I’m no expert in the nuances of French, but it’s always struck me as interesting that Derrida’s La voix et le phénomène was published in English under the title Speech and Phenomena. “Voix” could also be translated “voice,” as it is in a more recently published translation (and doesn’t speech suggest a different book called La parole et le phénomène?). I find this interesting because of a faint difference of meaning between “voice” and “speech,” which for all I know isn’t reflected in the meanings of voix but which anyway seems relevant to the book, and to Derrida’s work. Speech has a stronger connection with language as social and conventional, whereas voice is more embodied. What’s interesting about this distinction is how it reflects the English reception of Derrida’s work, particularly the way in which connecting Derrida with the “linguistic turn” might have occluded important features of his work. I’m thinking particularly here of the importance of phenomenology to Derrida’s early development of his philosophy. The story I got told when I was introduced to Derrida was one which placed Derrida, and post-structuralism more generally, one one side, and the opponent of this side was phenomenology. This kind of direct opposition now seems to me very un-Derridean, and indeed looking again at his early work, it’s clear that the deconstruction of phenomenology is not a rejection of phenomenology, but retains phenomenology with a deconstructive twist. The narrative which set up an opposition between speech and phenomena, or which posited a linguistic turn against phenomenology, however, has had important theoretical ramifications.
Consider Joan Scott’s article, “The Evidence of Experience.” This is, rightly, a classic, with its necessary criticism of positions that neglect the mediation of theory in favour of an appeal to “experience” as an unquestionable foundation. Rather than seeing experience as a foundation, Scott thinks that our analysis can question experience, and ask how we come to experience things in certain ways. In explaining how this analysis would take place, though, Scott continually slips towards a position which distinguishes language and experience and then privileges language. Continue reading “Speech and phenomena”
In the essay “Utopia as Replication”, Jameson suggests we consider Walmart as an example of how “the most noxious phenomena can serve as the repository and hiding place for all kinds of unsuspected wish-fulfilments and utopian fantasies”. Jameson intends this as a bit of a provocation, but I wonder if Walmart isn’t actually too easy a choice for the “paradoxical affirmation” of “what is most exploitative and dehumanizing in the working life of capitalism”. Walmart’s vastness of scale and remorselessness give it an aesthetic alibi, allying it with a tradition of modernist creative destruction which is likely to be attractive, at least to the sort of people who read Jameson. To really follow through Jameson’s project of unearthing the “utopian impulse”, we need to consider an aspect of capitalism that is not just exploitative but also in bad taste; for a certain strand of contemporary opinion, that would be “twee”, the kind of cutesily-retro faux-petit-bourgeois capitalism of cupcake shops and Cath Kidston.
We need, that is to say, a dialectical appreciation of twee. There is an indie lineage that runs from The Smiths to Keep Calm and Carry On posters, and we need to explain both how it is that The Smiths are David Cameron’s favourite band and how this lineage was the basis of a genuinely oppositional subculture (“twee as fuck”). Tom Gann suggests that the utopian core within twee is “gentleness”, which sounds right, or at least part of the answer, but I want to consider a couple of slightly different aspects, although ones which might end up themselves adding up to a certain type of gentleness. The occasion for my thinking about twee is having recently seen Wes Anderson’s The Grand Budapest Hotel. The film turns out to be in large part a painstaking defence by Anderson of his work, and, because Anderson is often criticised as twee, this defence is also inevitably a defence of twee. Continue reading “Cath Kidston as Utopia”
I wouldn’t usually crosspost something about Britney here, but her new song does seem to have tapped in to a current interest in the topic of work; this piece in the Guardian is typical, arguing that the song reflects a contemporary, “religious” commitment to the value of work. That’s not what the song sounds like to me; it’s not so much capitalist ideology as capitalist id. While the official capitalist ethic proposes the necessity of hard work as the ground of equality, the capitalist id glories in the reality that you have to work while (indeed, because), capital doesn’t. Hence Britney’s imperious “work, bitch!” with the subtext that, work as hard as we like, we’ll never be as good as her; and doubtless we’ve all come to terms in our own way with the fact that we’re not Britney and never will be. But, if we follow the insight of the Neue Marx Lektüre that capital is the historical subject of capitalism, we might find in the id of this historical subject some useful indications of the mutations happening to the role of work in contemporary capitalism, and thereby come up with a more dialectical anti-work politics.We need this dialectical approach because of work’s contradictory position within capitalism: official capitalist ideology extols the virtues of work, but capital hates work and wants to minimize the amount of wage labour it employs, while at the same time wage labour is the source of capital’s profits and so ineliminable. So capital is itself anti-work, but in a contradictory and destructive way. It seems to me that our response to this shouldn’t be the social-democratic one of attempting to re-valorise work (which just embeds us further within capital’s contradictory attitude to work), but instead to try and trace capital’s anti-work position out past capital. Continue reading “You want full communism? You better sublate work, bitch”
The New York Times describes Spring Breakers as “at once blunt and oblique,” although you might say the film spends half its time making a very obvious point and half its time not sure what point it’s making. Which doesn’t sound like much of a recommendation, but the film is actually pretty interesting. The obvious point it seems to be making at first is an analogy between the religious enthusiasm of Faith’s (Selena Gomez) evangelical church and the hedonism of spring break, emphasised by the similarity in the energized performances with which the minister encourages teenagers to get “crazy for Jesus” and the rapper Alien (James Franco) eulogises “bikinis and big booties.” If this were all the film were doing, it would be a fairly straightforward and indeed rather puritanical criticism of Schwärmerei. It would also justify interpretations of the films as entirely contemptuous of the characters and also the audience (who would be posited as a mindless Hollywood audience caught up in the hedonistic enthusiasm the film represents).
What makes the film interesting, though, is that it doesn’t just make this analogy the basis of a simple criticism: it takes this analogy seriously, or at least plays with it at length. It’s Faith, steeped in the dubious transcendence of church youth groups, who describes spring break as “the most spiritual place” she’s ever been, but the film-making seems to back this up. The bright colours, the visual and temporal distortions, skips and, repetitions, suggest (the fantasy of) a spring break outside mundane time. This interesting review suggests the film is a “music video,” but I’m not sure that’s quite right. Rather, the film produces visually the affective structure of a dubstep track (or specifically of its theme tune, “Scary Monsters and Nice Sprites,” by some distance the best brostep track); sharply switching between an ethereal straining at the limits of reality and a brutal pulverising of it produces a kind of transcendence, or an aesthetic effect that hints towards transcendence, at least. Continue reading “Spring Breakers’ anti-human communism”
I don’t want to muscle in on jms’s and Craig’s territory by posting something about TV on a Thursday, but ABC’s new show Revolution does touch on a few themes which struck me as of interest to AUFS. The show is about a post-apocalyptic future in which electricity no longer works. This is a pretty neat idea, although it falls apart at the slightest scrutiny (if “electricity” doesn’t work, how come “nervous systems” still do?); unfortunately, the show does seem to be encouraging scrutiny of the premise by making the characters’ attempt to discover how the apocalypse happened an ongoing plot thread. High concept aside, Revolution isn’t really a “good” show; its post-apocalyptic hardships are pretty off-the-shelf, as are the characters (idealistic teenagers, surly dudes with a soft heart, etc), but there are a couple of interesting things about it. One is its presentation of cities as objects of nostalgia; the main character, who was a toddler when electricity stopped working, keeps an illicit collection of post-cards of the major American cities (I’m reminded of David Simon saying he made Treme in response to people who asked him why anyone would live in the city depicted in The Wire); indeed, on one level at least, the show presents an argument against the lo-fi localism which is something of a liberal consensus. Continue reading “An und für sich: the TV adaptation?”
Let us accept that all identity is a differential identity. In that case two consequences follow: (1) that, as in a Saussurean system, each identity is what is is only through its differences from all the others; (2) that the context has to be a closed one – if all identities depend on the differential system, unless the latter defines its own limits, no identity would be finally constituted. But nothing is more difficult – from a logical point of view – than defining those limits. If we had a foundational perspective we could appeal to an ultimate ground which would be the source of all differences; but if we are dealing with a true pluralism of differences, if the differences are constitutive, we cannot go, in the search for the systematic limits that define a context, beyond the differences themselves. Now, the only way of defining a context is, as we have said, through its limits, and the only way of defining those limits is to point out what is beyond them. But what is beyond the limits can only be other differences, and in that case – given the constitutive character of all differences – it is impossible to establish whether these new differences are internal or external to the context. The very possibility of a limit and, ergo, a context, is thus jeopardized. (Laclau, Emancipation(s), 52)
This far, Laclau’s argument seems pretty reasonable, and the consequence presumably would be that, indeed, “no identity would be finally constituted,” that is, the differences that establish any identity would be indeterminate, there would be no point at which we could say we could say we “had” the full determination of the identity, and so any discussion of a particular identity would always be open to further questioning and the need for further investigation into the specificities of that identity. Oddly, though, that’s not the conclusion Laclau draws. Having “jeopardized” the possibility of a total context, Laclau nonetheless goes on to assert that a total context is possible, with the limit being provided not by a difference, but by an antagonism, which “poses a threat to (that is, negates) all the differences within that context.” Continue reading “Laclau’s post-foundationalist humble-brag”
I really enjoyed Why We Love Sociopaths, in part because of the additional perspective it gives on Awkwardness. The “fantasy sociopath” the book studies is introduced as the opposite of awkwardness: where awkwardness is an anxiety in relation to social norms, sociopaths, at least in TV fantasy, never experience social norms as something that makes them anxious, only as tools they can use to manipulate others. But what unites awkwardness and sociopathy is that these anti-social experiences reveal something fundamental which underlies the possibility of sociality. That is to say, Adam’s project is a kind of dialectical redemption of the anti-social, in which anti-sociality, by revealing the conditions of our sociality denaturalize it and provide ways of thinking about an alternative sociality which we might choose. Awkwardness and Why We Love Sociopaths thus I think have something in common with what Judith Halberstam calls “anti-social” queer theory; the connection is perhaps clearest in the anti-familial theme that surfaces periodically through Why We Love Sociopaths.
One thing that is suggested in the book but I think it would be interesting to think about more is the possibility that the liberal subject as such is sociopathic. Continue reading “Sociopathic subjects”