December 16, 2011
"

JÉRÔME SANS: Faced with the plethora of possibilities, what game should we play?

PAUL VIRILIO: Play at being a critic. Deconstruct the game in order to play with it. Instead of accepting the rules, challenge and modify them. Without the freedom to critique and reconstruct, there is no truly free game: we are addicts and nothing more.

"

— Jerome Sans interviewing Paul Virilio

December 15, 2011
"As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into an enormous insect."

— Frank Kafka, The Metamorphosis

December 14, 2011
Manet in Tunisia

thenewinquiry:

image

Rue Mosnier Decorated with Flags, Edouard Manet (1878)

Revolutionary art changes how one can see. So does revolution.

By James Polchin

In January, I waited outside the Grand Palais in Paris for two hours in near-freezing temperatures to see a Claude Monet show, the first in nearly two decades in France.

As it was for everyone I knew who went to the show, waiting for Monet was part of the experience of seeing Monet. Three lines fed into the lobby entrance, elevated above the crowd by a marble staircase. I was in the line for people without reserved tickets, and every so often, the guards would let a dozen or so of us in. It moved at a hand- and foot-numbing pace. After 30 or 40 minutes, the couple in front of me gave up. I started wondering why I was standing in the cold, waiting for art.

After a while, a group of patrons near the front started shouting, “À nous! À nous!” (Now us! Now us!). It was a defiant attempt to get the guards to open the line again. And often, it worked. At one point, a middle-aged woman in a purple jacket who had just made it up the marble stairs stood on the balcony, arms outstretched, and started to chant, “À nous! À nous!” encouraging us all to join in. “Bon courage!” she shouted, making a fist and shaking it in the air. It felt like a political rally, as sometimes happens in Paris, when a casual incident takes on an energy akin to a revolution in the making. But all I wanted was to get out of the cold and gray and see Impressionist paintings.

Inside, there were no chants but instead a shoving match. My feet numb and tingling, I pushed through pockets of German tourists, old Parisians anchored to cushioned benches, and American college students, looking for a comfortable place to see the canvases. But the crowds were too strong; people were pushing this way and that, handbags jabbing my arm or my back, sometimes rudely. I was too exhausted from the two-hour wait to try to see Monet. If the wait felt like a political rally, the exhibition felt like the revolution’s aftermath, and we all wandered around thinking that there must be more to this, that the wait in the cold should have led to something less chaotic.

Outside the museum, the newspapers and magazines at the kiosk were filled with news of protests and revolution in Tunisia. The protests began in December when in the small city of Sidi Bouzid an unemployed university-educated man named Mohamed Bouazizi set himself on fire after police confiscated his fruit stand, which was his only source of income. Days of protests followed, and then another man from the same city climbed an electrical pole and reportedly shouted, “No for misery, no for unemployment,” and grabbed the wires, electrocuting himself. By January, protests against the Tunisian president had spread across the country. Looking at the headlines, my mind echoed with the chants of à nous! à nous!

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(Source: thenewinquiry)

December 14, 2011
Wolves in Derrida and Deleuze and Guattari

Derrida begins his brilliant last seminars entitled The Beast and the Sovereign, which have been recently translated by Geoffrey Bennington, with some comments concerning the wolf. Derrida writes, “Why would one say of such a seminar that it moves stealthy as a wolf? This is, however, what I’m saying? Stealthy as a wolf. I’m saying it with reference to the [French] proverbial expression a pas de loup, which in general signifies a sort of introduction, a discreet intrusion or even an unobtrusive effraction, without show, all but secret, clandestine, an entrance that does it all it can to go unnoticed and especially not to be stopped, intercepted, or interrupted. To move a pas de loup is to walk without making a noise, to arrive without warning, to proceed discretely, silently, invisibly, almost inaudibly and imperceptibly, as though to surprise a prey, to take it by surprising what is in sight but does not see coming the one that is already seeing it, already getting to take it by surprise, to grasp it by surprise” (Derrida 2). 

Deleuze and Guattari write in the A Thousand Plateaus chapter, “One or Several Wolves,” “Lines of flight or of deterritorialization, becoming-wolf, becoming-inhuman, deterritorialized intensities: that is what multiplicity is. To become wolf or to become hole is to deterritorialize oneself following distinct but entangled lines. To become a hole is no more negative than a wolf. Castration, lack, substitution: a tale told by an overconscious idiot who has no understanding of multiplicities as the formation of unconscious. A wolf is a hole, they are both particles of the unconscious, nothing but particles, productions of particles, particulate paths, as elements of molecular multiplicities. It is not even sufficient to say that intense and moving particles pass through holes; a hole is just as much a particle as what passes through it. Physicists say that holes are not the absence of particles but particles travelling faster than the speed of light” (Deleuze and Guattari 36).

Why are these profound, French philosophers obsessed with wolves, out of all the possible animals that they could have chosen to convey their points? I think this is a question that should be explored, possibly from a viewpoint of Jungian archetypes and figures. For Derrida, the wolf or rather the movement of the wolf functions as an analogy for the introduction or coming of the seminar. A seminar comes quickly, stealthily, unnoticed and captures the audience by surprise and in a way gets captured by surprise by the one that might already be seeing it. So, I think there is a dual relationship here between the audience acting on the seminar to create something new and potentially unexpected and the seminar acting on the audience. In other words, the seminar that comes a pas de loup is an event, in the Deleuzian sense of the term. It is interesting here that this event is once again associated with movement, speed, tempo in both the Derrida and D&G passages above. I will not go into the full explanations of the stealth aspect here but I will encourage my followers to follow the works of my friend Sean Smith on Tumblr at Nonsense Lab who has done some excellent work on being a spy in the past. I will say, however, that the surprise, the unexpected, the simultaneous arrival and departure, rings of the philosophical aspects of lines of flight, becoming, event, the uncanny, etc and that this theme will be discussed in greater depth in my dissertation.

Deleuze and Guattari write about the wolf in similar but distinct ways (just as to become wolf or to become hole is to deterritorialize oneself in distinct but entangled ways). They are writing about the wolf in relation to Freud’s wolf-man. They fight against Freud’s explanation of the wolf as the Singular Father and the representative of the castration complex. There argument is that the wolf(pack) is representative of the multiplicity that is the unconscious. Wolves are always already singular but several. They are a multiplicity. A distinction I find interesting here is that they compare the wolf to a hole, which in Freudian (and one could argue Lacanian psychoanalysis) is a negative entity, a sign of lack, something missing, something to be desired. They then argue that the hole, the wolf, is full of positivity. They make a delightful comparison here for me and my interests between animals (in this case, wolves) - holes - speed - physics. In physics, a hole is something that is not a lack but a positive entity, full of particles moving faster than the speed of light (life, as we know it, limited by our perception) - interesting because these particles were recently found in experiments at CERN. The argument by many physicists that dark energy and dark matter might be critical to the formation of our universe and that black holes might be remnants of prior universes that our universe was formed from. What should one take from this? I take from this that there is something positive to be found in psychoanalysis’ “traditional conception of the lack” and that this positivity is essential to becoming multiple, to becoming-schizophrenic, to living life as desiring-machines. It is this multiplicity and the relationality it entails that will be critical to a new ethics sneaking up and taking hold of us. Ethics-animality-physics-eventive thought-multiplicity…and +1…and…and…and…infinity…. 

December 14, 2011
nonsenselab:

.085 HE KEXIN
“From the singularity of 9/11 to the multiplicity of signs and their mutations that constituted the Beijing Olympic Games to the multitude that sought to contest a theretofore hegemonic truth. Two information bombs, one nuclear and one genetic, one primarily optic and the other primarily haptic. Where does the political take up from these new aesthetics? It is no longer simply a matter of tracing property forms and lines of ownership, nor a matter of developing a weapon to continue the political by other means. Can politics be resurrected in the liminality between the embodied everyday and the fractalization of space made possible by the camera and screen? If the contemporary condition of our grey ecology is marked by the finitude of extensive planetary space, the pollution of our lived distances by real-time transmission, and the temporary reprieve offered by the foldings and tremblings of the data-virtual, we can ask no less of a question today.”
_____
Smith, S. (2009). La bombe philosophique: An archaeology of the stereoscopic present (or, sporting through the shrapnel). In P. Virilio, H. von Amelunxen & D. Burk (Eds.), Grey ecology (97-113). New York: Atropos Press.

nonsenselab:

.085 HE KEXIN

“From the singularity of 9/11 to the multiplicity of signs and their mutations that constituted the Beijing Olympic Games to the multitude that sought to contest a theretofore hegemonic truth. Two information bombs, one nuclear and one genetic, one primarily optic and the other primarily haptic. Where does the political take up from these new aesthetics? It is no longer simply a matter of tracing property forms and lines of ownership, nor a matter of developing a weapon to continue the political by other means. Can politics be resurrected in the liminality between the embodied everyday and the fractalization of space made possible by the camera and screen? If the contemporary condition of our grey ecology is marked by the finitude of extensive planetary space, the pollution of our lived distances by real-time transmission, and the temporary reprieve offered by the foldings and tremblings of the data-virtual, we can ask no less of a question today.”

_____

Smith, S. (2009). La bombe philosophique: An archaeology of the stereoscopic present (or, sporting through the shrapnel). In P. Virilio, H. von Amelunxen & D. Burk (Eds.), Grey ecology (97-113). New York: Atropos Press.

December 13, 2011
Musicality and Ecology with DJ Spooky

This post is inspired by some thinking I have been doing surrounding Paul D. Miller’s, aka DJ Spooky, latest multimedia masterpiece “The Book of Ice.” In line with his other works, DJ Spooky teases out the relationship between musicality and ecology. Antarctica is an interesting territorialized ecological space for DJ Spooky because it still has a lot of potentiality, i.e. deterritorialized flow, for freedom. Antarctica is one of the few ecological landmasses on this earth that humans have not settled on. Nation-states have laid claim to the landmass but none have settlements or have ventured to strip the landmass of its resources quite yet. Therefore, The Book of Ice, argues for a “People’s [sic] Republic of Antarctica.” DJ Spooky presents his encounters with the ecology of Antarctica, traces the territories of certain animals that have territorialized this frozen horizon for their own means, and most importantly, for him, the ice. Ice represents a geological and historical clock for DJ Spooky that measures the history of this earth. As ice melts, partly due to human intervention in this Earth, we see landscapes radically changing and deterritorializing fluidity infiltrating this earth. DJ Spooky uses the sounds of the ice, it’s inherent frozen musicality, as the base for his own electronic musical performances, that are accompanied by an orchestra and a documentary film he made on his trip to Antarctica. Viewers are transported along a whirlwind adventure of musical, quantum (wave) mechanical, ecological, historical, philosophical, and filmic studies. I applaude and commend DJ Spooky for this effort and want to provide a little addition of my own by connecting Antarctica to his previous work on sound unbound: “No wonder hip hop sounds so nice, when you have a flow like fire and beats like ice; sound unbound that will astound; rewound and compound, a variable crescendo of sound that’s liable to crash in a flash like a wave breaking against a surface real fast…we may have found a Deleuzian smooth surface at last.”

What DJ Spooky does in his anthropological adventure to Antarctica is provide the reader with a contextual example of some philosophical trends we have witnessed throughout the history of philosophy. I will highlight a few of those here. First, we have musical concepts that have reached the status of idea or conceptual persona in Paul Virilio’s and Deleuze and Guattari’s work. These concepts are that of tempo, speed, rhythm, etc. Virilio is specifically concerned with speed as it relates to history. He argues that the speed of our present age is reaching a tempo so quick that we are racing to destruction. I think his notions of Grey Ecology, speed and temporality, are worth considering in light of DJ Spooky’s Antarctica study. Deleuze and Guattari work very specifically with rhythm, tempo, the refrain, and various ecological/biological/animalogical studies in their work A Thousand Plateaus that are also worthy considering in light of DJ Spooky’s most recent work. I know that DJ Spooky implicitly enters into a dialogue with these philosophical works in his many of his works, including this one. While there is plenty more to say on the subject, I will leave readers with this: the relationship between music, philosophy, and ecology is an important one and only eventive thinking, i.e. thought that acts as an event, will be able to deterritorialize the potentiality of these territorialized areas of knowledge and allow for the production of new forms of subjectivity and ethics that bring us closer to ourselves, our environment, the Other (in particular, I am fascinated with the animal as Other currently), and the forces of power that run through the waves of quantum mechanics, our environment, and music that are the impetus for the philosophical studies of Paul Miller, Gilles Deleuze, Felix Guattari, Jacques Derrida, Slavoj Zizek, and Alain Badiou today. I will have a much more extensive and academically rigorous exploration of philosophy, musicality, ecology, and ethics in my dissertation that I will pose once it is complete. Comments welcome and encouraged. 

December 13, 2011
nonsenselab:

Department of Biological FlowBall Bearings (Reticulated Foam)silkscreened latex balloon installationin process
- - -
Generally speaking, we might suggest it is the multiple Eye (and its interface with the touch of Skin) that governs the preparation for contagion, processing, incarceration and trauma found in late modern sport, while the Voice (and its interface with the touch of Skin) anchors its eternal recurrence of particular sporting histories in nostalgia.
Finally, we might suggest that the Flesh (and its interface with the touch of Skin) both implicates and is implicated by the now of consumption. It is here that exchange occurs, tempos slightly out of joint, though one hopes not overly so. It is here that we gesture towards new forms of encounter, new politics, new exchanges — in part through and with the Skin, but also by interfacing Flesh directly, in resonances of harmony or interference.
_____
sportsbabel, april 2011.

nonsenselab:

Department of Biological Flow
Ball Bearings (Reticulated Foam)
silkscreened latex balloon installation
in process

- - -

Generally speaking, we might suggest it is the multiple Eye (and its interface with the touch of Skin) that governs the preparation for contagion, processing, incarceration and trauma found in late modern sport, while the Voice (and its interface with the touch of Skin) anchors its eternal recurrence of particular sporting histories in nostalgia.

Finally, we might suggest that the Flesh (and its interface with the touch of Skin) both implicates and is implicated by the now of consumption. It is here that exchange occurs, tempos slightly out of joint, though one hopes not overly so. It is here that we gesture towards new forms of encounter, new politics, new exchanges — in part through and with the Skin, but also by interfacing Flesh directly, in resonances of harmony or interference.

_____

sportsbabel, april 2011.

December 13, 2011
PhiloShrink Blogspot

This is my friend and colleague, Vincenzo’s, blog. He is blogging about philosophy, psychology, trauma, and the event in preparation for his dissertation. Follow him and give him your feedback. I always believe we are strengthened in our writing when it becomes a collective act and when we enter into spirited debates/dialogues with fellow interlocutors. 

December 13, 2011
"Every abstract machine is linked to other abstract machines, not only because they are inseparably political, economic, scientific, artistic, ecological, cosmic—perceptive, affective, active, thinking, physical, and semiotic—but because their various types are as intertwined as their operations are convergent. Mechanosphere."

— Deleuze and Guattari - A Thousand Plateaus

December 13, 2011
"However, the relation between man and machine is always a singular event, that is, an event which, seizing hold of materiality, produces subjectivity. The construction of being as a universal task thus finds itself considered on the basis of the entire process, or, if one wishes, as proceeding both from events and from singularities. The event is the production of bodies, the historical production of the set [ensemble] of bodies and of their relations."

— Deleuze and Guattari - A Thousand Plateaus

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