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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:
- what’s wrong that I feel I have to say something? – and think?
- where does it come from? the problem?
- 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:
- 1975 – Marcel Broodthaers, Jane Fonda, Ronald Reagan & Edward Said;
- 1976 – Samir Amin, Steve Biko, Francis Fukuyama & Minoru Yamasaki;
- 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.
February 10 2012
ideas of novelty & privacy – which I cite because they speak to my web project which I have not really spoken of here about which feel free to contact me, yours affectionately
“First you have to know how to admire; you have to rediscover the problems he poses, his particular machinery. It is through admiration that you will come to genuine critique… You have to work your way back to those problems which an author of genius has posed, all the way back to that which he does not say in what he says, in order to extract something that still belongs to him, though you also turn it against him. You have to be inspired, visited by the geniuses you denounce… In every modernity and every novelty, you find conformity and creativity; an insipid conformity, but also “a little new music”; something in conformity with the time, but also something untimely —separating the one from the other is the task of those who know how to love, the real destroyers and creators of our day. Good destruction requires love… You have to be able to love the insignificant, to love what goes beyond persons and individuals; you have to open yourself to encounters and find a language in the singularities that exceed individuals, a language in the individuations that exceed persons” (DI, 139-140).
- Gilles Deleuze, Desert Islands, quoted here
“We are uncovering a world of pre-individual, impersonal singularities. They are not reducible to individuals or persons, nor to a sea without difference. These singularities are mobile, they break in, thieving and stealing away, alternating back and forth, like anarchy crowned, inhabiting a nomad space. There is a big difference between partitioning a fixed space among sedentary individuals according to boundaries or enclosures, and distributing singularities in an open space without enclosures or properties. The poet Ferlinghetti talks about the fourth person singular: it is that to which we try to give voice… Philosophers often have a difficult time with the history of philosophy; it’s horrible, it’s not easy to put behind you. Perhaps a good way of dealing with the problem is to substitute a kind of staging for it. Staging means that the written text is going to be illuminated by other values, non-textual values (at least in the ordinary sense): it is indeed possible to substitute for the history of philosophy a theatre of philosophy… Precisely, by virtue of those criteria of staging or collage, it seems admissible to extract from a philosophy considered conservative as a whole those singularities which are not really conservative: that is what I did for Bergsonism and its image of life, its image of liberty or mental illness.” (DI, 142-144).
- Gilles Deleuze, Desert Islands, quoted here
January 27 2012
January 26 2012
lynching, piracy, decapitation, abject media = subjection … and excerpts from Haruki Murakami’s 1Q84
while nearby: piracy -

while art means action now
and action means decapitation
- the ritual slaying of Ronald McDonald
which could be the following:
is at least what the following wants needs likes follows shares and
adverts to in a culture of “distracted tactility” [Rachel Lee after Michael Taussig, 1991]

“This reminded Tengo of a certain event, something from the distant past that he would recall now and then. Something he could never forget. But he decided not to mention it. It would have been a long story. And it was the kind of thing that loses the most important nuances when reduced to words.”
- Haruki Murakami, 1Q84, trans. Jay Rubin and Philip Gabriel, Alfred A. Knopf, New York, 2011, p. 72
“The concepts of time, space, and possibility.
“Tengo knew that time could become deformed as it moved forward. Time itself was uniform in composition, but once consumed, it took on a deformed shape. One period of fime might be terribly heavy and long, while another could be light and short. Occasionally, the order of things could be reversed, and in the worst cases order itself could vanish entirely. Sometimes things that should not be there at all might be added onto time. By adjusting time this way to suit their own purposes, people probably adjusted the meaning of their existences. In other words, by adding such operations to time, they were able – but just barely – to preserve their own sanity. Surely, if a person had to accept the time through which he had just passed uniformly in the given order, his nerves could not bear the strain. Such a life, Tengo felt, would be sheer torture.
“Through the expansion of the brain, people had acquired the concept of temporality, but they simultaneously learned ways in which to change and adjust time. In parallel with their ceaseless consumption of time, people would ceaselessly reproduce time that they had mentally adjusted. This was no ordinary feat. No wonder the brain was said to consume forty percent of the body’s total energy!”
- Ibid., p. 275
my bookmark reads: strike!
TRIPLE DIP – STRIKE
“They’re both policemen now. Not too long ago, my uncle even received official commendation as an outstanding officer – thirty years of continuous service, major contributions to public safety in the district and to improvement of the environment. He was featured in the paper once for saving a stupid dog and her pup that wandered into a rail crossing.”
…
“The ones who did it can always rationalise their actions and even forget what they did. They can turn away from things they don’t want to see. But the surviving victims can never forget. They can’t turn away. Their memories are passed on from parent to child. That’s what the world is, after all: an endless battle of contrasting memories.”
- Ibid., pp. 292-293
“I am a part of this world, and this world is a part of me.”
- Ibid., p. 855
July 22 2011
to placard: sufficient conditioning; a call to raise expectations of and from conditions considered sufficient
[-with minor alterations, the following was sent to the Listserv Unlike Us: Understanding Social Media Monopolies and their Alternatives-]
Dear Un-Alike,
I’m intrigued by the support here for decentralization as a condition for a desirable network. Decentralization is what the social graph aspires to, lighting up the dark zones of the net, growing virally, accumulating capital from a closed circuit of service – P2P, yes, and emphasising personalization alongside offering software as a service. A network as I understand it leans towards a hub and feeder model before either a centripetally hierarchical, an egalitarian, or a random distribution.
The problem of social media is the many and the one and the various non-processual practices to which we, one, they are submitted. The box/circle/cutter of normalisation and presumptive (profiling) generalisation (based on a consumption-use dictatorship – i.e. what a majority will commit to, with a click – and what the power to sell will prescribe) strikes me, in other words, the constraint of expression of the individual and the reciprocal constraint of articulation of the societies, strike me as being more critical, and more problematic, in existing online social-individual arrangements.
Time, it seems to me, is of the essence in what is at stake for social networks to work: processual, non-presumptive – and non-patronising (!), constructive of both individual and social identities, multiple and whole – by turns, in time -, further, relational in so far as difference enters between and before the one and the many, you, me, one them …us.
I am working in the field of this problematic, this critical milieu, in order to build a poly-lingual dialogical commons, an online social processual and differential simulacrum, and am seeking collaborators in many fields, pre-eminently – where the need is greatest – in code-writing. Please contact me if you are interested. [here]
I feel I should add that I agree neither that entrepreneurial activity has a natural proclivity towards promoting unethical behaviour, nor that the commercial can somehow be separated from the constructive, creative and artistic – and socially responsible – spheres. In fact, it seems to me that a lot of art is exploitative and static, non-progressive, cynical, repressive, however enjoyable it may be; and a lot of commercial activity is affirmative, creative, constructive and ethical – despite erring on the side of lack of imagination, vision… often. I am interested in building an apparatus for online interaction with the support of entrepreneurs and expect this project to be artistically and commercially viable, adequate and effective: in fact, the standards that I am applying are those of both artistic and commercial efficacy – real-world intervention – for this constructivist undertaking.
…
…further, you can show your support for this project by signing in here – yes, it’s legit and safe, not a scam, and it is a help.
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