designed to exude information slowly
there are people who can’t afford to hate.
the damned.
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hommangerie
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
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
Once Upon A Time – Life: the entry so narrow; the exit so wide as to be everywhere around… the ‘utopias’ of ‘never again,’ Houellebecq on Houellebecq on William Morris: a fairy tale (illustrated by some of the Morris-like works of David Mabb painted by Rajendra Sharma)
- from the painting Blue Engineering Object by David Mabb (2001). Painted by Rajendra Sharma. [here]
People’s voices never change, no more than the expressions in their eyes. Amid the generalised physical collapse that is old age, the voice and the eyes bear painfully indisputable witness to the persistence of character, aspirations, and desires, everything that constitutes a human personality.
- Michel Houellebecq, The Map and the Territory, trans. Gavin Bowd, Heinemann, London, 2011, p. 152
A few seconds can be enough to decide a life, or at least to reveal its main direction.
- Ibid., p. 158
- based on a Photograph by Mikhail Kaufman, David Mabb in William Morris Fruit Suit, photograph by Robin Forster (2002). Painted by Rajendra Sharma. [here]
‘It’s the market,’ Pernaut said with a wide, beaming, rancourless smile, going so far as to pat him on the shoulder.
- Ibid., p. 159
- from the painting Fruit by David Mabb (2000). Painted by Rajendra Sharma. [here]
Sexuality is a fragile thing: it is difficult to enter, and easy to leave.
- Ibid., p. 163
- from the painting Morris Blue Willow/Popova Untitled by David Mabb (2005). Painted by Rajendra Sharma. [here]
‘William Morris, according to all we know about him, was someone quite extraordinary.’
…
‘William Morris didn’t lead a very happy life, according to the usual criteria,’ Houellebecq continued. ‘However, all the accounts show him to be joyful, optimistic, and active. At the age of twenty-three he met Jane Burden, who was eighteen and worked as a painter’s model. He married her two years later, and considered going into painting himself before giving up this idea, not feeling gifted enough – he respected painting above all else. He built a house according to his own plans, in Upton, on the banks of the Thames, and decorated it to live there with his wife and their two young daughters. His wife was, according to all those who met her, a great beauty; but she wasn’t faithful. In particular she had a liaison with Dante Gabriel Rossetti, the head of the Pre-Raphaelite movement. William Morris had a lot of admiration for him as a painter. At the end he came to live with them, and basically supplanted Morris in the conjugal bed. Morris then made the journey to Iceland, learned the language, and started translating the sagas. After a few years he came back, and decided to have it out with them. Rossetti agreed to leave, but something had broken, and never again was there any real carnal intimacy between the couple. He was already involved in several social movements, but he left the Social Democratic Federation, which appeared to him too moderate, to create the Socialist League, which openly defended communist positions, and right until his death he gave all his energy to the communist cause, with countless articles, lectures, and meetings.’
…
‘He wanted to abolish school, thinking that children would learn better in an atmosphere of total freedom; he wanted to abolish prisons, thinking that remorse would be sufficient punishment for the criminal. It’s difficult to read all those absurdities without a mixture of compassion and dismay. And yet, and yet … ‘ Houellebecq hesitated, searching for his words.
- from the carpet design United Colours of Benetton by David Mabb (2005). Painted by Rajendra Sharma. [here]
‘Paradoxically, he had a certain success on the practical level. To put into practice his ideas on the return to artisanal production, very early on he created a firm for decoration and furniture; his employees worked much less than those in the factories of the time, which were nothing other than labour camps, but above all they worked freely and each was responsible for his task from start to finish. The essential principle of William Morris was that design and execution should never be separated, no more than they were in the Middle Ages. According to all the reports, the working conditions were idyllic: well-lit, well-aired workshops on the bank of a river.
- from the montage Transitional Monument by David Mabb (2004). Painted by Rajendra Sharma. [here]
All the profits were redistributed to the workers, except a small percentage which served to finance socialist propaganda. Well, against all expectations, success was immediate, including on the commercial level. After carpentery they became interested in jewellery, leatherwork, then stained-glass windows, cloth and tapestries, always with the same success: the firm Morris & Co. was constantly in profit, throughout its existence. This was achieved by none of the workers’ cooperatives that proliferated in the nineteenth century, be they the Fourierist phalansteries or Cabet’s Icarian community: not one of them managed to organise the efficient production of goods and foodstuffs. With the exception of the firm founded by William Morris you can only cite a succession of failures. Not to mention the communist societies that came later …’
…
- from the painting Head of a Peasant by David Mabb (2002) based on Kazimir Malevich’s Head of a Peasant. Painted by Rajendra Sharma. [here]
‘What can undoubtedly be said is that the model of society proposed by William Morris certainly would not be utopian in a world where all men were like William Morris.’
- Ibid., pp. 173-175
- from the carpet design Lietuva by David Mabb (2005). Painted by Rajendra Sharma. [here]
I was reading Houellebecq speaking through his character Houellebecq when William Morris came up in a completely different context. Adam Curtis, the film-maker responsible for All Watched Over By Machines of Loving Grace, mentions Morris. But where? Is it in reference to Fourier in his blog article “Dream On” [here], or in the second of the Little Atoms audio interviews conducted with Curtis following the release of All Watched Over By Machines of Loving Grace [here]?
And I am sure William Morris’s name came up a third time, in the same time frame, in connection with Félix Guattari.
I did find this Independent article by Sheila Rowbotham, however, which, along with having her delightful name to recommend it, contains the excellent phrase: “Both men reach out to the edge beyond what Morris called “Nowhere”.” [here]
Alle Apparate abschalten! or The Soul is like a Bullet . . .
requiescat in pace Friedrich A. Kittler June 12 1943 – October 18 2011
read Axel Roch’s excellent article here, dated 17 November 2011, the day of
Friedrich Kittler’s funeral
he lies at Dorotheenstadt cemetery
with Heiner Müller, Georg Hegel, Johann Fichte, Herbert Marcuse, Bertolt Brecht.
, specifically like a bullet shot from a gun in Steven Pippin’s Quantum Camera
, the soul is like a bullet shot from a gun into a camera
, the soul in death is a bullet shot from a gun into a camera
, a camera which records the precise instant of its descruction
, the soul is caught by death as the bullet is captured by the camera it destroys
visit Mr. Pippin here
Jed’s father recalls Fourier between bouts of self-pity over the artificial anus, excerpted from Michel Houellebecq, with pictures by Henry Darger
We’ve mainly remembered the sexual theories of Fourier, and it’s true that they’re quite burlesque. It’s difficult to read Fourier with a straight face, with his stories of whirlwinds, fakiresses and fairies of the Rhine Army.
It’s hard to believe he had any disciples, people who took him seriously, who really thought of constructing a new model of society on the basis of his books. It’s incomprehensible if you try to see him as a thinker, because his thought is completely incomprehensible, but fundamentally Fourier isn’t a thinker, he’s a guru, the first of his kind, and, as with all gurus, his success came not from intellectual adherence to a theory but, on the contrary, from general incomprehension, linked with an inexhaustible optimism, especially on the sexual level: people need sexual optimism to an incredible degree. Yet Fourier’s real subject, the one which interests him above all else, isn’t sex, but the organisation of production. The big question he asks is: Why does man work?
What makes him occupy a determined place in the social organisation and agree to stay there and carry out his task? To this question, the liberals replied that it was the lure of profit, pure and simple [...] As for the Marxists, they didn’t reply at all, they weren’t even interested, and, besides, that’s what made communism fail: as soon as you got rid of the financial incentive, people stopped working, they sabotaged their task, absenteeism grew in enormous proportions. Communism never was able to ensure the production and distribution of the most elementary goods. Fourier had lived under the Ancien Régime, and he was conscious that, well before the appearance of capitalism, scientific research and technical progress had taken place, and that people worked hard, sometimes very hard, without being pushed by the lure of profit but by something, in the eyes of modern man, much vaguer; the love of God, in the case of monks, or more simply the honour of the function.
…
We defended the idea that a complex, ramified society, with multiple levels of organisation, like that proposed by Fourier, went hand in hand with a complex, ramified, multiple architecture that left space for individual creativity. We violently attacked Mies van der Rohe – who made empty, multi-purpose structures, the same ones that were going to be a model for the open spaces in businesses – and above all Le Corbusier, who tirelessly built concentration-camp-like spaces divided into identical cells that were suited [...] only for model prisons.
- Michel Houellebecq, The Map and the Territory, trans. Gavin Bowd, William Heinemann, London, 2011, pp. 143-145
Cf. Adam Curtis on Fourier, here.
the cure is worse than the disease
going to the theatre is like visiting a good friend who is very ill. I am always afraid of what I will find when I get there.
What new ritual of humiliation will she have been subjected to in the name of making her better?
And usually there he is, good old friend, sitting up in bed, the room too warm, the view non-existent, the decor ugly, a grisly smile on his face as he says hello, hello to us all, and the face itself, now I look, what have they done to it?
Is there a mirror?
I immediately want to rush up and show her.
Was it always a question of make-up – too much make-up – to hide the facts, the cracks?
Was he always dying?
from Joe Milutis’s conversation with Eugene Thacker: I somehow think that Henri Bergson will save the world.
Joe Milutis: Let’s stick with Bergson and the virtual on this notion
of history. It’s really very simple. If I’m on a bus, and everything
is going OK, I caught it on time, the sun is flickering by, so I know
that once I get off the bus there will be no adversity in getting to
my destination. I have the leisure to read, to think, and to
effectively remove myself from the situation of my actual presence in
the bus. In fact, if I want, I can see the bus better, choosing to
move from my reflections, to the faces of the other passengers, to
the people on the street moving by, sometimes slow, sometimes fast,
like a passage of music. It is all very nice. Now, same bus: I’m
late, it’s raining. The bus will take the same amount of time to get
to my destination. However, now I can’t read. I’m on the edge of my
seat scrolling through multiple mental scenarios of what’s going to
happen as soon as I get off the bus: how I will manage the small
window I have to get to my destination without total failure, what
are the most effective scenarios (quickly dwindling) and how, in the
face of failure, will I reassess the value of the idea I had of
“getting there on time.”
Travel in space is the same as moving through intellectual data; and
this is not a metaphor, it is literally one and the same. You need to
know when to kick in the scenario-creating-mind, which is important!
It’s not just a rainy day drag! Conversely, you need to know when to
dream and relax the mind, so that virtual images come in. Are you
completely caught up in the labyrinths of self-referentiality or
buried by a responsibility to the past? Or is your work drained of
depth since you’ve molded your intellectual output on the buzz du
jour? For me, I don’t want my intellectual life dominated by the
“constant revolutionizing of production,” although I find that it can
be exciting to tap a particularly energetic flow, since I don’t feel
satisfied by my research until it finds a way outside of itself. Do I
have more place in my heart for the untimely rather than the timely?
…
The academic is untimely. That is the strength of this particular endeavor,
don’t mess with it.
- quoted from CTheory, full text here
what has happened is that the economy is being used as a weapon against democracy – what does ‘economy’ mean? mesh, grid, world wide web, social network
What some would call the death of the political is only the birth of a new world and new politics: the success of the 1970s reaction and the appearance of a “No Future” tendency linked to the creation of an Integrated World Capitalism (IWC) that neatly slices up the planet. With the IWC, individuals are all the more subjected since they cannot localise power. The world market is presented as an efficient instrument for putting poverty into a “grid” and “enmeshing” marginalisation. Despite the global grid overlaying the social universe, the revolution and hence hope are not things of the past.
- François Dosse, Gilles Deleuze & Félix Guattari: Intersecting Lives, trans. Deborah Glassman, Columbia University Press, New York, 2010, p. 299
As Foucault had sketched it out, power is everywhere and first of all in us. We must “make do with it.”
- Ibid., pp. 299-300
艾未未 … Beijing police have released Ai Weiwei on bail
“The decision comes also in consideration of the fact that Ai has repeatedly said he is willing to pay the taxes he evaded, police said.”
“The Beijing Fake Cultural Development Ltd, a company Ai controlled, was found to have evaded a huge amount of taxes and intentionally destroyed accounting documents, police said.”
