Modern State, complete

This post contained an draft version of a dissertation section. A more recent version is now available on the works page.

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Modern State: Counter-Conducts & Barbarian Insurgency

This post contained an draft version of a dissertation section. A more recent version is now available on the works page.

A Prelude to Escape

This post contained an draft version of a dissertation section. A more recent version is now available on the works page.

The Jurist-Priest, and the Priestly State (of Contract)


This post contained an draft version of a dissertation section. A more recent version is now available on the works page.

Escape For Non-Experts

My dissertation charts the political imaginary of freedom by way of the problem of escape. The project begins with a question: how does escape remain a political concept in a world that has been hemmed in by modern distance-demolishing technologies (cars, planes, modern weapons, and now information technology like the internet and global positioning systems)? Specifically, I propose three major themes that show how changes in the way people escape foreshadow larger societal transformations. The first is how anonymity reshapes interaction in the overlap of digital media and urban living. The second is how sound metaphors explain new types of social action. And the third is the way recent subcultures entice their members to change identities, or even attempt to abandon labels altogether.

The methods I use in this study are drawn from philosophy, social science, and literature. In particular, I use the cultural philosophy of Gilles Deleuze and Felix Guattari, recent anthropologies of state formation, and twentieth-century literary theories of social action.

I advance Deleuze and Guattari’s provocative idea of drift, which enables me to pose hypotheses about potential societal transformations that do not require a bloody political revolution that seizes the government. For raw material to test the idea, I look to anthropologies of government for historical examples of actually existing people who ‘ran to the hills’ in order to escape abuses of state power. Lastly, I identify key literary and artistic texts that cover the theme of escape: from ‘drop outs,’ to runaways, to the criminal underground.

Ultimately, I consider if running to the hills has been replaced by burrowing deeper into urban centers. And, to fully understand the effects of the shift in escape from running away to a kind of internal exodus, I look to recent changes in modern life.

Continue reading “Escape For Non-Experts”

“Giving Shape to Painful Things”: An Interview with Claire Fontaine

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. Continue reading ““Giving Shape to Painful Things”: An Interview with Claire Fontaine”