the deconstructions of phonocentrism and logocentrism are mutually implicated. In the main body of the text, Pettman suggests that voice is the foundation of logocentrism and in the notes he specifies more precisely that “phōnē is the necessary but not sufficient condition for logos.” Citing Derrida’s claim that phonocentrism appears to be universal, while logocentrism is not, he argues that “the trick is foreground the multitude of voices, without being ‘phonocentric’” (108n8), by which Pettman seems to mean without positing the voice as transcendental.

    There are two questions that remain. First, from the perspective of grammatology: why retain vocality at all even in its plurality? Derrida’s famous attack on Husserl targets the false notion that one is simultaneously present to oneself in hearing-oneself-speak. Already in Husserl the account of temporalization reveals that the supposed unity of the “now” is in fact divided from it—that is, is always already spacing. This is why Pettman insists, against Cavarero, on the significance of time-shifted contexts, in which presence is dispersed. The question remains, though: why continue to speak of a voice if one is thinking of something closely approximating Nancy’s resonant referral? One possible answer is that these voices stripped of logos and bodily presence, represent a pure intention to signify—something close to Agamben’s notion of Voice as the potentiality for language. As Nancy develops the idea that listening-as-resonance is the condition of possibility for sense, he cites a passage from Agamben in which he thinks of Voice as the rustling of animals in their retreat. It would be fascinating to see Pettman engage with this citation in order to specify more precisely the relation between voice and listening. For Pettmann, this relation is defined by the concept of intimacy, according to which a voice is what strives to make itself known to us, which calls us to pay attention to it, summons our listening and invites us to approach its “potentially enlightening alterity” (83). While Pettman is eager to distance himself from neo-Heideggerianism, what prevents this seductive allude from repeating the logic of the withdrawal of Being when the deictic voix-là that he coins, like Agamben’s Voice-as-shifter, consists in its own vanishing act (58)?

    The other point to make is one that could also be leveled at deconstruction: is dispersal and dissemination really an effective way to relinquish the transcendental? Pettman is clearly with Derrida on this point, but Catherine Malabou has made a convincing argument that Derrida’s attraction to a Genetian dissemination of aurality as a means to topple the Hegelian tower of Klang is just another attempt to avoid the economy of the transcendental without abandoning it.[10] The problem with the transcendental voice, as Pettman recognizes, is that it always presupposes another excluded voice. The category of human voice presupposes the other voice of machine and animal, but, even within the category of the human, the voice is divided into noise and speech, masculine and feminine, and so forth, always partitioning itself. In the economy of the transcendental, the voice becomes a fetish—which, in Derrida’s definition, can both be detached from a chain of voices to become the privileged one and also substitute for any other one in the chain.

    One can escape the contradiction by incorporating the externalized fetish into the system (the Hegelian metaphysical solution) or, as Malabou points out, you can deflate the phallus by bringing down everything around it so that nothing stands taller than anything else (the Derridean option). Pettman, for his part, challenges the privileged position of the voice and instead indulges in the substitution of one voice for another, a gradual slippage from one chapter to the next. The issue facing deconstruction applies here too, though: how to end the infinite regress of voices? In the end Pettman seems to settle for a voice of the world that is without beginning or end and that refuses to be subordinated to any totalizing project. The world is a space in which one is always listening out for another voice. One moment one hears it, the next one doesn’t.

    The form and style of Pettman’s book capture the character of this roving ear, always pricking up with the possibility of another intriguing example. Pettman is a very engaging writer, and the way he traverses contexts and theoretical horizons is thrilling. Sonic Intimacy slides from one voice into another, slipping out of one body into another, all the more easily because it wears its weighty themes very lightly. Philosophy, then, becomes less an instrument by which to prosecute an argument than a playful seduction designed to lure our ears from one idea to the next. Pettman’s writing is perhaps at its most exciting when it ignores expectations to pin down the voices of interlocutors and instead revels in throwing the voice, in making it seem as if it emanates from somewhere else. Pettman himself, whose body of writing gives the impression of an insatiable curiosity, is no doubt already chasing down other voices and other worlds. I urge readers, though, to let their ear linger a little longer over this intriguing little book that promises to help us discern voices where we least expect to hear them.

    Naomi Waltham-Smith is Assistant Professor of Music at the University of Pennsylvania. Her work sits at the intersection of music, sound studies, and continental philosophy. She is author of Music and Belonging Between Revolution and Restoration published by Oxford University Press, and is currently writing a book entitled The Sound of Biopolitics.

    Notes

    [1]    Dominic Pettman, Creaturely Love: How Desire Makes Us More and Less Than Human (Minneapolis: University of Minnesota Press, 2017).

    [2]    Dominic Pettman, Human Error: Species-Being and Media Machines (Minneapolis: University of Minnesota Press, 2011).

    [3]    Daniel Heller-Roazen, Echolalias: On the Forgetting of Language (New York: Zone, 2005).

    [4]    Agamben, Language and Death: The Place of Negativity, trans. Karen E. Pinkus (Minneapolis: University of Minnesota Press, 1991).

    [5]    Jean-Luc Nancy, The Creation of the World, Or, Globalization, trans.  François Raffoul and David Pettigrew (Albany, NY: State University of New York Press, 2007), 42.

    [6]    Jean-Luc Nancy, The Birth to Presence, trans. Brian Holmes et al., (Stanford: Stanford University Press, 1993), 1

    [7]    Dominic Pettman, Human Error, 237n71.

    [8]    Nancy, The Birth to Presence, 5.

    [9]    Jean-Luc Nancy, Listening, trans. Charlotte Mandell (New York: Fordham University Press, 2007), 16.

    [10]   Catherine Malabou, “Philosophy in Erection,” Paragraph 39, no. 2 (2016): 238–48.

  • Ben Murphy – The Universes of Speculative Realism: A Review of Steven Shaviro’s The Universe of Things: On Speculative Realism

    Ben Murphy – The Universes of Speculative Realism: A Review of Steven Shaviro’s The Universe of Things: On Speculative Realism

    Steven Shaviro’s The Universe of Things: On Speculative Realism (2014)

    Reviewed by Ben Murphy

    Steven Shaviro begins The Universe of Things (2014) promising a “new look” at Alfred North Whitehead “in light of” speculative realism. The terms of this preface ought to be reversed though, since what follows Shaviro’s introduction is actually a “new look” at speculative realism “in light of” some Whiteheadean ideas. This distinction is important: readers should not seek out The Universe of Things for an introduction to Whitehead qua Whitehead or even a “new look” at Whitehead vis-à-vis current issues of cultural and critical analysis. (Indeed, better options along these lines include, respectively, Shaviro’s own earlier book, Without Criteria (2009), and the more recent University of Minnesota Press collection The Lure of Whitehead (2014).) Universe, on the other hand, is better described as an attempt to map the cumulative geography of speculative realism, a philosophical movement which Shaviro stresses should be referred to in the plural: speculative realisms. Speculative realisms (and its sibling endeavors like object oriented ontology and new materialism) are perpetually in search of heterodox traditions and forgotten figures—philosophical antecedents sought for foundational credence and inspiration. And in this sense Shaviro’s incorporation of Whitehead is the latest in a lengthening line: Graham Harman recuperates a certain version of Heidegger, Jane Bennett returns to Spinoza and Bergson (among others), and, more far afield still, Ian Hamilton Grant champions Schelling’s Naturphilosophie. But if these and other thinkers raid the archive to consolidate new and distinct philosophical templates, Shaviro’s survey is decidedly more evaluative than constructive. Working Whitehead into the cracks of speculative realism, Shaviro widens that movement’s internal fractures in order to expose, and at most nuance—rather than overturn, reverse, or revamp—its prevailing assumptions.

    Shaviro’s critical take on speculative realism relies on two recurring moves: first, an overarching unification and, second, a subsidiary distinction. First, in the name of unity, Shaviro stresses that speculative realisms hold in common a core desire to step outside what he—following French philosopher Quentin Meillasoux—calls the correlationist circle. As reiterated by Shaviro, the primary target implied by this phrase is Kant’s position that the world is only knowable and approachable through thought. “We” can never grasp an object “in itself” or “for itself” in isolation from its relation to us, the thinking subjects. This insistence means that any account of the world and reality is fundamentally an account of the world and reality as accessed through and by human thought. Speculative realisms are unified in wanting to get beyond this self-reflexive loop. Quentin Meillasoux, Graham Harman, Ray Brassier, and Ian Hamilton Grant (the school’s four founding fathers)—as well as fellow travelers—shed the correlationist straight jacket by theorizing (or, better, speculating) about the real world, the world of the “great outdoors” (another Meillasoux coinage) or, as Eugene Thacker puts it in his “horror of philosophy” series, the world “without us.” (For a very different account which disputes whether “correlationism” refers to a fair or even a meaningful reading of Kant, see David Golumbia’s “’Correlationism’: The Dogma that Never Was,” recently published in bounday 2.) As Shaviro notes, there’s a timeliness to this “anti-correlationist” critique, since casting the philosophical net beyond the circumscribing human mind seems a deadly serious endeavor in the face of impending ecological catastrophe. Still, the warming planet is just the most obvious and palatable hook that initiates what Shaviro calls the “changed climate of thought” (4) recently amenable to speculative realism. And if both new materialism and object oriented ontology are more prone to non- or para-academic environmental and ecological interventions, then speculative realism is more interested in revisiting and recasting the history of philosophy.

    A commitment to outfoxing correlationism unites speculative realism, but Shaviro’s second move—that of division—hinges on pinpointing the particular strategies employed to achieve this revisionary project. Repeatedly in Universe, Shaviro splits speculative realism into two main factions. On the one hand, Meillasoux and Brassier pursue lines of thought that Shaviro calls “eliminativist”: for these admittedly nihilistic thinkers, correlationism is undone by the revelation that thought is “epiphenomenal, illusory, and entirely without efficacy” (73)—that thought doesn’t rightly and necessarily belong anywhere in the universe. For Shaviro, Brassier goes further in approaching the “extinction of thought” than Meillasoux, who saves thought from complete elimination by introducing a deus ex machina according to which thought and life emerge “ex nihilo” and simultaneously from a universe previously devoid of both (76). The contrast to this first faction is found in Harman, Grant, Levi Bryant, and Timothy Morton. Instead of proposing that thought is fundamentally inimical to the universe, this coalition of speculative realism wagers that agency and thought are everywhere. Positing the “sheer ubiquity of thought in the cosmos” (82), this position reaches its apotheosis for Shaviro in a panpsychic vision where all things—animate and otherwise—are sentient (if perhaps not exactly conscious). Shaviro places himself in this second faction only after making a further distinction that separates him from Harman in particular. Whereas Harman, according to Shaviro, stresses the withdrawn nature of objects—withdrawn in the sense that the object must always “recede” from its relations (30)—Shaviro joins Whitehead (and Latour) in making a distinction between epistemological withdrawnness and ontological relations (see 105). Where an object may always hold something in reserve from what is knowable to the perceiving mind (as Harman insists), even this measure of the object that is reserved may be affected and changed by modes of contact that elude knowledge and understanding. Because of “vicarious causation” and “immanent, noncognitive contact” (138, 148) (a mode of contact that Shaviro never satisfactorily distinguishes from more popular usages of the term “affect”), an “occult process of influence” occurs that is “outside” any correlation between “subject and object, or knower and known” (148). The object, then, is not so utterly withdrawn as Harman’s narrowly epistemological account suggests. So between eleminativism and panpsychicism as extremes of the speculative realism spectrum, Shaviro says, we’re faced with a “basic choice” (83).

    Describing correlationism and the various offerings to get beyond it is standard fare for speculative realism. But what Universe lacks in originality it compensates for with breadth of analysis and consistently careful, patient exposition. Shaviro admirably treats a wide swath of speculative realists (plus quite a few philosophical giants from both continental and analytical traditions), and he does so with a tone perpetually modulated for utter clarity. Absent is any of the obfuscating rhetoric or over-the-top claims that one might expect from someone who sets out to correct Kant. In part Shaviro’s achievement stems from his own outsider status. His rich body of academic work—on everything from film studies to music video aesthetics to sci-fi infused accelerationism—as well as the light touch on display here and throughout his superb and eclectic online presence (see: http://www.shaviro.com/) stand him in good stead as a welcome interlocutor and guide. Approaching speculative realism as a kindred but not coincident thinker, he’s able to recapitulate his own coming-to-terms with ideas in a way that translates well to other sympathetic non-initiates.

    Apart from style and tone, though, Shaviro’s approach is also commendable for a self-avowed pragmatism of ideas. In an aside in the first chapter, Shaviro applauds Isabelle Stengers for the insight that “the construction of metaphysical concepts always addresses certain particular, situated needs” (33). “The concepts that a philosopher produces,” Shaviro continues, “depend on the problems to which he or she is responding. Every thinker is motivated by the difficulties that cry out to him or to her, demanding a response” (33). While a fair representation of Shaviro’s own admirably simple and workmanlike prose, these statements also epitomize the generous spirit that urges Universe. Shaviro is careful to explain the fruits and situational benefits of every idea that he treats, perhaps especially those ideas that he wants to challenge—an attractive way of grounding philosophical ideas which, being speculative by definition, sometimes feel quite flighty.

    The discussion of panpsychism that spans chapters four and five is the most exciting and original element of Universe. In part this is because it draws on a body of work in cognitive science and the philosophy of biology that Shaviro knows well and that is fresh fodder for discussions of speculative realism. His discussion in this section also has the added charm of giving itself over to the speculative freedoms afforded to speculative realism itself. As Shaviro recognizes, speculative realism is at its best when it joins with speculative fiction in the common task of “extrapolation” (10). Thus in considering panpsychism we’re teased with the notion that slime molds have thoughts (88). Less bogged down by the minutia of distinctions between this SR thinker and that, Shaviro joins a more diverse group of thinkers to consider, for instance, Thomas Nagel’s question about what it’s like to be a bat. Well aware of the absurdities attendant to a truly panpsychic vision, Shaviro lets speculation carry the day, and it’s a pleasure to follow him through a romp that ties the questions of speculative realism to a longer intellectual tradition of sometimes strange twists and turns.

    Also helpful and fresh for speculative realism—although somewhat hard to square with the rest of this book—is Shaviro’s first chapter, which shows how Emmanuel Levinas helps us appreciate speculative realism even as Whitehead’s “aesthetic” mode of “contrast” departs from Levinas’ “ethical” encounter with the Other. Where for Levinas the encounter trumps self-concern, for Whitehead both self-concern (or “self-enjoyment”) and “concern” for the Other are poles best understand in balancing counterpoint (rather than conflict). Apart from being the most detailed analysis of Whitehead’s thought—and, indeed, his thought as it changed in his long arc of writing—this opening account is valuable for SR in arguing that a commitment to circumventing correlationism need not be an ethical project in the traditional sense. In other words, in Shaviro’s reading of Whitehead, a philosophy geared towards the object world “without us” isn’t premised on care. The problem here and elsewhere in Universe, though, is the fuzzy usage of the term “aesthetic.” As I’ve suggested, chapter one deploys this term opposite Levinasian ethics in a frustratingly negative mode of definition: aesthetics is said to be what is not ethics. While gaining some clarification in the volume’s titular chapter (see 52-54), the aesthetic remains unclear even when given new treatment in a discussion of Kant that occupies the last ten pages of the book. Here “aesthetic” is set against knowledge (or epistemology) rather than ethics, and, as my discussion of Shaviro’s disagreement with Harman suggests, “aesthetic” comes to mean something like noncognitive contact, or “affect.” If these disparate senses of the “aesthetic” are related or even mutually inclusive, Shaviro doesn’t do enough to show how.

    For all its merits, Universe suffers heavily from being stuck between monograph and essay collection. One searches in vain for the absent promise that the book’s chapters can be read collectively or in isolation, approached in order or at random. Such a promise, at least, would admit that the chapters don’t serially build to anything in particular. Lacking this or any other clues from Shaviro, though, we’re faced with seven relatively short offerings that loop back on one another with frustratingly little meta-commentary. Much of the mapping of speculative realism as I’ve described it above via unification and division, for instance, appears essentially verbatim in chapters two, six, and seven. The treatment of Harman—both agreement and disagreement—in particular makes continual reappearance. The same could be said of the discussion of panpsychism, which is interesting the first and perhaps even second time but quickly turns suspect as it is recycled through chapters three, four, and five with only the trimmings changed. The mere fact that bits of argument can appear at the beginning and end of the book in essentially the same form (and with Shaviro seemingly unaware of such repetitions) leaves the reader wondering about the value of a journey that feels constrained to a treadmill. A more cynical reader might look to, and find answer in the book’s editorial meta-data, which reveals that the first three chapters are previously published. Insofar as Universe excels at any one thing, then, it may be at academic entrepreneurialism—a feat of (re)publishing in which a triplet of core essays are surrounded with the sort of rhetorical packing peanuts which actually detract from ideas that would be more forceful as standalone articles. The reader already deep inside the sweep of SR may find plenty in this extended cut edition, but those more casually interested will be better served to read independently (as interests dictate) “Self-Enjoyment and Concern” (on Whitehead, Levinas, and SR), “The Actual Volcano” (Shaviro’s primary disagreement with Harman), and “The Universe of Things” (a broad strokes and bouncy introduction to the promises and riddles of SR, new materialism, and object ontology). Each has gems of insight owed to Shaviro’s exhaustive research, and reading them apart from one another—perhaps even in their original contexts—would lessen the rather tiresome burden of trying to figure out how they all fit together.

    Ben Murphy is a Ph.D. student at the University of North Carolina at Chapel Hill. He works on 19th and 20th century American literature, the history and philosophy of science, and critical theory. His essay on James Dickey’s Deliverance and film adaptation is forthcoming from Mississippi Quarterly (2017), and you can also find his writing at ETHOS: A Digital Review of Arts, Humanities, and Public Ethics and The Carolina Quarterly. Website: http://englishcomplit.unc.edu/people/ben-murphy

  • Olivier Roy — French elections: Catholics vote Catholic, Muslims vote secular

    Olivier Roy — French elections: Catholics vote Catholic, Muslims vote secular

    by Olivier Roy

    Two days before the first round of France’s presidential elections, a terrorist attack on the Champs-Elysées, claimed by the Islamic State, sent a shock wave through the media: such an attack would surely play into the hands of the “anti-Islam” candidates—namely, the conservative François Fillon and the populist Marine Le Pen. In fact, nothing of the sort happened. Instead, the victor was centrist Emmanuel Macron, who said that France should learn to live with terrorism. The fear of Islam did not work. But religion did play a role, though not in the way that many would have predicted.

    Since the recognition of France’s secular Republic by the Catholic Church in 1890 (Cardinal Lavigerie, on behalf of Pope Leo XIII, made a toast “A la République Française!” after an official banquet in Algiers),therehas never been an avowedly Catholic political party in France. The Church rejected the idea, instead opting to promote its values by “secularizing” them and disseminating them through non-religious political actors. For instance, to same-sex marriage was couched in the 2012 by Cardinal Barbarin (bishop of Lyon) as a refusal to change the “anthropological paradigm” on which society is based; he referred to the natural law and not to the will of God.

    But the effort to reach out to secular circles and even other religious groups, including Jews, Protestants, and Muslims, failed in this case. Even the moderate right wound up endorsing same sex-marriage. As a consequence, militant Catholics took to the streets under their own flag (and cross). The movement, called la Manif pour tous (“the Demo for all”), which took shape in 2013became autonomous from the clerical hierarchy, by entering politics. By 2016, it had developed into its own political branch, called Sens Commun (common sense), which brought together some militants of Les Républicains, the “Gaullist” center-right party, of Chirac and Sarkozy, in order to push the agenda of the Manif pour Tous inside the party. It achieved a big victory with Fillon’s primary victory over Alain Juppé, the favorite. Although Fillon did not explicitly promise to rescind the law on same-sex marriage, he pledged to rewrite it and prevent full adoption by gay couples. Fillon was the only credible candidate for the presidency since the 1958 constitution to present himself as a practicing Catholic, eager to promote Christian identity and values (conversely: De Gaulle, also a devout Catholic, was a strong defender of the separation of Church and State).

    This sudden breakthrough of militant Catholicism took place at a time when the traditional right, in France and throughout Western Europe, had more or less finally but reluctantly endorsed liberal values like feminism, sexual freedom, abortion, gay’s rights, even animal rights. Moreover, even the populist extreme right has also endorsed liberal values where family and sexuality are concerned. Neither the Netherlands’s Geert Wilders, Marine Le Pen, or the Austrian Hans Christian Strache are known for attending church, or advocating Christian sexual and family norms, or Christian teachings on love and hospitality. Their definition of Christian identity is purely ethnic and folkloric, not rooted in the teachings of the Church.

    French society is strongly secular—a fact that Le Pen wove into the identity of her National Front (FN) party some time ago. Although the FN is steeped in its anti-immigrant, anti-Muslim fundamentals, from the start of the campaign she has endorsed laïcité—“political secularism,” the official term for the separation of church and state—over Christianity, as the template for French identity. Of course, her version of laïcité is directed against Islam, including banning the veil and halal food from the public space. Le Pen has also extended her particular version of laïcité to exemplifiers of all other religions in the public space, including yarmulke and kosher food.

     Nevertheless, this approach helped Le Pen finish second. But to defeat the centrist Macron in the run off, she will have to attract the Catholic constituency of Fillon and the anti-globalization, anti-capitalist, secularist electorate of Jean-Luc Mélenchon, a neo-communist and a “third-worldist,” who has supported Hugo Chavez, Fidel Castro, and the Palestinian people; like Le Pen, he has also been accused of anti-semitism. The former might be attracted by her stance against Islam, and the latter by her anti-European, anti-establishment position.

    Mélenchon, a staunch opponent of religious signs in the public sphere, offered perhaps the first round’s biggest surprise: he was the most-popular candidate among Muslim voters, of which there are between 2 and 4 millions, depending if we refer to believers or people from Muslim origin. Some attribute this to his support for the Palestinians and his open, controversial backing of Syrian leader Bashar al-Assad and Russia’s Vladimir Putin. But Palestine did not come up during the campaign. In addition, Mélenchon backs Assad because of his war against Salafist rebels; it’s difficult to see how this would appeal to pro-Salafist French Muslims living on the margins of French society—youth of destitute neighborhoods, the born-again of all kind, and converts. Traditionally, Salafists avoid political participation. In fact Mélenchon never addressed the concerns of faithful Muslims.

    The problem in understanding Muslim support for Mélenchon is that most people tend to think that Muslims vote as a single, undifferentiated faith community. For years, the debate over Islam in France has been oversimplified, reduced to an idea known commonly as communautarisation:by returning to a conservative and normative practice of Islam, the Muslim community is enforcing its own forms of social control in “the lost territories of the republic”—namely, the destitute neighborhoods. That move would lead to some sort of separation from mainstream society. But whether this has actually occurred is far from clear.

    Muslim support of Mélenchon likely had far more to do with class and social exclusion.

    There are, of course, both well-off and less-well-off French Muslims—those stuck in low-wage jobs in the destitute neighborhoods their contract-labor forefathers settled in in the 1960s and 70s, and those who have managed to move into the middle-class. France does not collect voting data by ethnic or religious group, so we cannot say for certain how these people voted; many of these middle-class Muslims likely voted for Macron or the socialist Benoit Hamon in the first round, and are likely to vote for Macron in the second. That’s because they represent middle-class aspirations.

    We know the voting patterns of less-well-off Muslims, by contrast, because they are concentrated in certain electoral precincts. Mélenchon came first in the department of Seine Saint Denis, which has the highest-percentage migrant population in France, with 37 percent; in Dreux, another city with a high percentage of migrants, he also captured 37 percent, and a peak of 57 percent in the electoral precinct with the highest percentage of Muslims. This general pattern was confirmed by an IFOP poll after the second round, which indicated that 37 percent of the French Muslims voted for Mélenchon, far exceeding the other candidates.

    The first round of the presidential elections showed no political expression or symptoms of such a religious separatism—they voted for Mélenchon, a neo-Marxist. On the contrary, despite the ban on voting declared by many Salafists, and despite a traditional disaffection of the youth towards elections, there has been an increase in participation versus the last elections. Mélenchon, then, likely won the Muslim vote on social issues: exclusion, joblessness, and precariousness attributed to capitalism, the free market, globalization and Europe. Muslims—poorer ones, at least—voted because of their social situation, not their religious convictions, choosing a candidate that based his campaign on social issues, while supporting laïcité and opposing the veil.

     Ahead of the second round, it’s interesting that while the Catholic hardliners made a more or less explicit call to vote for the FN, Le Pen is openly trying to court Mélenchon’s electorate without making any reference to the important proportion of Muslims in his electorate. While Mélenchon made it clear that he will vote for Macron, he refused to join the “Republican Front” against extreme right and “fascism” ; and let his supporters decide. Will some poor Muslims vote for Le Pen because they support the FN’s populist agenda? A bit difficult because the FN is still racist. Will they vote for Macron to fight racism? Not necessarily because Macron embodies, according to both Melenchon and Marine Le Pen, the global world of finance. The most probable option is that they will abstain, as many of them told me in Dreux.

    Olivier Roy is a political scientist, professor at the European University Institute in Florence, Italy. His most recent book is Holy Ignorance: When Religion and Culture Part Ways (Columbia University Press, 2010).

     

     

  • Charles Bernstein — Lyric Shame

    Charles Bernstein — Lyric Shame

    by Charles Bernstein

    N.B.: In Lyric Shame (Harvard University Press, 2014), Gillian White shames those who question the jargon of authenticity in lyric poetry. White claims that active skepticism toward Romantic Ideology is a form of shaming. White fights this phantom shame with her critical shaming. See Lytle Shaw, “Framing the Lyric” in American Literary History, 2016.

     

     

     

  • Alexander R. Galloway — An Interview with McKenzie Wark

    Alexander R. Galloway — An Interview with McKenzie Wark

    by Alexander R. Galloway

    This interview has been peer-reviewed by the boundary 2 online editorial collective. 

    Alexander R. Galloway: Critical theory tends to subdue biography, but I’d like you to reflect on your own trajectory as a thinker. Your last few books all fit together. How do you conceive of the project that began with The Beach Beneath the Street (2011), and continues through The Spectacle of Disintegration (2013), up to Molecular Red (2015)? It’s a story about the Situationist International, to be sure, but your story is both broader and longer than the specific locus of the S.I. Did you set out to rewrite the history of radical modernity? What stories do you want to tell next?

    McKenzie Wark: I would include A Hacker Manifesto (2004) and Gamer Theory (2007) in that trajectory. Those books are already about the mode of production after capitalism that runs on information. The former was a more optimistic book about the new kinds of class conflict that could shape it; the latter a more pessimistic one about its new modes of incorporation and control. But I felt that nobody was quite getting the alternate path through the archive those books implied. So I decided to write some more pedagogic books that laid out the resources one could use to “leave the twenty-first century.”

    That led to the three books you mentioned plus another to come that are indeed a cycle about rewriting radical modernity. Not that this is the only alternate path through the archive, but it’s an attempt to suggest a different relation to the archive in general, to see it as a labyrinth rather than an apostolic succession; a kind of “no-dads” theory, but full of queer uncles and batty aunts.

    Molecular Red has a bit about the moment of the October Revolution, rethought through Bogdanov and Platonov. Then, second in the sequence, would come the one I haven’t finished, about the British scientific left, the original accelerationists and cyberfeminists. That covers the 1930s – ’50s. Then The Beach Beneath the Street, which reads the situationists as radical theory, not art, and expands the story beyond Guy Debord. The Spectacle of Disintegration continues that dérive through the archive by way of the post-’68 moment. What to do when the revolution fails? As a book-end, there is the last part of Molecular Red about Donna Haraway, but read as a marxist as well as feminist thinker, a reading I then take through a cluster of people with Haraway-affinities.

    My job at The New School is really not ideal as far as doing research is concerned. So these are more writerly than scholarly books. They are meant to legitimate spaces in which others might do more thorough work. I want to leave nice, big attractive spaces for grad students or artists or activists to go set up camp. And people do, which makes me happy. In my small way I think I enabled some of the new work on Bogdanov, the Situationists, Haraway in relation to Marx, and so on.

    I find it enervating when people simply try to squeeze the present into the old patterns set by Walter Benjamin or whomever, and add just a tiny bit of novelty to how we read such a canonic figure. Why not read other people, or read the present more in its own terms? Ironically, to best honor Marx or Benjamin one should not simply be their exegetes. So my job is to corrupt other people’s grad students. To be the odd uncle (or auntie) who whispers that one can dissent from the great academic patriarchy (and even its subsidiary matriarchy) where one only succeeds through obedience to the elders and the reproduction of their thought.

    AG: Can you also reflect on your move to the United States, where you’ve lived now for over fifteen years? I know you’ve commented on how disconnected American academia is from other parts of the world, particularly Australia–an observation that could be spun negatively or positively. (American schools are tuition-driven and hyper capitalist, yet ironically still largely free of neoliberal bureaucratization along the lines of Britain’s onerous Research Excellence Framework.) And you’ve also mentioned in the past how you received a rather unique political education in Australia. Can you say more about your life during the Twentieth Century?

    MW: I had a great education of the provincial petit-bourgeois kind. I learned at the feet of labor movement militants and later from various self-invented avant-gardes and proto-queer bohemias. Things were already going badly in Australia in the nineties so I wrote what I think of as my “popular front” books. The Virtual Republic (1997) was about the culture wars, in the spirit of Lyotard’s differend. I wrote another one about two versions of the popular: social democratic and hyperreal. But then I fell in love with a New Yorker, so I gave up tenure, moved to New York, and started over. Probably a lucky escape, as so far the diversity of economic models has kept American universities in better shape than in state systems such as the UK or Australia.

    In Australia I was part of what Mark Gibson called the “republican school” of cultural studies. Republican in the sense of the res publica, the public thing, or more figuratively of cutting to the heart of a problem and exposing it. We weren’t interested in cultural policy or simply doing critique from the sidelines, but of trying to effect the national-popular space of cultural conflict itself. But I was already a bit critical of the superstructural turn cultural studies represented, its bracketing off of questions of media form, and with them of the mode of production and historical stage. In Virtual Geography (1994) I had already wanted more a theory of the media vector as shaping a certain kind of space of action.

    It just seemed untenable to do anything like the same sort of work in America, where I had no access to the public sphere. I was nobody. And I already wanted to move away from the post-Marxism of say Hall and Laclau and Mouffe, that turn to either the cultural or political as autonomous or even ontological. That did not make a lot of sense if you looked around at the big world a bit. So I went back to my earlier formation in classical and western Marxism as well as in the avant-gardes, and wrote A Hacker Manifesto. That was my first “American” book, even though it came out of participating in the transnational digital avant-gardes of the nineties, something of interest to me alongside the “popular front” work I was doing at that time.

    AG: Is it fair to say that you have a reticence toward high theory and big thinkers, figures like Alain Badiou with his intricate if not onerous systems? You are not a system builder, if I may speak plainly. Instead you are proud to pursue a kind of “low theory.” Provisionality, tactical intervention, tinkering and recombination, intellectual creativity, but also impurity–although I can never tell if you are a pragmatist or an idealist! Can you comment on the fascinating mixture that constitutes low theory?

    MW: I was formed by the labor movement, and I remain in solidarity with it even though it is in a sense a god that died. So how does one keep living and working after defeat? There’s something to be said for knowing one is of a defeated people. One is free from the silly chatter of optimism. And one knows who one’s real comrades are. They are the ones you still have after the defeat. I still retain that side, which for me is a kind of decision that can’t be revoked, a picket line never to cross.

    On the other hand, my other commitment is not to the community of labor but the community of non-labor, or bohemia. Its expression is not the organized labor movement but the disorganized avant-garde. It’s not uncommon to combine these things, of course. But most often they are combined in the form of (sometimes rather dreary) Marxist theories about the avant-garde, which nevertheless remain very conventional in form. It seemed to me self-evident that one should also reverse the procedure, and apply avant-garde techniques to the writing of theory itself. Hence A Hacker Manifesto uses Situationist détournement and Gamer Theory uses Oulipo-style constraints.

    Low theory refers to the organic conceptual apparatus a milieu composes for itself, at least partly outside of formal academic situations. Both the labor movement and the avant-garde did that. I think it is useful to have that base, even if it is an attenuated and defeated one. It’s useful to have some perspective outside of the criteria of success of academia itself. After all, many of the “greats” of low theory–Spinoza, Marx, Darwin, Freud–they were not philosophers.

    AG: So low theory means anti-philosophy? I’ve noticed that some commentators prefer to define anti-philosophy as a kind of anti-rationalism (that being Badiou’s gripe) or even some type of a mystical romanticism. But these definitions of anti-philosophy never made sense to me.

    MW: Badiou thinks philosophy has a monopoly on a certain kind of reason, but more out of institutionalized habit than anything else. You could think of low theory as what organic intellectuals do. It’s defined by who does it and why, rather than by any particular cognitive style. I’m interested in how, after the organic intellectuals of labor, there are organic intellectuals of social movements, everyday life, the experience of women or the colonized, and of new kinds of activity that are not traditional labor in fields like media and computation. Concepts get formed differently and are meant to do different things when you are trying to think through your own action in the world rather that when you are a scholar of action in the world.

    AG: I’m also intrigued by what you say about form, since this always struck me as the central question for Marxism, if not for all attempts to think and act politically. There’s the critique of the commodity of course, where form takes a beating. But at the same time form–particularly as idea or concept–seems absolutely crucial to me, not as the thing to be avoided, but as a scaffolding to propel people forward. Do you think idea, concept, or form has a place in Marxism?

    MW: As extracts or abstracts from practice, concepts attempt to grasp a range of practical particulars within a conceptual form. The concept is only going to be slightly true, but about a lot of situations. As opposed to a fact, which is mostly true, but about a particular. Concepts are handles for grabbing a lot of facts. The thing to avoid however is the temptation to think the concept is more true than the practice. As if it were some underlying essence or ontology. I’d call that the “philosophical temptation.”

    I think one has to wear one’s concepts lightly, and I think Marx did that, if not consistently. His concepts modify over time as he gets further along in thinking practice, and of course as the experience of living within capitalism changes. Capitalism isn’t an eternal essence with changing appearances. This is of course a mere thumbnail sketch of an epistemology, but then it ought not to be too big a distraction. Knowledge practices are experiments. There’s no royal road to science.

    Form is however a rather larger question, particularly as forms, unlike concepts, are embodied and implanted in social life itself. The commodity form, for example. But they are still not essences. The commodity form mutates, and not least in contact with other forms: the property form; technical forms. I’m particularly interested in how the information form (a redundant phrase, I know!) and the commodity form mutually transform each other. It is not that information was subsumed within the commodity form, which remains the same essence. Rather each changes the other. Which is maybe why this is not our grandparents’ capitalism, if it is still capitalism at all. It may be a worse ensemble of forms, including what Randy Martin calls the derivative form.

    AG: You always pull me back from the precipice of the concept! I value that about your work. Although I can’t help but question the notion of “no royal road,” and am reminded of larger discussions about the critique of method, or the notion that method can’t or shouldn’t exist. Wouldn’t you agree that the rejection of method is an ideology in itself, an ideology that, in fact, can be isolated very precisely around a certain Anglo-American configuration of empiricism, pragmatism, and realism?

    MW: The shadow of not one, but two historical exclusions hangs over our received ideas about all this. Certainly there is a Cold War in western knowledge that has to do with suppressing anything that is not empiricism, pragmatism and realism. Recall how the CIA funded Michael Polanyi’s efforts to construct a philosophy of science that saw science as functioning best as a “free market of ideas”–and at the very time it was becoming the exact opposite, entangled as it was in the military industrial complex. This calls for some detours into the archive to see what was excluded.

    The new left rescued various philosophical alternatives, most notably what came to be constructed as “western Marxism.” But it neglected certain other suppressed traditions, the scientific socialism of Waddington, Bernal, Needham and Haldane being just one of them. So I think there’s still a project there to reclaim some other missing resources.

    But there was another exclusion, which happened earlier, and within Marxism itself. That was the suppression of the “Machists.” Both the Russian and German strands of Machism, despite a lot of political and theoretical differences, had one argument in common: that a merely philosophical materialism is no materialism at all. A merely philosophical materialism will simply reify and take as first principles some metaphors drawn from the science and industry of its time. Rather, materialism ought to open philosophy to the world, to other practices of knowledge and action, including those that generate low theory. Philosophy can’t be sovereign. It has to accept comradely relations with other practices, not one of command.

    The decisions for or against a given configuration of knowledge tend to be infused with the politics of their time. And sometimes one has to go back and revise those decisions. One has to reverse the decision in the early part of the twentieth century by the Leninists in favor of a dogmatic (and supposedly “dialectical”) materialism. But one also has to reverse or at least qualify the decision of the new left in favor of philosophy as a sovereign discourse. Neither has the resources needed for the times. Neither is adequate to understanding what the forces of production are about today, as expressed in earth science, biology and information science.

    AG: Can you also elaborate information form and its relation to commodity form? I recall how the shape of information played an important role in your book A Hacker Manifesto.

    MW: Information, as a sort of real abstraction at work in the world, is one of the key phenomena of our times. Obviously it is partly ideological, but then all forms are. They are never pure. That there could be a method of purifying concepts out of social-historical forms was the great fantasy of western Marxism.

    Information emerges historically. The key moment is the war and wartime logistics. World War II demanded unprecedented scales of production, and information emerged as a means of control for that production. At the time it was understood to be a complex mode of production that included state politics, military command, and vast business enterprises. After the war it continued in much the same manner. The great postwar boom known as Fordism is in part a state socialist achievement. Only later in the history of the development of the forces of production does information become a means of radically transforming the commodity form itself, and enabling new relations of production and reproduction.

    Rather than think of the commodity form philosophically, as a kind of eternal essence of capital, I think it is more interesting to think about how the information form comes into contact with the commodity form and forces it to mutate. What emerges is a commodity form far more abstract than anything hitherto, a derivative form, one that does not need any particular material being at all, even though it is in no sense immaterial. Rather, the fact that information can have an arbitrary relation to materiality infects the commodity form itself. Property is no longer a thing. Whole new relations of production have to be concocted to canalize information as a force of production into some new exploitative economy, one now based in the first instance on asymmetries of information. The “business model” of any contemporary corporation is to extract surplus information from both labor and non-labor.

    So it might be timely to think about what information actually is. How it came to be. How it is ideological, and yet like all ideologies, actual as well. A formal force in the world. Marx got as far as thinking through the implications of thermodynamics for a low theory from the labor point of view. But information did not even exist in his time in the sense we mean the word now, and in the way it works now. So we have to reopen theory’s dialog with other ways of knowing and acting in the world, in order to understand information.

    AG: Or as you sometimes ask: what if we’re no longer living in capitalism, but instead living in something much worse? I’m thinking of how you gave a name to the “Carbon Liberation Front.” Is capitalism more avant-garde than the avant-garde?

    MW: Yes, one might argue that this is a new mode of production: not capitalism but worse. “Not capitalism but better” is a quadrant of ideological space already covered by “the post-industrial” and other cold war intellectual products. But I thought “not capitalism but worse” was worth exploring. People who think this is capitalism have very impoverished resources for thinking historically. Either it is transformed into communism–and good luck with that–or capitalism just goes on eternally. Capitalism stays the same in essence, but its appearances change. Modifiers are thus attached: cognitive capitalism, semio-capitalism, platform capitalism, postfordist capitalism, neoliberal capitalism; but these are non-concepts. The thing itself is not really thought through. It is like adding epicycles to an Earth-centric view of the universe.

    Still, I’m reluctant to concede that whatever this mode of production is would then supplant the avant-garde, even if it has now fully ingested the historical avant-gardes. Social formations change through conflict. Struggles over information shape the new mode of production, not the “genius” of the ruling class or some intrinsic elan vitale of capital. I associate that with Nick Land’s position. And for Land, a certain kind of Marxism only has itself to blame. Such Marxists treated capital as an unfolding essence, and forgot all about labor’s struggle in and against a nature it only perceives retroactively, through the inhuman prosthesis of technology. They forgot all about the specifics of how the forces of production develop. And while I think we can have concepts about science and technology rather than just empirical descriptions–our shared premise in Excommunication (2013)–I don’t think they are concepts of philosophy.

    Commodification always comes late to the game, wrapping its form around labors of one kind or another. Commodification turns qualitative practices into exchange value. It is pushed and mutated by social forces external to it. One was labor; another was, in fact, the avant-gardes, including the one you and I once belonged to, which tried to do a punk-rock refunctioning of the digital to make a new commons. Well, we lost, like all avant-gardes. But we gave it a try. Like Dada or the Situationists, we were not only absorbed into the commodity form, it had to adapt and mutate to swallow us. History advances bad side first, as Marx said.

    AG: “Fear of handling shit is a luxury a sewerman cannot necessarily afford.” That old line from Hans Magnus Enzensberger often comes to mind when reading your work. Political thinkers, Marxists among them, have long struggled with questions of perfection and purity if not cleanliness. How to form a more perfect union? How to envision utopia? Fossil fuel pollution has brought on global catastrophe. At the same time one might wish to shun “pristine environments,” as Heather Davis calls them, clean environments like those Roundup Ready fields, which of course are also dirty in a different sense. The clean and the dirty, how do you determine which is which?

    MW: It is a misunderstanding of the utopian strain to think it was always interested in perfection and purity. Maybe Plato’s Republic is like that. Morris’ News From Nowhere isn’t. Parliament is used for storing horse manure, if I remember rightly. And from Wells onwards, including Bogdanov, utopians had to deal with evolutionary time, in which there can be no final and perfect form. JBS Haldane was probably the first to think this on a very, very long time frame, where the human evolves and devolves and some other sentient species evolves in our place.

    So I don’t think utopia is about perfection. And in Fourier, it’s specifically about shit. Compare to the emerging bourgeois novel of his time, Fourier was a realist. He wanted to know who dealt with the poo. Shit and dirt and waste were real problems for him. In short, I don’t see the utopian as “cognitive estrangement” that posits realistic-detailed but ideal worlds. I see the utopian as deeply pragmatic and realistic, particularly about entropy, waste, impurity and so on. And of course the utopias all came true and are all more or less functional. Not true as representations. The details look different. But true as diagrams. We live in them as we propose new ones.

    AG: Thinking more about utopia, I wonder if you have thoughts on Fredric Jameson’s recent piece on the “universal army”? He’s also someone who refuses to build grand systems; yet today he offers a modest proposal for how to build communism in America. Indeed from a certain perverse point of view the U.S. is already an advanced socialist economy, given the size of the military and its socialist or quasi-socialist organization (single-payer health care, job security, pension, subsidized education, etc.). Is the army the jobs program we always needed?

    MW: I’m fond of counter-intuitive ways of categorizing or narrating things. I think it is worth arguing that the post-war American economy was successful because of socialism. Not “socialism” in some ideal or perfect dream-form, but socialism as a practical, existing set of social organizations. Certainly, the great technical advances mostly came from the socialized science and engineering of the war effort, for example. The capitalist part of the economy built Fordism because there was a great reservoir of socialization to back it up, from education to highway-construction. Capitalism is one of the affordances of socialism, not vice-versa.

    The kind of crash-course socialization of science and labor that made D-Day possible might also be the only way we’re going to do anything about climate disruption. It is an astonishing story, how the allies built artificial harbors to make possible the greatest seaborne invasion of all time. At the moment I’m quite interested in the communist, socialist and left-liberal scientists and intellectuals involved in that effort, the ones who came away from D-Day with a strong sense of what socialized labor, science and tech could achieve, because they were the ones doing it. The very people Hayek targeted his theories against had actually achieved what his theory said couldn’t be done.

    AG: Who are you thinking about?

    MW: Hayek’s The Road to Serfdom is an armchair polemic. One of the people he rants against is Conrad Waddington, a significant figure in biology. He coined the concept of epigenetics. He was also involved in wartime operations research and was a figure on the scientific left. Waddington published a wartime book called The Scientific Attitude. It was published by Penguin, who were instrumental at the time in publicizing a progressive scientific politics in connection with the war effort. Waddington’s book is not the best expression of the “attitude” of the times, and so Hayek was picking low hanging fruit. But the fact is, people like Waddington were involved in an immense effort to deploy a partly socialized economy, which brought together the forces of science and labor, to defeat fascism.

    AG: As you mentioned earlier, Donna Haraway figures prominently in Molecular Red. Her mantra “stay with the trouble” might be your mantra as well. What interests you most about “Haraway’s California,” as you call it?

    MW: It started as making good on a missing footnote to A Hacker Manifesto. A decade or so after that book, I was ready to assess more seriously my relation to Haraway, starting with her “A Manifesto for Cyborgs.” Looking back, that text was already a strong and rhetorically keen refutation of what Richard Barbrook called the “California ideology,” that synthesis of Ayn Rand, hippy effluvia and computation, pumped up on military-industrial-complex money. There’s a tiresome line peddled now that anyone who ever took an interest in technology must be a dupe of Silicon Valley and its “techno-utopianism.” Haraway was so far ahead of that game.

    And there’s a Marxist strand to her work. It’s less visible over time, but it’s there. Partly it stems from Marcuse and the reception of western Marxism. But she is also a reader of Joseph Needham’s synthesis of Darwin, Marx and Whitehead. Needham gets a whole chapter in her first book. That aspect of Haraway is about keeping open the question of how nature and culture are related, how to be careful about importing undetected metaphors from one to the other, and how other, more enabling metaphors are smuggled in. I saw that as a sort of reinvention, out of materials at hand, of Bogdanov’s project.

    Engels had realized that the fortunes of capitalism rested in part on the development of the forces of production. That in turn depended on the sciences. So one needs to know something about the sciences. He tried too hard to fit them into a schematic version of dialectical materialism. But the basic strategy was sound. Science is part of the labor of knowing and producing the world. That became a somewhat neglected tradition in some quarters. One thinks of Lukács’ absurd claim, based on nothing but philosophical arrogance, that science is “reification” and nothing more. The connection between Marxist thought and the sciences was repressed in the West by the Cold War. One of the more interesting exceptions to that lacuna is Haraway, who then so usefully connects it to feminist questions about science, particularly the life sciences.

    AG: Joseph Needham, yes, I’m thinking of another reference too, Norman Brown and Love’s Body, which helps Haraway return to eros and intimacy as a necessary precondition for subjectivity. Haraway is a child of the sixties, to be sure, but while reading Haraway’s defense of canine discipline–that it’s unethical not to discipline your dog–I was reminded how Haraway was never a peacenik in the feel-good hippy sense. She was never interested in conceiving the world without power, like some new-age Pollyanna. Still, it’s somewhat disorienting to read a feminist advocating dominion, if not domination, over other creatures, even if such dominion is guided by health and a sense of “flourishing,” a word that appears a few times in Haraway’s “Companion Species Manifesto.” The left used to write about structure and hierarchy. Although today it is more common to write about ethics and care. Does hierarchy still matter? Or is it more important to address the ethical than structure per se?

    MW: This connects back to something we touched on earlier: my instinctive distrust of Badiou. If one reads some Darwin, one really has to give up on the belief in formal or absolute equality as the meaning of communism. That really starts to look like nothing more than a theological residue. (Here I am an acommunist just as one might be an atheist). Indeed, one of Haldane’s books is called The Inequality of Man. If one is a Marxist after Darwin, and Haldane is one of the great figures in that dispersal–a term I prefer to camp or lineage–then one has to confront inequality. And not just as an ethics. What’s a politics, or a political economy even, of non-equality, and not just of “man” but of multi-species being? Particularly if one has thus abandoned the apartheid that separates the human from the non-human, considered as another kind of theological residue. How can we all flourish in our differences?

    Haraway is useful here, as one of the few inheritors of the Marx after Darwin dispersal. Although one might want to connect her also to John Bellamy Foster, not to mention Stephen Jay Gould and others who survived the Cold War by treading very gently where overt political and philosophical affiliations were concerned. Multi-species being can’t really be conceived via formal, abstract, or absolute equality. Particularly if one accepts that domesticated animals have to be thought as part of our multi species-being and not as either part of a pure nature nor simply as individual animals. So you end up having to think a political economy, or a nature-culture as Haraway says, of many species together.

    I once took the kids to a zoo that had a collection of domesticated animals that had become endangered: chickens and sheep and so forth. Which made me think, provocatively perhaps, that veganism can’t be ethical, because if one made it a categorical imperative, then all these and many other domesticated species are condemned to extinction. Of course the majority of species may be condemned to extinction at the moment, so this may be the least of our worries, but surely this is the great challenge the Anthropocene throws at theory. Theory’s dominant traditions, which treat some version of the human or the social or the historical as giving rise to concepts that can have an autonomous existence apart from what the earth science and natural sciences describe–all of that is just obsolete. I think we have to start over from elsewhere in the archive, as existing critical theory owes too much to an a priori separation of culture from nature.

    Latour is unfortunately right about that, to the extent that one considers our impoverished, Cold-War deformed inheritance from the archive as in any way representative of what Marxism and critical theory really have to offer. But Latour would steer us back to theology by another path, a post-Catholic one, a sophisticated one in which “all things bright and beautiful” are equally divine. And Haraway participates a bit in that too, even as she resists the somewhat providential celebration of Gaia in Latour or Stengers. Her world is more tentacular. For tactical reasons I have offered something of a détournement of Haraway, pushing her off that path and back to Marx, as it were.

    AG: Catholic indeed. And Haraway herself doesn’t hide her own Catholic formation. Another way to stay with the trouble? I take it you are fairly skeptical of the whole Christian turn in recent theory, Badiou’s Saint Paul, Zizek’s Book of Job, Laruelle’s Christ, Agamben’s theodicy, etc?

    MW: I take the theological turn to be a covert admission of exhaustion. A certain kind of philosophy can no longer stand on its own. But rather than go backwards to theology, I wanted to go forward. What if some of our received ideas about the sciences are simply out of date? How does climate science work as a simulation science? That way one gets away from the transcendent God lurking in the theological turn. But then various flavors of an immanent God re-emerge, whether it be in the so-called new materialism, in speculative realism, or in actor-network theory. There again Haraway is useful, because she consistently takes a hard line against revivals of vitalism, for which Deleuze should cop some of the blame.

    But then as Bogdanov might point out, one just generalizes from the metaphors one inherits, the metaphors that give shape to one’s labors, inflating them into a worldview. Bogdanov’s observation is as true of me as of anyone else. In my case, it’s third generation protestant atheism, with an understanding of labor that comes from experiencing the transition from analog to digital, and with an education marked by immersion in the tail end of the old labor movement, the new social movements, and so on. The key is not to take one’s particular worldview generated from one’s particular experience as a universal valid for everyone, while still maintaining its universality for one’s particular experience. It may have component parts that work for others; others may have parts that work for me. So, fine, others will find theo-critical theory explains their world. It can be locally useful. The bigger problem is an organization of labor that can share and mix and coexist using all such worldviews as can be considered functional for life.

    AG: Haraway is a Westerner as well, a Colorado kid who moved to California. That hadn’t registered for me in the past, but it clicked after reading some of her recent interviews. She has a bit of country outlaw in her. At the same time she’s quick to acknowledge the bloody history of manifest destiny and settler colonialism; the real world is ideologically messy and that’s not a bad thing, as she might say. I wonder if there is an American regionalism at play here? For example, this city where we’ve both migrated to, New York, might be the center of the art world, and perhaps the center of finance capital, but it’s never had a monopoly on intellectual production, far from it. Do you still believe in regional knowledges? Or has globalization and the Internet done away with all of that?

     MW: One has to look at two things there. As far as history goes: how do the trans-regional relations of war, trade and migration retroactively produce regionalism? If one tracks not just the settling of people and their moving but also the movement of commodities and information, one ends up with a much less contained sense of place. But then that history rests on top of a geography, even a geology. To really understand place means to abandon romantic notions of a people and their place. Place is a non-human thing, made on very large scales and times.

    Of course one’s answer to the question of the regional and the global depends not just on which region but which “global” one is from. I was very influenced by the Australian Marxist art historian Bernard Smith’s work, particularly European Vision and the South Pacific. Smith argues that James Cook’s voyages in the Pacific yielded information that exceeded the categories in which English scientists and intellectuals expected to put it. The Great Chain of Being fell apart, and in its place went a more flexible relationship between category and content, a relationship that holds for geology, flora, fauna and “native” peoples. That book is a neglected masterpiece, revealing the significance of the 18th Century naval vector.

    I was also influenced by Eric Michaels, Stephen Muecke and others who were breaking with anthropological studies of Aboriginality. They were interested in particular Aboriginal practices of communication and philosophy, respectively. It is interesting how certain Aboriginal peoples came to treat information as value to be shared in very selective gift practices. And how those practices could have a kind of error correction procedure that seems like it has worked pretty well for some thousands of years. Then there was Vivien Johnson’s work on secret, sacred Aboriginal information that was being used as “designs” on tea-towels and the like, because there was no “copyright” on it. That really broke open for me all the assumptions of the postmodern era, of appropriation and unoriginality. The postmodern worldview was completely incompatible with this other, indigenous one. I became less interested in differences against the totality and more interested in totalities against each other.

    AG: A revealing comment, particularly since I so closely associate you with appropriation and unoriginality–not that your work is unoriginal! I’m thinking of détournement, and your affection for Situationist tactics of all kinds. “Plagiarism is necessary. Progress demands it.” Debord said it, but so have you. Or am I wrong? Have you soured on appropriation?

    MW: The western desert Aboriginal world Michaels studies was as modern as any other, but it was based on oral transmission. His whole project was to introduce video within the existing cultural forms, to strengthen rather than obliterate them. It was a great lesson in the possibility that, even with standard media tech, maybe someone could build really different kinds of relations. Questions of copy, original, ownership, asymmetry and so forth could play out very differently. Which was also one of the lessons of Situationist theory and practice: that the ownership of information was a late and only partial accretion on top of quite other practices–of which détournement was only one. Détournement did, however, target what Marx took to be crucial, the property question.

    Détournement was the dialectical complement to spectacle in Debord. It was the means to abolish private property at least in the sphere of information. I developed that into a class analysis in A Hacker Manifesto. What intellectual property obscures is the difference between being the class that makes information and the class that owns it.

    But at the time it was not entirely clear how détournement was to be recuperated. There was indeed a social movement in all but name that freed information from property, but the leading edge of the vectoralist class worked out how to adapt. The vectoralist class built vectors for precisely that free information, while retaining the keys for themselves. They said, in essence: You can have the data, but not the meta-data. You can have the information of your most personal desires, but in exchange we will retain the totality of those desires. So one must shift from being data punks to meta-data punks in order to continue the struggle in and against a mode of production based not in the first instance on surplus value, but on asymmetries of information.

    AG: Yes of course I agree–but all data is meta-data! We know this from examining the nested structure of the protocols. It’s meta-data all the way down (and up too). That’s something that I never understood about the Snowden revelations: skim people’s data, no one cares; but call it a theft of “meta” data, and people start to balk. The meta seems scarier, or somehow more real; it’s a very modern problem. Or am I being overly pedantic? Maybe these kinds of technical analyses of data infrastructure are disconnected from everyday politics?

    MW: Well, this might be what the slogan “meta-data punk” is about. Or in old fashioned post-structuralist terms, you could think of it as reversing the relation between data and meta-data, and making meta-data primary and data derivative. But in any case I think understanding how data infrastructure actually works would be an excellent project, to which your own Protocol was a signal contribution. Data infrastructure is now a key component of the forces of production, which have already pushed the mode of production into some weird new shape. So rather than do the “quantitiative” digital humanities we might do the “qualitative” digital humanities, which is about understanding phenomena at the level of form rather than content. (And here our old friend “form” returns again…)

    I’m surprised anyone was surprised by Snowden. You may remember in the ’90s there was a story going around nettime.org and rhizome.org about Project Echelon, an inter-agency project to scrape, archive and search everybody’s emails, news of which allegedly leaked in New Zealand. I have no idea if that story was true, and it doesn’t matter anyway. All that matters is that it was technically feasible at the time. With the rapid drop in cost of digital storage, one could expect that eventually all signals of all kinds would be collected, archived and searched. If a technology is technically feasible, one should assume the security state has the technology at their disposal.

    One should assume the ruling class has it as well, although people seem less concerned about that. It makes sense to assume that all major corporations are now in the “meta-data business.” On the other hand, we’re no longer simply individual subjects to be disciplined until we internalize the law. We’re not even split subjects caught between drive and desire. We are, as Hiroki Azuma says, “data-base animals.” Power is now about seeking advantage from asymmetries of information in a volatile and noisy world, in which the human is just another random bag of attributes resonant in disparate fields of information.

    AG: Also, any indictment of the NSA entails an indictment of Web 2.0 and social media companies. Google and the NSA perform the same basic function: they both build secondary graphs from primary ones (ours). And they both do it under dubious conditions of “permission,” even if Google still has the public’s trust if not always its confidence. It’s a PR game; NSA is bad at it, but Google is better, at least so far. One of the key reasons why it has been so hard to critique much less curtail the NSA–hard psychically I mean–is that people implicitly understand the hypocrisy in slamming the NSA while loving Twitter. Result is, both organizations get a pass. The theme is similar to my previous question: what happens when an argument bumps into a desire? We used to solve that problem via critique. But today critique is passé.

    I love your point about asymmetries of information. One of the great myths of distributed networks is that they are “smooth” or “flat” or otherwise equitable. In reality, they are nothing but an accumulation of asymmetries, of difference itself congealed into infrastructure. Is this what you meant, in A Hacker Manifesto, by vectors and the vectoral class?

    MW: One of the reasons to spend so much time writing about Bogdanov’s Proletkult, the Situationists, and Haraway and her kith is that I think these were examples of how to be critical and inventive at the same time. Bogdanov thought that ideologies–or what he preferred to call worldviews–were an inevitable substitution outwards from our forms of organization to assumptions regarding the workings of the world. But he also thought worldviews were what motivated people emotionally to work together. (He was already doing a bit of affect theory!) So it is a matter of inventing the worldview best suited to our organizational practices while at the same time maintaining a critique of those that don’t grow organically out of our labors.

    So what’s the worldview of people who don’t do labor in the strict sense? They don’t work against the clock, filling a form with content. Their job is to design the form. There may still be deadlines, but there isn’t an assembly line. What they produce isn’t actually a product. It is a “unique” arrangement of information–unique enough to be considered a distinct piece of property under intellectual property law. If what they came up with is very valuable, they probably won’t get most of the value out of it, even if they retain ownership, as they own just the intellectual property, not the means of production. What class is this? I called them the hacker class, but it involves anyone whose efforts produce intellectual property.

    In retrospect, A Hacker Manifesto leaned more on an understanding of law, something superstructural, than on understanding what had happened to the forces of production. I’m a law school drop-out, but I read my Evegy Pashukanis and critical legal theory. I sensed that the rapid evolution of intellectual property law in the late Twentieth Century probably corresponded to significant changes in the mode of production. It relied more and more on a new kind of effort that wasn’t quite labor, that of the hacker class. It gave rise to a new class of owners of the means of production, what I called the vectoralist class.

    “Vector” I got from Paul Virilio. It is a shorthand way of describing technical relations that have specific affordances. In geometry, a vector is a line of fixed length but of no fixed position. So it is a kind of “technological constructionism,” in that a given techne does indeed have a determining form, but also some openness as well. Critical media theory is about understanding both at the same time. A Hacker Manifesto rested on this very general theory of the technical relation. And regarding the openness of a given vector, one can ask: what shuts down any particular affordances that may exist? The information vector, product of a particular historical moment in the development of the forces of production, reveals an ontological property of information: that it can exist without scarcity.

    The hacker class is producing something that for the first time can really be common, while the vectoralist class has to stuff it back into the property form to survive, by means of legal and technical coercion. Or, it can concede the battle, and let a portion of information flow freely, but win the war through control of the infrastructure in which it is shared. That’s about where we are now: the commodification of the information produced by non-labor as free shared activity. Just as capitalism is an affordance of socialism; vectoral commodified information is an affordance of the abstracted gift practices of the information commons.

    AG: I remember reading versions of A Hacker Manifesto that you would post to the Nettime email list, and getting very jealous that I hadn’t written it! There’s a lot more I want to ask you about, but let’s skip to, why not, the chapter on “Revolt.” There you contrast a “representational” politics with an “expressive” politics, the latter being a stateless politics or an escape from politics as such. What does that mean exactly, and have your thoughts on stateless politics evolved at all in the intervening years?

     MW: It turns out something similar to what I called an expressive post-politics was being thought as exodus or self-valorization by the Italians. I never liked their somewhat idealist take on “general intellect” and “immaterial labor,” but it was interesting to see these ideas of forms of organization outside politics taking off there. In General Intellects (forthcoming) I look at both theorists of exodus and hegemony (or “representation”). The shorthand would be that both are going on simultaneously, but perhaps the belief in the political is evaporating. Another stage in the endless rediscovery of the fact that god is dead. It is no accident that attempts to revive political theory overlap with the theological turn in critical theory. Both illustrate a longing for what’s passing.

    Starting in Virtual Geography I was interested in the vector as something that distributes information, globally but not equally, and which gives rise to turbulence and noise. One of my case studies was Tiananmen square in 1989, a sometimes overlooked precursor to the “movement of the squares.” Another was the Black Monday stock market crash, again a precursor. I think I was already sensing in a partial way the rise of a new vectoral infrastructure that bypasses the old envelopes of the state form. The new infrastructure both erodes the old state form, and also paradoxically allows it to return in a hard and reactive way.

    In Gamer Theory I was thinking of this as a movement from topography to topology, where geo-strategic and geo-commodified space can no longer be mapped on a plane, but rather, as in topology, they appear more like vectors that can bend space and connect points, points which on the surface of a planar Earth appear far apart. (This idea has also been picked up by Benjamin Bratton.) I think we’re a long way from being able to think topological space, where points on the surface of the Earth can be connected and disconnected. It is quite different to any kind of political conception of power. It is what I call vectoral power. We still have simulations of politics, or for that matter culture, but perhaps they are things of the past now. But this is of course not to be optimistic about technology. All that what replaced them is probably worse.

    AG: We’ve been having this dialog over email for a few days now, but today is November 9, 2016 and Trump is president-elect. As a final question, what are your thoughts on American fascism? It’s an old theme, in fact…

    MW: It’s curious that the political categories of liberal, conservative and so forth are treated as trans-historical, but you are not supposed to use the category of fascism outside of a specific historical context. There are self-described neoconservatives, and even supposed Marxists have taken the neoliberals at their word and used their choice of name without much reflection, calling this “neoliberal capitalism.” But somehow there’s resistance to talking about fascism outside of its historical context. I have often been waved off as hysterical for wanting to talk about it as a living, present term.

    Even if it is admitted to the contemporary lexicon, it is treated as something exceptional. Maybe we should treat it not as the exception but the norm. What needs explaining is not fascism but its absence. What kinds of popular front movements can restrain it, and for how long? Or, we could see it as a “first world” variant of the normal colonial state, and even of many variants of what Achille Mbembe calls the “postcolony.”

    Further along those lines: maybe fascism is what happens when the ruling class really wins. When it no longer faces an opponent in whose struggle against it the ruling class can at least recognize itself. And when it no longer knows itself, it can only discover itself again through excess, opulence, vanity, self-regard. Our ruling class of today is like that. They not only want us to recognize their business acumen, but also that they are thought leaders and taste makers and moral exemplars. They want to occupy the whole field of mythic-avatars. But our recognition doesn’t quite do the trick because we’re just nobodies. So they heap more glory on themselves and more violence on someone else.

    Maybe any regime of power is necessarily one of misrecognition. All it can perceive is shaped by its own struggles. But the fascist regime, the default setting of modernity and its successors, is doubly so. It can recognize neither its real enemies or itself. There is some small irony in an election being won because Florida voted Republican, when the Republican plan to accelerate the shit out of climate disruption may start putting Florida under water in our life time. I’m reminded of a line from Cool Hand Luke: “What we have here is a failure to communicate.” Fascism keeps punching away at the other but never finds even its own interests in the process. Hence its obsession with poll numbers and data surveillance. The ruling class keep heaping up data about us, but because it has expunged our negativity from its perceptual field, it cannot find itself mediated by any resistance.

     

  • Devin Zane Shaw — Disagreement and Recognition between Rancière and Honneth

    Devin Zane Shaw — Disagreement and Recognition between Rancière and Honneth

    by Devin Zane Shaw

    In an interview from 2012, Jacques Rancière states in response to a question about the role of dialogue in philosophy:

    I don’t believe in the virtue of dialogue in the form of: here’s a thinker, here’s another thinker, they’re going to debate amongst themselves and that’s going to produce something. My idea is that it’s always books that enter into dialogue and not people….Dialogue is never, for me, what it appears to be, which is something like the lightning flash of an encounter, a live exchange.[i]

    We should, then, approach the recent Recognition or Disagreement: A Critical Encounter on the Politics of Freedom, Equality, and Identity (Columbia University Press, 2016), with a similarly circumspect attitude.

    The core of the book, edited by Katia Genel and Jean-Philippe Deranty, is the debate between Rancière and Axel Honneth that took place at the Institute for Social Research in Frankfurt in June 2009, but it also includes a supplementary text by each author and an essay from each editor. Given that the editors’ essays comprise, at eighty pages, forty-five percent of the text, one should be particularly attentive to the ways in which their interventions shape the reception of the debate that was the book’s occasion. Against the editors, I want to argue here that this debate demonstrates the incompatibility of Honneth’s and Rancière’s respective projects. Moreover, Rancière’s work cannot be reconceptualized in the terms of Honneth’s liberal iteration of critical theory without sacrificing precisely those parts of his thought that are the most inventive, interesting, and politically and intellectually subversive.

    My differences with Genel and Deranty can best be summarized through our respective interpretations of Rancière’s claim that, in his critique of Honneth, he has reconstructed a “‘’ [sic] conception of the theory of recognition” (95). In my view, Rancière critically appropriates the terms of “recognition” to show what it would require to become a theory of dissensus and disagreement. Deranty outlines what he takes to be Rancière’s concern with a theory of recognition that ranges from Althusser’s Lesson to Disagreement in order to demonstrate an “in-principle agreement” between Rancière and Honneth (37). First, he argues that many of the examples from Disagreement are based on historical research that Rancière conducted in the 1970s. Then Deranty adduces passages that mention recognition, such as Alain Faure and Rancière’s “Introduction” to La parole ouvrière (1976), where they refer to political struggle as “the desire to be recognized which communicates with the refusal to be despised” (quoted on 38). He also cites an early interpretation of Pierre-Simon Ballanche’s account of the plebeian revolt on Aventine Hill (an episode which also plays a crucial role in the argument of Disagreement) where Rancière writes that the “rebellion was characterized by the fact that it recognized itself as a speaking subject and gave itself a name.”[ii] Rancière continues, though: “Roman patrician power refused to accept that the sounds uttered from the mouths of the plebeians were speech, and that the offspring of their unions should be given the name of a lineage.”[iii] This description has little to do with Honneth’s account of recognition, in which individuals recognize their freedom and the freedom of others as mediated by established social institutions. And then Deranty concedes that “Rancière just disagrees with some of the key concepts used by Honneth,” which undermines the verbal parallels that he draws upon to signal their agreement (36, my emphasis). Indeed, their principled dispute about their respective concepts undermines the very possibility of an “in-principle agreement.” Therefore, to evaluate the relationship between Rancière’s egalitarian politics and Honneth’s theory of recognition we cannot rely on verbal parallels; instead, we must address how the concepts of recognition and disagreement play out in relation to a theory of the political subject, the relation between politics and the political, and problems concerning what Rancière calls “the police” and social normativity.

    To address these questions, I will begin with the final essay included in Recognition or Disagreement, Honneth’s “Of the Poverty of Our Liberty: The Greatness and Limits of Hegel’s Doctrine of Ethical Life.” Earlier in the book, Honneth claims that “all kinds of political orders have to give a certain description or legitimation for who is included in the political community,” and, indeed, political philosophy often aims to supply the legitimation for a given society’s norms that decide how and whether individuals and their practices are included or excluded from the political order (115). Hegel, on Honneth’s account, demonstrates the logical and practical coherence of the social objectivity of the various types of individual freedom, that is, how freedom relates, through recognition, to politics, work, and love.

    In the book’s concluding essay, Honneth examines, first, how Hegel reconciles two common, subjective concepts of individual freedom within his account of objective freedom as it is realized in ethical life. Both subjective concepts are abstract sides of modern political freedom. For Hegel, the transition to modernity entails conceptualizing social institutions as “making possible the realization of freedom” (160). In other words, on Hegel’s account, individual freedoms are mediated through institutions—and institutions are mediated and produced through the actualization or realization of individual freedoms. Thus, when Hegel reconciles the two subjective concepts of freedom, which approximate what Isaiah Berlin calls negative and positive freedom, he demonstrates that both fail to incorporate the objectivity of freedom as it is embodied in concrete social institutions. According to the “negative” concept of freedom, an individual is free insofar as they are unhindered by the actions of others. While Hegel incorporates this incomplete concept of freedom within his system as “abstract right,” which ensures state protections of individual life, property, and freedom of contract, he faults negative freedom for lacking a positive determination of what the subject can do, socially, with freedom. According to the “positive” concept of freedom, which Hegel largely derives from Kant, the basis of morality is autonomy, the self-legislating and self-reflexive activity of the subject. While this concept of freedom gives a positive foundation to what morality is, it nonetheless remains subjective, lacking a concrete relationship to social objectivity.

    These negative and positive concepts of freedom are, therefore, in Hegel’s terms, “merely” subjective, while Hegel aims to demonstrate that individual freedom is objective, that is, reflected and recognized within objective social institutions. This concept of objective freedom is not limited merely to how we understand social institutions. To say that freedom is objective delimits an important intersubjective feature of individual freedom. As Honneth points out, Hegel argues that we cannot rely on Kantian models of autonomy in friendship or love, since the self-limitation of my freedom in the experience of friendship or love is not a self-limitation; it is “precisely that the other person is a condition of realizing my own, self-chosen ends” (164). The realization of a given individual’s freedom entails concrete social situations that implicate the freedom of others, and it is because social institutions mediate our relations with others that they have objective reality. Hegel—and by extension, Honneth—maintains that institutions receive normative justification insofar as they reflect and embody the practices of individuals’ freedoms, and that social institutions, in turn, engender the emergence and expansion of individual freedoms.

    Now, one can see why Honneth follows Hegel through the discussion of objective freedom in the doctrine of ethical life: what both the negative and positive subjective concepts of freedom lack is recognition. In our institutions, Honneth suggests, we should be able to recognize not only our own intentions but also the intentions of other subjects. In addition, Hegel identifies three ethical spheres in which each individual’s freedoms are realized in relation to others’: personal relationships, the market economy, and politics. For these reasons, Honneth argues that the “general structure” of Hegel’s doctrine of ethical life, despite some shortcomings, “remains sound even today,” and that this doctrine provides “us with a normative vocabulary that we can use to assess the respective value of the various freedoms we practice” (169; 167). Nonetheless, Honneth also faults Hegel for treating “as sacrosanct” three historically specific institutions as the outcome of the self-realization of objective spirit: the family—“guided by the patriarchal prejudices of his own day”—the capitalist market economy, and constitutional monarchy (171). While Hegel did not explicitly address the possibility that these institutions could be transformed to “make them more amenable to the basic demand for relations of reciprocity among equals,” Honneth contends that Hegel’s account of morality hints toward how political practice can revise social norms and reorganize social institutions to make them more democratic (172). According to Honneth’s revision of Hegel, the inclusion of liberal rights and the possibility for “moral self-positioning” allows for individuals to engage in “morally articulated protest” (174). Thus Honneth allows for a continued moral progress within societies and social institutions to a degree that was not envisioned by Hegel.

    *

    Despite his Hegelian framework, and despite his debts to the Frankfurt School, Honneth’s project shares some of the central concerns of mainstream Anglo-American political philosophy today: the emphasis on processes of justification and establishing conditions of justice in order to evaluate institutional and normative frameworks. By contrast, Rancière’s political thought shares neither the methods nor goals of mainstream political philosophy. Todd May has already explored in detail the differences between Rancière and mainstream political philosophy (including Rawls, Nozick, Amartya Sen and Iris Marion Young). In May’s account, these political philosophers rely, whether they are proponents or critics of distributive theories of justice, on a concept of “passive equality”: “the creation, preservation, or protection of equality by governmental institutions.”[iv] Rancière, though, makes the stronger polemical claim that political philosophy embeds itself in, and offers justification for, regimes of inequality that he calls “the police” or “policing.” One of the most striking features of Rancière’s work is his claim that what we typically call politics, even in its most democratic forms (voting, deliberation, governance, and popular legitimation), is policing. In Disagreement, Rancière defines the police as:

    first an order of bodies that defines the allocation of ways of doing, ways of being, and ways of saying, and sees that those bodies are assigned by name to a particular place and task; it is an order of the visible and the sayable that sees that a particular activity is visible and that another is not, that this speech is understood as discourse and another as noise.[v]

    Since this definition of the police sounds very close to the way that Rancière often glosses his concept of “the distribution of the sensible,”[vi] we should specify that policing produces and reproduces relations of inequality, the stratification of roles within a given distribution of the sensible that partition individuals and groups according to inclusion and exclusion, such as those whose task it is to rule and those whose task it is to obey. Moreover, on Rancière’s account, politics—in May’s terms, “active equality”—is a dynamic of collective engagement and revolt that aims to subvert and resist the stratification and coercion of policing and social institutions. Given that Honneth’s account of recognition emphasizes how social institutions mediate and engender individual freedoms, it then follows that in Rancière’s terms Honneth’s theory of recognition would not be an account of politics as much as it is an account—though a progressive one at that—of policing.

    And yet, in “Critical Questions on the Theory of Recognition,” his critique of Honneth (and Chapter Three of the book), Rancière does not use the terms “police” or “policing.” Instead, he begins with the conditional hypothesis that his differences with Honneth are best articulated by treating their respective approaches as competing theories of recognition. At the outset, however, he signals his critical intent by suggesting that “the term ‘recognition’ might also emphasize a relationship between already existing entities,” these entities being individuals and established social institutions (83). When, then, Rancière concludes that he’s sketched, through his critique of Honneth, his own theory of recognition, he’s appropriated the language of critical theory to articulate a politics of dissensus and disagreement.

    Rancière pursues this hypothesis—that he and Honneth are outlining competing theories of recognition—in order to locate their central points of disagreement. In Disagreement, Rancière defines disagreement (la mésentente) as a specific kind of political challenge to a given order of policing, “a determined kind of speech situation in which one of the interlocutors at once understands [entend] and does not understand [entend] what the other is saying.”[vii] In French, the term la mésentente plays on different connotations of the verb entendre, between “to hear” and “to understand.” On Rancière’s account, the politics of disagreement emerges when the marginalized or oppressed (what he calls “the part with no part”) within a given social order challenge the ways in which society is policed, and often these challenges are phrased in terms that have readily accepted meanings within society. However, politically contentious terms, such as equality, rights, or justice are given inventive new meanings that challenge the normative frameworks of a given regime of policing; the part with no part who are contesting injustice and the police can “hear” the same demands but “understand” entirely different things. Many political theorists lament this ambiguity and aim to define it away. However, Rancière argues that the ambiguity of our contentious terms and ideals makes dissensus possible. That is, this ambiguity makes it possible to identify how these politically contentious terms circulate between policing and politics, how they come to articulate and combat inequality and coercion. For example: justice, for some, means due process and equal consideration before the law, while justice for movements such as Black Lives Matter opens on to both a broad indictment of how so-called due process legitimates injustice against African-Americans who are victims of police violence, and a broader vision of transformative social justice.

    In “Critical Questions on the Theory of Recognition,” Rancière uses disagreement in a broader, dialogical sense rather than its specific, political sense. He argues that dialogue—to be truly dialogical—must be an “act of communication [which] is already an act of translation, located on a terrain that we don’t master” (84). Dialogue always involves translation, distortion, but also invention; in terms of philosophy, it means that both interlocutors must think outside of their usual terminology: distortion remains “at the heart of any mutual dialogue, at the heart of the form of universality on which dialogue relies” (84). But Rancière also suggests that dialogue, in its more specific, political sense, requires acknowledging the “asymmetry in positions” between interlocutors. This claim summarizes his differences with Habermas, which he had previously outlined in Disagreement: acknowledging how asymmetry and power distort the ideals of political dialogue entails, in Rancière’s account, a stringent form of universalism that demands philosophers to confront not just institutional barriers to democratic deliberation, but also how the processes of deliberation function to exclude certain forms of political speech and action. Thus Rancière’s critical question: to what degree does Honneth’s theory of recognition rely on the presupposition that the demands of political subjects have always already been mediated by social institutions?

    To confront this question, Rancière proposes three working definitions of recognition. Two reflect common usage: on the one hand, recognition means the concurrence of a perception with prior knowledge, as when we recognize a friend, location, or information; on the other hand, recognition in the moral sense designates how we recognize other individuals as autonomous beings like ourselves. In both cases, Rancière notes, “re-cognition” functions as an act of confirmation. He then hypothesizes that recognition could also be conceptualized in the terms of what he calls a distribution of the sensible. Recognition, then, “focuses on the configuration of the field in which things, persons, situations, and arguments can be identified” (85). In this sense, recognition comes prior to any act of confirmation—and the critique of recognition entails disagreement over the conditions in which persons, things, or situations are understood as such.

    We could ask, for instance, how is it that a given regime of policing frames some enunciations as political demands against injustice and others as merely subjective complaints or even noise? And we could use an analysis of this situation to attack the broader norms that legitimate this distribution of speech and noise.  While Rancière acknowledges that Honneth’s account of recognition “echoes” his own polemical account, he raises a crucial question: to what degree does Honneth’s account rely on the two connotations of the common usage, presuming a stable distribution of the sensible or normative framework that relies on an “identitarian conception of the subject” that conflicts with a “conception of social relations as mutual” or dynamically or socially constructed (85)?

    First, Rancière contends that Honneth embraces an “anthropological-psychological” concept of the subject that is heavily indebted to a Hegelian “juridical definition of the person” (87). Thus Honneth’s account of the subject’s struggle for recognition emphasizes the affirmation of self-identity and self-integrity within the intersubjective structure of recognition. In other words, it’s the same integral individual subject who is seeks recognition within a multiplicity of situations related to love, work, or politics. Then, Rancière argues that this juridical model of the integral identity of the subject conflicts with its claim to articulating intersubjective social agency—a point encapsulated in Honneth’s summary of love and recognition in the book: “in friendship and love my experience is precisely that the other person is a condition of my realizing my own, self-chosen ends” (164). To say that love involves two individuals realizing their respective ends and interests through another is overly juridical. To Honneth, Rancière counterposes love as it is found in À la recherche du temps perdu, where Proust describes love as a dynamic and aesthetic construction of an other. Rancière writes:

    What appears at the beginning is the confused apparition of a multiplicity, an impersonal patch on a beach. Slowly the patch appears as a group of young girls, but is still a kind of impersonal patch. There are many metamorphoses in that patch, in the multiplicity of young girls, through to the moment when the narrative personifies this impersonal multiplicity, gives it the face of one person, the object of love, Albertine. (88)

    Rancière offers this counternarrative to show how our theoretical frameworks delimit the possibilities of social agency that we are able to recognize—a criticism that Honneth subsequently accepts.

    Rancière’s attention to this point can perhaps explain how Rancière’s terminology can be alternately powerful and abstract. When he opposes the politics of equality to policing, it readily calls to mind clashes between protestors and cops, though politics cannot be reduced to these terms. However, when he defines those subjects who confront the established order as the part with no part, this definition is far more abstract than saying marginalized and oppressed. But Rancière relies on this level of abstraction in order to avoid delimiting conditions of political agency that could delimit who this part is because it could exclude groups who have yet to emerge and who we cannot foresee.

    In general, for Rancière, political subjects are neither self-identical nor self-integral. Instead, political subjects emerge through a dynamic of what he calls disidentification, the rejection of the roles, places, and tasks assigned to bodies within a given regime of policing. We could interpret Proust’s description of love, then, as a metaphor for the dynamic of political subjectivation: political subjects emerge first as a multiplicity, at first an impersonal patch in the social field, until it takes shape through the invention of a name—for instance, #blacklivesmatter or #NoDAPL—for a collective disruption of or rebellion against the police order. Given that all regimes of policing are instantiations of social inequality and coercion, politics is, for Rancière, by definition egalitarian. It is equality, he argues, that leads to a much more exacting concept of universality than an account of politics that neglects the asymmetry between the political subjects who exist by virtue of contesting the social order and the established order of policing. Politics enacts the affirmation of “an equal capacity to discuss common affairs”; in other words, politics enacts the intellectual and political equality of anybody and everybody (93).

    The task of political thought is to ascertain how politics involves a “polemical configuration of the universal” (94). The Black Lives Matter movement began with a call for justice for Mike Brown in Ferguson, but, according to Keeanga-Yamahtta Taylor, its next stage involves both “engaging with the social forces that have the capacity to shut down sectors of work or production until our demands to stop police terrorism are met” and movement building through solidarity, which addresses how, while African-Americans “suffer most from the blunt force trauma of the American criminal justice system,” the broader normative framework of “law-and-order politics” functions to oppress the poor in general.[viii] From a standpoint informed by Rancière, the goal of political thought would be to identify the movements and practices that drive “the process of spreading the power of equality” in the here and now, to identify how specific movements involve a polemical force of universality to subvert and combat the normative frameworks of a given police order (94). Far from endorsing a theory of recognition, Rancière has redefined recognition as a politics of dissensus and disagreement.

    *

    Thus we have good reason to doubt Deranty’s claim of an in-principle agreement between Rancière and Honneth. Indeed, the editors and I reach very different conclusions regarding the significance of this debate because they accept Honneth’s theoretical framework to interpret it, while I refuse to subsume Rancière’s concepts under Honneth’s. The point here, though, is not establishing who has read Rancière or Honneth correctly, but to examine how these interpretations delimit what each thinker believes is politically possible and feasible.

    Our first difference concerns the supposed common ground shared by Rancière and Honneth. Though Rancière explicitly chooses to oppose “politics” (la politique), rather than “the political” (le politique) to “the police”, Honneth and the editors equivocate between “politics” and “the political.” However, the terms, especially in French philosophy, are distinct—which means Rancière has made a deliberate conceptual choice.[ix] Politics, on his account, designates a dynamic activity, while “the political” carries the connotation of an original, fundamental political sphere upon which policing has supervened. For Honneth, then, when Rancière discusses equality, he’s describing either an “original definition of the political community” (115) or a political anthropology in which human beings “are constituted by a wish or a desire to be equal to all others,” and this “egalitarian desire…brings about the exceptional moment of politics” (99). In their “Critical Discussion” included in the book, Rancière rightly rebuts both of these characterizations. He holds that if politics takes place, it does so through an egalitarian praxis opposed to the police. To treat Rancière’s politics as a political anthropology, imputing particular desires or motives to political subjects, implies that the debate is about whether human beings are motivated by either a desire for recognition or for equality. We could, in that case, resolve the debate with a political anthropology of desire.

    If this is not enough reason to reject Honneth’s way of framing the debate, he also characterizes recognition and disagreement as two complementary forms of struggle with different scopes—but this categorization carries with it an implicit normative claim that recognition is more practical. He argues that Rancière brusquely reduces “the political,” considered as “a stratified normative order of principles of recognition,” to policing (103). Therefore Rancière interprets this stratified normative order too rigidly, when these norms are given to conflicts over their meaning, that is, subject to reinterpretation and revision. For Honneth, the revisability of the normative order allows us to conceive of two types of political intervention: an internal struggle for recognition and an external struggle for recognition. In Honneth’s terms, Rancière focuses exclusively on the external struggle for recognition, which, while it combats the “political order as such,” ignores the “reformist” ambitions of the internal struggle for recognition that aims to reinterpret existing normative principles to make social institutions and their normative frameworks more democratic and inclusive.

    But Honneth’s distinction between the internal and external struggles for recognition is not merely descriptive, but also normative: given, he claims, the difficulties in formulating injustice in revolutionary terms, it’s more important in day-to-day politics to “deal with these small projects of redefinition or of reappropriation of the existing modes of political legitimation” (106). Unlike Honneth, Rancière does not prescribe the scope of political struggle within a given situation, since such a prescription functions to legitimate or delegitimize choices we make about what is to be done. These choices cannot be evaluated outside of the context of political struggle itself. But Honneth’s normative preference is part of his philosophical framework: if the freedom of individuals is engendered and mediated by social institutions and norms, and if self-integrity is one of the primary ends of the theory of recognition, then individuals should aim to reform and reinterpret these institutions and norms incrementally.

    From Rancière’s perspective, even if we grant that political freedom is sometimes engendered by existing social institutions, this does not entail that all parts of society should recognize these institutions as engendering their freedom. Those who are marginalized and oppressed could just as equally recognize how a given institution has functioned to exclude, marginalize, oppress, or immiserate them. The goal of politics for these political subjects need not or should not be—nor should we prescribe their goal to be—the reform of or formal recognition within these institutions that have historically oppressed them. From Rancière’s standpoint, it is right for the part with no part to combat and transform the very normative principles that legitimate and reinforce these institutions of inequality, and to prescribe reform rather than radical normative transvaluation serves to delegitimize the possibility of formulating and enacting broader goals of political struggle.

    Thus while Recognition or Disagreement presents the debate between Rancière and Honneth, it speaks to broader issues about the scope and aims of contemporary political thought. The contrast between Honneth and Rancière ably demonstrates Rancière’s stubborn refusal to engage in the processes of justification valorized by mainstream political theory—indeed, it serves as a stark reminder of how engaging in these problems often, (and in Rancière’s view, always) entails accepting profound social inequalities. However, this book is also important because it shows that if we mainstream Rancière’s work, as Genel and Deranty attempt to do, we lose those parts of his work that are most subversive and inventive—and we are left with only Honneth.

    Devin Zane Shaw teaches philosophy at Carleton University. He is the author of Egalitarian MomentsFrom Descartes to Rancière (Bloomsbury, 2016) and Freedom and Nature in Schelling’s Philosophy of Art (Bloomsbury, 2010).

    Notes

    [i] Jacques Rancière, The Method of Equality: Interviews with Laurent Jeanpierre and Dork Zabunyan, transl. Julie Rose. Malden: Polity, 2016, p. 183.

    [ii] Quoted on 38, but the reference is incomplete. See Rancière, Staging the People: The Proletarian and His Double, transl. David Fernbach. London: Verso, 2011, p. 37.

    [iii] Rancière, Staging the People, 37.

    [iv] Todd May, The Political Thought of Jacques Rancière: Creating Equality. University Park: Pennsylvania State University Press, 2008, p. 3.

    [v] Rancière, Disagreement: Politics and Philosophy, transl. Julie Rose. Minneapolis: University of Minnesota Press, 1999, p. 29.

    [vi] As Rancière defines it in Recognition or Disagreement, a distribution of the sensible is “a relation between occupations and equipments, between being in a specific space and time, performing specific activities, and being endowed with capacities of seeing, saying, and doing that ‘fit’ those activities. A distribution of the sensible is a set of relations between sense and sense, that is, between a form of sensory experience and an interpretation that makes sense of it. It is a matrix that defines a whole organization of the visible, the sayable, and the thinkable” (136).

    [vii] Disagreement, p. x.

    [viii] Keeanga-Yamahtta Taylor, From #BlackLivesMatter to Black Liberation. Chicago: Haymarket Books, 2016, pp. 217, 211.

    [ix] See Samuel A. Chambers, The Lessons of Rancière. Oxford: Oxford University Press, 2013, pp. 50–57.

     

  • Quinn DuPont – Ubiquitous Computing, Intermittent Critique

    Quinn DuPont – Ubiquitous Computing, Intermittent Critique

    a review of Ulrik Ekman, Jay David Bolter, Lily Díaz, Morten Søndergaard, and Maria Engberg, eds., Ubiquitous Computing, Complexity, and Culture (Routledge 2016)

    by Quinn DuPont

    ~

    It is a truism today that digital technologies are ubiquitous in Western society (and increasingly so for the rest of the globe). With this ubiquity, it seems, comes complexity. This is the gambit of Ubiquitous Computing, Complexity, and Culture (Routledge 2016), a new volume edited by Ulrik Ekman, Jay David Bolter, Lily Díaz, Morten Søndergaard, and Maria Engberg.

    There are of course many ways to approach such a large and important topic: from the study of political economy, technology (sometimes leaning towards technological determinism or instrumentalism), discourse and rhetoric, globalization, or art and media. This collection focuses on art and media. In fact, only a small fraction of the chapters do not deal either entirely or mostly with art, art practices, and artists. Similarly, the volume includes a significant number of interviews with artists (six out of the forty-three chapters and editorial introductions). This focus on art and media is both the volume’s strength, and one of its major weaknesses.

    By focusing on art, Ubiquitous Computing, Complexity, and Culture pushes the bounds of how we might commonly understand contemporary technology practice and development. For example, in their chapter, Dietmar Offenhuber and Orkan Telhan develop a framework for understanding, and potentially deploying, indexical visualizations for complex interfaces. Offenhuber and Telhan use James Turrell’s art installation Meeting as an example of the conceptual shortening of causal distance between object and representation, as a kind of Peircean index, and one such way to think about systems of representation. Another example of theirs, Natalie Jermijenko’s One Trees installation of one hundred cloned trees, strengthens and complicates the idea of the causal index, since the trees are from identical genetic stock, yet develop in natural and different ways. The uniqueness of the fully-grown trees is a literal “visualization” of their different environments, not unlike a seismograph, a characteristic indexical visualization technology. From these examples, Offenhuber and Telhan conclude that indexical visualizations may offer a fruitful “set of constraints” (300) that the information designer might draw on when developing new interfaces that deal with massive complexity. Many other examples and interrogations of art and art practices throughout the chapters offer unexpected and penetrating analysis into facets of ubiquitous and complex technologies.

    James Turrell, Meeting 2016
    MoMA PS1 | James Turrell, Meeting 2016, Photos by Pablo Enriquez

    A persistent challenge with art and media analyses of digital technology and computing, however, is that the familiar and convenient epistemological orientation, and the ready comparisons that result, are often to film, cinema, and theater. Studies reliant on this epistemology tend to make a range of interesting yet ultimately illusory observations, which fail to explain the richness and uniqueness of modern information technologies. In my opinion, there are many important ways that film, cinema, and theater are simply not like modern digital technologies. Such an epistemological orientation is, arguably, a consequence of the history of disciplinary allegiances—symptomatic of digital studies and new media studies originating from screen studies—and a proximate cause of Lev Manovich’s agenda-setting Language of New Media (2001), which relished in the mimetic connections resulting from the historical quirk that the most obvious computing technologies tend to have screens.

    Because of this orientation, some of the chapters fail to critically engage with technologies, events, and practices largely affecting lived society. A very good artwork may go a long way to exposing social and political activities that might otherwise be invisible or known only to specialists, but it is the role of the critic and the academic to concretize these activities, and draw thick connections between art and “conventional” social issues. Concrete specificity, while avoiding reductionist traps, is the key to avoiding what amounts to belated criticism.

    This specificity about social issues might come in the form of engagement with normative aspects of ubiquitous and complex digital technologies. Instead of explaining why surveillance is a feature of modern life (as several chapters do, which is, by now, well-worn academic ground), it might be more useful to ask why consumers and policy-makers alike have turned so quickly to privacy-enhancing technologies as a solution (to be sold by the high-technology industry). In a similar vein, unsexy aspects of wearable technologies (accessibility) now offer potential assistance and perceptual, physical, or cognitive enhancement (as described in Ellis and Goggin’s chapter), alongside unprecedented surveillance and monetization opportunities. Digital infrastructures—both active and failing—now drive a great deal of modern society, but despite their ubiquity, they are hard to see, and therefore, tend not to get much attention. These kinds of banal and invisible—ubiquitous—cases tend not to be captured in the boundary-pushing work of artists, and are underrepresented (though not entirely absent) in the analyses here.

    A number of chapters also trade on old canards, such as worrying about information overload, “junk” data whizzing across the Internet, time “wasted” online, online narcissism, business models based on solely on data collection, and “declining” privacy. To the extent that any of these things are empirically true—when viewed contextually and precisely—is somewhat beside the point if we are not offered new analyses or solutions. Otherwise, these kinds of criticisms run the risk of sounding like old people nostalgically complaining about an imagined world before technological or informational ubiquity and complexity. “Traditional” human values might be an important form of study, but not as the pile-on Left-leaning liberal romanticism prevalent in far too many humanistic inquiries of the digital.

    Another issue is that some of the chapters seem to be oddly antiquated for a book published in 2016. As we all know, the publication of edited collections can often take longer than anyone would like, but for several chapters, the examples, terminology, and references feel unusually dated. These dated chapters do not necessarily have the advantage of critical distance (in the way that properly historical study does), and neither do they capture the pulse of the current situation—they just feel old.

    Before turning to a sample of the truly excellent chapters in this volume, I must pause to make a comment about the book’s physical production. On the back cover, Jussi Parikka calls Ubiquitous Computing, Complexity, and Culture a “massively important volume.” This assessment might have been simplified by just calling it “a massive volume.” Indeed, using some back-of-the-napkin calculations, the 406 dense pages amounts to about 330,000 words. Like cheesecake, sometimes a little bit of something is better than a lot. And, while such a large book might seem like good value, the pragmatics of putting an estimated 330,000 words into a single volume requires considerable care to typesetting and layout, which unfortunately is not the case here. At about 90 characters per line, and 46 lines per page—all set in a single column—the tiny text set on extremely long lines strains even this relatively young reviewer’s eyes and practical comprehension. When trudging through already-dense theory and the obfuscated rhetoric that typically accompanies it (common in this edited collection), the reading experience is often painful. On the positive side, in the middle of the 406 pages of text there are an additional 32 pages of full-color plates, a nice addition and an effective way to highlight the volume’s sympathies in art and media. An extensive index is also included.

    Despite my criticisms of the approach of many of the chapters, the book’s typesetting and layout, and the editors’ decision to attempt to collocate so much material in a single volume, there are a number of outstanding chapters, which more than redeem any other weaknesses.

    Elaborating on a theme from her 2011 book Programmed Visions (MIT), Wendy H.K. Chun describes why memory, and the ability to forget, is an important aspect to Mark Weiser’s original notion of ubiquitous computing (in his 1991 Scientific American article). (Chun also notes that the word “ubiquitous” comes from “Ubiquitarians,” a Lutherans sect who believed Christ was present ‘everywhere at once’ and therefore invisible.) According to Chun’s reading of Weiser, to get to a state of ubiquitous computing, machines must lose their individualized identity or importance. Therefore, unindividuated computers had to remember, by tracking users, so that users could correspondingly forget (about the technology) and “thus think and live” (161). The long history of computer memory, and its rhetorical emergence out of technical “storage” is an essential aspect to the origins of our current technological landscape. Chun notes that prior to the EDVAC machine (and its strategic alignment to cognitive models of computation), storage was a well understood word, which etymologically suggested an orientation to the future (“stores look toward a future”). Memory, on the other hand, contained within it the act of recall and repetition (recall Meno’s slave in Plato’s dialogue). So, when EDVAC embedded memory within the machine, it changed “memory by making memory storage” (162). In doing so, if we wanted to rehabilitate Weiser’s original image, of being able to “think and live,” we would need to refuse the “deadening of the world brought about by memory as storage and realize the fundamentally collective nature of memory and writing” (162).

    Sean Cubitt does an excellent job of exposing the political economy of ubiquitous technologies by focusing on the ways that enclosure and externalization occur in information environments, interrogating the term “information economy.” Cubitt traces the history of enclosures from the alienation of fifteenth-century peasants from their land, the enclosure of skills to produce dead labour in nineteenth-century factories, to the conversion of knowledge into information today, which is subsequently stored in databases and commercialized as intellectual property—alienating individuals from their own knowledge. Accompanying this process are a range of externalizations, predominantly impacting the poor and the indigenous. One of the insightful examples Cubitt offers of this process of externalization is the regulation of radio spectrum in New Zealand, and the subsequent challenge by Maori people who, under the Waitangi Treaty, are entitled to “all forms of commons that pre-existed the European arrival” (218). According to the Maori, radio spectrum is a form of commons, and therefore, the New Zealand government is not permitted to claim exclusive authority to manage the spectrum (as practically all Western governments do). Not content to simply offer critique, Cubitt concludes his chapter with a (very) brief discussion of potential solutions, focusing on the reimagining of peer-to-peer technology by Robert Verzola of the Philippines Green Party. Peer to peer technology, Cubitt tentatively suggests, may help reassert the commons as commonwealth, which might even salvage traditional knowledge from information capitalism.

    Katie Ellis and Gerard Goggin discuss the mechanisms of locative technologies for differently-abled people. Ellis and Goggin conclude that devices like the later-model iPhone (not the first release), and the now-maligned Google Glass offer unique value propositions for those engaged in a spectrum of impairment and “complex disability effects” (274). For people who rely on these devices for day-to-day assistance and wayfinding, these devices are ubiquitous in the sense Weiser originally imagined—disappearing from view and becoming integrated into individual lifeworlds.

    John Johnston ends the volume as strongly as N. Katherine Hayles’s short foreword opened it, describing the dynamics of “information events” in a world of viral media, big data, and, as he elaborates in an extended example, complex and high-speed financial instruments. Johnston describes how events like the 2010 “Flash Crash,” when the Dow fell nearly a thousand points and lost a trillion dollars and rebounded within five minutes, are essentially uncontrollable and unpredictable. This narrative, Johnston points out, has been detailed before, but Johnston twists the narrative and argues that such a financial system, in its totality, may be “fundamentally resistant to stability and controllability” (389). The reason for this fundamental instability and uncontrollability is that the financial market cannot be understood as a systematic, efficient system of exchange events, which just happens to be problematically coded by high-frequency, automated, and limit-driven technologies today. Rather, the financial market is a “series of different layers of coded flows that are differentiated according to their relative power” (390). By understanding financialization as coded flows, of both power and information, we gain new insight into critical technology that is both ubiquitous and complex.

    _____

    Quinn DuPont studies the roles of cryptography, cybersecurity, and code in society, and is an active researcher in digital studies, digital humanities, and media studies. He also writes on Bitcoin, cryptocurrencies, and blockchain technologies, and is currently involved in Canadian SCC/ISO blockchain standardization efforts. He has nearly a decade of industry experience as a Senior Information Specialist at IBM, IT consultant, and usability and experience designer.

    Back to the essay

  • Andrew Martino – Exhuming the Text: Alice Kaplan’s “Looking for the Stranger: Albert Camus and the Life of a Literary Classic”

    Andrew Martino – Exhuming the Text: Alice Kaplan’s “Looking for the Stranger: Albert Camus and the Life of a Literary Classic”

    Alice Kaplan’s Looking for the Stranger: Albert Camus and the Life of a Literary Classic

    Reviewed by Andrew Martino

    Albert Camus never considered himself an existentialist. In fact, Camus never exclusively believed in any school of thought. Camus was the consummate outsider, the one who stood apart from those who subscribed to views that forced those subscribers into a narrow ideology, especially when that ideology mixed with violence, something Camus steadfastly resisted. If we had to place Camus into any category it would be that of the humanist caught in the absurd. Camus believed in life over death (without believing in an afterlife), yet this belief did not keep him from contemplating the question of suicide, the only serious philosophical problem confronting us, as he writes in The Myth of Sisyphus. Camus’ humble beginnings in extreme poverty and illiteracy in his native Algeria  testify to the power of the human spirit in the face of an indifferent world. When he was awarded the Nobel Prize for Literature in 1957 he expressed reservations and claimed that the prize should have gone to André Malraux, an early influence on his writing. Camus also realized that the Nobel would bring a certain celebrity that would complicate his life, perhaps even sabotaging his art. Add to this his “silence” on the Algerian problem and his very public and acrimonious break with Sartre, and Camus becomes a figure trapped in a world where he is increasingly unable to control his own image. Camus is a problematic figure who is claimed by both the Right and the Left, leaving the man and his writing caught in a political vortex. Focusing on the postcolonial aspect of The Stranger, Edward W. Said writes that Camus “is a moral man in an immoral situation.”[i] When Camus died at the age of 46 in a car accident in 1960, he left the world with the image of the charismatic young man, Bogart-like in his coolness, and still with the promise of great things to come. But a saint he was not. His numerous affairs and constant womanizing, his reluctance to act or speak out against French imperialism in Algeria, his disillusionment with and expulsion from the Communist Party, render him more human than academics might be comfortable with. Camus’ life was full of contradictions, full of silences. Yet, it was precisely from these contradictions and silences that Camus produced one of the most important and widely read books of the twentieth century.

     Looking back over the seven decades since the publication of The Stranger, Camus’ reluctance to situate (in the Sartrean sense of the term) himself in the bubble of existentialism, a bubble in which The Stranger and his relationship with Sartre placed him, the novel blazed a path that opened up fields where the absurd might be articulated, contemplated, and confronted from the inside (the modernist bent) rather than from above and beyond, as the canonical novels of the nineteenth century may have done. In her essay “French Existentialism,” Hannah Arendt briefly examines Sartre and Camus’ influence on the “new” movement where novels carry the weight of philosophy. Throughout that essay she also comments on Camus’ reluctance to be labeled an existentialist. “Camus has probably protested against being called an Existentialist because for him the absurdity does not lie in man as such or in the world as such but only in their being thrown together.”[ii] Here we have what is perhaps the most concise and articulate formulation of absurdist philosophy to date. Camus’ definition of absurdity, painstakingly mapped out in Caligula, The Stranger, and The Myth of Sisyphus, is not quite existentialism, but does contain existentialist DNA, especially Kierkegaardian and Dostoevskian (two of Camus’ patron saints) DNA. As Camus remarks in The Myth of Sisyphus: “I can therefore say that the Absurd is not in man (if such a metaphor could have a meaning) nor in the world, but in their presence together.”[iii] Camus’ definition of the absurd is also the epistemological curve in the road separating him from Sartre’s thinking. If Sartre’s philosophy can be distilled into his phrase “Hell is other people,” then Camus’ is a philosophy of the absurd dependent upon relationships among people. On the other hand, Camus’ articulation of the absurd, as we’ve seen above, resides in the relationship of humans with their world.

    Together, Sartre and Camus blazed a path where philosophy and art, in this case literature, met, thereby ushering in a new form of the novel, one that would examine existence from a philosophical perspective while making use of a form in which to mold these philosophical perspectives. What emerges from this is a hybrid. According to Randall Collins, “What was identified was a tradition of literary-philosophical hybrids. Sartre and Camus were key formulators of the canon, and themselves archetypes of the career overlap between academic networks and the writers’ market. The phenomenon of existentialism in the 1940s and 1950s added another layer to this overlap.”[iv] But this hybridization was more than a heady cerebral new movement in fiction; this hybrid constituted a new way of thinking about the world, a world that emerged primarily from a particular network of intellectuals at a particular time in Paris. Sartre and Camus are on the crest of this wave of existentialism and their thinking would go on to change the world.

    Alice Kaplan’s extraordinary new book Looking for the Stranger: Albert Camus and the Life of a Literary Classic, is a careful and meticulously researched examination of Camus’ 1942 novel. Kaplan is one of the leading scholars of twentieth century French culture and history. She is currently the John M. Masser Professor of French at Yale University where she also received her Ph.D. in French in 1981. She has published seven books, including: French Lessons: A Memoir (1993), The Collaborator: The Trial and Execution of Robert Brasillach (2000), and Dreaming in French: The Paris Years of Jacqueline Bouvier Kennedy, Susan Sontag, and Angela Davis (2012). In 2013 Kaplan edited and provided the introduction to The Algerian Chronicles, a collection of articles and essays Camus wrote from 1939-1958. Kaplan’s edited edition is the first time these writings have appeared in English, so she is no stranger to Camus and his place in twentieth century French culture.

    Early on Kaplan claims that Looking for the Stranger is actually a biography of Camus’ best known work, and one of the most famous and widely read texts of the twentieth-century. However, this does not mean that Kaplan foregoes a glimpse into Camus’ life, thus resurrecting the Barthesian “death of the author” debate. Instead, Kaplan goes looking for The Stranger in the author instead of the author in The Stranger; the difference is subtly stunning. In other words, her investigation is more preoccupied with the creative process and its cultural and social context than it is with getting to the author as a god-like figure. Camus always claimed that The Stranger was the second in a three part series exploring the absurd from three different perspectives: a novel (The Stranger), a dramatization (Caligula), and a philosophical work (The Myth of Sisyphus). But The Stranger is hardly a book that needs rescuing from obscurity, nor does Kaplan claim that it does. To date the novel has sold over ten million copies and is still read in over 40 languages. It is still on high school and college syllabi, thus making it required reading for young men and women. In fact, a student’s first encounter with existentialism and the absurd is likely to come from a reading of The Stranger. Instead, she offers us a more comprehensive look into the text, running down every lead, exploring every avenue that might expand our understanding of what makes The Stranger the text that it is.

    Kaplan begins by acknowledging the spectacular success of The Stranger, making it one of the most popular and important texts of the twentieth century. She quickly glosses over the critical reaction to The Stranger by pointing out that readings of the novel map some of the most important theoretical lenses that have influenced twentieth century thought. “In fact, you can construct a pretty accurate history of twentieth-century literary criticism by following the successive waves of analysis of The Stranger: existentialism, new criticism, deconstruction, feminism, postcolonial studies” (2). The Stanger, she claims, has influenced thinking of a diverse population that spans generations. Indeed, the remarkable staying power of the novel to remain relevant, perhaps even more relevant now than when it was published, is a feat that its author and its critics at the time could not have foreseen. I am not sure that students continue to read The Stranger with the commitment that they once did, but it is undeniable that the novel still matters, that it still provokes us into thinking, especially in a time when fundamentalism and terrorism are on the rise, and Europe and the United States are flirting with a new form of fascism in the guise of a renewed interest in ridged nationalism. But Kaplan is not necessarily interested in the public and academic reception of The Stranger. Instead, she claims that the novel’s readers and commentators have overlooked something from our reading of the text since its publication: that something is a biography of the novel. “Yet something essential is lacking in our understanding of the author and the book. By concentrating on themes and theories—esthetic, moral, political—critics have taken the very existence of The Stranger for granted” (2-3). She takes the unprecedented, and academically unpopular path that looks into the life of the author and the circumstances that allowed the author at a particular place and time to write one of the most powerful works of world literature. However, it is important to point out that Kaplan sets out to write a biography of the novel, and not the author. In fact, Camus’ life becomes a part of the puzzle that is The Stranger.

    Kaplan is not the first to comment on the unlikely success of The Stranger and its problematic birth. She is, however, the first to devote an entire book to an investigation, an investigation that is almost documentary-like in its approach, to the novel from conception to publication and beyond. And she accomplishes this brilliantly. Told in twenty-six short chapters, bookended by a prologue and an epilogue, Kaplan leads us into the depths of the novel in a highly engaging and thought-provoking fashion. In fact, the structure of her book presents its readers with the “life” of the novel, a life that has continued on long after the death of its creator. Drawing from a reservoir of sources, including Camus’ notebooks and her own trips to Algeria, Looking for the Stranger is a scholarly adventure story. As Kaplan claims in her acknowledgements: “I looked for The Stranger in libraries, in archives, in neighborhoods on three continents” (219). Of course, the idea of The Stranger was with her all of the time, but what makes Kaplan’s book so provocative is precisely the lengths she goes to in search of the novel. Kaplan explores The Stranger in three parts: before its publication, during its publication, and after its publication.

    In the first chapter Kaplan gives us the image of a young man in front of a bonfire burning various papers that link him to a past, a past that could be dangerous to him and those who know him. But as Kaplan tells it, the young Camus could not bring himself to burn all of his letters and writings. What he saved would act as a cache of material, both physical and remembered, from which he would extract and rework into a slim, simply told tale of a man who fails to cry at his mother’s funeral and, by a series of circumstances, ends up shooting an unnamed Arab on a beach, only to be arrested, tried, convicted and sentenced to death. Yet, the reader is never quite sure if the protagonist is convicted and sentenced to death because of the murder or his refusal to conform to the rules of a society that demands that one cry at one’s mother’s funeral. The image of the bonfire given to us by Kaplan is a powerful one. As we travel with her deeper into her investigation, we learn that the bonfire was a kind of rite Camus needed to perform in order to purge his mind and soul so that he could go on to write what he felt needed to be written—unimpeded by ghosts, but still attentive to their silences, which spoke to and through him.

    Throughout the spring of 1940, six years after the bonfire, Camus worked furiously on The Stranger, almost in total isolation holed up in his miserable hotel room in Montmartre, interrupted only to work for five hours a day at Paris-Soir. The twenty-six year old was as cut off from the world as he had ever been. Alone in a foreign city, with German bombs exploding all over France, Camus fought his loneliness and misery by throwing himself into his writing. Not yet divorced from his first wife, Simone Hié, his fiancé Francine Faure refused to accompany him to Paris. The only thing he brought with him was the first chapter of The Stranger and a few of his press clippings. Kaplan: “His sense of separation from everyone he loved put him in a state of mind that was both painful and enabling” (71). Like Camus’ biographer Olivier Todd, Kaplan highlights the importance of Camus’ isolation when he first arrives in Paris. Camus believed that the failure of A Happy Death, his abandoned first novel, was due to his inability to write without interruption. Camus’ isolation in Paris enabled him, out of necessity, to devote all of his attention to The Stranger. Kaplan’s research offers us a marvelous glimpse into the creative process Camus used, or perhaps more accurately, was host to, during his writing of the novel. Kaplan claims that Camus wrote The Stranger almost line for line, as if he were dictating a story he was seeing play out before his eyes. Where he struggled with the writing of A Happy Death, The Stranger seems to have emerged almost fully formed, complete.

    However, his writing of The Stranger does not mean that it was without its problems. In fact, the birth of The Stranger was long and fraught with difficulties both internal and external. Until his arrival in Paris, Camus struggled with getting into the narrative, creating a new story, as well as using material from A Happy Death. Interestingly, most reviewers of Kaplan’s book, Robert Zaretsky, himself an accomplished Camus scholar, and John Williams in particular[v], have devoted a majority of their reviews to the shortage of paper in France as the novel was set to go to press. “To say that the very existence of The Stranger was threatened by the material conditions of the war is no exaggeration, since paper supplies were becoming more and more precious. It looked at one point as if Camus would have to supply his own paper stock!” (136). Camus was in Oran with his family at the time, and was happy to help Gallimard with locating paper. The novel came very close to not being published, but paper stock was found at the last minute and Camus was not obliged to supply his own.

    Once the novel was published it was met with immediate success. But perhaps its success was not so unusual after all. From the beginning Camus wanted the French publishing world, located in Paris, to represent him. In the chapter “A Jealous Teacher and a Generous Comrade,” Kaplan tells the story of Camus’ almost frantic correspondence with Jean Grenier and Pascal Pia, the teacher and the comrade, respectfully, and their influence on The Stranger in its early stages. More importantly, if Camus were to move from a provincial author to a wider audience, one that would include the whole of Europe and possibly America, he would have to seek publication outside of Algeria. As Kaplan notes: “Yet Paris was still the center of book publishing in France, and if Camus wanted to publish outside Algeria, he’d eventually have to find a way to get his manuscript to the capital” (107). This, it seems to me, provides the necessary evidence that Camus was thinking bigger than his native land. He desired a world stage, a stage that would allow his work to be read by the widest possible public and Gallimard was the publisher that could provide him with that opportunity. In his book The Existentialist Moment: The Rise of Sartre as a Public Intellectual, Patrick Baert illustrates the importance of publishing, especially those publishing houses in Paris, for providing the necessary outlet for ideas. “Intellectual ideas spread mainly through publications. Whether through books, magazines, or articles, publishing is central to the rise of intellectual movements. For such movements to be successful, authors have to be well connected to the main publishers and need to have sufficient freedom and power to be able to write what they want to write.”[vi] The network Gallimard could provide Camus with would plug him into some of the most resonant writers and thinkers of the time. As mentioned above, The Stranger was not just a novel, but also an important piece of a longer meditation on the absurd. Therefore, Camus’ relationship with Gallimard, as Kaplan points out, is a key component to his rise to international prominence. Quite frankly, without Gallimard, The Stranger might not have met with its tremendous success.

    Camus’ association with Gallimard was not the only key to his success, however. Gallimard’s star and existentialism’s major voice, Jean-Paul Sartre, also had a lot to do with the success of The Stranger. In his celebrated review of The Stranger, originally published in 1943, Sartre almost single handedly anoints Camus into the French intellectual network, thus solidifying his reputation as a resonant French intellectual. Still, early on in his review Sartre points out that, like its author, The Stranger is a book from “across the sea,” highlighting Camus’ Algerian heritage. Sartre’s generous and insightful review gives a certain intellectual legitimacy to the novel. Sartre: “The Stranger is a classical work, a work of order, written about the absurd and against the absurd.”[vii] This Apollonian form, in the Nietzschean sense, of the novel further reinforces the boundary lines that mark the absurd context, a context that we might fold into the Dionysian, again in the Nietzschean sense.

    But it would be a mistake to consider The Stranger a French novel; it is, in almost every sense, an Algerian novel, a novel obsessed with the sun and the sea. What is perhaps closer to the novel’s intention is, at least in part, a Mediterranean world in a colonial context. In other words, the pied noirs who enjoy French citizenship and the protection it offers as opposed to Arab subjectivity. Arab subjectivity is one of the chief criticisms postcolonial scholars hurl at The Stranger and its author. Yet, a purely postcolonial reading of The Stranger severely limits our understanding of the novel. As David Carroll points out, “I would even say that to judge and indict Camus [as Edward Said does] for his “colonialist ideology” is not to read him; it is not to treat his literary texts in terms of the specific questions they actually raise, the contradictions they confront, and the uncertainties and dilemmas they express. It is not to read them in terms of their narrative strategies and complexity. It is to bring everything back to the same political point and ignore or underplay everything that might complicate or refute such a judgment.”[viii] The postcolonial lens that has dominated readings of The Stranger has also relegated it and its creator to a graveyard for Eurocentric authors. Kaplan’s attention to detail, however, locates the nameless murdered Arab in The Stranger in a central, one might even say, privileged, position. Almost from the beginning, Kaplan admits to being nearly obsessed with the figure of the nameless Arab. Indeed, the namelessness of this character is one of the pivotal points in her book. As Kaplan discovers, there was a nameless Arab in Camus’ life, one that would lead him straight to the central scene in The Stranger.

    In 2015 Other Press published the English translation of Kamel Daoud’s The Meursault Investigation, a retelling of The Stranger from the point of view of the brother of the Arab killed on the beach by Meursault. Daoud, an Algerian journalist living in Oran, writes for Quotidien d’Oran, a French language newspaper in Algeria. The Meursault Investigation is an interesting book that reads more in the style of Camus’ The Fall than The Stranger. The protagonist, speaking to us in the first person from a bar in Oran, informs us that there are other facts in the case that we did not hear, the chief among these is the name of his brother, Meursault’s victim, Musa: “Who was Musa? He was my brother. That’s what I’m getting at. I want to tell you the story Musa was never able to tell. When you opened the door of this bar, you opened a grave, my young friend” (4). Daoud’s text comes dangerously close to being fan fiction. However, there is something profoundly relevant in the novel. The Meursault Investigation demonstrates a deeper understanding of The Stranger, and Camus’ style. In order to write this book, Daoud proves that he knows The Stranger intimately, and his contribution to the story is, indeed, worthy of consideration. The Meursault Investigation demands to be read, digested, and then read again in the context to the cultural as well as the literary conditions of Algeria before, during, and after its independence.

    Kaplan devotes nearly an entire chapter (chapter 26) to Daoud’s novel and the figure of the unnamed Arab who appears in nearly spectral form in The Stranger. She tells us that she had a meeting with Daoud in 2014 in Oran, in which he claimed “we don’t read The Stranger the same way as Americans, French, Algerians” (210).  Kaplan’s reading of Daoud’s novel is a revelatory experience for her, and by association, for us. She strategically situates The Meursault Investigation both within and beyond the lens of postcolonial theory.

    Kaplan’s research into the source of the killing of the Arab scene in The Stranger is a remarkable piece of journalism. Her investigation led her through the towns and alleyways of Oran, to dusty archives, and populated streets, all despite an Algerian travel advisory for those holding a United States passport. “For two years, I had traveled to places in France and Algeria connected to The Stranger: I had walked down the former rue de Lyon in Algiers, past Camus’s childhood home. With photographer Kays Djilali, I climbed the steep Chemin Sidi Brahim, knocking on doors until we found the House Above the World, now the home of three generations of Kabyle women who speak neither French nor Arabic. With Father Guillaume Michel from Glycines Study Center in Algiers, I drove out to gold and blue vistas of Tipasa. In Paris, I stood in the dreary spot on the hill of Montmartre where Camus wrote in solitude” (211). At the end of the trail is a name: Kaddour Touil, and a story.

    Kaplan’s research demonstrates that it is not really Camus the author who haunts The Stranger, but rather it is the specter of Meursault who haunts Camus, both in life and after death. Meursault, as Olivier Todd informs us, is a combination of several people Camus knew. “The character of Meursault was inspired by Camus, Pascal Pia, Pierre Galindo, the Bensoussan brothers, Sauveur Galliero, and Yvonne herself. Marie was not Francine. Camus the writer mastered his novel in a way that Camus the man did not control in his life. Meursault never asked himself any questions, whereas Camus was always examining his actions and motivations.”[ix] Authors routinely use what and who they know for characters and their actions in books, but Camus’ relationship with Meursault seems to be as complicated as that character’s relationship with the reader. Kaplan’s book sheds a new light on the complexities of those relationships.

    The Stranger is truly a work of world literature, in the sense that David Damrosch defines the concept.[x] With The Stranger we have an Algerian author who wrote in French but was influenced by Danish, Russian, and German thinking, and was stylistically influenced by American authors like Hemingway and James M. Cain. Alice Kaplan gives us a view of The Stranger that joins a growing chorus of scholarship on the controversial book and its author. She provides keen insight that opens up other avenues of thinking about that book and its author. Camus’ influence seems to be growing, not diminishing as we move deeper into the twenty-first century, and this is needed, especially given the growing resurgence of nationalism and isolationist polices, i.e. Brexit and Trump. Perhaps it’s only literature, and international fiction in particular, that can save us from ourselves. In this age of social media epitomized by the egotistical selfie, international fiction has become more important than ever. Kaplan’s book reminds us that nothing exists in a vacuum, that great works of art come about contextually and pan-culturally. The Stranger might never have been a success without the French existentialist network of the time.

    Andrew Martino is Professor of English at Southern New Hampshire University where he also directs the University Honors Program. He has published on contemporary literature and is currently finishing a manuscript on the concept of security in the work of Paul Bowles.

    Notes

    [i] Edward W. Said. Culture and Imperialism. (New York: Vintage Books, 1994), 174.

    [ii] Arendt, Hannah. “French Existentialism.” Essays in Understanding: 1930-1954. (New York: Schocken Books, 1994), 192.

    [iii]Albert Camus. The Myth of Sisyphus. Trans. Justin O’Brien. ) New York: Vintage Books, 1991), 30.

    [iv] Randall Collins. The Sociology of Philosophies: A Global Theory of Intellectual Change. (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 2002), 764.

    [v] See Zaretsky’s review in Los Angeles Review of Books (https://lareviewofbooks.org/article/biography-zaretsky-kaplan-camus/) and Williams’ review in the New York Times (Sept. 15, 2016).

    [vi] Patrick Baert. The Existentialist Moment: The Rise of Sartre as a Public Intellectual. (Cambridge, England: Polity Press, 2015), 138-139.

    [vii] Jean-Paul Sartre. “The Stranger Explained.” We Have Only This Life to Live: The Selected Essays of Jean-Paul Sartre 1939-1975. Ed. Ronald Aronson and Adrian Van Den Hoven. (New York: New York Review Books, 2013), 43.

    [viii] David Carroll. Albert Camus the Algerian: Colonialism, Terrorism, Justice. (New York: Columbia University Press, 2007), 15.

    [ix] Todd, Olivier. Albert Camus: A Life. (New York: Alfred A. Knopf. 1997), 107.

    [x] Here I am thinking specifically of Damrosch’s theory of circulation. See David Damrosch’s What is World Literature. (New Jersey: Princeton University Press, 2003) for a full definition of the concept.

  • Nathan Brown — The Logic of Disintegration: On the Art Practice of Alexi Kukuljevic

    Nathan Brown — The Logic of Disintegration: On the Art Practice of Alexi Kukuljevic

    by Nathan Brown

    The body is the inscribed surface of events (traced by language and dissolved by ideas), the locus of a dissociated Self (adopting the illusion of a substantial unity), and a volume in perpetual disintegration.

                            – Michel Foucault, “Nietzsche, Genealogy, History”[i]

    A troubling and enabling fact about the body is that it is never exactly “here” nor “there.” The existence of the body evades its coincidence with language, with thought, with the I, such that it can be described as “the locus of a dissociated Self.” The body is the self, but it is the self as dissociated. Its existence is an index of the dissociation the self is, of the self’s non-identity with itself, with language, and with thought.

    Writing on Nietzsche’s physiological attunement to philosophical thinking, Foucault offers three determinations of the body: 1) the inscribed surface of events; 2) the locus of a dissociated Self; 3) a volume in perpetual disintegration. These determinations abjure the apparent self-evidence of the body’s organic integrity (“the illusion of substantial unity”) in order to consider it as the site of certain operations (inscription, dissociation, disintegration) and as a spatially extended object (surface, locus, volume). The body records events and it instantiates the self’s dissociation. It holds together the dissociated self with those events that traverse it, but the very site of this holding together, its volume, is at the same time coming apart, disintegrating. Language traces events inscribed on the body; ideas dissolve them. Language and ideas separate events from the body, from the surface upon which they are inscribed, exteriorizing their inscription (tracing) or absorbing them into thought (dissolution). The perpetual disintegration of the body is the process by which the surface of its volume ceases to make available such exteriorization or absorption. The disintegration of the body is the gradual coming undone of language and of thought, of the registration of events.

    How might we situate art with respect to these determinations of the body? As a practice, art takes place at the boundaries of language and thought: it is involved with language and thought, yet not (only) linguistic or ideational. To describe the body as “a volume in perpetual disintegration” is to consider it formally: disintegration implies a measure of integration, and this measure, considered as volume, is form. Can this disintegration of form be exteriorized? As the body disintegrates, can it produce a double of its disintegration? Or, if not a double, at least a counterpart, a semblable? If philosophy takes place as the conjunction of language and thinking, how can art, at the boundaries of philosophy, disjoin these by doubling the perpetual disintegration of the volume that the body is, by displacing the locus of a dissociated self?

    These are the questions that will guide my approach to the art practice of Alexi Kukuljevic,[ii] through which I hope to limn a certain science of the logic of disintegration.

    CAPUT MORTUUM

    At Caput Mortuum, Kukuljevic’s solo show in 2012, a plaster cast of the artist’s teeth, his bite, sits atop the highest plinth in the room, spray painted gold and titled The Subject-Object (Fig. 1). The cast displays a pronounced overbite, the upper incisors caving in at the center and thus protruding out diagonally at irregular angles. On a plinth behind and to the left, another cast of the same teeth is presented at the opening of the show, this time in frozen black ink resting on a neon green edition of Hegel’s Phänomenologie des Geistes. The piece is titled The Object-Subject (Fig. 2 & 3). As the duration of the opening unfolds, the frozen cast melts into a liquid black pool, soaking the book beneath and forming a minimally differentiated volume of black ink against the background of the black plinth below. Watching over this process of disintegration from the wall above is a silkscreen print of Hegel’s portrait, his forehead exhibiting an unseemly goiter of spray foam with a nail driven through its center, neon green paint seeping from the wounded brow of the great thinker, running over the left eye and down the philosopher’s face across the surface of the print.

    Figure 2, The Object-Subject (2012)
    Figure 3, The Object-Subject (melted)

     

     

     

     

     

     

    This configuration establishes a basic dialectic of the artist’s practice. A singular or signature trait of the artist’s embodied subjectivity—his irregular bite—is cast as a sculptural object and presented to the viewer’s eye coated in the color of value, gold. A frozen double of this object, cast in the color of negation and the medium of inscription—black ink—displays the impermanence of its objecthood, the temporal finitude of its form, by melting into an indistinct pool. The subject becomes object on the condition that the object becomes subject, yet the doubling of the object (molded in plaster as well as black ink) enables it to sustain its form even as it melts into fluidity. The formal and fluid excess of this doubling is suggested by the seepage of paint from the pierced surface of Hegel’s printed portrait, as if the provocation of the thinker’s absolute judgment—that “the being of Spirit is a bone” (Hegel 1977 [1807]: 208)—called for a trepanation, by way of verification. Can we find the substance-subject in the skull? In the Phenomenology’s chapter on “Observing Reason,” philosophy reaches the point at which thought thinks its unthinking substrate and thus sublates that substrate as thought. It then becomes the vocation of art to render the residue of this sublation—the persistence of thought’s unthinking body—as the obdurate, curiously inconceivable, condition of its possibility.

    Art thus inhabits the disjunction between the highest and the lowest, the spiritual fulfillment of self-comprehending life and the physical function, as Hegel puts it, of taking a piss (210).[iii] From the point of view of philosophy, it “must be regarded as a complete denial of Reason to pass off a bone as the actual existence of consciousness” (205). From the point of view of art, the materials in which consciousness is inscribed are the ineliminable ground of formal specificity. “The body” is a relay between subject and object, but one that cannot simply be “lived.” Thinking itself as a thing that thinks, the thinking thing finds its particularity in the material substrate and remainder of this operation: not just any skull, but this skull; this skull which is, impossibly, “mine.” “My body” is that which is not (quite) either mine or me, yet which is I. The being of Spirit is not just any bone. What dissolves into fluidity through the becoming subject of the object, or resolves into solidity through the becoming object of the subject, is the specificity of these teeth, the irregular contours of this bite, and it is on the condition of encountering resolutely material form that universality can include particularity.

    Within the cut between the Subject-Object and the Object-Subject, art tarries with this relay between the specificity of the material particular and its insistence, as specific, within the genericity of the universal. This is one of the rifts that art inhabits.

    RIFT 

    Absolute knowledge requires the reconciliation of subject and object. This is not an option for art. If art knows anything (this is unclear) it is that the subject can not even be reconciled with itself, let alone with the object. The art object is an unreconciled remainder of the rift between the I and the Me. “Me” is the object form of the pronoun “I.” When I say “I,” the “me” is the unfortunate residue of my enunciation. “I = I” enunciates the genesis of the subject, but, for better or for worse (for worse), the subject has a body that remains unequal to the equals sign, that is unreconciled with the I to which it supposedly belongs. There “I” am (me), just when I hoped to be “here.” The golden egg of self-equivalence is held aloft (Fig. 4), supported by the doubled singularity of the irregular bite, by the mold of the split jaw that is the ground of articulation, the structure of the mouth, the condition of enunciation, or “The Limits of Grammar” (as another title has it).

    I = I splits into the dissociation of the I and the Me, held together as the body, exteriorized as the art object — the residue of such dissociation. In A Little Game Played Between the I and the Me, Kukuljevic’s contribution to the Nouvelles Vagues show at Palais de Tokyo in 2013 (Fig. 5), the central piece titled The I and the Me consists of two formally similar but morphologically discrepant sculptural masses, one of which is placed solidly upon a pedestal while the other hangs precariously from its edge, as if having just climbed up on stage or about to fall off.

    Figure 4, I = I (2012)

    From a speaker within these asymmetrically relational forms, not-quite mirror images, a  slow, dry, tired voice emanates into the gallery space:

    I say: I, I, I. You say: me. Me say, you. You say: I, I, I. I say, me.

    You answer to human. You grind your teeth. You point with the jaundiced nub of a finger. Your jaw drops on its hinge. Your thumbs bend at the joint. You toss word upon word. Live in abstraction. Skip stones. Sip whiskey. Polish silver. Lay claim to the luxury of fine cotton. Vomit champagne. And know how to sharpen the blade.

    ….

    There is an unease in your cadence. Your pace is hobbled. Your bones lack alignment. Your stare a milky grey. That hole in your head oozes something unrefined. Something is making you reach for your nail file. Adjust your posture. (Kukuljevic 2013)

    Figure 5, A Little Game Played Between the I and the Me (2013), Installation View

    Art is a pastime, a distraction, an indulgence, or a chore, like skipping stones, sipping whiskey, or polishing silver. It is a luxury, a guilty pleasure, like fine cotton or champagne, yet also something of an impediment, a burden, a limp, or perhaps the cane a limp requires. The hangover after the champagne. It is at once a decadent practice and the tick of the uneasy, the correlate of both the hobbled pace and the easy profligacy of the dissolute aristocrat. A goiter. A gouty toe. An overgrowth. Something that makes you reach for your nail file. It can hardly keep its balance on the pedestal upon which it is placed. The I stands firm, but the Me falters. Or the Me pretends to solidity, as the I wavers. Art is the imbalance of their mutual reckoning, their teeter-totter, the milky grey substance of their self-regarding stare, the hinge upon which the jaw issues abstractions, the sharpened blade with which one arm stabs the other.

    The rift between the I and the Me is the rift within the I = I, and consciousness of this rift demands its object, “the locus of a dissociated Self,” in order to convey its dissociation. The recognition of this dissociation solicits its displacement. Yet the object into which this locus is displaced must itself be doubled if it is not merely to suggest an exteriorization of the self, but rather the exteriorization of the self’s dissociation. The doubling of the object is the double of the dissociated (rather than unified) subject. Art which knows the riven conditions of its own possibility duplicates the singular form of its object, breeds its replication, demands reiteration, refuses the originality of the origin. Art repeats.

    (C8H8)n

    Figure 6, The Subject’s Alchemical Residuals (2012), detail

    In his sculptural work, Kukuljevic’s preferred material is styrofoam (expanded polystyrene).[iv] The I and the Me, for example, is composed of rectangular polystyrene panels stacked unevenly or clumped together vertically, coated with cement, and globbed with spray foam. Kukuljevic shapes the material by cutting it, burning it with a blowtorch, or melting it away with acetone, a substance with roots in alchemical practices (see Gorman and Doering 1959). Thus, one of The Subject’s Alchemical Residuals (Fig. 6) is a curved wedge of styrofoam with a conical hole melted through its center, the pocked surface around the base of the conical hollow marking the damage done by splashes of the corrosive substance. Like The Subject-Object and The Object-Subject, this might be read as something of a demonstration piece, a formal synechdoche or concentrated reduction of the artist’s concerns and methods, a minimal unit of his practice.

    The subject makes a hole in the object, which thus becomes an art object. The hole is not made by digging, by a practice of removal that would merely shift its material off to the side. It is made by dissolution, dissipation, dispersion: the hole itself, not the material subtracted from it, is the visible remainder of its production. What is produced is not a pile but an absence, a negation. The material bears the trace of this negation without remainder; that which remains is spirited away. Thus the art object becomes the residue, the residual, of an act of negation, its damaged remnant. It is an alchemical residual insofar as, qua art object, it has acquired value. Value is acquired by the material remnant of the negation of matter; it is its immaterial companion, inscribed as an absence within the object that makes it art.

    If the production of acetone has its roots in premodern alchemical practices, the production of polystyrene (beginning in the 1930s at IG Farben and 1941 at Dow Chemical) can be traced to the emergence of aromatic polymer chemistry, predicated upon Kekulé’s modeling of the benzene ring in 1865, and thus coeval with Marx’s theory of the commodity. The coincidence is merely suggestive, yet the chemical fabrication of organic compounds (“synthesis”) shadows the history of real subsumption and the attendant rise of mass consumption like an uncanny double (see Leslie 2005). Not only industrially produced objects but the molecules of which they are composed become artificial. Marx tells us that

    If we subtract the total amount of useful labor of different kinds which is contained in the coat, the linen, etc., a material substratum is always left. This substratum is furnished by nature without human intervention. When man engages in production, he can only proceed as nature does herself, i.e. he can only change the  form of the materials. (Marx 1990 [1867]: 133)

    This remains the case, but with the rise of chemical synthesis the production of the material substratum itself becomes a matter of labor, such that the only remaining substratum “furnished by nature without human intervention” are atoms of carbon and hydrogen — not even the molecular forms in which these are combined. As if in uncanny response to the metaphorical provocations of Marx’s chemical analogies in the first volume of Capital, the commodity becomes artificial in its very substance. The abstraction of socially necessary labor time saturates not only the object produced from natural materials, but also the molecular structure of the materials themselves, such that even the latter are soaked in the immaterial substance of value.[v] “It is absolutely clear,” writes Marx,

    that, by his activity, man changes the forms of materials of nature in such a way as to make them useful to him. The form of wood, for instance, is altered if a table is made out of it. Nevertheless, the table continues to be wood, an ordinary, sensuous thing. But as soon as it emerges as a commodity, it changes into a thing which transcends sensuousness. (163)

    Synthetically produced organic compounds, such as polymers, are in this sense not “ordinary sensuous things” (“materials of nature”) but rather materials that already “transcend sensuousness,” materials that are never not already commodities. Not only the process of production but also the materials upon which it works are fully subsumed.

    Thus a styrofoam cup is a commodity made of a material that has no “natural” existence outside of the commodity form, as is a polyester dress. So is a rectangular panel or a molded form of expanded polystyrene packaging material, but in this case the relation of the commodity to its consumption is rather curious. Here we are dealing with a commodity whose use value is to protect commodities as they circulate. A consumer buys something else, and some styrofoam comes with it, a necessary if unwanted accompaniment. Indeed, styrofoam packaging is in a particularly abject position insofar as it does not even carry out the other functional purpose of packaging, that of advertising the product within, in the manner of the all important box. Styrofoam is a mere intermediary between the alluring surface of the disposable exterior and the desirable utility of the interior object. A material byproduct of circulation, expanded polystyrene packaging is both invisible at the point of sale and already waste at the point of consumption. Even the consumer’s cat, who loves to sleep in cardboard boxes, wants nothing to do with molded styrofoam once it has been cast aside. Artificial even in its molecular constitution, unwanted by the consumer to whom it is destined, expanded polystyrene packaging is the paradigmatically unnatural detritus of the capitalist transformation of nature.

    The rendering of this destitute material as art is its salvation, or one more indignity to which it is subjected. At last, in any case, it is put on display, forming the curious substance of something someone might even buy.

    PERSONAE

    In the hospital rooms on either side, objects—vases, ashtrays, beds—had looked wet and scary, hardly bothering to cover up their true meanings. They ran a few syringesful into me, and I felt like I’d turned from a light, Styrofoam thing into a person. I held up my hands before my eyes. The hands were as still as a sculpture’s.

                            – Denis Johnson, Jesus’ Son

    “From a light, Styrofoam thing into a person”: Kukuljevic’s art practice reverses this conversion. The movement from person to styrofoam thing is productive not only of sculpture, but also of personae: those artificial figures of personhood through which one presents oneself to the public.

     Spending some time at his 2012 solo show, Don’t Be a Dreamer, Mr. Me, one comes to feel an odd sense of consolation among its major pieces: An Orgy of Stupidity (Fig. 7); Idiot (Fig. 8); A Gangrenous Fop (Fig. 9). The titles suggest a shared lack of intelligence, foregrounding a common trait of cognitive degeneracy. Indeed, not much can be expected by way of sparkling conversation from chunks of burned and painted styrofoam. “Everything about the show appears to be unhealthy — mentally and physically,” found one reviewer (Schwartz 2013). It is true, a sojourn among these initially unattractive, mildly poisonous forms seems not to promise the edification of a trip to the gym or the library. Yet one nevertheless develops a certain fondness for them, this cast of characters; an improbable affection gradually accrues in their mere presence.

    Deleuze recognized that stupidity is both the enemy of and the condition for philosophical thinking. One thinks in order to combat stupidity, yet in order to begin thinking at all, one has to be stupid. There must be an interruption of the order of the given, of the already known, of what Deleuze called “the image of thought” in order for thought to encounter its own ungroundedness: in order for thought to know that it does not know, and thus begin to think. In order not to be stupid, one has to be stupid: this is a contradiction with which philosophy has been embroiled since Socrates. What Konrad Bayer called “the sixth sense,” says Kukuljevic, involves “knowing when to risk being a dummy” (Kukuljevic, 2013-2014). But Deleuze goes beyond merely knowing when to take this risk, claiming that “Stupidity (not error) constitutes the greatest weakness of thought, but also the source of its highest power in that which forces it to think” (Deleuze 2004 [1968]: 345). Just as “the mechanism of nonsense is the highest finality of sense,” he argues, “the mechanism of stupidity (bétise) is the highest finality of thought” (193).. Do these styrofoam forms impart some of their stupidity to the viewer? Do they thus solicit thinking?

    One notes their vaguely anthropomorphic aspect. An Orgy of Stupidity looks like an enormous malformed grey skull accosted by pink spray foam, brooding dull-wittedly upon its table. Holes are melted into the “front” of the piece, resembling hollow eyes, while deeper crevices puncture it behind and below, visible when viewed in the round. Deceptively simple, the formal construction of the piece is in fact carefully articulated. Positioned at the back of the room, the bulk of this sculpture anchors the space, at once drawing the gaze and looking on, surveying the assembled art without having much to say about it. The show seems to turn upon this piece, a dead-head like a humanoid boulder measuring the depth or frivolity of our contemplation, of our chatter, against the taciturn obduracy of its inorganic impassivity.

    Figure 7, An Orgy of Stupidity (2012)

    While An Orgy of Stupidity rests solidly upon its base, Idiot is propped against a load-bearing column, while the large, roughly rectangular form of A Gangrenous Fop balances upon a single dowel anchored in a styrofoam base resting on a plinth. The fragile support of the latter piece drives home the lightness of what seem to be massive forms, the interior airiness of imposing exteriors, often sealed with a layer of concrete. This counter-intuitive play between the heaviness of surface and the lightness of depth is mediated by the technique and motif of perforation running through Kukuljevic’s practice. It is enacted by his melting away of surfaces in order to bore into sculptural forms and also thematized in wall pieces involving concrete and chair caning (Fig. 10), a material he values for the concomitant complicity and cancellation of surface and depth suggested by its woven form.

    Figure 8, Idiot (2009)
    Figure 9, A Gangrenous Fop (2012)

    The surface is more weighty than the interior — that is the sort of judgment one might venture looking at a piece like A Gangrenous Fop, with its lightly balanced heft. Yet the concrete surface itself is punctuated by holes that confuse or undo this distinction, leading us into the form along its surface in pursuit of depth, which thus becomes surface. Likewise, the use of spray foam to combine sculptural masses and to fill in crevices between them suggests an eruption — or at least a slow, coagulating leakage — of the interior. Meanwhile, color mediates this formal dialectic. Synthetic, superficial fluorescent shades seep from interiors or coat their exposed crevices, highlighting absences opened by corrosion, or the white sublation of color constitutes a pure yet perforated surface through which solid grey concrete seeps.

    Figure 10, Concrete IV (2012)

    If the somewhat familiar sculptural forms (one of them is titled A Human-Like Creature) exhibited at Don’t Be a Dreamer, Mr. Me come to seem sympathetic, perhaps it is because they have been through so much. Punctured, corroded, seeping foam and stained with garish colors, carefully poised or precariously propped up, they have an air of weary endurance about them, as if about to collapse or retire yet in for the long haul by virtue of their molecular inertia and their improbable value as art. They seem fated to be tired for a long time, with no choice but to make a display of themselves. This wry anthropomorphism solicits transferential self-pity, such that a title like Idiot may come to feel like a way of insulting the audience — a rhetorical inclination to which Kukuljevic is happily prone. In the end one takes it well. There is something like a communal self-loathing to be gleaned from such a show, the circulation of self-recognition as the concession of its weary stupidity, its dissolution (Fig. 11).

    Given the dissociation of the self, its perpetual disintegration, perhaps an encounter with the stupidity of self-recognition is one among the most precious objects art has to offer — or at least its most sincere gift. It snaps one out of a bland tete-â-tete with oneself, or with another, such that one begins to think. We come to feel affection for the forms that gift takes.

    Figure 11, Even Misanthropes Grow Weary (2014)

    SMOKE

    Figure 12, One or Two Things I Know About A.K. (2012-2013)

    Having started with bone, why not end with breath? Both have been said to be spirit. Yet even as Hegel could subsume the materiality of the skull within the ideality of the concept, breath is a materialization of the ineffable. This is a recognition readily available amid a cloud of cigar smoke, which constitutes for Kukuljevic not only a medium in its own right but a method of attunement, a dissociated Stimmung:

    Trapped between index and middle finger, a cigar traces a delicate line, its stump more unseemly. However, if held with poise, a cigar is a simple and elegant machine, much like a crowbar, that provides the mind with the material impetus for prying off an impression of the soul, as one peels off a latex mold.

    “Each cigar is a snapshot,” he writes, “of the soul’s decomposition” (Kukuljevic 2014). The cigar is a prop, like a sculpture. Yet it is a prop whose substance becomes interchangeable with that of the subject who wields it, to the detriment of both the subject and the object. The cigar is the temporary site of a chiasmus whereby both the subject and the object burn down to a material remainder, the former more slowly than the latter but no less surely. The billowing form of the cloud of smoke “focuses the mind on life’s dissipative march” (Fig. 12).

    Marcel Duchamp understood the pitfalls of relating to art primarily through the figure of the object, or “the art object.” For if something is an object, how can it be art? And if it is art, how can it be an object? Implicit in these questions is the immaterial surplus exhaled by any object that comes to be called “art,” the ineffable imprimatur invisibly stamped upon that which the term designates, an imprimatur that converts it into something other than what it is. Duchamp thus focused his attention upon what he called the infra-thin: “when the tobacco smoke smells also of the mouth which exhales it, the two odors marry by infra-thin.” The two odors, he says. Yet this figure of the infra-thin involves not only a marriage of two odors, but also of the object, the subject, and the fumes it exhales, mediated by the corporeal hollow of the mouth. Here the infra-thin is a complex of the subject-object, or the object-subject, which entails not only the ephemeralization of the corporeal but the corporealization of the ephemeral, a physics of the metaphysical and a materialization of the ideal, like “prying off an impression of the soul, as one peels off a latex mold.”

    Figure 13, The Physiology of the Cigar, Photogram (2014)

    If the smoking of cigars is properly considered part of Kukuljevic’s art practice (evident in his habit of filling the gallery with cigar smoke before openings), the photogram is its saleable analog (Fig. 13 & 14). Like his silkscreen prints of coral, or his wall sculptures with chair caning, his photograms tarry with the perforations constitutive of surface and with the permeability of the object. Just as the cigar burns into ash, a fragile record of its temporal dispersion, the retentional action of the photogram gives us to see the legible transparency of material structure, the ghost of the incorporeal that haunts all bodies.

    Figure 14, Torn Vitola, Photogram (2014)

    Yet the record of the cigar’s dispersion, its ash, is also its material residue — like styrofoam packaging that arrives alongside the consumer’s commodity. It needs somewhere to end up, to repose, and thus calls not only for the light touch of the photogram but also the hospitable embrace of the ashtray (Fig. 15). The propped up body of the sculpture would then support the papery corpse of the cigar, leaving the viewer to contemplate the degree to which form follows function in the case of so fleshly a friend of the infra-thin. This is the highest form of practicality we will encounter in Kukuljevic’s practice: the making of a place, barely contained within itself, to put the leavings of disintegration. Perhaps “the object” is better understood as such a place — and this is the sort of place, indelicately distended and on the verge of collapse, that the artist might call art.

    Figure 15, Ashtray #3 (2015)

     

    Figure 16, Trading Places (2015)

     

    It is in this sense that I view Trading Places (Fig. 16) as a particularly notable piece in Kukuljevic’s oeuvre. Whereas most of the sculptural works are either tenuously propped or heavily settled, this one rests upon a stable base, yet one that is mobile. Its form is again vaguely anthropomorphic, but in this case diminutive — a sidekick of sorts, like Lear’s clever fool or an R2D2 suffering the fate of Tithonus. The figure is burned out, carved away, its interior exposed and its surface rough-hewn, yet its dominant shade is a light azure that lends it a certain celestial freshness amid the charred remains it barely holds together. At the center of the piece, the same thin wood stick that bends under the burden of supporting some of the sculptures in this case holds aloft its own offering, cradled in a bright yellow latex glove, as if in supplication of the viewer. Here, the piece seems to intimate, this is what I have for you.

    What is thus presented is a bit of ash, the stump of a cigar, cupped within an indeterminate grey residue. Perhaps this is a present, maybe a presentiment. Sculpture, trading places, offers up a volume in perpetual disintegration as if posing its own question to the viewer, to the body of the subject who is not allowed to touch it: what do you have to offer me?

    BIBLIOGRAPHY

    Deleuze, Gilles. Difference and Repetition. (1968). Translated by Paul Patton. London: Continuum, 2004

    Gorman, Mel and Charles Doering. “History of the Structure of Acetone.” Chymia. 5 (1959): 202-208.

    Hegel, G.W.F. Phenomenology of Spirit. (1807). Translated by A.V. Miller. Oxford: Oxford University Press, 1977

    Kukuljevic, Alexi. Audio Track, A Little Game Played Between the I and the Me. Nouvelles Vagues, Palais de Tokyo, 2013.

    Kukuljevic, Alexi. Exhibition Text for Don’t Be a Dreamer, Mr. Me. (December 6, 2013 – January 19, 2014). http://www.marginalutility.org/exhibitions/2013/alexi-kukuljevic-dont-be-a-dreamer-mr-me/.

    Kukuljevic, Alexi. “More or Less Art, More or Less a Commodity, More or Less and Object,More or Less a Subject: The Readymade and the Artist” in The Art of the Concept. Edited by Nathan Brown and Petar Milat. Frakcija 64/65 (2013): 62-70.

    Kukuljevic, Alexi. Exhibition Text for You Can’t Rely on the Joke as the Only Mode of Social Relation…. (March 14 – April 30, 2014). http://www.kunsthalle- leipzig.com/kukuljevic.html

    Leslie, Esther. Synthetic Worlds: Nature, Art, and the Chemical Industry. London: Reaktion Books, 2005.

    Marx, Karl. Capital: Volume 1. (1867). Translated by Ben Fowkes. New York: Penguin, 1990.

    Schwartz, C. “Alexi Kukuljevic Dares Not to Dream at Marginal Utility.” Knight Blog (December 10, 2013). http://www.knightfoundation.org/blogs/knightblog/2013/12/10/alexi-kukuljevic-marginal-utility/

    NOTES

    [i] Thanks to Petar Milat for drawing my attention to this passage.

    [ii] Kukuljevic’s work has been included in exhibitions at Tanya Leighton Gallery (Berlin, 2016), Kavi Gupta (Chicago, 2015), Palais de Tokyo (Paris, 2013), De Appel (Amsterdam, 2012), and has been shown in solo exhibitions at Å+ Gallery (Berlin, upcoming 2016), Kunsthalle Leipzig (2014); ICA Philadelphia (2013), Jan Van Eyke Academie (Maastrict, 2013), and SIZ Gallery (Rijeka, 2012). He holds a Ph.D. in Philosophy from Villanova University, where he wrote a dissertation titled “The Renaissance of Ontology: Kant, Heidegger, Deleuze” (2009). He was a researcher at Jan Van Eyke Academie (2012-2013). His book Liquidation World: On Forms of Dissolute Subjectivity is forthcoming with MIT Press. He is the author of an artist’s book, Cracked Fillings, available at alexikukuljevic.com.

    [iii] Hegel writes, “The infinite judgement, qua infinite, would be the fulfilment of life that comprehends itself; the consciousness of the infinite judgment that remains at the level of picture-thinking behaves as urination [verhält sich als Pissen]” (210).

    [iv] Strictly speaking, “Styrofoam” is the brand name of extruded polystyrene produced exclusively by Dow Chemical, which is used in craft and insulation applications and is usually blue or green. The term is more loosely and commonly applied to expanded polystyrene in general, such as that used for foam cups or molded packaging. Following this common usage, I will refer to expanded polystyrene and styrofoam interchangeably.

    [v] Kukuljevic has published an essay on the relationship between the commodity form, the readymade, and the figure of the artist. See Kukuljevic 2013.