Category: The b2o Review

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

  • Peter Gratton — Neoliberalism’s Appeal: Crime, Punishment, and the State on Trial (Review of Geoffrey de Lagasnerie’s Judge and Punish)

    Peter Gratton — Neoliberalism’s Appeal: Crime, Punishment, and the State on Trial (Review of Geoffrey de Lagasnerie’s Judge and Punish)

    by Peter Gratton

    Review of: Geoffrey de Lagasnerie’s Judge and Punish: The Penal State on Trial, trans. Lara Vergnaud (Stanford, CA: Stanford University Press, 2018). Originally published in French as Juger: L’État pénal face à la sociologie (Paris: Librairie Arthème Fayard, 2016).

    Geoffrey de Lagasnerie’s Judge and Punish: The Penal State on Trial, first published in French as L’État pénal face à la sociologie (The Penal State Confronts Sociology, Paris: Librairie Arthème Fayard, 2016) and translated well by Lara Vergnaud, is an at times brilliantly written polemic, decoding the ways in which we take our systems of judging and punishing as an ever-existing part of our background. This book is not a genealogy of the jurisprudential models used in the West and so is not akin to Michel Foucault’s history of the prison in Discipline and Punish (1975). Nor is it a long history of the birth of punishment as in Friedrich Nietzsche’s Genealogy of Morals (1887). Nor is it is call for prison abolitionism à la Angela Davis. But it is a searing and necessary brief against how we judge guilt and innocence in criminal trials that provide entree to the state networks of systemic violence against the poor, those of color, and the marginalized in general. De Lagasnerie proves an ample prosecutor of the current French system—the book is replete with memorable lines that will stick with any jury of his peers reading along—and his suit is one that can and should be brought in different jurisdictions across the West.

    Yet his case all but falls apart as he comes to his summation. There, in the final chapters, after so many allegations that he is undertaking a “radical” critique of these systems, he argues for a neoliberal response to crime and justice that he argues has not yet occurred in practice.  “If modern transformations of the state had truly been driven by a neoliberal logic,” he writes, “they wouldn’t have taken the form of a strengthening of the penal state,” he states as if it were a matter of fact (180). This left neoliberalism, he stipulates, would privatize much of the criminal justice system (175-6). He leaves unexplained the rapid increases in the prison population of the United Kingdom, the United States, Australia, and his home country of France, those places where fiscal austerity and neoliberalism have been strongest even as crime rates have decreased often to their historically weakest. How to explain this correlation between neoliberal governance and the steroidal increase in the rise of our prison populations if it’s not in fact a relation of causation? He offers no exculpatory evidence. His amicus curiae for neoliberalism—the idealist route when facts are not in evidence—is to say neoliberalism hasn’t been taken far enough: its hyper-individualism provides another “conception of judgment and law” (79) that has been ignored by a dépassé but still remnant state authoritarianism that neoliberalism has yet to conquer (62). Once this occurs, there will be a privatization of criminality, creating a “horizontal” relation between victimizer and victimized, with minimal intervention by the state, whose sovereign, top-down relation to those rendered guilty of crimes would all but disappear (183).

    De Lagasnerie thus joins other followers of Foucault in recent memory who have taken a neoliberal turn, especially after the publication a decade ago of Foucault’s investigations of the incipient neoliberalism of the late 1970s in his 1978-9 lecture course, The Birth of Biopolitics. Based on a misreading of these lectures, those friendly to Foucault’s work like de Lagasnerie and Foucault’s Marxist critics both argue he welcomed neoliberalism’s critique of the totalizing, bureaucratic state as a means for countering state power. About this as a political strategy or even as a reading of the later Foucault, I have more than a reasonable doubt, but let me first let de Lagasnerie make his case before rendering a verdict at the end of this essay.

    De Lagasnerie opens the book with his own reporting on many scenes of trials in Parisian courts. His method is sociological but not the kind of empirical sociology that merely describes what is underway. That, nevertheless, he does well: de Lagasnerie details the quotidian, mechanical way in which defendant after defendant is processed, with the high stakes matched only by the manifest boredom (malaise) of the trials themselves (9). Prosecutors and defendants alike use the same arguments over and over, and the system itself turns on such iteration or repetition. This is what makes the structure look as natural and inevitable as the Earth’s revolution around the sun. Everyone appears to be treated the same even as defendants of color, for example, are more likely to face graver sentences and are far more likely to be found guilty (201-2). “The very repetition” of the trials, de Lagasnerie writes, “immunizes the penal apparatus [le dispositif pénal] from criticism” (8). Every step in the process, from the arrest to pre-trial hearings to the trial to the judgment and sentencing, “operates,” he notes, “within the comfort of habit, an obvious and automatic way of reacting to illegal activity, unhindered by the need or desire to question what is happening” (8).

    One shouldn’t for a moment diminish the vast asymmetry between the trauma for those involved and the almost nonchalant bureaucratic manner at play. The only questioning of the system occurs when this system fails to function, e.g., when a crime goes unpunished, when the lawyers don’t follow the procedure, and so on, but never concerns the system itself. Any discussion of factors beyond the facts and persons of the case are a priori and legally inadmissable. Even the most progressive of trial observers may say, sure, there is systemic racism, the police are corrupt, and so on, but he pulled the trigger, he is the guilty party, and despite it all, he  is responsible and so he—not some system, not some history of racism, not someone or something outside the courtroom walls—must be punished. How, after all, does one put a system, let alone the state, on trial?

    De Lagasnerie argues we continually fail to take the lessons of sociology into account–hence the subtitle of the French edition. We focus on the procedures of these trials—they are an object of endless fascination for viewers of films and television and readers of detective novels—but we invariably leave out the wider social context in which these trials take place. Against this manner of investigation, de Lagasnerie is attuned to how each case, despite its repetitiveness, individualizes the defendant: witnesses, supposedly expert or otherwise, are put on the stand to sketch out a character who would commit such an alleged crime. But these depictions invariably leave out any social context. Even the “slightest attempt to comprehend the cause of their actions,” he argues, “is deemed irrelevant to the point that when certain mechanisms or variables—gender, race, class, age—are mentioned, notably by defense lawyers, their importance is dismissed” (4). Even in the country that gave us structuralism, “the consequences of structural and collective forces are [left] absent, even as, a few inches away, on the other side of the [court] wall, their impact is visible for all to see” (5).

    The book, then, operates also as an appeal for sociology, a discipline understood here as unveiling those very structures that create subjects, including the subjects of the law that we are from the very beginning. This sociological approach would “de-individualize” the trial system. Nevertheless, despite devoting his last chapter to “rethinking sociology,” Lagasnerie is unclear about just what his method is. Like a detective, one has to collect clues here and there throughout the book to attempt to solve the mystery oneself. At points he describes the juridical system as “unconscious” and at others says that sociology aims to “deconstruct” the processes of crime and punishment (e.g., 9, 35, 36, 62, 63, 137-8), while also saying that we should follow the insights of Pierre Bourdieu (e.g., 21, 40-41, 53-4, 63, 92-3, 197), or even the utilitarianism of the economist Gary Becker (188), providing even more confusion, since one can’t just pick and choose from these authors like an à la carte menu. In any event, here is one of his better explanations of what he overindulgently calls a  “renewed method for philosophy and the social sciences” (206):

    Questioning the criminal justice system requires unearthing the reasons why, when confronted by an event or act, we feel the need to identify, singularize, and judge rather than understand, generalize, and politicize: what purpose is served by an individualizing perception of events and the attribution of responsibility to singular subjects? Why create guilty subjects? What is the meaning of the system of judgment and of responsibility? (89)

    To answer these questions, we need a “sociological perspective,” which

    allow[s] us to become aware of everything that we implicitly assume and suppress in the act of judging. A social critique of the logic of the penal state allows for an understanding of the system of judgment in terms of its positivity, foundations, and functions; therefore, it allows us to see how it belongs to a more general economy of power. (99)

    This reference to a “general economy of power” is reminiscent of Foucault, who argued that all forms of knowledge, including even the science of sociology itself, are implicated in movements of power. Despite relatively minor criticisms of Foucault at several points (e.g., 16-17), de Lagasnerie seems to agree with him, for example, when he describes the role of prosecution experts who use pseudo-concepts borrowed from psychiatry and criminology as working hand in glove with state power (110). Rather than taking the trial system as a matter of course, de Lagasnerie’s sociological approach would “artificialize reality” (83) and “denaturaliz[e] or rende[r] artificial the apparatus [dispositif] of responsibility,” that is, the trial system. This would have the effect of undoing our “mechanisms of denial” (6) by which we disavow the “repressive nature” (18) of the state as it acts—and it acts par excellence through the criminal justice system.

    Here, though, he takes leave of Foucault, for whom power is not “repressive” or top-down. “We must cut off the king’s head” in political theory, Foucault famously said, not because there are never “vertical” forms of power, but because these result from lateral movements of disciplining and normalization. The state, then, is not the starting point for Foucault, which would make it an ahistorical and static entity from which power emanates, but is rather the result of movements “from below” that crystallize into this or that site in which the state is said to operate: the governmental psychiatric hospital, the prison, the military barracks, and so on. To say that the state is repressive misses the implication of each of us within the very systems of power he was attempting to outline. In this way, any libertarianism or anarchism, left or right, would fall to a Foucaultian critique: there is, as de Lagasnerie admits, always power that operates at a distance from the state (20)—the processes that normalize each and every one of us (think of mass conformism)—such that even if the state were to disappear altogether, power would still wind its way through each of us within a given society. This is why Foucault derided the idea that one could speak objectively about any given state of affairs: power operates through us, even in our most personal affairs, such in acts of sex, and our existence is the effect of contingent, historical, and, as de Lagasnerie puts it, “artificial” movements of power (8). In this way, we are subjectivized, not subjects freely choosing who we are to be. Thus, we are not subjects who choose to enter into the law but are rather “a subject of the law” that is “subjected to and confronted by the state’s construction of reality and having to live with it” (15-16). That is to say, the state’s vision of reality could not exist without docile subjects who answer to the law as a matter of course.

    For Foucault, this does not mean we can simply exit from that reality to a vision of another, since we are the creation of our particular historical milieu and the matrices of power within it. There is no God’s eye view or objective place from which to judge this reality as better or worse than any other: the point of his genealogies of the prison, sexuality, biopower, and so on, was not to make normative or ethical claims. To do so requires thinking of knowledge without power, a disinterested power, which Foucault denied throughout his work. This is not to say, for example, that Foucault did not engage in political activism when it related to the French prison system, which he did. This didn’t mean that he didn’t look for counter-forms of power on the margins of society that could perhaps provides practices of freedom not overdetermined by our disciplinary relationships, which he did. But this also meant that any work by Foucault the author had an interest and was invested in how that knowledge could be used strategically within the games of power at play as he was writing in the 1970s. To put it another way, there is not, for Foucault, an “outside” of power.

    This problem is not just one for Foucault: Marx argued he could not envision a communist society because he was produced within a capitalist system and any such vision would be idealist, even as he never tired of categorizing all the ways in which workers within a capitalist system were alienated from the products of their labor. The same goes for Jacques Derrida, whose deconstruction always noted the ways in which we speak borrows from the very systems we would wish to critique, or for decolonial thinkers such as Frantz Fanon, who set out to show the ways in which the colonized interiorized the means for their own exploitation and domination, or for feminists whom snarky conservatives believe ought not to wear dresses and so on—as if they, too, could leave the choices on offer within intertwining systems of patriarchy at home, at work, and within what we call politics in the limited sense of state governance. De Lagasnerie at times seems to get this point, describing well that the nature of subjectivity is not some metaphysical problem afar from our juridical and judicial systems:

    The justice system functions as an objective possibility in our lives that each of us must take into account and that shapes each one of us as a result (my emphasis). …None of us is sure to escape justice either; indeed, none of us do. It is a part of our everyday lives. Rare are those individuals who will never find themselves facing a judge or lawyer, the threat of a prison sentence or damages, or the eventuality of pressing charges or being sued. But even those who never have any direct contact with the justice system will have been nonetheless unavoidably forced to take into account its existence and demands—the potential to be accused and/or convicted of a crime—if only precisely to avoid it, either by respecting the law or by adopting strategies of concealment. (7)

    The violence of this system is not “intermittent,” but “underlies the very nature of the legal order” (38). De Lagasnerie justifiably argues that political theorists too often focus on tidying up the procedures of governance, while ignoring the violence that underlies them (42). In sum, while political theorists are happy to describe the violence that pre-existed the political, or the chaos that would ensue without a given political system, they are loathe to deal with the consequences of their theories for those judged guilty of not following the social contract. As de Lagasnerie puts it, “the task that political philosophy has assigned itself can be defined as follows: imagine a way to describe the state without mentioning violence; ensure that our relationship to the law is neutralized; and offer a depoliticized perception of politics” (42). For these theorists, the rule of law has been one of the greatest advances of Western civilization: all fall under the law and the subjectification mentioned above makes us responsible to the whole of society: when we break the law, it is not a lateral trauma against another individual, but against the state. Hence, in the United States, for example, cases are brought by the “people” of such and such jurisdiction against a defendant, as represented by a district attorney or other prosecutor. “Modern justice is a system in which interindividual actions,” as he puts it, “are reshaped by the state into actions against ‘society’” (154).

    Political theorists thus disavow the bloody products of their own thinking. There is no law without its enforcement, as Immanuel Kant once put it, and de Lagasnerie pulls no punches in describing just who should be brought into the dock: “[W]hat the judge does, objectively, is harm. To judge is to inflict violence. All legal interpretations inflict suffering on the individuals to whom they’re applied, whether it be by imprisoning them, taking away their property, or killing them” (37). Where dominant narratives depicts a neutral site in which justice is blind and any punishments are meted out neutrally, for de Lagasnerie, the “courtroom becomes the scene of an assault” (38, his emphasis). He writes:

    Living under the rule of law means living in a context in which the state has the right to dispose of us. Contrary to what a large proportion of political theory maintains,  being a subject of the law does not mean, first of all, being a protected and secure subject. We are first and foremost subjects who can be judged—that is, imprisoned, arrested, and convicted. We are vulnerable subjects, dispossessed in relation to the logic of the state. (40, original italics removed)

    Here, de Lagasnerie offers an advance over Foucault, who often underplayed  “juridical” power—the stuff of the entire legal apparatus—in his considerations of how we are normalized as subjects. De Lagasnerie suggests, rightly, though, that it is through the criminal justice system that these norms are enforced in the most vicious terms; it is this that makes us precarious subjects. Anyone who has been poor, of color, or on the margins of our societies knows deep within their bones this precarity. We need only think of the gruesome and grueling ways those in African American communities of the U.S. are under constant police surveillance or how one is punished for being poor: a unpayable fine for a broken tail light on the car needed to get to work becomes a bench warrant, which in turn becomes time in jail, which means the loss of that job and a criminal record denying one future employment—and the state is not done with its work yet. The uprisings in Ferguson, Missouri, five years ago were sparked by the fatal shooting of Michael Brown by police, but it was already a community under siege, like so many other minority communities across the U.S., U.K., and in France: the average household in Ferguson had three arrest warrants each, a later U.S. Department of Justice report found, with 16,000 out of 21,000 people in the community, largely African American, wanted by the law. This is the rule of law as it functions outside of theory and even if de Lagasnerie is vague about just what structural factors are in play (for a sociologist, he has an annoying tick in his books of merely mentioning “structures” and “systems” but never identifying them in any particularity), the problem of recidivism among the so-called criminal population is but another way to say that from within the legal system, there is no exit: voting rights are often taken away, future employment is limited largely to manual and impermanent labor, and merely being in one’s backyard becomes a killable offense. The criminal justice system is at once individualizing (you failed to show up for that warrant) and yet is also aimed at entire classes of people always already deemed a “criminal element.” It is in this context that de Lagasnerie is right to say, “Rather than saying that the state ‘sentences to death,’ we must say that it kills [assassine]; that it doesn’t arrest individuals but ‘abducts’ [enlève] them; that it doesn’t imprison people but ‘wrongfully detains’ [séquestre] them; that it doesn’t force them to pay fines but ‘robs’ [dépouille] them” (60).

    De Lagasnerie insightfully notes that the French criminal justice system defines responsibility, as in the U.S. and elsewhere, negatively: the law only lists when one is not responsible for given crimes, but generally not what responsibility positively means. Hence, there is a veritable right, especially for agents of the state and those aligned with it, to irresponsibility, a right to impunity. There are those who are held responsible—and then are all those who have the right to irresponsibility, not just people with the wealth to avoid the criminal justice system altogether but first and foremost agents acting in the name of the state. What then is to be done? He writes:

    Our challenge then becomes to reflect on the possibility of creating new narratives. That means reformulating what happens in order to develop a new awareness of reality that will prompt us to assign the cause of events not to individual agents but rather to collective logics rooted in concrete situations. We must question our urge to judge and orient our energy toward transforming political totalities rather than toward punishing individual actions, which are merely the occasional and local manifestations of those totalities. (132)

    Surely this chafes at our very understanding of ourselves and others: to live is to judge, it seems. We measure our personal lives in terms of small writs of wrongs righted through micro punishments: the cheating partner is given time in the clichéd dog house, the wayward employee is reprimanded and faces loss of work, the perpetually late student is given marks off her participation grade, the sloppy waiter is punished with a bad tip, a recent book out receives, ahem, its deserved review. The list is endless. We don’t do these things, we tell ourselves, because it is in our interest or because we like it. Every parent says this: it hurts me more than it hurts you, the child I am punishing; it is what everyone would do in our place when we punish you. In the courts, this is obvious: the judge shouldn’t have an interest in who wins. He or she is merely to decide based upon the evidence before her and not take the first or second side: she sits literally above the prosecutor and defendant, the first and second parties. This is key today: at some point in Western history, we invented what is called the third party, an objective position where we pretend we don’t have an interest or desire in the results, a point Foucault takes up in his 1970-1 Lectures on the Will to Know when he studies ther advent of the rule of law and “objective” forms of judging in ancient Greece. But I don’t need to tell you how this story ends: study after study shows, whatever the intent of the judge, an interest is served: those who are white and/or wealthy face far fewer penalties in our criminal justice systems. But we couldn’t have knowledge as we understand it—that is, philosophy, history, and sociology—without this objective, third-party stance either: we are judging objectively what is metaphysical, what happened in history, and so on, or those disciplines wouldn’t exist. You can see, then, what Foucault means by power/knowledge: power operates in our courts and uses models of knowledge, while those models of knowledge themselves are a form of power. After all, the courts are nothing but knowledge producing places: endless files line the offices of our courthouses, all in rendering the power of the state based on criminological and other theories.

    The “fantasy” of the objective third party position thus removes our own implication in the micro-punishments we mete out, a point ignored by de Lagasnerie, but one that is crucial to the apparatus he describes. After all, by “putting the state on trial,” de Lagasnerie repeats the very logic his work should be undermining. He maintains that his own “scientific approach” can “produce knowledge” that allows us to “step back from ourselves,” even as he had described earlier in the book the ways in which who we are allows no such “step back” outside the subject of the law (210), indeed going so far as to say that these structures are “unconscious” (7), though one wonders just how one steps back from what cannot by definition be brought to conscious awareness. De Lagasnerie thus will want two things at the same time: “sociology would force us to break with that inclination in order to experience what we might call an immediately political relationship to the world” (132) and that we take a “critical distance…from the system of judgment” (11). But if we are formed in and through being a subject to the law, how is such a critical distance possible? And isn’t any notion of a critical distance an intellectual mirror of the judging we see in criminal trials, that is, that we as scientists, sociologists, or philosophers can sit above the fray and pass judgment, even as de Lagasnerie sentences us to take “an immediately political relationship to the world”? In any event, we are to pass judgment over this system of judging by to compare it to a reality beyond or beneath these power relations:

    Part of the violence of the justice system comes from the fact that the penal state governs us by forcing us to correspond to an image of the subject that is at odds with our true mode of existence. It is this disconnect that causes and encapsulates the violence of the juridical order. In fact, that disconnect is itself violent. Being a subject of the law means being subjected to and confronted by the state’s construction of reality and having to live with it. As a result the legal subject experiences a certain amount of dispossession and vulnerability. …The interesting question here is not our creation as subjects of the law but precisely the fact that we are not, in reality, subjects of the law. (15-16)

    Here, we could raise various ontological questions of just how, as subjects to the law, we are to discern such a reality, or whether what “we” are and how we view ourselves is always politicized, always within formations of power, and therefore, not in some nature or existence elsewhere.

    At this point, de Lagasnerie, to correct this violence, suggests two different tactics at once: first, we must begin to think responsibility as “collective” and within “systems of relationships within which individual agents exist” (93). This means, in a sense, suspending individual judgments:We must question our urge to judge and orient our energy toward transforming political totalities rather than toward punishing individual actions, which are merely the occasional and local manifestations of those totalities” (131-2). No doubt, then, this means a complete transformation of everything we think of under crime and punishment: a truly radical move, it would be a legal theory without precedent but one that is necessary for thinking another future not imprisoned in the systems of the now. And yet, this “ethical task” of “reconstituting collective logics” (132) is to be supplemented by a neoliberal approach that de Lagasnerie valorizes as well, one that re-individualizes us outside such collective logics so-called criminality. Here he supports Becker’s approach:

    If we read, for example, economist Gary Becker’s seminal texts on crime and punishment, it’s clear that their underlying objective is to reject the relevance of transcendent totalities (“public order,” “state,” “society”) that undergird the repressive use of the law and to restore actions and their consequences to what they really are (my emphasis), meaning singular events or facts: a criminal act is an interpersonal interaction in which one individual wrongs another. A crime is a lateral and local matter that brings together victims and guilty parties, not, as modern law would have us believe, individuals and the state, individuals and society, or individuals and the law….Ultimately, claims Becker, we could say that victims are nothing more than involuntary creditors. … Damages therefore become the favored “punishment.” (173-4)

    This is not quite an adequate reading of Becker, who is more than happy to describe crimes as a cost to “society,” but nevertheless let’s see where de Lagasnerie wants to take neoliberalism:

    Neoliberal rationality is based on a refusal to accept the validity of a plane of reality higher than the discordant multiplicity of individuals and the relations between them. From this perspective there are only individuals and individual relationships. (175)

    If this is the case, then what to make of his brief for sociology with which the book begins and ends? By way of an answer, he notes later in the book:

    Because the penal state individualizes causes in order to judge, critiquing the workings of the law requires us to reflect on the violent effects produced by that concealment of social forces. But because the state socializes interindividual actions and their effects in order to punish, we must contrast it with a vision that dismantles the perceptions established by totalizing concepts such as society, collective consciousness, and the like. So, on the one hand, we are dealing with an opposition between a sociological vision and an individualizing one and, on the other, with a left-libertarian vision and a socializing one. (181)

    In short, we are to replace thinking of judging criminality in terms of crimes against the state or the nation, one takes it, and more in terms of how they are “private singular matters … lived in a specific manner by the agents involved” (175), presumably in the shadow of the societal structures that de Lagasnerie describes. At no point does de Lagasnerie recognize the neoliberal view of the subject as antithetical to the sociological approach that he champions from the beginning to the end of the book. Each is to be a rational agent where all forms of interpersonal violence is to be perceived economically and privately. No doubt, de Lagasnerie is right to suggest that this would denude, in theory, the state of much of its power, but in practice it’s all-too-clear what would continue to occur, given that the state would linger in these affairs, as he notes, to make sure justice is served: those with money can simply pay off their “debts” while those who are poor won’t. And what will happen to them? The backstop answer is clear.

    Neoliberal rationality, and all the more so libertarianism, is individualizing. It perceives rape, theft, injury, and attack for what they are: private, singular matters that, each time they occur, are invariably lived in a specific manner by the agents involved. The function of the law should therefore be to institute sanctions and compensation for the injury inflicted. The notion of horizontal, compensatory, or reconstructive law replaces criminal and vertical law. We have here a complete rejection of the idea, so essential to the state apparatus, that rape, theft, injury, and aggression constitute, above all else, disruptions of the public order, that they are acts contrary to society’s interests and should be punished for that very reason. (175-6)

    The invention of crimes to mete out punishments, as Nietzsche argued, has a long history in the West, and the punitive society, as Foucault called it, is not undone by privatizing these affairs. Here the problem is not just philosophical but historical: we have seen this manner of justice before, and de Lagasnerie never takes up this history or the great inequalities of wealth in the present day. The history of the Greek city-states is one of ridding them of private suits on behalf of oligarchs. So too in ancient Rome, where there is a lesson: when the famous XII tables were published, the poor who had access to those who could read did not accede to the law; they revolted now knowing what the law was. Born in 1981, de Lagasnerie has grown up as political options were limited to variants of neoliberalism, where the state could seen as a “robber” through taxes and during which one could write texts calling for both a sociological approach and one that denies it at the same time—he never brings his own subjectification into account here. Hence, as he suggests we do for so-called “criminals,” I would want to put his own work into a context, a history, and a milieu where neoliberalism seems to be the only option. For a future worthy of the name, I hope it isn’t. I join him in wanting to condemn to death the system of judgement and punishing that exists today in France and elsewhere. Justice calls for nothing less, even as it is invented everyday, here and there, answering to the singular trauma of victim and victimizer, a trauma that can’t be accounted for or counted in dollars and cents.

     

    Peter Gratton is a professor philosophy in the department of history and political science at Southeastern Louisiana University. He has written extensively on political and critical theory. He is currently writing a book that in part takes up the kinds of judgment used in the prison industrial complex.

  • Tyler M. Williams — Following Catherine Malabou (Review of Brenna Bhandar and Jonathan Goldberg-Hiller’s “Plastic Materialities: Politics, Legality, and Metamorphosis in the Work of Catherine Malabou”)

    Tyler M. Williams — Following Catherine Malabou (Review of Brenna Bhandar and Jonathan Goldberg-Hiller’s “Plastic Materialities: Politics, Legality, and Metamorphosis in the Work of Catherine Malabou”)

    by Tyler M. Williams

    Review of Brenna Bhandar and Jonathan Goldberg-Hiller, Plastic Materialities: Politics, Legality, and Metamorphosis in the Work of Catherine Malabou (Durham: Duke UP, 2015)

    Catherine Malabou’s pioneering philosophical conceptualization of plasticity has attracted a recent surge of critical attention, yet she rejects any suggestion that plasticity is her own, signature idea.[1] Malabou instead argues that plasticity, unattached to the singular identity of an author, circulates dynamically within the history of philosophy and gains its conceptual shape from the rich heritage that has unwittingly played host to it. Plasticity, Malabou says, is “trapped within the movement of contemporary philosophy itself” (Malabou and Williams 2012: 4). Although the vast majority of Malabou’s work since the publication of her first book, The Future of Hegel, highlights the debt that key philosophical periods and figures owe to plasticity’s power (a quiet tradition that spans from antiquity through poststructuralism and into the current vogue of new materialism), she consistently adds that plasticity also exceeds any strict disciplinary circumscription. Indebted as much to biology as to philosophy, and then onward to psychoanalysis, gender studies, literature, and anthropology, to name a few, plasticity by Malabou’s account always pushes at philosophy’s limit as philosophy’s unassimilated, supple remainder. Equally at home inside and outside philosophy, giving philosophy its shape while simultaneously exposing it to adaptation and change, plasticity challenges the very possibility of a rigid distinction between conventional notions of “inside” and “outside.”

    Derived etymologically from the Greek plassein, meaning both “to give” and “to receive” form, plasticity expresses the malleable condition of anything subjected to changes in form. Critics have often misconstrued Malabou’s understanding of plasticity’s transformability by treating it as a nihilistic ceaselessness or “perpetual change” that never stays in one place long enough to stand for anything.[2] This misreading reduces plasticity to an infinite production of the new by synonymizing plasticity and elasticity, two terms Malabou repeatedly distinguishes from each other—particularly in What Should We Do With Our Brain? but also in Plasticity at the Dusk of Writing and Ontology of the Accident, to say nothing of her many essays and interviews. Although elasticity and plasticity both give and receive form, elasticity retains the ability to return to a form prior to its transformation. Elasticity’s polymorphism thus amounts to a state of infinite variability and ceaseless change, but plasticity “cannot return to its initial form after undergoing deformation” (Malabou 2008: 15). Plasticity envelops the capacity for transformation and the rigid solidity of “a certain determination of form” (15).

    Almost paradoxically, then, plasticity’s resistance to elasticity comprises its most dynamic aspect. As much as plasticity changes form, it also preserves a shape, marks a point of resistant stability, and concretizes itself while retaining the mobility that threatens the concrete with destruction, which is why Malabou describes plasticity as terroristic in Ontology of the Accident (5). Taken as a whole, Malabou’s work shows that the philosophical tradition operates according to this dialectic. When she writes in Plasticity at the Dusk of Writing that plasticity’s “range of meanings” continues “to evolve with and in language” so much that “the very significance of plasticity itself appears to be plastic,” Malabou suggests that plasticity is doubly responsible for solidifying tradition and for maintaining that tradition’s suppleness (2010: 67). Its “significance” forms and reforms itself into the future like a type of auto-inheritance that shapes and preserves the legacy through the dynamic processes of heredity itself. The “significance” of plasticity therefore cannot be confined to the specific domains of Malabou’s study. Similar to Derrida’s insistence that deconstruction is “at work in the work” (1986: 124), plasticity for Malabou names a general logic that remains irreducible to any particular discourse, which is why she rejects a proprietary claim on the concept.

    The practical question of what to “do” with plasticity is thus both urgent and irresolvable. Urgent because, in addition to mobilizing innovations within neurobiology and epigenetics, plasticity’s dialectic of change and resistance constitutes, according to Malabou, the most adequate model for democratic opposition to hegemonic structures of global power. Irresolvable because plasticity is not an abstract transcendental concept, so the “doing” of plasticity will always be a matter of plastic materialities—of the brain (What Should We Do with Our Brain?), of gender (Changing Difference), of the subject (Self and Emotional Life), of trauma (The New Wounded), and so on. Yet, when following Malabou, a major interpretive error is to mistake the forest for the trees, as it were, and to restrict plasticity’s general movement to the specific contexts via which Malabou happens to articulate it. Plasticity is itself plastic and thus constitutes a generalizable “motor scheme,” a “metamorphic structure,” rather than a given technique, tool, or circumscribed topic (2010: 12, 27). As an interdisciplinary project, Malabou’s work demands a disciplinary responsibility to the intractably philosophical “motor” of plasticity’s “structure.”[3]

    Highlighting plasticity’s transformational role at the heart of the philosophical tradition, but paying particular attention to the interdisciplinarity Malabou draws from philosophy’s mutability and variability, Brenna Bhandar and Jonathan Goldberg-Hiller present Plastic Materialities: Politics, Legality, and Metamorphosis in the Work of Catherine Malabou, the first book of collected essays to be devoted entirely to Malabou’s growing oeuvre.[4] The volume includes three previously unpublished or thoroughly revised essays by Malabou herself, a brief interview conducted with her by Bhandar and Goldberg-Hiller, and nine critical essays that address Malabou’s work from a variety of disciplines including psychoanalysis, postcolonial studies, aesthetics, epigenetics, Marxism, biopolitics, critical race theory, entomology, and war studies.

    Plastic Materialities commendably demonstrates the vast applicability of Malabou’s thought. Unsurprisingly, the distinction between the volume’s stronger and weaker essays falls along lines of interdisciplinary responsibility. Chapters that remain attentive to the disciplined stakes of Malabou’s interdisciplinarity are most at home in a book of this sort, since they avoid the aforementioned trap of essentializing the scientific contexts in which Malabou articulates plasticity’s general “scheme.” Weaker chapters commit this essentialist error by ignoring the philosophical discipline of Malabou’s project, treating it instead as an easily transplantable index of interdisciplinary terms.[5] Rather than catalogue these merits and shortcomings in each chapter, what follows is a general account of how this distinction relates this volume to Malabou’s project as a whole.

    As the editors remark in their introduction, Plastic Materialities wants to identify how plasticity shapes a political itinerary (15). The volume thus addresses directly a debate that has trailed Malabou at least since the arrival of What Should We Do with Our Brain? in English translation in 2008: whether her account of plasticity necessarily entails the inherent political resistance she identifies with it. Much of Malabou’s short book argues for this necessity by calling for a shift in our “neuronal consciousness,” a shift that amounts to recognizing the brain as plastically adaptable to environmental input rather than conventionally programmatic and mechanical. She argues that a major consequence of this shift from neural preformationism to adaptability includes the abandonment of corporate, imperial, social, economic, and biopolitical structures of sovereignty predicated on neuronal ideologies of a rigidly centralized brain. Moreover, if many structures of power today already appear to work plastically, then, like its biological counterpart, this plasticity logically includes within it a foundational and unassailable resistance. Precisely what this resistance entails remains mostly unclear in Malabou’s work. The task of this volume therefore seeks to clarify the stakes of this resistance. In light of global neoliberalism’s wholesale reliance on corporate-capitalist models of flexibility and elasticity, for example, the editors, following Malabou both to the letter and toward new horizons, target the implications of plasticity’s “use” to “disrupt these structures” (2).

    At least two major considerations follow from the project Plastic Materialities sets for itself. The first, which Alberto Toscano most directly articulates in his chapter, concerns this fundamental question about the adequacy of plasticity with politics. Toscano argues that Malabou’s use of plasticity to “rethink the dialectical character of contemporary social forms,” particularly the “neoliberal formatting of change under the imperatives of flexibility, adaptability, and employability,” remains too philosophical (91, 97). He claims that Malabou’s philosophical recourse to neurobiology preserves the traditional image of philosophy as a discipline responsible for “providing a conceptual synthesis for other disciplines and practices” (93). As a result, this traditionalism only enables Malabou to link neuroplasticity and political resistance analogically: the brain is like the social, biological resistance to neural order is like political resistance to hegemony, plastic matter works like philosophical critique, and so on. Yet, Toscano concludes, “To think the social is like the brain is no more enlightening today than to think that the economy was like a large organism in the nineteenth century or like a hydraulic machine in the twentieth” (105). Unlike some essays in Plastic Materialities that uncritically accept and then reapply Malabou’s politics elsewhere (those by Carotenuto, Shapiro, Grove, Bhandar and Goldberg-Hiller all trend in this direction), Toscano’s essay remains skeptical of whether Malabou’s politicization of plasticity is sufficiently—or even necessarily—political.

    The second consideration concerns the volume’s isolation of “destructive plasticity” as a privileged concept. According to Malabou, “destructive plasticity” coincides with the productive work of “positive” plasticity. For example, in a synthesis of production and destruction, the brain abandons unused synaptic connections to build ones that are more efficacious. The priority Plastic Materialities places on “destructive plasticity” removes it from the broader context of Malabou’s work, thereby reducing it to a simple synonym for “resistance” and thus to some sort of tool or “resource” that can be “used” in the process of realizing some sort of intentional outcome (2, 20). However, as she makes clear in her own contributions to this volume, Malabou expressly rejects this teleology. Characterizing “destructive plasticity” as an apparatus that can be applied to whatever disciplinary field skews the dialectical symmetry of Malabou’s work and overlooks the contexts in metaphysics and ontology in which Malabou first formulates this concept. Moreover, insofar as Malabou’s later work radicalizes destructive plasticity beyond the productive/destructive binary, the very possibility of destructive negativity remains for her an ongoing question.

    In the paragraph that opens the final chapter to Ontology of the Accident, her “essay on destructive plasticity,” Malabou is still asking if “destructive plasticity is possible” (2012c: 73). Although the untitled preface to this short book clearly asserts that, yes, destructive plasticity is indeed possible and this possibility is evident biologically, the type of destruction that interests neurobiologists is ultimately productive. This productive destruction works as a “sculptural power that produces form though the annihilation of form” (Malabou 2012b: 49). (To reuse the example provided earlier, a process of “cellular annihilation” destroys certain components of an organism to enable that organism to grow, develop, and survive.)[6] However, although current biological discourses recognize the productive work of destructive negativity, Malabou’s interest in the possibility of a more radical destructibility in Ontology of the Accident and The New Wounded goes beyond this productive, positive function. Malabou wants to think the possibility of a negativity that remains exclusively or absolutely negative. A negativity unadorned, as it were, with a complimentary, positive, or redeeming teleological function.

    Of course, one could suggest (as Malabou does) that this questioning of possibility already assumes a position of affirmation, since possibility “designates what one is capable of” or “what may come into being” (2012c: 73). To question the possibility of anything asks for the affirmation of that thing’s production. In this sense, questioning the possibility of destructive plasticity’s negativity finds itself wrapped tightly in contradiction; the premise of the question compromises the possibility of a non-productive negativity from the start. From the metaphysical tradition that positively binds possibility to actuality, the possibility of an unproductive negativity would seem logically impossible. Malabou therefore demands a new understanding of possibility as such, an ontology that could account for a possible negativity that is not already affirmative. In other words, unlike Hegel’s dialectically productive negativity, Malabou seeks a possibility that would not be possible, a no that refuses a silent yes, a possibility that would not be tethered to the affirmation of a creativity. The most destructive force in Malabou’s renegotiation of possibility is its impossible demand, or rather its demand for impossibility. The “ontology of the accident” thus names the impossible possibility of the absolutely impossible.

    Malabou’s own contributions to Plastic Materialities address these two considerations together—as if the two are actually one. Across her three essays, Malabou argues that attention to the ontology of plasticity demands a specific politics. Her contributions to this volume investigate the chance of this onto-political relation and the (im)possibility of its future shape. Plastic Materialities makes an impactful contribution to the growing field of interest in Malabou’s work precisely because Malabou here provides perhaps her most thorough account of the relationship between plasticity’s ontological critique and its political import.

    In “From the Overman to the Posthuman: How Many Ends?” Malabou revisits the conclusion Derrida reaches in his famous essay “The Ends of Man.” There, Derrida remarks that the history of nonhumanist philosophy—including Hegel, Husserl, and Heidegger—ultimately reconstitutes an essentialist concept of the human. Derrida argues that a grand repetition is at stake, since early attempts outside humanism retain and repeat the premises of that same humanism. The “end” (closure) of humanism carries an essentialist “end” (telos) of the human. And yet, at the end of Derrida’s text, which Malabou argues is a sort of beginning, a passing reference to Nietzsche leaves open an opportunity to rethink repetition and, thus, to renew a thinking of the possibilities and impossibilities of humanism. Is there a chance for nonhumanist thought, Malabou asks, that does not fall victim to this essentialist repetition?

    Malabou points out that Nietzsche’s sense of repetition is related directly to revenge, since “revenge” names the memory (what Nietzsche calls the “inability to forget”) essential both to the human and to the structure of temporal succession. Redemption from the repetitions of humanism would thus be tantamount to a redemption from revenge, a yes-saying that can embrace repetition without relying on the retention of a pre-constituted essence. To account for this refined sense of repetition, Malabou turns to recent biological research into reparative stem-cells, which can renew (i.e. repeat) themselves and thus forge new bodies or parts of bodies without recourse to a structure of “revenge.” A repetition that does not simply fulfil a program but produces itself from out of itself. The possibility of the non-human, or of “the non-humanist tradition,” for Malabou amounts to thinking repetition beyond the vicissitudes of this essentialist revenge. Here and in her other two contributions to Plastic Materialities, Malabou argues that these innovations in biological research create new philosophical horizons—not simply within the applicative domains of “philosophy of science” or “bio-philosophy” but, more specifically and significantly, within the traditions of metaphysics and humanism writ large.

    By thinking plasticity as both a thing and a process, that is, as an object of scientific research and as the transformation of philosophical concepts of essence, life, being, the human, etc., Malabou identifies an impasse at the heart of biopolitical and poststructuralist confrontations with “science.” In her essay, “Will Sovereignty Ever Be Deconstructed?” she specifically targets the tendency for thinkers like Derrida, Foucault, and Agamben to regard science as a rigidly mechanical counterpart to the critical dynamism of the humanities.[7] (Here, one might think of Heidegger’s famous statement that science does not think, although Malabou does not include Heidegger in her list of interlocutors in this particular essay.) Philosophy’s rigid characterization of science, Malabou argues, commits biopolitics to an unwitting preservation of the very structure of sovereignty it claims to deconstruct.

    Malabou analyzes previous attempts to deconstruct sovereignty’s relation to biology by claiming that for Foucault, Agamben, and Derrida, “even in different ways, biology is always presented as intimately linked with sovereignty in its traditional figure” (38). That is, even Foucault’s famous theorization of “biopower” beyond or outside the specter of monarchical structures of state sovereignty, preserves a rigidified notion of biology as a “regulatory law” that operates teleologically within an organism. From this perspective, the organism will have always retained “the form of a micro-Leviathan” and will thus never be distinguishable from more traditionally minded and monarchically guised structures of power. Unsurprisingly, for Malabou, Foucault typically regards biology as “the ally of sovereignty” (42) and biopolitics generally treats the biological as that which legitimizes the transformation of the “floating signifier” into a fixed, rigid, and centralized motif (e.g. “blood and sex”). Lastly, Malabou claims, “biology always appears, for philosophers, as an instrument of power, never as an emancipatory field or tool” because the biological is always treated as a “secondary phenomenon” to the primacy of “the symbolic” (38, 42).

    In short, Malabou’s critique is that these thinkers too often treat biology as a rigid mechanism that simply services the whims of biopower. Not only does this mechanization preserve traditional models of centralized authority and sovereignty, it also denies any “biological resistance” to this mechanization. Ultimately, Malabou wants to argue that plasticity constitutes this biological resistance from within the confines of sovereign mechanization. Put otherwise, plasticity transgresses restrictive understandings of “biology” as a “political force” (40). The motor behind this plastic capacity is epigenetics, which accounts for either the activation or inhibition of certain genetic factors in an individual’s biological makeup. This process is significant for Malabou because it describes a transformability that is itself non-genetic. For example, within the genetic determination of the brain, the synaptic formation of neural connections depend upon a constellation of non-genetic—yet nonetheless determinative, that is, epigenetic—influences such as experience, learning, and environment:

    Plasticity is in a way genetically programmed to develop and operate without program, plan, determinism, schedule, design, or preschematization. Neural plasticity allows the shaping, repairing, and remodeling of connections and in consequence a certain amount of self-transformation of the living being. (Malabou 2015: 43-44)

    This epigenetic structure signals for Malabou the “becoming obsolete of the notion of program in biology,” an obsolescence that “opens new conditions of experience, new thresholds of rationality, as well as new philosophical and theoretical paradigms” (44). For example, according to Malabou, epigenetics allow us to think “history” and “biology” as a “dialectical couple within biological life itself,” which allows us in turn to abandon the classic desire to “survey the biological from an overarching structural point of view” (44). Plasticity would thus name the role that “the symbolic” (the empty signifier devoid of meaning and thus capable of renegotiating its meaning ad infinitum) traditionally plays, except now this “symbolic” resides within the plastic formation of the biological itself: the ability of life to transform itself “without separating itself from itself” (45).

    Malabou concludes that any discourse founded upon this reliance on the “symbolic”—as a “surplus or excess over the real”—ought to be renegotiated via this plastic transformation of the empirical/transcendental relation that epigenetics calls into question.[8] Entirely opposed to transcendental structures of meaning, Malabou claims that it is now no longer the case that a “gap between the structural and the material” is required to “render the material meaningful” (45).

    Both Alain Pottage and Fred Moten offer captivating challenges to Malabou’s conclusions. Pottage claims that the role “environment” plays in biological discourses highlights the “autoplastic” process of a structure that structures itself, a “system that is its own product,” a self that produces itself by fashioning the equipment that mobilizes itself (89). Recognizing that this auto-generative capability is central to Malabou’s own thinking of plasticity, Pottage also notes that this process is exactly what Foucault describes as “ethopoiesis.” Foucault is actually a thinker of plasticity, Pottage argues, despite Malabou’s dismissal of him. Similarly, Moten takes issue with Malabou’s insistent need to “deconstruct biopolitical deconstruction,” a gesture that, he argues, ultimately reconstitutes very thing it claims to deconstruct. Doesn’t locating sovereignty within the materiality of the brain just relocate in tact what had previously been confined to symbolic life? And doesn’t this relocation ultimately just make the brain a new version of the old sovereignty (283)? Contrary to Pottage’s reliance on the autopoiesis of an internally self-transformative and auto-corrective system, Moten wants to preserve the possibility of a rupture from outside, a rupture that might critique sovereignty beyond a simple relocation.

    Although Pottage and Moten both contest the impetus for Malabou’s investigation into plasticity’s politics, they do not challenge the ontological foundation for her investment in this materialism or the currency this ontology has within the sciences (not just neurosciences). This relation between ontology, politics, and science comes into full focus in Malabou’s essay, “Whither Materialism? Althusser/Darwin.” Here, Malabou argues for an intractably political understanding of how Darwinism collapses transcendence into a strict materialism.

    If “materialism” is understood simply as the “name for the nontranscendental status of form,” where “matter” is understood as a self-formation that produces “the conditions of possibility of this formation itself,” then any materialism worthy of the name cannot legitimately be considered transcendental, since “transcendental” indicates “a position of exteriority in relation to that which it organizes” (48). As a result, following Althusser, Malabou claims that the history of philosophy has described this relationship between materialism and transcendence in two main ways.

    The first is “dialectical teleology,” which describes an internal tension toward a telos governs “the formation of forms.” Althusser and Malabou both reject this form of materialism because it ultimately abides a fundamentally transcendental structure. In this configuration, an anterior structure of meaning precedes form and governs its formation.

    The second is “materialism of the encounter,” which regards form as being governed by “the non-anteriority of Meaning.” According to this configuration, form is “form” only as the result of an “encounter.” As Malabou puts it: “forms are encounters that have taken form” (49). According to Althusser, this “materialism of the encounter” entails a rethinking of “necessity.” For him, necessity ought to be thought “as the becoming-necessary of the encounter of contingencies” (qtd. by Malabou 2015: 49). One cannot conceive “necessity” as a rigid, transcendental priority if meaning is not anterior to the formation of forms and if form is the result of an encounter. “Necessity” would be a formation itself, a “becoming-necessity” formed by the encounter between contingencies whose meaning is constituted ex post facto rather than being transcendentally anterior to it. For Althusser, this formation works biologically just as much as it does historically and politically: a species, a people, or a historical movement “gels at certain felicitous moments” and means what it means because of this gelling.

    Malabou’s essay calls into question the legitimacy of Althusser’s homogenization of the political, historical, and biological into a single, unifying process of plastic formation. She asks, “Can we transpose what happens at the level of nature to that of the political and of history?” Is the “encounter” of natural selection in biology comparable to socio-political encounters? To address these questions, Malabou uses Darwin as a route back to Althusser by noting that plasticity “constitutes one of the central motifs of Darwin’s thought” and situates itself “effectively at the heart of the theory of evolution” (50). As Malabou sees it, Darwin describes the evolutionary idea of natural selection precisely as “plastic,” specifically in terms of the relationship between the “variability of individuals within the same species and the natural selection between these same individuals” (50).

    As a thinker of the formation of form, Darwin notes that, to use Althusserian language, variability comprises the “void” or “nothing” from out of which form forms. The possibility of variation is nothing other than the potential within a species for transformation: “the quasi-infinite possibility of changes of structure authorized by the living structure itself” (50). More specifically, this variability is “quasi-infinite,” Malabou claims, again in Althusserian language, because the possibility of variability does not depend on the rigidity of a predetermined, “anterior” criteria or “meaning.” Instead, form is formed “when variability encounters natural selection,” when selection renders the contingency of variability into a necessity. As such, Malabou concludes, “the materialism of the encounter thus pertains to a natural process that assures the permanent selection and crystallization of variations” (51). In this sense, the structure of the encounter Althusser describes has a clear biological component to it since the process of Darwinian natural selection occurs ateleologically, without intention, as a promise, to-come.

    It would therefore be misleading to think of “evolution” as a linear sense of progress and perfectibility. Even though Darwin would use language of “improvement” and “betterment” to describe the adaptability of a species via the processes of natural selection, Malabou cautions that one should not mistake this sense of perfectibility as a teleological “finalism” (52). Instead, thinking natural selection as plastic highlights that the “survival of the fittest” is not a simple elimination of the quantitatively weak in favor of the endurable strong. It is instead a dynamic process of openness to possibility, to adaptability, to complexification, a horizon of potential devoid of predetermination, intent, criteria, and linearity.

    Since “social selection” appears to be precisely the opposite of this unintentional (or non-intentional) structure of natural selection, it would seem as though social and natural selection have no significant overlap. One works automatically, absent of predefined criteria, while the other is a social decision intentionally made according to precise, predefined criteria. Furthermore, given the devastating history of ascribing social functions to natural selection in the nineteenth and twentieth centuries (under the guise of so-called “Social Darwinism”), Malabou notes the sensitive need to proceed with caution when claiming that natural processes might possibly undergird social processes. However, she also notes that the ateleological plasticity of natural selection undermines Social Darwinism’s conflation of natural selection with social selection from the start. Precisely because natural selection is not a rigid sorting of weak versus strong traits according to an intentional and decisive rubric, the racist and supremacist taxonomies of Social Darwinism have no justifiable basis in biology whatsoever. The biological dynamism of natural selection—and of plasticity more generally—demonstrates from all sides the restrictive and repressive outcomes inherent in any attempt to assert “Social Darwinism” as the “social destiny” of biology.[9]

    Yet, the possibility of locating a more authentic connection between natural and social selection, between the biological and the political, will require that the same “void” that constitutes the ateleological structure of biological formation also operates politically. Malabou locates this social plasticity in Althusser’s reading of Machiavelli, who describes the Prince’s virtue according to “his ability to select the best possibilities fortune [contingency] offers, yet a selection made with no intention to do so” (53). How could something like this work, and what could possibly account for the “void” from out of which the encounter forms? “There seems to be no void in our societies,” Malabou states, since, everywhere around us, processes of social selection of aptitudes ultimately select according to a candidate’s conformity to the selective criteria rather than exceptional distinction/difference from them, thus “ensuring the perpetuation and renewability of the identical […], never the emergence of singularities out of nothing” (54).

    From a Marxist perspective, this emphasis on the functionary’s conformity and obedience seems to account for the closure of the possibility of a plastic social selection. From a Bourdieusian perspective, this same degree of acquiescence to the norm precludes the dynamism of plasticity’s social selection—except this time in the name of “privilege,” which, Malabou notes, is “the most predetermined selective criterion ever” (55). The outcome is the same from either perspective: “social selection has the goal of reproducing order, privilege, or the dominant ideology.” It praises conformity, obedience, compliance, and acquiescence to the dominance of the selective criteria. “Who has never had the feeling,” Malabou asks, “that social selection was, in effect, a program and never a promise and that the morphological transformations of society were, deep down, only agents of conservation” (55)?

    Does this mark a limit of social selection? Since social selection always seems to retain this intentional sense of sorting desirable traits, will social selection always lack plasticity? Will “the materialism of the encounter always [be] doomed to be repressed by that of teleology, anteriority of meaning, presuppositions, predeterminations” (52)? Will social selection always be the rigidity that undermines the plasticity of natural selection? Can there be a formative plasticity of social selection? In short, Malabou wants to know if social selection can “join in any way the natural plastic condition,” understood specifically as “the promise of unexpected forms” (55).

    The only way to account for this encounter between the social and the biological would be to recover a “plastic” condition in which both regimes operate according to “criteria that do not preexist selection itself” (56). Here, Malabou is not too far from her earlier desire to uncover a repetition without revenge in her reading of Nietzsche, or her general project of thinking “possibility” beyond the positivity of a preconstituted affirmation. Such a thinking must avoid insisting too soon on difference, since “selection in the order is always an act that confers value and therefore creates hierarchies and norms” (56). Malabou here describes an anarchic ontology, a structure of difference that forms itself and its meaning from an encounter that itself has no predetermined, anterior “meaning.” In Deleuzian language, Malabou summarizes this anarchy as a “selection that produces its own criteria as it operates” (56).

    The void from out of which selection and its criteria form themselves constitutes the possibility of the promise. It is from out of this void (which Malabou also calls an “anonymity”) that “new forms can emerge” as “singular, unpredictable, unseen, regenerating” (57). In a slightly different language, Malabou calls this void “the originary deprivation of ontological wealth” (59). This elegant description highlights the core political thrust of how Malabou envisions plasticity’s radicalism, contrary to Toscano’s earlier accusation that Malabou’s politicization of plasticity proceeds only analogically. To think this “void” emptied of teleological determination and constriction, to uphold a commitment to the “non-anteriority” of its meaning from out of which the formation of form emerges via the materiality of the encounter, is “the most urgent ethical and political task” for a “global world” in which “every place is assigned,” regulated, owned, accounted for (58). This commitment would amount to a renewed call to the subversion of capitalist ideology and to the promise of politics.

     

    Tyler M. Williams is Assistant Professor of Humanities at Midwestern State University.

     

    References

    Boever, Arne De. 2016. Plastic Sovereignties: Agamben and the Politics of Aesthetics. Edinburgh: Edinburgh University Press.

    Burdman, Javier. 2016. “Necessity, Contingency, and the Future of Kant.” Diacritics 44, no. 1: 6-25.

    Derrida, Jacques. 1986. Memoires: For Paul de Man. Translated by Cecile Lindsay, Jonathan Culler, and Eduardo Cadava. New York: Columbia University Press.

    Galloway, Alexander. 2010. “Catherine Malabou, or The Commerce in Being.” French Theory Today: An Introduction to Possible Futures Pamphlet 1. New York: TSPY/Erudio Editions.

    Malabou, Catherine. 2008. What Should We Do With Our Brain? Translated by Sebastian Rand. New York: Fordham University Press.

    — — —. 2010. Plasticity at the Dusk of Writing. Translated by Carolyn Shread. New York: Columbia University Press.

    — — —. 2012a. “Following Generation.” Trans. Simon Porzak. Qui Parle 20, no. 2: 19-33.

    — — —. 2012b. The New Wounded: From Neurosis to Brain Damage. Trans. Steven Miller. New York: Fordham University Press.

    — — —. 2012c. Ontology of the Accident: An Essay on Destructive Plasticity. Translated by Carolyn Shread. Malden, MA: Polity.

    Malabou, Catherine and Tyler M. Williams. 2012. “How Are You Yourself? Answering to Derrida, Heidegger, and the Real.” theory@buffalo 16: 1-22.

    Schwartz, Jeffrey and Sharon Begley. 2002. The Mind and the Brain: Neuroplasticity and the Power of Mental Force. New York: Harper Perennial.

    Williams, Tyler M. 2013. “Plasticity, in Retrospect: Changing the Future of the Humanities.” Diacritics 41, no. 1: 6-25.

    Notes

    [1] In his preface to Malabou’s Plasticity at the Dusk of Writing, Clayton Crockett suggests that “the concept of plasticity” comprises Malabou’s “original, signature idea” (2010, xi). Malabou disputes this claim in an interview by suggesting that plasticity does not belong to her as some sort of proprietary concept; it exists within the circuitry of philosophy’s relation to itself and to others (Malabou and Williams 2012, 4).

    [2] For an example of this misrepresentation of Malabou’s plasticity, particularly its misconstruction as a type of elastic flexibility, see Galloway 2010, 15.

    [3] For more on the relationship between disciplinary rigor and interdisciplinary range in Malabou’s work, particularly regarding the long history of exchange and dissociation between the humanities and the sciences, see Williams 2013, 10-13.

    [4] The second book, published just this past year, is Thinking Catherine Malabou: Passionate Detachments, ed. Thomas Wormald and Isabell Dahms (London: Rowman & Littlefield, 2018).

    [5] In similar terms, though admittedly in an entirely different context, Michael Clune has recently characterized this distinction as “good” versus “bad interdisciplinarity.” See Clune 2018.

    [6] Two examples of this positive role that destruction plays biologically ought to suffice. First, Malabou cites Jean Claude Ameisen: “the sculpting of the self assumes cellular annihilation or apoptosis, the phenomena of programmed cellular suicide: in order for fingers to form, a separation between the fingers must also form. It is apoptosis that produces the interstitial void that enables fingers to detach themselves from one another” (2012c, 4-5). A second example, given by Jeffrey Schwartz, explains how the brain modifies itself in response to either the lack or the abundance of external stimuli, particularly regarding the loss of synaptic efficacy that allows unused neural functions to ‘make room’ for the growth of highly used functions. In this example, the unused visual cortex of a blind person’s brain is recruited for tasks typically resigned solely to the somatosensory cortex. Schwartz describes how the visual cortex of blind patients’ brains activates while reading Braille, to suggest that the visual cortex, receiving no visual stimuli, destroys its previous function to adopt a new one (2002, 198).

    [7] For more on this distinction and Malabou’s critique of it, particularly with regard to the role the sciences play within the humanities, see Williams 2013. Additionally, for a thorough discussion of Malabou’s relation to the tradition of what she calls “biopolitical deconstruction,” particularly at the intersection of aesthetics and politics, see De Boever (2016).

    [8] For a thorough reading of Malabou’s treatment of transcendence and materialism, particularly in her readings of Kant and her engagement with Meillassoux, see Burdman (2016).

    [9] “Social destiny” is a phrase Malabou uses in an earlier version of this essay, which was published in theory@buffalo in 2012 as “Darwin and the Social Destiny of Natural Selection.” In fact, pages 50-56 of Plastic Materialities previously appeared as pages 144-147, 149-151, and 151-153 of theory@buffalo vol. 16 (2012), having been translated from the original French by Lena Taub and Tyler M. Williams.

  • Rob Wilson, Stubborn Resistance: Juliana Spahr’s Auto-ethnography in the U.S. Poetic Undercommons

    Rob Wilson, Stubborn Resistance: Juliana Spahr’s Auto-ethnography in the U.S. Poetic Undercommons

    by Rob Wilson

    a review of Julianna Spahr’s DuBois’s Telegram (Harvard University Press, 2018)

    He called his doctor and joked to him that he was ill with late capitalism.  His doctor did not laugh…

    –Juliana Spahr and David Buuck, “The Side Effect,” An Army of Lovers.[1]

    Change is quick but revolution

    will take a while.

    America has not even begun as yet.

    –Diane di Prima, “Revolutionary Letter # 10”[2]

    Amid atrophied hopes for a literature effectively ‘revolutionary’ in a precarious time of post-Occupy, authoritarian revanchism, the far-flung ills and blockages of Late Capitalism, and what she tracks as returns of “stubborn nationalism,” Juliana Spahr stakes her claim for U.S. poetry with a bleakly Adorno-esque refusal she aims to conjure into new millennial credibility: “’this is not a time for political works of art.’”[3]  The three postwar U.S. literary movements she tracks in Du Bois’s Telegram:  Literary Resistance and State Containment – turn-of-the-new-century alter Englishes, avant-garde modernism, and movement literatures of resistance since the mid-1960s– will offer an emplotted “slide from [Audré] Lorde to Adorno” (15).  This means the shift from claims of poetic activism in writing as such, back to negation, irony, or qualification of such immediate claims for transformative resistance.  All this movement is figured under the pervasiveness of capitalist structures and presumes what Spahr calls literature’s semi-autonomous or “half-in and half-out relationship with capitalism” (16) and so many varied refusals of “complicit nationalism” (53).  To phrase this in the book’s overall analytical trajectory, Spahr tracks how “movement literature with its ties to militant resistance [across the late 60s and early 70s] morphed into multicultural literature” across later decades that instead seek to represent national inclusion and canonical assimilation of diversity (127).

    Spahr’s much-needed lyric/critical jeremiad, putting the micro-literary (poetics) and the macro-political (structured relations) together where they belong, tracks an under-recognized trajectory of state interference in literary figurations and more sublimated avowals into the turn of the twenty-first century as immersive poet-scholar subject.  Spahr complicates and renews “the vexed and uneven relationship between literature and politics,” challenging the all too literary avowal that “literature has a role to play in the political sphere, that it can provoke and resist” (4); that writing (especially “language writing”) as such comprises a politics of resistance in its negations, fragments, non-linearity, and deconstructions.  Framing structural issues and social relations between literature and the state as well as alternative forms of what literature might do politically, Spahr deepens the grasp between such historical ties and private foundations, sites of higher education, as well as publishing outlets both multinational and “a localized, decentralized small press culture” (5) in localities like Honolulu, Oakland and Buffalo.  The book is ‘auto-ethnographic” of Spahr’s own entanglements, complicities, and refusals of American literary-national culture and its university programs and funding structures that sustain it short of revolution and resistance as nourished in the coalitional social “undercommons.”[4]

    Writing on the side of alternative languages and social forms, language becoming minor and de-Anglicized, Spahr embraces the micropolitical flux of what M. M. Bakhtin called the “heteroglossia” within the dialogics of the sign.[5] She yet warns that “there is no robust counter” as alternative to state funding forms and modes of liberal domination, “with a politics that is anything more contestatory than liberal” (26).  Her heart, as poet, editor, publisher, and teacher, remains tied to alternative production and circulation sites in communities of resistance from subpress collective in Honolulu and Chain in Philadelphia to Commune Editions in Oakland. Even as she elaborates multiple forms (experimental, multicultural, neo-formal modernist or worse) for containing, manipulating, acculturating, and restricting “literary resistance” by the American state, still somehow, this study remains hopeful of “antistate” (53) as well as “other-than-national” (53) poetics in form, substance, and social relation.

    This is no melancholic rear-view mirror, but a proleptic movement forward as such into and beyond the contemporary. The sustained argument or, better said, way of reading this poetry is finely scaled at critical-creative levels of macro and micro intervention that may just carry the new millennial day (“it survives”), even if as W. H. Auden demurred in the radical thirties of Yeats, Eliot, Pound, and Rukeyser,

    For poetry makes nothing happen: it survives

    In the valley of its making where executives</p

    From ranches of isolation and the busy griefs,

    Raw towns that we believe and die in; it survives,

    A way of happening, a mouth.[6]

    Making unexpected linkages from Paris and NYC to Africa and the Pacific, Spahr’s study shows that American liberal-literary culture (not just amid well-studied Cold War antagonisms and cooptation but into the blockages of the present moment), was never that free or autonomous.  It was never under-determined or “apolitical” in poetry’s homespun global diplomatic role to shape the world into an American telos figured as freedom, liberation, and self-determination, especially in the global wake of World War II and rise of English. 

    “Relentless monitoring” and co-optation of literary sites, outlets, and works became the US state-funded norm to counter, mollify, moderate, neutralize, and defuse resistance and thus keep any form of “armed militancy” (especially black or Third-World affiliated) at foreign bay (130-131). Networks of foundation funding and State Department support provided the capillary flow of power and capital, covertly and more openly so at times across the sixties and seventies if still “under recognized” (141) in its pervasive impact and consequences as Spahr claims.  At the university level, this meant “an institutionalization of these culturalist movements that would sever them from more insurgent and militant possibilities as they were located within the university” (139).  Such networks of biopower helped to produce and contain racialized resistance, as Roderick Ferguson, Eric Bennett, and Jodi Melamed et al have noted, as recuperated within if not beyond the Cold War academy.[7] 

    Challenging her own immersion in lyric ideologies of First World privilege and a university literary culture aligned with US “imperial globalization,” Spahr exposes claims, taking academic dominion as absorbed in her “avoidance” training at SUNY Buffalo,  that “the modernist tradition excluded [valuing] writing that had direct connection to thriving culturalist and anticolonialist movements of the time” (8).  “I was thinking,” Spahr admits while tracking her own counterconversion to “poetry’s [subaltern] socialities and prosovereignty literatures” in counter-nationalist Hawai’i in the 1990s and the alter- or other-than-Englishes then emerging, “in the way the State Department and the liberal foundations that worked with the State Department wanted me to think” (10).[8]  As Spahr will admit later in chapter three reflecting on another wave of stubborn nationalism, “in many ways this book is an autobiography about how my education [at Bard and Buffalo] told me that certain forms of literature were autonomous when they were not and how long it took me to realize this” (110). Still, Spahr’s will to cultivate resistance remains no less stubborn, no less deeply affiliated as material and literary intervention.

    We need a larger context for mapping strategies of liberal containment, then and now, as in the global critical visions of Aamir Mufti and Stathis Gourgouris working against the unity of the Anglo-global norm and residual claims of Bandung humanism.[9]  For this Spahr deftly turns back to a Cold War moment of resistance in an uncanny trans-Atlantic sign.  The Congress of Black Writers and Artists was planned, for Paris 1956, to serve as “a second Bandung” to help promote the production of literature by black writers, in effect aiming at a kind of literary self-determination beyond colonial interference or world-systemic alignment (1) by the US or USSR.  W.E.B. Du Bois, whose passport had been revoked by the US government the year before, sent a telegraph explaining his non-attendance and refusing acquiescence to the state:  “Any Negro-American who travels abroad today,” Du Bois wrote, “must either not discuss the conditions in the United States or say the sort of thing which our state department wishes the world to believe.”[10]  He further explained his action in terms of political refusal and social re-alignment:  “The government especially objects to me because I am a socialist and because I believe in peace with Communist states like the Soviet Union and their right to exist in security” (2). 

    Indeed, as Spahr elaborates this longer duration, CIA front groups would fund Americans attending as writers and expected ideological acquiescence in return for such support:  “In addition, all [writers, such as Richard Wright, Mercer Cook, and Horace Mann Bond et al] had agreed to file reports to the Congress for Cultural Freedom, another CIA front group created to covertly launder funds from the CIA into various cultural diplomacy projects, when they returned” (2).  In this particular Paris conference forum, the US state department wanted to assure that voices of anti-colonialism would not carry the agenda and that systemic critiques tying US racism to such figurations in Europe and the Caribbean would be diminished.  Here Richard Wright played anti-communist informant, assuring that figures such as Duke Ellington would attend the congress rather than the antinomian Paul Robeson whom James Baldwin, by contrast, had long defended as figure of radical black critique from Harlem to Paris to Moscow. 

    Bandung in 1955 had awoken this US apparatus to African literature as a site of decolonization struggle (93), even as embraced through quasi-blackface figures like Uli Beier funded from Nigeria to Papua New Guinea.[11] “The combination of cultural center and [literary] journal was a classic CIA pattern at the time,” meaning post-Bandung as Spahr explains (96). The CIA works with private US foundations to support postcolonial English writing in Africa and the Boom in Latin America as literary freedom beyond ordinary realism at best or some version of “apolitical’ influencing the transnational imaginary and containing the literature of decolonization. Not as Aime Cesaire advocated for Martinique, revolution in the name of bread, fresh air, and poetry.  All literature is embedded in social relations, struggles, and wars of position however sublimated.  Spahr rather jarringly supports Pascale Casanova’s all-too-Francocentric assumption of aesthetic experimentation that literature is created via “incessant struggle and competition over the very nature of literature itself—an endless succession of literary manifestos, movements, assaults and revolutions,” both at the world and national level.[12]  This agonistic struggle to define and canonize American poetry, Spahr shows, had the manipulation of the nation-state as long shadow to its formally “autonomous” achievements.

    Spahr presumes, with the world republic of letters model of Casanova she invokes, that there is an inherent conservation function to “literature that is written in the language of the state, the standard language” (12).  But such writing is always being opposed, denaturalized, and denationalized from various angles, as in the poetry of Myung Mi Kim et al.  Such resistance is read at best as partial or transient or, by now, “rare.”  Spahr views such resistance as “supplementary” to more radical claims.  She notes how literary ties to social movements of resistance “so often fail to be revolutionary for long, fail to grow, or merely maintain [community] solidarity” (14). 

    In chapter one, Spahr assumes that a poetics in by-now-dominant English that includes “languages other than English” might offer “a possible literature of resistance,” at least to “linguistic curtailment” or death of minor or other languages (29), linguicide-via-global-hegemony.[13]  Given the threat of monolingual nationalism cum globalization, other languages from Polish to Thai heritages et al begin to manifest in American English poetry, but hardly marked as “a language of liberation” (33).  Pidgin appears besides colonial languages and is used as investigative medium for global routes and colonial crossings that lead to the present settler-colonial layering:  as in the exemplary transpacific Korean/American work of Myung Mi Kim in Dura and Commons, read by Spahr as situating “the 38th Parallel [tied] to her personal narrative to be understood as a larger historical narrative, as the result of globalizing capitalism” (39). 

    Spahr rightly argues, in such contexts of language mixtures, language politics, and entangled resistances to state-sponsored English anguish in dominated spaces, that “Hawai’i provides an unusually succinct example here of both the importance of literature to [Hawaiian] nationalism and of resistance to [US] nationalism at the turn of the twenty-first century (41-42).  Her reading of these tensions in an array of contexts and struggles from the 1970s to the present is convincing.  Hawaiian language becomes imprisoned yet flourishing, Pidgin English both inflated into anticolonial tactic and accommodated into tourist functioning, as is her related reading of the ambivalent Narragansett language use in experimental texts in Rhode Island in the early 1990s and Nahuatl language use in Francisco X. Alarcon.  Nevertheless, as a force of resistance to dominant-state nationalism and the capitalist dynamics of globalization, Spahr invokes David Graeber on the militant anti-globalization movements from Seattle to Chiapas, assuring that for the state “it is puppets, not literature that police fear at this time” (55).[14]

    In chapter two, Spahr queries how much of an “other than national” challenge literary modernism was as an internationalism of resistance to any such U.S. “literary nationalism,” as she was taught at Buffalo.  Such a poetics embraced “syntactically atypical grammars” and dialectics of idiolects as in “smashing and crashing” (76) prosody of Gertrude Stein’s Tender Buttons that (in its “bourgeois interior” as “imperial space” [74]) yet challenged official verse culture in the New Critical mode (57).  “Nashville, not Paris, was the center” of this official American-verse culture refusal to be sure (57):  “I carried this division in my suitcase with me to my first job at the University of Hawai’i at Manoa” (58) she admits of her pre-conversion model opposing lyric quietude to post-language traditions. Stein’s works need to be read, as she learned in Hawaii, as a response to colonialism and imposed languages (61), “very aware of language politics” (61) in such sites of linguistic and cultural domination and shifting hierarchies. 

    Literary movements towards aesthetic revolution, even in the ferment of little magazines like Transition that played such a crucial role in fomenting international modernism, as Spahr will summarize, “are poked and prodded into existence by social forces and influences”(63).  This occurs even in sublimating modernists like Woof, Eliot and Stein, here read as writing “in a world changed by colonialism” (68). Even Stein, as Spahr tracks her modernist experimental movements into and out of abstractionism, becomes a “cringe-inducing” jingoist (77) and stubborn nationalist Example One.  As “national governments [began to] manipulate, cultivate, and fund what [Casanova] calls ‘autonomous’ literature to instrumentalized it as nationalist” (77).  Spahr rehearses how (ironically in a “Casanova-style rhetoric” [82] embracing aesthetic autonomy) the postwar CIA became increasingly interested in promoting “abstract and avant-garde art forms” as signals of American freedom, ideological transcendence, and anti-communist play via state-sponsored cultural diplomacy to rival that of the Soviet Union.

    Stein’s Four Saints in Three Acts and Gershwin’s Porgy and Bess would be funded, spread, performed, and highlighted internationally as American works “to instrumentalize blackness in cultural diplomacy” via state or private sponsorship (83). Fending off critiques of the USA became a mid-century literary goal, funded, sponsored, nourished at home and distributed abroad in a nexus of state and private sponsorship. This infrastructure makes this “world republic of letters” as Spahr rehearses in compelling scope and detail, wobble with capitalist distortion at the Cold War core of this emergent American-global nexus. Moreover, this core, on the American front from Richard Wright to James Baldwin and William Faulkner et al, took thick-cultural dominion in anthology and university study, as “writers amplified by these networks are disproportionally [still] represented in the canon of American literature” (89).  This cultural diplomacy and funding produced and contained resistance on the home front.  It became, in effect a capillary version of Foucault’s liberal nexus of power and resistance:  “It might be that at the end of the twentieth century one could not become a successfully resistant writer,” Spahr argues, “without having at some moment been supported or amplified by the publication and distribution technologies of these [state-sponsored] networks” (90-1).[15]

    Even in a seemingly post-national or multinational publishing era of the global novel, “the role the Standard English realist novel has in upholding U.S. nationalism” is not abolished especially as it can absorb other national forms and cultural modes, and even as “state sponsored multiculturalism” continues (146-147) through tactics of cultural diplomacy enduringly global. Resistance in the new millennium grows ever more atrophied. Mainstream American poetry, in the wake of programs like Poetry for Bush, becomes gleefully accommodationist, “conventional and outmoded” as in business-value poetic works of Kooser, Keillor, Barr, Gioia et al (157). Such literature produces a faux populism and apolitical muse of cheery pluralism, as in the nationalist inaugural poems (here read as multicultural “strawpoem[s]”) performed by Maya Angelou, Elizabeth Alexander and Richard Blanco. Spahr goes against the grain of this naturalized claim to ratify social diversity as achieved via American literary inclusion: “How to understand this insistence by institutions that U.S. literary production is diverse, is a sort of social justice program [justifying the nation], when it is not in the aggregate is something I am attempting to puzzle through” (182). All this is taking place at a time when the literary vocation has become increasingly professionalized and, at the core, tied to academic legitimation.

    Nowadays, across the new century signified by the neoliberal MFA industry, “literature has been sequestered into [American] irrelevance” (184),  Spahr concludes. This is a poetics shorn of ties to movements of social resistance, militant or antifascist dissent.[16]  More literature is produced but less is read, or read by smaller literary-supporting and reviewing communities, becoming inconsequential, sustained by those with a professional stake in literary production and consumption or its sheer continuation, limited in political efficacy by such “structural conditions” as she elaborates them in this study.

     

    “If I was a poet,” as the auto-fiction narrator in Ben Lerner’s Leaving the Atocha Station (2011) confesses, “I had become one because poetry, more intensely than any other practice, could not evade its anachronism and marginality and so constituted a kind of acknowledgement of my own preposterousness, admitting my bad faith in good faith, so to speak.”[17] This is one of many deconstructive feedback loops of self-irony undermining the postmodernist will to literary activism via formalist experimentation. Drifting into and out of “the handful of prefabricated subject positions proffered by capital or whatever you wanted to call it,” Lerner’s hyper-reflective expatriate poet (funded by a Fulbright fellowship) is haunted by dope-addled inaction, museum going, urban drifting, and North American privilege as well as what he calls “bad faith” leftist claims to overcome the political-literary divide running from the Spanish Civil War to 9/11 and the US War in Iraq.  “I could lie about my interest in the literary response to the war because by making a mockery of the notion that literature could be commensurate with mass murder I was not defaming the latter,” Lerner admits of his picaresque literary protagonist, “but the dilettantes of the former, rejecting the political claims repeatedly made by the so-called left for a poetry radical only in its unpopularity” (101).  The Fulbright director in Madrid is only too happy when the Spanish Civil War-researching American expatriate poet finally gives a talk on a “literature now” panel (as Spahr’s study would have predicted) disavowing the political efficacy of literature to alter history, in the tortured self-ironizing claim that “literature reflects politics more than it affects it, an important distinction” (175).

    Leaving behind the 2004 terrorist bombing of Madrid’s Atocha Station if not ironically abiding in deferral tactics of virtuality mimed in the John Ashbery poem of the novel’s very title, Lerner undermines more extremist claims (contra Du Bois, di Prima et al) that “poems [function] as machines to make things happen” (52) in history or society, then or now.[18]  By novel’s end, Lerner’s writer-hero gnostically abides in scare-quotes of irony (as in “the so-called left” or, later, “when history came alive, I was sleeping at the Ritz” [158]) and a future-perfect virtuality. Lerner’s novel is riddled with affects that Benjamin had called at the dawn of European literary modernism the “left-wing melancholy” of idealized attachments to the past, defeated causes, bad poetry, and failed revolutionary dreams.[19]  It is this sense of perpetual poetic self-irony that Spahr herself (as does Lerner’s persona by contemporary analogy) battles against by affirming (against neoliberal odds) the will to break through forever signifying utopic virtuality and backward-focused defeat or compulsion into stronger, transformative, and abiding forms of “resistance.”[20]

    In the face of stubborn nationalism, professionalized academia, white privilege, and multicultural accommodation, Spahr’s Du Bois’s Telegram (like a message blasted from future movements) refuses perpetual self-irony, left melancholy, and pessimism of the defeated will:  “We are for sure not there, yet.  But one can always hope” (194).  That is, to align with insurgent forces of the undercommons to manifest modes of “stubborn resistance” in poetry and other works and sites, as in an emergent subterranean nexus of social domains and labor.[21]


    [1] Juliana Spahr and David Buuck, “The Side Effect,” An Army of Lovers (San Francisco, CA:  City Lights Press, 2013), 101.

    [2] Diane di Prima, Revolutionary Letters (San Francisco, CA:  Last Gasp, 2007), 20.

    [3] Juliana Spahr, Du Bois’s Telegram:  Literary Resistance and State Containment (Cambridge, Massachusetts: Harvard UP, 2018), 15.  Spahr is quoting from Theodor W. Adorno, Notes to Literature, trans. Shierry Weber Nicholsen, vol. 2 (New York:  Columbia University Press, 1992), 93-94.  Further references to Du Bois’ Telegram will occur parenthetically.

    [4] In defense of revolutionary energies and tactics surging up in the present moment of neo-liberal blockage, Spahr credibly invokes Stefano Harney and Fred Moten, The Undercommons: Fugitive Planning and Black Study, (Brooklyn, New York: Minor Compositions, 2013).

    [5] See The Dialogic Imagination:  Four Essays by M. M. Bakhtin, trans. Caryl Emerson and Michael Holquist (Austin:  University of Texas, 1981) on literary language as “ideologically saturated” with contestation and subversion, 171.

    [6] W. H. Auden, “In Memory of W.B. Yeats,” Collected Poems, ed. Edward Mendelson (New York:  Random House, 1976), 197.

    [7] At varying levels of racial and class containment as well as productive proliferation across university culture, see Roderick Ferguson, The Reorder of Things:  The University and Its Pedagogies of Minority Difference (Minneapolis:  University of Minnesota Press, 2012); Jodi Melamed, Represent and Destroy:  Rationalizing Violence in the New Racial Capitalism (Minneapolis:  University of Minnesota Press, 2011); and Eric Bennet, Workshops of Empire:  Stegner, Engle, and American Creative Writing during the Cold War (Iowa City:  University of Iowa Press, 2015).

    [8] On counter-conversions taking place across the decolonizing Pacific at the time Spahr was teaching in Hawai’i during the 1990s, see Rob Wilson, Be Always Converting, Be Always Converted: An American Poetics (Cambridge, Mass.:  Harvard University Press,  2009), especially chapter four on the world vision of Epeli Hau’ofa’s polytheistic Oceania, 119-142.

    [9] See Aamir R. Mufti, Forget English!:  Orientalisms and World Literature (Cambridge, Mass:  Harvard University Press, 2016) and Stathis Gourgourias, The Perils of the One (New York:  Columbia University Press, 2019).

    [10] The FBI file of state surveillance on James Baldwin contains some 1884 pages of documents, becoming a kind of “fiction produced by the state” about the writer’s ties to the Communist party, the Black Panthers, and other radical movements, and his Paris ties:  see Hannah K. Gold, “Why Did the FBI Spy on James Baldwin?”, The Intercept, August 15, 2015):  https://theintercept.com/2015/08/15/fbi-spy-james-baldwin/.  Gold quotes Baldwin’s scathing insight that J. Edgar Hoover is “history’s most highly paid (and most utterly useless) voyeur.”

    [11] For global political contexts within and beyond anti-colonial claims at Bandung, see Aamir Mufti, “The Late Style of Bandung Humanism,” boundary 2 conference on February 12, 2013:  https://www.boundary2.org/2013/02/aamir-mufti-the-late-style-of-bandung-humanism/.

    [12] Pascale Casanova, The World Republic of Letters, trans. Malcolm DeBevoise (Cambridge, Massachusetts: Harvard University Press, 2004), 12.

    [13] Even in the US, Spahr observes in her capaciously empirical first chapter, there are still 169 languages indigenous to this mongrel polity and 430 languages spoken across it, reflecting and refracting varied reactions to the rise of global English, Du Bois’s Telegram, 30. 

    [14] David Graeber, Possibilities:  Essays on Hierarchy, Rebellion and Desire (Oakland, CA:  AK Press, 2007).

    [15] Although Foucault is not invoked in Spahr’s study, the problematic of state power not merely repressing but actually aiding, informing, producing, and abetting certain forms of resistance and dissent, would be compatible with his thickly elaborated model of neoliberal governmentality as an ‘agonism’ of reciprocal incitation, discipline, and struggle across social fields:  see Michel Foucault, The Foucault Effect:  Studies in Governmentality, ed. Graham Burchell, Colin Gordon, and Peter Miller (Chicago:  University of Chicago Press, 1991), 4-5, 141.

    [16] For the longer duration of poetry valued as a site of cultural production and imagination opposed to forms of state domination, tyranny, and terror, see Paul Bové, Poetry Against Torture:  Criticism, History, and the Human (Hong Kong:  Hong Kong University Press, 2010).

    [17] Ben Lerner, Leaving the Atocha Station (Minneapolis, Minnesota:  Coffee House Press, 2011), 101.  Further references to this work will occur parenthetically.

    [18] For a far-ranging intertextual reading of the relationship between Lerner’s two novels and his own hyper-reflective poetics signifying claims of ”virtuality” as contemporary American poet, in the postmodern wake of John Ashbery, Jack Spicer, Robert Creeley et al, see Daniel Katz, “’I did not walk here all the way from prose’:  Ben Lerner’s Virtual Poetics,” Textual Practice 31 (2017):  315-337.  Lerner’s post-Ashbery poetics, self-referentially cited by the novel’s Lerner-like protagonist Adam Gordon in To the Atocha Station, (pp. 90-91), had first been published as “The Future Continuous:  Ashbery’s Lyric Mediacy,” in boundary 2 37 (2010):  201-213.  See also Ben Lerner, “Of Accumulation:  The Collected Poems of Robert Creeley,” boundary 2 35 (2008): 251-262, as particularly relevant to the Marfa chapter of Lerner’s second novel, 10:04 (New York:  Faber and Faber, 2014) set “at the house where Creeley began to die” (167).

    [19] Walter Benjamin, “Left-Wing Melancholy,” republished in The Weimar Republic Sourcebook, edited A. Kaes, M. Jay, and E. Dimendberg (Berkeley: University of California Press, 1994),  305.  See also Wendy Brown’s focus on Stuart Hall’s overcoming this attachment to lost objects and idealizations of some quasi-Marxist revolutionary past, “Resisting Left Melancholia,” Verso Books blog (February 12, 2017):  https://www.versobooks.com/blogs/3092-resisting-left-melancholia.  Brown’s influential essay had first appeared in boundary 2 26 (1999):  19-27.

    [20] “Resistance” can seem an antiquated slogan.  In a neo-liberal capitalist regime assuming self-surveillance and self-exploiting labor and consumption, as Byung-Chul Han grimly argues, wherein “auto-exploitation” of the achievement-driven subject has become everyday norm, “People who fail in the achievement-society see themselves as responsible for their lot and feel shame instead of questioning society and the system…no resistance to the [neoliberal] system can emerge in the first place”  See Byung-Chul Han, Psychopolitics:  Neoliberalism and New Technologies of Power, trans. Erik Butler (London and New York:  Verso, 2017), 6; and (by contrast) the heretical tactics of “Idiotism” in Chapter 13.  Hence, “depressive” affects and the “psychopolitical” ills and compulsions of Late Capitalism are tracked in Spahr and Buuck, An Army of Lovers (see footnote one above).  Writing becomes less the resistance than the insistence of such psychosomatic and systemic ills.

    [21] I still admire the subterranean and quasi-messianic force of Bob Kaufman’s absurd/communist (Abomunist) demand from the undercommons of Cold War San Francisco, as first articulated in his Beatitude mimeograph journal (1959):  “Abomunists demand statehood for North Beach.”  See Bob Kaufman, “Abomunist Manifesto,” Solitudes Crowded with Loneliness (New York:  New Directions, 1965), 81. Kaufman’s “black Jesus” tactics of silence, flight, self-martyrdom, and absurdity seem close to what Byung-Chul Han calls (after Deleuze) the immanent beatitude of “Idiotism,” Psychopolitics, 86-87. 

  • Mikkel Krause Frantzen—No utopia, not now? (Review of Miguel Abensour’s Utopia from Thomas More to Walter Benjamin)

    Mikkel Krause Frantzen—No utopia, not now? (Review of Miguel Abensour’s Utopia from Thomas More to Walter Benjamin)

    by Mikkel Krause Frantzen

    “The situation is bad, yes, okay, enough of that; we know that already. Dystopia has done its job, it’s old news now, perhaps it’s self-indulgence to stay stuck in that place any more. Next thought: utopia. Realistic or not, and perhaps especially if not.

    Besides, it is realistic: things could be better.”

    (Kim Stanley Robinson)

    1. Da capo: The so-called death of utopia and other introductory remarks

    Utopia – if not now, when? If not today, tomorrow?

    There is a certain tiredness connected to the topic, before the investigation is even begun, a feeling of déjà dit, of having said it all before to the point of utter exhaustion, despair and self-hatred. Yet it seems imperative to continue anyway, to pursue the question once more: What is the fate of utopia today, in this day and age, where there really is no alternative, as Margaret Thatcher infamously declared, and history has (still) ended, as Francis Fukuyama just as triumphantly trumpeted in 1989?

    In the midst of economic and ecological crisis it does indeed appear as if the utopian spirit has vanished for good. As far as the (un)real economy is concerned, we are witnessing and living through a fully-fledged state of financialization,[1] characterized by ever more sophisticated forms of fictitious capital:  derivatives, futures, options and other products that are traded by algorithms with the speed of lightning (trades are reportedly made in 10 milliseconds or less). After the abolition of Bretton Woods by Nixon in 1971,[2] financial derivatives trading has long since surpassed $100 trillion, and is currently many times the size of the global GDP. Meanwhile, the levels of debt are through the roof. As German scholar Joseph Vogl states in an interview—in an inversion of the famous opening lines from the Communist Manifesto, which he has not only picked up from Don DeLillo’s 2003 novel Cosmopolis but also used as a title for one of his books:

    A spectre or an apparition is a present reminder that something has gone awry in our past. A debt has remained unpaid, or a wrong has not been righted. The spectre of capital works the other way around, signaling that something in the future will be wrong. It is a future of mounting debt that comes to weigh on the present. The ‘spectre of capital’ does not come out of the past, but rather as a memento out of the future and back into the present” (Vogl 2011).

    This specter of capital, which comes from the future rather than the past, haunts more than the world of finance, it also haunts society as such; the spectral tentacles of financialization reach far into everyday life. One concrete example would be the devastating state of chronic indebtedness that makes people suffer all over the world. Another and related example would be the fact that more and more people are getting depressed; globally no less than 300 million people are currently estimated to suffer from the mental illness according to WHO. And as I have shown elsewhere, depression is not only a personal problem but also and above all a political problem which manifests (or should I say conjures up) the alienation of the contemporary subject in its most extreme and pathological form.[4] It is the paradigmatic psychopathology of our time, and a symptom of a neoliberal world where the future is closed off, frozen once and for all.

    In this latest crisis in the cycles of capitalist accumulation, in this season of autumn, if not winter, the future is definitely not what it used to be.[5] As for the imminent ecological disaster, there literally is no future; very soon there is no tomorrow. At all. It should come as little surprise, then, that utopian impulses have seen better days. William Davies writes that there is no “enclave outside the grid” and no “future beyond already emerging trends,” concluding: “The utopia of neoliberalism is the eradication of all utopias” (Davies 2018: 20; 5). Even the harshest critics of neoliberalism and finance capital seem to be caught in a state of left or west melancholy, while other thinkers are all too delighted with having (finally!) arrived in the land of postcritical milk and postutopian honey.[6]

    To supplement the hypotheses of the end of history and the end of nature, then: The end of utopia. It is important to note, however, that this song has been sung before. Raymond Aron proclaimed the end of ideology, revolution and utopianism back in 1955, and very similar arguments were made by Judith N. Shklar in After Utopia: The Decline of Political Faith (1957)and Daniel Bell in The End of Ideology (1960), not to mention Christopher Lasch, a couple of decades later, in his bestseller The Culture of Narcissism: American Life in an Age of Diminishing Expectations from 1979. In 1989, Fukuyama’s article on the end of history was published, and in 1999 Russell Jacoby wrote The End of Utopia. Politics and Culture in an Age of Apathy, where he lays out this genealogy while at the same time describing how around the turn of the millennium he and his contemporaries “are increasingly asked to choose between the status quo or something worse. Other alternatives do not seem to exist,” how they have “little expectation the future will diverge from the present,” and how few “envision the future as anything but a replica of today” (Jacoby 1999: xi-xii).

    Yet there are those who sing a different tune and who insist on the value of utopian thinking (just as there are utopian practices out there).[7] Obviously, Fredric Jameson springs to mind here. In Archaeologies of the Future. The Desire called Utopia and Other Science Fictions from 2005, Jameson, following the work of Ernst Bloch, famously distinguishes between utopia as an impulse and utopia as a program in his general attempt “to reidentify the vital political function Utopia still has to play today”, specifically within the genre of science fiction (Jameson 2005: 21).[8] Also meriting consideration is the political philosopher Miguel Abensour, who passed away in 2017, but whose whole oeuvre was an ongoing analysis and discussion of the continued relevance of utopia in the late 20th and early 21st century through the historical method of revisiting canonical utopian texts, from Thomas More to Saint-Simon, from William Morris to Ernst Bloch. Persistent utopia, he called it in an article of the same name from 2006.

    However, it is the book with the no-nonsense title Utopia from Thomas More to Walter Benjamin, translated into English in 2017, which this review essay will orbit around. The questions probed by Abensour are the following ones: What does it mean to be a utopian animal in a postutopian age?[9] How do we think utopia in a time of crisis and in the face of danger? Can we find sites where utopia persists, and if so, how are we to interpret them? But the question that also animates my text is a question of historicization and periodization. As indicated above, however briefly, it stands to reason that our historical epoch goes back to the beginning of the 1970s, yet this does not mean that everything has remained the same ever since. So what are the continuities and discontinuities—not only between the age of More, the age of Benjamin and the contemporary age—but also between 2000, when Abensour’s book was originally published in French, and 2018, this year of grace (and here I am in particular thinking of the domains of economy and ecology, the transformations in and of finance and nature)? Let us in any case remember, as Abensour cautions us to do, that utopia precisely poses a question, rather than an answer or a solution (UBM: 10).[10]

    2. Between systematic deprecation and uncritical exaltation: Miguel Abensour’s reading of utopian thought in Thomas More and Walter Benjamin

    The book Utopia from Thomas More to Walter Benjamin is a twofold exegesis; a meditation on, first, Thomas More, and, then, Walter Benjamin. It is as simple as that, although as Abensour admits at the very outset, the two thinkers in question have little in common—except for their contribution to utopian thinking. What this means is that Abensour does not in any way carry out a traditional comparative study. “Rather,” the author writes himself, “the project is one of seizing hold of utopia in two different but powerful moments in its fortunes: the first moment is that of utopia’s beginning, and the second is the moment when utopia faced its greatest danger, the moment that Walter Benjamin called ‘catastrophe’” (UBM:9). Two names, two historical moments: Thomas More and the birth of utopia; Walter Benjamin and the danger and possible death of utopia.

    Saving for later a proper actualization of Abensour’s work and the addition of a third historical moment, namely our contemporary moment, about which Abensour more often than not kept his distance, let me simply note that for Abensour it is imperative to avoid two particular and equally untenable positions with regard to utopia: utopia’s “systematic deprecation as well as its uncritical exaltation” (UBM:13). And with that in mind, it is time to hone in on Abensour’s reading of Thomas More, a reading that precisely seeks to avoid praising or damning the book. Sitting with More’s book from 1516 (with the Latin title De Optimo Reipublicae Statu), which coined the word utopia as a play on the Greek words for ou-topia (non-place) and eu-topia (good-place), the reader therefore needs to take into account its “extraordinarily complex textual apparatus” (UBM:20). This implies that attention must be paid to the paratext, the metafictional framework and the oft neglected book I of Utopia—written after the more famous book II—where Raphael Hythloday (another pun), the character/author Thomas More and Peter Giles meet in the Belgian city of Antwerp and starts discussing a series of problems, familiar to any reader of Machiavelli and Plato, concerning the relation between philosophers and kings and how best to offer council to a prince. They also address some of the modern ills affecting Europe at the time: war, poverty, the enclosure of the commons, and the death penalty, which Raphael thinks is too harsh a punishment for a thief (“what other thing do you than make thieves and then punish them?” (More 1999: 24-25). This both sets the scene for and destabilizes book II in advance, the book where Raphael recounts the five years he spent on the Utopia, situated an unknown place in the New World and originally a peninsula but now an island due to the decision of the founder King Utopos to separate it from the mainland. It is here that the readers are rewarded with the image of a true commonwealth, with “no desire for money” and no private property: “For in other places,” Raphael tells his listeners and the readers, “they speak still of the commonwealth. But every man procureth his own private gain. Here, where nothing is private, the common affairs be earnestly looked upon” (More 1999: 119).

    Abensour’s claim, however, is that one should refrain from what he calls “the impatience of tyrannical readings,” which in this case implies that one ought to be wary of readings that interpret Utopia as a proper communist commonwealth, i.e. as “prophesying modern communism” (UBM:30; 22). By the same token, any catholic reading that views Utopia as More’s unequivocal defense of “the values of medieval Christian solidarity” is bound to shipwreck (UBM:22). Abensour groups these types of reading under the heading realist readings, which he contrasts with allegorical readings. The former foregrounds the question of politics, while the latter places the question of writing at the center, and the point is that both are wrong. Already it is clear that the utopian question is, for Abensour, a literary question, a question of both writing and reading. The question of politics and the question of literature must be thought alongside each other.

    Naturally, any utopia is the stuff of fiction; the very idea of utopia entails an imaginary process of fictionalization or fabulation, and borders as such on the genre of science fiction, which Abensour does not touch on. But Abensour’s book does offer a welcome reminder of the rhetorical and literary character of Utopia, the ways in which it operates in several registers at once (travel narrative, satire, political treatise etc.),and how this in turn creates and conditions the political character of the work: “Utopia, so often presented as one of the most vigorous expressions of political rationalism, in fact has much in common with the ruses of the trickster” (UBM:31). The conclusion Abensour draws from all this, is that the utopian task ultimately, in the last instance so speak, falls to the reader: “The privilege the textual device enjoys has the effect of engaging the reader in a different mode of reading, one separate from a sterile ideological one,” he writes in a passage that demands to be quoted at length:

    “It is as if Thomas More, as the title of the book might indicate, did not so much want to present his readers with “the best form of government” as to invite them to look into the topic themselves—and hence the importance of dialogue […] it is a matter of making his readers less into adepts at communism and more into Utopians whose intellects have been sharpened by reading.”

    Anyone with some knowledge of French philosophy in the second half of the 20th century will not have a hard time understanding where Abensour is coming from and why he seemingly has such a guarded attitude towards anything that smells even vaguely of ideology and/or communism.[11] A certain distance is needed, which is why More’s utopia, according to Abensour, rests on a double distance: a distance from the existing order and a distance from “the “positivity” whose contours are utopically drawn” (UBM:49). Manifesting a shift “from the solution or the particular program to the level of principle” is critical in that Utopia thereby “introduces plasticity, and prevents us from reading in a certain erroneous manner” (UBM:52). But I wonder if the price to be paid for the distance and ambiguity stressed so much by Abensour is simply too high? You might end up in front of a window so opaque that you cannot look out of it anymore; that you cannot see what is on the other side. The problem is that the utopia Abensour extracts from Thomas More’s book is so saturated with distance that the island risks disappearing from view. The problem is that the “oblique path of utopia” that Abensour also talks about might in fact be so oblique and curvy that you end up right where you started your journey: back on the mainland.[12]

    3. Utopia or catastrophe? Walter Benjamin and the utopian dreams of the 19th century

    Walter Benjamin, for his part, journeyed to the arcades in the Paris of yesteryear. If More’s Utopia instigated the dawn of utopia, Benjamin’s confronted the danger of utopia: A vision of utopia in the aftermath of the first world war and in the face of fascism across most of Europe. The key question is thus as simple as it is spectacular, if not eschatological: “Utopia or catastrophe?” (UBM:61). The point is clear: We should stick to the idea of utopia, not despite the fact that we are in a state of crisis or amidst a great catastrophe but because of it. As already Kierkegaard emphasized in his writings, hope is only needed when there is none. Utopia seems to have the same absurd and paradoxical quality. The imperative of utopia does not emerge in the hour of triumph, in times so bright that you need sunglasses to go outside; no, the necessity of utopia arises when the light has gone out and everything is completely dark. It is an easy matter to be utopian when everything is all right; the real task presents itself when everything goes to hell. This is one of the lessons that Abensour draws from Benjamin as well: “in the presence of extreme peril, utopia seemed to him more than ever to be the order of the day. In a time of crisis, the need for rescue seemed infinitely greater, and to respond to that need, it seemed best to first rescue utopia by forcing it free from myth and transforming it into a ’dialectical image’” (UBM:13).

    How to rescue utopia, and where? In the past. Abensour quotes a letter where Benjamin states that he aims his “telescope through the bloodied mist at a mirage from the nineteenth century” (UBM:10). What he is looking for in the past, especially in the 19th century, is the century’s dream-images (Wunschbilder), fantasies of the epoch, the hidden or veiled utopias, or the ones that were never realized to begin with. In Abensour’s own words, Benjamin is an “incomparable guide” who can help “us penetrate into the unexplored forest of utopias, not in order to give in to their magic, but to hunt down and chase out the mythology or delirium that haunts and destroys them” (UBM:64). From the beginning of his writing to his tragic death in Portbou at the French-Spanish border in 1940, Benjamin remained “intensely sensitive to the utopian vein that is present throughout the century” (UBM:69). Illumination and awakening was the goal, not to stay in the domain of the dream as Aragon and the other surrealists did in Benjamin’s eyes. This is where dialectics and the dialectical image (filled with ambiguity) comes into play, notwithstanding Adorno’s stubborn accusations in their private correspondences that Benjamin was never, ever dialectical enough: a dialectics of dream and awakening, of past and present, of myth and history, of utopia and catastrophe, of revolution and melancholia.[13]

    But the future? No. Or to be more precise: The notion of futurity remained an unresolved concept in Benjamin’s work. No need to rehearse his remarks, in Über den Begriff der Geschichte (Theses on the Philosophy of History)from the Spring of 1940, on Klee and Angelus Novus, and the storm called progress that blows the angel of history backwards into the future while the ruins of the past are piling up in front of its eyes (Benjamin 2007, 257-258). Instead, let me concentrate, as Abensour encourages his readers to do, on the textual differences between the two prefaces to Das Passagen-Werk that Benjamin wrote in 1935 and 1939, respectively. The Arcades Project as the work is called in English was Benjamin’s ongoing, unfinished project, spanning more than 10 years, in which he visited the old shopping arcades of Paris, these hubbubs of commerce built of iron and galls and filled with Parisian specialties, luxury products and commodities that abound, in the words of Marx, “in metaphysical subtleties and theological niceties” (Marx 2010: 81).

    As a comment on a Michelet-quote—“Each epoch dreams the one to follow”—the first so-called exposé of 1935 includes the lines ”in the dream in which each epoch entertains images of its successor, the latter appears wedded to elements of primal history <Urgeschichte> – that is, to elements of a classless society,” and ends with the following sentences: “The realization of dream elements, in the course of waking up, is the paradigm of dialectical thinking. Thus, dialectical thinking is the organ of historical awakening. Every epoch, in fact, not only dreams the one to follow, but, in dreaming, precipitates its awakening.” (Benjamin 1999, 4; 13) All of this was removed by Benjamin in the second exposé, from 1939, perhaps after the ‘advice’ of Adorno. No more references to Michelet, no more avenir, avenir, no more talk of the dialectical image at all (though it figured prominently in the theses on the concept of history a year later). In Abensour’s reading of this transformation, Benjamin opens up a passage from “a conception of history invoking progress (Michelet) to a conception of history under the sign of catastrophe (Blanqui)” (UBM:88). The exposé of ‘39 thus expires in a completely different affective register, with Louis-Auguste Blanqui and his prison book from 1871, Eternity via the Stars. “This book”, according to Benjamin, “completes the century’s constellation of phantasmagorias with one last, cosmic phantasmagoria which implicitly comprehends the severest critique of all the others […] the phantasmagoria of history itself” (Benjamin 1999: 25). Benjamin then goes on to quote an extensive and brilliant paragraph from Blanqui, where the French revolutionary states that “there is no progress” and notes, in a premonition of Nietzsche’s idea of eternal return, “the same monotony, the same immobility, on other heavenly bodies. The universe repeats itself endlessly and paws the ground in place. In infinity, eternity performs—imperturbably—the same routines.” (Benjamin 1999: 26). Without turning, as Abensour writes, Blanqui into an authority, Benjamin’s exposé of 1939 nevertheless ends on this note, in a “resignation without hope” (Benjamin 1999: 26—a line which Abensour also quotes).

    As such, the exposé resonates, rather unsurprisingly, with the Theses on the Philosophy of History from the following year. In the preparatory notes, the so-called ‘Paralipomena’, Benjamin repeatedly tries out formulations and ideas such as “Die Katastrophe ist der Fortschritt, der Fortschritt ist die Katastrophe” and “Die Katastrophe als das Kontinuum der Geschichte” (Benjamin 1991: 1244). The true catastrophe is not a break with things as they are; the true catastrophe is, rather, that things go on and on. The progress and continuum of history is history’s catastrophe—whereby the historical and political task becomes one of breaking with this continuum. Benjamin himself writes in some oft-quoted lines about revolution as the moment when you pull the emergency brake on the train of history. Utopia in Benjamin, then, is ultimately intimately and dialectically connected with catastrophe: ““The concept of progress must be founded on the idea of catastrophe,” writes Benjamin. It is the same with the practice of utopia” (101).

    4. A new utopian spirit? Five concluding questions to Abensour and the so-called postutopian age

    Abensour’s work takes the reader through two names and two historical moments: Thomas More and the dawn of utopia; Walter Benjamin and the dusk of utopia. To this I want to add a third moment, the contemporary moment, our historical age, in which utopia has not so much disappeared as become utterly irrelevant – which is of course far worse. Utopia is not even in a state of extreme peril anymore, it has simply been deemed too insignificant to attract the slightest attention let alone be put in danger, because, from the point of view of utopia’s sworn enemies, whybother?

    Unfortunately, Abensour is rather silent on the present moment and more or less refrains from actualizing his historical work, though he does sporadically comment on our anti-utopian age and “contemporary misery,” on the thinkers, “postmodern or otherwise” who want us to abandon emancipation altogether, and on the more general, wide-spread “hatred of utopia, that sad passion eternally reasserted over and over, that repetitive symptom which, generation after generation, afflicts the defenders of the existing order, seized with their fear of alterity” (UBM:61; 15; 12).[14] The motivation for the book is thus clear enough, and the fact that Abensour does not have any more to say, or does not want to say any more, about these contemporary matters is only all the more reason to do this ourselves in this context—without leaving behind his concise and useful definition of utopian thought as being ”beyond this or that particular project,” as it is “essentially a thought about a difference from what currently exists, an uncontrollable, endlessly reborn movement toward a social alterity” (UBM:51). As a way of concluding, then, five utopian questions, five questions to utopia, today. If Benjamin’s exposé of 1939 ended on a significantly darker and gloomier note than the one in 1935, then where do our exposés—the exposés of 2000, 2018, 2028—end? On what notes, in which affective attitudes? Do they end in resignation without hope, or in what Benjamin called, in 1931, Linke Melancholie?[15]

    Utopia and time. For all Benjamin’s illuminating thoughts on temporality, our time is not characterized by the “homogenous or empty” time that Benjamin writes about in his theses on the concept of history (Benjamin 2007: 264). By the same token, the problem no longer seems to be the linear, chronological time of historical progress, but rather the heterogenous, loop-like temporality of finance. Today, it is the image of the future, not the past, that “flits by” (“huscht Vorbei”).[16] It is the future that is capsized by capital, pre-emptied in advance by financial speculation and mountains of debt.[17] Yet what would it mean if, accordingly, the political and historical task, the revolutionary and utopian task, becomes one, to modify Benjamin’s thesis 17, of fighting for the oppressed future?[18]

    Utopia and fascism. By now we are certainly in a position to appreciate Abensour’s effort to insist that utopia persists and that it is imperative to attend to when and where it, in Benjamin’s formulation, “flashes up at a moment of danger” (Benjamin 2007: 255). Strangely though, Abensour is reluctant to name any real dangers, any concrete catastrophes. His historical work thus remains rather abstract. In fact, he mentions fascism only once in the part on Benjamin and at the very end at that—and fascism was the historical danger that tainted everything that Benjamin thought and wrote, not only in 1939, but also in 1935 and much sooner than that.[19] Such an omission is simply untenable, both in itself and in light of the current situation. Of course, there is no need to be excessively contemporary, and we cannot have too a myopic focus on the present. But there is historical continuity at stake here. It is impossible to ignore Brexit and Grexit, the reality-presidency of Donald Trump, the alt-right in America, and the European populist parties to the right of the right such as the Austrian Freedom Party (FPÖ), the Danish People’s Party (DFP), and Law and Justice (PiS) in Poland. The danger of fascism is not a thing of the past. Can we paraphrase Max Horkheimer and say that anyone who does not want to talk about capitalism and fascism must keep his or her silence about utopia too?

    Utopia and desire. What Abensour highlights time and again is that utopia is a question of desire (recall, also, the subtitle of Jameson’s book, The Desire called Utopia and Other Science Fictions).[20] In “William Morris: The Politics of Romance,” Abensour writes, “the point is not for utopia […] to assign ‘true’ or ‘just’ goals to desire but rather to educate desire, to stimulate it, to awaken it. Not to assign it a goal to desire but to open a path for it” (Abensour 1999: 145-146). He also states that desire “must be taught to desire, to desire better, to desire more, and above all to desire otherwise” (Abensour 1999: 145-146). The point is not to desire another world, but, as a precondition, to desire otherwise (à désirer autrement) to begin with.[21] This pedagogical endeavor runs like an undercurrent through Utopia from Thomas More to Walter Benjamin. In his reading of More, Abensour convinces the reader that More is more interested in the utopian regulation and configuration of desire than in, say, the construction of alternative institutions. Moreover, he discloses that the historical work undertaken by Benjamin was primarily a matter of locating and excavating the dreams and desire of a past epoch, its so-called oneiric dimension, even if or especially when the images of these dreams and desire were already in ruins, in decay or simply buried, dead or alive, which they always were from the vantage point of Benjamin’s melancholic method of allegory. How can we thus understand the question of utopia as a question of education, of learning to desire otherwise, of learning to desire differently, beyond capitalist realism, reproductive futurism and heteronormative moralism – beyond fascism even?

    Utopia and dystopia. Of course, there are no guarantees. The desire called utopia can in itself become anti-utopian, or dystopian. William Davies writes, “In our new post-neoliberal age of rising resentments, racisms and walls, the utopian desire to escape can be subverted in all manner of dark directions” (Davies 2018: 28). Which is true: Desire can indeed run in “all manner of dark directions.” It can lead in the opposite direction of what was intended, it can lead straight into a cul-de-sac. It can be perverted, corrupted. Utopias can be cruel, they have their limits, as China Miéville reminds us in his article “The Limits of Utopia.” The utopia of plastic, for instance. Once, plastic was the dream of a new century, a utopian material, from which Russian constructivist Naum Gabo made a sculpture more or less a hundred years ago. A cheap, submissive, servile, and yet unbreakable and indestructible material, plastic was quickly mass produced, and thus became an integral part of an everyday life that now was made more colorful, smooth and shining. Yet plastics, as we now know, had a flip side. In the Pacific Ocean, islands of microplastic the size of France float around. Plastic has indeed been transformed from a utopia to a dystopia: An omnipresent, indestructible sign of the ongoing ecological catastrophe. Some of the utopias of the historical avant-gardes have suffered a similar fate: their project of a unification of art and life has long ago been realized by contemporary capitalism, in workplaces all around the western world. Analogously, the interstellar aspirations of the Russian Cosmism—leaving planet Earth, defeating the sun, colonizing Mars, and achieving some form of immortality—live on in a perverted form in Silicon Valley, where venture capitalists like Elon Musk wish to conquer the unknown in a SpaceX-rocket. Yet giving up on utopias altogether is not an option. Addressing the liberal left, Nick Land writes: Your hopes are our horror story.” Utopias can indeed be toxic, but the loss of utopias can be toxic as well. Hope has a price, but what is the price of having no hope? What kind of horror is hidden in hopelessness?[22]

    Utopia and nature. Utopia and nature, utopia and ecology. The question is: How to think utopia on the brink of planetary annihilation. But also: How not to think it? Again, the utopian imperative, or impulse, does not emerge in spite of the factthat we are the end, but because of it. This is the lesson from Ernst Bloch, which Abensour carries on: “True genesis is not at the beginning but at the end” (Bloch 1995: 1376). Abensour does implicitly touch on these matters when writing about More and the privatization of the commons (continued today by the privatization of not only land, but of air, that is to say the Earth’s atmosphere) and about Benjamin’s reading of the Fourierist utopia, which seeks to find a new relation to nature and to ground itself on something else than a (technological) domination and exploitation of it.[23] Another relation to nature, another organization of nature, not dictated by Wall Street and Silicon Valley—which also implies other forms of temporality and technology, other structures of desire, other transformations and configurations of bodies, other kinds of social and sexual reproduction. Can we think of a way to think, not the end of history, the end of nature, or the end of utopia, but a history of the end, a nature of the end, a utopia of the end? A utopia at the very end, at long last? Let us, at all events, leave the “enemies of utopia to sing their favorite old song” (UMB: 52).[24]

    Bio

    Mikkel Krause Frantzen (b. 1983), PhD, postdoc at the University of Aalborg, Denmark. He is the author the author Going Nowhere, Slow – The Aesthetics and Politics of Depression (Zero Books, 2019). His work has appeared in Critique: Studies in Contemporary Fiction (2016), Journal of Austrian Studies (2017), Studies in American Fiction (2018), and Los Angeles Review of Books (2018). He has translated William Burroughs’ The Cat Inside and Judith Butler’s Frames of War into Danish, and works, in addition, as a literary critic at the Danish newspaper, Politiken.

    References

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    —. 2008. “Persistent Utopia.” Constellations, Vol. 15, No. 3: 406-421.

    —. 2010. L’Homme est un animal utopique / Utopiques II. Arles, Les Editions de La Nuit.

    —. 2017. Utopia from Thomas More to Walter Benjamin. Minneapolis: University of Minnesota Press.

    Ahmed, Sara. 2010. The Promise of Happiness. Durham: Duke University Press.

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    —.  1994.“Left-Wing Melancholy.” In The Weimar Republic Sourcebook, edited by Anton Kaes, Martin Jay, and Edward Dimendberg. Berkeley and Los Angeles: University of California Press.

    —. 1999. The Arcades Project. Translated by Howard Eiland and Kevin McLaughlin. Cambridge, MA: Harvard University Press.

    —. 2007. Illuminations. Essays and Reflections, Edited by Hannah Arendt and translated by Harry Zohn. New York: Schocken Books

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    —. The Uprising: On Poetry and Finance. Los Angeles: Semiotext(e), 2012.

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    Edelman, Lee. 2004. No Future. Queer Theory and the Death Drive. Durham: Duke University Press.

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    Haiven, Max. 2014. Cultures of Financialization. Fictitious Capital in Popular Culture and Everyday Life. London: Palgrave Macmillan.

    Jacoby, Russell. 1999. The End of Utopia. Politics and Culture in an Age of Apathy. New York: Basic Books.

    Jameson, Fredric. 1994. The Seeds of Time. New York: Columbia University Press.

    —. 1997. “Culture and Finance Capital.” Critical Inquiry, Vol. 24, No. 1 (Autumn): 246-265.

    —. 2005. Archaeologies of the Future. The Desire called Utopia and Other Science Fictions. London: Verso.

    —. 2016. An American Utopia: Dual Power and the Universal Army. London: Verso.

    Keucheyan, Razmig. 2016 Nature is a Battlefield. Towards a Political Ecology. Translated by David Broder. Cambridge: Polity Press.

    Lazzarato, Maurizio. 2011. The Making of the Indebted Man. Los Angeles: Semiotext(e).

    Levitas, Ruth. 2013.Utopia as Method. The Imaginary Reconstitution of Society. London: London: Palgrave Macmillan.

    Marx, Karl. 2010. Capital. Volume I (Marx & Engels: Collected Works, Volume 35). Chadwell Heath: Lawrence & Wishart.

    Miéville, China (year unknown). “The Limits of Utopia.” http://salvage.zone/mieville_all.html.

    More, Thomas. 1999. Utopia. In Three Early Modern Utopias. Utopia, New Atlantis and The Isle of Pines. Edited by Susan Bruce. Oxford: Oxford University Press.

    Muñoz, José Esteban. 2009. Cruising Utopia. The Then and There of Queer Futurity. New York: New York University Press.

    Nadir, Christine. 2010. “Utopian Studies, Environmental Literature, and the Legacy of an Idea: Educating Desire in Miguel Abensour and Ursula K. Le Guin.” Utopian Studies, Vol. 21, No. 1: 24-56.

    Robinson, Kim Stanley. 2018. “Dystopias Now.” Commune Magazine. https://communemag.com/dystopias-now/.

    Shaviro, Steven. 2006. “Prophesies of the present.” Socialism and Democracy, Vol. 20, No. 3: 5-24.

    —. 2018. “On Lisa Adkins, The Time of Money.” The Pinocchio Theory, September 21, 2018. http://www.shaviro.com/Blog/?p=1520.

    Vogl, Joseph. 2010. The Specter of Capital. Palo Alto: Stanford University Press.

    —. 2011. “Capital and Money are Profane Gods.” The European, November 20, 2018. https://www.theeuropean-magazine.com/joseph-vogl%E2%80%932/370-the-spectre-of-capital.

    Wright, Erik Olin. 2010. Envisioning Real Utopias. London: Verso.


    [1]For more on the concept of financialization, see: Vogl 2010: 83; Haiven 2014: 1.

    [2]As Jameson and others have warned, we should be careful when invoking the gold standard: “I don’t particularly want to introduce the theme of the gold standard here, which fatally suggests a solid and tangible kind of value as opposed to various forms of paper and plastic (or information on your computer)” (Jameson 1997: 261).

    [3]A generalized condition of debt carries with it, to use Maurizio Lazzarato’s phrase, a preemption of the future, i.e. a reduction of “what will be to what is” (Lazzarato 2011: 46).

    [4]See Frantzen 2017. I am, of course, standing on the shoulders of Franco ‘Bifo’ Berardi, who diagnoses the crisis as a crisis in the social imaginations of the future (Berardi 2011; 2012), and the late Mark Fisher who spoke about capitalist realism, i.e. “the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it” (Fisher 2009:2). Substantiating and elaborating on Jameson’s well-known claim that it is easier to imagine the end of the world than the end of capitalism, both of them have in their own way diagnosed depression as a prevalent symptom of this historical condition in the western world.  

    [5]Cf. Giovanni Arrighi’s The Long Twentieth Century: Money, Power and the Origins of Our Times (1994).

    [6]One might think of Rita Felski’s book The Limits of Critique from 2015 and Bruno Latour’s hugely influential article “Why Has Critique Run Out of Steam?” from 2004.

    [7]See Wright 2010.

    [8]Some years later, in An American Utopia from 2016, Jameson declared that“utopianism must first and foremost be a diagnosis of the fear of utopia, or of anti-utopianism” (21).

    [9]Here I am alluding to Abensour’s L’Homme est un animal utopique / Utopiques II from 2010.

    [10]Hereafter Utopia from Thomas More to Walter Benjamin is cited as UBM.

    [11]Conversely, it is imperative to remember that utopian is something Marxists traditionally do not want to be. Within the Marxist tradition, the word utopia/utopian has been an insult that Marxists have thrown at people who were deemed to be irresponsible, naïve, unscientific etc. – this has for instance been the case in the longstanding polemics between Marxists and anarchist.

    [12]A further and more traditionally academic objection, which does go beyond my field of expertise, is that I am not sure how original his reading of More is (it makes it hard to tell due to the lack of references to existing scholarship, such as the work of Quentin Skinner and Stephen Greenblatt, for instance).

    [13]It is worth remembering that Abensour has written a text called “Passages Blanqui: Walter Benjamin entre mélancolie et révolution.”

    [14]Queer theorist José Esteban Muñoz echoes this sentiment in his book Cruising Utopia: The Then and There of Queer Futurity, where he writes: “The antiutopian critic of today has a well-worn war chest of poststructuralism pieties at her or his disposal to shut down lines of thought that delineate the concept of critical utopianism” (Muñoz 2009: 10). Inspired by Ernst Bloch, Muñoz insists on the categorical value of futurity, hope and utopia for queer theory as such. Among other things, this leads to an important, loyal but critical discussion of Lee Edelman’s influential No Future: Queer Theory and the Death Drive. In the same queer-theoretical vein, Sara Ahmed asks the question: “Can we simply give up our attachment to thinking about happier futures or the future of happiness?” (Ahmed 2010: 161) The answer is no. Queer theory cannot renounce the future, or utopia proper. As Ahmed also writes: “The utopian form might not make the alternative possible, but it aims to make impossible the belief that there is no alternative” (Ahmed 2010, 163).

    [15]See Benjamin 1994. See also Brown 1999. A philosophical and political question of optimism versus pessimism lies hidden here, but I plan to venture into this particular matter elsewhere, rehabilitating a project of Blochean optimism too long forgotten or neglected by the left. In passing, I just want to bring to the reader’s attention this paragraph from Razmig Keucheyan’s Nature is a Battlefield, which takes a Benjamin-quote (“The experience of our generation: that capitalism will not die a natural death”) and the optimism of early/earlier Marxist historicism as its point of departure: “The Arcades Project was written between 1927 and 1940. Three-quarters of a century later, Benjamin’s comment takes on another meaning. Firstly, it does so because contemporary critical thought has renounced any sense of optimism. After the tragedies of the twentieth century, it is instead pessimism that rules. Currently the question is rather more that of whether revolutionary forces are capable of carrying forth a project of radical social change, or if such a project instead now belongs to the past” (Keucheyan: 2016,151).

    [16]The phrase turns up in the theses on the philosophy of history (Benjamin 2007: 255).

    [17]In a blogpost on Verso’ homepage, Richard Dienst asked the question: Utopia or debt (the economic catastrophe of our time)? See: Dienst 2017.

    [18]Steven Shaviro struggles with a set of similar concerns. How can we adopt speculative approaches to speculative temporality and futurity, he wrote in a recent blogpost, that are not “subsumed by, and subjected to, the speculative time of finance” (Shaviro 2018)? Having earlier written about that “stubborn strain in 20th-century Marxist thought – especially in the writings of Walter Benjamin and Ernst Bloch – that finds kernels of hope in the strangest places: in historical experiences of catastrophic failure and defeat, in all those old practices that the relentless march of capitalism has rendered obsolete, and even in the most debased and “ideological” moments of life under capitalism itself” (Shaviro 2006)—the examples being the arcades or more modern-day shopping malls—Shaviro’s current project seems to one of scrutinizing to what extent speculative fiction and science fiction, which is also is to say utopian fiction, are concentric with the logic of financial speculation.

    [19]For the single reference, see: Abensour 2017: 108.

    [20]Cf. “we might think of the new onset of the Utopian process as a kind of desiring to desire, a learning to desire, the invention of the desire called utopia in the first place.” (Jameson 1994: 90).

    [21]See also Christine Nadir’s brilliant article on Miguel Abensour and Ursula Le Guin’s science fiction-novels through the prism of utopia and the education of desire (Nadir 2010: 29-30). Another key work in this regard is Ruth Levitas’ Utopia as Method, in which she provides a definition of utopia ”in terms of desire” (Levitas 2013, xiii), and where, consequently, ”[t]he core of utopia is the desire for being otherwise, individually and collectively, subjectively and objectively” (Levitas 2013” xi). But the theoretical trajectory starts and ends with Ernst Bloch who on the very first page of his trilogy The Principle of Hope writes: “It is a question of learning hope.” (Bloch 1995: 3).

    [22]I am again relying on and inspired by Miéville’s “The Limits of Utopia.” Moreover, in his foreword to a new edition of More’s Utopia, Miéville writes: “We need utopia, but to try to think utopia, in this world, without rage, without fury, is an indulgence we can’t afford. In the face of what is done, we cannot think utopia without hate.”

    [23]Abensour 2017: 88-93; Benjamin 1999: 17 (though the reading only figures in the exposé from 1939).

    [24]After completing this review essay, I stumbled across a brilliant text by Kim Stanley Robinson, “Dystopias Now,” which I did not have the time to incorporate into this one, except for the epigraph, which is taken from there, and this illuminating quote, which goes into the Jamesonian distinction between utopia, dystopia, anti-utopia and anti-anti-utopia (like Jameson, Robinson argues for the latter, and I fully agree with that, as should be more than clear at this point): “One way of being anti-anti-utopian is to be utopian. It’s crucial to keep imagining that things could get better, and furthermore to imagine how they might get better. Here no doubt one has to avoid Berlant’s “cruel optimism,” which is perhaps thinking and saying that things will get better without doing the work of imagining how” (Robinson 2018).

  • Justin Raden — Review of Gilbert Simondon’s On the Mode of Existence of Technical Objects

    Justin Raden — Review of Gilbert Simondon’s On the Mode of Existence of Technical Objects

    a review of Gilbert Simondon, On the Mode of Existence of Technical Objects (University of Minnesota Press, 2016)

    by Justin Raden

    In a recently translated interview, Bernard Stiegler makes a strong appeal for an unlikely partnership between technical knowledges and philosophy. Stiegler chides and ventriloquizes “academic philosophy” for its proud negligence when it comes to technical knowledge. “As if,” he says, “we could ever feel proud of not understanding how a system functions.” He continues: “How can we claim to understand anything about Hegel if we do not feel capable of understanding the functioning of a diode? Hegel, who himself wrote on electricity, would have undoubtedly found this ludicrous.”[i] Such an appeal is typical of Stiegler, whose opus, the three-volume Technics and Time, begins by claiming that the history of philosophy is the history of the suppression of technics. But what do diodes have to offer philosophy or any discipline outside of electrical engineering? How is it, exactly, that no reading of Hegel can reasonably avoid a prerequisite course of study in circuit diagrams?

    Stiegler’s polemic points in two directions: at a misrecognition in the contemporary discourse about our own technological landscape, and at an inability to discover in the history of philosophy precursors to this discourse. In the 1990s, when Stiegler’s work first appeared, critical and social theory in the Anglo-American scene was little interested in emerging frameworks for conceiving of changes in the social fabric. Mark Poster complained that in spite of “alternative rubrics” like “postindustrial society, information society, the third wave, the atomic or nuclear or electronic age” we continued to rely on the perceived power of old explanatory models.[ii] In the meantime, the intellectual scene Poster bemoaned has been replaced with a fervor of interdisciplinary activity in which a number of fields in the humanities have rushed to upgrade the critical apparatus by adopting epistemological and methodological frameworks from elsewhere. The most notable in the field of literary studies are the appropriations of aspects of Latourian “science studies” and the computational and media theory that has coalesced into the ambiguously circumscribed discipline of digital humanities. And yet Stiegler’s early work, while it might appear as a radical innovation in philosophical thought, is partly premised on a return to a lesser known French thinker whose work problematizes both of these disciplinary orientations: Gilbert Simondon. Indeed, Simondon (and Stiegler in turn) troubles the logics which partition and predicate the newness of the new and the oldness of the old.

    The long overdue English translation of Simondon’s Du mode d’existence des objets techniques (On the Mode of Existence of Technical Objects), originally published in 1958, provides an opportunity to reflect on the protean terrain of the human sciences as they struggle to account for ever more rapid technological change and its relation to ecological, economic, and political crises. Simondon’s interventions are manifold and the consequences of these are only just beginning to be appreciated and interrogated for their contemporary relevance. His principal objective is the reintegration of the philosophy of technology with philosophy in general, or more exactly with culture in general. This as yet unrealized ambition produced, for Simondon, a social imaginary of technology that, if anything, is more entrenched today: the mythologizing of robotics, the errant belief that automatism signals the highest level of technical development, the experience of alienation as non-knowledge of the machine.

    Tracing the disaggregation of techne or technics (or sometimes “the mechanical arts”) from what he calls “noble thought” or “the noble arts” back to ancient Greece, Simondon describes the consequences of this division through the twentieth century. Doing so allows him to provide a corrective to a mode of thought that cannot think the intervention of the technical object “as mediator between man and the world” (183) in the sense that it directs or determines the form of the detachment from the prior unity into nature and culture. The division of thought as Simondon describes it originally occurs because of a devaluation of technics––especially technics that employed tools––due to its association with slavery. This process is then periodically reduplicated: “there is, in each epoch, a part of the technical world that is recognized by culture, while other parts of the technical world are rejected” (104). As a result of this series of expurgations, we become, beginning especially in the nineteenth century, alienated from the world of machinery such that by the mid-twentieth-century we experience a “disjunction of the conditions for the intellection of progress and for the experience of the internal rhythms of work” (132).

    Despite the affective registration of this disjunction––psychological alienation from the technical world––the lesson has continued to evade Western thought. Looking back on Simondon’s legacy in 1997, Régis Debray lamented that “Those who did develop an attentive, informed criticism of technological filiations and breaks, from Bertrand Gille to George [sic.] Simondon, were confined to a good deal of intellectual isolation [… As a consequence of] the denegation of material mediations we are paying for a long ancestral heritage of neglect.”[iii] It’s unclear whether things have improved much on this front.

    One site of this problem’s legibility has been the reaction in media-technical oriented literary criticism against the work of Friedrich Kittler. Technological determination is out, we are told. This position seems similarly premised on a misunderstanding, or worse: on the kind of deliberate disinterest in understanding described by Stiegler. In a sense, Kittler’s work traces media-aesthetic histories that appear as a function of the suppression of technics within culture as described by Simondon. The aphoristic opening shot of Kittler’s Gramophone, Film, Typewriter––“Media determine our situation”[iv]––gestures toward the realization of Simondon’s ambition to combine philosophical and technical thought. His work provocatively traces the media-technical bases of discursive production in the spirit, if not the letter, of Simondon’s own project. Technological or media determination refers to the conditions of the appearance of these media-aesthetic histories, not to some revived naturalism. In this way, Kittler’s work is tracing an insight of Simondon’s that appears threatening to scholarly fields that remain essentially Schillerian in their promotion of aesthetic education. The ultimate goal of philosophical thought, as described by Simondon in On the Mode of Existence of Technical Objects (hereafter Mode)––a philosophical thought which does not elide technics––surpasses aesthetic thought which is, pace Schiller, “a reminder of the rupture of unity… as well as a reminder of the search for its future unity” (173).

    But this does not invalidate aesthetics for Simondon. In a letter to Jacques Derrida, he proposes a “techno-aesthetics” which, as the neologism suggests, he conceives as an imbrication of technics and aesthetics: “It’s technical and aesthetic at the same time: aesthetic because it’s technical, and technical because it’s aesthetic. There is intercategorial fusion.”[v] Techno-aesthetics is not reducible to an ideology of “form follows function” but instead proposes that aesthèsis––as the production of culturally shared “fundamental perceptive intuition”––is subtended by a technical mediation of sensation equally operant, in some of the examples Simondon provides, in the successful loosening of a bolt with a well made wrench as in the “perceptive-motoric” action of painting. Aesthetics as techno-aesthetics must consider mediation by technical objects in its contemplation of both the aesthetics of nature (as the medium or media of its perceptibility) and the “illusory” aesthetics, to borrow Adorno’s characterization, of art.

    Such a project necessarily relies on taxonomies generated as much out of engineering and mechanics as out of philosophy,[vi] and this leads to some difficulty in navigating Mode. “Essence,” to take a familiar example from philosophy and one which is implicated in Simondon’s techno-aesthetics is just as as much in dialogue here with the phenomenological understanding of a genesis of scientific concepts as it is with the history of the development of the already-mentioned diode. Simondon asks whether the diode can be considered the “absolute origin” of its subsequent elaborations in the triode, tetrode, and pentode. As it turns out, two technical conditions precede the diode and, according to Simondon, constitute its essence, an “absolute beginning, residing in the association of this condition of irreversibility of the electrodes and of this phenomenon of transfer of electric charges through a vacuum; it is a technical essence that is created. The diode is an asymmetrical conductance” (44-45, original emphasis). Beyond merely helping us to better understand the diode, and thereby escaping Stiegler’s scorn, Simondon is applying a complex and original ontology equally to the histories of technical objects and of concepts: an ontology consisting of morphological evolution, which starts with a process Simondon calls “individuation.” Mode applies this ontology, which is more fully explicated in Simondon’s primary doctoral thesis, L’Individuation à la lumière des notions de forme et de linformation[vii] (Mode is his secondary thesis). Elizabeth Grosz has nicely summed up the crucial concept of individuation:

    Simondon is interested in understanding how pre-individual forces, the forces that constitute the condition for both natural and technological existence, not yet individuated, produce individuals of various kinds… This process for the elaboration and emergence of individuality or being from becoming or the pre-individual is an ontogenesis: that is, “the becoming of the being insofar as it doubles itself and falls out of step with itself in the process of individuating.”[viii]

    It is the shared participation in this ontology by both organic material (e.g. man) and inorganic material (e.g. technical objects) that constitutes the relation that Simondon is exploring.[ix]

    Simondon’s work is concerned with the appearance of technological novelty, with what makes a technology present itself as new and under what conditions we can experience the progress of technical development. Written before the advent of the internet and at the dawn of the computer, cybernetics, and information theory, his two doctoral theses provide a completely different framework for thinking the effects that would follow from these events than the ones provided by their own founding figures. From the beginning of M​ode​, Simondon is working to countermand the machine idolatry of modernism. His understanding of the relationship between humans and machines is an even more complex version of the thesis advanced by his dissertation advisor, Georges Canguilhem, wherein the development of machinery advanced according to a biological principle, namely the prosthetic extension of organs. From this vantage point, the process of advocating for the inclusion of technics in culture (an exclusion which Stiegler radicalizes by prioritizing technics over culture in claiming that technical prosthesis is the condition of possibility of the human as such), requires the development of a “general organology” as a kind of study of the relation between these machinic prostheses and the normative understanding of the organs they extend.

    Until the present decade, Simondon’s work was relatively unknown to Anglophone readers. An unofficial, partial translation by Ninian Mellamphy of Part 1 of Mode had been in circulation since 1980, but it’s unclear what kind of audience it would have reached until a revised portion appeared in 2011 in Deleuze Studies, two years after the online, open-access journal of critical philosophy Parrhesia devoted a special issue to Simondon. In the intervening years, a number of Simondon’s books and essays have been translated and his direct influence has appeared in fields as diverse as political science, psychology, literary studies, and philosophy. To be sure, in France theorists like Gilles Deleuze, Jean-Luc Nancy, Francois Lyotard, and Bernard Stiegler have continued the legacy of Simondon’s work, attempting to reintegrate technical thought into philosophy proper. The first volume of Stiegler’s Technics and Time trilogy contains lengthy readings of Simondon’s work. But Technics and Time vol. 1 was translated in 1998, and it doesn’t seem to have been broadly taken up until the publication of Mark Hansen’s influential essay, “The Time of Affect,” in 2004.

    Reading Simondon is a difficult endeavor. This is not least because of his mesmeric pendulations between technical descriptions of engine types and articulations more recognizably philosophical. That is, of course, the point: in addition to describing the relationship between technical objects and man, and tracing the history of that relationship’s mystification, Simondon is performatively integrating two formerly separate modes of thinking to show how an ontology emerges from the genetic imperatives of technical objects. Mode demands of its reader not just that she apprises herself of its taxonomies, its rhythm and structure, which makes progress through the text slow (and summary impossible). It also demands that she do the thing it claims is demanded of thought; to (re)integrate technical/technological thought with philosophy and culture.

    ____________

    Justin Raden is a graduate student at the University of Illinois at Chicago.

    Notes

    [i] Bernard Stiegler, Philosophizing by Accident: Interviews with Élie During. Ed. and trans. Benoît Dillet. Edinburgh University Press, 2017. 32

    [ii] Mark Poster, The Mode of Information, Chicago: University of Chicago Press, 1990. 21.

    [iii] Transmitting Culture. Trans. Eric Rauth. New York, Columbia University Press, 2000. 212.

    [iv] Gramophone, Film Typewriter. Trans. Geoffrey Winthrop-Young and Michael Wutz. Stanford: Stanford University Press, 1999. xxxix.

    [v] “On Techno-Aesthetics.” Trans. Arne De Boever. Parrhesia, no. 14, 2012. 2.

    [vi] Many of Simondon’s most important terms have been elucidated by Jean-Hugues Barthélémy. See his “Fifty Key Terms in the Works of Gilbert Simondon”, trans. Arne De Boever. In: Boever, Arne De, Alex Murray, Jon Roffe, and Ashley Woodward, eds. Gilbert Simondon: Being and Technology. Edinburgh: Edinburgh University Press, 2012. 203-231.

    [vii] The second part of his primary thesis, L’Individuation psychique et collective, is forthcoming from University of Minnesota Press as Psychic and Collective Individuation. No official translation exists of the first part, L’Individu et sa genèse physico-biologique, but Taylor Adkins has published an unofficial translation on the blog “Fractal Ontology” — https://fractalontology.wordpress.com/2007/10/03/translation-simondon-and-the-physico-biological-genesis-of-the-individual/.

    [viii] Elizabeth Grosz, “Identity and Individuation: Some Feminist Reflections.” In: Boever, Gilbert Simondon, 38-40.

    [ix] One can also glimpse here an important influence on Gilles Deleuze’s own attempts to think the relation between being and becoming in Difference and Repetition and The Logic of Sense; it is largely Deleuze’s own work that has generated interest in Simondon in the U.S.

  • Joëlle Marelli — Revolutionary Love in Dark Times (Review of Bouteldja, Whites, Jews and Us)

    Joëlle Marelli — Revolutionary Love in Dark Times (Review of Bouteldja, Whites, Jews and Us)

    a review of Houria Bouteldja, Whites, Jews and Us: Toward a Politics of Revolutionary Love (The MIT Press, 2017)

    Revolutionary Love in Dark Times[1]

    By Joëlle Marelli

    Translated by Jim Cohen

    « What counts, when one wants to read a book, is to read the book. »

    Rabbi Itzhak Sagmal

    1/ In April 2018, the French singer Jacques Higelin passed away. A whole generation of fans has been in mourning. In 1969, he sang, with Areski Belkacem:

    J’aurais bien voulu t’écrire / I’d have liked to write you

    Une chanson d’amour / A love song

    Mais par les temps qui courent / But these days

    Ce n’est pas chose commode / It’s not the most convenient thing

    It wasn’t convenient in 1969 and it would possibly be even less so today. It may be a love song that speaks to the impossibility of a love song, but above all it’s a quatrain that contains in a single phrase the song and its absence : an enigmatic reference to the era and to the idea that at the present time – or in the time that remains–it’s not possible to write a love song, or that the time might perhaps be better used for something else. However, in 1969, could there have been anything better to do if one was a young singer and poet who would soon become the « crazy singing man » of France’s  thirty « Glorious Years » of economic growth, than writing love letters? True, Higelin had already written many love letters a few years earlier,[2] and maybe it was time to move on to other things. Maybe he felt the urge to write for a broader public than the very limited one to which love letters are usually addressed. In any case, beneath the light irony of those lines, a theme appears which places in tension the private temporality of passionate love and the « universal »   of belonging to a world that transcends the community of lovers. It seems things were different for Mahmoud Darwish, a poet of the same generation, for whom « writing a poem of love under occupation was both a form of resistance »[3] and something prohibited to him; a form of resistance, thus, to be conquered. In any case, what is fascinating in Higelin’s lines is that they take the form of a trivial excuse (« I would have brought flowers, but the shop was closed », or some other admission of a lover’s inevitable shortcomings), while at the same time pointing to the abysmal inadequacy of the division of labor between private and public.

    Since Whites, Jews and Us was published in France (2016), the book and its author, Houria Bouteldja, have been the target of attacks that have often been vicious, sometimes trying to be fair, too often failing in these efforts for being mired in the felt need to attend to prejudices entertained and nourished by mainstream media against what the Indigènes de la République, the political party Bouteldja co-founded, stand for. Any attempt to show that equality doesn’t exist in France causes malicious backlash. Any endeavour to think about race, religion, and gender in terms that vary from the prescribed institutional frameworks (unquestioned brands of universalism and secularism, as well as intrumentalized versions of feminism or opposition to antisemitism ; and an antiracism that is opposed to any input from racialized people, indeed more and more refusing the very category of « racialized people » – « personnes racisées ») is an opportunity for abuse. Most readings – however critical – have failed to make an actual effort to take what the book has to offer. In the best cases, we have seen a recurring theme: « I do not agree with everything she says » – that certain way of conveying an air of sound judgment before expressing a measured agreement. One might ask when one is ever in agreement with « everything » an author writes?  The problem is having to provide guarantees of propriety, for Bouteldja as for anyone.  The questions will then be : what is a demanding text?  What kinds of demands can texts pose for readers? And is it acceptable for subalterns to make demands?[4]

    Indeed, it seems to me that Houria Bouteldja could, today, recite or sing, with just as much melancholy and irony as Higelin, or even more : « I would have liked to write you a love song, but these days it’s not the most convenient thing. » The meaning of the words would be somewhat different but no less poignant.

     

    2/ In the most beautiful dialogues of Partage de midi, a play where the dreadful Paul Claudel relates the love and death of white people in the colonies, the severe Mesa asks the indolent Ysé : « What’s that book you’re reading there, which is worn out like a book of love ? » Ysé replies : « A book of love. »[5] Does a lovely scene and some beautiful dialogue, and the author’s rhythmic flair and the fact that the play was written « long ago » (originally in 1906) pardon the abjection of a life’s work shot through, almost completely, with the worst passions of the most bourgeois and reactionary Christianity (moralism, racism, sexism and antisemitism)?  This of course did not prevent Claudel’s works from being incorporated without discussion into the French canon and being regularly produced by the most prestigious directors. In any case these lines, too, continue to trot around in our heads each time learned people claim to tell us the meaning of a book written by an indigène[6]. Like Claudel and like any true Christian, even a lapsed one, Mesa is, in principle, a specialist of true love, which is of course not not that of the flesh, as « poor Ysé » believes, leading him to follow her to doom. But he promptly confuses the word and the thing, a book and that of which it speaks (love), and condemns Ysé’s « worn-out » book without having read it. For there are those who know what love is and those who don’t, just as there are those who know what a song (or poem, or book) of love is, and those who don’t.  There are those who don’t need to read a book to understand that it needs to be burned and its author denounced – as racist, antisemitic, sexist and homophobic (no less!). And finally there are those who claim to read the book better than the others – « between the lines » – and who tell us what is not in the text and what we were in danger of not seeing. Missing from this list are those who would do for this book what they know how to do for others: give it an actual reading, such that what is transformed is less the book than the reader (« split open the wall of the human heart » – Claudel). They take the risk of being « read » and transformed by the book. We do this with certain books. What are the criteria that cause us to decide not to do it with others?

     

    3/ In 1962, just a few short years before Higelin and Areski sang of the impossibility of writing a love song, Hannah Arendt wrote a few lines to James Baldwin in reponse to his article in the New Yorker entitled « Letter from a Region of My Mind », a text from from which Bouteldja quotes several passages and which ends as follows:

    If we—and now I mean the relatively conscious whites and the relatively conscious blacks, who must, like lovers, insist on, or create, the consciousness of the others—do not falter in our duty now, we may be able, handful that we are, to end the racial nightmare, and achieve our country, and change the history of the world. If we do not now dare everything, the fulfillment of that prophecy, re-created from the Bible in song by a slave, is upon us: God gave Noah the rainbow sign, No more water, the fire next time! [7] 

    Even as Hannah Arendt expresses her overall admiration for Baldwin’s text, she returns – showing her slightly stubborn side that causes us not to « agree with everything she says » – to what she considers to be a mistake: according such an important place to love in the realm of politics:

    What frightened me in your essay was the gospel of love which you begin to preach at the end.  In politics, love is a stranger, and when it intrudes upon it nothing is being achieved except hypocrisy.  All the characteristics you stress in the Negro people: their beauty, their capacity for joy, their warmth, and their humanity, are well-known characteristics of all oppressed people.  They grow out of suffering and they are the proudest possession of all pariahs.  Unfortunately, they have never survived the hour of liberation by even five minutes.  Hatred and love belong together, and they are both destructive;  you can afford them only in the private and, as a people, only so long as you are not free.[8]

    Something frightened Arendt, although she had seen plenty of other frightful things in her life: the « gospel of love » that Baldwin  preaches  at the end of his text. Let us reestablish some balance, she seems to say: « Love is foreign to politics. » The positive qualities that Baldwin finds in black people (beauty, aptitude for joy, warmth, humanity) are not only defining traits of oppressed people – or, as Arendt calls them, pariahs – but they are the result of situations of oppression. Freedom (or, better still, emancipation, justice, equality) causes these qualities to disappear; they do not survive for even five minutes. Arendt adopts here the same terms she used in 1959 in her acceptance speech for the Lessing prize in Hamburg,[9] developing a recurring position of hers.[10] Behind the cliché of love being just as destructive as hate, from which is it indissociable (in the work of an author who finds nothing more repugnant than clichés), there is the idea that affects, which pertain to the domain of the particular, cannot be incorporated into the universal sphere of politics. Love and hate are luxuries that  « you can afford (…) only in the private and, as a people, only so long as you are not free. » If we shed light on this question from The Origins of Totalitarianism, this disabused attitude constitutes a more elaborate formulation of a theme that is proliferating in its most trivial forms today in France[11] under the effects of an intense preoccupation – more or less subterranean, that is, both conscious and unconconscious – over the past two centuries or more with the inexhaustible question of what makes a group fit or unfit for universalism, that is, for its disappearance as a group:

    Since the Greeks, we have known that highly developed political life breeds a deep-rooted suspicion of this private sphere, a deep resentment against the disturbing miracle contained in the fact that each of us is made as he is – single, unique, unchangeable. This whole sphere of the merely given, relegated to private life in civilized society, is a permanent threat to the public sphere, because the public sphere is based on the law of universal difference and differentiation. […] The great danger arising from the existence of people forced to live outside the common world is that they are thrown back, in the midst of civilization, on their natural givenness, on their mere differentiation. They lack the tremendous equalizing of differences which comes from being citizens of some commonwealth and yet, since they are no longer allowed to partake in the human artifice, they begin to belong to the human race in much the same way as animals belong to a specific animal species[12].

    It is this singularity, according to Arendt, which calls for love and which is addressed by what she calls love; a singularity which has nothing to do with politics. Worse still:

    The danger in the existence of such people [i.e. the « pariahs », those who live outside the « commonwealth »] is twofold : first and more obviously, their ever-increasing numbers threaten our political life, our human artifice, the world which is the result of our common and co-ordinated effort in much the same, perhaps even more terrifying, way as the wild elements of nature once threatened the existence of man-made cities and countrysides.[13]

    The conclusion drawn in these passages, as well as other comments by Arendt on the notion of pariah, do not allow us simply to classify her arguments within the historical current which holds that the separation of the spheres is a criterion for sorting out barbarians from civilized peoples:

    The danger is that a global, universally interrelated civilization may produce barbarians from its own midst by forcing millions of people into conditions which, despite all appearances, are the conditions of savages.[14]

    Though I won’t cease repeating that « I don’t agree with everything she says », clearly here Arendt comes close to playing the role of a seer or prophet in describing our contemporary reality and thus converging with Houria Bouteldja and a few others when they tie the history of postcolonial immigration to France, and the treatment of immigrants and their descendants, to the recent eruptions of delirious ideologies accompanied by upsurges in violent behaviors. In Bouteldja’s words:

    We have realized the white prophecy: to become non-beings or barbarians. Our complexities and our nuances have evaporated. We have been diluted, confiscated from ourselves, emptied out of all historical substance. We claim to be what we have been but are nothing but fantasmatic, disarticulated caricatures of ourselves. We cobble together disparate scraps of identity, held in place with bad glue. Our own parents look at us, perplexed. They think, “Who are you ?”[15]

    We’ll need to return to this « we » which valiantly refuses to repeat the operation of sorting-out, instead obstinately politicizing, over and against the paradoxical imperative that the pariah extract herself from her condition. This is not the romanticism of an outcast subject, but rather an assuming of the risk and of the Arendtian imperative: every member of a pariah group must choose between being a rebel and being « partly responsible for his own position. »[16]  Let us posit for the moment that this « we », fundamentally impure and thus fundamentally political, is in constant construction, and that its corresponding « you » is no less polymorphous and unstable.[17]

    The position taken by Hannah Arendt in her letter to Baldwin is in accord with what she famously replied a few months later, on June 23, 1963, to Gershom Scholem, who, after the publication of her Eichmann in Jerusalem, had accused her of lacking « love for the Jewish people » (« ahavat Israel »). Indeed, she retorted, she believed she must reserve the sentiment of love for those close to her, and more precisely for her friends, rather than for ethnic, national, or political groups, or « anything of that sort »: « I indeed love ‘only’ my friends and the only kind of love I know of and believe in is the love of persons. »[18]  Such robust common sense is proferred in this context in useful opposition to Scholem’s nationalist and ethnocentric mystique, which in this period, as Amnon Raz-Krakotzkin has shown,[19] represented an abandonment of the lucid and disillusioned analyses of the early years of his residence in Palestine under the British mandate, when, with the Brit Shalom movement, he advocated a form of Zionism compatible with the binational idea. In 1931 he had criticized the alliance Zionism had made with « the manifest force, the aggressor » that is imperialism, forgetting to « link up with the hidden force, the oppressed, which [would] rise and be revealed soon after », by which he was referring to « the revolution of the awakening Orient », a revolution which then seemed imminent and which in his view would force Zionism to choose its camp. This choice could owe nothing to cowardice or opportunism because the danger was equally real, according to Scholem, on both sides of the divide between the imperialist West and the revolutionizing East. Zionism would either be « washed away along with the waters of imperialism » to which it had allied itself at the moment of the Balfour Declaration, « or it [would] be burned in the fire of the revolution of the awakening Orient. »  « Mortal dangers beset her on either side, and, nevertheless, the Zionist movement cannot avoid a decision », he continued, only to end on this apocalyptic note:

    If it is still possible for an entire movement to change its ways and attempt to join up with the powers that will determine the shape of the coming generation, this I do not know. But I do know that, but for this attempt, it has no other way […] Better that the movement again become small but confident in its ways and pregnant with possibility, than that it remain in its state of disintegration and falsehood and die with the reactionary forces that it followed as a result of the original sin: false victory. And if we do not win once again, and the fire of revolution consumes us, at least we will be among those standing on the right side of the barricades.[20]

    By 1963, however – that is, after the catastrophe, as Raz-Krakotzkin points out – Scholem had long abandoned his initial commitment to binationalism and had moved progressively toward the most irresponsible versions of Zionism.[21] Arendt’s reply (« I love only my friends »), which is tantamount to « love has nothing to do with politics », cannot have the same meaning when addressed to Scholem, who claims to justify the censorship of the criticisms of the Judenräte by « love of the Jewish people», as when it is addressed to Baldwin, who calls for whites and blacks to think of each other, together, « as lovers ».

    When addressed to the old and reactionary Scholem, Arendt’s reply attests to her freedom and her obstinacy in critical thinking, but when it is delivered to Baldwin, who speaks of « changing the history of the world » (a formula to which she should have been sensitive), her opinion as a specialist of the impossible relationship between private affect and worldly engagement resembles the skeptical frown of a fussy old professor. She does not see that when Baldwin speaks of love and politics, it is in the idiom of another  « tradition of the oppressed» – one which has reinterpreted the imperative of love in a manner that could be called Spinozian, that is, turning it into a configuration capable of overpowering the profoundly destructive negativity of affect produced in oppressed subjects by situations of oppression. In The Fire Next Time, Baldwin writes: « I use the word “love” here not merely in the personal sense but as a state of being, or a state of grace – not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth. »[22] » It is not – or is not simply – « Christian » love or « love of one’s neighbor », much less love for one’s enemies.[23] Nor is it about a « demand for love ». As Baldwin further writes: « […] I do not know many Negroes who are eager to be “accepted” by white people, still less to be loved by them; they, the blacks, simply don’t wish to be beaten over the head by the whites every instant of our brief passage on this planet. » [24] The dizzying passage in this sentence from a descriptive « they » to a subjectivizing « we » opens a path for us to understand what he means by « love ». In Just Above My Head Baldwin gives an implacable and terrifying description of the destructiveness of exposure to racism:

    It’s a dreadful place to be. I’ve been there a few times since – hope never to go there again. There is a blood-red thunder all around you, a blinding light flashes from time to time, voices roar and cease, roar and cease, you are in the grip of an unknowable agony, it is in your shoulders, your arms, your hands, your breath, an intolerable labor – and, no, it is not at all like approaching an orgasm, an orgasm implying relief, even, sometimes, however desperately, implying the hope of love. Love and death are connected, but not in the place I was that day.[25]

    It is to this kind of negativity, which the oppressor seeks to turn into the distinctive sign of the oppressed, and to which the history of oppression seeks to condemn them, that Baldwin accuses Richard Wright of binding black Americans:

    To present Bigger as a warning is simply to reinforce the American guilt and fear concerning him, it is most forcefully to limit him to that previously mentioned social arena in which he has no human validity, it is simply to condemn him to death. [26]

    Oppression inevitably produces Bigger Thomases,[27] and when they are judged,

    It is useless to say to the courtroom in which this heathen sits on trial that he is their responsibility, their creation, and his crimes are theirs ; and that they ought, therefore, to allow him to live, to make articulate to himself behind the walls of prison the meaning of his existence. The meaning of his existence has already been most adequately expressed […] Moreover, the courtroom, judge, jury, witnesses and spectators, recognize immediately that Bigger is their creation and they recognize this not only with hatred and fear and guilt and the resulting fury of self-righteousness but also with that morbid fullness of pride mixed with horror with which one regards the extent and power of one’s wickedness.[28]

    But in the time preceding these little ends of the world, these apocalypses within the dimension of a human life, and which prefigure others of greater magnitude, in the time that remains, as we have seen, Baldwin invites « relatively conscious » blacks and whites « to act like lovers », that is, to try to produce more conscience in each other and to persevere in this pursuit without faltering in order to « change the history of the world », failing which the apocalpytic post-Biblical prophecy of the slaves will come to pass: « God gave Noah the rainbow sign, No more water, the fire next time ! »

    While the choice posed by Baldwin cannot be understood by the – in this case – stubborn common sense of Hannah Arendt, there is good reason to believe that it would have been heard by Walter Benjamin[29] and no doubt as well, by the Gerschom Scholem of 1931. If one accepts these parallels, then the political love called for by Baldwin is perhaps something like Benjamin’s « real state of exception ». We can call it friendship if we wish, or philia; we may ask to what extent Baldwin’s formulation of revolutionary love would escape Jacques Derrida’s dubious diagnosis in The Politics of Friendship, and wonder how he, Baldwin, would resolve the question – a central one, as Gil Anidjar has shown[30] – about  numbers: May I ever embrace, in my friendship or my love, more than a handful of individuals who resemble me? Can these affects, without losing everything that gives them their sensible character, be anything else but elective? One could also consider that the love Baldwin speaks of is a bit like the « proposition » made by C.L.R. James, whom Bouteldja recognizes as a « partisan of revolutionary love » : « These are my ancestors, these are my people. They are yours too if you want them. »[31]. And it must be admitted that there is more love there, without a doubt, but also – to borrow a phrase that has its obscure side and its luminous side – an « offer » that is considerably more « generous » than what is conveyed in apparently symmetrical manner in Nicolas Sarkozy’s phrasing of the « imperative of assimilation »: « As soon as you become French, your ancestors are Gauls. ‘I love France, I learn French history, I live like a French person’ is what each person who becomes French must tell himself/herself »[32]. In Baldwin’s « proposition », and in that of James, and those of Bouteldja[33] there is the proposal for a paradigm change – what Rancière might call a new distribution of the sensible, which presupposes a transformation of the gaze[34] and affective alliances based on new representations of « self », « same », « others » « alike », « neighbour » etc. – that is, a new political subjectification,[35] of a type that immediately creates the conditions for peace[36]. In an article written in 1995, Jacques Rancière relates his reflection on « political subjectification » – and it’s certainly no accident – to his pondering over the impact of the Algerian War on his generation and on the effect it could (should?) have had regarding « the difference internal to citizenship that is the mark of politics » if the forgetting of « internal alterity » had not taken place instead. [37] But these moments and narratives, and the conceptualizations to which they give rise, provide orientation to the living compass that we are, collectively, to ourselves.

    Without wishing to speak for Houria Bouteldja, it seems to me that she could say (or could she sing it?) that she would have liked to write a book of love, but that in these times it’s not a convenient thing.  It is to « us » that this book appears to be addressed[38] –  to us whites, us Jews, us indigenous women, us indigènes – since by the end of the book the reader’s labor of disidentification and (re)subjectification has necessarily begun, that is, if it hadn’t already begun before. It may be to avoid this labor that so many people have brutalized the book and its author. (« What are you reading there, and dissecting  – which is not the same as reading – with as much malevolence as a book of love would be dissected by an Inquisition, if the book is about revolutionary rather than « Christian » love (whatever that might be)? « A book of love – revolutionary love. ») Bouteldja aptly quotes Baldwin:

    The Negro came to the white man for a roof or for five dollars or for a letter to the judge; the white man came to the Negro for love. But he was not often able to give what he came seeking. The price was too high; he had too much to lose. And the Negro knew this, too. When one knows this about a man, it is impossible for one to hate him, but unless he becomes a man – becomes equal – it is also impossible for one to love him.[39]

    Revolutionary love, I hope to have shown, is not the demand for love, nor is it « Christian love », nor loving one’s neighbor nor one’s enemy. It is a disidentifying transformation, a political subjectification that operates at the moment where equality is affirmed. Rancière reminds us that equality is not something that one pursues or obtains but a postulate that becomes actualized through operations made necessary (and are created) for its verification[40]. The performative effect of this postulate and the constant process of its verification on the « supposedly natural logic of domination » is to produce politics. « That means that there is not always politics. It is indeed present quite little and rarely.»[41] That is very different from saying, as Arendt does, that the human group (the Jews in this case–but today it would be the inhabitants of popular districts, or a given category of workers (animal laborans[42])–are « worldless » (weltlos), a privation (Weltlosigkeit, worldlessness) synonymous with a lack of aptitude for politics, of which love, beauty and « anything of that sort », perceived as collective qualities and not reserved to the « private » domain, are the clearest signs. This Weltlosigkeit whose conditions of humanization (or rehumanization?) are the stakes of a tight negotiation with Martin Heidegger, would be known in the French idiom of today, and more trivially, as « communautarisme », that is, the supposed inability or unwillingness of immigrant groups, including generations of their offspring, to assimilate because of their preference for group attachment over universal values and identification with the broader community of citizens. This in turn is why multiculturalism is such a vilified notion in France.

    It seems to me that the notion of revolutionary love, as mobilized by Bouteldja (who in turn says she borrowed it, without truly thematizing it, from Chela Sandoval[43]), is one of the possible procedures for the pratical verification of equality. To use Rancière’s terms, it is a « method of equality ».[44] In this process, as it plays out here, equality is verified by a demanding kind of generosity : The Whites, Jews and Us is both a demanding and a generous book. Since when do the subaltern formulate demands? Ever since they have made generous offers, but while also, each time, tirelessly verifying the equality of the relationship; they give the oppressor a chance to dis-identify with the oppressive identity, thus producing a new political subjectification.

    One might say – and I will not hesitate to say it, because it’s no doubt the book’s most precious lesson – borrowing and modifying an insight by Hannah Arendt, that every member of a pariah group must not only choose between being a rebel and being « responsible for his/her own oppression »,[45] but must also find the means to escape from the affective negativity engendered by his/her condition. To that end there are only two possible paths: revolutionary violence or revolutionary love. Baldwin reproached Wright for binding African Americans to an imposed negativity. But he also knew, and said so directly, that when the oppressor refuses the generous proposal made by the oppressed (and when has that ever not happened?), it’s the fire next time. Scholem understood that faced with the « fire of revolution », (even when that fire is destined to devour us), one must choose « the right side of the barricades », and not just to save our lives – Scholem was pessimistic in those years but he was clearly not a coward – but in order that, in a way that brings us closer to Kafka, and where we find common ground with Arendt, something other than shame may survive us.[46]

    Notes

    [1] A short version of this was published on The Immanent Frame, July 12, 2018, under the title « Love in Dark Times », https://tif.ssrc.org/2018/07/12/love-in-dark-times/

    [2] Cf. Lettres d’amour d’un soldat de vingt ans (Love letters of a 20 year-old soldier), Grasset, 1987.

    [3] Mahmoud Darwish, « Je suis malade d’espoir » (I am sick with hope), interview with Gilles Anquetil, Le Nouvel Observateur n° 2154, August 11, 2008.

    [4] Careful observation of what has taken place in France around the book shows that most, if not all the critiques have tended to be rooted not in sound analysis but in what their authors thought they already knew about Bouteldja’s stances, as well as their dismissal of the Parti des Indigènes de la République (PIR : actually a group that started in 2004, with an appeal for the recognition of the colonial roots of the systemic discriminations that affect offsprings of immigrants from former French colonies ; it became a « party » in 2010 – albeit one that never ran for any election).. Much of the literature and thought that have sustained Bouteldja’s thinking, as well as that of other racialized representants of political, as opposed to moral, antiracism (that is, an antiracism that is more interested in pointing to systemic discriminations than in denouncing individual shortcomings) are largely unknown in France : mostly untranslated, but when translated, unread and untaught. This is why and how Bouteldja, the PIR, and other groups and individuals representing racialized minorities, are often attacked for what is interpreted as their subtext, rather than their text.This is also why I have tried to think with the book here, to use it as a toolbox for thinking. I have wondered why no actual conversation has been possible, in France, about it. I have tried to address the book itself (or some aspects of it), rather than the aura of scandalousness around Bouteldja. I have, in short, tried to actually read the book, while leaving aside what I thought I knew about her or about the Indigènes de la République (and I should specify, here, that I was one of the first signatories of the Indigènes’ appeal ; but that I am not part of the PIR).  I have to read the book  as seriously as I would any other book. This has meant letting the book be inscribed in a network of other writings–one among many possible networks, to be sure. Since that network is made of writings I value, it is a subjective network. Still, it is one that, in my view, is deeply relevant to Bouteldja’s book. As some have shown (Roland Barthes most famously), this subjective networking is what we call reading.

    [5] Paul Claudel, Partage de midi, Paris, Gallimard, 1949, coll. Folio, p. 38.

    [6] The term indigène (rendered by Bouteldja’s translator as « indigenous ») was used for the first time in the recent French history of postcolonial struggles in a manifesto published in January 2005 under the title « Nous sommes les indigènes de la République » (« We are the indigenous of the Republic »). It refers critically to the status of « natives’ » within the colonial-era French legal system. See Houria Bouteldja, Whites, Jews, and Us. Toward a Politics of Revolutionary Love, translated by Rachel Valinsky, with a foreword by Cornel West, Semiotext(e) intervention series n°22, MIT Press, Cambridge, Mass. and London, England, 2017.

    [7] James Baldwin, « Down at the Cross. Letter from a Region in my Mind », in Collected Essays, Literary Classics of the United States, New York, N.Y., 1998, p. 346-7.

    [8] http://www.hannaharendt.net/index.php/han/article/view/95/156,

    [9] « The humanity of the insulted and injured has never yet survived the hour of liberation by so much as a minute. This does not mean that it is insignificant, for in fact it makes insult and injury endurable; but it does mean that in political terms it is absolutely irrelevant. » Hannah Arendt, “On Humanity in Dark Times: Thoughts about Lessing,” trans. Clara and Richard Winston, Men in Dark Times by Hannah Arendt (New York: Harcourt Brace, 1993) 3-31.

    [10] This position can be traced back to the first theoretical elaborations in her biography of Rahel Varnhagen, or even to her thesis on the concept of love in Augustine, and which can be found in different forms in The Jew as Pariah: A Hidden Tradition (1944) and in the first section of The Origins of Totalitaritarianism.

    [11] Also in Germany and elsewhere, but nowhere with such candid bonne conscience as in France.

    [12] Hannah Arendt, The Origins of Totalitarianism, Harvest Book, Orlando, Austin, New York, San Diego, London, 1976, p. 301-2.

    [13] Ibid. 302.

    [14] Ibid.

    [15] Bouteldja, op. cit., p. 103.

    [16] H. Arendt, « The Jew as Pariah : A Hidden Tradition », Jewish Social Studies, vol. 6, No 2 (Apr. 1944), pp 109. The German edition of this essay has « Unterdrückung » (oppression) instead of « position ». Die verborgene Tradition, Suhrkamp Verlag, Frankfurt am Main, 1976, p. 57.

    [17] On the central question of dialogue in Houria Bouteldja’s book and elsewhere, and on the manner in which it necessarily causes identity to vacillate, see Gil Anidjar, « Jackals and Arabs (Once More: the German-Jewish Dialogue) », forthcoming.

    [18] “Eichmann in Jerusalem: An Exchange of Letters between Gershom Scholem and Hannah Arendt,” Encounter 22, No. 1. January 1964; reprinted in Arendt Hannah, The Jew as Pariah: Jewish Identity and Politics in the Modern Age (Ron. H. Feldman, ed.), New York: Grove Press, 1978, p 246.

    [19] Exil et souveraineté. Judaïsme, sionisme et pensée binationale, translated from Hebrew into French by Catherine Neuve-Eglise, Paris, La Fabrique, 2007, p. 170-183; see also « Exile and Binationalism – From Gershom Scholem and Hannah Arendt to Edward Said and Mahmoud Darwish »,  Carl Heinrich Becker Lecture, Fritz Thyssen Stiftung, 2011 (http://www.eume-berlin.de/en/events/carl-heinrich-becker-lecture/2011-amnon-raz-krakotzkin.html) and « “On the Right Side of the Barricades”, Walter Benjamin, Gershom Scholem, and Zionism », in Comparative Literature 65 :3, University of Oregon, 2013 (https://read.dukeupress.edu/comparative-literature/article-abstract/65/3/363/7798).

    [20]  Scholem, “Bemai Ka’Mipalgi.” Od Davar. Tel Aviv, Am Oved, 1987. 57–59. Quoted by Amnon Raz-Krakotzkin, in « On the Right Side of the Barricades », art. cit., p. 375-6. I used the French translation of Scholem’s article : « Qui sont les diviseurs ? (1931) », in Le prix d’Israël. Ecrits politiques, Paris, éditions de l’Eclat, 2003. My emphasis.

    [21] Amnon Raz-Krakotzkin, art. cit.

    [22]  Baldwin, « Down at the Cross », op. cit., p. 341.

    [23]  See Gil Anidjar, The Jew, the Arab, a History of the Enemy, Stanford University Press, 2003.

    [24] Baldwin, ibid, p. 299.

    [25] James Baldwin, Just Above My Head, Random House, 1979, p. 81.

    [26] Baldwin, « Notes of a Native Son », in Collected Essays, op. cit., p. 33.

    [27] Main character of the novel by Richard Wright, Native Son (1940), HarperCollins Publishers, NY, 1993.

    [28] « Notes of a Native Son », op. cit., p. 33..

    [29] « There is no document of culture which is not at the same time a document of barbarism. […]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 accords with this insight. Then we will clearly see that it is our task to bring about a real state of emergency… » Walter Benjamin, « On the Concept of History », Selected Writings, Volume 4, 1938-1940, Harvard University Press, 2006, p. 392.

    [30] Anidjar, The Jew, the Arab, op. cit.

    [31] C.L.R. James, The Making of the Caribbean People, » in Spheres of Existence : Selected Writings (London : Allison and Busby, 1980), p. 187 ; quoted by Bouteldja, op. cit., p. 50. In a somewhat different formulation, but not so far removed, see Mahmoud Darwich : « My problem resides in what the Other has decided to see in my identity. Yet I tell him: here is my identity, share it with me, it is broad enough to welcome you. » Mahmoud Darwich, La Palestine comme métaphore, Arles, Actes Sud, 2003, p. 36.

    [32] http://www.lefigaro.fr/flash-actu/2016/09/19/97001-20160919FILWWW00356-des-que-l-on-devient-francais-nos-ancetres-sont-gaulois-sarkozy.php

    [33] To « whites » : « If things were as they should be, the most conscious among you would be tasked with making us a proposition to avoid the worst. But things are not as they should be. It is incumbent on us to fulfill this task. […] What would be convincing enough to make you give up on defending the racial interests that comfort you out of your downgrading and thanks to which you have the satisfaction of dominating (us)? Other than peace, I don’t know what it would be. By peace, I mean the opposite of « war », of « blood », of « hatred ». I mean: living all together peacefully. » (49) To « the Jews »: « You are still in the ghetto. Why don’t we go out of there together? » (72)

    [34] « The distribution of the sensible reveals who can have a share in what is common to the community based on what they do and on the time and space in which this activity is performed. Having a particular ‘occupation’ thereby determines the ability or inability to take charge of what is common to the community; it defines what is visible or not in a common space, endowed with a common language, etc. » Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible. Translated with an introduction by Gabriel Rockhill, Continuum International Publishing Group, 2004, p. 12-13. Even while relying on Rancière himself, we may argue that « occupation » is not the only factor determining who has or doesn’t have a share in the community (see « The Cause of the Other », art. cit.). Indeed, so do skin-color, religion, colonial history, etc.

    [35] Jacques Rancière, Disagreement. Politics and Philosphy, translated by Julie Rose, University of Minnesota Press, Minneapolis, London, 1999. « Politics is a matter of subjects or, rather, modes of subjectification. By subjectification I mean the production through a series of actions of a body and a capacity for enunciation not previously identifiable within a given field of experience, whose identification is thus part of the reconfiguration of the field of experience. » (35). « Any subjectification is a disidentification, removal from the naturalness of a place, the opening up of a subject space where any­one can be counted since it is the space where those of no account are counted, where a connection is made between having a part and having no part. » (36)

    [36] In his Love Letters of a 20 Year-Old Soldier, Higelin tells how, the day Algerian independence was proclaimed, he left the barracks, went out into the streets filled with joy and was immediately recognized as an ally by the Algerians he met: « A teenage boy came toward us, with transfigured traits, incapable of saying a word, overwhelmed with emotion. He shook our hands with passion. He slapped me on the back. […] His look told me : ‘You understand, you came to share, it’s so great!’ »[36] However, it would be pointless to give in to political sentimentalism. In what follows in his correspondence, the young soldier Higelin in Algeria returns quickly to his story of passionate love, not without its narcissistic side, to the detriment of his historical testimony.

    [37] Jacques Rancière, « The Cause of the Other » (1998), Parallax 4 :2, p. 32.

    [38] Cf. Gil Anidjar, « Jackals and Arabs », forthcoming.

    [39] Baldwin, « Letter from a Region of My Mind », op. cit., p. 345. Quoted by Bouteldja, op. cit., p. 51-52.

    [40] Rancière, The Ignorant Schoolmaster. Five Lessons in Intellectual Emancipation, translated with an introduction by Kristin Ross, Stanford University Press, 1991, p. 137.

    [41] The Disagreement, op. cit., p. 17. The phrase « supposedly natural logic of domination » was not translated from the French in the English language edition of Rancière’s La Mésentente.

    [42] H. Arendt, Condition de l’homme moderne, Paris, Calmann-Lévy, 1961 et 1983, p. 147-156.

    [43] Chela Sandoval, Methodology of the Oppressed, University of Minnesota Press, 2000.

    [44] Rancière, La Méthode de l’égalité. Entretiens avec Laurent Jeanpierre et Dork Zabunyan, Paris, Bayard, 2012.

    [45] The Jew as Pariah, op. cit.

    [46] See Arendt’s beautiful reading of The Trial: « It has been characteristic of our history-conscious century that its  worst crimes have been committed in the name of some kind of necessity  or in the name — and this amounts to the same thing — of the “wave of  the future.” For people who submit to this, who renounce their freedom  and their right of action, even though they may pay the price of death  for their delusion, anything more charitable can hardly be said than the  words with which Kafka concludes The Trial: “It was as if he meant  the shame of it to outlive him. » in « Franz Kafka, a Revaluation », in Essays in Understanding, 1930-1954. Formation, Exile, and Totalitarianism, Jerome Kohn (ed.), Harcourt Brace & Co., 1994, p. 71.

     

  • R. Joshua Scannell — Architectures of Managerial Triumphalism (Review of Benjamin Bratton, The Stack: On Software and Sovereignty)

    R. Joshua Scannell — Architectures of Managerial Triumphalism (Review of Benjamin Bratton, The Stack: On Software and Sovereignty)

    A review of Benjamin Bratton, The Stack: On Software and Sovereignty (MIT Press Press, 2016)

    by R. Joshua Scannell

    The Stack

    Benjamin Bratton’s The Stack: On Software and Sovereignty is an often brilliant and regularly exasperating book. It is a diagnosis of the epochal changes in the relations between software, sovereignty, climate, and capital that underwrite the contemporary condition of digital capitalism and geopolitics.  Anybody who is interested in thinking through the imbrication of digital technology with governance ought to read The Stack. There are many arguments that are useful or interesting. But reading it is an endeavor. Sprawling out across 502 densely packed pages, The Stack is nominally a “design brief” for the future. I don’t know that I understand that characterization, no matter how many times I read this tome.

    The Stack is chockablock with schematic abstractions. They make sense intuitively or cumulatively without ever clearly coming into focus. This seems to be a deliberate strategy. Early in the book, Bratton describes The Stack–the titular “accidental megastructure” of “planetary computation” that has effectively broken and redesigned, well, everything–as “a blur.” He claims that

    Only a blur provides an accurate picture of what is going on now and to come…Our description of a system in advance of its appearance maps what we can see but cannot articulate, on the one hand, versus what we know to articulate but cannot yet see, on the other. (14)

    This is also an accurate description of the prevailing sensation one feels working through the text. As Ian Bogost wrote in his review of The Stack for Critical Inquiry, reading the book feels “intense—meandering and severe but also stimulating and surprising. After a while, it was also a bit overwhelming. I’ll take the blame for that—I am not necessarily built for Bratton’s level and volume of scholarly intensity.” I agree on all fronts.

    Bratton’s inarguable premise is that the various computational technologies that collectively define the early decades of the 21st century—smart grids, cloud platforms, mobile apps, smart cities, the Internet of Things, automation—are not analytically separable. They are often literally interconnected but, more to the point, they combine to produce a governing architecture that has subsumed older calculative technologies like the nation state, the liberal subject, the human, and the natural. Bratton calls this “accidental megastructure” The Stack.

    Bratton argues that The Stack is composed of six “layers,” the earth, the cloud, the city, the address, the interface, and the user. They all indicate more or less what one might expect, but with a counterintuitive (and often Speculative Realist) twist. The earth is the earth but is also a calculation machine. The cloud is “the cloud” but as a chthonic structure of distributed networks and nodal points that reorganize sovereign power and body forth quasi-feudal corporate sovereignties. The City is, well, cities, but not necessarily territorially bounded, formally recognized, or composed of human users. Users are also usually not human. They’re just as often robots or AI scripts. Really they can be anything that works up and down the layers, interacting with platforms (which can be governments) and routed through addresses (which are “every ‘thing’ that can be computed” including “individual units of life, loaded shipping containers, mobile devices, locations of datum in databases, input and output events and enveloped entities of all size and character” [192], etc.).

    Each layer is richly thought through and described, though it’s often unclear whether the “layer” in question is “real” or a useful conceptual envelope or both or neither. That distinction is generally untenable, and Bratton would almost certainly reject the dichotomy between the “real” and the “metaphorical.” But it isn’t irrelevant for this project. He argues early on that, contra Marxist thought that understands the state metaphorically as a machine, The Stack is a “machine-as-the-state.” That’s both metaphorical and not. There really are machines that exert sovereign power, and there are plenty of humans in state apparatuses that work for machines. But there aren’t, really, machines that are states. Right?

    Moments like these, when The Stack’s concepts productively destabilize given categories (like the state) that have never been coherent enough to justify their power are when the book is at its most compelling. And many of the counterintuitive moves that Bratton makes start and end with real, important insights. For instance, the insistence on the absolute materiality, and the absolute earthiness of The Stack and all of its operations leads Bratton to a thoroughgoing and categorical rejection of the prevailing “idiot language” that frames digital technology as though it exists in a literal “cloud,” or some sort of ethereal “virtual” that is not coincident with the “real” world. Instead, in The Stack, every point of contact between every layer is a material event that transduces and transforms everything else. To this end, he inverts Latour’s famous dictum that there is no global, only local. Instead, The Stack as planetary megastructure means that there is only global. The local is a dead letter. This is an anthropocene geography in which an electron, somewhere, is always firing because a fossil fuel is burning somewhere else. But it is also a post-anthropocene geography because humans are not The Stack’s primary users. The planet itself is a calculation machine, and it is agnostic about human life. So, there is a hybrid sovereignty: The Stack is a “nomos of the earth” in which humans are an afterthought.

    A Design for What?

    Bratton is at his conceptual best when he is at his weirdest. Cyclonopedic (Negarestani 2008) passages in which the planet slowly morphs into something like HP Lovecraft and HR Geiger’s imaginations fucking in a Peter Thiel fever dream are much more interesting (read: horrifying) than the often perfunctory “real life” examples from “real world” geopolitical trauma, like “The First Sino-Google War of 2009.” But this leads to one of the most obvious shortcomings of the text. It is supposedly a “design brief,” but it’s not clear what or who it is a design brief for.

    For Bratton, design

    means the structuring of the world in reaction to an accelerated decay and in projective anticipation of a condition that is now only the ghostliest of a virtual present tense. This is a design for accommodating (or refusing to accommodate) the post-whatever-is-melting-into-air and prototyping for pre-what-comes-next: a strategic, groping navigation (however helpless) of the punctuations that bridge between these two. (354)

    Design, then, and not theory, because Bratton’s Stack is a speculative document. Given the bewildering and potentially apocalyptic conditions of the present, he wants to extrapolate outwards. What are the heterotopias-to-come? What are the constraints? What are the possibilities? Sounding a familiar frustration with the strictures of academic labor, he argues that this moment requires something more than diagnosis and critique. Rather,

    the process by which sovereignty is made more plural becomes a matter of producing more than discoursing: more about pushing, pulling, clicking, eating, modeling, stacking, prototyping, subtracting, regulating, restoring, optimizing, leaving alone, splicing, gardening and evacuating than about reading, examining, insisting, rethinking, reminding, knowing full-well, enacting, finding problematic, and urging. (303)

    No doubt. And, not that I don’t share the frustration, but I wonder what a highly technical, 500-page diagnosis of the contemporary state of software and sovereignty published and distributed by an academic press and written for an academic audience is if not discoursing? It seems unlikely that it can serve as a blueprint for any actually-existing power brokers, even though its insights are tremendous. At the risk of sounding cynical, calling The Stack a “design brief” seems like a preemptive move to liberate Bratton from having to seriously engage with the different critical traditions that work to make sense of the world as it is in order to demand something better. This allows for a certain amount of intellectual play that can sometimes feel exhilarating but can just as often read as a dodge—as a way of escaping the ethical and political stakes that inhere in critique.

    That is an important elision for a text that is explicitly trying to imagine the geopolitics of the future. Bratton seems to pose The Stack from a nebulous “Left” position that is equally disdainful of the sort of “Folk Politics” that Srnicek and Williams (2015) so loathe and the accelerationist tinge of the Speculative Realists with whom he seems spiritually aligned. This sense of rootlessness sometimes works in Bratton’s favor. There are long stretches in which his cherry picking and remixing ideas from across a bewildering array of schools of thought yields real insights. But just as often, the “design brief” characterization seems to be a way out of thinking the implications of the conjuncture through to their conclusion. There is a breeziness about how Bratton poses futures-as-thought-experiments that is troubling.

    For instance, in thinking through the potential impacts of the capacity to measure planetary processes in real time, Bratton suggests that producing a sensible world is not only a process of generalizing measurement and representation. He argues that

    the sensibility of the world might be distributed or organized, made infrastructural, and activated to become part of how the landscape understands itself and narrates itself. It is not only a diagnostic image then; it is a tool for geo-politics in formation, emerging from the parametric multiplication and algorithmic conjugation of our surplus projections of worlds to come, perhaps in mimetic accordance with one explicit utopian conception or another, and perhaps not. Nevertheless, the decision between what is and is not governable may arise as much from what the model computational image cannot do as much as what it can. (301, emphasis added)

    Reading this, I wanted to know: What explicit utopian project is he thinking about? What are the implications of it going one way and not another? Why mimetic? What does the last bit about what is and is not governable mean? Or, more to the point: who and what is going to get killed if it goes one way and not another? There are a great many instances like this over the course of the book. At the precise moment where analysis might inform an understanding of where The Stack is taking us, Bratton bows out. He’s set down the stakes, and given a couple of ideas about what might happen. I guess that’s what a design brief is meant to do.

    Another example, this time concerning the necessity of geoengineering for solving what appears to be an ever-more-imminent climatic auto-apocalypse:

    The good news is that we know for certain that short-term “geoengineering” is not only possible but in a way inevitable, but how so? How and by whom does it go, and unfortunately for us the answer (perhaps) must arrive before we can properly articulate the question. For the darker scenarios, macroeconomics completes its metamorphosis into ecophagy, as the discovery of market failures becomes simultaneously the discovery of limits of planetary sinks (e.g., carbon, heat, waste, entropy, populist politics) and vice versa; The Stack becomes our dakhma. The shared condition, if there is one, is the mutual unspeakability and unrecognizability that occupies the seat once reserved for Kantian cosmopolitanism, now just a pre-event reception for a collective death that we will actually be able to witness and experience. (354, emphasis added)

    Setting aside the point that it is not at all clear to me that geoengineering is an inevitable or even appropriate (Crist 2017) way out of the anthropocene (or capitalocene? (Moore 2016)) crisis, if the answer for “how and by whom does it go” is to arrive before the question can be properly articulated, then the stack-to-come starts looking a lot like a sort of planetary dictatorship of, well of who? Google? Mark Zuckerberg? In-Q-Tel? Y Combinator? And what exactly is the “populist politics” that sits in the Latourian litany alongside carbon, heat, waste, and entropy as a full “planetary sink”? Does that mean Trump, and all the other globally ascendant right wing “populists?” Or does it mean “populist politics” in the Jonathan Chait sense that can’t differentiate between left and right and therefore sees both political projects as equally dismissible? Does populism include any politics that centers the needs and demands of the public? What are the commitments in this dichotomy? I suppose The Stack wouldn’t particularly care about these sorts of questions. But a human writing a 500-page playbook so that other humans might better understand the world-to-come might be expected to. After all, a choice between geoengineering or collective death might be what the human population of the planet is facing (and for most of the planet’s species, and for a great many of the planet’s human societies, already eliminated or dragged down the road towards it during the current mass extinction, there is no choice), but such a binary doesn’t make for much of a design spec.

    One final example, this time on what the political subject of the stack-to-come ought to look like:

    We…require, as I have laid out, a redefinition of the political subject in relation to the real operations of the User, one that is based not on homo economicus, parliamentary liberalism, poststructuralist linguistic reduction, or the will to secede into the moral safety of individual privacy and withdrawn from coercion. Instead, this definition should focus on composing and elevating sites of governance from the immediate, suturing interfacial material between subjects, in the stitches and the traces and the folds of interaction between bodies and things at a distance, congealing into different networks demanding very different kinds of platform sovereignty.

    If “poststructuralist linguistic reduction” is on the same plane as “parliamentary liberalism” or “homo economicus” as one among several prevailing ideas of the contemporary “political subject,” then I am fairly certain that we are in the realm of academic “theory” rather than geopolitical “design.” The more immediate point is that I do understand what the terms that we ought to abandon mean, and agree that they need to go. But I don’t understand what the redefined political subject looks like. Again, if this is “theory,” then that sort of hand waving is unfortunately often to be expected. But if it’s a design brief—even a speculative one—for the transforming nature of sovereignty and governance, then I would hope for some more clarity on what political subjectivity looks like in The Stack-To-Come.

    Or, and this is really the point, I want The Stack to tell me something more about how The Stack participates in the production and extractable circulation of populations marked for death and debility (Puar 2017). And I want to know what, exactly, is so conceptually radical about pointing out that human beings are not at the center of the planetary systems that are driving transformations in geopolitics and sovereignty. After all, hasn’t that been exactly the precondition for the emergence of The Stack? This accidental megastructure born out of the ruthless expansions of digitally driven capitalism is not just working to transform the relationship between “human” and sovereignty. The condition of its emergence is precisely that most planetary homo sapiens are not human, and are therefore disposable and disposited towards premature death. The Stack might be “our” dhakma, if we’re speaking generically as a sort of planetary humanism that cannot but be read as white—or, more accurately, “capacitated.” But the systematic construction of human stratification along lines of race, gender, sex, and ability as precondition for capitalist emergence freights the stack with a more ancient, and ignored, calculus: that of the logistical work that shuttles humans between bodies, cargo, and capital. It is, in other words, the product of an older planetary death machine: what Fred Moten and Stefano Harney (2013) call the “logistics in the hold” that makes The Stack hum along.

    The tenor of much of The Stack is redolent of managerial triumphalism. The possibility of apocalypse is always minimized. Bratton offers, a number of times, that he’s optimistic about the future. He is disdainful of the most stringent left critics of Silicon Valley, and he thinks that we’ll probably be able to trust to our engineers and institutions to work out The Stack’s world-destroying kinks. He sounds invested, in other words, in a rhetorical-political mode of thought that, for now, seems to have died on November 9, 2016. So it is not surprising that Bratton opens the book with an anecdote about Hillary Clinton’s vision of the future of world governance.

    The Stack begins with a reference to then-Secretary of State Clinton’s 2013 farewell address to the Council on Foreign Relations. In that speech, Clinton argued that the future of international governance requires a “new architecture for this new world, more Frank Gehry than formal Greek.” Unlike the Athenian Agora, which could be held up by “a few strong columns,” contemporary transnational politics is too complicated to rely on stolid architecture, and instead must make use of the type of modular assemblage that “at first might appear haphazard, but in fact, [is] highly intentional and sophisticated” that makes Gehry famous. Bratton interprets her argument as a “half-formed question, what is the architecture of the emergent geopolitics of this software society? What alignments, components, foundations, and apertures?” (Bratton 2016, 13).

    For Clinton, future governance must make a choice between Gehry and Agora. The Gehry future is that of the seemingly “haphazard” but “highly intentional and sophisticated” interlocking treaties, non-governmental organizations, super and supra-state technocratic actors working together to coordinate the disparate interests of states and corporations in the service of the smooth circulation of capital across a planetary logistics network. On the other side, a world order held up by “a few strong pillars”—by implication the status quo after the collapse of the Soviet Union, a transnational sovereign apparatus anchored by the United States. The glaring absence in this dichotomy is democracy—or rather its assumed subsumption into American nationalism. Clinton’s Gehry future is a system of government whose machinations are by design opaque to those that would be governed, but whose beneficence is guaranteed by the good will of the powerful. The Agora—the fountainhead of slaveholder democracy—is metaphorically reduced to its pillars, particularly the United States and NATO. Not unlike ancient Athens, it’s democracy as empire.

    There is something darkly prophetic of the collapse of the Clintonian world vision, and perversely apposite in Clinton’s rhetorical move to supplant as the proper metaphor for future government Gehry for the Agora. It is unclear why a megalomaniacal corporate starchitecture firm that robs public treasuries blind and facilitates tremendous labor exploitation ought to be the future for which the planet strives.

    For better or for worse, The Stack is a book about Clinton. As a “design brief,” it works from a set of ideas about how to understand and govern the relationship between software and sovereignty that were strongly intertwined with the Clinton-Obama political project. That means, abysmally, that it is now also about Trump. And Trump hangs synechdochally over theoretical provocations for what is to be done now that tech has killed the nation-state’s “Westphalian Loop.” This was a knotty question when the book went to press in February 2016 and Gehry seemed ascendant. Now that the Extreme Center’s (Ali 2015) project of tying neoliberal capitalism to non-democratic structures of technocratic governance appears to be collapsing across the planet, Clinton’s “half-formed question” is even knottier. If we’re living through the demise of the Westphalian nation state, then it’s sounding one hell of a murderous death rattle.

    Gehry or Agora?

    In the brief period between July 21st and November 8 2016, when the United States’ cognoscenti convinced itself that another Clinton regime was inevitable, there was a neatly ordered expectation of how “pragmatic” future governance under a prolonged Democratic regime would work. In the main, the public could look forward to another eight years sunken in a “Gehry-like” neoliberal surround subtended by the technocratic managerialism of the Democratic Party’s right edge. And, while for most of the country and planet, that arrangement didn’t portend much to look forward to, it was at least not explicitly nihilistic in its outlook. The focus on management, and on the deliberate dismantling of the nation state as the primary site of governance in favor of the mesh of transnational agencies and organizations that composed 21st century neoliberalism’s star actants meant that a number of questions about how the world would be arranged were left unsettled.

    By end of election week, that future had fractured. The unprecedented amateurishness, decrypted racism, and incomparable misogyny of the Trump campaign portended an administration that most thought couldn’t, or at the very least shouldn’t, be trusted with the enormous power of the American executive. This stood in contrast to Obama, and (perhaps to a lesser extent) to Clinton, who were assumed to be reasonable stewards. This paradoxically helps demonstrate just how much the “rule of law” and governance by administrative norms that theoretically underlie the liberal national state had already deteriorated under Obama and his immediate predecessors—a deterioration that was in many ways made feasible by the innovations of the digital technology sector. As many have pointed out, the command-and-control prerogatives that Obama claimed for the expansion of executive power depended essentially on the public perception of his personal character.

    The American people, for instance, could trust planetary drone warfare because Obama claimed to personally vet our secret kill list, and promised to be deliberate and reasonable about its targets. Of course, Obama is merely the most publicly visible part of a kill-chain that puts this discretionary power over life and death in the hands of the executive. The kill-chain is dependent on the power of, and sovereign faith in, digital surveillance and analytics technologies. Obama’s kill-chain, in short, runs on the capacities of an American warfare state—distributed at nodal points across the crust of the earth, and up its Van Allen belts—to read planetary chemical, territorial, and biopolitical fluxes and fluctuations as translatable data that can be packet switched into a binary apparatus of life and death. This is the calculus that Obama conjures when he defines those mobile data points that concatenate into human beings as as “baseball cards” that constitute a “continuing, imminent threat to the American people.” It is the work of planetary sovereignty that rationalizes and capacitates the murderous “fix” and “finish” of the drone program.

    In other words, Obama’s personal aura and eminent reasonableness legitimated an essentially unaccountable and non-localizable network of black sites and black ops (Paglen 2009, 2010) that loops backwards and forwards across the drone program’s horizontal regimes of national sovereignty and vertical regimes of cosmic sovereignty. It is, to use Clinton’s framework, a very Frank Gehry power structure. Donald Trump’s election didn’t transform these power dynamics. Instead, his personal qualities made the work of planetary computation in the service of sovereign power to kill suddenly seem dangerous or, perhaps better: unreasonable. Whether President Donald Trump would be so scrupulous as his predecessor in determining the list of humans fit for eradication was (formally speaking) a mystery, but practically a foregone conclusion. But in both presidents’ cases, the dichotomies between global and local, subject and sovereign, human and non-human that are meant to underwrite the nation state’s rights and responsibilities to act are fundamentally blurred.

    Likewise, Obama’s federal imprimatur transformed the transparently disturbing decision to pursue mass distribution of privately manufactured surveillance technology – Taser’s police-worn body cameras, for instance – as a reasonable policy response to America’s dependence on heavily armed paramilitary forces to maintain white supremacy and crush the poor. Under Obama and Eric Holder, American liberals broadly trusted that digital criminal justice technologies were crucial for building a better, more responsive, and more responsible justice system. With Jeff Sessions in charge of the Department of Justice, the idea that the technologies that Obama’s Presidential Task Force on 21st Century Policing lauded as crucial for achieving the “transparency” needed to “build community trust” between historically oppressed groups and the police remained plausible instruments of progressive reform suddenly seemed absurd. Predictive policing, ubiquitous smart camera surveillance, and quantitative risk assessments sounded less like a guarantee of civil rights and more like a guarantee of civil rights violations under a president that lauds extrajudicial police power. Trump goes out of his way to confirm these civil libertarian fears, such as when he told Long Island law enforcement that “laws are stacked against you. We’re changing those laws. In the meantime, we need judges for the simplest thing — things that you should be able to do without a judge.”

    But, perhaps more to the point, the rollout of these technologies, like the rollouts of the drone program, formalized a transformation in the mechanics of sovereign power that had long been underway. Stripped of the sales pitch and abstracted from the constitutional formalism that ordinarily sets the parameters for discussions of “public safety” technologies, what digital policing technologies do is flatten out the lived and living environment into a computational field. Police-worn body cameras quickly traverse the institutional terrain from a tool meant to secure civil rights against abusive officers into an artificially intelligent weapon that flags facial structures that match with outstanding warrants, that calculates changes in enframed bodily comportment to determine imminent threat to the officer-user, and that captures the observed social field as  data privately owned by the public safety industry’s weapons manufacturers. Sovereignty, in this case, travels up and down a Stack of interoperative calculative procedures, with state sanction and human action just another data point in the proper administration of quasi-state violence. After all, it is Axon (formerly Taser), and not a government that controls the servers that their body cams draw on to make real-time assessments of human danger. The state sanctions a human officer’s violence, but the decision-making apparatus that situates the violence is private, and inhuman. Inevitably, the drone war and carceral capitalism collapse into one another, as drones are outfitted with AI designed to identify crowd “violence” from the sky, a vertical parallax to pair with the officer-user’s body worn camera.

    Trump’s election seemed to show with a clarity that had hitherto been unavailable for many that wedding the American security apparatus’ planetary sovereignty to twenty years of unchecked libertarian technological triumphalism (even, or especially if in the service of liberal principles like disruption, innovation, efficiency, transparency, convenience, and generally “making the world a better place”) might, in fact, be dangerous. When the Clinton-Obama project collapsed, its assumption that the intertwining of private and state sector digital technologies inherently improves American democracy and economy, and increases individual safety and security looked absurd. The shock of Trump’s election, quickly and self-servingly blamed on Russian agents and Facebook, transformed Silicon Valley’s broadly shared Prometheanism into interrogations into the industry’s infrastructural corrosive toxicity, and its deleterious effect on the liberal national state.  If tech would ever come to Jesus, the end of 2016 would have had to be the moment. It did not.

    A few days after Trump won election I found myself a fly on the wall in a meeting with mid-level executives for one of the world’s largest technology companies (“The Company”). We were ostensibly brainstorming how to make The Cloud a force for “global good,” but Trump’s ascendancy and all its authoritarian implications made the supposed benefits of cloud computing—efficiency, accessibility, brain-shattering storage capacity—suddenly terrifying. Instead of setting about the dubious task of imagining how a transnational corporation’s efforts to leverage the gatekeeping power over access to the data of millions, and the private control over real-time identification technology (among other things) into heavily monetized semi-feudal quasi-sovereign power could be Globally Good, we talked about Trump.

    The Company’s reps worried that, Peter Thiel excepted, tech didn’t have anybody near enough to Trump’s miasmatic fog to sniff out the administration’s intentions. It was Clinton, after all, who saw the future in global information systems. Trump, as we were all so fond of pointing out, didn’t even use a computer. Unlike Clinton, the extent of Trump’s mania for surveillance and despotism was mysterious, if predictable. Nobody knew just how many people of color the administration had in its crosshairs, and The Company reps suggested that the tech world wasn’t sure how complicit it wanted to be in Trump’s explicitly totalitarian project. The execs extemporized on how fundamental the principles of democratic and republican government were to The Company, how committed they were to privacy, and how dangerous the present conjuncture was. As the meeting ground on, reason slowly asphyxiated on a self-evidently implausible bait hook: that it was now both the responsibility and appointed role of American capital, and particularly of the robber barons of Platform Capitalism (Srnicek 2016), to protect Americans from the fascistic grappling of American government. Silicon Valley was going to lead the #resistance against the very state surveillance and overreach that it capacitated, and The Company would lead Silicon Valley. That was the note on which the meeting adjourned.

    That’s not how things have played out. A month after that meeting, on December 14, 2016, almost all of Silicon Valley’s largest players sat down at Trump’s technology roundtable. Explaining themselves to an aghast (if credulous) public, tech’s titans argued that it was their goal to steer the new chief executive of American empire towards a maximally tractable gallimaufry of power. This argument, plus over one hundred companies’ decision to sign an amici curiae brief opposing Trump’s first attempt at a travel ban aimed at Muslims, seemed to publicly signal that Silicon Valley was prepared to #resist the most high-profile degradations of contemporary Republican government. But, in April 2017, Gizmodo inevitably reported that those same companies that appointed themselves the front line of defense against depraved executive overreach in fact quietly supported the new Republican president before he took office. The blog found that almost every major concern in the Valley donated tremendously to the Trump administration’s Presidential Inaugural Committee, which was impaneled to plan his sparsely attended inaugural parties. The Company alone donated half a million dollars. Only two tech firms donated more. It seemed an odd way to #resist.

    What struck me during the meeting was how weird it was that executives honestly believed a major transnational corporation would lead the political resistance against a president committed to the unfettered ability of American capital to do whatever it wants. What struck me afterward was how easily the boundaries between software and sovereignty blurred. The Company’s executives assumed, ad hoc, that their operation had the power to halt or severely hamper the illiberal policy priorities of government. By contrast, it’s hard to imagine mid-level General Motors executives imagining that they have the capacity or responsibility to safeguard the rights and privileges of the republic. Except in an indirect way, selling cars doesn’t have much to do with the health of state and civil society. But state and civil society is precisely what Silicon Valley has privatized, monetized, and re-sold to the public. But even “state and civil society” is not quite enough. What Silicon Valley endeavors to produce is, pace Bratton, a planetary simulation as prime mover. The goal of digital technology conglomerates is not only to streamline the formal and administrative roles and responsibilities of the state, or to recreate the mythical meeting houses of the public sphere online. Platform capital has as its target the informational infrastructure that makes living on earth seem to make sense, to be sensible. And in that context, it’s commonsensical to imagine software as sovereignty.

    And this is the bind that will return us to The Stack. After one and a half relentless years of the Trump presidency, and a ceaseless torrent of public scandals concerning tech companies’ abuse of power, the technocratic managerial optimism that underwrote Clinton’s speech has come to a grinding halt. For the time being, at least, the “seemingly haphazard yet highly intentional and sophisticated” governance structures that Clinton envisioned are not working as they have been pitched. At the same time, the cavalcade of revelations about the depths that technology companies plumb in order to extract value from a polluted public has led many to shed delusions about the ethical or progressive bona fides of an industry built on a collective devotion to Ayn Rand. Silicon Valley is happy to facilitate authoritarianism and Nazism, to drive unprecedented crises of homelessness, to systematically undermine any glimmer of dignity in human labor, to thoroughly toxify public discourse, to entrench and expand carceral capitalism so long as doing so expands the platform, attracts advertising and venture capital, and increases market valuation. As Bratton points out, that’s not a particularly Californian Ideology. It’s The Stack, both Gehry and Agora.

    _____

    R. Joshua Scannell holds a PhD in Sociology from the CUNY Graduate Center. He teaches sociology and women’s, gender, and sexuality studies at Hunter College, and is currently researching the political economic relations between predictive policing programs and urban informatics systems. He is the author of Cities: Unauthorized Resistance and Uncertain Sovereignty in the Urban World (Paradigm/Routledge, 2012).

    Back to the essay

    _____

    Works Cited

    • Ali, Tariq. 2015. The Extreme Center: A Warning. London: Verso
    • Crist, Eileen. 2016. “On the Poverty of Our Nomenclature.” In Anthropocene or Capitalocene: Nature, History, and the Crisis of Capitalism, edited by Jason W. Moore, 14-33. Oakland: PM Press
    • Harney, Stefano, and Fred Moten. 2013. The Undercommons: Fugitive Planning and Black Study. Brooklyn: Autonomedia.
    • Moore, Jason W. 2016. “Anthropocene or Capitolocene? Nature, History, and the Crisis of Capitalism.” In Anthropocene or Capitalocene: Nature, History, and the Crisis of Capitalism, edited by Jason W. Moore, 1-13. Oakland: PM Press
    • Negarestani, Reza. 2008. Cyclonopedia: Complicity with Anonymous Materials. Melbourne: re.press
    • Paglen, Trevor. 2009. Blank Spots on the Map: The Dark Geography of the Pentagon’s Secrert World. Boston: Dutton Adult
    • Paglen, Trevor. 2010. Invisible: Covert Operations and Classified Landscapes. Reading: Aperture Press
    • Puar, Jasbir. 2017. The Right to Maim: Debility, Capacity, Disability. Durham: Duke University Press
    • Srnicek, Nick. 2016. Platform Capitalism. Boston: Polity Press
    • Srnicek, Nick, and Alex Williams. 2016. Inventing the Future: Postcapitalism and a World Without Work. London: Verso.
  • Brian Willems — Natural Instruments: Real-World Adaptations of Fictional Financial Algorithms

    Brian Willems — Natural Instruments: Real-World Adaptations of Fictional Financial Algorithms

    by Brian Willems

    This is not an essay which aims at creating knowledge. It will not provide a new interpretation of a text. Nor will it apply a new critical perspective in order to uncover unseen aspects of a work.

    Instead of being part of what Joseph North calls the “historicist/contextualist” paradigm, limiting itself to self-referential scholarly study, this work aims to be a piece of criticism, in the outdated I.A. Richards’ sense of the term. This means the essay, and the experiment it describes, attempt to have real-world effects and consequences. It does so through an experiment called Natural Instruments.

    Natural Instruments are experimental financial algorithms founded on natural processes. However, they are not a part of what Anthony Brabazon and Michael O’Neill have collated under the idea of Biologically Inspired Algorithms for Financial Trading, which takes models of social interaction, immune systems and the function of biological neurons as its inspiration. The aim of Natural Instruments is not to make money, but to highlight some of the problems found in financial trading of the past and present, and to attempt to find new ways to imagine a future outside the financial time of hedged potentialities and long-term debt obligation. One way of doing this is to connect financial trading instruments with non-human aspects of the world. Thus Natural Instruments are trading algorithms under the direct control of nature.

    While the connection between nature and automated trading may sound like something new, they are actually intimately and historically linked. The basis of the theory of automated financial trading goes back to the random motion of pollen grains suspended in water, first observed by British botanist Robert Brown in 1827. The motion of the pollen grains, eventually called Brownian Motion, became the “random walk” of the “efficient market hypothesis,” the blindness of which help lead to the 2007-8 financial crisis. Natural Instruments are experiments which illustrate the problem of the efficient market hypothesis. They live on extreme volatility rather than trying to contain it. They do this by repeating Brown’s experiment, in a way. In the first of a series of such experiments, a pollen grain is given direct control over financial trading.

    One key feature of fictional financial algorithms is that they foreground the volatility of the data an algorithm is based on. Some novelists, such as Kim Stanley Robinson and Hari Kunzru, have created fictional financial instruments which reflect rather than contain this volatility.

    In the financial world, volatility is defined by the standard deviation of a set of data. Standard deviation is the spread of data around its mean, with a standard deviation of 3 mostly seen as an acceptable margin of error in statistics. Therefore, the higher the deviation, the more volatility there is. The role of volatility in financial algorithms is important because it defines the kind of world the algorithm can take into account. Here I am following the work of Peli Grietzer, who recently defended his PhD Ambient Meaning. Grietzer connects the function of autoencoder algorithms to literary theory. What is key for our discussion is that “When we extend the concepts of a canon, worldview, and mimesis to the world of algorithms, we detach the canon/worldview/mimesis triplet from its natural domain of art and culture to identify it with any and all structural triangles that comprise a set of privileged objects (canon), a schema of interpretation (worldview), and a capacity for reproduction and representation (mimesis).” Hence, just as a literary critic unfamiliar with feminism has problems asking certain important questions about a text, when an event lies outside an algorithm’s assumed standard deviation, the algorithm cannot “see” what happened. Such models, in the words of Brian Holmes, are “the source of a fundamental disconnect between the informational sky above our heads and the existential ground beneath our feet.”

    For example, as Scott Patterson shows in Dark Pools, an influential paper from the mid-90s argued that the 1987 stock market crash was a theoretically impossible “27-standard deviation event,” meaning that “Even if one were to have lived through the entire 20 billion year life of the universe and experienced this 20 billion times (20 billion big bangs), that such a decline could have happened even once in this period is a virtual impossibility.” In general, the algorithms used before the Black Monday crash of 1987 were not programmed to include the kind of volatility that was taking place in the real world. Instead, they assumed the world was a much more stable place. Some financial algorithms found in contemporary fiction have addressed this problem directly by placing extreme volatility at the heart of how the algorithms work.

    As mentioned earlier, the problems some real-world financial algorithms have with extreme volatility are due to two main factors: the idea of a random walk and the Efficient Market Hypothesis (EMH). Put simply, the random walk means that on a micro scale, past performance of a stock price has no bearing on future performance. For example, if a stock price moves down, this has no relation as to whether the next move will be up or down. Stock prices go on a “random walk,” meaning that their future state cannot be predicted from their previous state. This observation is based on what Robert Brown saw with pollen grains, which when suspended in water moved in an erratic fashion. Regarding the second factor, at times EMH is confused with the random walk, but it is really quite different. EMH states that the price of a stock reflects all known information about that that stock, thus negating any advantage having knowledge in advance of others might bestow. Its similarity to the random walk is that if prices are efficient, there is no gain to be made on short-term bets.

    EMH and the random walk have been popularly combined in Burton Malkiel’s A Random Walk Down Wall Street, which was first published in 1973 and went through 11 revised editions by 2015. Riding out a number of crises and bubbles over the years, Malkiel’s book has never changed its basic investment strategy: the long-term return of the totality of a stock market index (S&P 500, Nasdaq, or a mix of US and non-US indices) will out-perform any short-term investment strategy in individual stocks. Believing that future stock price changes cannot be predicted (the random walk) and that all pertinent information about an asset will be shared (EMH), Malkiel suggests investing in a Total Stock Market Index, meaning buying every single stock of an index and holding on to it for as long as possible. This strategy ignores daily volatility and hot picks, instead counting on what are hopefully the gradual, long-term gains of the world economy. By eliminating volatility from his strategy, Malkiel hopes to beat the market over the long term.

    The random walk and efficient market theory are key factors in the most well-known financial algorithms, the Black-Scholes-Merton options model. In An Engine, Not a Camera, Donald MacKenzie argues that the wide-spread use of the Black-Scholes-Merton model for financial options was one of the main reasons for the US stock market crash of October 1987. The model brought the market in line with a certain view of volatility. The model is thus “performative,” meaning that it does not just describe the market, but effects it.  The Black-Scholes-Merton model assumes a fixed level of volatility for financial assets. When a trader uses the model, and sees a stock deviate from what the model says the correct level of volatility should be, this difference can be exploited for financial gain.

    However, the model became performative because when it started to be extremely popular, traders brought the market more in line with the model. “Reality adapted to the theory,” as Elena Esposito says in The Future of Futures. The fixed level of volatility assumed by the Black-Scholes-Merton model is based on the random walk, and the model itself, as Holmes says, “can be placed at the origins of the ‘artificial world model’ of finance capitalism.” Although the random walk assumes random changes from one price point to another (it cannot be predicted whether the price will go up or down), this change in constrained by a simple natural log calculation.

    The role of the natural log and its relation to volatility defined by standard deviation is the key intervention that Natural Instruments make in financial models, so let’s take a look at the role of volatility in the Black-Scholes-Merton algorithm, because this is where the output of the Natural Instruments experiment will go.

    The Black-Scholes-Merton is an algorithm for European-style call options, meaning a contract which allows (but does not oblige) the holder to buy a stock on one specific date for a specific price. It looks like this:

    (Investopedia.com)

    We don’t need to understand everything about the algorithm, but we do need to understand enough in order to understand how the Natural Instruments experiment will work.

    Put simply, C is the amount you must pay the option writer, N is a normal bell curve distribution of values, K is the price for which the option could be sold. More interesting for the experiment are e and s. E is the exponential term used in a natural log calculation. Its value is approximately 2.71828, a number which is found when the growth rate of different entities is measured. Populations, the GDP, bank interest, Moore’s law and radioactive decay are all examples of growth which follow e. We want to leave this number alone in the algorithm, since it will come into direct conflict with our target s, or standard deviation. We want to change s in the experiment because this is what the quote above said was impossible when it reached 27. We will see why below.

    One piece of fiction that explicitly deals with the fixed volatility of the Black-Scholes-Merton options model is Kim Stanley Robinson’s New York 2140 (2017). The novel features two financial algorithms, although only one will concern us here. The novel is the original inspiration for Natural Instruments.

    In the book, rising sea levels caused by climate change have flooded many coastal cities, including New York. However, many of the cities survive, developing new patterns of work and finance based around a water economy.

    Franklin Garr, a hedge fund manager, directly addresses the inability of previous financial models to capture the complexity of the current situation, saying near the beginning of the novel: “I was looking at the little waves lapping in the big doors and wondering if the Black-Scholes formula could frame their volatility.” Garr is expressing doubt as to whether this financial model is complex enough to be able to “see” the level of volatility found in the quick-changing situation of the flooded city.

    Yet in “A Formal Deduction of the Market,” financial trader and theorist Elie Ayache argues that the formalism of the Black-Scholes-Merton model, meaning the range of volatility it employs, does not just limit its ability to “see” the market, but that it actually creates the market it can take into account. In other words, the model writes the world it supposedly analyses, rather than relating to the variability of the world: “The formalism in its finest form (i.e. Brownian motion) has produced a new reality – the market – that has nothing to do with statistics or with the idea that outcomes are realized at each trial and generate statistical populations.” As Arne De Boever argues, finance makes the world psychotic, meaning that “the speculative operations of finance make human beings disavow existing reality, sometimes in combination with the substitution of another reality for the existing one.”

    However, in Robinson’s novel, the psychosis of financial formalism does not mean that betting on flooded properties is off the market. For this, Garr has invented his own algorithm, the Intertidal Property Pricing Index (IPPI), which combines the housing index with changes in sea level. Garr’s index is based on intertidal law, which goes back to Roman times and is still in effect throughout much of the world. Intertidal land is thus, as is stated in Robinson’s novel, a new kind of commons: “It was neither private property nor government property, and therefore, some legal theorists ventured, it was perhaps some kind of return to the commons.” The IPPI is meant to allow for betting on this most volatile of properties: buildings built on land that cannot be owned. “Were you in debt if you owned an asset stuck on a strand no one can own, or were you rich? Who knew?” The answer from Garr is that “My index knew.”

    Unlike the Black-Scholes-Merton model, the IPPI is attempting to index nature. It takes actual movements in sea level as a measure of current volatility. Thus in Robinson’s novel, nature is key. This connection to nature makes Garr wonder if the IPPI will work.

    This first Natural Instruments experiment aims to re-insert the volatility of nature into financial trading. It does this by putting a trading algorithm under the direct control of pollen grains. It sets out to illustrate, in a very simple manner, Ayache’s contention that one way to challenge the formal blindness of finance is to realize that “the derivatives market … may really be the consequence of true, mathematical Brownian motion.”

    To do so a number of steps need to be undertaken:

    1. Create a program in which can visually track the movements of a pollen grain and export its x, y coordinates into an Excel file;
    2. Find the standard deviation (more accurately in this case, the standard distance, because two coordinates are used) between the x, y values of each frame captured;
    3. Input the result of this standard distance into the s of the Black-Scholes-Merton formula.

    First, we will run a program that will track the pollen grain and export the movement data. The program is adapted from a common visual tracking tutorial. The program was simply modified to track the pollen grain and then write its x, y coordinates into a .csv Excel file.

    For the next step, the pollen grain movement was taken from a video recorded by a group at Hamilton College who recreated Brown’s original experiment. One pollen grain was isolated in the video and then tracked with the program.

    The main point of interest of the experiment is that the standard distance calculated for the x, y coordinates is 26.32 (ni_calc). This is extremely close to the 27-standard deviation event which was quoted above as being impossible. This means that either this pollen grain, which was the first one chosen for the experiment, is impossibly rare, or that the financial traders who wrote the essay were looking at the world the wrong way.

    This “wrong way” is looking at the world through the Black-Scholes-Merton options model. We can see this by inserting into it a standard deviation of 27, as observed with the pollen grain. But first we must set up a fairly standard option:

    stock price (s) of 100.00

    strike price (K) of 110.00

    rate of interest (r) of 0.1

    time until the option can be exercised (t) of 3 years.

    When we put 27 into the standard deviation (s) of the Black-Scholes-Merton, we render it useless. The algorithm can calculate a call premium when s is between 1 and 3, but once it reaches 10, not to mention 27, the call premium of the option matches its stock price, rendering the model ineffective:

    s 1 = C of 5.85

    s 2 = C of 92.15

    s 3 = C of 98.02

    s 4 = C of 99.95

    s 5 = C of 99.99

    s 6 = C of 99.99

    s 10 = C of 100.00

    s 25 = C of 100.00

    s 27 = C of 100.00

    This progression is also true when different stock prices and strike prices are used: a standard deviation of 10 and above pretty much equalizes the call premium and the stock price (we can extend the number beyond two decimal places and see some minor differences, but that is not important here).

    A number of holes can be quickly poked in this argument, ranging from the way the pollen grain was tracked to the option inputs for the Black-Scholes-Merton algorithm. However, this initial version of the experiment does not have to be that accurate. What is important is that it shows that an algorithm based on the random walk of real-world plant grains becomes worthless, thus functioning as an example of what Matteo Pasquinelli calls “creative sabotage.” Or, just as was indicated in Robinson’s novel, the model does not account for the volatility that is expected, it cannot see the world that it is supposedly based on.

    This is not the first time problems with volatility have been found in the Black-Scholes-Merton algorithm. Far from it. And this is not an essay written by a mathematician, nor a financial trader. But what this experiment can show is that financial algorithms miss much of the volatility of nature because of the small amount of volatility they are allowed to “see.”  This is shown not through the interpretation of a text, but through experimentation based on properties found in a text. This blindness of financial algorithms can cause problems, not just for financial traders but for those with mortgages and other forms of debt which are wrapped up in these financial instruments, as was seen the large number of people who lost their homes in the 2007-8 financial crisis. Creating algorithms which make algorithms useless is one way to expose this danger to housing, jobs, and debt obligations brought about by such “blindness.” Financial algorithms such as the Black-Scholes-Merton model are supposedly based on the natural process of the random walk. Yet, when they are actually controlled by nature, they become useless. This is the revenge of nature, via the algorithm.

    Ayache, Elie. “A Formal Reduction of the Market.” Collapse 8 (2014): 959-998.

    Brabazon, Anthony and Michael O’Neill. Biologically Inspired Algorithms for Financial
    Trading. Berlin: Springer, 2006.

    De Boever, Arne. Finance Fictions: Realism and Psychosis in a Time of Economic Crisis.
    New York: Fordham University Press, 2018.

    Esposito, Elena. The Future of Futures: The Time of Money in Financing and Society.
    Cheltenham: Edward Elgar, 2011.

    Grietzer, Peli. Ambient Meaning: Mood, Vibe, System. 2017. Harvard University. PhD
    dissertation.

    Holmes, Brian. “Is it Written in the Stars? Global Finance, Precarious Destinies.” Continental

    Drift. 2009. Internet: https://brianholmes.wordpress.com/2009/11/06/is-it-written-in-the-stars/.

    Mackenzie, Donald. An Engine, Not a Camera: How Financial Models Shape Markets.
    Cambridge: MIT Press, 2008.

    Malkiel, Burton. A Random Walk Down Wall Street: The Time-Tested Strategy for Successful

    Investing. New York: W.W. Norton and Company, 2015.

    North, Joseph. Literary Criticism: A Concise Political History. Cambridge: Harvard
    University Press, 2017.

    Pasquinelli, Matteo. Animal Spirits: A Bestiary of the Commons. Rotterdam: NAi Publishers, 2008.

    Patterson, Scott. Dark Pools: The Rise of the Machine Traders and the Rigging of the U.S.

    Stock Market. New York: Crown Business, 2013.

    Robinson, Kim Stanley. New York 2140. London: Orbit, 2017.

    _____

    Brian Willems is assistant professor of film and video at the University of Split, Croatia. He is most recently the author of Speculative Realism and Science Fiction (2017) and Shooting the Moon (2015).

  • Richard Hill – Too Big to Be (Review of Wu, The Curse of Bigness: Antitrust in the New Gilded Age)

    Richard Hill – Too Big to Be (Review of Wu, The Curse of Bigness: Antitrust in the New Gilded Age)

    a review of Timothy Wu, The Curse of Bigness: Antitrust in the New Gilded Age (Random House/Columbia Global Reports, 2018)

    by Richard Hill

    ~

    Tim Wu’s brilliant new book analyses in detail one specific aspect and cause of the dominance of big companies in general and big tech companies in particular: the current unwillingness to modernize antitrust law to deal with concentration in the provision of key Internet services. Wu is a professor at Columbia Law School, and a contributing opinion writer for the New York Times. He is best known for his work on Net Neutrality theory. He is author of the books The Master Switch and The Attention Merchants, along with Network Neutrality, Broadband Discrimination, and other works. In 2013 he was named one of America’s 100 Most Influential Lawyers, and in 2017 he was named to the American Academy of Arts and Sciences.

    What are the consequences of allowing unrestricted growth of concentrated private power, and abandoning most curbs on anticompetitive conduct? As Wu masterfully reminds us:

    We have managed to recreate both the economics and politics of a century ago – the first Gilded Age – and remain in grave danger of repeating more of the signature errors of the twentieth century. As that era has taught us, extreme economic concentration yields gross inequality and material suffering, feeding an appetite for nationalistic and extremist leadership. Yet, as if blind to the greatest lessons of the last century, we are going down the same path. If we learned one thing from the Gilded Age, it should have been this: The road to fascism and dictatorship is paved with failures of economic policy to serve the needs of the general public. (14)

    While increasing concentration, and its negative effects on social equity, is a general phenomenon, it is particularly concerning for what regards the Internet: “Most visible in our daily lives is the great power of the tech platforms, especially Google, Facebook, and Amazon, who have gained extraordinary power over our lives. With this centralization of private power has come a renewed concentration of wealth, and a wide gap between the rich and poor” (15). These trends have very real political effects: “The concentration of wealth and power has helped transform and radicalize electoral politics. As in the Gilded Age, a disaffected and declining middle class has come to support radically anti-corporate and nationalist candidates, catering to a discontent that transcends party lines” (15). “What we must realize is that, once again, we face what Louis Brandeis called the ‘Curse of Bigness,’ which, as he warned, represents a profound threat to democracy itself. What else can one say about a time when we simply accept that industry will have far greater influence over elections and lawmaking than mere citizens?” (15). And, I would add, what have we come to when some advocate that corporations should have veto power over public policies that affect all of us?

    Surely it is, or should be, obvious that current extreme levels of concentration are not compatible with the premises of social and economic equity, free competition, or democracy. And that “the classic antidote to bigness – the antitrust and other antimonopoly laws – might be recovered and updated to face the challenges of our times” (16). Those who doubt these propositions should read Wu’s book carefully, because he shows that they are true. My only suggestion for improvement would be to add a more detailed explanation of how network effects interact with economies of scale to favour concentration in the ICT industry in general, and in telecommunications and the Internet in particular. But this topic is well explained in other works.

    As Wu points out, antitrust law must not be restricted (as it is at present in the USA) “to deal with one very narrow type of harm: higher prices to consumers” (17). On the contrary, “It needs better tools to assess new forms of market power, to assess macroeconomic arguments, and to take seriously the link between industrial concentration and political influence” (18). The same has been said by other scholars (e.g. here, here, here and here), by a newspaper, an advocacy group, a commission of the European Parliament, a group of European industries, a well-known academic, and even by a plutocrat who benefitted from the current regime.

    Do we have a choice? Can we continue to pretend that we don’t need to adapt antitrust law to rein in the excessive power of the Internet giants? No: “The alternative is not appealing. Over the twentieth century, nations that failed to control private power and attend to the economic needs of their citizens faced the rise of strongmen who promised their citizens a more immediate deliverance from economic woes” (18). (I would argue that any resemblance to the election of US President Trump, to the British vote to leave the European Union, and to the rise of so-called populist parties in several European countries [e.g. Hungary, Italy, Poland, Sweden] is not coincidental).

    Chapter One of Wu’s book, “The Monopolization Movement,” provides historical background, reminding us that from the late nineteenth through the early twentieth century, dominant, sector-specific monopolies emerged and were thought to be an appropriate way to structure economic activity. In the USA, in the early decades of the twentieth century, under the Trust Movement, essentially every area of major industrial activity was controlled or influenced by a single man (but not the same man for each area), e.g. Rockefeller and Morgan. “In the same way that Silicon Valley’s Peter Thiel today argues that monopoly ‘drives progress’ and that ‘competition is for losers,’ adherents to the Trust Movement thought Adam Smith’s fierce competition had no place in a modern, industrialized economy” (26). This system rapidly proved to be dysfunctional: “There was a new divide between the giant corporation and its workers, leading to strikes, violence, and a constant threat of class warfare” (30). Popular resistance mobilized in both Europe and the USA, and it led to the adoption of the first antitrust laws.

    Chapter Two, “The Right to Live, and Not Merely to Exist,” reminds us that US Supreme Court Justice Louis Brandeis “really cared about … the economic conditions under which life is lived, and the effects of the economy on one’s character and on the nation’s soul” (33). The chapter outlines Brandeis’ career and what motivated him to combat monopolies.

    In Chapter Three, “The Trustbuster,” Wu explains how the 1901 assassination of US President McKinley, a devout supporter of unrestricted laissez-faire capitalism (“let well enough alone”, reminiscent of today’s calls for government to “do not harm” through regulation, and to “don’t fix it if it isn’t broken”), resulted in a fundamental change in US economic policy, when Theodore Roosevelt succeeded him. Roosevelt’s “determination that the public was ruler over the corporation, and not vice versa, would make him the single most important advocate of a political antitrust law.” (47). He took on the great US monopolists of the time by enforcing the antitrust laws. “To Roosevelt, economic policy did not form an exception to popular rule, and he viewed the seizure of economic policy by Wall Street and trust management as a serious corruption of the democratic system. He also understood, as we should today, that ignoring economic misery and refusing to give the public what they wanted would drive a demand for more extreme solutions, like Marxist or anarchist revolution” (49). Subsequent US presidents and authorities continued to be “trust busters”, through the 1990s. At the time, it was understood that antitrust was not just an economic issue, but also a political issue: “power that controls the economy should be in the hands of elected representatives of the people, not in the hands of an industrial oligarchy” (54, citing Justice William Douglas). As we all know, “Increased industrial concentration predictably yields increased influence over political outcomes for corporations and business interests, as opposed to citizens or the public” (55). Wu goes on to explain why and how concentration exacerbates the influence of private companies on public policies and undermines democracy (that is, the rule of the people, by the people, for the people). And he outlines why and how Standard Oil was broken up (as opposed to becoming a government-regulated monopoly). The chapter then explains why very large companies might experience disecomonies of scale, that is, reduced efficiency. So very large companies compensate for their inefficiency by developing and exploiting “a different kind of advantages having less to do with efficiencies of operation, and more to do with its ability to wield economic and political power, by itself or conjunction with others. In other words, a firm may not actually become more efficient as it gets larger, but may become better at raising prices or keeping out competitors” (71). Wu explains how this is done in practice. The rest of this chapter summarizes the impact of the US presidential election of 1912 on US antitrust actions.

    Chapter Four, “Peak Antitrust and the Chicago School,” explains how, during the decades after World War II, strong antitrust laws were viewed as an essential component of democracy; and how the European Community (which later became the European Union) adopted antitrust laws modelled on those of the USA. However, in the mid-1960s, scholars at the University of Chicago (in particular Robert Bork) developed the theory that antitrust measures were meant only to protect consumer welfare, and thus no antitrust actions could be taken unless there was evidence that consumers were being harmed, that is, that a dominant company was raising prices. Harm to competitors or suppliers was no longer sufficient for antitrust enforcement. As Wu shows, this “was really laissez-faire reincarnated.”

    Chapter Five, “The Last of the Big Cases,” discusses two of the last really large US antitrust case. The first was breakup of the regulated de facto telephone monopoly, AT&T, which was initiated in 1974. The second was the case against Microsoft, which started in 1998 and ended in 2001 with a settlement that many consider to be a negative turning point in US antitrust enforcement. (A third big case, the 1969-1982 case against IBM, is discussed in Chapter Six.)

    Chapter Six, “Chicago Triumphant,” documents how the US Supreme Court adopted Bork’s “consumer welfare” theory of antitrust, leading to weak enforcement. As a consequence, “In the United States, there have been no trustbusting or ‘big cases’ for nearly twenty years: no cases targeting an industry-spanning monopolist or super-monopolist, seeking the goal of breakup” (110). Thus, “In a run that lasted some two decades, American industry reached levels of industry concentration arguably unseen since the original Trust era. A full 75 percent of industries witnessed increased concentration from the years 1997 to 2012” (115). Wu gives concrete examples: the old AT&T monopoly, which had been broken up, has reconstituted itself; there are only three large US airlines; there are three regional monopolies for cable TV; etc. But the greatest failure “was surely that which allowed the almost entirely uninhibited consolidation of the tech industry into a new class of monopolists” (118).

    Chapter Seven, “The Rise of the Tech Trusts,” explains how the Internet morphed from a very competitive environment into one dominated by large companies that buy up any threatening competitor. “When a dominant firm buys a nascent challenger, alarm bells are supposed to ring. Yet both American and European regulators found themselves unable to find anything wrong with the takeover [of Instagram by Facebook]” (122).

    The Conclusion, “A Neo-Brandeisian Agenda,” outlines Wu’s thoughts on how to address current issues regarding dominant market power. These include renewing the well known practice of reviewing mergers; opening up the merger review process to public comment; renewing the practice of bringing major antitrust actions against the biggest companies; breaking up the biggest monopolies, adopting the market investigation law and practices of the United Kingdom; recognizing that the goal of antitrust is not just to protect consumers against high prices, but also to protect competition per se, that is to protect competitors, suppliers, and democracy itself. “By providing checks on monopoly and limiting private concentration of economic power, the antitrust law can maintain and support a different economic structure than the one we have now. It can give humans a fighting chance against corporations, and free the political process from invisible government. But to turn the ship, as the leaders of the Progressive era did, will require an acute sensitivity to the dangers of the current path, the growing threats to the Constitutional order, and the potential of rebuilding a nation that actually lives up to its greatest ideals” (139).

    In other words, something is rotten in the state of the Internet: it has “collection and exploitation of personal data”; it has “recently been used to erode privacy and to increase the concentration of economic power, leading to increasing income inequalities”; it has led to “erosion of the press, leading to erosion of democracy.” These developments are due to the fact that “US policies that ostensibly promote the free flow of information around the world, the right of all people to connect to the Internet, and free speech, are in reality policies that have, by design, furthered the geo-economic and geo-political goals of the US, including its military goals, its imperialist tendencies, and the interests of large private companies”; and to the fact that “vibrant government institutions deliberately transferred power to US corporations in order to further US geo-economical and geo-political goals.”

    Wu’s call for action is not just opportune, but necessary and important; at the same time, it is not sufficient.

    _____

    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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  • Ragini Tharoor Srinivasan – What Literature Does (Review of Amit Chaudhuri, ed., Literary Activism)

    Ragini Tharoor Srinivasan – What Literature Does (Review of Amit Chaudhuri, ed., Literary Activism)

    A review of Literary Activism: Perspectives ed. Amit Chaudhuri (Oxford University Press, 2017)

    by Ragini Tharoor Srinivasan

    There’s a debate going on among some of my English department colleagues, centered on the following questions. What responsibility do faculty trained primarily in American and British literatures have to the teaching of English literatures of the non-West? How should English literature of South Asia or East Africa, for instance, be contextualized in terms of the relevant subcontinental and regional literatures in other languages? On what grounds might texts originally written in Bengali, Urdu, Swahili, or Arabic be taught in an English department? Is knowledge of the original language in which a text was written required for teaching it in translation? If so, what constitutes such knowledge?

    I’ve been thinking about these questions lately through the terms offered by Literary Activism, an idiosyncratic volume that collects proceedings from a 2015 Oxford symposium and even some of the email debriefing that followed. The title refers to a broad constellation of activities and object relations that motor critical engagements with literature in and beyond the academy. Literary activism is not quite “championing,” except when it is. It is not literature in service of what we conventionally understand as the political, nor is it simply an affirmation of the politics of aesthetics. Literary activism has a newly urgent brief given how markets and information technology have debased contemporary discourses on the literary; by that same token, it has been practiced as long as writers have written and readers have read. In editor and symposium-convener Amit Chaudhuri’s words, literary activism bears “a strangeness that echoes the strangeness of the literary…[it] may be desultory, in that its aims and values aren’t immediately explicable” (2017a: 6).

    Contributors to Literary Activism include scholars, journalists, publishers, creative writers, and literary critics. In response to Chaudhuri’s capacious opening gambit, they variously explore literary activism as “the crucial work that seeks to restore the importance of the literary to the public sphere” (Majumdar 2017: 122); the championing of writers by colleagues who believe “unconditionally in the value of [their] work” (Zecchini 2017: 20); a “critical” practice that can reorient debates on literary tradition and the modern (R. Chaudhuri 2017: 190); a counterpart to market activism (Graham: 2017); exemplified by the “passionate advocacy” of poetry translation (Mckendrick 2017: 249); a combination of literary “karma or work…jnana, or knowledge…and srishti, or creation” (Chakravorty 2017: 268); and “activism on behalf of an idea of literature” (Cook 2017: 298). These accounts are not mutually exclusive. Rather, they are consistent with how literature bridges and confounds private-public distinctions: traversing the figural space within and between minds, on the one hand, and passing materially through hands and institutions, on the other.

    Literary activism can be private, as in the case of English-Marathi poet Arun Kolatkar, who Laetitia Zecchini describes as having practiced his art in “a hostile or indifferent environment” (2017: 25). Kolatkar and his fellow poets “did not need the market or the public to know that their work was outstanding” (30); in fact, neglect by mainstream publishers was the enabling condition of their work. Spurning market logics, Kolatkar and his contemporaries published in their own presses, retained control over all aspects of production, and actively translated their and others’ works. They were “creating a world of their own, with their own standards and audience, however limited” (30). Zecchini’s translation of Kolatkar began with a private intimation as well, through an unexpected encounter with his poetry that she describes in terms of falling in love.

    Literary activism is also public, as in Amit Chaudhuri and Peter McDonald’s joint nomination of Arvind Krishna Mehrotra, a superlative poet, translator, and critic, for the post of 2009 Oxford Professor of Poetry. That nomination brought together novelists, scientists, historians, political thinkers, philosophers, and numerous other “well-wishers” in service of a campaign that was, Chaudhuri stresses, never going “to win”; it was “a deliberate long shot that should succeed” (2017b: 240, 245). That it didn’t succeed (the post ultimately went unfulfilled, a turn of events involving an alleged smear campaign by Ruth Padel against Derek Walcott, regarding his history of sexual harassment) was the point. By highlighting the work of Mehrotra, Chaudhuri and McDonald were able to lay bare the extra-literary considerations operative in the filling of posts like that of Oxford Professor.

    Zecchini’s and Amit Chaudhuri’s essays situate literary activism between acts of private creation and public consumption, between literature as a practice of living and literature as products in circulation. They contribute to the volume’s larger discussion of the relationship between literary activism and the “market activism” of publishing houses, agents, and booksellers. David Graham offers a normative account of market activism as the work of “experts” who are able “to bring new, fresh, and important voices to readers around the world” (2017: 80). Graham, a publisher, describes himself as both “a businessman whose business has been making literary works sell” and “a midwife to literary talent” (73). This tellingly mixed language captures the simultaneously opportunistic and beneficent nature of publishing.

    For most contributors, however, market activism is the province of those less interested in literature than in what sells. “[H]ow do we establish what is authentic,” Dubravka Ugrešić asks, “and what a product of market compromise?” (2017: 208). “[C]an any amount of activism really re-energize [literature’s] declined importance in the contemporary public sphere?” Saikat Majumdar wonders (141). Tim Parks laments the pervasive conflation of literary worth with accessibility, exemplified by how publishers and literary-festival organizers celebrate the success of texts that they themselves have been responsible for promoting (“How pleasant, then, to convince oneself that what reaches out to everyone is also the best” [2017: 157]). Reflecting on her own circumscribed position as a “Croatian writer who lives in Amsterdam,” Ugrešić wryly observes the mass culture industry’s unwillingness to read transnational literatures in anything other than national terms (208).

    Critiques of the culture industry, pandering publishers, and the marketplace of least-common-denominators are not new. But the contributors to Literary Activism go further by routing the literature-market binary through a significant third term: the academy. Derek Attridge describes how, over the course of many years, he championed the work of J.M. Coetzee and Zoë Wicomb, writing critical essays and a monograph about the former, and planning a conference and editing a volume about the latter (Attridge also nominated Wicomb for the Windham-Campbell Prize, which she received). It is the kind of affirmative academic attention that Gayatri Chakravorty Spivak has paid to Mahesweta Devi’s stories, or for that matter, which Majumdar has given to Amit Chaudhuri’s novels. All of this, Attridge speculates, “must have had some effect on publishers’ decisions, prize-awarding bodies, reviewers, and all the other agents in the literary marketplace” (2017: 59).

    What is the nature of this effect? How does academic attention to certain writers inflect their position in the literary marketplace—and vice versa? There is a long history of scholarship on literature’s relations to the market (Brier 2017), but it is only recently that the academy is taking stock of its particular mediation of those relations. As Andy Hines observes in an essay on the new institutionalism, only now are literary critics “willing to admit that we have been pushed around all along” (2018: np). Two remarkable paragraphs in Amit Chaudhuri’s essay strike at the heart of this vexed triangulation. He writes:

    By the late 1980s…departments of English…looked with some prejudice upon value and the symbols of value, such as the canon; problematized or disowned terms such as ‘classic’ and ‘masterpiece’; often ascribed a positive political value to orality, which it conflated with non-Western culture, and a negative one to inscription or ‘good writing’, which it identified with the European Enlightenment. Some of this was overdue and necessary. (2017b: 224)

    Chaudhuri is referencing two concurrent phenomena here. For one, a spate of works including Pierre Bourdieu’s rules of art (1992), John Guillory’s work on canon formation (1993), and Pascale Casanova’s world republic of letters (1999) problematized accepted terms and modes of literary valuation. At the same time, English studies was being transformed by critical theory, postcolonialism, feminism, and cultural studies. Construed positively, the discipline underwent significant internal reformation; viewed more suspiciously, it metabolized the oppositional knowledge projects that had emerged to contest its disciplinary hegemony.

    Chaudhuri’s passage then shifts subtly in focus:

    Meanwhile, publishers robustly adopted the language of value – to do with the             ‘masterpiece’ and ‘classic’ and ‘great writer’ – that had fallen out of use in its old location, fashioning it in their own terms. And these were the terms that academics  essentially accepted. They critiqued literary value in their own domain, but they were unopposed to it when it was transferred to the marketplace. Part of the reason for this was the language of the market and the language of the publishing industry were…populist during a time of anti-elitism…For example: from the 1990s onward, publishers insisted there was no reason that literary novels couldn’t sell…What they meant was that, in the new mainstream category of ‘literary fiction’, only literary novels that sold well would be  deemed valid literary novels. Academics neither exposed this semantic conflict nor  challenged the way literary value had been reconfigured. (2017b: 224-225)

    This is “the genius of market activism” that “disinherits and revivifies” terms of literary value that have fallen out of favor in the academy (A. Chaudhuri 2017b: 226). The result is that the status of Harold Bloom’s latest entrant into the Western canon is rightly debated, but first-time novelists debut “instant classics” and “modern masterpieces” that are unblinkingly received as such. And it’s not just that an indiscriminate public is being told what to read by Oprah, Reddit, or for that matter the Times. Now, rather than an Attridge elevating a Wicomb, the market tells the academic who and what is worthy of study. This transformation in market-academy relations has most significantly impacted those who teach and study contemporary and non-Western literatures. Chaudhuri’s passage closes with a note on such academics:

    When, in response to political changes in the intellectual landscape, they extended the old canon and began to teach contemporary writers, or novelists from the former colonies, they largely chose as their texts novels whose position had been already decided by the  market and its instruments, such as certain literary prizes. (2017b225)

    Chaudhuri is treading lightly here, but anyone familiar with his creative and critical oeuvre knows who he is talking about. The South Asian and South Asian diasporic writers most frequently taught and researched in the Anglo-American academy are Booker winners (Salman Rushdie, Arundhati Roy, Aravind Adiga), Pulitzer winner (Jhumpa Lahiri), and a Nobel Laureate (V.S. Naipaul). High profile nominations can bring otherwise minor texts to prominence, as do reviews in outlets like the Times or New Yorker. Scholars wondering which contemporary works will stand the test of time (as if the test of time were an adequate arbiter of literary value) turn to prizes and bestseller-lists in order to identify what is worthy of study. This is the context in which we “subsist on a sense that the lineage of the Indian English novel is an exemplary anthology of single works, rather than a tradition of cross-referencing, borrowing, and reciprocity” (A. Chaudhuri 2017b: 229). This is the context in which we become literary activists.

    This is also the context in which South Asian literature, to continue with the above example, becomes equated with South Asian literature in English, when in fact, as contributors to Literary Activism discuss, South Asian literature in English is part of a rich South Asian literary archive and must be studied in the context of the subcontinent’s multilingual traditions. For example, Rosinka Chaudhuri’s essay on the literary sphere of early 19th-century Bengal shows how “contentions between the major literary languages of India, including the classical and folk languages, nouveau urban and mixed languages, colonial and ‘native’ languages, played an instrumental role in the many negotiations between modernity and literary craft” (2017: 190). Zecchini’s approach to Arun Kolatkar and Amit Chaudhuri’s reading of Arvind Krishna Mehrotra are attuned to such negotiations in the 20th-century context.

    Which brings me back to the questions at the top of this essay. Originally hired as a Global Anglophonist, I am one of only two members of our literature faculty whose primary scholarly field is neither American nor British literature. I am also on the executive committee of an undergraduate major in World Literature that is housed in another college (formally and institutionally at our university, the “world” doesn’t belong to English). I therefore approach the debate about teaching texts in translation from my position at the interstices of the “Global Anglophone” and “World Literature,” which are distinct paradigms for the teaching of non-Western literatures. The former admits only texts written in English and is arguably a renomination of the postcolonial; the latter conventionally allows for the teaching of non-English texts in English translation.

    Surprising even myself, I have become an advocate—I dare say an activist—for the inclusion of non-Anglophone works of “World Literature” in English translation alongside works of “Global Anglophone” literature in our seminars and Masters exam lists. Why? Because we cannot teach and administer exams as if Chinua Achebe (a usual suspect) is only in conversation with Joseph Conrad, as if Things Fall Apart has nothing to say to Tayeb Salih’s Season of Migration to the North (translated from Arabic). Because graduate students reading Rushdie and Roy (more usual suspects) should very well know Intizar Hussain (translated from Urdu) and Kamala Suraya (translated from Malayalam). Because, as Roanne Kantor puts it, “no coherent historiography of the Global Anglophone can be built within the ‘Anglophone’ itself” (2018: np).

    My advocacy has been met by a complicated resistance. Faculty who oppose the teaching of texts in translation worry that the delinking of these texts from their source languages is intellectually irresponsible. They argue that our contemporary reading practices have, in Tim Parks’ words, “drastically weakened and in many cases altogether severed” “the old connections that linked writer to community” (149-150), and that teaching literature in translation will only exacerbate this problem. This critique, along with the suspicion that World Literature is “the educational equivalent of a shopping-mall food court” (Damrosch 2013: 153, 158), is worth heeding. But what is the alternative? The Global Anglophone circumvents the vexed politics of translation, but it valorizes Booker- and Nobel-prize winning writers like Rushdie, Wole Soyinka, and Nadine Gordimer. To return to Amit Chaudhuri’s argument, the Global Anglophone is preoccupied with Anglo-centric international prizes and the “instant classics” they create. It is by nature overly focused on the contemporary, as colonial histories prefigure the relevant 20th and 21st-century texts.

    Rigid adherence to the Global Anglophone rubric reflects an impoverished theory of translation as well, a topic discussed at length in Literary Activism. It is of course true, as Parks notes, that translations are not “always enriching” (170). By that same token, as Ugrešić writes, “Every translation is not only a multiplication of misunderstandings, but also a multiplication of meanings” (204). Translation is “cultural catalyst” (McKendrick 2017: 249). It is a practice “meant to forge affiliations and connections, to assert bonds of kinship, and to clear a space, however minor or marginal, for [writers] and their predecessors—who are turned into contemporaries by the process of translation itself” (Zecchini 2017:31). Electing not to read literature in translation because one risks misunderstanding is as suspect as assuming translation is a one-to-one “process of recoding” (Cook 2017: 322).

    That the above isn’t obvious is a reflection on the conservatism of English in some quarters, and maybe even literary scholarship more generally. In its final significant through-line, Literary Activism theorizes criticism as an alternative to scholarship, and amateurism as an alternative to expertise. Expert publishers and expert scholars who mediate between author and reader are distinguished from “amateur” critics—the category is Majumdar’s—who read and write without consideration of prize-winners, bestseller lists, market, or promotion-and-tenure-committee approval. For Majumdar, scholars are defined by their commitment to the objective, to their “archive of study” (2017: 115). By contrast, the critic “celebrates and foregrounds her subjective self” and practices literary interpretation as “a creative act” (115). Unlike professional scholars, whose archival considerations are overdetermined, amateur literary critics are characterized by their interdisciplinarity, willingness to take intellectual risks, and love of literature. They practice what Attridge describes as an “affirmative criticism, one that operates…to understand, explore, respond to, and judge what is of value in”—as opposed to the value of—“works of literature” (2017: 51).

    Majumdar is currently editing, with Aarthi Vadde, a volume called The Critic as Amateur that further develops the distinctions between private and public, scholar and critic, literature, market, and academy offered here. That volume (to which I have contributed) also includes essays by Attridge, Rosinka Chaudhuri, and McDonald. Taken together, the pair of books, Literary Activism and The Critic as Amateur, suggest another scene in which literary activism is performed: transnational collaborators deciding over symposia coffee breaks what to publish together next.

    I have come to think of much of the work I do as an English professor as literary activism. Certainly, my advocacy of an expansive literature curriculum is activism on behalf of an idea of literature. This essay is a minor piece of activism as well, a gesture of affirmative criticism that aspires to shore up the links between two projects and draw attention to them both. It can be painful at times, both urgent and pointless-feeling, and it might never be “properly remembered or noticed” (A. Chaudhuri 2017b: 244). Say what you want about love. In the first and final instance, literary activism is a form of labor.

    _____

    Ragini Tharoor Srinivasan is an assistant professor of English and Social, Cultural, and Critical Theory at the University of Arizona. She has also taught at the University of Nevada, Reno, and at the University of California, Berkeley, where she earned a PhD in Rhetoric in 2016. A former magazine editor and award-winning journalist, Srinivasan has contributed essays and criticism to scholarly, public, and semi-public venues on three continents. More from www.raginitharoorsrinivasan.com

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    References

    • Attridge, Derek. 2017. “The Critic as Lover: Literary Activism and the Academy,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Brier, Evan. 2017. “The Literary Marketplace,” Oxford Research Encyclopedia of Literature. Oxford University Press.
    • Bourdieu, Pierre. 1992. The Rules of Art: Genesis and Structure of the Literary Field, trans. by Susan Emanuel. Stanford: Stanford University Press.
    • Casanova, Pascale. 1999. The World Republic of Letters, trans. By M.B. DeBevoise. Cambridge: Harvard University Press.
    • Chakravorty, Swapan. 2017. “Literary Surrogacy and Literary Activism: Instance from Bengal,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Chaudhuri, Amit. 2017a. “A Brief Background to the Symposium, and Some Acknowledgments,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • –. 2017b. “The Piazza and the Car Park: Literary Activism and the Mehrotra Campaign,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Chaudhuri, Rosinka. 2017. “The Practice of Literature: The Calcutta Context as a Guide to Literary Activism,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Cook, Jon. 2017. “Literary Activism: Where Now, What Next?” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Damrosch, David. 2013. “World Literature in a Postliterary Age,” Modern Language Quarterly 74.2.
    • Graham, David. 2017. “‘Market Activism’: A Publisher’s Perspective,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Guillory, John. 1993. Cultural Capital: The Problem of Literary Canon Formation. Chicago: The University of Chicago Press.
    • Hines, Andy. 2018. “The Material Life of Criticism,” Public Books, Jan. 22, http://www.publicbooks.org/the-material-life-of-criticism/, accessed Sept. 13, 2018.
    • Kantor, Roanne. 2018. “Even If You Gain the World: South Asia, Latin America, and the Unexpected Journey to Global English (working title).” Unpublished manuscript, last modified October 17, 2018. Microsoft Word file.
    • Majumdar, Saikat. 2017. “The Amatory Activist,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Mckendrick, Jamie. 2017. “Forms of Fidelity: Poetry Translation as Literary Activism,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Parks, Tim. 2017. “Globalisation, Literary Activism, and the Death of Critical Discourse,” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Ugrešić, Dubravka. 2017. “Transnational vs. National Literature,” trans. David Williams. Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.
    • Zecchini, Laetitia. 2017. “Translation as Literary Activism: On Invisibility and Exposure, Arun Kolatkar and the Little Magazine ‘Conspiracy,’” Literary Activism: Perspectives, edited by Amit Chaudhuri. New Delhi: Oxford University Press.

    *Editorial Note (Nov 5, 2018): A broken link was fixed and a line that originally read “…I am the only member of our literature faculty whose primary scholarly field is neither American nor British literature” was changed to read: “…I am one of only two members of our literature faculty whose primary scholarly field is neither American nor British literature.”