“Fig. 187. The Psycho-Magnetic Curves.”
from charles guarinus & critiko
“It is in the dramatic atmosphere induced by Cameron’s opera that I want to write a draft of my manifesto. I well know that, just as much as the time of avantgardes or that of the Great Frontier, the time of manifestos has long passed. Actually, it is the time of time that has passed: this strange idea of a vast army moving forward, preceded by the most daring innovators and thinkers, followed by a mass of slower and heavier crowds, while the rearguard of the most archaic, the most primitive, the most reactionary people, trails behind—just like the Navis, trying hopelessly to slow down the inevitable charge forward. During this recently defunct time of time, manifestos were like so many war cries to speed up the movement, ridicule the Philistines, castigate the reactionaries. This huge war-like narrative was predicated on the idea that the flow of time had one—and only one—inevitable and irreversible direction. The war waged by the avant-gardes would be won, no matter how many defeats. What this series of manifestos pointed to was the inevitable march of progress. So much so that they could be used like so many sign posts to decide who was more “progressive” and who was more “reactionary.”
Today, the avant-gardes have all but disappeared, the front line is as impossible to draw as the precise boundaries of terrorist networks, and the well arrayed labels “archaic,” “reactionary,” “progressive” seem to hover haphazardly like a cloud of mosquitoes. If there is one thing that has vanished, it is the idea of a flow of time moving inevitably and irreversibly forward and which could be predicted by clear sighted thinkers. The spirit of the age, if there is such a Zeitgeist, is rather that everything that had been taken for granted in the modernist grand narrative of Progress, is fully reversible and that it is impossible to confide in the clear- ightedness of any one—especially academics. If we needed a proof of that (un)fortunate state of affairs, a look at the recent 2009 Climate Summit in Copenhagen would be enough: at the same time when some, like James Lovelock, argue that it is human civilization itself that is threatened by the “revenge of Gaia” (a good case if any, as we will see later, of a fully reversible flow of time!), the greatest assembly of representatives of the human race manage to sit on their hands for days doing nothing and making no decisions whatsoever. Whom are we supposed to believe: those who say it is a life-threatening event? those who, by doing nothing much, state that it could be handled by business as usual? or those who say that the march of progress should go on, no matter what?
And yet a manifesto might not be so useless at this point, by making explicit (that is, manifest) a subtle but radical transformation in the definition of what it means to progress, that is, to process forward and meet new prospects. Not as a war cry for an avant-garde to go even further and faster ahead, but rather as a warning, a call to attention, so as to stop going further in the same way as before toward the future. The nuance I want to outline is rather that between progress and progressive. It is as if we had to move from an idea of inevitable progress to one of progressive, tentative and precautionary progression. It is still a movement. It is still going forward. But, as I will explain in the third section, the tenor is entirely different. And since it seems impossible to draft a manifesto without a word ending with an –ism (communism, futurism, surrealism, situationism, etc.), I have chosen, to give this manifesto a worthy banner, the word compositionism. Yes, I would like to be able to write “The Compositionist Manifesto” by reverting to an outmoded genre in the grand style of old, beginning by something like: “A specter haunts not only Europe but the world: that of compositionism. All the Powers of the Modernist World have entered into a holy alliance to exorcise this specter!”.”
“The architectural manifesto defined the modern era. Marinetti’s Futurist Manifesto started the ball rolling, and Adolph Loos’ Ornament and Crime, Corbusier’s Towards a New Architecture and De Stijl followed. All of these are recognized as being amongst the most important pieces of architectural writing of the last century. While it is tempting to think that we may be living in a golden age of manifesto writing now that anyone can start a blog, the carefully-considered architectural manifesto itself doesn’t fit the paradigm of network culture. As editor Justin McGuirk correctly observes in Icon magazine’s “Manifesto Issue” (Icon #50) that “in the early 21st century, there are as many potential manifestos as there are people.” A manifesto is something else entirely when instead of defining the rigid foundations of a movement it attempts to start or join a conversation.”
“Again and again in A Film Unfinished, faces turn to the camera. Most belong to residents of the Warsaw ghetto, looking back at the Nazis filming them in May 1942. Preserved in a 62-minute project titled “Das Ghetto,” today they’re both haunted and haunting, their cheeks caved in, their skin stretched tight, and their eyes unavoidable. Like so many faces that look back in so many documentaries, these indicate the subjects’ awareness of their status as such. Their expressions are curious, They are also silent, like all of “Das Ghetto,” an unfinished Nazi propaganda film discovered in an East German vault during the 1950s. Yael Hersonski has reassembled much of that footage for her film—some of it observational and some staged by the German film crew—along with readings from diaries and transcripts, as well as shots of ghetto survivors watching that footage. Comprised of more faces, shadowed in a theater, these shots serve as vivid reflections of your own experience, horrified at what they see. What they see exemplifies one of the most chilling aspects of the Third Reich, “an empire infatuated with the camera,” narrates Rona Kenan, “that knew so well to document its own evil, passionately, systematically, like no other nation before it.” This infatuation is visible everywhere in A Film Unfinished, as German soldiers grab residents’ arms or push them along in the street, as starving children sit on curbs and adults hurry along sidewalks. “The intention of the propagandists can never be determined, only surmised,” says Kenan. No matter their motives, “Das Ghetto” has been used as “a trustworthy document for any filmmaker or museum seeking to show what really happened, to tell the untellable. The cinematic deception was forgotten and the black and white images were engraved in memory as historical truth.”
A Film Unfinished picks at this idea of “historical truth” as if it’s a scab. The resulting discomfort is more resonant than that of “disturbing images of Holocaust atrocities including graphic nudity” that led the MPAA to give the documentary an unusual R rating. For Hersonski’s film insists on the constructedness of all films, fiction and documentary, hers as well as the Nazis’. This complicates their truth, makes it a process of recollection and interpretation at all stages, from shooting to assembling to consuming. “Do you see the garbage?” asks one survivor as she looks at a huge mass of waste. “People threw their garbage out the windows,” she explains, “because they were too weak to go down the stairs.” Her story reshapes the image as you watch, for it has just been described in another way, by one of the Nazis’ cameramen, Willy Wist. He says he was told “to film a large pile of feces in the courtyard of one of the buildings. I remember thinking to myself that either because of the winter or because of the overcrowding, the sanitary installations had stopped working.” Even as he speaks, his memory has turned in on itself, for he also recalls that he was shooting in May, not winter.”
ckck:
The protective cover of the Voyager Golden Records, which contains instructions for how to play the records, as well as a map to our solar system in relation to 14 pulsar stars.
Flag of Cuba’s 26th of July Movement
Every day should have a movement.
“3. THE RULE: “…thou shalt not sow thy field with mingled seed; neither shall a garment of mingled linen and woolen come upon thee.” (Leviticus 19:19)
THE TRANSLATION: Don’t wear clothes made of mixed fibers. Wool-and-linen blends are particularly bad. Polycotton is probably OK.
POSSIBLE EXPLANATION: The Old Testament was obsessed with separating things. (Don’t wear mixed fibers; don’t mix milk and meat.) According to many biblical scholars, the idea was to drill the notion of separation into the ancient Israelite mind. This way, they would remain separate from the pagans and not intermarry-a sin even worse than mixing wool and linen.”
— T. Adorno, Minima Moralia: Reflections from Damaged Life (1951) (via theparasitichead + easternblocparty)
What makes this materialist tradition unique is the way it combines the humble awareness that we are not masters of the universe, but just parts of a much larger whole exposed to contingent twists of fate, with a readiness to accept the heavy burden of responsibility for what we make out of our lives. With the threat of unpredictable catastrophe looming from all sides, isn’t this an attitude needed more than ever in our own times? (…)
What makes modern Europe unique is that it is the first and only civilisation in which atheism is a fully legitimate option, not an obstacle to any public post. This is most emphatically a European legacy worth fighting for.” "
— Slavoj Žižek, Violence. Six Sideways Reflections, London: Profile Books, 2008, pp. 117-118. (via msodradek + amiquote)
“August, 1942. Leningrad, besieged and filled with starving inhabitants, barely holds out against the force of the Nazi invasion. People are queuing up for soup made of boots and book bindings. Hitler has chosen the 9th of the month to celebrate the fall of the city, and a ball has been planned in advance.
But in a symbolic act of defiance, the Russians decide to hold an orchestral concert. To do so, they have to fly in extra musicians, because only 15 members of the Leningrad Radio Orchestra have survived the war. The piece of music they choose for the finale is Dimitri Shostakovich’s Leningrad Symphony.
At the Cheltenham Music Festival’s The Sound of Melancholia last week, classical music composer Stephen Johnson repeated this story, describing Shostakovich’s compositions as “some of the bleakest, darkest, saddest, most vile and sardonic music” he had ever heard
He went on to recount the story of Viktor Kuslov, who had played in the 1942 performance, who was moved to tears by the recollection of the music’s powerful effect on that night. Indeed, the final page of the ink-written score that was used at the world premiere is smudged and run with the tears of Yevgeny Mravinsky, the conductor.
It’s counterintuitive, but Johnson’s story suggests that the desolation in Schostakovich’s music, resonating with the desolation in their hearts, served to bolster the spirits of the Russian populace at the time. The premise postulated by Johnson and neuroscientist Raymond Tallis, who co-hosted the event, is the oft-repeated idea that music, by conferring a narrative structure to emotion, brings emotion closer to thought. “There is something about seeing your own mood reflected that allows you to let go of that feeling,” says Johnson.
But it is not so simple. As Tallis, who was standing in for an absent Robert Winston, pointed out at the start of the evening’s conversation, there is a complex interplay between the emotion the composer attempts to write into the music, that conveyed by the music, the listener’s interpretation, and the listener’s mood. This was resoundingly reflected in the results of an experiment carried out on the evening’s audience.” via @openculture
How did we find the strength to go on? In the modern period, ‘‘the people’’, the collective subject and patient vehicle of progressive Enlightenment and historical meaning, became nothing but a pretext for murder, the Volk, the proletariat, the petty bourgeois settler clearing away peoples and cultures as so many obstacles to agriculture, carving out the requisite emptiness for a fantasy-autochthony. In the modern period, while ‘‘the people’’ awaited one humanistic apocalypse or another, aching for the promised final unity, purity or triumph, people themselves were mangled by bureaucratic genocides, brutalised by imperial police actions, photo-spectralised by nuclear experimentalism, shamed by the normativities of bio-power, and disappeared in the silence and night of one political terror apparatus or another, forced assimilations, forced migrations, forced industrialisation, emptied villages in Poland, in Kenya, in Chechnya, Bengal, Vietnam, Algeria, El Salvador, and East Timor, concentration camps, treacherous infiltrations, racial disenfranchisement, liberal complacency and error. In the twentieth century, when politics became art, art became madness, madness became pornography, pornography became murder, and murder became just entertainment, a delirium no subjectivity could make purposeful or more than rhetorically redemptive. Only love was redemptive by 1969. In the twentieth century, nature became simply the passive object of administration, pleasure was re-packaged as science, because science was the only language the newspapers accorded authority. It was the time of the eternal recurrence of the spiritless mind, the eternal poverty of the scandalous minority, the eternal sunshine of the exterminating angel, when the poet said: ‘‘Black milk of daybreak we drink you at sundown/We drink it at noon in the morning we drink it at night/We drink and we drink it/We dig a grave in the wind there one lies unconfined’’ (Celan 1990, 63). ‘‘Was I sleeping, while the others suffered?’’ (Beckett 1965, 90).
As a consequence, our time is a time of shameless defeatism, when we know everything we are told is misinformation, but this knowledge does not protect us, or inspire us to a future freedom, where things will be transparent. We know politicians lie, kill, cheat and dishonour us, but it is not clear what can be done about it, or whether in fact it is to be accepted with a frustrated resignation. We are not ignorant of what they do nor indifferent to it, but we are impelled to trust them by the apparent lack of any other option. This defeatism is not childlike nor naïve, not ignorant nor idealistic. It is wise, split between the wisdom of a cultivated lassitude where knowledge does not lead to the struggle with difficulty, nor to the dangerous decision, and an impatient, but directionless radicalism where the long awaited re-birth of progressive spirit seems further off every day, and the hope for change becomes simply invested in the imminence of first economic, then environmental, then terroristic, and now military catastrophe.
In the West, we pay our governments to do our murders for us, in the crisp hi-tech, neat, logistical, politic, rationalised, well-mannered and eminently reportable, statistical, Christian, way they have mastered these things, leaving the electorate untroubled by the cost on which its luxury depends and who gets to pay it. The legacy of the Reagan/Thatcher experiment: do not frighten the electorate with the spectre of the injustice, torment, dictatorship, starvation, epidemic, exploitation or genocide that it causes or benefits from. The electorate must be kept in a warm cocoon of moralistic platitudes, and homespun economic automaticity, where world-affairs are reduced to the business of an unthinking common sense, and the role of the media is merely to police stereotypes we can all hold in contempt: the cheating tradesman, the paedophile priest, the corrupt politician, the charlatan diet guru, thus creating a pathetic simulacrum of social consensus around injustices that never accumulate into a positive theory of the just itself. The point is Derrida never gave in, never conceded to the platitude, to the easy, reassuring orthodoxies of left or right, of humanism or subversion. No balking at risk, no refusal to recognise difficulty, no pragmatic concession that incommensurables, aporias, incompossibilities needed at some point to be truncated, by-passed, frustrated or overcome. No sense that thinking had a limit beyond which only authority or pragmatism should take us. For Derrida, there was no pragmatics without thought, except the pragmatics that would not admit what it thought. No pragmatics without metaphysics. The pragmatics that disavowed metaphysics simply confessed how bad, un-self-conscious and ill-considered its metaphysics actually was. There was no point for Derrida in a thought that did not think, that refused to think, the ‘‘humanity’’ that settled for rhetorical gestures, the politics satisfied by an educated resignation, nor, above all, did he ever concede to defeatism and its small wisdom.
SOCIAL SEMIOTICS VOLUME 16 NUMBER 3 (SEPTEMBER 2006)So when will it start being okay for me to introduce my papers with pure unmitigated rage like this…?
Can’t wait!
— Gilles Deleuze, On the Will to power and The Eternal Return /via pareidoliac