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Posts Tagged ‘singularity’

Escape is the oldest story of freedom. It is among the simplest.

Half a century ago, an anarchist scholar decided to write a heroic story of peasants.[1] When bodies were piling up in Vietnam, he thought that people actually cared about peasants for once. Even then, his task had not been easy, given that peasants serve as the stage upon which more dramatic disputes between nationalists and colonizers are performed. But in the archives he uncovered books and records to wield against those who had discounted his lowly peasants.

The heroic peasants were a good start for the scholar. But, after national liberation struggles began claiming that the heart of the nation beat within the peasant, the scholar found an even more elusive class of people: hill peoples, those who buck authorities with a run to the hills. Through diligent scholarship, he was able to bring together an impressive array of theories and terms to describe why certain peoples are poor materials for state-making.

The scholar loved the hill people’s slash-and-burn culture the most. Dismissed by others as hillbilly backwardness, he knew that their whole way of life was an elaborate trick that they used to be left alone. But everything is different now, he reluctantly admitted: it had all changed after World War II. Most States used technologies, both mechanical and human, to eliminate their “dark twins” hiding in the mountains. Space was spanned and the hill sanctuaries were found, he said. The peoples still in the hills were the last ones to escape, and they are on the verge on disappearing, he lamented.

Not far away, a similar discovery was made.
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Escape is the oldest story of freedom. It is also the simplest.

Half a century ago, an anarchic scholar struck out to write a heroic story of peasants. It was when bodies were piling up in Vietnam, indicating to him that people actually cared about peasants for once. Even then, his task had not been easy, given that peasants serve as the stage upon which more dramatic disputes between nationalists and colonizers are performed. But in the archives he uncovered books and records to wield against those who had discounted his lowly peasants.

The heroic peasants were a good start for the anarchic scholar. But, after national liberation struggles began claiming that the heart of the nation beat within the peasant, the scholar found an even more elusive class of people: hill peoples, those who buck authorities with a run to the hills. Through diligent scholarship, he was able to bring together an impressive array of theories and terms to describe how people transformed themselves into poor materials for state-making.

What anarchic scholar loved most about the hill peoples’ was their slash-and-burn culture. Most dismiss it as hillbilly backwardness, yet he knew their whole way of life was an elaborate trick to be left alone. But everything is different now, he reluctantly admitted. It all changed after World War II. Most States used technologies, both mechanical and human, to eliminated their “dark twins” in the hills. Space was spanned, he said. The peoples still in the hills were the last ones to escape, and they are on the verge on disappearing, he lamented.

Not far away, a similar discovery was made.

A young college student was tired of the usual posturing of campus activism. The daily barrage of manufactured urgency and its subsequent oppression Olympics asphyxiated most of us long ago. But he had a plan to fight Reagan’s imperialist interventions in Latin America. So, after gaining a little know-how in engineering, with a focus on alternative energy, he headed south to make a real contribution to ‘people who could use help.’

But after he got there, the student felt out of place, as if that struggle was not his struggle. The projects he worked on were practical, no doubt. Computer donations from the States were not hurting the people of El Salvador, but they were not really helping that much either. When he looked for guidance, they were kind but blunt. War torn El Salvador did not need engineering solutions to political problems.

Look, just go to the mountains, the comrade later said to the student. The student shot back an incredulous glance. Look, you have mountains here. Just go to the mountains. That’s what we do, get some guns, go to the mountains, and wage a revolution. The student responded thoughtfully, suggesting that, yes, there were mountains in Seattle, but that does not make any sense. A few moments later, with an embarrassed grin, he admitted that it simply does not correspond to his reality at all.

Where the anarchic scholar and the student of revolution agree, we may have silently come to the same conclusion long ago: there is no sense in running to the hills. Before, the hills may have made sense; they were once a place without history, void of space and time. In this non-place, a u-topia, there existed a people without a history. And while it is said that the history of people is the history of class struggle, it would be at least as truthful to say that the history of peoples without history is the history of the struggle for escape. But with the great latticework of surveillance and control that now spans most of the developed world, the veil of spatial isolation has been pierced. So today, the hills cannot make class struggle or freedom a reality. (more…)

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Parisian artist Claire Fontaine is a fraud, a forgery, her name casually lifted from a generic brand of school notebooks, her existence only present in the art that bears her signature. She was first brought to life in 2004 by Fulvia Carnevale and James Thornhill, art-world refugees of a stripe that has become increasingly common these days. She resides now in the neon gas, the video pixels, the found objects, the paper, the ink and the many languages that constitute her work. Where an ordinary object, say a urinal or a bottle rack, can become a readymade piece of art simply on account of the artist’s saying it’s so, Claire functions as a “readymade artist” to render this very artistic subjectivity in a more critical light. Along the way, she subverts the totality of contemporary art by plagiarizing its most sacred styles and forms.

Claire is attuned chiefly to what appears possible, and to what impossibly appears, as cast against the heavily policed image of the present. When given the opportunity to work, Claire would “prefer not to,” which speaks less to her keeping her hands clean than to her potent desire to restore conditions for a general strike.

She has a long list of influences. Most directly, her inspiration springs from the radical feminization of the Italian Autonomist movement in the late 1970s. Her philosophical roots are planted firmly in the revolutionary political theories of Jacques Rancière, Giorgio Agamben, Walter Benjamin, and Michel Foucault. Her artistic allies include the ironically subversive Bernadette Corporation and the anti-political writing collective Tiqqun.

This interview began concurrently with Claire Fontaine’s visit to Columbus, Ohio in the Fall of 2009 for “Descent To Revolution,” a group exhibit combining urban installation with public demonstration, curated by James Voorhies for the Bureau for Open Culture. Claire had two major contributions. The first was a solar-powered neon sign installed in downtown Columbus that cycled between the words “WARM” and “WAR.” The second was a multimedia lecture-performance on libidinal economy and human strike that focused on the bodies of women as site of political, social, and aesthetic contestation in Berlusconi’s Italy. (more…)

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Writing an academic book today is like whispering to yourself in the woods. Given the advent of the internet, our general condition is now characterized by having too much information rather than too little. Academic writing risks just adding one more book to a stack that almost nobody has the time to read, or at least not very closely. The added risk is the relative ease of getting lost in the heavens or trapped underground, which is to say that theory has long peddled in heady abstraction and hidden truths. (more…)

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Brian Massumi suggests in the introduction to his 2002 book “Parables For The Virtual” that the most Bergsonian form of argumentation follows from an “exemplary method,” by which he means supporting an argument through an example. There are three major arguments, which, while not stated explicitly, forms the subterranean structure by which Massumi makes his case for the example: singularity, detail, and connectability.

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Replacing power/knowledge, I suggest the tripartite lines of rigid-supple-escape developed by Deleuze and Guattari in A Thousand Plateaus.  In their anti-essentialist ontology, Deleuze and Guattari posit that heterogeneous collections of elements come together in particular relations to form assemblages, contingent formations that produce certain effects.  Capitalism, for instance, is an assemblage.  One way to describe how assemblages are organized is by the lines that compose them.  For Deleuze and Guattari, there are three types of organizing lines: supple lines, rigid lines, and lines of flight.  (more…)

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Theories of power previous to Foucault were largely based in terms of sovereign or juridical power – roughly equivalent to the dynastic power of the monarch and the legal power of the social contract.  The sovereign view of power imagines power as an original right held by the king to which the subject responds.  As the state form emerged, power arrangements were recast according to a social contract that posits citizen-subjects that are afforded a minor autonomy that both limits and authorizes the power of government.  While most political and social theory is stuck within these two types of power, Foucault emphasized two forms of power that he argues have displaced the importance of sovereign and juridical power: disciplinary power and biopower.  (more…)

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If ‘anarchy’ is organization without authority, then the physical world exists almost exclusively in anarchy. In fact, as anthropologist Pierre Clastres argues, societies without a state aren’t evolutionarily ‘behind the times’ but constitute well-functioning human orders that anticipate the state and intentionally ward it off.[i] But, while some self-identified anarchists choose to be rocked to sleep to lullabies of primitive dreamtime, this project is something altogether different. Anarchism, as opposed to anarchy, is understood here as a conjunctural practice carefully constructed to intervene within problematics both historically and materially singular. Anarchy existed first as a nightmare to transcendent authority – first to the Priest and then to the King – whose paranoia began to secrete its own atheism, and only later was it taken up and given a material existence. Just as communism was the specter haunting Europe in the midst of an industrial revolution, as parts of the world now slip into post-industrial decay, anarchism extends as a figure of chaos hiding in the shadows of all ‘society.’ (more…)

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To the Communes: Tunisia to New York City; Egypt to Oakland,

I know, it’s a bit absurd, but *pop music has prefigured the rise of Occupy Wallstreet*, according to a dialogue entitled “Don’t Stop Beliebing”.1 Raided their songlist, cooked up a mix. Take it for a spin.

<3, Luc

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From the foot of the Great Khan’s throne a majolica pavement extended. Marco Polo, mute informant, spread out on it the samples of his wares he had brought back from his journeys to the end of the empire: a helmet, a seashell, a coconut, a fan. Arranging the objects in a certain order on the black and white tiles, and occasionally shifting them with studied moves, the ambassador tried to depict form the monarch’s eyes the vicissitudes of his travels, the conditions of the empire, the prerogatives of the distant provincial seats. (more…)

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