Power, powerlessness, entropy and dissent. A manifesto by de Lagasnerie and Louis & response by Stiegler

Over on the LA Review of Books site there is a really interesting sort of ‘call and response‘ debate, in which Geoffrey de Lagasanerie (Prof. of Philosophy at ÉNS) and Edouard Louis (author) offer a manifesto for counter-acting a perceived capturing of politics by a kind of right-wing intellectualism (this was originally published in Le Monde, and translated for LARB), to which Bernard Stiegler (philosopher & activist) offers a forthright response (translated for LARB).

de Lagasanerie and Louis observe:

Against this massive political-intellectual dynamic [populism, Islamophobia, misogyny, xenophobia, homophobia, antisemitism], a general mood is established. It would not be an exaggeration to say that there are many today who make their living off of this disarray and sadness. To experience politics, for most of us now, is to experience powerlessness.

and offer a kind of manifesto, or set of principles, in response: to refuse to recognise particular ideologues; to recognise refugees and racists alike as what they are rather than bow to a perceived deception; to ‘redistribute shame’ by making those on the far-right understand that their remarks are worthy of nothing but contempt; and finally: to intervene, wherever possible. They argue that:

…we cannot just lament the situation without questioning the means of creating new structures. In fact, all hope is not lost: the Zemmours and Houellebecqs are bent on denying what they really are, and lying. The left continues to dominate symbolically. In France, “intellectual right” remains an oxymoron, better still: an impossibility. We must at least rejoice in that.

In response, Bernard Stiegler opposes the sweeping generalisation of the identification of any kind of ‘intellectual’ which for him validates a kind of proleterianisation (after Marx) that is (in fact) a loss of knowledge (regardless of class position):

In the first place, for any thinking that claims to think powerlessness (and “to say things other than what is already agreed”), the common noun “intellectual” (“an intellectual,” “intellectuals”) must not only be the subject of critique, but should be scrupulously avoided. […] The figure of “the intellectual” is an unfortunate invention that unquestioningly internalizes the opposition between “manual workers” and “intellectuals,” […] Behind all this lies proletarianization, which today affects all forms of knowledge, and firstly as a destruction of knowledge – of how to live, do, and conceptualize.

Stiegler moves on to discuss how the issue of powerlessness not only stems from the issues that de Lagasnerie & Louis diagnose but are, further, entrenched and tied up with these forms of proletarianisation (losses of knowledge), in which even those apparently radical thinkers on the left are somewhat complicit (with a particular withering for Badiou). It is worth quoting at length here:

Geoffroy de Lagasnerie and Edouard Louis deplore the absence of intellectual debate. For my part I deplore that, like Manuel Valls, they have apparently never heard either of Pharmacologie du Front National or of States of Shock – in which I argue that so-called “post-structuralism” has significantly contributed, in France and elsewhere, to the legitimation first of neoliberal discourse and then libertarian discourse, the libertarians being those who are the practitioners of disruption.

This is occurring not only because “intellectuals” yield to the drive-based ideology of the extreme right as it continues to gain ground. It is because there is no thought of the present age worthy of the name – and here, where I am resolutely “on the left,” I would never say that such a thought “worthy of the name” would necessarily be on the left.

The “intellectuals,” whether of the “left” or the “right,” are stuck in an antiquated opposition between “intellectual” and “manual” that refers in a more profound way to the opposition between logos and tekhne against which Marx fought, and which he posited as the basis of the ideology that was then called “bourgeois.” This has largely been forgotten, in particular by the heirs of Althusser and firstly by Alain Badiou. For the consequence lies in the fact that, contrary to what Badiou’s hero, Plato, wants to prove, knowledge is always constituted by technics, which in so doing always constitutes a social relation.

In this forgetting of the technological composition (in all of the meanings of that word) of society and humanity we fail to recognise the context of what is variously (by politicians and technologists alike) referred to as ‘disruption’. Stiegler argues (somewhat) in passing here, and in greater detail elsewhere, that this is precisely what is stake in coming to know/understand the ‘anthropocene’. He discusses how this relates to contemporary feelings of powerlessness through the trope of entropy/negentropy – which he has been working with across various books (some of which have recently been translated and some which are still to be translated):

Entropy is becoming, devenir. Negentropy is what inscribes within it a future, avenir. Becoming and future have until today been confused. It is this confusion that makes us powerless, and it is what the impasse of the Anthropocene reveals. Such a perspective is also an immense building site for intellectual construction – open to all those who still have the ability to think for themselves, rather than vainly repeat received ideas.

These two articles are well worth a read, they offer an interesting counter-poise to anglophone debates about the multiple ‘crises’ in Europe (of refugees, of the rise of the far-right, of the capitulation of democracy to technocracy etc. etc.). Plus they’re good fun to read 🙂

Manifesto for an Intellectual and Political Counteroffensive by Geoffroy de Lagasnerie & Edouard Louis, translated by Adam Briscoe.

Power, Powerlessness, Thinking, and Future by Bernard Stiegler, translated by Daniel Ross.

Reblog> “Sex, annotation and verité totale” Kurenneimi’s Archival Futurism

This new book co-edited by Joasia Krysa and Jussi Parikka looks interesting…

Joasia is a curator and was one of my undergrad tutors in Plymouth on the Digital Art and Technology programme and convened some great events during her time there, not least the excellent Hybrid Discourse. It was events like that which contributed to my interest in postgraduate study…

“Sex, annotation, and verité totale”: Kurenniemi’s Archival Futurism

Screen Shot 2015-09-18 at 8.41.43 AMI am very glad to announce that Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048 is out from the printers, hot off the (MIT) Press! Edited with curator, writer Joasia Krysa, the book focuses on the Finnish media art pioneer Kurenniemi, and is the key international collection on the curious thinker, sound and media artist-tinkerer, who became known for his remarkable synthetizers and archival futurism. Kurenniemi has gathered attention in the electronic music circles for a longer period of time, and with Documenta 13 he become known in the international art world too. His thoughts and work resonate with the work of other early pioneers; Simon Reynolds once called him  a mix of Karlheinz Stockhausen, Buckminster Fuller, and Steve Jobs. In 2002, Mika Taanila directed the film The Future is Not What It Used to Be about Kurenniemi.

The book includes foreword by the eminent media archaeologist Erkki Huhtamo and a range of critical essays on digital culture, archival mania and media arts. Key academic and art writers address Kurenniemi’s work but also more: the condition of the archive and sound arts, sonic fiction and speculative futures of singularity are some of the key themes that run through the book with contributions by many established names in media studies, art and sound technologies. In addition, we included many of Kurenniemi’ own writings over the decades, including some interviews that elaborate his wider computational views of the world, including his thought: by 2040s, the human brain can be completely simulated. His archive plays a key role, like an actor in itself: the archive also featured as a key “object” as part of the earlier Kiasma exhibition and we included some snippets, as well as an extensive visual section.

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Writing and Unwriting (Media) Art History sits as part of the Leonardo-book series, edited by Sean Cubitt. The book was started by Krysa through her curatorial work at the 2012 Documenta 13 exhibition. It is thanks to Joasia that I am part of the project and she deserves major praise for her amazing eye for detail, enthusiasm and energy in driving this project, from a major exhibition to a book, and more.

Here’s a preview of the book’s table of contents and Huhtamo’s Foreword.

For review copy requests, or other questions, inquiries about the book, please get in touch! We are hosting some book events in Montreal, Helsinki, Berlin and London over the coming months but more info on those separately.

Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048, eds Krysa and Parikka

Over the past forty years, Finnish artist and technology pioneer Erkki Kurenniemi (b. 1941) has been a composer of electronic music, experimental filmmaker, computer animator, roboticist, inventor, and futurologist. Kurenniemi is a hybrid–a scientist-humanist-artist. Relatively unknown outside Nordic countries until his 2012 Documenta 13 exhibition, “In 2048,” Kurenniemi may at last be achieving international recognition. This book offers an excavation, a critical mapping, and an elaboration of Kurenniemi’s multiplicities.

The contributors describe Kurenniemi’s enthusiastic, and rather obsessive, recording of everyday life and how this archiving was part of his process; his exploratory artistic practice, with productive failure an inherent part of his method; his relationship to scientific and technological developments in media culture; and his work in electronic and digital music, including his development of automated composition systems and his “video-organ,” DIMI-O. A “Visual Archive,” a section of interviews with the artist, and a selection of his original writings (translated and published for the first time) further document Kurenniemi’s achievements. But the book is not just about one artist in his time; it is about emerging media arts, interfaces, and archival fever in creative practices, read through the lens of Kurenniemi.

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Endorsements

“Sex, annotation, and verité totale: Kurenniemi is a missing mixing desk between so many interesting aspects of late-twentieth-century culture. No wonder he ends up offering us a new archival futurism!”
–Matthew Fuller, Professor, Director of the Centre for Cultural Studies, Goldsmiths, University of London

“Providing a long-overdue critical and historical introduction to the amazingly multifaceted work of media pioneer, visionary thinker, and self-archivist Erkki Kurenniemi, this book becomes both a media-archaeological excavation and engaging reflection on the challenges of writing media art history. The range of Kurenniemi’s fascinating practice–including electronic music composition, experimental filmmaking, robotics, and curation–defies traditional classifications, and calls for new historical narratives of media art. Started as a compilation of the long-term research that went into the exhibition of Kurenniemi’s work at Documenta 13 in Kassel, Germany, the volume combines highlights of his own writings and interviews with excellent contributions by scholars, contextualizing his archives, art, music, and vision.”
–Christiane Paul, Associate Professor, School of Media Studies, The New School; Adjunct Curator of New Media Arts, Whitney Museum

“This book is a major contribution not only to the unprecedented scientific and artistic imagination of Erkki Kurenniemi, but also to the whole research on media and ‘real time.’ The text unveils and critically presents the reader with a series of complex technological and artistic systems exploring the man-machine relationship under the assumption both do have consciousness. Kurenniemi’s work provides us with one of the most solid grounds to examine perception, the brain, the will to speculate and travel back and forth between several realms of knowledge. Kurenniemi is bold; this text is bold and a great contribution to new forms of studying risk taking in art and science.”
–Chus Martínez, Head of the Institute of Art, FHNW Academy of Art and Design

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Reblog> Sheep Time? – @annegalloway on the technics of breeding sheep

Good stuff from Anne –– watch the video!

I think the reciprocal negotiation of what might a kind of ‘species time’ between our different measurements of change (diurnal, seasonal etc.) and the corporeal (generational) changes in the animals bodies is really interesting –– offers an insight into the temporalities of particular kinds of interspecies ‘biopower‘ (or maybe it’s not ‘biopower’ [pace Foucault] ..? This is an interesting argument too).

Sheep Time?

I’m always trying to figure out new ways of doing remote presentations so I was pretty excited when I was invited to prepare something that could be continually broadcast (or looped) during the Temporal Design: Surfacing Everyday Tactics of Time Workshop @ Design Informatics, Edinburgh University, 28 September, 2015.

Here’s what I did:

[ Sheep Time from More-Than-Human Lab on Vimeo. ]

And here’s some of the Twitter conversation about it:

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Reblog> Affect and Social Media Symposium #2 cfp

Tony Sampson has posted this, may be of interest to people who see this blog –

Affect and Social Media Symposium #2 – cfp

Wednesday 23rd March 2016

1-8pm

University of East London, Docklands Campus, Room EB. G.06

Call for 15min Presentations/Position Papers

Following on from the success of last year’s Affect and Social Media research symposium, the emotionUX lab in the School of Arts and Digital Industries at UEL, and in collaboration this year with Cass School of Education and Communities at UEL, will be hosting a second event continuing to explore the relation between social media, affect, feelings and emotions.

Numerous studies from various fields have described interactions with social media in terms of emotional, affective and feely experiences. It is claimed that habitual access to Facebook can have a negative impact on mood and subjective well-being (Kross et al, 2013). Likewise, emotional states experienced on social media can be transferred to others through emotional contagion, ‘leading people to experience the same emotions without their awareness’ (Kramer, 2014). Similarly, positive emotions, like joy, are regarded as more likely to spread than negative ones (Berger and Milkman, 2010).

This year’s call for 15min presentations/position papers asks contributors to explore emotional, affective and feely experiences with social media. More specifically, we ask contributors to investigate how social media ‘work[s] in concert with bodies in the production of emotional and affective activity’ (Ellis and Tucker, 2015: 177).

We welcome proposals on a wide variety of themes that cross disciplinary boundaries. For example”¦

  • Addiction and social media
  • Affective contagion
  • Affect theory relating to social media
  • Care, emotions and social media
  • Methodologies relating to emotion, affect and social media
  • Consumption, emotions and affect on social media
  • Education, emotions and social media
  • Emotional and affective contagions
  • Emotional social media design (theory and practice)
  • Ethical considerations
  • Felt experiences on social media
  • Social gaming and emotions
  • HCI and emotion
  • Learning, emotion and social media
  • Marketing, emotion and social media
  • Networked emotions
  • Online emotional ethnographies
  • Pervasive computing and emotion
  • Emotions and privacy
  • Emotions and security
  • Sharing emotions
  • Emotions and trust
  • The politics of emotional user experiences

Please send a title, brief outline (100words) and institutional affiliation to t.d.sampson@uel.ac.uk and E.Theodotou@uel.ac.uk

Activities  Deadlines
Abstract Submission 15th December 2015
Acceptance notification 15th January 2016
Registration for presenters Details to follow
Registration for all participants Details to follow

 

Fees and registration

(Refreshments, after symposium drinks and nibbles and attendance certificate included in all registration types)

Type Fee
Presenters Free
UEL students/academics Free
External students £3
External academics/participants £5

Please keep an eye out for follow up emails regarding registration

Updates will also appear on the Virality blog and EmotionUX news page

https://viralcontagion.wordpress.com/

http://emotionuxlab.co.uk/news/

Two theme issues to explore: ‘Culture Digitally’ and ‘Digital Labour’

Just a quick post to flag two very interesting theme issues of journals that have been shared on Twitter recently:

So, in the above order:

As Nancy Baym highlights, the journal Social Media + Society has a theme issue edited, or as they suggest: curated, by Tarleton Gillespie and Hector Postigo on the theme of ‘Culture Digitally’, which is also the title of the group blog to which they both contribute.

As Aphra Kerr highlights, the journal Critical Studies in Media and Communication has a theme section on Digital Labour.

Between them, both have lots of contributions that look really interesting and worth exploring!

Interesting paper: Towards a relational materialism by @digital_objects

Yuk Hui (Leuphana), one of the rising stars in the Ars Industrialis / Digital Studies milieu, has an interesting new paper out in the journal Digital Culture & Society. Unfortunately, my university doesn’t offer access but I trust that a version will appear on academia.edu / ResearchGate sometime soon…

Towards a Relational Materialism

Abstract:

This article takes off from what Lyotard calls ‘the immaterial’, demonstrated in the exhibition Les Immatériaux that he curated at the Centre Pompidou in 1985. It aims at outlining a concept of ‘relational materiality’. According to Lyotard, ‘the immaterial’ is not contrary to material: instead, it is a new industrial material brought about by telecommunication technologies, exemplified by Minitel computers, and serves as basis to describe the postmodern condition. Today this materiality is often referred to as ‘the digital’. In order to enter into a dialogue with Lytoard, and to render his notion of ‘immaterial materials’ contemporary, this article contrasts the concept of relational materiality with some current discourses on digital physics (Edward Fredkin, Gregory Chaitin) and digital textuality (Matthew Kirschenbaum). Against the conventional conception that relations are immaterial (neither being a res nor even having a real esse), and also contrary to a substantialist analysis of materiality, this article suggests that a relational materiality is made visible and explicit under digital conditions. It suggests a reconsideration of the ‘relational turn’ in the early 20th century and the concept of concretisation proposed by Gilbert Simondon. The article concludes by returning to Lyotard’s notion of materialism and his vision of a new metaphysics coming out of this ‘immaterial material’, and offers ‘relational materialism’ as a contemporary response.

In relation to this see also the book 30 Years after Les Immatériaux – Art, Science and Theory (Meson Press) – edited by Yuk Hui, with some great chapters on similar themes…

Reblog> Danse macabre

Derek Gregory points to this really lovely video from Opéra National de Paris and Julien Prévieux inspired by Gregoire Chamayou’s work on ‘schematic bodies and patterns of life’.

I love how the ideas have been translated into performance in such a provocative yet beautiful way – this really gets you thinking about, as Stiegler would put it, the grammatisation of gesture (see, in particular: For a New Critique of Political Economy, pp. 8-13): the sense in which the capture and retention of our movements feeds back into the ways in which institutions and apparatuses address us both as individuals (‘subjects’) and populations (and/or ‘markets’)…

Danse macabre

Grégoire Chamayou writes to say that after our conversations in Irvine last year he has worked with an artist friend, Julien Prévieux (who won the Prix Marcel Duchamp in 2014) and the Opéra national de Paris to turn his ideas about schematic bodies and patterns of life into a short film: Patterns of Life.

I’ve embedded it below, but if the link doesn’t work you can watch it here or on YouTube here. You will soon see why Anne Buttimer once described Torsten HÃ¥gerstrand‘s time-geography diagrams as a danse macabre.  The subtitles are in French but the commentary is in English.

I find the combination of intellectual imagination and performance work absolutely compelling – see my comments on ‘Bodies on the line’ here, for example.

CFP> Transforming work in mobile worlds

Here’s an interesting call for papers from David Bissell and Francis Collins that’s been posted to Crit-Geog-Forum on the ways work is transforming travel and our uses of technology and vice versa, and how that is involved in shifts in how we perform other (perhaps all) aspects of our lives.

Transforming Work in Mobile Worlds

David Bissell, The Australian National University
Francis Collins, University of Auckland

The dynamics of labour has been approached through many different geographical perspectives. In this session we want to explore how the conceptual lens of mobility offers a powerful and provocative way of posing new questions and staging new problems about the practices and affectivities that produce experiences for labouring bodies. Labouring bodies are entangled in various forms of movement and stillness. They involve different configurations of timing, rhythm and habit. Going to work, for instance, for many involves commuting across cities and regions, migrating within and across territories, or undertaking forms of mobile work. There are also distinct temporalities to labour practices that intersect with these mobilities in all sorts of ways – the tenure of a work visa, the rhythms of the workday, or the connections between labour and the timing of lifestages.

Beyond these general assertions about the relationship between temporality, mobility and labour we observe emergent phenomena that are potentially reshaping these connections, inviting us to think them anew. On the one hand there has been a growth in longer-distance commuting as a constitutive feature of some working lives, manifest in mobile work lives, fly-in-fly-out labour, long distance living arrangements and the rise of global work. Similarly, in the realm of ‘migration’ we have witnessed a marked shift towards temporary and circular migration, both in the aspirations and subjectivities of migrants and the governmentalisation of migrant mobilities and lives through temporary migration regimes.

Together, these trends suggest that there might be some profound and intriguing reconfigurations happening in many workers’ lives. But what sorts of transformations are these new working and migratory practices giving rise to? For instance, the trends indicate that these new mobile working practices are changing bodies, changing relationships, changing family forms, changing place attachments, changing communities, and changing the very nature of belonging. This session aims to grapple with precisely these transformations of labour, life and place.

Disciplinarily, this session aims to forge a richer dialogue between mobilities research and migration studies in order to explore how these mobility practices are creating new kinds of subjects; how they are necessitating new kinds of skill; and how new kinds of relationships are emerging. We believe that these new mobile working practices invite analysis through the complimentary perspectives and theoretical resources that mobilities and migration research offers.

We therefore invite papers that explore the relationship between labour mobility and migration, temporality and affect. This could include a focus on the timing and rhythms of social sites like the workplace; the multiplication of labouring bodies through the governmentalisation of time at the border; subjective understandings of timing of lives and labour and its interrelationship with pasts, futures and presents. Other themes may respond to the following questions:

  • In what ways are the multiple temporalities of work being reconfigured through different forms of mobility?
  • How are bodily capacities, thresholds and limits emerging through new working practices, including flexible, precarious or irregular work?
  • How are new temporalities and mobilities of labour generating new forms of aspirations, desire and sense?
  • How might we trace the affective contours of temporality and mobility in labour?
  • What are some of the intersections between forms of mobile or temporary work and expressions of social difference such as gender, race, ethnicity, class, sexual difference?
  • What are some of the techniques for exploring the richness of subjective experiences of extended temporariness in migration and/or work life?
  • How are different institutions and organizations implicated in the transformation of work in mobile worlds?
  • What are the implications of the timing and mobility of work and life for experiences of belonging, identity and the generation of community?
  • What connections are emerging between mobile work and other migratory forms such as education, working-holiday, or lifestyle?

Abstract submission: Monday 19th October 2015

Please send abstracts of 250 words max to both David Bissell and Francis Collins. We will contact successful applicants by the 23rd of October 2015. Once selected participants must pay the registration fee and submit their abstracts online at the AAG by October 29th 2015.

Reblog> The pseudo-digital natives argument

Great, and incisive, post by Martin about the slips we all make in lapsing into easy-but-flawed theories… I’d say this argument also applies to how people talk about a spatial distinction between ‘offline’ and ‘online’, or mediated and face-to-face, communications as a ‘virtual’ / ‘real’ dichotomy. It’s nonsense but still has some residual appeal because we like to put space in a box (a la Descartes).

The pseudo digital-natives argument

When I did my degree in Psychology I remember a lecturer dismissing lots of theories of cognition as a ‘pseudo-homunculus” explanation. The homunculus explanations of psychology posited a little person sitting inside, driving your actions (think Inside Out). Of course, this was debunked hundreds of years ago, but a pseudo-homunculus explanation was one that went so far and then almost implied a little person. For example, theories of perception that posited a projection of the external world as if it was a cinema screen inside the head. It didn’t explain how that then led to action.

I was thinking about this with ed tech presentations. The digital natives myth has long been debunked, like the homunculus, but what we have are often pseudo-digital native explanations. I joked on twitter that we should ban presenters from talking about their children’s use of technology. I don’t really want to ban it (before people start telling me why a ban would be a bad idea), and I think sometimes it is used to effectively make a point. But often the deployment of these anecdotes (or videos even) is to sneak some pseudo-digital native juice in, without being derided for such. “Look, my daughter uses the ipad in a totally different way to me, we need to be ready for these kids in university” is often the implicit or explicit message. I blogged a while ago that there is something appealing about the digital natives idea, people want it to be true, and so it finds new ways to reassert itself. So when you hear a “my kids” anecdote in a presentation, I just ask you to do a pseudo digital natives check. Stay vigilant people.

Margaret Hamilton, Nasa software engineer & her ‘code’ printed out

I’ve put this picture on my office door:

Margaret Hamilton is an inspirational figure and we really should know more about her and her work!

Hamilton is now 78 and runs Hamilton Technologies, the Cambridge, Massachusetts-based company she founded in 1986. She’s lived to see “software engineering” – a term she coined – grow from a relative backwater in computing into a prestigious profession.

In the early days, women were often assigned software tasks because software just wasn’t viewed as very important. “It’s not that managers of yore respected women more than they do now,” Rose Eveleth writes in a great piece on early women programmers for Smithsonian magazine. “They simply saw computer programming as an easy job. It was like typing or filing to them and the development of software was less important than the development of hardware. So women wrote software, programmed and even told their male colleagues how to make the hardware better.”

“I began to use the term ‘software engineering’ to distinguish it from hardware and other kinds of engineering,” Hamilton told Verne’s Jaime Rubio Hancock in an interview. “When I first started using this phrase, it was considered to be quite amusing. It was an ongoing joke for a long time. They liked to kid me about my radical ideas. Software eventually and necessarily gained the same respect as any other discipline.”

Right on, Margaret.

The above quote is from this piece on vox.com by Dylan Matthews is worth reading – it contains lots of interesting bits and pieces, not least the fact that Apollo code was literally ‘hard wired’: it was woven in wire… astonishing to anyone who simply fires up a text editor and then uploads via ftp etc. etc. now…

The process of actually coding in the programs was laborious, as well. The guidance computer used something known as “core rope memory”: wires were roped through metal cores in a particular way to store code in binary. “If the wire goes through the core, it represents a one,” Hamilton explained in the documentary Moon Machines. “And around the core it represents a zero.” The programs were woven together by hand in factories. And because the factory workers were mostly women, core rope memory became known by engineers as “LOL memory,” LOL standing for “little old lady.”