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March 03 2012

little objects of self-love

Alex Monea’s paper “Guattari’s on Facebook?! Affects, Refrains and the Digital Cloud” [here & here] made me think what perhaps I have not been thinking because I’ve been doing. It made me think about the possibility for thinking about what I have been doing. Whether I can. Or whether in fact I need to complete the doing, to have done – with it – before I am in a position to engage in critique. Because I do think it is a question of critique. A critique that goes so far as creation:

  1. what’s wrong that I feel I have to say something? – and think?
  2. where does it come from? the problem?
  3. what new way to go about it is there? to deal with the problem, with what was wrong in the first place?

The problem was always to do with what had been done, what had been done so that the solution looked the way it did, did the things it did, and still does, to the people connected to it, to whoever and whatever it encounters. It damns my eyes, for example. It is reductive, reducing people to marketable microsegmentations: microsensations come to substitute for and eventually replace affects.

The problem was always therefore to do with a way of thinking that could give rise to what Alex Monea calls the digital cloud, but which is really the network – in part; it is also actually the graph. Their effects. The management of their effects. The cynical sometimes, sometimes unwitting manipulation of those effects for personal gain, where personal also naturally includes the psychopathology of corporations, or corpocracy.

Who thought it? Cyberneticists thought it. And ecologists thought it. (See Adam Curtis’s beautifully suggestive three-parter All Watched Over by Machines of Loving Grace where some of these lines are teased out.) But equally and coincidentally it was being thought by mathematicians and complexity theorists: it was a thought presiding over the birth of the internet in the ARPANET in all its duality: where individuals from diverse – how diverse will become clear when I list the names – backgrounds and disciplines, spheres, were inducted into the military-technological complex – into little rooms therein – to experience the joys of communication mediated by computation, by communicating computational machines:

  1. 1975 – Marcel Broodthaers, Jane Fonda, Ronald Reagan & Edward Said;
  2. 1976 – Samir Amin, Steve Biko, Francis Fukuyama & Minoru Yamasaki;
  3. 1976 – Joseph Beuys, Juan Downey, Rosalind Krauss & Henry Moore. [here]

You can already see that there is another spirit presiding here, an idealistic one, perhaps a utopian one: it is egalitarian. But it is also based in an apprehension of the neutrality of the communicative medium. The machines facilitating the connection of Jane Fonda, Marcel Broodthaers, Ronald Reagan and Edward Said are mathematical, mathematized or anaesthetic – that is, insensible. Affect-less. The real connections constitute a network; the actual connections make up a simple graph, a pattern of connectivity that is scalable – but affect-less, however affective it might be. However much affect – a good feeling about bringing together such a heterogeneous collection of people – might have played its part and still does play its part. But not in the set-up: in the crime itself.

To consider the pattern for a moment, how does it work? Of course it is the mathematical model which is neutral and in its aesthetic overlay makes the underlying configuration anaesthetic, invisible: it hides it. What is happening is that points are surrogating for persons at terminals; another overlay or whitewash makes  those terminals interminate – they become throughchannels not endpoints: points on a line connecting endlessly.

The thing the model finds interesting however is the proliferation of lines – on which there are points. And the model valorises these lines. It ascribes power to them, in fact. Network power. Insofar as a quantitative principle is brought to bear on the point as a multiple throughpoint: the greater the number of lines or vertices or edges crossing and therefore connecting that point, the greater the value it has to the network. The point becomes a node. It presupposes both connectivity and the numerical multiplicity of other nodes. Let there be many!

Submitted to this mathematization, we can see in ARPANET a glorious precursor and a banal presumption: difference can be celebrated at the same time as it is nullified; and at the same time as the numerical values drawn from the model come to have statistical significance those quantitative signifiers or quanta supplant the mere atomes of the communicating persons, who are anatomised. Connectivity over connection, links over nodes.

This already latent valorization is actualised and exploited in the commercialization of the social graph. The gain is obvious: if we are dealing with throughpoints then we are dealing in throughput, productivity, or production-line affect, where each piece has entity, need only be counted and need never be reconstituted as the desiring or communicating body in a social configuration. Because it should also be clear that what the graph does is as much a-subjective as it is asocial. But it is objective. Objects are made. And it is to objects that asocial subjects return.

Here is the crime: in the mechanism. Or, put otherwise, the machine in the ghost. What Alex Monea calls a cloud might really be a proliferation of small machines with nothing more or other than numerical value. Of people reduced to quanta who freely choose to identify with these the smallest possible units of their online consumer status. Little objects of self-love.

Contrary to Alex, I don’t think of a becoming-cloud in anything other than these critical terms, unless I am thinking of the distributed and or virtual processing called cloud computing, which opens a whole new range of options.

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February 10 2012

there you see I would go so far as to say that the web project I am engaged with reads with love, reads you, read …

“There are, you see, two ways of reading a book: you either see it as a box with something inside and start looking for what it signifies, and then if you’re even more perverse or depraved you set off after signifiers. And you treat the next book like a box contained in the first or containing it. And you annotate and interpret and question, and write a book about the book, and so on and on. Or there’s the other way: you see the book as a little non-signifying machine, and the only question is “Does it work, and how does it work?” How does it work for you? If it doesn’t work, if nothing comes through, you try another book. This second way of reading’s intensive: something comes through or it doesn’t. There’s nothing to explain, nothing to understand, nothing to interpret. It’s like plugging in to an electric circuit…This second way of reading’s quite different from the first, because it relates a book directly to what’s Outside. A book is a little cog in much more complicated external machinery… This intensive way of reading, in contact with what’s outside the book, as a flow meeting other flows, one machine among others, as a series of experiments for each reader in the midst of events that have nothing to do with books, as tearing the book into pieces, getting it to interact with other things, absolutely anything. . . is reading with love.”

- Gilles Deleuze, Negotiations, quoted here

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November 14 2011

August 09 2011

to placard: letter on arts funding crisis, to demolish an idea

[-The following went to Spectre -]

State arts funding does not have the interests of the artist or of art at its centre as its reason. It is rather a symbolic – political and economic and ethological – allowance that such things might emerge as artists and arts which if they do may be managed and organised, judged and branded.

The critical economy appears to be the next major franchise, of the semantic Web, for example, as copyright on material expression ceases to stick, given digital dissolution, and ownership of opinion arises, stratifies and propagates through personalisation of services, through P2P recommendation. +, like, :> … However, arts funding provides pre-eminently for the ecology that supports managers, organisers, and critical apparati, even if the latter often give the impression of parasitism. When societies do not allow the critical threshold of economic freedom to be reached such that a stage of emergence can be insured, then what is at risk is an ecology or network.

The state in removing itself from the art/arts equation by withdrawing funding eliminates a hub from this network. This may not destroy the network but its deleterious effects will ramify throughout it.

The current system of tertiary student loans in New Zealand we know to cost more to run than the previous system of student allowances. In fact, this was known before the system was implemented. Likewise, looking only at economic indexes, cutting state funding for the arts, above an ascertainable threshold of sufficient funding, costs the state more than continuing its support.

How is it possible to ascertain the amount of funding that suffices? Where the existence of significant arts institutions is threatened, where that significance is given the larger meaning of ‘acting as a hub for the (artistic, social, civic, ethological, economic, political, critical, and so on) network,’ is where the threshold lies.

Theatres and cinemas are clearly hubs, but that the former is also an artistic hub, bringing the company responsible for the work together in the same institution as that in which it is shown. Theatre therefore displays even more hub-like characteristics when it has a resident company and is not simply the venue for visitors.

Much of this discussion seems to have recycled notions of economic lean-ness or efficiency, whereby the arts in Europe have grown fat, Brad Brace for one advocating a crash diet and the dynamic individualism of a lean mean art-making machine. [visit him here] Is an excess of funding than what suffices in sustaining significant arts institutions adequate justification to cut state funding?

I would like to live in a society in which such a problem arises. Justification is usually from the macroeconomic, with all the attendant ironies that even minor financial institutions are worthy of state bail-outs. And as they devolve on macroeconomic arguments they have recourse to the unscientific theories of fashionable economic thinking, or ideology.

It is this idea that cutting state funding somehow works or creates benefits that needs to be demolished.

July 17 2011

to placard: letter & following to Spectre Listserv for media art and culture in Deep Europe

[-The following is the elsewhere of Deep Europe referred to here -]

respectrespectrespectre…

reading with interest the causes and claims, from Nederlands, to Brasil, Slovenia, England, cutting funding for the arts and culture, I would like humbly to submit another explanation, other, that is, than economic expediency, or ignorance and gross (and net) stupidity on the part of policy-makers. The state is scared.

I would suggest that it is the institutional throat that is being cut, having seen a similar culling of institutions in NZ: cutting funding goes together with removing the autonomy of arts and cultural institutions, same as universities – any erstwhile politically autonomous institution, and therefore locus of critique. But when I say critique, I mean at the level of a power, which is that of institutions, of the power.

Where is the undermining of the power actually occurring that governments might be frightened? At a wholly other level. Yet the muting of institutional critique can be seen as a reaction to certain events, the recent financial crisis among them, the ongoing crisis around energy consumption/production – and its economics – included. I suggest this muting to be in reaction and to entail two actions on the part of states and nations: cutting funding to and removing autonomy from educational, arts and cultural institutions.

Best,

Simon Taylor

[- here is Spectre -]

[- what follows followed -]

cultural value is being substituted for economic value, yes … as the state sells out … to its own hunger for justification, authenticity, that “altes Europa” rag … and betrays itself.

to placard: letter to Listserv of the Institute for Distributed Creativity

Dear Institute,

It is sad that the Arts and Humanities have not survived their own critique, a revisionism with which scholars, teachers and students – following the ‘discipline’ – have been engaged for at least the last fifty years. But it is no surprise. Surprising is how complicity – at the level both of institutions and of individuals – can be advocated for as a way … to do what? protect jobs?

Or is there a value here out of reach of the techno-corpocratic estimation of STEM [wiki] subjects (and subjections), out of reach, that is, of political meddling in institutions?

The loss of autonomy of institutions where Arts and Humanities have had a place appears to be the flaw being exploited to political ends (on economic pretexts). But I would rehearse an argument I have advanced elsewhere: the state will eat its own before admitting its powerlessness before the corporational network; and eating its own begins with denying society, public life exists, except in order to be consumed; it has as its main dish the institutions under the aegis of which erstwhile civic life has been conducted; and ends in a Promethean petrochemical flambé of the financial organs feeding the ‘growth of trade,’ and ‘national economies,’ which organs are assumed to regenerate, like livers, overnight! but which have long since ceased to be organic and will expire in the smoke of the energetic consumption that sustains them. With a faint smell of burning rubber.

Best,

Simon Taylor

[- posted here - in this thread -]

April 17 2011

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