Category: _b2oreview_blockhover

  • Arne De Boever  — The End of Art (Once Again)

    Arne De Boever — The End of Art (Once Again)

    by Arne De Boever

    ~

    Where they burn books, they will also ultimately burn people.
    —Heinrich Heine

    You Morons

    In early March 2021, a group of “tech and art enthusiasts” who make up the company Injective Protocol[1] burnt Banksy’s work Morons (White) (2006), which they had previously acquired from Tagliatella Galleries for $95,000.[2] At first sight, the burning could be read as performance art in the spirit of Banksy’s Morons (White), which shows an art auction where a canvas featuring the text “I CAN’T BELIEVE YOU MORONS ACTUALLY BUY THIS SHIT” is up for sale (and going for $750,450). As such, the performance would take further Banksy’s own criticism of the art market, a market whose dialectic has easily reappropriated Banksy’s criticism as part of its norm and turned it into economic value. The burning of the Banksy would then seek to more radically negate the value of the work of art that Banksy’s Morons (White) challenges but cannot quite escape as long as it remains a valuable work of art.

    However, such negation was not the goal of the burning. As the tech and art enthusiast who set the Banksy aflame explained, the burning was in fact accomplished as part of a financial investment, and to inspire other artists. In other words, the burning in fact confirmed the art market’s norm rather than challenging it, and it encouraged other artists to make work that does the same. You see, before Banksy’s Morons (White) was burnt, Injective Protocol had recorded the work as what is called a non-fungible token or NFT in the blockchain. This means that for the work’s digital image, a unique, original code was created; that code—which is what you buy if you buy and NFT–is the new, original, NFT artwork, henceforth owned by Injective Protocol even if digital copies of Banksy’s Morons (White) of course still circulate as mere symbols of that code.[3] Such ownership, and the financial investment as which it was intended, required the burning of the material Banksy because Injective Protocol sought to relocate the primary value of the work into the NFT artwork—something that could only be accomplished if the original Banksy was destroyed. The goal of the burning was thus to relocate the value of the original in the derivative, which had a bigger financial potential than the original Banksy.

    The Banksy burning was perhaps an unsurprising development for those who have an interest in art and cryptocurrencies and have been following the rise of cryptoart. Cryptoart is digital art that is recorded in the blockchain as an NFT. That makes cryptoart “like” bitcoin, which is similarly recorded in the blockchain: each bitcoin is tied to a unique, original code that is recorded in a digital ledger where all the transactions of bitcoin are tracked. As an NFT, a digital artwork is similarly tied to a unique, original code that marks its provenance. The main difference between bitcoin and an NFT is that the former, as currency, is fungible, whereas the latter, as art, as not.[4] Now, NFTs were initially created “next to” already existing non-digital art, as a way to establish provenance for digital images and artworks. But as such images and artworks began to accrue value, and began to comparatively accrue more value than already existing non-digital art, the balance in the art market shifted, and NFTs came to be considered more valuable investments than already existing works of non-digital art.

    The burning of Banksy’s Morons (White) was the obvious next step in that development: let us replace the already existing work of non-digital art by an NFT, destroy the already existing work of non-digital art, and relocate the value of the work into the NFT as part of a financial investment. It realizes the dialectic of an art market that will not hesitate to destroy an already existing non-digital work of art (and replace it with an NFT) if it will drive up financial value. The auction houses who have sold NFTs are complicit to this process.

    Crypto Value = Exhibition Value + Cult Value

    The digital may at some point have held the promise of a moving away from exceptionalism–the belief that the artist and the work of art are exceptional, which is tied to theories of the artist as genius and the unresolved role of the fake and the forgery in art history–as the structuring logic of our understanding of the artist and the work of art. The staged burning of the Banksy does not so much realize that promise as relocate the continued dominance of exceptionalism—and its ties to capitalism, even if the work of art is of course an exceptional commodity that does not truly fit the capitalist framework—in the digital realm. The promise of what artist and philosopher Hito Steyerl theorized as “the poor image”[5] is countered in the NFT as a decidedly “rich image”, or rather, as the rich NFT artwork (because we need to distinguish between the NFT artwork/ the code and the digital image, a mere symbol that is tied to the code). Art, which in the part of its history that started with conceptual art in the early 1970s had started realizing itself—parallel to the rise of finance and neoliberalism–as a financial instrument, with material artworks functioning as means to hedge against market crashes (as James Franco’s character in Isaac Julien’s Playtime [2014] discusses[6]), has finally left the burden of its materiality behind to become a straight-up financial instrument, a derivative that has some similarities to a cryptocurrency like bitcoin. Art has finally realized itself as what it is: non-fungible value, one of finance’s fictions.[7]

    Although the video of the Banksy burning might shock, and make one imagine (because of its solicitation to other tech enthusiasts and artists) an imminent future in which all artworks will be burnt so as to relocate their primary value in an NFT tied to the artwork’s digital image, such a future actually does not introduce all that much difference with respect to today. Indeed, we are merely talking about a relocation of value, about a relocation of the art market. The market’s structure, value’s structure, remain the same. In fact, the NFT craze demonstrates how the artwork’s structuring logic, what I have called aesthetic exceptionalism,[8] realizes itself in the realm of the digital where, for a brief moment, one may have thought it could have died. Indeed, media art and digital art more specifically seemed to hold the promise of an art that would be more widely circulated, where the categories of authorship, value, and ownership were less intimately connected, and could perhaps even—see Steyerl; but the argument goes back to Walter Benjamin’s still influential essay on the copy[9]—enable a communist politics. Such a communist politics would celebrate the copy against the potentially fascist values of authenticity, creativity, originality, and eternal value that Benjamin brings up at the beginning of his essay. But no: with NFT, those potentially fascist values are in fact realizing themselves once again in the digital realm, and in a development that Benjamin could not have foreseen “the aura” becomes associated with the NFT artwork—not even the digital image of an artwork but a code as which the image lies recorded in the blockchain. Because the NFT artwork is a non-fungible token, one could argue that it is even more of an original than the digital currencies with which it is associated. After all, bitcoin is still a medium of exchange, whereas an NFT is not. In the same way that art is not money, NFT is not bitcoin, even if the NFT needs to be understood (as I suggested previously) as one of finance’s fictions.

    What’s remarkable here is not so much that a Banksy is burnt, or that other artworks may in the future be burnt. What’s remarkable is the power of aesthetic exceptionalism: an exceptionalism so strong that it can even sacrifice the material artwork to assert itself.

    Of course, some might point out—taking Banksy’s Morons (White) as a point of departure–that Banksy himself invited this destruction. Indeed, at a Sotheby’s auction not so long ago, Banksy had himself already realized the partial destruction of one of his works in an attempt to criticize the art market[10]—a criticism that is evident also in the work of art that Injective Protocol burnt. But the art market takes such avant-garde acts of vandalism in stride, and Banksy’s stunt came to function as evidence for what has been called “the Banksy effect”[11]: your attempt to criticize the art market becomes the next big thing on the art market, and your act of art vandalism in fact pushes the dollar value of the work of art. If that happens, the writer Ben Lerner argues in an essay about art vandalism titled “Damage Control”,[12] your vandalism isn’t really vandalism: art vandalism that pushes up dollar value isn’t vandalism. Banksy’s stunt was an attempt to make art outside of the art market, but the attempt failed. The sale of the work went through, and a few months later, one can find the partially destroyed artwork on the walls of a museum, reportedly worth three times more since the date when it was sold. For Lerner, examples like this open up the question of a work of art outside of capitalism, a work of art from which “the market’s soul has fled”,[13] as he puts it. But as the Banksy example shows, that soul is perhaps less quick to get out than we might think. Over and over again, we see it reassert itself through those very attempts that seek to push it out. One might refer to that as a dialectic—the dialectic of avant-garde attempts to be done with exceptionalist art. Ultimately they realize only one thing: the further institutionalization of exceptionalist art.

    That dialectic has today reached a most peculiar point: the end of art that some, a long time ago, already announced. But none of those arguments reached quite as far as the video of the Authentic Banksy Art Burning Ceremony that was released in March: in it, we are quite literally witnessing the end of the work of art as we know it. It shows us the “slow burn”, as the officiating member of Injective Protocol puts it, through which Banksy’s material work of art—and by extension the material work of art at large—disappears (and has been disappearing). At the same time, this destruction is presented as an act of creation—not so much of a digital image of the Banksy work but of the NFT artwork or the code that authenticates that digital image, authors it, brands it with the code of its owners. So with the destruction of Banksy’s work of art, another work of art is created—the NFT artwork, a work that you cannot feature on your wall (even if its symbolic appendage, the digital image of the Banksy, can be featured on your phone, tablet, or computer and even if some owners of the NFT artwork might decide to materially realize the NFT artwork as a work that can be shown on their walls). But what is the NFT artwork? It strikes one as the artwork narrowed down to its exceptionalist, economic core, the authorship and originality that determine its place on the art market. It is the artwork limited to its economic value, the scarcity and non-fungibility that remain at the core of what we think of as art. This is not so much purposiveness without purpose, as Immanuel Kant famously had it, but non-fungible value as a rewriting of that phrase. Might that have been the occluded truth of Kant’s phrase all along?

    In Kant After Duchamp,[14] which remains one of the most remarkable books of 20th-century art criticism, Thierry de Duve shifted the aesthetic question from “is it beautiful?” (Kant’s question) to “is it art?” (Duchamp’s question, which triggers de Duve’s rereading of Kant’s Critique of Judgment). It seems that today, one might have to shift the question once again, to situate Kant after Mike Winkelmann, the graphic designer/ NFT artist known as Beeple whose NFT collage “Everydays: The First 5000 Days” was sold at a Christie’s auction for $69,346,250. The question with this work is not so much whether it is beautiful, or even whether it is art; what matters here is solely its non-fungible value (how valuable is it, or how valuable might it become?), which would trigger yet another rereading of Kant’s third critique. Shortly after the historic sale of Beeple’s work was concluded, it was widely reported that the cryptocurrency trader who bought the work may have profited financially from the sale, in that the trader had previously been buying many of the individual NFTs that made up Beeple’s collage—individual NFTs that, after the historic sale of the collage, went up significantly in value, thus balancing out the expense of buying the collage and even yielding the trader a profit. What’s interesting here is not the art—Beeple’s work is not good art[15]—but solely the non-fungible value.

    It seems clear that what has thus opened up is another regime of art. In his essay on the copy, Benjamin wrote of the shift from cult value, associated with the fascism of the original, to exhibition value, associated with the communism of the copy. Today, we are witnessing the anachronistic, zombie-like return of cult value within exhibition value, a regime that can be understood as the crypto value of the work of art. That seems evident in the physical token that buyers of Beeple’s NFTs get sent: in its gross materialism—it comes with a cloth to clean the token but that can also be used “to clean yourself up after blasting a hot load in yer pants from how dope this is!!!!!!111”; a certificate of authenticity stating “THIS MOTHERFUCKING REAL ASS SHIT (this is real life mf)”; and a hair sample, “I promise it’s not pubes”–, it functions as a faux cultic object that is meant to mask the emptiness of the NFT. Assuaging the anxieties, perhaps, of the investors placing their moneys into nothing, it also provides interesting insights into the materialisms (masculinist/ sexist, and racist—might we call them alt-right materialisms?) that reassert themselves in the realm of the digital, as part of an attempt to realize exceptionalism in a commons that could have freed itself from it.[16] As the text printed on the physical token has it: “strap on an adult diaper because yer about to be in friggn’ boner world usa motherfucker”.

    NFT-Elitism

    It’s worth asking about the politics of this. I have been clear about the politics of aesthetic exceptionalism: it is associated with the politics of sovereignty, which is a rule of the one, a mon-archy, that potentially tends abusive, tyrannical, totalitarian. That is the case for example with exceptionalism in Carl Schmitt, even if it does not have to be the case (see for example discussions of democratic exceptionalism).[17] With the NFT artwork, the politics of aesthetic exceptionalism is realizing itself in the digital realm, which until now seemed to present a potential threat to it. It has nothing to do with anti-elitism, or populism; it is not about leaving behind art-world snobbery, as some have suggested. It is in fact the very logic of snobbery and elitism that is realizing itself in the NFT artwork, in the code that marks originality, authenticity, authorship and ownership. Cleverly, snobbery and elitism work their way back in via a path that seems to lead elsewhere. It is the Banksy effect, in politics. The burning of the Banksy is an iconoclastic gesture that preserves the political theology of art that it seems to attack.[18] This is very clear in even the most basic discourse on NFTs, which will praise both the NFT’s “democratic” potential—look at how it goes against the elitism of the art world!—while asserting that the entire point of the NFT is that it enables the authentification that once again excludes fakes and forgeries from the art world. Many, if not all of the problems with art world elitism continue here.

    With the description of NFT artworks as derivatives, and their understanding as thoroughly part of the contemporary financial economy, the temptation is of course to understand them as “neoliberal”—and certainly the Banksy burning by a group of “tech and art enthusiasts” (a neo-liberal combo if there ever was one) seems to support such a reading. But the peculiar talk about authenticity and originality in the video of the Banksy burning, the surprising mention of “primary value” and its association to the original work of art (which now becomes the NFT artwork, as the video explains), in fact strikes one as strangely antiquated. Indeed, almost everything in the video strikes one as from a different, bygone time: the work, on its easel; the masked speaker, a robber known to me from the tales of my father’s childhood; the flame, slowly working its way around the canvas, which appears to be set up in front of a snowy landscape that one may have seen in a Brueghel. Everything is there to remind us that, through the neoliberal smokescreen, we are in fact seeing an older power at work—that of the “sovereign”, authentic original, the exceptional reality of “primary value” realizing itself through this burning ritual that marks not so much its destruction but its phoenix-like reappearance in the digital realm. In that sense, the burning has something chilling to it, as if it is an ancient ritual marking the migration of sovereign power from the material work of art to the NFT artwork. A transference of the sovereign spirit, if you will, and the economic soul of the work of art. For anyone who has closely observed neoliberalism, this continued presence of sovereignty in the neoliberal era will not come as a surprise—historians, political theorists, anthropologists, philosophers, and literary critics have shown that it would be a mistake to oppose neoliberalism and sovereignty historically, and in the analysis of our contemporary moment. The aesthetic regime of crypto value would rather be a contemporary manifestation of neoliberal sovereignty or of authoritarian neoliberalism (the presence of Trump in Beeple’s work is worth noting).

    Art historians and artists, however, may be taken aback by how starkly the political truth of art is laid bare here. Reduced to non-fungible value, brought back to its exceptionalist economic core, the political core of the artwork as sovereign stands out in its tension with art’s frequent association with democratic values like openness, equality, and pluralism. As the NFT indicates, democratic values have little to do with it: what matters, at the expense of the material work of art, is the originality and authenticity that enable the artwork to operate as non-fungible value. Part of finance’s fictions, the artwork thus also reveals itself as politically troubling because it is profoundly rooted in a logic of the one that, while we are skeptical of it in politics, we continue to celebrate aesthetically. How to block this dialectic, and be done with it? How to think art outside of economic value, and the politics of exceptionalism? How to end not so much art but exceptionalism as art’s structuring logic? How to free art from fascism? The NFT craze, while it doesn’t answer those questions, has the dubious benefit of identifying all of those problems.

    _____

    Arne De Boever teaches in the School of Critical Studies at the California Institute of the Arts and is the author of Finance Fictions: Realism and Psychosis in a Time of Economic Crisis (Fordham University Press, 2017), Against Aesthetic Exceptionalism (University of Minnesota Press, 2019), and other works. His most recent book is François Jullien’s Unexceptional Thought (Rowman & Littlefield, 2020).

    Back to the essay

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    Acknowledgments

    Thanks to Alex Robbins, Jared Varava, Makena Janssen, Kulov, and David Golumbia.

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    Notes

    [1] See: https://injectiveprotocol.com/.

    [2] See: https://news.artnet.com/art-world/financial-traders-burned-banksy-nft-1948855. A video of the burning can be accessed here: https://www.youtube.com/watch?v=C4wm-p_VFh0.

    [3] See: https://hyperallergic.com/624053/nft-art-goes-viral-and-heads-to-auction-but-what-is-it/.

    [4] A simple explanation of cryptoart’s relation to cryptocurrency can be found here: https://www.youtube.com/watch?v=QlgE_mmbRDk.

    [5] Steyerl, Hito. “In Defense of the Poor Image”. e-flux 10 (2009). Available at: https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/.

    [6] See: https://www.isaacjulien.com/projects/playtime/.

    [7] I am echoing here the title of my book Finance Fictions, where I began to theorize some of what is realized by the NFT artwork: Boever, Arne De. Finance Fictions: Realism and Psychosis in a Time of Economic Crisis. New York: Fordham University Press, 2017.

    [8] See: Boever, Arne De. Against Aesthetic Exceptionalism. Minneapolis: University of Minnesota Press, 2019.

    [9] See: Benjamin, Walter. “The Work of Art in the Era of Mechanical Reproduction” In: Benjamin, Walter. Illuminations: Essays and Reflections. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken Books, 1969. 217-251.

    [10] See: https://www.youtube.com/watch?v=vxkwRNIZgdY&feature=emb_title.

    [11] Brenner, Lexa. “The Banksy Effect: Revolutionizing Humanitarian Protest Art”. Harvard International Review XL: 2 (2019): 35-37.

    [12] Lerner, Ben. “Damage Control: The Modern Art World’s Tyranny of Price”. Harper’s Magazine 12/2013: 42-49.

    [13] Lerner, “Damage Control”, 49.

    [14] Duve, Thierry de. Kant After Duchamp. Cambridge: MIT, 1998.

    [15] While such judgments are of course always subjective, this article considers a number of good reasons for judging the work as bad art: https://news.artnet.com/opinion/beeple-everydays-review-1951656#.YFKo4eIE7p4.twitter.

    [16] The emphasis on materialism here is not meant to obscure the materialism of the digital NFT, namely its ecological footprint which is, like that of bitcoin, devastating.

    [17] See Boever, Against Aesthetic Exceptionalism.

    [18] On this, see my: “Iconic Intelligence (Or: In Praise of the Sublamental)”. boundary 2 (forthcoming).

  • Étienne Balibar — Politics and Science: One Vocation or Two?

    Étienne Balibar — Politics and Science: One Vocation or Two?

    by Étienne Balibar

    ~

    One might find it alarming (as I do) that the Ministers of Education and Higher Education, encouraged from the top, have dug out of the ideological gutter an epithet with sinister resonances to justify a purge of French Academia.

    One might be worried (as I am) by the speed at which publicly-funded independent research is being dismantled, both through financial austerity and the widespread use of targeted and monitored funding.

    One might feel disheartened (as I do), to see self-proclaimed spokespersons for the “excellence of French research” seeking to prevent our students from taking part in major international currents of innovation and critical thinking, deemed incompatible with our republican values, and thereby isolating us in a chauvinistic provincialism.

    One can, even while defending, as I do, the legitimacy of the study of race, gender, class, postcolonial studies and all of their intersections, be aware of, and denounce simplistic and historically unfounded arguments and sectarian censorship that exist on the margins of academia.

    And one can be disappointed (as I am) to see historians and social scientists who, after contributing landmark studies to the critique of inequality and forms of social or national exclusion, have joined, with bitterness, the camp of intellectual conservatism and corporatism.

    But these feelings don’t address the epistemological question at the heart of the matter. In the domain of the said human and social sciences, what is the relationship between the necessity of taking a stand and that of knowledge for knowledge’s sake (the only form of knowledge that indeed merits the name)? We are brought back to the question posed by Max Weber in his 1919 lectures: what is the “vocation” of science? How is it different from the “vocation” of politics?[1] It seems that the solution that he proposed at the time—that of “axiological neutrality,” the separation of ethics into two dimensions, “conviction” and “responsibility”—turned out to be impracticable.

    I see four reasons for this, and they form something like a unity of opposites, through which we must trace our path without sacrificing our exigence.

    First, universities and research centers can no longer afford to speak only to themselves. More than in the past, they must open their doors and their ears to the rest of society, or even better, to the polity. No one is contesting that it is essential to produce and transmit verified and verifiable knowledge and to practice rational argument. All of this takes place in the classroom. But the object of study, that which we try to make intelligible, can only be found outside of the classroom and it is unavoidably conflictual, because we do not live, nor will we live anytime soon, in a peaceful society. In order for us to grasp and understand this conflict, it cannot simply be studied and investigated from afar. It must enter into our spaces of learning and knowledge through the presence of its real actors, unless researchers venture out to find them (for example in a “jungle” or in a “neighborhood”).[2] As Foucault might have put it, we must bring the teachers, students, and researchers out and let the protesters, with or without gilets, and the activists or active citizens in. They must be given a chance to speak in the same places that have, until now, been reserved for magisterial discourse. However difficult it may be, we owe it to ourselves to experiment with ways of doing this.

    With conflict comes ideology. This is obvious. The problem lies in the fact that ideology does not just come from outside, it is always already there in more or less dominant forms. To state that the foundation of economic knowledge is the rational anticipation of market actors; that sociological knowledge is the constant interplay of methodological individualism and organic solidarity; that psychology and pedagogy share the adaptation of subjects as their common object of study; or that the trajectory of historical modernity tends to the secularization of religion, is not simply to state, it is to take an ideological standpoint, indissociable from relationships of power. Obviously, there are alternative positions to those outlined here, more or less visible depending on the period. An institution dedicated to learning that is alive, one that is capable of making space for the unknown, must pursue as its main goal the systematic questioning, including in national boards of evaluation, of every “incontestable” paradigm, to make sure that it becomes a subject of discussion. Let us not forget the disastrous episode that saw the elimination of the “Economics and Society” section within the CNU (National Council of Universities), and the price we’re paying for it now in the midst of the crisis.[3]

    But the conflict between what Canguilhem called “scientific ideologies” and what Althusser named the “philosophies of scientists” may not be the heart of the problem. One could again be led to think that the conflict only resides in the object, in the intrusion of the personal interests and commitments of the practitioners of knowledge, but not in the concept, which is the real heart of knowledge. Yet, nothing is less accurate. Knowledge does not come to a concept by avoiding conflict. On the contrary, it does so by intensifying conflict around big ontological alternatives, forcing us to choose between irreconcilable understandings of the nature of things or beings. The history of truth is not to be found in synthesis, even if it is provisional, but in the polemical ascent towards the points of heresy of a theory. This is evident in many fields, from the humanities to economics and environmental science, and perhaps even beyond ­– in biology, for instance, with the theory of evolution.

    Lastly, and more deeply, we cannot forget that knowledge does not exist without subject(s). This is not a shortcoming of scientific inquiry but its very condition of possibility, at least in any science that has an anthropological dimension, and perhaps in others too. In order to know we must venture as subjects into the field in which we are already “situated”, with all the baggage of “characters” (as Kant would call them), that make us “what we are” (through processes of historical and social construction, of course). There is no “transcendental subject” of scientific knowledge. Or better still, we must venture towards that point of identity “trouble” where every subject resides, with more or less difficulty, with/in their “difference”, whether it be masculinity, femininity, or another “gender” ; blackness, whiteness or another “color”; intellectual ability or inability, or “religious” belief or disbelief, in order to make that very point the analytical lens through which we read the social forces that imprison, exclude, and direct us. For even if no one can freely choose their place in society, by virtue of the power relationships that construct and traverse it, no place is assigned once and for all. The goal, then, is to turn our lived and recognized anthropological difference in all its uncertainty into the instrument with which we dissect our collective body politic, and to make the analysis of the mechanisms that produce and reproduce it, the means of countering its normative effects. This is perhaps not the royal road of scientific inquiry, but it is certainly a necessary step. I think here of what Sandra Harding called “strong objectivity” that includes knowledge of one’s own position as subject, and of how badly positivisms tend to miss the point.

    The road ahead of us is very difficult. I have been a professor in an era which we could in retrospect describe as “golden”. Conflicts could be violent at times, but the cold-war era bans and institutional prohibitions were behind us. The “value of science” was rarely contested. May 68 and its desire to shake the foundation of academicism and take down barriers left widespread disappointment in its wake, but also a fervor and furor that have nourished a large number of “programs” in which the young scholars of today, half of whom are living from one short-term contract to the next, were trained. We realize now that our ruling class is no longer a bourgeoisie in the historical sense of the word. It does not have a project of intellectual hegemony nor an artistic point of honor. It needs (or so it thinks) only cost-benefit analyses, “cognitive” educational programs, and committees of experts. That is why, with the help of the pandemic and the internet revolution, the same ruling class is preparing the demise of the social sciences, humanities and even the theoretical sciences. To accelerate the process, why not have the victim become the culprit (“Islamo-leftism”, “activism”, “ideology”…)? It will make things easier.

    As citizens and intellectuals we must oppose with all our strength this destruction of the tools of knowledge and culture. But our success is conditional on our awakening to the revolutions that the academy needs, and on discussing them among ourselves without being too reticent or holding back our opinions.

    Translated from the French by Tommaso Manfredini. b2o would like to thank Étienne Balibar and Libération for permission to publish this translation. We would also like to thank Madeleine Dobie for her help in arranging the translation.

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    Étienne Balibar is Professor Emeritus of Moral and Political Philosophy at Université de Paris X–Nanterre; Distinguished Professor of Humanities at the University of California, Irvine; and Visiting Professor of French at Columbia University. His many books include Citizen Subject (Fordham, 2016); Equaliberty (Duke, 2014); We, the People of Europe? (Princeton, 2003); The Philosophy of Marx (Verso, new ed. 2017); and two important coauthored books, Race, Nation, Class (with Immanuel Wallerstein, Verso, 1988) and Reading Capital (with Louis Althusser and others, Verso, new ed. 2016).

    Back to the essay

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    Notes

    A version of this article appeared on March 9 2021 in the French newspaper Libération under the title: “Le conflit fait partie des lieux de savoir.” It is a contribution to the debate that followed the announcement made by Frédérique Vidal, French Minister of Higher Education, on February 16 2021 to the National Assembly, to signal the launch of an official investigation of the presence of research programs inspired by “Islamo-leftism” in French universities. Even though the statement was immediately rejected by the CNRS (National Center of Scientific Research, France’s – and Europe’s – largest research body) and, among others, by a group of 200 researchers affiliated with American institutions who, in an editorial published in the newspaper Le Monde on March 4 2021, pointed out the chilling echo of “Judeo-bolshevism” in the Minister’s words, neither the French Government nor the President have officially condemned the use of the phrase. One may thus suspect that they approved it.

    [1] Max Weber, “Wissenschaft als Beruf” (1917) and “Politik als Beruf” (1919).

    [2] The original French words, “jungle” and “quartier” respectively, have social and political meanings in addition to their seemingly plain ethnographic sense. “Jungle” refers to the camps that regularly spring up – and are periodically dismantled by the French police – in various places around Calais, and in which find shelter and sometimes humanitarian assistance persons who are trying to cross the Channel without papers. Similarly, “quartier” also defines are the poorest neighborhoods in the banlieues of Paris and other great cities where the majority of the young generations, often of African and North-African origin, and heavily unemployed, are concentrated [Translator’s note].

    [3] In 2015, the CNU (National Board of Evaluation of Qualifications for Positions in Higher Education) was considering the creation of a special section called ‘Economy and Society’, which would create a space in Universities for economists working outside the ‘mainstream’ neo-classical school. It was abruptly cancelled, through the direct intervention of the Government, after intense lobbying from the establishment, especially from Jean Tirole, ‘Nobel’ Prize in Economics in 2014.

  • Richard Hill — Multistakeholder Internet Governance Still Doesn’t Live Up to Its PR (Review of Palladino and Santaniello, Legitimacy, Power, and Inequalities in the Multistakeholder Internet Governance)

    Richard Hill — Multistakeholder Internet Governance Still Doesn’t Live Up to Its PR (Review of Palladino and Santaniello, Legitimacy, Power, and Inequalities in the Multistakeholder Internet Governance)

    a review of Nicola Palladino and Mauro Santaniello, Legitimacy, Power, and Inequalities in the Multistakeholder Internet Governance: Analyzing IANA Transition (Palgrave MacMillan, 2020)

    by Richard Hill

    ~

    While multistakeholder processes have long existed (see the Annex of this submission to an ITU group), they have recently been promoted as a better alternative to traditional governance mechanisms, in particular at the international level; and Internet governance has been put forward as an example of how multistakeholder processes work well, and better than traditional governmental processes. Thus it is very appropriate that a detailed analysis be made of a recent, highly visible, allegedly multistakeholder process: the process by which the US government relinquished its formal control over the administration of Internet names and address. That process was labelled the “IANA transition.”

    The authors are researchers at, respectively, the School of law and Governance, Dublin City University; and the Internet & Communication Policy Center, Department of Political and Social Studies, University of Salerno, Italy. They have taken part in several national and international research projects on Internet Governance, Internet Policy and Digital Constitutionalism processes. They have methodically examined various aspects of the IANA (Internet Assigned Numbers Authority) transition, and collected and analysed an impressive body of data regarding who actually participated in, and influenced, the transition process. Their research confirms what others have stated, namely that the process was dominated by insiders with vested interests, that the outcome did not resolve long-standing political issues, and that the process cannot by any means be seen as an example of an ideal multistakeholder process, and this despite claims to the contrary by the architects of the IANA transition.

    As the authors put the matter: “For those who believe that the IANA is a business concerning exclusively or primarily ICANN [Internet Corporations for Assigned Names and Numbers], the IETF [Internet Engineering Task Force], the NRO [Numbering Resource Organization], and their respective communities, the IANA transition process could be considered inclusive and fair enough, and its outcome effectively transferring the stewardship over IANA functions to the global stakeholder’s community of reference. For those who believe that the IANA stakeholders extend far beyond the organizations mentioned above, the assessment can only have a negative result” (146). Because “in the end, rather than transferring the stewardship of IANA functions to a new multistakeholder body that controls the IANA operator (ICANN), the transition process allowed the ICANN multistakeholder community to perform the oversight role that once belonged to the NTIA [the US government]” (146). Indeed “in the end, the novel governance arrangements strengthened the position of the registries and the technical community” (148). And the US government could still exercise ultimate control, because “ICANN, the PTI [Post-Transition IANA], and most of the root server organizations remain on US territory, and therefore under US jurisdiction” (149).

    That is, the transition failed to address the key political issue: “the IANA functions are at the heart of the DNS [Domain Name System] and the Internet as we know it. Thus, their governance and performance affect a vast range of actors [other than the technical and business communities involved in the operation of the DNS] that should be considered legitimate stakeholders” (147). Instead, it was one more example of “the rhetorical use of the multistakeholder discourse. In particular, … through a neoliberal discourse, the key organizations already involved in the DNS regime were able to use the ambiguity of the concept of a ‘global multistakeholder community’ as a strategic power resource.” Thus failing fully to ensure that discussions “take place through an open process with the participation of all stakeholders extending beyond the ICANN community.” While the call for participation in the process was formally open “its addressees were already identified as specific organizations. It is worth noting that these organizations did not involve external actors in the set-up phase. Rather, they only allowed other interested parties to take part in the discussion according to their rules and with minor participatory rights [speaking, but non-voting, observers]” (148).

    Thus, the authors’ “analysis suggests that the transition did not result in, nor did it lead to, a higher form of multistakeholderism filling the gap between reality and the ideal-type of what multistakeholderism ought to be, according to normative standards of legitimacy. Nor was it able to fix the well-known limitations in inclusiveness, fairness of the decision-making process, and accountability of the entire DNS regime. … Instead, the transition seems to have solidified previous dominant positions and ratified the ownership of an essential public function by a private corporation, led by interwoven economic and technical interests” (149). In particular, “the transition process showed the irrelevance of civil society, little and badly represented in the stakeholder structure before and after the transition” (150). And “multistakeholderism [in this case] seems to have resulted in misleading rhetoric legitimizing power asymmetries embedded within the institutional design of DNS management, rather than in a new governance model capable of ensuring the meaningful participation of all the interested parties.”

    In summary, the IANA transition is one more example of the failure of multistakeholder processes to achieve their desired goal. As the authors correctly note: “Initiatives supposed to be multistakeholder have often been criticized for not complying with their premises, resulting in ‘de-politicization mechanisms that limit political expression and struggle’” (153). Indeed, “While multistakeholderism is used as a rhetoric to solidify and legitimize power positions within some policy-making arena, without any mechanisms giving up power to weaker stakeholders and without making concrete efforts to include different discourses, it will continue to produce ambiguous compromises without decisions, or make decisions affected by a poor degree of pluralism” (153). As others have stated, “‘multistakeholderism reinforces existing power dynamics that have been ‘baked in’ to the model from the beginning. It privileges north-western governments, particularly the US, as well as the US private sector.’ Similarly, … multistakeholderism [can be defined] as a discursive tool employed to create consensus around the hegemony of a power élite” (12). As the authors starkly put the matter, “multistakeholder discourse could result in misleading rhetoric that solidifies power asymmetries and masks domination, manipulation, and hegemonic practices” (26). In particular because “election and engagement procedures often tend to favor an already like-minded set of collective and individual actors even if they belong to different stakeholder categories” (30).

    The above conclusions are supported by detailed, well referenced, descriptions and analyses. Chapters One and Two explain the basic context of the IANA transition, Internet governance and their relation to multistakeholder processes. Chapter One “points out how multistakeholderism is a fuzzy concept that has led to ambiguous practices and disappointing results. Further, it highlights the discursive and legitimizing nature of multistakeholderism, which can serve both as a performing narrative capable of democratizing the Internet governance domain, as well as a misleading rhetoric solidifying the dominant position of the most powerful actors in different Internet policy-making arenas” (1). It traces the history of multistakeholder governance in the Internet context, which started in 2003 (however, a broader historical context would have been useful, see the Annex of this submission to an ITU group). It discusses the conflict between developed and developing countries regarding the management and administration of domain names and addresses that dominated the discussions at the World Summit on the Information Society (WSIS) (Mueller’s Networks and States gives a more detailed account, explaining how development issues – which were supposed to be the focus of the WSIS – got pushed aside, thus resulting in the focus on Internet governance). As the authors correctly state, “the outcomes of the WSIS left the tensions surrounding Internet governance unresolved, giving rise to contestation in subsequent years and to the cyclical recurrence of political conflicts challenging the consensus around the multistakeholder model” (5). The IANA transition was seen as a way of resolving these tensions, but it relied “on the conflation of the multistakeholder approach with the privatization of Internet governance” (8).

    As the authors posit (citing well-know scholar Hoffmann, “multistakeholderism is a narrative based on three main promises: the promise of achieving global representation on an issue putting together all the affected parties; the promise of overcoming the traditional democratic deficit at the transnational level, ‘establishing communities of interest as a digitally enabled equivalent to territorial constituencies’; and the promise of higher and enforced outcomes since incorporating global views on the matter through a consensual approach should ensure more complete solutions and their smooth implementation” (10).

    Chapter Three provides a thorough introduction to the management of Internet domain names and address and of the issues related to it and to the IANA function, in particular the role of the US government and of US academic and business organizations; the seminal work of the Internet Ad Hoc Group (IAHC); the creation and evolution of ICANN; and various criticism of ICANN, in particular regarding its accountability. (The chapter inexplicably fails to mention the key role of Mocakpetris in the creation of the DNS).

    Chapter Four describes the institutional setup of the IANA transition, and the constraints unilaterally imposed by the US government (see also 104) and the various parties that dominate discussions of the issues involved. As the authors note, the call for the creation of the key group went out “without having before voted on the proposed scheme [of the group], neither within the ICANN community nor outside through a further round of public comments” (67). The structure of that group heavily influenced the discussions and the outcome.

    Chapter Five evaluates the IANA transition in terms of one of three types of legitimacy: input legitimacy, that is whether all affected parties could meaningfully participate in the process (the other two types of legitimacy are discussed in subsequent chapters, see below). By analysing in detail the profiles and affiliations of the participants with decision-making power, the authors find that “a vast majority (56) of the people who have taken part in the drafting of the IANA transition proposal are bearers of technical and operative interests” (87); “Regarding nationality, Western countries appear to be over-represented within the drafting and decisional organism involved in the IANA transition process. In particular, US citizens constitute the most remarkable group, occupying 20 seats over 90 available” (89); and  “IANA transition voting members experienced multiple and trans-sectoral affiliations, blurring the boundaries among stakeholder categories” (151). In summary “the results of this stakeholder analysis seem to indicate that the adopted categorization and appointment procedures have reproduced within the IANA transition process well-known power relationships and imbalances already existing in the DNS management, overrepresenting Western, technical, and business interests while marginalizing developing countries and civil society participation” (90).

    Chapter Six evaluates the transition with respect to process legitimacy: whether all participants could meaningfully affect the outcome. As the authors correctly note, “Stakeholders not belonging to the organizations at the core of the operational communities were called to join the process according to rules and procedures that they had not contributed to creating, and with minor participatory rights” (107). The decision-making process was complex, and undermined the inputs from weaker parties – thus funded, dedicated participants were more influential. Further, key participants were concerned about how the US government would view the outcome, and whether it would approve it (116). And discussions appear to have been restricted to a neo-liberal framework and technical framework (120, 121). As the authors state: “Ultimately, this narrow technical frame prevented the acknowledgment of the public good nature of the IANA functions, and, even more, of their essence as public policy issues” (121). Further, “most members and participants at the CWG-Stewardship had been socialized to the ICANN system, belonging to one of its structures or attending its meetings” and “the long-standing neoliberal plan of the US government and the NTIA to ‘privatize’ the DNS placed the IANA transition within a precise system of definitions, concepts, references, and assumptions that constrained the development of alternative policy discourses and limited the political action of sovereignist and constitutional coalitions” (122).

    Thus, it is not surprising that the authors find that “a single discourse shaped the deliberation. These results contradict the assumptions at the basis of the multistakeholder model of governance, which is supposed to reach a higher and more complete understanding of a particular matter through deliberation among different categories of actors, with different backgrounds, views, and perspectives. Instead, the set of IANA transition voting members in many regards resembled what has been defined as a ‘club governance’ model, which refers to an ‘elite community where the members are motivated by peer recognition and a common goal in line with values, they consider honourable’” (151).

    Chapter Seven evaluates the transition with respect to output legitimacy: whether the result achieved its goals of transferring oversight of the IANA function to a global multistakeholder community. As the authors state “ the institutional effectiveness of the IANA transition cannot be evaluated as satisfying from a normative point of view in terms of inclusiveness, balanced representation, and accountability. As a consequence, the ICANN board remains the expression of interwoven business and technical interests and is unlikely to be truly constrained by an independent entity” (135). Further, as shown in detail, “the political problems connected to the IANA functions have been left unresolved, …  it did not take a long time before they re-emerged” (153).

    Indeed, “IANA was, first of all, a political matter. Indeed, the transition was settled as a consequence of a political fact – the widespread loss of trust in the USA as the caretaker of the Internet after the Snowden disclosures. Further, the IANA transition process aimed to achieve eminently political goals, such as establishing a novel governance setting and strengthening the DNS’s accountability and legitimacy” (152). However, as the authors explain in detail, the IANA transition was turned into a technical discussion, and “The problem here is that governance settings, such as those described as club governance, base their legitimacy form professional expertise and reputation. They are well-suited to performing some form of ‘technocratic’ governance, addressing an issue with a problem-solving approach based on an already given understanding of the nature of the problem and of the goals to be reached. Sharing a set of overlapping and compatible views is the cue that puts together these networks of experts. Nevertheless, they are ill-suited for tackling political problems, which, by definition, deal with pluralism” (152).

    Chapter Seven could have benefitted from a discussion of ICANN’s new Independent Review Process, and the length of time it has taken to put into place the process to name the panellists.

    Chapter Eight, already summarized above, presents overall conclusions.

    In summary, this is a timely and important book that provides objective data and analyses of a particular process that has been put forward as a model for multistakeholder governance, which itself has been put forth as a better alternative to conventional governance. While there is no doubt that ICANN, and the IANA function, are performing their intended functions, the book shows that the IANA transition was not a model multistakeholder process: on the contrary, it exhibited many of the well-known flaws of multistakeholder processes. Thus it should not be used as a model for future governance.

    _____

    Richard Hill is President of the Association for Proper internet Governance, and was formerly a senior official at the International Telecommunication Union (ITU). He has been involved in internet governance issues since the inception of the internet and is now an activist in that area, speaking, publishing, and contributing to discussions in various forums. Among other works he is the author of The New International Telecommunication Regulations and the Internet: A Commentary and Legislative History (Springer, 2014). He writes frequently about internet governance issues for The b2o Review Digital Studies magazine.

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  • Marc Aziz Michael — Under Queer Eyes: Visibility Politics and the New Reaction (Review of Sa’ed Atshan’s Queer Palestine and the Empire of Critique)

    Marc Aziz Michael — Under Queer Eyes: Visibility Politics and the New Reaction (Review of Sa’ed Atshan’s Queer Palestine and the Empire of Critique)

    Queer Palestine and the Empire of Critique by Sa’ed Atshan (Stanford UP, 2020)

    by Marc Aziz Michael

    At the outset of the 20th century, an odd fever took hold of the civilized world: modern parliaments passed endless legislation ordering Oriental female subjects to discard fashion items covering their faces. From Lord Cromer to Atatürk, “unveiling” Oriental women became a matter of modernity or barbarism, life or death. Political tracts, traveler’s diaries, public health reports depicted the many untoward medical, social or political consequences of the “veil”. Financial incentives or meetings with heads of state rewarded unveiling volunteers. Soviet parliaments in Central Asia opened their meetings with unveiling rituals—dozens of women taking off their scarves while declaring allegiance to secular socialist progress, often reveiling on the way home.

    Over a century later, not much has changed. First Lady Laura Bush justified her husband’s Oriental genocides with liberation from the evils of the burqa. “Because of our recent military gains in much of Afghanistan, women are no longer imprisoned in their homes”. In 2010, French Law 092, “La République se vit à visage découvert[1]”, banned access to public space for any woman sporting a face-covering—uniting the political landscape around philosophical gems such as president Chirac’s “Like it or not, the veil is a kind of aggression” or Hollande’s “the veiled woman of today…could free herself of her veil and become French.” “To conceal one’s face is to threaten the minimal demands of social life,” concludes the text of the law. Democratic “vivre ensemble”—like the CIA—requires recognizable and identifiable faces. And thus the burqa stands proudly as the only piece of cloth criminalized within the EU.

    Once upon a time, the left could easily read this hunger for bare flesh as a symptom of colonial domination. In the 1950s, Martinique-born psychiatrist Franz Fanon diagnosed this political malady of the colonial gaze as an aggressive will to “possess” elusive brown women. “This woman who sees without being seen frustrates the colonizer. There is no reciprocity…She does not offer herself.” The veil drew the abrupt line beyond which colonial eyes failed to penetrate—refusing entry into the nooks of Muslim hearts and minds; a civilizational middle finger, testament to the failure of the West in seducing the Rest with its norms, beliefs, and ideals. Fearing for unsuspecting beachgoers, Prime Minister Valls conveyed this frustration with French eloquence: “The burkini is…the translation of a political project, a counter-society, founded amongst other upon the subjection of women.” In 2020, while the sanitary virtues of the niqab are hotly debated on air, the confused amongst us wonder what kind of faceless shadow society the French government is peddling in with compulsory COVID masks.

    Drifting far from Fanon, progressive dogma today equates visibility with representation and justice—rather than occupation. On international women’s day 2011, in the midst the largest uprising in living Egyptian memory, a small group of women in Tahrir staged their own unveiling rituals reminiscent of the good old British days, spectacularly committing to an open democratic existence far from Islamic obfuscations. In another corner of the square, half a dozen queer socialist youths donned slogans asserting their sexual difference publically, spring cleaning their personal and political closets in one swift move. The front of the War on Veils has expanded to queerer shores. The new bearers of the flame of transparent freedoms, the international LGBTQ movement, promotes de-closeting rituals that would leave Marie Kondo blushing. Amidst the 2019 Beirut uprisings, a young man walked through the protests with a banner reading “I am a top; why does the government still fuck me? #timetoswitch”. And on goes the axiomatic train wreck linking visibility and representation to leftist progress, unquestioned and unquestionable. How believable is this proposition on the left today?

    Saed Atshan’s recent Queer Palestine and the Empire of Critique provides a fertile terrain upon which to ponder the reactionary nature of visibility politics. Cornell West blurbs it “prophetic” for revealing that “justice and freedom against empire and homophobia are indivisible”. In my less religious view, Queer Palestine navigates the thin line separating woke-sex travel-guide and a jargon-inflated coming of age diary about the tribulations of leaving the closet in Arabia for an assistant professor at Swarthmore and a selection of close friends. The whole thing is packaged in queer corporate PR wrapping—Hate Crime Legislation, Marriage Equality and Don’t Ask Don’t Tell—and a veneer of “gayopolitics”: Tel-Aviv, all the tops have gone to Berlin, so why don’t you just let the sexy Arab doms in…

    Atshan has somehow convinced himself that his book’s “theoretical” innovations, “ethnoheteronomativity” and “discursive disenfranchisement”, will be of political use to the liberation of Palestine, sexually or otherwise. In his conspiracy, a shady set of “radical purists” he has outgrown—the likes of Michel Foucault, Edward Said and Joseph Massad—dominate Western academe and have been choking the queer Palestinian movement with an unrelenting focus on critical theory and anti-imperialist politics, marginalizing important “leftist” corners of the OPTs. The voice of a sad activist captures the depths of this queer Palestinian plight: “Massad’s criticism of our work is like a cloud that always hovers above me. How do I prove a negative? I am tired.” To combat radical “Western” [sic] theorists and their ploy to “level critiques against subaltern populations in the Global South for the pursuit of their financial livelihoods”, Atshan suggests acknowledging the presence of “ethnoheteronormativity” (syn: homophobia) as a central problem in Palestinian society—saving young queers from emigrating or becoming Mossad collaborators, while condemning the rest of us to another fatuous neologism.

    Here, Queer Palestine stumbles upon the problem of empiricism: evidence for Palestinian homophobia proves more visionary than real. “By and large, Palestinian society as a whole does not acknowledge the existence of homosexuals in their midst…As a result, queer Palestinian communities do not provoke repression from patriarchal authorities.” The plot thins: Palestinians do not seem to use “homosexuality” either as a category of lived experience or as a criminological one. Under such conditions, the hatred of homosexuality can remain elusive, and may require unorthodox evidencing. Hamas’s “homophobia”, for instance, Atshan derives from a lone article in the ‘entertainment’ section of Out magazine, entitled “Was Arafat Gay?”—by a conservative Zionist American journalist familiarized with Arabic via Google Translate. Later, Atshan conjures a Pew survey indicating low tolerance of “homosexuality” in the West Bank, and deplores the absence of similar data among Palestinian Israelis, but concludes “it would not be surprising if rates of acceptance among the population were confirmed to be higher than for the Occupied Territories.” It is unclear how Pew managed to survey a population weary of imperial or state surveillance—and for whom, as Atshan admits, the concept of homosexuality holds no meaning—about their attitudes towards homosexuality. It is equally unclear why Atshan assumes, without evidence, higher acceptance rates for Israeli Palestinians—unless proximity to modern occupiers improves the backward Arab mind.

    Atshan’s own liberal attacks against Palestinian populations, promoting “queer rights”—meaning violent state intervention into family life, novel techniques of policing, incarceration, and gentrification—in line with imperial political programs, are portrayed as somehow “empowering” and “progressive” for the Global South, whereas Massad or Puar’s critiques of imperial social engineering are presented as disempowering “radical purism”. Despite recognizing the absence of “repression from patriarchal authorities” for queer Palestinians, Atshan nonetheless goes on a crusade to render this queer population ever more visible to the state—a move reminiscent of imperial management of “vulnerable minorities” from “Oriental Christians” to “Eastern women”: imperial powers coaxed these “minorities” into visibility—from forcing special privileges and rights out of the Ottoman empire to overstaffing colonial administrations with these minorities, or later special access to Euro-American visas. This increase in privileges drew unwelcome popular attention to these otherwise integrated populations, until their environment became so hostile that only death or emigration remained.

    Atshan’s emulation of imperial ‘divide and rule’ can only pass as “progressive” within a framework equating political struggle with visibility. “[I]n addition to the white gaze I must also contend with the Zionist gaze, the heteronormative gaze, and the radical purist gaze… and this can be suffocating for Palestinian queers.” Some struggle with colonial occupation, police abuse, military strikes, or arbitrary prison sentences and torture. Atshan struggles with deer in the headlight syndrome, and elevates this photosensitivity to a political program. “Because I am a queer Palestinian who is also entrapped in forms of external surveillance, the development of my own consciousness in some ways mirrors the development of this [queer] movement at large.”

    This reader wished he had used the development of his consciousness as less of a template: from upper-middle-class background, attending an elite Anglo-Quaker school in Ramallah, moving onto Swarthmore and Harvard, following up with a job at his alma mater, he is hardly a Palestinian everyman. A more critical scrutiny of his peculiar social position, or a cursory reading of a sociology textbook, might have stopped him peddling in Orientalist stereotypes like Muslims believing “unmarried men have not yet completed ‘half of their religion’”; or that anti-imperial radical discourse prevents the advent of human rights in the Arab world—the main thesis of American foreign policy from Nixon to Clinton; or writing on behalf of Arab victims, while dedicating an entire chapter of his book to trashing the only two local queer organizations on the ground, and their female Palestinian founders. The accusations of profiteering waged against Massad and Said—who have defended their political positions at great personal costs—sound like an initiatory bashing ritual to access the highest spheres of American Academe.

    What emerges from Atshan’s methodological narcissism is a desire—not for less surveillance—but for the queer community in Palestine to achieve visibility in white eyes, no matter the costs. Atshan bemoans any suggestion toward a politics of invisibility as a relic from a pre-historical past, a cowardly attachment to the closet. “Bare sex”, for instance, is evidently inferior to romantic coupledom. Visibility politics amount to competition for the attention of the world’s elite, through fidelity to their codes of bourgeois respectability. Queer Palestine excels in that respect. The only two examples of “subversive” queer emancipation in the book drown under his thirst for white respectability. The first involves a gay West-Bank couple driven by gay foreign friends on a militarised Israeli road to Tel Aviv, where they breathe romantic seaside air from a hotel balcony, and where the “spirit of queer Palestinian resistance” gets ominously close to the spirit of consumerist entitlement.

    The second example has Atshan attend a party where “scripts and body movements could be as outrageous as was possible in a Palestinian context.” Translation: a woman impersonating Leonardo DiCaprio hugs a man embodying Kate Winslet standing at the helm of a boat. This queer reenactment of the Titanic script moves the assembly to tears at the thought of the dangers they escaped by confining their ‘subversive’ performance to a private event. We are now in Hollywood millenarian cult territory, replete with the invocation of queer American ancestor-spirits (Leonardo and Kate), ancient gay esoteric sounds (Celine Dion), and cathartic possession (“outrageous body movements”) healing the traumatic wounds of history. How does this ritual subvert the Israeli occupation, we will forever be left to ponder? More importantly, why would Atshan bother with the long history of Arab drag performances—from Fairuz to Ismail Yassin via Bassem Feghali—who occupied prime-time TV before Ru Paul was a thing, or with any relevant local cultural symbols when hegemonic imperial ones are widely available?

    Recognition from the powerless doesn’t taste as good as from those holding the reigns of grants, fame or tenure. While his friends are allowed to play DiCaprio behind closed doors or in Tel-Aviv hotels, Atshan resents that “[radical] queer Palestinian activists find it convenient to shield themselves behind arguments such as, “Coming out and gay pride are Western”. Escaping bloodthirsty Arabs’ gaze while dressed in American garb is good invisibility; escaping Pew surveys and the categories of Euro-American identity, statistics or academe, however, is bad invisibility. How seamlessly visibility converges with market success, and recognition with personal branding, for those in Swarthmore.

    There is a tacit understanding within marginalized queer communities that visibility entails a measure of personal risk. Drag culture perfected “reading” as an art form for that reason: with visibility comes exposure, and ritualized insults toughen the skin against the vicissitudes of life at the center of the stage. LGBT troublemakers of times long gone, say Harvey Milk, shook heaven and earth fighting with their lives on the line. Atshan, like many other Arab sex prophets—the likes of Mona al Tahawi—at the first signs of battle, swiftly teleported to safer shores, regrettably throwing many increasingly visible brown lives under the wheels of state torture and repression.

    The Sarah Hegazy affair is a prime example of such dynamic. In 2017, the activist raised a rainbow flag at a Mashrou’ Leila concert in Cairo—inspired by the Lebanese band’s openly queer lead singer, Hamed Sinno. Sarah was subsequently arrested, and tortured by state forces. A year later, both Sarah and the lead singer of the band ended up moving to North America—where she committed suicide—and the rest of the population had to reckon with a new law sanctioning homosexual acts with up to 5 years in prison, and new allowances for police to survey social media accounts. Visibility, at the school of middle-class gay, remains exclusively synonymous with success—despite all evidence to the contrary. This is where queer theory meets Chicago economics: ‘Tomorrow sex will be better; but first sacrifices must be made!’ One must break brown eggs to make queer omelettes; somehow, they always happen to be your neighbor’s.

    “In more recent years, the queer Palestinian movement has shifted toward radical purism, and its growth has plateaued.” One can only imagine all the grassroot Palestinian activists eagerly reading Massad or Puar, converting en masse to ‘radical purism’ and ‘existential paralysis’, and leading the movement into a “toxic plateau” stunting its highest visibility potential, “its natural market share in terms of audience and capacity”. Visibility cannot flirt with respectability unless it has a “sizeable” market share to back it up. So it flirts with the monogamous language of sales, drifting far away from the polyamorous speech of solidarity.

    *

    Unveiling and de-closeting are European obsessions as old as The Enlightenment, social reform and social engineering. Kant’s definition of the Aufklärung, “dare to know”, enjoined the elite to bring the Light of Reason to the reluctant masses, turning them into a tameable transparency. The grandfather of market thought, Adam Smith, bemoaned the invisibility of human desires, and therefore posited the deployment of the “invisible hands” of the market as the sole rational way of dealing with human opacity for a blind sovereign. Karl Marx clung on to a “scientific” view of socialism, which would empower the proletariat to “see” their “real”, “objective” interests, in beheading the global bourgeoisie. Freud’s lifelong project was to “bring the id into the ego”—make visible the lurking instincts that sabotage human agency.

    To convince large swathes of the middle classes that submitting to the gaze of the state and its army of corporate drones was somehow desirable involved sustained ideological work and financial carrots. Kim Kardashian’s fame has its roots in the 17th century abolition of curtains from Protestant areas of Holland or Germany. Why sport curtains if your living room is like a hospital reception room? Invisible hands do the Devil’s work. An entire culture of self-policing, confession and denunciation spread through these regions of Europe, cutting the costs of surveillance for the prince, and smoothing out their dominion. In Bavaria, neighbors who denounced a fellow peasant to the state for failing to maximize the use of their land would be gifted the land themselves. This protestant cult of visible virtue has trickled down so profoundly as to stay virtually unchanged in debates over online privacy today: why would I need privacy if I’ve got nothing to hide? Instead of land, the rewards come in Facebook likes.

    The holy trinity of visibility, recognition, power benefited the few, and hurt the masses—because the elite never nurtured irrepressible benevolence towards the wretched of the earth. And so increased visibility historically translated into greater ease of domination, as well as majoritarian resentments for the  claims of the vulnerable. The scars run deep. African-Americans reflexively shirk away from the lethal gaze of police officers. The bulk of colonial populations shy from corporate Randomized Control Trials. In Arabic, bahth, the word for research, is close to mabaheth, State Intelligence Services. Geolocation, contact tracing, and cyber-bullying have sent even middle-class protestants scrambling for anything resembling privacy. The multitude—bereft of money, status, networks, or access to powerful lawyers—experiences visibility not as a resource in the survival of the fittest, but as a tsunami of social hatred, isolation, and loss of livelihood. The backlash against affirmative action, feminism or queer minorities across the world speaks movingly of the social fragmentation resulting from a politics emphasizing visible differences. For the Kardashians of the world—a privileged few who own the social and symbolic resources to alchemize visibility into increased privilege—visibility remains a mark of virtue.

    Starting the 1960s, New Left intellectuals craftily repositioned this tercentennial cult of visibility into the realm of progressive dogma. In an effort to reform Marxist exclusive concerns with working classes and class conflict, these thinkers deployed a more ‘sophisticated’ politics of identity and visibility. This novel emancipatory equation linked visibility to social recognition to political rights. The American civil rights movement insisted that white supremacists see beyond the melatonin veil of Afro-American skin, and extend market and political participation to all. Feminist critiques of patriarchy gathered around “the personal is political”, emphasizing the continuity of patriarchy from the spotlight of the corporate boardroom to bedroom curtains. The most intimate desires were political acts, underwritten by social forces in dire need of change. In the midst of the AIDS crisis, the LGBT movement rallied around ACT UP’s now famous slogan, SILENCE=DEATH, to fight off governmental and societal indifference to their invisible plight. And within democratic theory, the new left’s focus made sense: how could progress occur without visibility, if visibility was a precondition for political representation?

    Foucault’s iconoclasm, from Panopticon to history of madness, insisted on the association between visibility and domination. The 19th century invention of sexuality was a central part of the Victorian state program to render the desires of the population visible, and thus manageable, through constant disclosure and attentive confession. The results, two centuries later, are clear: from the porn industry to night clubs, from compulsory gym memberships to plastic surgery, from steroids and amphetamines to Viagra and anti-depressants, from Incels to BDSM, and from sex work to trafficking. The hyper-emphasis on desire as the fundamental pillar of personal identity and of the “good life” has led to the crumbling of political solidarity, and the advance of competitive consumption. Imagine the hours of weight-lifting, porn-jerking, sexapp-chatting, redirected towards helping the poor and marginalized or fighting corporate predation, and you get a good idea of what the sexual privatization of pleasure has done to life in common.

    The Ancient and Medieval worldviews understood desires as accidental movements of the soul; mere weakness of flesh to be occasionally humored with derision. Desires dawdled at the periphery of the self. The invention of sexuality linked desires to personal identity, and thus reinforced the market dogma that desires are the foundations of the self, in need of relentless social scrutiny, medical examination, psychoanalytic questioning, and criminological analysis. Enshrining sexual desires as matters of human rights later facilitated the adjacent notion “there is no alternative” to market liberalism. If there is a right to pleasure—through sex—then there is a political right to all pleasures, including consumption. If desires deserve utmost attention and protection, then what better protection than a liberal market democracy to provide for a storm of ever changing desires? Communism, with its bland display of functional goods and perfunctory sex had historically failed.

    More than any other movement of the soul, lust provides a fertile terrain for governments arguing desires are political affairs in need of regulation. Left unattended, sexuality can be linked to a number of unspeakable dangers that threaten to bring society to its knees. Too many unsatisfied, “hysterical” women could threaten to turn into serial killing mothers. Too many paedophiles could lead to a generation of broken children. Too many homosexuals, to the plummeting of the fertility rate of the nation, and to a weakened military force. Too many interracial couples, to the disappearance of the white race. Too many “deadbeat dads” and “welfare queens”, to proliferating street gangs and the end of private property. Sexual perversions constitute one of the swiftest routes to national annihilation in the bourgeois imaginary, and therefore a site of prime surveillance. Thus, the queer, internal enemy came to complement fears of the barbarian at our doors.

    To a large degree, this history of sexuality and political domination remains a Eurocentric one. Sexuality has not been the most successful export of European imperialism. The case of Egyptian ‘journalist’ Mona Iraqi is instructive. She ran an “investigative” show called ‘The Hidden”. In 2016, she anonymously denounced the Beit El Bahr bathhouse for homosexual depravity to authorities. Her crew seamlessly captured the ensuing police raid on camera—filming multiple angles while the naked men were arrested on charges of public debauchery. A few days before the planned airing of her episode about invisible sex practices on Egyptian TV, her Facebook wall suffered a massive wave of popular discontent: few understood the necessity to pry into the sex lives of strangers, apart from satisfying Iraqi’s thirst for sensationalism and fame. The backlash was enough for Iraqi to pull the planned airing. A few months later, she announced the show would air on International Aids Day. In the meantime, it had been reframed as an investigation into male-to-male sexual practices spreading HIV between men, then to their wives at home, and eventually to the whole of the unsuspecting nation. Framed as a public health investigation into lurid corners of Cairene life, the show aired with minimal resistance. Nonetheless, the court cleared Iraqi’s victims of all accusations, and their families successfully litigated against Iraqi for defamation—earning her a six months prison sentence.

    Despite the post-colonial state’s constant click-bait assertions that gangs of “queers” are threatening to ruin the country, despite international journalistic and NGO reports discussing the existence of queers in the hearts of darkness, despite PornHub itself, the concept of sexuality still fails to take hold outside of a cosmopolitan section of Third World upper-middle classes. In the words of a Congolese UN chief of Security, “How did white men convince us that polygamy is unnatural, but that homosexuality isn’t?” Although many international observers decry this as a cause for concern for invisible minorities, the absence of sexuality and its numerous techniques of control over “normal” desires might present political opportunities to avoid the reactionary fate of Euro-American liberal politics. Fighting authoritarian leaders and their heavy handed legal prohibitions could turn out much easier than struggling against the social apathy of naturalized consumerism and normalized desires.

    The rise of homophobic homicides in 1970s San Francisco provides a good example of the reactionary prison of sexuality. In the words of an activist, visibility “may be our most basic achievement in the 1970s, but it also means that every homophobe in America knows what you look like and where to find us.” This trend only started receding in the 1980s, with the growing gentrification of the city, and the expulsion of the Catholic working classes from the city center, to the relief of many LGBT activists. As Dan White—Harvey Milk’s murderer and a Catholic-Irish working-class politician—explains in his prison notebooks, “The people in my neighborhood felt that gays have made things even harder for big families because they don’t have any children to worry about and several of them can put their salaries together and pay more rent than a single family, and this has the effect of driving up prices.” Are the victims of homophobic violence to blame for siding with their bourgeois benefactors—the police, redlining banks, and racist property developers? Perhaps. Or perhaps the choice between “being ourselves”/brown-nosing the bourgeoisie and “staying in the closet”/fighting the fight is no choice at all.

    *

    “There’s a big secret about sex: most people don’t like it.” Leo Bersani’s injunction to put the good old in-out back in its rightful position—at the periphery of our selves—sketches the outlines of an escape route from the prison of sexuality. Sex is not dangerous, transcendental, or particularly worthy of our time. Left to the confinements of mortgaged bedrooms, monopolized kisses and chemically-enhanced sexcapades, it would drown in its own standardized, repetitive boredom. Bonobos—our go-to sex experts—for all their indulging in the activity, seem not to enjoy it for much longer than 13 seconds at a time, perhaps for a reason. For the mythology of sex as the ultimate pleasure to survive, drama is needed—dressed in Oriental garb, surrounded by the specter of repression, and propped up by the closet and its multifarious police agents. Nothing like some mild impediment to consumption—the prohibitive pricing of a Louis Vuitton bag—to fan the flames of a refined governmental technique of control. The cult of sexuality is the negative psychology of the market state, a ham-fisted injection of regular doses of passion to avoid us falling into the blandness of a life of mere interests. Letting our desires recede to the shady backburners of our minds, where we can’t see, be obsessed or discuss them much, invites unexplored avenues of resistance.

    Could invisibility and opacity be plausible political strategies for another leftist program? Socialist universal rights are one such technique of political invisibility that benefits the most vulnerable without bringing the spotlight onto any particular plight. Trans women’s participation in female competitions wouldn’t be much of an issue if every professional athlete was given a livable wage instead of overpaying the 3 standing on the podium. Why campaign for an equal “right to drive” for women to drive in Saudi Arabia when the universal right to “free public transportation” awaits in a silent corner? If mobility matters to women in particular, it also matters to the poor majority. Why insist on disciplining Palestinian families in accepting their “queer” kids—Atshan’s human rights plea—rather than focus on all “vulnerable” children? Instead of imposing bourgeois sexual identity categories backed by the force of law, why not promote a universal right to housing and income so that all teenagers rejected from home (and adults) can live off the streets, and away from the warm embrace of Israeli intelligence services? Can the homeless only betray the homeland if queer?

    The same could be said of the gay marriage campaigns focusing on discriminatory treatment at the bedside of an agonizing unwedded lover. Instead of pushing for marriage equality, these self-proclaimed leftists could have fought for the abolishing of the legal and economic privileges of contractual love. The latter could appeal to much broader populations—widow(er)s, single-parents, the never-married, the married-and-repenting—and would have the added advantage of making inheritance more difficult for everyone—an old progressive goal. Egalitarian social, economic and political aims could be achieved by making vulnerable groups less visible, rather than more. But the bourgeoisie wants to buy and sell more cars, to shape working-class masculinities, to maintain familial structures of property and privilege, and to compete for millions at sports tournaments. And so we all foot the bill.

    Anarchists have long developed cultures of passing under the radar, carving up spaces of invisible freedom outside of state and corporate surveillance. The tuber drew its cult following amongst free peoples due to its capacity to thrive beneath the protective veil of the soil, and thus beneath the gaze of tax-collectors or scavenging invaders. Tribal social structures have long prized forms of extreme social disaggregation, based on scattered household units and subsistence agriculture, which Ernst Gellner has baptized the “divide that ye not be ruled” strategy. If Ottomans preferred dealing with Christian or Jews rather than heterodox sects; if Brits constantly invented tribal traditions as imperial administrative units, it was because amorphous, unstructured populations were much harder to rule—having no one common language but a complex mesh of adjacent idiolects, no demonstrable leader to bargain with, and nomadic mobility that made them hard to pin down.

    The same could be said of the near complete corporatization of LGBT movements in Europe against the multifarious Arab governmental anxieties “deviant” populations inspire: it is easier to deal with a structured gay community and its parliamentary representatives—bribing them with an impoverished diet of Grindr and marriage equality—rather than a multitude of discontented invisible subjects stirring up constant trouble. Without the attachment to visibility and identity politics, the current juncture contains great potential: instead of fearing the proliferation of incoherent ‘tribes’, we can let ourselves divide until we become an unidentifiable and ungovernable thorn in state and corporate bottoms. In the late 90s, when an epidemic of contagious spirit possessions took over Indonesian factory workers, panicked industrial owners were forced to sacrifice chickens to assuage angry ancestral spirits, and feed the laborers.  Perhaps it is time to let our desires grow tuber-like, veiled by our own disinterest; or perhaps to let them take possession of us at the most unpredictable times, like privilege-hacking vengeful spirits.

    While for most of human history invisibility has been a primary resistance art for the poor and powerless, over the last few centuries invisibility has become the prerogative of the chosen few. While everyone is forced into tighter identity handles, top corporate predation happens increasingly in the dark, behind closed doors. The luxury of withdrawal behind walled castles, ivory towers, and gated communities—immune from social regulations and the most deleterious effects of the marketplace—is now the landmark of true wealth and power. Ironically, the niqab obeyed this very elitist logic. It gained in popularity amongst rich Arab and Central Asian populations to distinguish their women from those who would be available for sex work to occupying European soldiers. During the 80s, the hijab found its way onto the hearts and heads of aspiring urban middle-classes, marketed as granting exclusive status and positional advantages on a saturated marriage market. If unveiling campaigns are so important in European eyes, it is because the veil mirrors the white elite’s own logic of power through invisibility—but in a monstrous form.

    “Perseus wore a magic cap so that the monsters he hunted down might not see him,” Marx writes. “We draw the magic cap down over our eyes and ears so as to deny that there are any monsters.” If predators hunt behind the cloak of darkness, the prey survives with camouflaging strategies. It is not surprising that predators denigrate both camouflaging and conspiracy as futile and primitive ways of ruining their fun. The veil is an adaptive strategy of survival in the face of much predation. Renunciation—the strategy of willfully reducing desires and consumption to their most invisible minimum—has been the only radical green political strategies of the 21st century to create an effective threat to corporate domination. Instead of denigrating the veil, wishfully denying the existence of monstrous power relations in the world, a progressive politics would insist on the importance of invisibility for the vulnerable masses, and on compulsory transparency for the rich and powerful. Instead of fighting “homophobia in Palestine” with increased policing and incarceration, let us fight its actual causes: militarism caused by Israeli occupation; the patriarchal family linked to the maintenance of private property relations; masculinity as aggression due to the demands of class conflict. The prey will adapt to shed its camouflage when the predators have been neutralized, when political economic structures are put in place that prevent massive accumulation of capital and power. Atshan’s book is no more than the continuation of centuries of unveiling campaigns, the degraded symptom of a neoliberal politics of visibility and identity. So instead of drawing the cap over our eyes, let us focus political energies to fight the very visible monsters who won’t let us be our best selves.

     

    Marc Aziz Michael teaches Sociology, Middle Eastern Studies and Gender Studies at the American University in Beirut. He has previously taught at NYU and NYU in Abu Dhabi. Beyond academic venues, his writings have appeared in Al Jazeera, Jadaliyya, The World Today, CounterPunch, OpenDemocracy. He is currently writing a book about the history of commercial banking. In his spare time, he is training as a group analyst.

     

    [1] “The Republic must be lived face on display”

     

    EDIT (2/11): An earlier version of this piece referred to the location of the Friends School attended by Sa’ed Atshan as Jerusalem rather than Ramallah.

  • Eric Reinhart — Pandemicity without Pandemic: Political Responsibility in the Exponential Present

    Eric Reinhart — Pandemicity without Pandemic: Political Responsibility in the Exponential Present

    by Eric Reinhart

    The tradition of the oppressed teaches us that the “state of emergency” in which we live is not the exception but the rule. We must attain to a conception of history that is in keeping with this insight. Then we shall clearly realize that it is our task to bring about a real state of emergency, and this will improve our position in the struggle against Fascism. One reason why Fascism has a chance is that in the name of progress its opponents treat it as a historical norm. The current amazement that the things we are experiencing are “still” possible in the twentieth century is not philosophical. This amazement is not the beginning of knowledge—unless it is the knowledge that the view of history which gives rise to it is untenable. — Walter Benjamin, Thesis VIII from “On the Concept of History”

     I speak, precisely, of “messianicity without messianism”… a certain messianic destitution, in a spectral logic of inheritance and generations, but a logic turned toward the future no less than the past, in a heterogeneous and disjointed time. — Jacques Derrida, “Marx & Sons” (250) and, after the ellipsis, Specters of Marx (181)

    Over the last year, a new biopolitical sense in which emergency is rule and cellular being ties each of us to an inescapable collectivity has spread across much of the planet. From rural Bihar to Manhattan, this emergent spatio-temporality has mobilized unprecedented collective action—albeit not without resistance—under conditions of a pandemic. In our best moments, it has corresponded to a condensation of urgency and relationality in a fledgling sense of ourselves as a biomassive body politic, what we could call a state of pandemicity. As economies flail, billionaires multiply their fortunes, states struggle to quell surging discontent, and popular political imaginations become bolder in their defiance of racially overdetermined threats to life at the hands of virus, economic precarity, and police, the solidity of the global racial-capitalist order is widely being put into question. If the sudden suspension of routine imposed by a virus has awakened us to political possibilities and to others that formerly felt so far away, perhaps this nascent phenomenon of pandemicity could endure beyond the pandemic. Could we sustain a state of pandemicity without pandemic?

    This is an echo of Jacques Derrida’s notion of “messianicity without messianism,” which embraces the form of religious intensity and urgency attached to divine justice while refusing to fill it in with positive content, insisting instead on limitless responsibility and openness to otherness. But pandemicity without pandemic also challenges the abstract purity of Derrida’s deconstructive ethics; it insists on looping his notion of responsibility back through what were for Derrida the “too Heideggerian, too messianico-Marxist or archeo-eschatological” (2001: 298) desires of Walter Benjamin in order to bring the ethical demand of the other into a knot with our urgent material present.

    In his response to critics of Specters of Marx, Derrida marks a difference between his own concept of messianicity without messianism and the way in which Benjamin’s “weak messianic power” is linked to “determinate historical-political phases, or indeed, crises” (1999: 253). “In my view,” Derrida writes, “the universal, quasi-transcendental structure that I call messianicity without messianism is not bound up with any particular moment of (political or general) history or culture” (254). On the other hand, Derrida emphasizes in Specters that the possibility of justice is tied to “anachronic disjointure,” “the very coming of the event,” and “the very condition of the present and of the presence of the present” (33). He observes, via Marx, that historical “rupture produces the institution or the constitution, the law itself… violence that interrupts time, disarticulates it, dislodges it, displaces it out of its natural lodging: ‘out of joint’” (37). Différance unfurls in the “here-now” without lateness or delay, in imminence and in urgency; as justice, it “does not wait” (37).[1] These are not situated historical statements, but it is hard to imagine that they do not necessarily implicate historical specificity—if only for historical time’s interruption—in order to obtain any political traction or effect.

    There is a deconstructive logic subtending Derrida’s argument against linking messianicity without messianism to historical-political moments.[2] To index messianicity to historical-material specificity would be to “reduce the event-ness of the event, the singularity and alterity of the other” and risk reducing justice “once again to juridical-moral rules, norms, or representations, within an inevitable totalizing horizon (movement of adequate restitution, expiation, or reappropriations)” (1994: 33-34). Derrida’s objections to Benjamin’s historical materialism are thus not reflective of a lack of concern for violence against others. Instead, they support a delicate care for an other kept at a protective distance in a thinking that is characteristically principled—the hallmark of deconstructive ethics.[3] But Derrida acknowledges that Benjamin’s historically grounded argument “makes sense, at least, given the political context and the date of his essay (the Hitler-Stalin pact at the beginning of the war)” (1999: 253). In 1993 and 1999, however, Derrida published Specters and “Marx & Sons” from a rather different position: within the comfort of American and French universities during what might be hesitantly called, at least from a Euro-American vantage, the inter-historical decade after “the end of history” and before the violent reassertion of history’s discontents in 2001.[4]

    Today, without comparison to the position of Benjamin amidst violence that remains beyond logics of commensurability, we find ourselves in another irruptive moment of world-seizing destruction in which there is again an immediate demand to suspend the purity of deconstructive arguments by venturing pragmatic, determinate interventions linked to a historical materialism with positive content. The political temporality ventured here returns, as is only now possible by way of Derrida, to Benjamin’s historical-materialist weak messianic power and his recasting of the state of emergency through the tradition of the oppressed. It is in this spirit that I have joined many during this pandemic in devoting myself to immediately applied work tethered to a pragmatic ethics of effect that draws on specific empirical grounds—in my case, US policing and carceral policy as key drivers of Covid-19’s destructive spread through marginalized neighborhoods and the public at large—in an effort to recall and redeploy both Benjamin and Derrida together towards a strategy of pandemicity without pandemic.[5]

    In such a conjunction of empirical science and the political-ethical claims of a thinking that would reach to a beyond of the world as it is, we must hold onto deconstruction’s ethical resistance to self-assured positivist logics and its insistent appeal to difference—to that which is other to the knowable and sayable. To be faithful to this ethical imperative and to protect the space of its possibility demands a perpetual oscillation between Benjamin’s insistence of operating “within the measure of the possible”—conceivable political-material acts that insist on now-time—and Derrida’s emphasis on the impossible of différantial ethics: a cycling between the grounded political act and a genuine thinking at the edge of the known and knowable, each preparing a way for the other.

    Pandemicity and Weighted Time

    What is pandemicity? I am repurposing this term from its invocations in epidemiological literature. In articles such as “What Is a Pandemic?” by Anthony Fauci and his infectious disease colleagues, for example, “pandemicity” appears in passing to denote the arrival of an epidemiological state of pandemic—a state only achieved when certain geographical and temporal thresholds are exceeded in the spread of a previously contained epidemic.[6] Pandemicity thus inaugurates the state of a pandemic’s being and, from the human perspective, the state of being through or subject to a pandemic. It is to this latter resonance that I am appealing: pandemicity as the collective state of social-political being that has recently irrupted and subsumed large swaths of the world at an unprecedented scale and pace.

    What is distinctive about this state beyond its collectivity is its temporality. Pandemicity is, at its core, an awareness of our social lives and organismic being as urgently enmeshed in global biosocial dynamics. The immanent and imminent threat of infection multiplies exponentially if not checked, threatening a runaway scenario beyond any human capacity to control—an infection curve that morphs into a straight, vertical line. Every wasted moment compounds, promising accelerations of disease and death. This exponential temporality has widely installed––although, clearly, not in all––a common biopolitical consciousness and has mobilized collective (in)action at a unprecedented scale: over the last year, well over half the world’s population has accepted varying degrees of deprivation to confine themselves for indefinite periods of time. As a result of this pandemic demobilization, we have become aware of ourselves as part of a planetary body, a common biomass—still hierarchized and differentially at risk, certainly, but nonetheless part of a biological network from which we cannot escape membership. In this new sociality under the collectivizing temporality of pandemicity, the body of the other has become both more other and more intimate than ever. It constantly threatens to transgress its boundaries and multiply into our own cellular constitution by passing through the air upon which we all depend for breath––a breath haunted by images of police murders irrupting out of slow structural violence against Black Americans illustrative of how this air is systematically and sadistically denied to so many across the globe.

    We have acquired a mutual awareness far beyond that which any voluntaristic humanitarian project has ever achieved. Under pandemicity, an increasing number of people suddenly suffer from an incapacity to disavow the being of the other, even those others who had heretofore been so easily consigned to disposability.[7] We are literally plagued by the other and forced into confrontation with the historical-material inequalities that render some bodies especially vulnerable, and in so doing, ultimately render us all biomassively at risk.

    Might these suddenly organized, transnational billions represent a new political horizon? It is with this thought that pandemicity appears as that which could offer a political ethos that, if it is to be sustained, cannot depend upon the presence of a pandemic for its mobilization.

    Now-Time: The Temporal Convergence of Symptoms

    Pandemicity without pandemic is an echo of the political-ethical appeal of messianicity without messianism that seeks to maintain fidelity to Derrida’s demand for justice in the here-now by attempting to ground it in our historical-political present.[8] It insists upon a historical-materialist conceptualization of the present that acknowledges and dismantles dominant humanitarian ideologies of activity-as-busyness, aid, and infantilized-racialized others—frames that reproduce neocolonial structural relations between North and South. In its conjunction with historical-materialism and the viral body, pandemicity without pandemic thus both affirms and differs from Derrida’s formulation of messianicity without messianism and its critique of logocentrism; it resists the temptations of paralysis that often arise from the quasi-transcendental-religious structure of messianicity, différance, the promise, and the event that is always yet to come.

    Pandemicity without pandemic stresses instead the active immediacy of the always-already in Benjamin’s recognition of the emergency as rule rather than exception. We are always already late arriving on the scene, compelled to confront an accumulated force of violence that began inflicting devastation before we managed to take notice. The catastrophe is not looming. It has already arrived, and we are it. It is not specter, but flesh—our own bodies circulating in the rapid networks that we have established and enforced to accumulate to ourselves wealth, knowledge, and the bodies and time of others.

    A pandemic has irrupted from the world we have made, but it is, from the tradition of the oppressed, only an extension of an always-already-unfolding catastrophe of deprivation and death. It has been declared exceptional, and in many ways it is, but for tens of thousands of people who die from completely preventable disease of poverty every day under conditions that constitute the “normal” to which we can now only fantasize about returning, the catastrophe of the present is in keeping with the rule that has long governed.[9] The difference is that a now-generalized pandemic reality has ruptured the smooth surface of the sea in which the suffering of the oppressed has been submerged, hidden from view and drowned out by the commerce and comfort that sails above. The indiscrimination of viral replication and the peculiar terror of our aerosolized cells mean that today we cannot help but see—even if some persist in violently refusing this truth that demands responsibility—the bodies upon which we have for so long supported our own segregated world.

    Pandemicity calls for an ethics of action-oriented urgency that is responsive to the exponentially-weighted now—the multiplication of death in the spacing of time—that cannot accept delay.[10] What messianicity and pandemicity hold in common is a sense of apocalyptic urgency; what they compel is the total struggle for life that seizes us when breath itself is threatened. The final words of Eric Garner and George Floyd—”I can’t breathe”—as they were violently murdered must haunt and hover over the time of those of us who remain, and in whom the power of the act endures and cannot be deferred. In a historical present when breathlessness has become the symptom par excellence of racial violence, a viral pandemic, and the darkening blood-red noonday summer skies of ecological devastation aflame, we must renew an insistence on thought tethered to action in the massive now-time upon which everything—past, present, future; life, death—rests but does not wait.

     

    Eric Reinhart is a PhD candidate in Anthropology at Harvard, MD candidate at the University of Chicago, and an advanced candidate at The Chicago Center for Psychoanalysis. His doctoral research traces the constitutive interrelation between modern psychiatric, racial, and aesthetic ideas from their shared origin in 18th-century German anthropology to their consequences for everyday practices and US political formations today. He is also Lead Health & Justice Researcher with Data and Evidence for Justice Reform (DE JURE) at The World Bank, where he focuses on carceral-community epidemiology, systemic prejudice, and criminal punishment systems both in the United States and internationally. His work has appeared in The New York Times, The Wall Street Journal, Health Affairs, The British Medical Journal, and Jacobin Magazine.

     

    Works Cited

    *Barsky, Benjamin; *Reinhart, Eric; Keshavjee, Salmaan; and Farmer, Paul. “Vaccination in Jails and Prisons Is Not Enough: The Need for Adjunctive Decarceration.” Forthcoming.

    Benjamin, Walter. “On the Concept of History” in Walter Benjamin: Selected Writings, Volume 4: On the Concept of History, Writings 1938-1940. Edited by Howard Eiland and Michael Jennings. Cambridge: Harvard University Press, 2003.

    Borradori, Giovanna. Philosophy in a Time of Terror: Dialogues with Jurgen Habermas and Jacques Derrida. Chicago: University of Chicago Pres, 2004.

    Derrida, Jacques. “Force of Law: The ‘Mystical Foundation of Authority’” in Acts of Religion. Edited by Gil Anidjar. New York and Lond: Routledge, 2001.

    _____. “Marx & Sons” in Ghostly Demarcations: A Symposium on Jacques Derrida’s Specters of Marx. Edited by Michael Sprinker. London and New York: Verso, 1999.

    _____. “Psychoanalysis Searches the States of Its Soul” in Without Alibi. Edited and translated by Peggy Kamuf. Stanford University Press, 2002.

    _____. Resistances of Psychoanalysis. Translated by Peggy Kamuf, Pascale-Anne Brault, and Michael Naas. Stanford: Stanford University Press, 1998.

    _____. Specters of Marx: The State of the Debt, the Work of Mourning & the New International. Trans. Peggy Kamuf. New York and London: Routledge, 1994.

    Fanon, Franz. The Wretched of the Earth. Translated by Richard Philcox. New York: Grove Books, 2005.

    Fukuyama, Francis. The End of History and the Last Man. Simon and Schuster, 2006.

    Heidegger, Martin. “The Origin of the Work of Art” in Off the Beaten Track. Edited and translated by Julian Young and Kenneth Haynes. Cambridge: Cambridge University Press, 2002.

    Khan, Azeen. “Aneconomy, Indirection, Undecidability: Derrida’s ‘Principled’ Critique of the Death Drive” differences: A Journal of Feminist Cultural Studies 2020 31(1): 135-162.

    Khanna, Ranjanna. “Disposability.” differences: A Journal of Feminist Cultural Studies 2009 20(1): 181-198.

    Morens DM, Folkers GK, Fauci AS. “What is a pandemic?” The Journal of Infectious Diseases (2009)200(7):1018-1021.

    Reinhart, Eric and Alam, Eram. “The neocoloniality of who cares: US underinvestment in medical education exacerbates global inequities.” The British Medical Journal (BMJ) 2020;371:m4293.

    Reinhart, Eric and Brauner, Daniel. “A critique of clinical economy: reassessing value and care during covid-19” The British Medical Journal (BMJ) 2020;370:m2878.

    Reinhart, Eric and Chen, Daniel. “Epidemiological Consequences of Jail Cycling in Marginalized Communities: Mass Incarceration and Structural Racism during Covid-19.” Forthcoming.

    _____. “Effects of Jail Decarceration and Anti-Contagion Policies on Covid-19 in the United States.” Forthcoming.

    _____. “Incarceration And Its Disseminations: COVID-19 Pandemic Lessons From Chicago’s Cook County Jail” Health Affairs 39, No. 8 (August 2020): 1412-1418

    Reinhart, Eric. “Essential and Disposable: Covid Labor, Race, and Structural Misogyny.” Forthcoming.

    Reinhart, Eric. “Politicizing Public Health: More Please.” Forthcoming.

    Reinhart, Eric. “Stop Unnecessary Arrests to Slow Coronavirus Spread.” The New York Times. July 2 (online) and July 6 (print), 2020.

    Richardson, Eugene. “Pandemicity, COVID-19 and the limits of public health ‘science’” BMJ Global Health. 2020 Apr 1;5(4):e002571.

    Rottenberg, Elizabeth. For the Love of Psychoanalysis: The Play of Chance in Freud and Derrida. New York: Fordham University Press, 2019.

    UNICEF. Levels and Trends in Child Mortality. United Nations Inter-Agency Group for Child Mortality Estimation (UN IGME), Report 2020. Available at https://data.unicef.org/resources/levels-and-trends-in-child-mortality/.

    World Health Organization. “Children: Improving Survival and Well-Being.” WHO Fact Sheets. 8 September 2020. Available at https://www.who.int/news-room/fact-sheets/detail/children-reducing-mortality.

     

    [1] As Derrida famously declares, différance “responds without delay to the demand of justice. The latter by definition is impatient, uncompromising, and unconditional. No différance without alterity, no alterity without singularity, no singularity without here-now” (1994: 37).

    [2] This historical-determinate resistance—that which Derrida’s most direct intellectual forebearer, Heidegger, so disastrously failed to heed by lending his early support to a National Socialism that he imagined he could shape—is how Derrida guards against the assignation of historically delimitable content to the other and to a fixed concept of justice that would then risk resting it “on the good conscience of having done one’s duty [such that] it loses the chance of the future, of the promise or the appeal, of the desire also (that is its ‘own’ possibility)” (1994: 33).

    [3] And this spirit of a rigorous deconstructive ethics we must keep alive as a horizon (or what Heidegger calls ‘Earth’ in “The Origin of the Work of Art,” for example) beyond our known worlds and beyond metaphysics. At the same time, we must insist upon an active responsibility in the here-now in order to follow deconstructive mandates in determinate action and not in theory, even a decisionist theory, alone.

    For a recent elaboration of the stakes of Derrida’s “principled” critique, see Azeen Khan’s “Aneconomy, Indirection, Undecidability: Derrida’s ‘Principled’ Critique of the Death Drive” in differences (2020).

    [4] The decade spanning 1991 to 2001 might be thought as a certain historical extreme in modernity in precisely its relative non-historicality. This decade follows Fukuyama’s “end of history” triumph of capitalism and precedes history’s violent return to Euro-American consciousness aboard four jetliners in 2001. It is a decade in which the major international conflicts were what Frantz Fanon described as “internecine feuds” in “On Violence” in The Wretched of the Earth—conflicts like the Rwandan genocide and the Balkan conflagrations fought on the ground of ethnic, regional struggles for domination of one subordinated group over another, but without a conflict over clearly competing conceptions of history, reason, or progress that were used as explicit justifications for the Cold War and the neocolonial energies asserted over the postcolonial world in the wake of formal decolonization. Derrida’s historical-determinate resistance might be thought, to some degree, to be a symptom of this inter-historical decade. His abstention from historical content, for example, quickly fades following 2001; see, for example, his interview in Philosophy in a Time of Terror (2004).

    [5] For example, see my research in Health Affairs with Daniel Chen: “Incarceration And Its Disseminations: COVID-19 Pandemic Lessons From Chicago’s Cook County Jail.” Related research remains ongoing in several forthcoming quantitative public health research articles on both US and international contexts. For an explanation of our initial study’s immediate policy implications, crafted with uneasy compromises in search of maximum practical effect amidst American political reality, see my short essay in The New York Times, “Stop Unnecessary Arrests to Slow Coronavirus Spread.” Further efforts to mobilize the emergent present towards a post-pandemic future rearranged by an enduring pandemicity are reflected in my other recent attempts that focus on politics, social medicine, and global health: “A critique of clinical economy: reassessing value and care during covid-19”; “The neocoloniality of who cares: US underinvestment in medical education exacerbates global inequities”; and “Politicizing Public Health: More Please” and “Essential and Disposable: Covid Labor, Race, and Structural Misogyny” (both forthcoming).

    [6] Morens DM, Folkers GK, Fauci AS. “What is a pandemic?” The Journal of Infectious Diseases (2009)200(7):1018-102. After drafting the present essay in March 2020, I came upon Eugene Richardson’s closely related appropriation of the term pandemicity in his recent commentary in BMJ Global Health, “Pandemicity, COVID-19 and the limits of public health ‘science.’”

    [7] See Ranjanna Khanna’s essay “Disposability” in differences.

    [8] For Derrida, it is together with psychoanalysis, and particularly its emphasis on an engagement with the alterity of unconscious processes, that deconstructive thought most forcefully compels action in the face of autoimmunity and the ineradicable hauntological violence of the death drive. This deserves fuller elaboration than brief commentary here allows; it is, however, important to my suggestion that Benjamin’s historical-materialism requires the supplement of psychoanalytic deconstructive thought in order effectively account for and respond to manifest violence and cruelty. For a selection of texts upon which I am relying in this claim, see Derrida’s essays in Resistances of Psychoanalysis (1998) and “Psychoanalysis Searches the States of Its Soul” in Without Alibi (2002). Also see work by two analyst-scholars: Elizabeth Rottenberg’s For the Love of Psychoanalysis (2019) and Azeen Khan’s “Aneconomy, Indirection, Undecidability: Derrida’s ‘Principled’ Critique of the Death Drive” (2020). I thank Alan Bass for emphasizing the importance of acknowledging Derrida’s psychoanalytic positions in order to make clear why deconstruction remains an indispensable supplement to historical-materialist ethical discourses.

    [9] See, for example, this report on the 10,000 daily preventable deaths of children in the Global South: World Health Organization. “Levels and Trends in Child Mortality” (2020), available at https://www.who.int/news-room/fact-sheets/detail/children-reducing-mortality. Based on estimates from UNICEF, even this figure of preventable childhood mortality is likely a significant underestimate: https://data.unicef.org/resources/levels-and-trends-in-child-mortality/.

    [10] Pandemicity has no time for the futural predication of Derrida’s yet-to-come or the stasis of undecidability. It is, nonetheless, only by appropriating Derrida’s ethics of the incalculable and insisting on its conjunction with his own stress on the here-now—a nod to Benjamin’s messianic zero-hour [Stillstellung: also translatable as “shutdown”] and now-time [Jetztzeit]: that time when “thinking suddenly halts in a constellation overflowing with tensions” and yields to a particular historical present with revolutionary potential to “explode a specific epoch [and life] out the homogenous course of history”—that pandemicity makes its ethical claims on us. (See Benjamin’s Thesis VII.) Pandemicity without pandemic is an extension of that claim such that it might endure beyond a given present.

  • Rizvana Bradley — The Vicissitudes of Touch: Annotations on the Haptic

    Rizvana Bradley — The Vicissitudes of Touch: Annotations on the Haptic

    Rizvana Bradley

    The late queer theorist Eve Kosofsky Sedgwick is known for her tenacious commitment to the indeterminate possibilities that nondualism might offer sustained inquiries into minor aesthetics, politics, and performance. In the introduction to Touching Feeling: Affect, Pedagogy, Performativity, Sedgwick turns to touch and texture as particularly generative heuristic sites for opening the book’s avowed project, namely the exploration of “promising tools and techniques for nondualist thought and pedagogy.”[1] Moving through psychoanalysis, queer theory, and sexuality studies, the text probes entanglements of intimacy and emotion, desire and eroticism, that animate experience and draw social life into the myriad folds of material and nonlinguistic relations. As Lauren Berlant asserts of Sedgwick’s text, “the performativity of knowledge beyond speech – aesthetic, bodily, affective – is its real topic.”[2]

    One of Sedgwick’s most important and enduring legacies is a radically queer heuristic that endeavors to make theorizable the imperceptible and obscure relationships between affect, pedagogy, and performativity, without reproducing the limits and burdens of epistemology (even antiessentialist epistemology), with its “demand on essential truth.”[3] For Sedgwick, texture and touch offer potential instances of sidestepping or evading the foreclosures of structure and its attendant calcification of subject-object relations, a pivot towards antinormative pedagogies of reading and interpretation. Following Henry James, Sedgwick suggests that “to perceive texture is always, immediately, and de facto to be immersed in a field of active narrative hypothesizing, testing, and re-understanding of how physical properties act and are acted upon over time,” to become engaged in a series of speculative departures rather than analytical arrivals.[4] Similarly, Sedgwick finds in the sense of touch a perceptual experience that “makes nonsense out of any dualistic understanding of agency and passivity.”[5] Particularly relevant for our purposes is Sedgwick’s turn to the registers of difference between texture and texxture as a guide for thinking about forms of desire, perception, and interpretation that exceed normative modalities of belonging in, being with, and making sense of the world.

    Teasing out the implications of Renu Bora’s taxonomy of textural difference, Sedgwick tells us that

    Bora notes that ‘smoothness is both a type of texture and texture’s other.’ His essay makes a very useful distinction between two kinds, or senses, of texture, which he labels ‘texture’ with one x and ‘texxture’ with two x’s. Texxture is the kind of texture that is dense with offered information about how, substantively, historically, materially, it came into being. A brick or metal-work pot that still bears the scars and uneven sheen of its making would exemplify texxture in this sense. But there is also the texture – one x this time – that defiantly or even invisibly blocks or refuses such information; there is texture usually glossy if not positively tacky, that insists instead on the polarity between substance and surface, texture that signifies the willed erasure of its history.[6]

    Though one might be tempted to singularly assign to texture’s “manufactured or overhighlighted surface” the properties and pitfalls of “psychoanalytic and commodity fetishism,” in fact,

    the narrative-performative density of the other kind of texxture – its ineffaceable historicity – also becomes susceptible to a kind of fetish-value. An example of the latter might occur where the question is one of exotism, of the palpable and highly acquirable textural record of the cheap, precious work of many foreign hands in the light of many damaged foreign eyes. [7]

    Paradoxically, it is precisely the failure of texture to erase the internal historicity that would appear to be self-evidently registered on the surface of texxture, which allows Sedgwick to effectively grant the former an elusive depth, declaring that, “however high the gloss, there is no such thing as textural lack.”[8] Meanwhile, texxture’s presumably inescapable depth seems to recede across the surficial “scars and uneven sheen” that are read as the signatures of its making. For Sedgwick, one of the primary implications of these phenomenological variegations and perplexities is that texture, “in short, comprises an array of perceptual data that includes repetition, but whose degree of organization hovers just below the level of shape or structure…[the] not-yet-differentiated quick from which the performative emerges.”[9] In this way,

    texture seems like a promising level of attention for shifting the emphasis of some interdisciplinary conversations away from the recent fixation on epistemology…by asking new questions about phenomenology and affect, [for what]…texture and affect, touching and feeling…have in common is that…both are irreducibly phenomenological.[10]

    On the one hand, Sedgwick’s turn to texture divulges extra-linguistic affiliations that performatively surprise, facilitating an erotic retrieval of subjective and aesthetic non-mastery that continues to resonate with ongoing critiques of the aesthetic. And yet, while Sedgwick’s assertions about affectivity and touch facilitate an opening for a theoretical re-evaluation of notions of agency, passivity, and self-perception, they are also deeply problematic. For what does phenomenology, which takes the body as our “point of view in the world,”[11] have to say to those who, following Frantz Fanon, have never had a body, but rather its theft, those who have only ever been granted the dissimulation of a body, “sprawled out, distorted, recolored, clad in mourning[?]”[12] What of those whose skin is constantly resurfaced as depthless texxture, a texxture whose surficial inscriptions are read as proxies for the historicity that the over-glossed surface would seek to expunge? In other words, Sedgwick’s ruminations disclose an undeclared, but nevertheless central, conceit that has significant implications for thinking about the bearing of form on ontology: namely that, for Sedgwick, the texturized valences of touch are implicated in, rather than a violent displacement from, the symbolic economy of the human.

    In theorizing touch, might we trouble the presumption that aesthetics, subjectivity, and desire – or more precisely their entwinement – are necessarily embedded within the normative regime of the human? I am interested, in other words, in how Sedgwick’s observations on touch might occasion, even as they displace, a different set of interrelated questions regarding ontological mattering and the fashioning of aesthetic subjectivity. Calvin Warren’s assertion that “[q]ueer theory’s ‘closeted humanism’ reconstitutes the ‘human’ even as it attempts to challenge and, at times, erase it,” demands we reconsider any theory (about the queerness) of touch that has yet to grapple with its universalist underpinnings. It would seem that queer theory, even one as vigorously attuned to the textured rediscovery of minor forms as Sedgwick’s, nevertheless conceives desire, sexuality, and gender as co-extensive with the erotic architecture of the (queerly differentiated/differentiating) human subject. Suffering may be aestheticized, but it is not reckoned with as an ontological imposition – as a “grammar,” to use Frank B. Wilderson’s language[13] – out of which an aesthesis necessarily emerges.

    Insofar as texxture bears the inscription of its material conditions of possibility, it should direct us toward a genealogy of substance at odds with surface appearance. At stake is what film scholar Laura Marks theorizes under the rubric of the haptic[14] – the tactile, kinesthetic, and proprioceptive dimensions of touch, the irreducibly haptic valences of touch that pressure prevailing distinctions between substance and surface, inside and outside, body and flesh. A question at once animated and omitted by queer theory’s inquiries into touch: how to theorize texxture with regard to a history of bodily wounding occasioned by touch, when it is texxture that is seized upon by the various proxies for touch that willingly or inadvertently redouble racial fantasies of violation? Thinking the haptic irreducibility of the aesthetic requires constant re-attunement to the violence touch occasions and to the violations which occasion touch. If touch is ultimately inextricable from the aesthetic economy of worldly humanity, then, apropos Saidiya Hartman, we are compelled to think about the violence that resides in our habits of worlding.[15]

    Without even addressing the massive implications that attend the frequent conflation of being with body, what cleaves to being within the context of critical theory’s alternately residual or unapologetic phenomenology, is a corporeal subject whose situatedness within and for the world is not only predetermined, but whose predetermination is taken for granted as the condition of possibility for sentient touch. Such unwitting Calvinism, which would seem to take Merleau-Ponty at his word when he declares that “every relation with being is simultaneously a taking and being taken,”[16] inevitably reproduces and rubs up against a foundational schism: being taken, where the traces of an inflective doubling disclose a morphological distinction at the level of species-being.[17] Just as the tectonics of touch – their quakes and strains, fractures and fault lines, accretions and exfoliations – can hardly be taken for simply surface phenomena, neither can they be assumed to unfold upon a universal plane of experience, or to obtain between essentially analogous subjects within a common field of relation (a fact betrayed by the nominative excess which threatens to spill from the very word, “field”). Touch cannot be understood apart from the irreducibly racial valences and demarcations of corporeality in the wake of transatlantic slavery.

    In her landmark essay, “Mama’s Baby, Papa’s Maybe: An American Grammar Book,” Hortense Spillers theorizes one of the central cleavages of the modern world, wrought and sundered in the cataclysmic passages of racial slavery: that of body and flesh, which Spillers takes as the foremost distinction “between captive and liberated subjects-positions”:

    before the “body” there is the “flesh,” that zero degree of social conceptualization that does not escape concealment under the brush of discourse or the reflexes of iconography. Even though the European hegemonies stole bodies – some of them female – out of West African communities in concert with the African “middleman,” we regard this human and social irreparability as high crimes against the flesh, as the person of African females and males registered the wounding. If we think of the “flesh” as a primary narrative, then we mean its seared, divided, ripped-apartness, riveted to the ship’s hole, fallen, or “escaped” overboard.[18]

    Flesh is before the body in a dual sense. On the one hand, as Alexander Weheliye stresses, flesh is “a temporal and conceptual antecedent to the body[.]”[19] The body, which may be taken to stand for “legal personhood qua self-possession,”[20] is violently produced through the “high crimes against the flesh.” On the other hand, flesh is before the body in that it is everywhere subject to and at the disposal of the body. The body is cleaved from flesh, while flesh is serially cleaved by the body. As Fred Moten suggests, the body only emerges through the disciplining of flesh.[21]

    This diametric arrangement of corporeal exaltation and abjection is registered, as Spillers emphasizes, in “the tortures and instruments of captivity,” those innumerable, unspeakable brutalities by which flesh is irrevocably marked:

    The anatomical specifications of rupture, of altered human tissue, take on the objective description of laboratory prose – eyes beaten out, arms, backs, skulls branded, a left jaw, a right ankle, punctured; teeth missing, as the calculated work of iron, whips, chains, knives, the canine patrol; the bullet.[22]

    The unspeakability of such woundings, however, is not merely a function of their terror and depravity, but rather a consequence of the ways flesh has been made to bear the conditions of im/possibility of and for a semiotics which takes itself to be the very foundation of language, at least in its modern dissimulations.[23] In Moten’s illumination, “[t]he value of the sign, its necessary relation to the possibility of (a universal science of and a universal) language, is only given in the absence or supercession of, or the abstraction from, sounded speech— its essential materiality is rendered ancillary by the crossing of an immaterial border or by a differentializing inscription.”[24] Thus, when Spillers writes that “[t]hese undecipherable markings on the captive body render a kind of hieroglyphics of the flesh whose severe disjunctures come to be hidden to the cultural by seeing skin color[,]”[25] we may surmise that what Frantz Fanon termed “epidermalization” – the process by which a “historico-racial schema” is violently imposed upon the skin, that which, for the Black, forecloses the very possibility of assuming a body (to borrow Gayle Salamon’s turn of phrase) – is, among other things, a mechanism of semiotic concealment.[26] (R.A. Judy refers to it as “something like [flesh]…being parenthesized.”)[27] What is hidden and rehidden, the open secret alternately buried within and exposed upon the skin, is not merely a system of corporeal apartheid, but moreover what Spillers identifies as the vestibularity of flesh to culture. “This body whose flesh carries the female and the male to the frontiers of survival bears in person the marks of a cultural text whose inside has been turned outside.”[28]

    Speaking at a conference day I curated for the Stedelijk Museum of Art and Studium Generale Rietveld Academy in 2018, entitled “There’s a Tear in the World: Touch After Finitude,” Spillers revisited her classic essay, drawing out its implications for thinking through questions of touch and hapticality.[29] For Spillers, touch “might be understood as the gateway to the most intimate experience and exchange of mutuality between subjects, or taken as the fundamental element of the absence of self-ownership…it defines at once, in the latter instance, the most terrifying personal and ontological feature of slavery’s regimes across the long ages.”[30] To meaningfully reckon with “the contradictory valences of the haptic” is to “attempt an entry into this formidable paradox, which unfolds a troubled intersubjective legacy – and, perhaps, troubled to the extent that one of these valences of touch is not walled off from the other, but haunts it, shadows it, as its own twin possibility.”[31] Spillers follows with an unavoidable question: “did slavery across the Americas rupture ties of kinship and filiation so completely that the eighteenth century demolishes what Constance Classen, in The Deepest Sense: A Cultural History of Touch, calls a ‘tactile cosmology’?” If so, then the dimensions of touch which are understood as “curative, healing, erotic, [or] restorative” cannot be held apart from the myriad “violation[s] of the boundaries of the ego in the enslaved, that were not yet accorded egoistic status, or, in brief, subjecthood, subjectivity.”[32]

    Touch, then, evokes the vicious, desperate attempts of the white, the settler, to feign the ontic verity, stability, and immutability of an irreducibly racial subject-object (non-)relation through what Frank Wilderson would call “gratuitous violence”[33] as much as it does the corporeal life of intra- and intersubjective relationality and encounter. If even critical discourse on these latter, corporeal happenings tends to assume the facticity of the juridically sanctioned pretense to self-possession Spillers calls “bodiedness,” then “flesh describes an alien entity,” a corporeal formation fundamentally unable to “ward off another’s touch…[who] may be invaded or entered or penetrated, so to speak, by coercive power” in any given place or moment. It is, in other words, precisely “the captive body’s susceptibility to being touched [which] places this body on the side of the flesh,”[34] a susceptibility which is not principally historical, but ontological, even as flesh constitutes, to borrow Moten’s phrasing, “a general and generative resistance to what ontology can think[.]”[35] Spillers brings us to the very threshold of feeling, where to be cast on the side of the flesh is to inhabit the cut between existence and ontology. Black life is being-touched.

    How might we bring such knowledge to bear upon our understanding of different aesthetic practices, forms, and traditions? What if Theodor Adorno’s conception of the “shudder” experienced by the subject in his ephemeral encounter with a “genuine relation to art,” that “involuntary comportment” which is “a memento of the liquidation of the I,”[36] must be understood as the corporeal expression of a subject whose conditions of existence sustain the fantasy of being-untouched? How might such an interpretation serve not simply to foreground an indictment, but also aspire to linger with the political, ethical, and analytic questions that emerge from the entanglements of hapticality, aesthetics, and violence, questions which are unavoidable for those given to blackness? “The hold’s terrible gift,” Moten and Harney maintain, “was to gather dispossessed feelings in common, to create a new feel in the undercommons.”[37] And, as Moten has subsequently reminded us, violence cannot be excised from the materiality of this terrible gift, which is none other than black art:

    Black art neither sutures nor is sutured to trauma. There’s no remembering, no healing. There is, rather, a perpetual cutting, a constancy of expansive and enfolding rupture and wound, a rewind that tends to exhaust the metaphysics upon which the idea of redress is grounded.[38]

    Black art promises neither redemption nor emancipation. The “transcendent power” that Peter de Bolla, for example, finds gloriously manifest by an artwork such as Michelangelo’s Rondanini Pietà, that encounter with a “timeless…elemental beauty” which constitutes “one of the basic building blocks of our shared culture, our common humanity,”[39] is a fabrication of a structure of aesthetic experience that is wholly unavailable to the black, who, after all, has never been human. If Immanuel Kant, as the preeminent architect of modern European aesthetic philosophy, understood art to emerge precisely in its separation from nature, as “a work of man,”[40]then it is clear his transcendental aesthetic is not the province of black art. For, as Denise Ferreira da Silva argues, modernity’s “arsenal of raciality” places the black before the “scene of nature,” as “as affectable things…subjected to the determination of both the ‘laws of nature’ and other coexisting things.”[41] Black art, in all its earthly perversity, emerges in the absence and refusal of the capacity to claim difference as separation, as that which instead touches and is touched by the beauty and terrors of entanglement, “a composition which is always already a recomposition and a decomposition of prior and posterior compositions.”[42] Whatever its (anti-)formal qualities, black art proceeds from enfleshment, from the immanent brutalities and minor experiments of the haptic, the cuts and woundings of which it cannot help but bear. Black art materializes in and as a metaphysical impossibility, as that which, in Moten’s words, “might pierce the distinction between the biological and the symbolic…as the continual disruption of the very idea of (symbolic) value, which moves by way of the reduction of substance…[as] the reduction to substance (body to flesh) is inseparable from the reduction of substance.”[43] Hapticality is a way of naming an analytics of touch that cannot be, let alone appear, within the onto-epistemological confines of the (moribund) world, a gesture with and towards the abyssal revolution and devolution of the sensorium to which black people have already been subject, an enfleshment of the “difference without separability”[44] that has been and will be the condition of possibility for “life in the ruins.”[45]

    _____

    Rizvana Bradley is Assistant Professor of Film and Media at UC Berkeley. Her research and teaching focuses on the study of contemporary art and aesthetics at the intersections of film, literature, poetry, contemporary art and performance. Her scholarly approach to artistic practices in global black cultural production expands and develops frameworks for thinking across these contexts, specifically in relation to contemporary aesthetic theory.  She has published articles in TDR: The Drama Review, Discourse: Journal for Theoretical Studies in Media and Culture, Rhizomes: Cultural Studies in Emerging Knowledge, Black Camera: An International Film Journal, and Film Quarterly, and is currently working on two book projects.

    Back to the essay

    _____

    Notes

    [1] Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity (Durham: Duke University Press, 2003), 1.

    [2] Ibid., back cover.

    [3] Ibid., 6.

    [4] Ibid., 13.

    [5] Ibid., 14.

    [6] Ibid., 14-15.

    [7] Ibid., 15.

    [8] Ibid.

    [9] Ibid., 16, 17.

    [10] Ibid., 21.

    [11] Maurice Merleau-Ponty, The Phenomenology of Perception (New York: Routledge, 2012), 73.

    [12] Frantz Fanon, Black Skins, White Masks (London: Pluto Press, 1986).

    [13] See, in particular, Frank B. Wilderson III, Red, White, and Black: Cinema and the Structure of U.S. Antagonisms (Durham: Duke University Press, 2010).

    [14] Laura U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham: Duke University Press, 2000). My reading of Marks is in turn inestimably shaped by Fred Moten and Stefano Harney’s elaboration of hapticality in The Undercommons: Fugitive Planning and Black Study (New York; Port Watson: Minor Compositions, 2013), 97-99; see also the special issue I guest edited for Women and Performance: A Journal of Feminist Theory, “The Haptic: Textures of Performance,” vol. 24, no. 2-3 (2014).

    [15] This was a formulation made by Hartman in our conversation during my curated event for the Serpentine Galleries, London. “Hapticality, Waywardness, and the Practice of Entanglement: A Study Day with Saidiya Hartman,” 8 July, 2017.

    [16] Maurice Merleau-Ponty, The Visible and the Invisible (Chicago: Northwestern University Press, 1968), 266.

    [17] Cf. Karl Marx, The Economic and Philosophic Manuscripts of 1844, ed. Dirk J. Struik (New York: International Publishers, 1964).

    [18] Hortense Spillers, “Mama’s Baby, Papa’s Maybe: An American Grammar Book,” Diacritics, Volume 17, Number 2 (Summer 1987), 64-81, 67.

    [19] Alexander G. Weheliye, Habeas Viscus: Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human (Durham: Duke University Press, 2014), 39. For a contrasting interpretation, see R.A. Judy’s brilliant, recently published, Sentient Flesh: Thinking in Disorder, Poiēsis in Black (Durham: Duke University Press, 2020), xvi, 210: “flesh is with and not before the body and person, and the body and person are with and not before or even after the flesh.”

    [20] Weheliye (2014), 39.

    [21] Fred Moten, “Of Human Flesh: An Interview with R.A. Judy” (Part Two), b2o: An Online Journal (6 May 2020).

    [22] Spillers (1987), 67.

    [23] R.A. Judy takes up these questions surrounding flesh and what he terms “para-semiosis,” or “the dynamic of differentiation operating in multiple multiplicities of semiosis that converge without synthesis[,]” with characteristic erudition in Sentient Flesh (2020), xiiv.

    [24] Fred Moten, In the Break: The Aesthetics of the Black Radical Imagination (Minneapolis: University of Minnesota Press, 2003), 13.

    [25] Spillers (1987), 67.

    [26] Fanon (1986). Gayle Solamon, Assuming a Body: Transgender and the Rhetorics of Masculinity (New York: Columbia University Press, 2010).

    [27] Judy (2020), 207.

    [28] Spillers (1987), 67. For one of Fred Moten’s more pointed engagements with this formulation from Spillers, see “The Touring Machine (Flesh Thought Inside Out),” in Stolen Life (consent not to be a single being) (Durham: Duke University Press, 2018), 161-182.

    [29] Hortense Spillers, “To the Bone: Some Speculations on Touch,” There’s a Tear in the World: Touch After Finitude, Stedelijk Museum of Art and Studium Generale Rietveld Academy, 23 March 2018, keynote address.

    [30] Ibid.

    [31] Ibid. Emphasis added.

    [32] Ibid.

    [33] Wilderson, 2010.

    [34] Spillers (2018). As these quotations are drawn from Spillers’s talk rather than a published text, the emphasis placed on the word being is inferred from her spoken intonation.

    [35] Moten (2018), 176.

    [36] Theodor Adorno, Aesthetic Theory (London: Bloomsbury Academic, 1997), 333.

    [37] Moten and Harney (2013), 97.

    [38] Fred Moten, Black and Blur (consent not to be a single being), (Durham: Duke University Press, 2017), ix.

    [39] Peter de Bolla, Art Matters (Cambridge: Harvard University Press, 2001), 28.

    [40] Immanuel Kant, Critique of Judgement (London: Macmillan and Co., 1914), 184.

    [41] Denise Ferreira da Silva, “The Scene of Nature,” in Justin Desautels-Stein & Christopher Tomlins (eds.), Searching for Contemporary Legal Thought (Cambridge: Cambridge University Press, 2017), 275-289, 276. For an important study of modernity’s “racial regime of aesthetics,” see David Lloyd, Under Representation: The Racial Regime of Aesthetics (New York: Fordham University Press, 2019).

    [42] Denise Ferreira da Silva, “In the Raw,” e-flux, Journal #93 (September 2018).

    [43] Fred Moten (2018), 174.

    [44] Denise Ferreira da Silva, “Difference without Separability,” Catalogue of the 32nd Bienal de São Paulo – INCERTEZA VIVA (2016), 57-65.

    [45] Cf. Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton: Princeton University Press, 2015).

  • Naomi Waltham-Smith — À (Review of Irving Goh’s L’Existence Prépositionelle)

    Naomi Waltham-Smith — À (Review of Irving Goh’s L’Existence Prépositionelle)

    Review of Irving Goh, L’Existence prépositionnelle. (Galilée 2019)

    By Naomi Waltham-Smith

    Irving Goh’s rich and intriguing book on recent French poststructuralist thought ends with a proposal for a new kind of writing that would belatedly fulfil the grammatological project, in other words elaborate a “positive science” of writing that generalizes the concept of writing beyond the narrow sense of a graphic gesture.[1] Following Jacques Derrida, Goh imagines a writing “under the weight of monstrosity,” but one that would also be constrained in the sense of a character limit on Twitter or the Oulipian project of George Perec’s 1969 novel, Disparition, which is a lipogram written entirely without the letter e (110). But instead of making a letter disappear, Goh is interested in putting in question everywhere the preposition à: a letter with its diacritical mark. This letter à, which is really a letter supplemented by its diacritical mark, is a letter before any alphabetical letter, or more precisely, simply the difference between the letter with diacritic and the mere letter, the difference between à and a.

    At first blush, this seems like an esoteric concern, one that might appear to justify deconstruction’s mistaken reputation for being inscribed within the very linguistic turn that it challenges. But Goh’s ambition rather exceeds the textual or rather it is an ambition for a textual detail, a mere preposition, to drive a radical rewriting of philosophy and ontological, ethical, and political concepts. For example, être-là (Heidegger’s Dasein) becomes être-l’à to suggest an altogether different kind of being-toward that Goh calls “prepositional being.” Goh also proposes a further quasi-homophonic twist on Derrida’s différance, rewriting it as différànce to underscore that, even before the explicit use of the prepositional phrases à-venir, deconstruction, in its attention to temporal and spatial self-differentiation, was always already a prepositional thought (15). To make an ethico-political revolution turn on a diacritical mark is an audacious move and one that does not entirely pay off, but the way in which it stumbles reveals the significant political stakes of the debates among Derrida and his followers and points to the urgent theoretical work to which Goh’s book is but a preposition.  After the complex philosophical maneuvers on display throughout  the book, the epilogue’s suggestion that we might begin to build a “prepositional community” by tweeting “à” in multiple languages as a form of hashtag activism not unlike the #MeToo movement might come as something of a surprise to the reader, less because of the change in register than because it reveals the political limits of a subtraction from representation, however philosophically nuanced or consistent, for the painstaking and crucial work of building solidarity and alliances across different experiences of oppression and exploitation. The proximity of communicative capitalism to its purported unworking shows the political perils of the post-deconstructive thinking to which Goh is attracted.

    Goh invites us to understand the term preposition in a double sense: both as a linguistic part of which à (to) is, for reasons that are more or less justified, the privileged exemplar, and also as the pre-positional or that which comes before taking position. As he notes, there is also the possibility for hearing the sense of près-position, suggesting a certain proximity (42n1).[2] For Goh, however, it is the implication of movement or momentum that gives à its appeal. Prepositional being is thus always on the way to being, never fixed or static. As such, it resists the reduction and substantialization of identity.[3] It is never permanent, given, or substantial. Rather, it is always in the process of becoming in relation to others. Prepositional being is always, to borrow the expression of the book’s most influential voice, a birth to presence (naître à la présence).

    In Goh’s hands, this prepositional existence is in the first instance an ontology and that is the focus of his book’s first substantial chapter. This ontology then becomes the basis for an ethics and a politics which are explored in the second and third chapters. The à above all expresses a constitutive relation or openness to the other, the fact that identity is always disrupted in advance by being exposed or disclosed to the other, an other that includes the internal difference that being “is.” It is for this reason that Goh boldly claims the preposition as the basis for an ethics and a politics that would end the hatred, discrimination, and violence in our world by affirming the freedom of the existence of each and every other. This bold claim, which appears to flirt with a post-racial stance, is perhaps the most controversial element of this provocative text and it requires closer scrutiny. Also provocative, though, is Goh’s claim that the preposition is not merely an ontological, ethical, or political category or object of philosophical thought but is what animates thinking itself. Thinking, by this reckoning, unlike thought “on paper” is instead dynamic and always in formation, a train of thought, as we say in English (la pensée en train de se penser—thought in the process of thinking [itself]). Thought itself, then, as Goh’s foreword describes, has the character of a preposition, remaining “open to all possibilities, trajectories, directions, and to all revisions and, indeed, changing its mind” (12). It is in that spirit that one perhaps ought to read this book: as a movement or force toward a prepositional philosophy but one whose goal is undetermined and which remains open to alternative paths and modifications in the act of reading corps à corps (literally body/ies-to-body/ies, but often connotes bodily struggle, especially hand-to-hand combat, and for deconstruction the originary interlocking of bodies with other bodies).

    Goh’s book is devoted to a cluster of recent French thinkers, including Jacques Derrida, Emmanuel Lévinas, Luce Irigaray, Alain Badiou, and Jacques Rancière, although the text is chiefly addressed to Jean-Luc Nancy, who was one of Goh’s doctoral advisors and remains a close intellectual collaborator. What brings together this group of thinkers should, according to the theory advanced in the book, be nothing other than an inclination toward prepositional thinking. And yet insofar as the focus here is exclusively on French thinkers, and to the extent that Goh entertains the possibility of a second volume devoted to German thought, a certain philosophical nationalism—of the kind that Derrida analyzed in the seminars of 1980s and the Geschlecht essays—threatens to reassert itself and thus to undo everything that is supposedly gained by this pre-positional thought. The question—and this is posed to Nancy as well as to Goh—is: how can one avoid the presupposition remerging at the heart of the pre-position? How to avoid the preposition turning into a foundation, albeit a negative one of the withdrawal traced by that hyphen?

    The hypothesis that the thought of the preposition is also prepositional is presumably meant to warn off this problem by replicating the logic of the re-marking that Derrida attributes to the trace as retrait (redrawing and retreat). And Goh, after Nancy, insists that à can never be understood as penetration or gaining access but must always respect the limits and the “mystery” of each being. The approach—in the toucher à (touching, infringing upon), for example—is always marked by withdrawal, distance, and separation in the sense of, for example, s’arracher à (tearing oneself away from). He notes, however, that while Nancy’s initial prepositional fascination was with the “in” of être-en-commun (being-in-common) and was then displaced onto the being-with in a deconstruction of the Heideggerian Mitsein (being-with), the à is “closer to the heart of Nancy’s thought.”[4] This exorbitant privilege of the à, its proximity to immediacy, thus comes up against the same dangers that Derrida finds so troubling in Nancy’s attachment to the motifs of community and fraternity. Whilst Goh makes trenchant comparisons with Lévinas, Irigaray, and Badiou, he somewhat retreats from the corps à corps between Derrida and Nancy. There is a specific scene, for instance, where they are face à face at the beginning of Derrida’s Le toucher—Jean-Luc Nancy where that dash between the noun and the proper name will transform by the end of the lengthy book into the very preposition at stake—“et à toi [and to you]” Goh touches briefly upon this important text but swerves away from tackling directly those moments where Derrida articulates his distance from Nancy.

    Even if Nancy thinks the purported immediacy of touch more exactly—which is to say more deconstructively— than the phenomenologists, Derrida suspects Nancy of holding out at a higher level. Insofar as touch, Derrida argues, is not merely one category among others for Nancy, it assumes a quasi-transcendental ontologization. Something similar occurs with the category of resonance, which provides an explicit model for Goh’s prepositional ontology as an archi-sonorité (arche-sonority) or an étreà l’écoute” (“to be listening to,” “to be attentive to,” or even “ears pricked” as an aural equivalent to “to be on the lookout”) as the title of Nancy’s book has it. Chosen for the way in which sound is propagated (its formless dissipation, its transitional status, and the way in which echoes do not return identical sounds), there is nonetheless nothing than can be said of aurality, Nancy argues, that must also not be said of the other senses, and yet sonority enjoys a certain privilege, much like touch or à, insofar as it is “nothing but” this reverberation.[5] Écriture (writing) thus assumes the character of a non- or pre-signifying language, a silence vibration before any meaning or even any sound.

    From Derrida’s perspective, Nancy’s tactful approach, which holds itself back from touching just as pre-positional existence or politics restrains itself from occupying a position, risks becoming a negative substantialization. Whereas Nancy will insist on the formulation “there is no ‘the’… [il n’y a pas ‘le’…]”—for example, there is no ‘the’ sense of touch—Derrida counterposes to this negative modality a conditional “if there is any such thing [s’il y en a].”[6] For Derrida, the difference between these two deconstructions is that Nancy’s risks losing precisely the contingency that he gains with the logic of the preposition by turning that contingency into a negative ground. Put differently, Nancy’s à is destined to never arrive whereas Derrida will stick to the undecidability of perhaps it will or will not arrive. The subtle difference here lies between structural impossibility and structural contingency, which has consequences for Goh’s politics and explains why the presuppositional lists toward the unpositioned (im-positioné). Like the inconditional, the unpositional—and any politics in the name of that unpositionality or unconditionality—only ever takes place in conditioned and conditional circumstances that render it both positional and positioned. From this standpoint, it is not simply race, for instance, that is an imposition but even more so the neoliberal deflection from structural constraints that multiples the injustice by the fiction that today we are on the way to stripping back the accumulation of oppression over many centuries to arrive at a post-racial future that mirrors a pre-racial ontology.

    In short, the danger is that the prepositional continues to presuppose a teleological horizon. Goh is certainly aware of the issue of turning politics into the long wait of infinite deferral and is careful to construe Derrida’s à-venir not as an event in some future horizon but as “an absolute surprise which would arrive at any time” (99). Goh’s arguments would, however, be even stronger if he had taken the time to patiently stage this corps à corps instead of eliding the difference between the kind of nomadic contingency he wants to capture with the notion of presupposition and the Derridean à-venir in which such contingency and drift is necessary.

    Another way to adjudicate this dispute between Nancy and Derrida is to say that Nancy inclines toward resolving the undecidability of the finite and the infinite in the direction of the infinite, always seeing the finite trace as a trace of the infinite, as Geoff Bennington has argued[7]—which, I might add, is why pre-positional existence ends up in dangerous proximity to the presupposition of the nation or other exclusionary logic as the basis for community. Even though Goh elsewhere insists that what is at stake in prepositional existence is a finite infinity, the difficulty remains insofar as the intricacies of the debate over Derrida’s little phrase “infinite différance is finite” and Nancy’s apparent misunderstandings of it on various occasions are left unchallenged here. In his book, Goh decribes the preposition as an infinite opening or an opening to infinity:

    The preposition à is at once the space and time of opening. It always opens itself to all alterity, to anything, to anyone, to any place, to any moment. Or, simply put, it opens infinitely. (18)

    He is at the same time careful to distinguish his être-l’à from the Heideggerian being-toward-death (Sein-zum-Tode) and offers a compelling reading of Derrida’s “À force de deuil” to tear a notion of survival beyond death—what Derrida calls survie or la vie la mort—away from Heidegger. The distinction, Goh appears to argue, rests on substituting an infinite opening for the fixed horizon of death that would limit that opening. What would have been fruitful to pry open the difference between Nancy and Derrida is an analysis of Derrida’s discussion of being-toward-death in his extended essay on the work of Hélène Cixous where she is, initially at least, positioned on the side of life. This position becomes increasingly uncertain as Derrida’s reading unfolds and it comes to turn precisely on a preposition. Derrida characterizes Cixous as “being for life,” but is quick to add that this should not be understood as symmetrically opposed to Heidegger’s Sein zum Tode for multiple reasons. In the first instance this is because the notion of life-death that Derrida advances dissolves the opposition between life and death. The experience evoked in Cixous’s writings is a “living of death but yes, still living death, living it for oneself, for the other, and for life.”[8] More pertinently for present purposes, it is also because the “for” in this “for life” is not translatable by any “to.”

    Finally, even if the “or life” that is being analyzed here did not merely designate the other side symmetrically opposed to being-toward-death (Sein zum Tode), and if life and death here were nor antonyms, the semantic turbulence of this verbal animal, “for,” would certainly nor let itself be translated, exhausted, or comprehended by a zu or zum, which anyway is itself difficult to translate into another language.[9]

    Derrida speaks here of “surrendering to a preposition,” but the for or pro differs from the à in one decisive way. Like the pre of pre-position, the pro comes before—is the “prolegomenon” of—everything, including all finality and destination. The for, though, also has an additional sense of substitution. It is less a question of the ex- or dis-posing (or even of de-posing) that Goh borrows from Nancy than of re-placing “this for that, this one in the place of the other.”[10] Différance, on this reading, is not simply fluid and dynamic but above all prosthetic.

    This prostheticity is closely related to a point that Derrida makes in a number of places and specifically in relation to being-toward-death at the end of his final seminar. In contrast with Dasein’s relation to death, the impossibility of which Derrida speaks is something of which one is capable. He makes a similar point expressly in response to Nancy during a conversation at the Collège International de Philosophie in January 2002 devoted to the topic of “Résponsabilité du sens à venir.” Nancy argues:

    If the address probably can and even must always miss its mark, if it is always destinerrant, as you say, then there can be this whole configuration—question-demand-address and response—only if the address has somewhere awakened the possibility of the response and thus if, behind the response, there is something that I would want to call resonance.[11]

    Nancy goes on to argue that while “I cannot be responsible, in the sense of a programmatic, calculated, and calculating appropriation . . . I am at least responsible for the capacity, for the condition of possibility, of the response that is found within the resonance.” Derrida’s response is that responsibility necessarily exceeds all performative power which instead contains precisely the surprise and risk that Goh wants to hold onto.[12] If I am capable to responding to the other, what is thus problematic is the possibilization of impossibility: it removes the chance that I not respond. The prosthetic character of différance is what dislocates this power from the outset, which also means that force at once resists itself.

    This prepositional difference raises important questions for the politics that Goh draws out as the corollary of an ethical injunction to respect and affirm the openness to difference that defines prepositional existence. Goh offers an interesting analysis of Badiou’s theory of the event as an example of prepositional thinking insofar as the event marks something that is strictly incalculable and unforeseeable form the standpoint of the status quo. And yet Goh argues that Badiou ultimately subordinates this eventality to the communist hypothesis and ultimately to the very philosophy whose grasp he intends to escape. From this, Goh concludes that the only conscionable political stance is one that declines to take any position but which remains pre-positional or even im-positional. While complying with the ethical demand of the other and of difference, this pre-positional politics must remain free to take any form (Marxist, communist democratic, etc.). What is at stake in l’à politique is a “position without position,” a minimal positioning which resists taking any fixed, permanent, or definitive position (105). Goh confesses that he has little knowledge of concrete politics in action, but insists that his refusal to take a position follows from the prepositional logic he has elaborated and its resistance to appropriation.

    Cixous’s for, though, suggests another logic of positioning which is explicitly one of repositioning and of taking the position of the other. For Derrida, the pre of pre-position—or more accurately, the pro of a pro-position—is nothing other than this for as substituting power. There is a subtle difference between these two prepositional forces, between à and pour. Goh seems determined to resist the propositional character of most politics and yet it is hard to imagine how simply tearing away from the politics of Trump and Brexit with the deterritorializing gesture of a minor politics would guarantee progress towards the proposition that Goh nonetheless clearly makes: namely the affirmation and respect for others and their differences that would end all racism and xenophobia.[13] This is where Nancy’s project reveals its political shortcomings because an attachment to the infinity of possibility in the guise of the infinite possibility of the impossible turns out to be more impotent than the Derridean and Cixousian impossibility of the possible whose might lies in a subjunctive or a conditional: would that it might happen! The implication of Goh’s prepositional thinking is that only an unconditional politics would be worthy of the name (digne de ce nom), as Derrida says of démocratie à venir.[14] Derrida, though, recognizes that the unconditional only takes place in conditional and conditioned—and typically undignified—circumstances and, in fact, that politics is only worthy of that name to the extent that it necessarily falls short. Goh’s à is perhaps best understood as naming this constitutive shortcoming, an approach that is necessarily always already in retreat.

    Goh’s project sometimes approximates something like a rehabilitation of indignity. Linking the notion of preposition to his earlier work on the figure of the reject and reinforcing his reading of Rancière’s notion of le part sans-part, Goh elsewhere argues that a “prepositional community” would entail the shift from reject as an abject, excluded, marginalized figure to one who, rejecting hypostasis, renounces any such position. On this logic, repositioning is at once ex-position and dis-position, even if Goh acknowledges that the refusal of all position would be tantamount to abandoning all politics since politics irreducibly involves taking a position. From this perspective the stakes of a mere diacritic could not be higher, but Goh’s attraction to transcendentalization shows how philosophy can so readily retreat into itself instead of recognizing that it unavoidably overflows its boundaries in the direction of practice and the work of changing material conditions. If we were to think instead of prepositional politics as the substitution or replacing of the irreplaceability of the other, this taking the place of would be precisely what opens up and gives place for the other in politics. And yet this would still only be the beginning of a political project.

    There is no doubting the sincerity of Goh’s commitment to a politics free of racialized hatred and discrimination and yet his rigorous theoretical endeavor at the same time reveals the limitations of (post)deconstructive philosophy when it comes, for instance, to articulating the difference between the freedom of the fluid, dynamic, nomadic flânerie that Goh describes and its ideological avatar in the flexible neoliberal subject. Insofar as the prepositional subject is without specific differences, it can only enter politics as an individual and not as a member of a class or oppressed group. The subtractive ontological gesture thus courts the dangers of a post-racial racism whose violence consists in bypassing the structural positionality of capitalist violence. Far from dissolving identity, liberation struggles demand a theory of situated empowerment (something that is also presupposed, for example, in post-autonomist notions of political exodus): that is, specifying exactly whence the preposition draws its force. Only then would it become possible to start reversing the horrific violence to which marginalized groups are subjected by taking up the places of oppressed others in a process of want Stuart Hall would call articulation. Instead of an identity out in front or to hand, Derrida’s deconstruction, if there is such a thing, points toward an originary prosthetic articulationality corps à corps (bodies-to-bodies).

    L’existence prépositionelle is a thought-provoking book, whose astute philosophical readings make a convincing case for a new way of understanding the connections among recent French thinkers. It makes an important contribution in opening up space for reassessing the political potential and limits of deconstructive and post-deconstructive thought. The book is a preposition both to Goh’s own future projects whose outlines are discernible in the text, including a tentative theory of failure, and also to a much-needed broader conversation about deconstruction and racialized politics.

     

    Naomi Waltham-Smith is Associate Professor in the Centre for Interdisciplinary Methodologies at the University of Warwick. She is the author of Music and Belonging Between Revolution and Restoration (Oxford, 2017) and Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham, 2021), and in 2019–20 she was a fellow at Akademie Schloss Solitude.

     

    [1] Jacques Derrida, De la grammatologie (Paris: Minuit, 1967), 109.

    [2] Timothy Murray, “Philosophical Prepositions: Ecotechnics là où Digital Exhibition,” Special Issue on Jean-Luc Nancy, vol. 1, ed. Irving Goh and Timothy Murray, diacritics 42, no. 2 (2015), 10–34.

    [3] In the essay, Identité: fragments, franchises (Paris: Galilée, 2010), Jean-Luc Nancy explains why identity can never be self-identical but is always an act in the making, the identity of what- or whoever invents itself in the process of exposing itself both to others and to the other within.

    [4] Irving Goh, “Prepositional Thoughts,” Special Issue on Jean-Luc Nancy, vol. 1, ed. Irving Goh and Timothy Murray, diacritics 42, no. 2 (2015), 3.

    [5] Jean-Luc Nancy, À l’écoute (Paris: Galilée, 2002), 56n.

    [6] Jacques Derrida, Le toucher (Paris: Galilée, 323–24).

    [7] Geoffrey Bennington, “Handshake,” Derrida Today 1, no. 2 (2008), 182.

    [8] Jacques Derrida, H. C. pour la vie, c’est-a-dire … (Paris: Galilée, 2002), 79.

    [9] Ibid., 78.

    [10] Ibid.

    [11] Jacques Derrida and Jean-Luc Nancy, “Résponsabilité du sens à venir,” in Sens en tous sens: Autour des travaux de Jean- Luc Nancy, ed. Francis Guibal and Jean-Clet Martin (Paris: Galilée, 2004), 173.

    [12] Ibid., 177–78.

    [13] It is also not accurate to say that the majority, even if they distrust mainstream centre-left and centre-right parties, reject a liberal-progressive politics; electorates are gradually becoming more liberal on average. The support for the far right is often overestimated, even if it is undoubtedly the case that in failing to take clear anti-racist positions, parties in the centre have normalised ant-immigration sentiments, for instance.

    [14] Jacques Derrida, Voyous: deux essais sur la raison (Paris: Galilée, 2003), 27–28.

  • Zachary Loeb — Does Facebook Have Politics? (Review of Langdon Winner, The Whale and the Reactor, second edition)

    Zachary Loeb — Does Facebook Have Politics? (Review of Langdon Winner, The Whale and the Reactor, second edition)

    a review of Langdon Winner, The Whale and the Reactor: A Search for Limits in an Age of High Technology, second edition (University of Chicago Press, 2020)

    by Zachary Loeb

    ~

    The announcement that Mark Zuckerberg and Priscilla Chan would be donating $300 million to help address some of the challenges COVID-19 poses for the 2020 elections was met with a great deal of derision. The scorn was not directed at the effort to recruit poll workers, or purchase PPE for them, but at the source from whence these funds were coming. Having profited massively from allowing COVID-19 misinformation to run rampant over Facebook, and having shirked responsibility as the platform exacerbated political tensions, the funding announcement came across not only as too little too late, but as a desperate publicity stunt. The incident was but another installment in Facebook’s tumult as the company (alongside its CEO/founder) continually finds itself cast as a villain. Facebook can take some solace in knowing that other tech companies—Google, Amazon, Uber—are also receiving increasingly negative attention, and yet it seems that for every one critical story about Amazon there are five harsh pieces about Facebook.

    Where Facebook, and Zuckerberg, had once enjoyed laudatory coverage, with the platform being hailed as an ally of democracy, by 2020 it has become increasingly common to see Facebook (and Zuckerberg) treated as democracy’s gravediggers. Indeed, much of the animus found in the increasingly barbed responses to Facebook seem to be animated by a sense of betrayal. Many people, including more than a few journalists and scholars, had initially been taken in by Facebook’s promises of a more open and connected world, even if they are loathe to admit that they had ever fallen for that ruse now. Certainly, or so the shift in sentiment conveys, Facebook and Zuckerberg deserve to be angrily upbraided and treated with withering skepticism now… but who could have seen this coming?

    “Technologies are not merely aids to human activity, but also powerful forces acting to reshape that activity and its meaning” (6). When those words were first published, in 1986, Mark Zuckerberg was around two years old, and yet those words provide a more concise explanation of Facebook than any Facebook press release or defensive public speech given by Zuckerberg. Granted, those words were not written specifically about Facebook (how could they have been?), but in order to express a key insight about the ways in which technologies impact the societies in which they are deployed. The point being not only to consider how technologies can have political implications, but to emphasize that technologies are themselves political. Or to put it slightly differently, Langdon Winner was warning about Facebook before there was a Facebook to warn about.

    More than thirty years after its initial publication, The University of Chicago Press has released a new edition of Langdon Winner’s The Whale and the Reactor. Considering the frequency with which this book, particularly its second chapter “Do Artifacts Have Politics?,” is still cited today, it is hard to suggest that Winner’s book has been forgotten by scholars. And beyond the academy, those who have spent even a small amount of time reading some of the prominent recent STS or media studies works will have likely come across his name. Therefore, the publication of the this second edition—equipped with a new preface, afterword, an additional chapter, and a spiffy red cover—represents an important opportunity to revisit Winner’s work. While its citational staying power suggests that The Whale and the Reactor has become something of an essential touchstone for works on the politics of technological systems, the larger concerns coursing through the book have not lost any of their weight in the years since the book was published.

    For at its core The Whale and the Reactor is not about the types of technologies we are making, but about the type of society we are making.

    Divided into three sections, The Whale and the Reactor wastes no time in laying out its central intervention. Noting that technology had rarely been treated as a serious topic for philosophical inquiry, Winner sets about arguing that an examined life must examine the technological systems that sustain that life. That technology has so often been relegated to the background has given rise to a sort of “technological somnambulism” whereby many “willingly sleepwalk” as the world is technologically reconfigured around them (10). Moving forward in this dreamy state, the sleepers may have some vague awareness of the extent to which these technological systems are becoming interwoven into their daily lives, but by the time they awaken (supposing they ever do awaken) these systems have accumulated sufficient momentum as to make it seemingly impossible to turn them off at all. Though The Whale and the Reactor is not a treatise on somnambulism, this characterization is significant insofar as a sleepwalker is one who staggers through the world in a state of unawareness, and thus cannot be held truly responsible. Contrary to such fecklessness, the argument presented by Winner is that responsibility for the world being remade by technology is shared by all those who live in that world. Sleepwalking is not an acceptable excuse.

    In what is almost certainly the best-known section of the book, Winner considers whether or not artifacts have politics—answering this question strongly in the affirmative. Couching his commentary in a recognition that “Scarcely a new invention comes along that someone doesn’t proclaim it as the salvation of a free society” (20), Winner highlights that social and economic forces leave clear markers on technologies, but he notes that the process works in the opposite direction as well. Two primary ways in which “artifacts can contain political priorities” (22) are explored: firstly, situations wherein a certain artifact is designed in such a way as to settle a particular larger issue; and secondly, technologies that are designed to function within, and reinforce, a certain variety of political organization. As an example of the first variety, Winner gives an example of mechanization at a nineteenth century reaper manufacturing plant, wherein the process of mechanization was pursued not to produce higher quality or less expensive products, but for the purposes of breaking the power of the factory’s union. While an example of the second sort of politics can be seen in the case of atomic weaponry (and nuclear power) wherein the very existence of these technologies necessitates complex organizations of control and secrecy. Though, of the two arguments, Winner frames the first example as presenting clearer proof, technologies of the latter case make a significant impact insofar as they tend to make “moral reasons other than those of practical necessity appear increasingly obsolete” (36) for the political governance of technological systems.

    Inquiring as to the politics of a particular technology provides a means by which to ask questions about the broader society, specifically: what kind of social order gets reified by this technology? One of freedom and equality? One of control and disenfranchisement? Or one that distracts from the maintenance of the status quo by providing the majority with a share in technological abundance? It is easy to avoid answering such questions when you are sleepwalking, and as a result, “without anyone having explicitly chosen it, dependency upon highly centralized organizations has gradually become a dominant social form” (47). That this has not been “explicitly chosen” is partially a result of the dominance of a technologically optimistic viewpoint that has held to “a conviction that all technology—whatever its size, shape, or complexion—is inherently liberating” (50). Though this bright-eyed outlook is periodically challenged by an awareness of the ways that some technologies can create or exacerbate hazards, these dangers wind up being treated largely as hurdles that will be overcome by further technological progress. When all technologies are seen as “inherently liberating” a situation arises wherein “liberation” comes to be seen only in terms of what can be technologically delivered. Thus, the challenge is to ask “What forms of technology are compatible with the kind of society we want to build?” (52) rather than simply assume that we will be content in whatever world we sleepily wander into. Rather than trust that technology will be “inherently liberating,” Winner emphasizes that it is necessary to ask what kinds of technology will be “compatible with freedom, social justice, and other key political ends” (55), and to pursue those technologies.

    Importantly, a variety of people and groups have been aware of the need to push for artifacts that more closely align with their political ideals, though these response have taken on a range of forms. Instead of seeing technology as deeply intertwined with political matters, some groups saw technology as a way of getting around political issues: why waste time organizing for political change when microcomputers and geodesic domes can allow you to build that alternative world here and now? In contrast to this consumeristic, individualistically oriented attitude (exemplified by works such as the Whole Earth Catalog), there were also efforts to ask broader political questions about the nature of technological systems such as the “appropriate technology” movement (which grew up around E.F. Schumacher’s Small is Beautiful). Yet such attempts appear already in the past, rearguard actions that were trying to meekly resist the increasing dominance of complex technical systems. As the long seventies shifted into the 1980s and increasing technological centralization became evident, such movements appear as romantic gestures towards the dream of decentralization. And though the longing for escape from centralized control persists, the direction  “technological ‘progress’ has followed” is one in which “people find themselves dependent upon a great many large, complex systems whose centers are, for all practical purposes, beyond their power to influence” (94).

    Perhaps no technology simultaneously demonstrates the tension between the dream of decentralization and growth of control quite like the computer. Written in the midst of what was being hailed as “the computer revolution” or the “information revolution” (98), The Whale and the Reactor bore witness to the exuberance with which the computer was greeted even as this revolution remained “conspicuously silent about its own ends” (102). Though it was not entirely clear what problem the computer was the solution to, there was still a clear sentiment that the computer had to be the solution to most problems. “Mythinformation” is the term Winner deploys to capture this “almost religious conviction that a widespread adoption of computers and communications systems along with easy access to electronic information will automatically produce a better world for human living” (105). Yet “mythinformation” performs technological politics in inverse order: instead of deciding on political goals and then seeking out the right technological forms for achieving those goals, it takes a technology (the computer) and then seeks to rearrange political problems in such a way as to make them appear as though they can be addressed by that technology. Thus, “computer romantics” hold to the view that “increasing access to information enhances democracy and equalizes social power” (108), less as a reflection of the way that political power works and more as a response to the fact that “increasing access to information” is one of the things that computers do well. Despite the equalizing hopes, earnest though they may have been, that were popular amongst the “computer romantics” the trends that were visible early in “the computer revolution” gave ample reason to believe that the main result would be “an increase in power by those who already had a great deal of power” (107). Indeed, contrary to the liberatory hopes that were pinned on “the computer revolution” the end result might be one wherein “confronted with omnipresent, all-seeing data banks, the populace may find passivity and compliance the safest route, avoiding activities that once represented political liberty” (115).

    Considering the overwhelming social forces working in favor of unimpeded technological progress, there are nevertheless a few factors that have been legitimated as reasons for arguing for limits. While there is a long trajectory of theorists and thinkers who have mulled over the matter of ecological despoilment, and while environmental degradation is a serious concern, “the state of nature” represents a fraught way to consider technological matters. For some, the environment has become little more than standing reserve to be exploited, while others have formed an almost mystical attachment to an imagination of pristine nature; in this context “ideas about things natural must be examined and criticized” as well (137). Related to environmental matters are concerns that take as their catchword “risk,” and which attempt to reframe the discussion away from hopes and towards potential dangers. Yet, in addition to cultural norms that praise certain kinds of “risk-taking,” a focus on risk assessment tends to frame situations in terms of tradeoffs wherein one must balance dangers against potential benefits—with the result being that the recontextualized benefit is generally perceived as being worth it. If the environment and risk are unsatisfactory ways to push for limits, so too has become the very notion of “human values” which “acts like a lawn mower that cuts flat whole fields of meaning and leaves them characterless” (158).

    In what had originally been The Whale and the Reactor’s last chapter, Winner brought himself fully into the discussion—recalling how it was that he came to be fascinated with these issues, and commenting on the unsettling juxtaposition he felt while seeing a whale swimming not far from the nuclear reactor at Diablo Canyon. It is a chapter that critiques the attitude towards technology, that Winner saw in many of his fellow citizens, as being one of people having “gotten used to having the benefits of technological conveniences without expecting to pay the costs” (171). This sentiment is still fully on display more than thirty years later, as Winner shifts his commentary (in a new chapter for this second edition) to the age of Facebook and the Trump Presidency. Treating the techno-utopian promises that had surrounded the early Internet as another instance of technology being seen as “inherently liberating,” Winner does not seem particularly surprised by the way that the Internet and social media are revealing that they “could become a seedbed for concentrated, ultimately authoritarian power” (189). In response to the “abuses of online power,” and beneath all of the glitz and liberating terminology that is affixed to the Internet, “it is still the concerns of consumerism and techno-narcissism that are emphasized above all” (195). Though the Internet had been hailed as a breakthrough, it has wound up leading primarily to breakdown.

    Near the book’s outset, Winner observes how “In debates about technology, society, and the environment, an extremely narrow range of concepts typically defines the realm of acceptable discussion” (xii), and it is those concepts that he wrestles with over the course of The Whale and the Reactor. And the point that Winner returns to throughout the volume is that technological choices—whether they are the result of active choice or a result of our “technological somnambulism”—are not just about technology. Rather, “What appear to be merely instrumental choices are better seen as choices about the form of social and political life a society builds, choices about the kinds of people we want to become” (52).

    Or, to put it a slightly different way, if we are going to talk about the type of technology we want, we first need to talk about the type of society we want, whether the year is 1986 or 2020.

    *

    Langdon Winner began his foreword to the 2010 edition of Lewis Mumford’s Technics and Civilization with the comment that “Anyone who studies the human dimensions of technological change must eventually come to terms with Lewis Mumford.” And it may be fair to note, in a similar vein, that anyone who studies the political dimensions of technological change must eventually come to terms with Langdon Winner. The staying power of The Whale and the Reactor is something which Winner acknowledges with a note of slightly self-deprecating humor, in the foreword to the book’s second edition, where he comments “At times, it seems my once bizarre heresy has finally become a weary truism” (vii).

    Indeed, to claim in 2020 that artifacts have politics is not to make a particularly radical statement. That statement has been affirmed enough times as to hardly make it a question that needs to be relitigated. Yet the second edition of The Whale and the Reactor is not a victory lap wherein Winner crows that he was right, nor is it the ashen lamentation of a Cassandra glumly observing that what they feared has transpired. Insofar as The Whale and the Reactor deserves this second edition, and to be clear it absolutely deserves this second edition, it is because the central concerns animating the book remain just as vital today.

    While the second edition contains a smattering of new material, the vast majority of the book remains as it originally was. As a result the book undergoes that strange kind of alchemy whereby a secondary source slowly transforms into a primary source—insofar as The Whale and the Reactor can now be treated as a document showing how, at least some, scholars were making sense of “the computer revolution” while in the midst of it. The book’s first third, which contains the “Do Artifacts Have Politics?” chapter, has certainly aged the best and the expansiveness with which Winner addresses the question of politics and technology makes it clear why those early chapters remain so widely read, while ensuring that these chapters have a certain timeless quality to them. However, as the book shifts into its exploration of “Technology: Reform and Revolution” the book does reveal its age. Read today, the commentary on “appropriate technology” comes across more as a reminder of a historical curio than as an exploration of the shortcomings of an experiment that recently failed. It feels somewhat odd to read Winner’s comments on “the state of nature,” bereft as they are of any real mention of climate change. And though Winner could have written in 1986 that technology was frequently overlooked as a topic deserving of philosophical scrutiny, today there are many works responding to that earlier lack (and many of those works even cite Winner). While Winner certainly cannot be faulted for not seeing the future, what makes some of these chapters feel particularly dated is that in many other places Winner excelled so remarkably at seeing the future.

    The chapter on “Mythinformation” stands as an excellent critical snapshot of the mid-80s enthusiasm that surrounded “the computer revolution,” with Winner skillfully noting how the utopian hopes surrounding computers were just the latest in the well-worn pattern wherein every new technology is seen as “inherently liberating.” In writing on computers, Winner does important work in separating the basics of what these machines literally can do, from the sorts of far-flung hopes that their advocates attached to them. After questioning whether the issues facing society are genuinely ones that boil down to access to information, Winner noted that it was more than likely that the real impact of computers would be to help those in control stay in control. As he puts it, “if there is to be a computer revolution, the best guess is that it will have a distinctively conservative character” (107) .In 1986, it may have been necessary to speak of this in terms of a “best guess,” and such comments may have met with angry responses from a host of directions, but in 2020 it seems fairly clear that Winner’s sense of what the impact of computers would be was not wrong.

    Considering the directions that widespread computerization would push societies, Winner hypothesized that it could lead to a breakdown in certain kinds of in-person contact and make it so that people would “become even more susceptible to the influence of employers, news media, advertisers, and national political leaders” (116). And moving to the present, in the second edition’s new chapter, Winner observes that despite the shiny toys of the Internet the result has been one wherein people “yield unthinkingly to various kinds of encoded manipulation (especially political manipulation), varieties of misinformation, computational propaganda, and political malware” (187). It is not that The Whale and the Reactor comes out to openly declare “don’t tell me that you weren’t warned,” but there is something about the second edition being published now, that feels like a pointed reminder. As former techno-optimists rebrand as techno-skeptics, the second edition is a reminder that some people knew to be wary from the beginning. Some may anxiously bristle as the CEOs of tech giants testify before Congress, some may feel a deep sense of disappointment every time they see yet another story about Facebook’s malfeasance, but The Whale and the Reactor is a reminder that these problems could have been anticipated. If we are unwilling to truly confront the politics of technologies when those technologies are new, we may find ourselves struggling to deal with the political impacts of those technologies once they have wreaked havoc.

    Beyond its classic posing of the important “do artifacts have politics?” question, the present collision between technology and politics helps draw attention to a deeper matter running through The Whale and the Reactor. Namely, that the book keeps coming back to the idea of democracy. Indeed, The Whale and the Reactor shows a refreshingly stubborn commitment to this idea. Technology clearly matters in the book, and technologies are taken very seriously throughout the book, but Winner keeps returning to democracy. In commenting on the ways in which artifacts have politics, the examples that Winner explores are largely ones wherein technological systems are put in place that entrench the political authority of a powerful minority, or which require the development of regimes that exceed democratic control. For Winner, democracy (and being a participant in a democracy) is an active process, one that cannot be replaced by “passive monitoring of electronic news and information” which “allows citizens to feel involved while dampening the desire to take an active part” (111). Insofar as “the vitality of democratic politics depends upon people’s willingness to act together in pursuit of their common ends” (111), a host of technological systems have been put in place that seem to have simultaneously sapped “people’s willingness” while also breaking down a sense of “common ends.” And though the Internet may trigger some nostalgic memory of active democracy, it is only a “pseudopublic realm” wherein the absence of the real conditions of democracy “helps generate wave after wave of toxic discourse along with distressing patterns of oligarchical rule, incipient authoritarianism, and governance by phonies and confidence men” (192).

    Those who remain committed to arguing for the liberatory potential of computers and the Internet, a group which includes individuals from a range of perspectives, might justifiably push back against Winner by critiquing the vision of democracy he celebrates. After all, there is something rather romantic about  Winner’s evocations of New England townhall meetings  and his comments on the virtues of face-to-face encounters. Do all participants in such encounters truly get to participate equally? Are such situations even set up so that all people can participate equally? What sorts of people and what modes of participation are privileged by such a model of democracy? Is a New England townhall meeting really a model for twenty-first century democracy? Here it is easy to picture Winner responding that what such questions reveal is the need to create technologies that will address those problems—and where a split may then open up is around the question of whether or not computers and the Internet represent such tools. That “technologies are not merely aids to human activity, but also powerful forces acting to reshape that activity and its meaning” (6) opens up a space in which different technologies can be built, even as other technologies can be dismantled, but such a recognition forces us to look critically at our technologies and truly confront the type of world that we are making and reinforcing for each other. And, in terms of computers and the Internet, the question that The Whale and the Reactor forces to the fore is one of: which are we putting first, computers or democracy?

    Winner warned his readers of the dangers of “technological somnambulism,” but it unfortunately seems that his call was not sufficient to wake up the sleepers in his midst in the 1980s. Alas, that The Whale and the Reactor remains so strikingly relevant is partially a testament to the persistence of the sleepwalkers’ continual slouch into the future. And though there may be some hopeful signs of late that more and more people are groggily stirring and rubbing the slumber from their eyes—the resistance to facial recognition is certainly a hopeful sign—a danger persists that many will conclude that since they have reached this spot that they must figure out some way to justify being here. After all, few want to admit that they have been sleepwalking. What makes The Whale and the Reactor worth revisiting today is not only that Winner asks the question “do artifacts have politics?” but the way in which, in responding to this question, he is willing to note that there are some artifacts that have bad politics. That there are some artifacts that do not align with our political goals and values. And what’s more, that when we are confronted with such artifacts, we do not need to pretend that they are our friends just because they have rearranged our society in such a way that we have no choice but to use them.

    In the foreword to the first edition of The Whale and the Reactor, Winner noted “In an age in which the inexhaustible power of scientific technology makes all things possible, it remains to be seen where we will draw the line, where we will be able to say, here are the possibilities that wisdom suggests we avoid” (xiii). For better, or quite likely for worse, that still remains to be seen today.

    _____

    Zachary Loeb earned his MSIS from the University of Texas at Austin, an MA from the Media, Culture, and Communications department at NYU, and is currently a PhD candidate in the History and Sociology of Science department at the University of Pennsylvania. Loeb works at the intersection of the history of technology and disaster studies, and his research focusses on the ways that complex technological systems amplify risk, as well as the history of technological doom-saying. He is working on a dissertation on Y2K. Loeb writes at the blog Librarianshipwreck, and is a frequent contributor to The b2 Review Digital Studies section.

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  • Efe Khayyat and Ariel Salzmann — On the Perils of Thinking Globally while Writing Ottoman History: God’s Shadow and Academia’s Self-Appointed Sultans

    Efe Khayyat and Ariel Salzmann — On the Perils of Thinking Globally while Writing Ottoman History: God’s Shadow and Academia’s Self-Appointed Sultans

    a response to reviews of Alan Mikhail, God’s Shadow: Sultan Selim, His Ottoman Empire, and the Making of the Modern World (Norton, 2020)

    by Efe Khayyat and Ariel Salzmann

    ~

    One of the more curious academic controversies to emerge during the pandemic revolves around the recent publication and positive reception of Alan Mikhail’s God’s Shadow: Sultan Selim, His Ottoman Empire, and the Making of the Modern World. Although it is Ottoman Sultan Süleyman I (r. 1520-66) who has received the lion’s share of publicity beyond the Middle East—thanks, most recently, to a popular Turkish soap opera with fans across the world, from Ukraine to Mexico—it is actually his father, Selim I (r. 1512-20), who died 500 years ago that marks the true inflection point for world history. Selim’s lifetime spanned a period that witnessed the re-peopling of the newly conquered City of Constantinople, the welcoming of Jewish refugees from Spain in the Ottoman Balkans and the Aegean, and the first Iberian voyages toward the Caribbean and the Indian Ocean. His relatively short reign overlapped with that of Moctezuma II, the ninth tlatoani of the Aztec Empire; Babur (Zahīr ud-Dīn Muhammad) who sent his armies from Afghanistan and founded the Mughal dynasty in India; the Ming dynasts in China; and the drafting of the 95 Theses by an otherwise obscure German Priest by the name of Martin Luther. Moreover, it was this sultan’s conquests that greatly expanded Ottoman hegemony across the Southern and Eastern Mediterranean, as well as into the Red Sea, leaving the empire in a commanding position that Selim’s neighbors to the east and west could ignore only at their peril.

    Given the number of endowed chairs in Ottoman and Turkish Studies at major research universities in the United States and the proliferation of scholars in Ottoman Studies at post-secondary North American institutions large and small, we Ottomanists should be better at inviting a wider audience to our field. And yet, almost singularly among historical fields, we have been unable to translate our research for nonspecialists and popular audiences. There are, of course, some noteworthy recent exceptions: popular works in German and English by the indefatigable Suraiya Faroqhi, Caroline Finkel’s synthetic overview, chapters on the Ottoman Empire in Elizabeth F. Thompson’s Justice Interrupted, Eugene Rogan’s timely book on the fall of the Ottoman Empire, and Leslie Peirce’s work on Roxelana.[1]

    Given the paucity of efforts to bridge the divide between the academia and popular readership, one might assume that Ottoman historians would welcome a work in Ottoman history which has garnered attention from The Wall Street Journal, The New Yorker, The New York Times, and The Washington Post. And yet quite the opposite has occurred: for some reason this book has provoked an intensely hostile reaction by some of the most prominent scholars in the field. Under the guise of a critical and purely academic assessment, Mikhail’s book has recently been subjected to an unfortunate attack by Cornell Fleischer, Cemal Kafadar, and Sanjay Subrahmanyam, published in English in an Italian online journal and then quickly translated into Turkish and other languages. It should be noted that only two of these scholars are Ottoman historians, while the third is an internationally known scholar specializing in the history of South Asia and the Indian Ocean. The very title of their screed, “How to Write Fake Global History,” portents ominously, borrowing from both the terminology and tone of the current occupant of the White House’s assaults on the press. Not only does their tract misrepresent and mischaracterize the aims and methods of God’s Shadow, but its vitriol launches a further broadside attack on other examples of global and popular history and has fueled a social media frenzy attacking the author and his book in Turkey as well as United States.

    We will leave aside the rather bizarre aspects of Fleischer, Kafadar, and Subrahmanyam’s text—the repeated ad hominem attacks; the immature disparaging of Mikhail; the abject ignorance of genre; the willful distortion of the methods and feigned naiveté about the nature of contemporary trade publishing; the suggestion of a conspiracy by Mikhail and his “agents and admirers;” and even the badgering of the editors of The Washington Post who refused to grant these critics a podium. Skipping these elements, we would like to declare in advance what their text truly is: an attempt by senior male scholars in a particular branch of American academy to flex institutional, professional, and cultural muscle within and abroad, particularly in Turkey, to defame and denigrate honest efforts to write Ottoman history and in doing so reinforce their own seemingly hegemonic and certainly outdated idea of what constitutes true history writing.

    A few examples should suffice to illustrate the disingenuousness Fleischer, Kafadar, and Subrahmanyam employ to make their case. Let’s take the Ottoman role in disseminating coffee and coffee drinking (two pages in Mikhail’s 450-page book). Citing page 318 of the book, they claim that Mikhail says that “it was Selim’s military that first discovered” coffee. In fact, he does not say that, but rather explains that it was “the intercontinental unity Selim achieved” that allowed coffee to become a global phenomenon, one the Ottomans would monopolize for centuries. In another instance, they point to Mikhail’s supposed overreliance on a book by Fatih Akçe as evidence of insufficient scrutiny of and attention to Ottoman Turkish and other sources, a point they pirate from a sober and scholarly review by Caroline Finkel. Thirty-one citations is hardly a lot in a book with over 1,300 total citations. To take the example of the section about the caliphate (one page) that seems particularly irksome to them, Mikhail cites Akçe once there, not as the sole source but alongside seven other sources. The main primary source is the eyewitness account of the Egyptian chronicler Ibn Iyās, and Mikhail footnotes the historiographical debate about the caliphate, including a citation to Finkel herself. Mikhail does not rely on Akçe for any substantive part of his argument.

    As for their conceptual objections, they rest their case on two principle lines. The first is that this book is nothing more than navel-gazing “great man” history, an interesting tactic given that at least two of these historians have published usefully on major (and male) historical figures. As if to reduce the book to its title, the three authors continually term Selim “Mikhail’s hero.” This is laughable. No honest reading of the book could conclude that Mikhail seeks the celebration (or destruction) of Selim. God’s Shadow is not a monument to Selim. If anything, in fact, Selim comes off as violent and conniving. And though Fleischer, Kafadar, and Subrahmanyam say Mikhail neglects Selim’s massacre of thousands of his own Alevi (Shiite) subjects, Mikhail does reference this event on pages 258-59 and then on page 402 and then in the book’s chronology.

    The rather obvious point Fleischer, Kafadar, and Subrahmanyam miss or ignore is that Mikhail uses the figure of this single and singular historical subject to show how an appropriately narrow scholarly focus can “shed light in a radiating fashion” on a world historical moment.[2] This method of picking the right “tangible hook” for traversing our vast and intricate cultural past has long been advocated by humanists since its pioneer, Erich Auerbach, taught us how to practice cultural criticism and interpret historical “figures.”

    The second major complaint the trio lodge against Mikhail may seem at odds with the first—that he grossly overstates the place of the Ottomans on the world stage. It is only the most limited understanding of the contingent nature of history that could prevent one from grasping how in the absence of concrete evidence of the concrete presence of the Ottomans in Mexico, or say a letter from an Ottoman to an Aztec, there could be any, in their words, “real connection of the conquest of Mexico to the Ottomans.” Here they slyly splice together sentences some 130 pages apart in God’s Shadow combined with a phrase from The Washington Post to suggest that Mikhail claims that Selim and Cortés were somehow in touch. There is no such claim in the book.

    Mikhail’s approach offers something far more sophisticated—an analysis of how the faculty of imagination shaped historical actions, decisions, ideas, and emotions. He takes us from the Middle East to Mexico to demonstrate the extent to which the terrible and fabulous Turk marked the European-Christian mind in the sixteenth century. In God’s Shadow, one of the great fears of Spanish merchants and colonial authorities on Mexico’s Pacific shore in the sixteenth century turns out to have been imaginary “Turks or Moors,” possibly plotting with Native Americans to attack Christians. We know that this is absurd—that no vassal of the “Grand Turk” or his spies made it to Mexico, let alone plotted with Native Americans. Yet Mikhail demonstrates that upon sighting a fearsome fleet of vessels, the first thing the Spaniards could think of remained their Old-World enemy. We will never know with exact certitude in what ways this fear and the association of Native Americans with the Grand Turk affected the actions and decisions of the colonizers. Yet we know that the Christian mind and imagination of the era was deeply marked by the Ottomans (and other Muslims)—that the state of mind of Spanish merchants and colonial authorities reflected a significant influence of the imaginary Turk. We know that Columbus considered his own adventures and even the crossing of the Atlantic to be merely a part of the Reconquista and the Crusades against Muslims, which had already expelled Jews and Muslims from Spain in 1492.The attempt by Fleischer, Kafadar, and Subrahmanyam to make it seem as though Mikhail is unaware of “real” history serves to excise a vast amount of evidence of vital early modern global connections: the papal bull issued in the immediate aftermath of the Ottoman conquest of Constantinople that licensed Iberian princes to conquer and enslave peoples to the west, including in Africa, or the keen Ottoman interest in reports and documents concerning the lands across the Atlantic as evidenced by the map of South America reproduced by the Ottoman admiral Piri Reis. Mikhail’s work here is akin to Carina L. Johnson’s research situating both the Ottomans and Aztecs in the mental map of the Habsburg world, a major contribution to understanding the lingering image of the Terrible Turk in western literature and cultural memory.[3]

    Focusing on Sultan Selim’s Ottoman Empire against the background of the world historical moment of the conquests, conflicts, and voyages of the sixteenth century, God’s Shadow makes a case for the centrality of the at once “real” and imagined, at once terrible and fabulous Turk in the making of our global cultural universe. On the one hand, this book of world history asks American readers to view Ottoman history as “a branch of world history à part entière.”[4] Yet it also allows anyone interested in Ottoman studies to view the Ottoman past with an eye on its intended and unintended implications for the world beyond the Ottoman cultural universe.

    Both interventions have significant consequences for world history and Ottoman history alike. The centrality of the figure of Selim to Mikhail’s world history seems almost conventional at first, yet it draws new boundaries for the globe by merely expanding them a little. Mikhail’s choice to zoom in on the “figure” of Sultan Selim while writing world history provides a synthetic view of a global historical moment without compromising historical and philological scrutiny. The new world that Mikhail’s gentle rhetorical move makes visible hardly resembles the image of anything we have seen before. That Mikhail’s “Ottoman” figure is not easily recognizable from an “Ottoman” or modern “Turkish” perspective is refreshing. Mikhail’s figure of Selim is not some self-sufficient, self-same, homogenous entity but one that was molded by multiple Western and non-Western rivals warring, trading, competing, and sharing, and in the process literally sculpting one another. This type of intellectual intervention is exactly what one expects from not only good history, but also the burgeoning disciplines of world literature and art, or comparative religions and all the other—impossibly—global perspectives on the past that the contemporary critical humanities pursue today. That Selim’s indelible mark on the world and world consciousness remained unaccounted for—as historical reality and as part of a historically real “fiction”—with all its implications for our cultural and political past, until the publication of God’s Shadow only makes the case for how urgent Mikhail’s intervention has been all along, especially for American readers.

    Mikhail does not only take the faculty of imagination seriously. He takes religion and its history seriously as well. Both gestures mean that the sort of history Mikhail writes is a service to disciplines beyond disciplinary history, from cultural criticism to literary and art history. Moreover, his argument is based on the simple and undeniable fact that the religion and culture of Christianity had a significant role to play in the making of our modern world. What Mikhail does with this fact is to turn the tables to remind us that the history of Christianity did not take shape in a vacuum. Islam had a hand in the making of Christianity. This is a simple and obvious fact that should be clear to any reader and that no competent and ethical student of history can possibly overestimate.

    It is both a perfectly reasonable objection and an objective fact that such a global scope can pose a challenge to the nuanced views of the past that we owe to scholarly specialization. Mikhail’s pioneering work in environmental history displays impeccable historical scrutiny and empirical depth. If the goal of God’s Shadow is to write Ottoman history against a global background, this obviously requires that he paint with broad strokes at times. Writing any sort of complete global history is obviously impossible, yet it is also imperative in our day and age to write world history. The goals of commensurability and comparison across all the fields of the humanities seeking world historical perspectives demand such impossible yet imperative tasks, not merely for the sake of writing and, in some cases, rewriting more inclusive histories, but also to account for the ways in which the reality of our radically intertwined contemporary world took shape despite very old and persistent claims to exceptionality and homogeneity, whether national, religious, ethnic, or otherwise.

    One must ask why this particular text and its author has generated such controversy. It is well known that coffee arrived in Europe via Ottoman connections and that the pressure from the Ottoman Empire prevented Catholic kings and emperors from repressing the “heresy” of Protestantism. What then is the real, not fake, reason for the energy behind this seemingly orchestrated campaign in the United States and Turkey against this book? Those outside the field of Ottoman history read this as “pique” by a trio of holders of major chairs at pinnacle institutions at the remarkable success of a younger, highly productive scholar. Pamela Kyle Crossley adds that the controversy serves as an opportunity and excuse for the three to paper over their “genteel misogyny” by feigning to enlarge the scope of historical interpretation by leveling a charge of “fake global history.” For students and established scholars in the field of Ottoman Studies, the transparent animus motivating this attack on the author and his work replay a politics of policing and gatekeeping that is by now as predictable as it is debasing to the field. The attendant social media mobbing of Mikhail and God’s Shadow in the US and Turkey demonstrates how this power flexing operates. In surrendering their intellectual autonomy, acolytes and former students signal their fealty to their hocas, for they know they must fear this type of public pillorying by chairs in Ottoman and Turkish studies who exert inordinate influence on appointments, publication possibilities, and tenure and promotion in our field.

    Although no field is free from such controversies, Ottoman historians in the United States should regard this episode with a degree of sadness and considerable embarrassment. To be clear—we see this tempest as an intellectual problem that underscores increasingly entrenched tendencies in our field that stymie development and renewal. Over the last decade the loss of highly productive and institution building senior scholars, the late Donald Quataert (1941-2011) in particular,[5] has left a critical vacuum in Ottoman Studies in the United States. Now to think big and comparatively and to raise large questions that affect the way we interpret entire periods of global history, or even parallel regional developments within what seem to be universal patterns, seem to detract from the increasing provincialism and the preciousness of mainstream Ottoman history in the United States, a historiography that seems to have moved only slightly beyond the cultural turn of the 1990s. In the last decades, dismissing more recent and sophisticated approaches in favor of a narrow range of outdated emphases and methods to interpret largely narrative sources of Ottoman history has contributed to the neo-Ottomanism of the contemporary moment, unwittingly or not.

    It has taken a collective, transnational and multi-disciplinary effort to begin to recover and restore the global legacy of the peoples and cultures of the tri-continental Ottoman polity. Indeed, scholars across the humanities and social sciences whose work engages different aspects of Ottoman, Turkish, and, more broadly, Middle Eastern pasts, have all contributed to the methodological sophistication Mikhail’s overall work reflects as well as helping to prepare the intellectual terrain for its reception. However we may regard the merits of God’s Shadow, we must thank its author for his efforts in making the empire’s significance understandable to new audiences while defying those who seek to impose boundaries on the horizons of Ottoman scholarship to solidify their fading authority.

    _____

    Efe Khayyat is Associate Professor of Comparative Literature at Rutgers and a Senior Researcher at St. Edmund’s College of Cambridge. He works mostly with Turkish (Ottoman and modern), Ladino (Judeo-Espagnol), Italian, French, German, and Arabic. He is the author of Istanbul 1940 and Global Modernity (Rowman & Littlefield, 2019). Among his awards are various fellowships and visiting professorships at Gutenberg in Mainz, Science Po and Paris 8 in Paris, Cambridge University, and Jamia Millia Islamia of Delhi; a UNESCO award, the Marjorie Hope Nicolson Fellowship and an ICLS fellowship at Columbia, and the Sir Mick and Lady Barbara Davis Fellowship at the Woolf Institute. He was a member of the founding board of Harvard’s Institute for World Literature. Efe is currently working on an edited volume on the cultural history of artificial intelligence, and a new book on “Kariye” (Khôra).

    Ariel Salzmann is Associate Professor of Islamic and World History at Queen’s University. Her intellectual interests span world regions, disciplines, past and present. In addition to her 2004 monograph on the political sociology of the later Ottoman Empire, Tocqueville in the Ottoman Empire: Rival Paths to the Modern State, Professor Salzmann has published articles on a wide range of subjects, from a sociological analysis of the integration/exclusion of religious minorities in Medieval Christendom and the Islamic World, to an account of the conversion of a Maltese priest to Islam in seventeenth-century Egypt and an analysis of the consumer craze over tulips in eighteenth-century Istanbul. Her scholarship has been supported by fellowships and grants from the National Endowment for the Humanities/American Research Institute in Turkey Fellowship (1988, 1999), the American Council of Learned Societies (2000), and Queen’s University’s A.R.C/ S.A.R.C. (2005, 2011). Her current research project, which seeks to document cultural and diplomatic relations between the popes and Ottoman sultans, was the alternate for the American Academy in Rome’s Senior Prize in Renaissance and Early Modern Italian Studies in 2010. She was awarded a Senior Fellowship at the Research Centre for Anatolian Civilisations of Koç University in Istanbul, Turkey for Winter Term 2011. Before Queen’s, Professor Salzmann taught graduate and undergraduate students at the Pratt Institute, the University of Cincinnati and New York University. At Queen’s University she teaches seminars and lectures on Middle Eastern and world history.

    Back to the essay

    _____

    Notes
    [1] Suraiya Faroqhi, A Cultural History of the Ottomans: The Imperial Elite and its Artefacts (London: I. B. Tauris, 2016); Suraiya Faroqhi, Kultur und Alltag im Osmanischen Reich: Vom Mittelalter bis zum Anfang des 20. Jahrhunderts (Munich: C.H.Beck, 1995); Caroline Finkel, Osman’s Dream: The Story of the Ottoman Empire, 1300-1923 (New York: Basic Books, 2006); Elizabeth F. Thompson, Justice Interrupted: The Struggle for Constitutional Government in the Middle East (Cambridge, MA: Harvard University Press, 2013); Eugene Rogan, The Fall of the Ottomans: The Great War in the Middle East (New York: Basic Books, 2015); Leslie Peirce, Empress of the East: How a European Slave Girl Became Queen of the Ottoman Empire (New York: Basic Books, 2017).

    [2] Erich Auerbach, “The Philology of World Literature,” in Time, History, and Literature: Selected Essays of Erich Auerbach, ed. James I. Porter, trans. Jane O. Newman (Princeton: Princeton University Press, 2014), 262-63.

    [3] Carina L. Johnson, Cultural Hierarchy in Sixteenth-Century Europe: The Ottomans and Mexicans (Cambridge: Cambridge University Press, 2011).

    [4] Suraiya Faroqhi, Approaching Ottoman History: An Introduction to the Sources (Cambridge: Cambridge University Press, 1999), 2.

    [5] Ariel Salzmann, “The Education of an Ottomanist: Donald Quataert and the Narrative Arc of Ottoman Historiography, 1985-2011,” in History From Below: A Tribute in Memory of Donald Quataert, eds. Selim Karahasanoğlu & Deniz Cenk Demir (Istanbul: Bilgi Üniversitesi Yayinlari 2016) pp.75-106.

     

  • Zachary Loeb — General Ludd in the Long Seventies (Review of Matt Tierney, Dismantlings)

    Zachary Loeb — General Ludd in the Long Seventies (Review of Matt Tierney, Dismantlings)

    a review of Matt Tierney, Dismantlings: Words Against Machines in the American Long Seventies (Cornell University Press, 2019)

    by Zachary Loeb

    ~

    The guy said, “If machinery
    makes you so happy
    go buy yourself
    a Happiness Machine.”
    Then he realized:
    They were trying to do
    exactly that.

    – Kenneth Burke, “Routine for a Stand-Up Comedian” (15)

    A sledgehammer is a fairly versatile tool. You can use it do destroy things, you can use it to build things, and in some cases you can use it to destroy things so that you can build things. Granted, it remains a rather heavy and fairly blunt tool, it is not particularly well suited for fine detail work requiring a high degree of precision. Which is, likely, one of the reasons why those who are famed for wielding sledgehammers often wind up being characterized as being just as blunt and unsubtle as the heavy instruments they swung.

    And, perhaps, no group has been more closely associated with sledgehammers, than the Luddites. Those early 19th century skilled crafts workers who took up arms to defend their communities and their livelihoods from the “obnoxious machines” being introduced by their employers. Though the tactic of machine breaking as a form of protest has a lengthy history that predates (and post-dates) the Luddites, it is a tactic that has come to be bound up with the name of the followers of the mysterious General Ludd. Despite the efforts of writers and thinkers to rescue the Luddite’s legacy from “the enormous condescension of posterity” (Thompson, 12), the term “Luddite” today generally has less to do with a specific historical group and has instead largely become an epithet to be hurled at anyone who dares question the gospel of technological progress. Yet, as the second decade of the twenty-first century comes to a close, it may well be that “Luddite” has lost some of its insulting sting against the backdrop of metastasizing tech giants, growing mountains of toxic e-waste, and an ecological crisis that owes much to an unquestioned faith in the benefits of technology.

    General Ludd may well get the last laugh.

    That the Luddites have lingered so fiercely in the public imagination is a testament to the fact that the Luddites, and the actions for which they are remembered, are good to think with. Insofar as one can talk about Luddism it represents less a coherent body of thought created by the Luddites themselves, and more the attempt by later scholars, critics, artists, and activists to try to make sense of what is usable from the Luddite legacy. And it is this effort to think through and think with, that Matt Tierney explores in his phenomenal book Dismantlings: Words Against Machines in the American Long Seventies. While the focus of Dismantlings, as its title makes clear, is on the “long seventies” (the years from 1965 to 1980) the book represents an important intervention in current discussions and debates around the impacts of technology on society. Just as the various figures Tierney discussed turned their thinking (to varying extents) back to the Luddites, so too the book argues is it worth revisiting the thinking and writing on the matter from the long seventies. This is not a book on the historical Luddites, instead this book is a vital contribution to attempts to theorize what Luddism might mean, and how we are to confront the various technological challenges facing us today.

    Largely remembered for occurrences including the Vietnam War, the Civil Rights movement, the space race, and a general tone of social upheaval – the long seventies also represented a period when technological questions were gaining prominence. With thinkers such as Marshall McLuhan, Buckminster Fuller, Norbert Wiener, and Stewart Brand all putting forth visions of the way that the new consumer technologies would remake society: creating “global villages” or giving rise to a perception of all of humanity as passengers on “spaceship earth.” Yet they were hardly the only figures contemplating technology in that period, and many of the other visions that emerged aimed to directly challenge some of the assumptions and optimism of the likes of McLuhan and Fuller. In the long seventies, the question of what would come next was closely entwined with an evaluation of what had come before, indeed “the breaking of retrogressive notions of technology coupled with the breaking of retrogressive technologies…undergoes a period of vital activity during the Long Seventies in the poems, fictions, and activist speech of what was then called cyberculture,” (15). Granted, this was a “breaking” that generally had more to do with theorizing than with actual machine smashing. Instead it could more accurately be seen as “dismantling,” the careful taking apart so that the functioning can be more fully understood and evaluated. Yet it is a thinking that, importantly, occurred against a recognition that the world was, as Norbert Wiener observed, “the world of Belsen and Hiroshima” (8). To make sense of the resistant narratives towards technology in the long seventies it is necessary to engage critically with the terminology of the period, and thus Tierney’s book represents a sort of conceptual “counterlexicon,” to do just that.

    As anyone who knows about the historical Luddites can attest, they did not hate technology (as such). Rather they were opposed to particular machines being used in a particular way at a particular place and time. And it is a similar attitude towards Luddism (not as an opposition to all technology, but as an understanding that technology has social implications) that Tierney discusses in the long seventies. Luddism here comes to represent “a gradual relinquishing of machines whose continued use would contravene ethical principles” (30), and this attitude is found in Langdon Winner’s concept of “epistemological Luddism” (as discussed in his book Autonomous Technology) and in the poetry of Audre Lorde. While Lorde’s line “for the master’s tools will never dismantle the master’s house” continues to be well known by activists, the question of “tools” can also be engaged with quite literally. Approached with a mind towards Luddism, Lorde’s remarks can be seen as indicating that it is not only that “the master’s house” must be dismantled but “the master’s tools” as well – and Lorde’s writing suggests poetry as a key tool for the dismantler. The version of Luddism that emerges in the late seventies represents a “sort of relinquishing” it “is not about machine-smashing at all” (47), instead it entails a careful work of examining machines to determine which are worth keeping.

    The attitudes towards technology of the long seventies were closely entwined with a sense of the world as made seemingly smaller and more connected thanks to the new technologies of the era. A certain strand of thinking in this period, exemplified by McLuhan’s “global village” or Fuller’s “Spaceship Earth,” achieved great popular success even as reactionary racist and nativist notions lurked just below the surface of the seeming technological optimism of those concepts. Contrary to the “fatalistic acceptance of new technological constraints on life” (48), works by science fiction authors like Ursula Le Guin and Samuel R. Delaney presented a notion of “communion, as a collaborative process of making do” (51). Works like The Dispossessed (Le Guin) and Triton (Delaney), presented readers with visions, and questions, of “real coexistence…not the passage but the sharing of a moment” (63). In contrast to the “technological Messianism” (74) of the likes of Fuller and McLuhan, the “communion” based works by the likes of Le Guin and Delaney focused less on exuberance for the machines themselves but instead sought to critically engage with what types of coexistence such machines would and could genuinely facilitate.

    Coined by Alice Mary Hilton, in 1963, the idea of “cyberculture” did not originally connote the sort of blissed-out-techno-optimism that the term evokes today. Rather it was meant to be “an alternative to the global village and the one-town world, and an insistence on collective action in a world not only of Belsen and Hiroshima but also of ongoing struggles toward decolonization, sexual and gender autonomy, and racial justice” (12). Thus, “cyberculture” (and cybernetics more generally) may represent one of the alternative pathways along which technological society could have developed. What “cyberculture” represented was not an exuberant embrace of all things “cyber,” but an attempt to name and thereby open a space for protest, not “against thinking machines” but which would “interrupt the advancing consensus that such machines had shrunk the globe” (81). These concepts achieved further maturation in the Ad Hoc Committee’s “Triple Revolution Manifesto” (from 1964), which sought to link an emancipatory political program to advances in new technology, linking “cybernation to a decrease in capitalist, racist, and militarist violence” (85). Seizing upon an earnest belief that the technological ethics could guide new technological developments towards just ends, “cyberculture” also imagined that such tools could supplant scarcity with abundance.

    What “cyberculture” based thinking consists of is a sort of theoretical imagining, which is why a document like a manifesto represents such an excellent example of “cyberculture” in practice. It is a sort of “distortion” that recognizes how “the fates of militarism, racism, and cybernation have only ever been knotted together” and “thus calls for imaginative practices, whether literary or activist, for cutting through the knot” (95). This is the sort of theorizing that can be seen in Martin Luther King, Jr.’s commentary on how science and technology had made of “this world a neighborhood” without yet making “of it a brotherhood” (96). The technological ethics of the advocates of “cyberculture” could be the tools with which to make “it a brotherhood” without discarding all of the tools that had made it first “a neighborhood.” The risks and opportunities of new technological forms were also commented upon in works like Shulamith Firestone’s Dialectic of Sex wherein she argued that women needed to seize and guide these technologies. Blending analysis of what is with a program for what could be, Firestone’s work shows “that if other technologies are possible, then other social practices, even practices that are rarely considered in relation to new technology, may be possible too” (105).

    For some, in the long seventies, challenging machinery still took on a destructive form. Though this often entailed a sort of “revolutionary suicide” which represented an attempt to “prevent the becoming-machine of subjugated human bodies and selves” (113). A refusal to become a machine oneself, and a refusal to allow oneself to become fodder for the machine. Such a self-destructive act flows from the Pynchon-esque tragic recognition of a growing consensus “that nothing can be done to oppose” the new machines (122). Such woebegone dejection is in contrast to other attitudes that sought to not only imagine but to also construct new tools that would put the people and community first. John Mohawk, of the Haudenosaunee Confederacy of Mohawk, Oneida, Onondaga, Cayuga, and Seneca people gave voice to this in his theorizing of “liberation technology.” As Mohawk explained at a UN session, “Decentralized technologies that meet the needs of the people those technologies serve will necessarily give life to a different kind of political structure, and it is safe to predict that the political structure that results will be anticolonial in nature” (127). The search for such alternative technologies suggested a framework in which what was needed was “machines to suit the community, or else no machines at all” (129) – a position that countered the technological abundance hoped for by “cyberculture” with an appeal for technologies of subsistence. After all, this was the world of Belsen and Hiroshima, “a world of new and barely understood technologies” (149), in such a world “where the very skin of the planet is a ledger of technological misapplications” (154) it is wise to proceed with caution and humility.

    The long seventies present a fascinating kaleidoscope of visions of technologies, how to live with them, how to select them, and how to think about them. What makes the long seventies so worthy of revisiting is that they and the present moment are both “seized with a critical discourse about technology, and by a popular social upheaval in which new social movements emerge, grow, and proliferate” (5). Luddism may be routinely held up as a foolish reaction, but “by breaking apart certain machines, we can learn to use them better, or never use them again. By dissecting certain technocentric cultural logics, we can likewise challenge or reject them” (162). That the Luddites are so constantly vilified may ultimately be a signal of their dangerous power, insofar as they show that people need not passively sit and accept everything that is sold to them as technological progress. Dismantling represents a politics “not as machine hating, but as a way to protect life against a large=scale regimentation and policing of security, labor, time, and community” (166).

    To engage in the fraught work of technological critique is to open oneself up to being labeled a Luddite (with the term being hurled as an epithet), to accusations of complicity in the very systems you are critiquing, and to a realization that many people simply don’t want to listen to their smartphone habits being criticized. Yet the various conceptual frameworks that can be derived from a consideration of “words against machines in the American long seventies” provide “tactics that might be repeated or emulated, if nostalgia and cynicism do not bar the way” (172). Such concepts present a method of pushing back at the “yes, but” logic which riddles so many discussions of technology today – conversations in which the downsides are acknowledged (the “yes”), yet where the counter is always offered that perhaps there’s still a way to use those technologies correctly (the “but”).

    In contrast to the comfortable rut of “yes, but” Tierney’s book argues for dismantling, wherein “to dismantle is to set aside the dithering of yes, but and to try instead the hard work of critique” (175).

    Running through many of the thinkers, writers, and activists detailed in Dismantlings is a genuine attempt to come to terms with the ways in which new technological forces are changing society. Though many of these individuals responded to such changes not by picking up hammers, but by turning to writing, this activity was always couched in a sense that the shifts afoot truly mattered. Agitated by the roaring clangor of the machines of their day, these figures from the long seventies were looking at the machines of their moment in order to consider what would need to be done to construct a different future. And they did this while looking askance at the more popular techno-utopian visions of the future being promulgated in their day. Writing of the historic Luddites, the historian David Noble commented that, “the Luddites were perhaps the last people in the West to perceive technology in the present tense and to act upon that perception” (Noble, 7), and it may be tempting to suggest that the various figures cataloged in Dismantlings were too focused on the future to have acted upon technology in their present. Nevertheless, as Tierney notes, “the present does not precede the future; rather the future (like its past) distorts and neighbors the present” (173) – the Luddites may have acted in the present, but their eyes were also on the future. It is worth remembering that we do not make sense of the technologies around us solely by what they mean now, but by what we think they will mean for the future.

    While Dismantlings provides a “counterlexicon” drawn from the writing/thinking/acting of a range of individuals in the late seventies, there is something rather tragic about reading these thoughts two decades into the twenty-first century. After all, readers of Dismantlings find themselves in what would have been the future to these late seventies thinkers. And, to be blunt, the world of today seems more in line with those thinkers’ fears for the future than with their hopes. An “epistemological Luddism” has not been used to carefully evaluate which tools to keep and which to discard, “communion” has not become a guiding principle, and “cyberculture” has drifted away from Hiton’s initial meaning to become a stand-in for a sort of uncritical techno-utopianism. The “master’s tools” have expanded to encompass ever more powerful tools, and the “master’s house” appears sturdier than ever – worse still many of us may have become so enamored by some of “the master’s tools” that we have started to entertain delusions that these are actually our tools. To a certain extent, Dismantlings stands as a reminder of a range of individuals who tried to warn us that we would wind up in the mess in which we find ourselves. Those who are equipped with such powers of perception are often mocked and derided in their own time, but looking back at them with hindsight one can get a discomforting sense of just how prescient they truly were.

    Matt Tierney’s Dismantlings: Words Against Machines in the American Long Seventies is a remarkable book. It is also a difficult book. Difficult not because of impenetrable theoretical prose (the writing is clear and crisp), but because it is always challenging to go back and confront the warnings that were ignored. At a moment when headlines are filled with sordid tales of the malfeasance of the tech behemoths, and increasingly terrifying news of the state of the planet, it is both reassuring and infuriating to recognize that it did not have to be this way. True, these long seventies figures did not specifically warn about Facebook, and climate change was not the term they used to speak of environmental degradation – but it’s doubtful that many of these figures would be particularly surprised by either occurrence.

    As a contribution to scholarship, Dismantlings represents a much needed addition to the literature on the long seventies – particularly the literature that considers technology in that period. While much of the present literature (much of it excellent) dealing with those years has tended to focus on the hippies who fell in love with their computers, Tierney’s book is a reminder of those who never composed poems of praise for their machines. After all, not everyone believed that the computer would be an emancipatory technology. This book brings together a wide assortment of figures and draws useful connections between them that will hopefully rescue many a name from obscurity. And even those names that can hardly be called obscure appear in a new light when viewed through the lenses that Tierney develops in this book. While readers may be familiar with names like Lorde, Le Guin, Delaney, and Pynchon – Tierney makes it clear that there is much to be gained by reading Hilton, Mohawk, Firestone, and revisiting the “Triple Revolution Manifesto.”

    Tierney also offers a vital intervention into ongoing discussions over the meaning of Luddism. While it may be fair to say that such discussions are occurring amongst a rather small group of people, it is a passionate debate nevertheless. Tierney avoids re-litigating the history of the original Luddites, and his timeline cuts off before the emergence of the Neo-Luddites, but his book provides valuable insight into the transformations the idea of Luddism went through in the long seventies. Granted, Luddism does not always appear to be a term that was being embraced by the figures in Tierney’s history. Certainly, Winner developed the concept of “epistemological Luddism,” and Pynchon is still remembered for his “Is it O.K. to Be a Luddite?” op-ed, but many of those who spoke about dismantling did not don the mask, or pick up the hammer, of General Ludd. Thus, this book is a clear attempt not to restate others’ views on Luddism, but to freshly theorize the idea. Drawing on his long seventies sources, Tierney writes that:

    Luddism is not the destruction of all machines. And neither is it the hatred of machines as such. Like cyberculture, it is another word for dismantling. Luddism is the performative breaking of machines that limit species expression and impede planetary survival. (13)

    This is a robust and loaded definition of Luddism. While it clearly moves Luddism towards a practice instead of simply a descriptor for particular historical actors, it also presents Luddism as a constructive (as opposed to destructive) process. There are several aspects of Tierney’s definition that deserve particular attention. First, by also evoking “cyberculture” (referring to Hilton’s ethically grounded notion when she coined the term), Tierney demonstrates that Luddism is not the only word or tactic for dismantling. Second, by evoking “the performative breaking,” Tierney moves Luddism away from the blunt force of hammers and towards the more difficult work of critical evaluation. Lastly, by linking Luddism to “species expression and…planetary survival,” Tierney highlights that even if this Luddism is not “the hatred of machines as such” it still entails the recognition that there are some machines that should be hated – and that should be taken apart. It’s the sort of message that you can imagine many people getting behind, even as one can anticipate the choruses of “yes, but” that would be sure to greet this.

    Granted, even though Tierney considers a fair number of manifestos of a revolutionary sort, Dismantlings is not a new Luddite manifesto (though it might be a Luddite lexicon). While Tierney writes of the various figures he analyzes with empathy and affection, he also writes with a certain weariness. After all, as was noted earlier, we are currently living in the world about which these critics tried to warn us. And therefore Tierney can note, “if no political overturning followed the literary politics of cyberculture and Luddism in their own moment, then certainly none will follow them now” (25). Nevertheless, Tierney couches these dour comments in the observation that, “even as a revolution fails, its failure fuels common feeling without which subsequent revolutions cannot succeed” (25). At the very least the assorted thinkers and works described in Dismantlings provide a rich resource to those in the present who are concerned about “species expression” and “planetary survival.” Indeed, those advocating to break up the tech companies or pushing for the Green New Deal can learn a great deal by revisiting the works discussed in Dismantlings.

    Nevertheless, it feels as though there are some key characters missing from Dismantlings. To be clear this point is not meant to detract from Tierney’s excellent and worthwhile book. Furthermore, it must be noted that devotees of particular theorists and social critics tend to have a strong “why isn’t [the theorist/social critic I am devoted to] discussed more in here!?” reaction to works. Nevertheless, there were certain figures who seemed to be oddly missing from Dismantlings. Reflecting on the types of machines against which figures in the long seventies were reacting, Tierney writes of “the war machine, the industrial machine, the computer, and the machines of state are all connected” (4). And it was the dangerous connection of all of these that the social critic Lewis Mumford sought to describe in his theorizing of “the megamachine” – theorizing which he largely did in his two volume Myth of the Machine (which was published in the long seventies). Though Mumford’s idea of “technic” eras is briefly mentioned early in Dismantlings, his broader thinking that touches directly on the core areas of Dismantlings are not remarked on. Several figures who were heavily influenced by Mumford’s work appear in Dismantlings (notably Bookchin and Roszak), and Mumford’s thought could have certainly bolstered some of the books arguments. Mumford, after all, saw himself as a bit of an anti-McLuhan – and in evaluating thinkers who were concerned with what technology meant for “species expression” and “planetary survival” Mumford deserves more attention. Given the overall thrust of Dismantlings it also might have been interesting to see Erich Fromm’s The Revolution of Hope: toward a humanized technology and Ivan Illich’s Tools for Conviviality discussed. Granted, these comments are not meant as attacks on Tierney’s excellent book – they are simply an observation by an avowed Mumford partisan.

    To fully appreciate why the thoughts from the long seventies still matter today it may be useful to consider a line from one of Mumford’s early works. As Mumford wrote, in 1931, “every generation revolts against its fathers and makes friends with its grandfathers” (Mumford, 1). To a certain extent, Dismantlings is an argument for those currently invested in debates around technology to revisit “and make friends” with earlier generations of critics. There is much to be gained from such a move. Notable here is a shift in an evaluation of dangers. Throughout Dismantlings Tierney returns frequently to Wiener’s line that “this is the world of Belsen and Hiroshima” – and without meaning to be crass this is an understanding of the world that has somewhat receded into the past as the memory of those events becomes enshrined in history books. Yet for the likes of Wiener and many of the other individuals discussed in Dismantlings, “Belsen and Hiroshima” were not abstractions or distant memories – they were not the crimes that could be consigned to the past. Rather they were bleak reminders of the depths to which humanity could sink, and the way in which science and technology could act as a weight to drag humanity even deeper. Today’s world is the world of climate change, border walls, and surveillance capitalism – but it is still “the world of Belsen and Hiroshima.”

    There is much that needs to be dismantled, and not much time in which to do that work.

    The lessons from the long seventies are those that we are still struggling to reckon with today, including the recognition that in order to fully make sense of the machines around us it may be necessary to dismantle many of them. Of course, “not everything should be dismantled, but many things should be and some things must be, even if we don’t know where to begin” (163).

    Tierney’s book does not provide an easy answer, but it does show where we should begin.

    _____

    Zachary Loeb earned his MSIS from the University of Texas at Austin, an MA from the Media, Culture, and Communications department at NYU, and is currently a PhD candidate in the History and Sociology of Science department at the University of Pennsylvania. Loeb works at the intersection of the history of technology and disaster studies, and his research focusses on the ways that complex technological systems amplify risk, as well as the history of technological doom-saying. He is working on a dissertation on Y2K. Loeb writes at the blog Librarianshipwreck, and is a frequent contributor to The b2 Review Digital Studies section.

    Back to the essay

    _____

    Works Cited

    • Lewis Mumford. The Brown Decades. New York: Dover Books, 1971.
    • David F. Noble. Progress Without People. Toronto: Between the Lines, 1995.
    • E.P. Thompson. The Making of the English Working Class. New York: Vintage Books, 1966.