George Molnar, Powers

I just finished reading George Molnar’s extraordinary book Powers. Reading an analytic philosophy book like this one reminds me, once again, that I am not a philosopher, even though I frequently write about philosophical texts. Good analytic philosophy tries to provide basic logical grounds or arguments for all of its assertions — something that I am incapable of doing. And it almost totally ignores what is interesting about classical philosophical texts: which is the implications of the metaphysical assertions. The point is that I am sure that any good analytic philosopher could point to the logical errors or ungrounded assertions in great speculative metaphysicians such as Plato, Aristotle, Descartes, Leibniz, Kant, and William James. But such errors do not negate what is genuinely challenging and thought-provoking about these thinkers. (I am crudely echoing, here, some of the remarks that Graham Harman has made many times on his blog. But then, Harman really is a philosopher, albeit of the continental rather than analytic kind — which means that he is doing the kind of thing the aforementioned great speculative philosophers do, rather than what the analytics do. I, in contrast, am doing something that is closer to speculative fiction than to speculative metaphysics. I respind to philosophy texts in the same way that I do to science fiction novels). 

Nonetheless, although his book is mostly concerned with the usually analytic statement of the particular arguments needed to establish his assertions, Molnar’s metaphysical assertions are themselves fascinating and suggestive, and contribute a lot to current debates in “speculative realism.” (Indeed, I came upon Molnar in the first place because he was mentioned in the context of SR by Ben Woodard). (Molnar is also footnoted in the introduction of The Speculative Turn, in connection with Iain Hamilton Grant’s attempt to produce a “powers” metaphysics; but Grant himself doesn’t seem to mention Molnar, either in his essays in that volume or in his own book Philosophies of Nature After Schelling).

Molnar’s basic argument is that things (or OOO’s objects) possess causal powers that are ontologically real, and not just confined to the instances in which they are manifested. Salt contains the power of being soluble (dissolveable) in water; this power is a veritable property of the salt, even if it never encounters water and never actually gets dissolved. In insisting that powers are actual independently of their manifestation (even if they can only be described in terms of their manifestation), Molnar rejects the skeptical (empiricist, and especially Humean) hypothesis that talk of powers has no meaning apart from the conditional statement that, e.g., if the salt is put into water, then it will dissolve. The classic Early Modern reproach to medieval philosophy was to ridicule the latter for allegedly saying, for instance, that opium puts people to sleep because it has a dormative power — and to claim that this sort of explanation is utterly meaningless. Molnar is arguing, in effect, that opium really does have something like a “dormative power.” This is not to deny that such a power can be analyzed, e.g., in terms of particular neurochemical events that take place in the brain of somebody who has smoked opium. But such an analysis of the “dormative power” does not get away from the attribution of powers, since it simply replaces the power of opium per se with a more detailed account of the powers possessed by particular molecules in the composition of opium. 

In this way, Molnar asserts a realist ontology, one that is directed against the skeptical empiricism of the whole tradition derived from Hume (and one still adhered to by a large number of analytic philosophers today). The parallels with speculative realism go further; Molnar insists, as much as Graham Harman does, that a thing, or an object, is not just a bundle of properties or characteristics, but exists in its own right apart from and in addition to these. (Although Molnar, unlike Harman, endorses the basic scientistic move of reducing objects to their ultimate subatomic constituents, he doesn’t make the claim that this somehow renders objects of the sort that we can see and touch illusory). 

In this way, Molnar offers something like the actualism, and the “flat ontology,” insisted upon by Delanda, by Latour, and by OOO (in contrast to the eliminativist impulses, both of many analytical philosophers, and of Ray Brassier or other more scientistically-inclined speculative realists). But there’s a difference. Molnar writes: “While ontologically there is nothing over and above individuals and their properties (actions), causally there is.” (George Molnar). The insistence on actual causality, and on actual relations (causality being one form of relation), makes for a significant difference between Molnar and Harman. Contra Harman, Molnar rejects any sort of “occasionalism”; he insists that causality is direct — and not merely “vicarious.” Like Harman and against Deleuze, Molnar claims that powers, even when they are not being exercised, are entirely actual qualities of things — they cannot be regarded as “virtual” or “potential.” They fully exist even when they are not manifested in particular events, as a result of particular relational encounters. But against Harman, Molnar insists that relations are as primary an ontological category as things or objects are. 

To put this another way: Harman, in his critique of Latour, opposes the Deleuzian notion of the virtual (together with related notions of the potential) to what he sees as Latour’s “Megarian” actualism. Although he applauds this actualism, he rejects what he claims is Latour’s relationalism, or denial that his discrete entities have any nonrelational substance. But Molnar adds another option to this picture. For Molnar, things do have a substantial reality that is outside of, and anterior to, relations — but this substantial actuality is largely composed of “powers,” or of causal abilities to do things (and thereby to interact relationally with other substances). There is nothing besides individuals and their properties; but since many of these properties of individual things are powers, they make direct causality possible, i.e. when they do contingently encounter other things or substances, they produce real effects.

Molnar asserts that “laws of nature” are supervenient upon the powers of actually-existing things. Against post-Humean skepticism, “laws of nature” are objective features of the world, not mental impositions. This thesis is therefore, once again, realist and anti-correlationist; it affirms that reality is mind-independent and human-independent.  But, in opposing Hume, Molnar also implicitly opposes Quentin Meillassoux’s return to, and alleged solution of, “Hume’s problem.” Something like Leibniz’s law of sufficient reason, or Whitehead’s ontological principle, is preserved against Meillassoux’s all-too-Humean insistence that anything can happen with no reason whatsoever. This is because, for Molnar, it is not that things obey pre-existing laws of nature (which is the thesis that Meillassoux rejects), but rather that “laws of nature” are themselves the consequence of the actual powers actually possessed by individual entities. We might say therefore, that Molnar’s powers are like Spinozian/Deleuzian abilities to affect, and to be affected by, other things. (The Spinozian part of Deleuze, unlike the Bergsonian part, does not involve virtuality). 

In addition to all this, Molnar claims that powers need not be grounded, and indeed that the ultimate powers of things are ungrounded. He argues this on an empirical, rather than a priori basis: the subatomic particles of which, according to contemporary physics, the universe is composed, do not seem to possess any grounding. An electron or a photon is nothing over and above its powers. If the powers of “composite” or everyday objects are themselves grounded (e.g. in physical, non-dispositional properties of these objects), the grounding does not continue downwards infinitely, but ultimately meets the ungroundedness of the powers of elementary particles.

Now, this might well be the place where OOO thinkers would argue that Molnar reveals himself to be a scientistic reductionist after all, but I think that such a criticism would not be entirely fair. This can best be understood, perhaps, by looking at the role that ungrounded powers play in Iain Hamilton Grant’s metaphysics (see Grant’s response to Harman in The Speculative Turn; this is also the place where Ben Woodard, as cited above, associates Molnar with Schelling and Grant). The crucial point we can take from Molnar is that powers need not be grounded in order to be real; and this makes for a crucial step in Grant’s argument, against Harman, that one can trace the anteriority of forces that generate objects, without thereby “undermining” objects and reducing everything to some sort of undifferentiated blob. From another direction, Molnar’s sense of ungrounded powers might also be used to defend Latour’s ontology against Harman’s criticisms. When objects are understood as possessing intrinsic powers, they can be separate and actual without being “withdrawn” in Harman’s sense. Objects possess real forces, which they exert against other, equally real forces being deployed by other objects. Without going so far as to make the difficult claim that Latour and Grant can be reconciled with one another, I think that they both can be defended against Harman’s various criticisms of them on the basis of an appeal to something like Molnar’s insistence upon the actuality, and not-needing-to-be-groundedness, of causal powers.

There’s also another, weirder direction in which one could take all this. For Molnar, subatomic entities like electrons and photons have intrinsic powers, but they don’t have any intrinsic qualities other than their powers. Indeed, this is precisely what he means when he asserts that their powers are ungrounded. If the powers of salt and opium and human beings and (to use Harman’s examples) tar and hailstones are grounded, this is because such entities have intrinsic qualities that are not powers, in addition to their intrinsic powers. I think, however, we can reduce the difference between subatomic entities and the sorts of entites that we can apprehend directly by adopting some form of panpsychism (as I have argued before — of course, Molnar would have hated this). That is to say, I want to argue for a thesis that Molnar explicitly rejects, but which is not incompatible with his main points. The thesis is what Molnar calls “dual-sided theory”: “all properties [of objects] have something about them that is irreducibly and ineliminably dispositional [i.e. is a power], and something (else) about them that is irreducibly and ineliminably non-dispositional or ‘qualitative’… A power is only a face/facet/side of a property that also has a qualitative face/facet/side.” Molnar rejects this thesis primarily because he doesn’t think that subatomic particles (or “field-densities”) have a qualitative side: they are only dispositional (they only have powers without any “grounding” or innerness). But a major argument of 20th century panpsychists, from Russell on to Strawson, is precisely that all entities must have an inner as well as an outer side, even if physics only gives us the latter. For panpsychism, there is a qualitative or experiential dimension to everything, including electrons and photons; just as there is a “dispositional” dimension, or the intrinsic possession of powers, to everything. Such a dual-aspect theory would grant interiority to subatomic particles, while also suggesting that the interiority of mesocosmic and macrocosmic entities need not be thought of as the “ground” of these entities’ powers, but as coextensive with them. Such an account both rescues Molnar’s overall argument from the vestiges of “smallism,” while at the same time preserving the intrinsicality and independence of objects without asserting that they are “withdrawn,” and without asserting that their causal relations are merely “occasional” or “vicarious.” For me, this is a way of taking Harman’s questions seriously, while at the same time giving more credence to the assertions of Latour (on the one hand) and Grant (on the other hand) than he is willing to; and of taking Meillassoux’s critique of correlationism seriously, without accepting his claims that mathematics = the absolute, and that things can and do happen for no reason. The occasionalism of both Harman and Meillassoux is rejected in favor of a Whiteheadian duality of determination and decision.

 

 

The Universe of Things

Gwyneth Jones’ short story collection, The Universe of Things, has just been published by Aqueduct Press, and is available for purchase here (at a reduced price until Jan 25). (Amazon lists the volume here).

I’m proud that I was asked to write the Introduction to the volume. Jones is one of the greatest and most important science fiction authors writing today, and she still hasn’t gotten quite the level of recognition that she deserves. 

The volume is named after one of the stories therein. The phrase “the universe of things” comes originally from Shelley’s poem “Mont Blanc.” In addition to writing the Introduction to Jones’ volume, I have also myself written an essay called “The Universe of Things”; the essay cites both Jones’ story and Shelley’s poem in the course of arguing for a Whiteheadian understanding, or revision, of the claims of object-oriented ontology. I now seem to have written several essays more or less on this theme; I am working, hopefully, towards a short book that will address the question of “Whitehead in the light of speculative realism”; and that book, if I manage to finish it, will probably also bear the title, The Universe of Things, thus continuing the semantic chain.

The Speculative Turn

The Speculative Turn, edited by Levi Bryant, Nick Srnicek, and Graham Harman, has now been published. This volume gives the fullest account to date of (so-called) “speculative realism” in all its varieties. There are articles by the four initial speculative realists (Graham Harman, Iain Hamilton Grant, Quentin Meillassoux, and Ray Brassier), together with work by other thinkers who have influenced them (Laruelle, Latour, Stengers, Delanda, etc) essays by later contributors to speculative realist trends (Bryant, Srnicek, Reza Negarestani), brief interviews with Badiou and Zizek, and more. The volume contains my own article/critique of Harman, “The Actual Volcano: Whitehead, Harman, and the Problem of Relations,” together with Harman’s response.

The Speculative Turn can be purchased in hardcopy, or downloaded as a free pdf, here. It doesn’t seem to have made it to Amazon.com yet, but I am told it will be there shortly.

Affective Mapping

It’s come to my attention that, in my already-published article, and soon-to-be-published book, Post-Cinematic Affect, I appropriated my colleague Jonathan Flatley’s notion of “affective mapping” (which is indeed even the title of his fine book) without citing him. Now, my entire method of writing is based upon appropriating and hijacking textual material as widely as possible. But I always try to acknowledge my sources and points of indebtedness. And in this instance, I egregiously failed to do so. So let me offer my profound apologies to Jonathan, and alert my own readers to the deep extent to which my own work has been informed and affected by his.

Whitehead and Levinas

An essay of mine, “Self-enjoyment and Concern: On Whitehead and Levinas,” has just been published in the new volume Beyond Metaphysics?: Explorations in Alfred North Whitehead s Late Thought, edited by Roland Faber, Brian G. Henning, and Clinton Combs. Since the price of the volume is beyond ridiculous (US$101 list and at Amazon, or marked down to US$67.68 at Barnes and Noble), I am making my own essay available here (pdf).

There’s lots of good stuff in the volume aside from my essay, I wish it were all available at a more reasonable price.

I feel that my own essay is a bit underdeveloped; there is much more to be said about Levinas than the brief and cursory discussion I offer here; but, for what it’s worth, I stand by my basic argument.

“I never liked anyone and I’m afraid of people”

Bret Easton Ellis’ latest novel, Imperial Bedrooms, is his first book since Lunar Park in 2005; and it is a sequel of sorts to Ellis’ very first novel, Less Than Zero, which made him famous or notorious upon its publication in 1985, when he was just 21. The new novel is retrospective; it looks at the characters from Less Than Zero twenty-five years later, when they have gone from being spoiled, bored, and passive college-age kids to middle-aged people of power and influence in Hollywood. Imperial Bedrooms is also an exercise in what can only be called Hollywood Noir; it’s rooted in this genre, and reflects back upon it, in the same way that Lunar Park was rooted in and reflected back upon the John Cheever-style suburban anomie novel and the Stephen King-style horror novel.

Imperial Bedrooms begins with the narrator Clay (who was also the narrator of Less Than Zero) complaining about the way “the author” of Less Than Zero played with his feelings and violated his privacy. While conceding that the earlier book “for the most part was an accurate portrayal… there was nothing in it that hadn’t happened” (3), Clay nonetheless portrays “the writer” of the earlier book as very nearly a stalker, and certainly an exploiter: “he was simply someone who floated through our lives and didn’t seem to care how flatly he perceived everyone or that he’d shared our secret failures with the world” (4-5). From this, Clay goes on to dissect the film that was made from Less Than Zero, and which notoriously turned the novel into a feel-good tale of Hollywood redemption. Clay makes much of the way the movie transformed him from a passive, continually high, and bored observer into “the movie’s moral compass, spouting AA jargon, castigating everyone’s drug use” (7). In the movie, Clay tries desperately to rescue his former best friend Julian, who is falling into an abyss. In actuality, though (i.e. in the original book), Clay had just watched passively, without lifting a finger, as Julian drifted into prostitution, heroin addiction, and general self-abasement. Julian dies in the movie “while a choir soared over the sound track” (9), because being “punished for all of his sins” is “what the movie demanded,” indeed “what all movies demanded” (8). But this, of course, does not happen in the novel Less Than Zero, or in the actuality that Clay is describing for us in Imperial Bedrooms. Rather, “the real Julian Wells was murdered over twenty years later” — in the course of Imperial Bedrooms, as we will eventually learn — “his body dumped behind an abandoned apartment building in Los Feliz after he had been tortured to death at another location” (9).

In these opening pages, we get the same sorts of impossible displacements, and metafictional arabesques, that were major elements of American Psycho and Glamorama, and that also fueled the opening chapter of Lunar Park, with its scathing and hilarious dissection of the life and literary career of “Bret Easton Ellis.” However, after these opening pages, the novel at least seems to play things pretty much straight. Once he’s established his point in the opening pages, Ellis no longer calls attention to the metafictional games and multiple media references — not because he has returned to some prior or more solid sense of “reality,” but precisely because the ubiquity of the mediasphere, the remediation and premediation of everything, and the indistinguishability of so-called “real life” from the movies (at the very same time that movies are ideological lies about the actualities they depict) are now so banally self-evident that they no longer need to be highlighted or called attention to; they are simply part of the book’s (and of our lives’) taken-for-granted background.

Or to put this same point a bit differently: the movies are always already being referenced at every point in Imperial Bedrooms, because all the characters are either directly involved in the movie business, or circle in its wider orbit. Clay, the narrator, is a successful screenwriter; at the start of the book he returns to L.A. in order to be involved in the casting of his latest film, and his social life seems to revolve entirely around industry parties and meetings at swank restaurants. Clay is also a person who seems determined to script his entire life as if it were a movie; though this becomes something of a joke in the course of the book — he isn’t really powerful, since he is just a screenwriter, not a director or a producer (e.g., 156). At the very beginning of the novel, Clay describes Julian’s actual (as opposed to cinematic) fate as follows: “I had put Julian there, and I’d seen what had happened to him in another — and very different — movie” (10); and then, on the very last page of the novel, he refers to “the fades, the dissolves, the rewritten scenes” of his own life (169).

I could go on analyzing the novel’s phrases closely, as I have done so far, because Ellis writes in a minimalist style in which every line seems to be a throwaway — and yet these seemingly casual and commonplace phrases are dense with portent and meaning. But I need to step back and (in the book’s own metaphoric style) view the book from a greater distance, with a long shot. Ellis’ books always have unreliable narrators of one sort or another; but in Imperial Bedrooms, it seems to me, Clay is unreliable in a new way. He isn’t factually unreliable, but emotionally unreliable. He doesn’t really tell us, or let us infer, how he feels about things. It’s not that he is being deliberately deceptive, so much as that he himself doesn’t know. He’s opaque to himself, and the movies are the screen through and upon which this opacity is played out. You might say, in psychoanalytic terms, that Clay fails to apprehend himself not because something is repressed, but because he seems not to have an “unconscious” at all. There are no depths; there is nothing there for the reader (viewer?) to work out, no way for us to understand Clay in a way that he doesn’t understand himself. Indeed, his motiveless behavior seems more or less clear to the other characters in the novel, who are always telling him, in exasperation at his latest irritating moves, that “you have a history of this, don’t you?” (87), or “what you really want to be doesn’t exist” (121), or “you’ve done this so many times before” (151). Nothing can be revealed, because nothing is hidden in the first place. Clay is almost a parody of the calculative rationality — which of course is anything but rational — that neoliberalism presumes to be paradigmatic of the individual.

As for what it is that Clay does over and over: well, basically, he is a serial sexual abuser and near- (or maybe even flat-out) rapist. What happens in the course of the novel — and what has happened, we are told, many times before — is that Clay, a man in his forties, gets twenty-something women (would-be actresses) to fuck him, in return for his (supposedly) getting them roles in his movies. There’s no naivete about this, on either side. The women are playing the game, in full awareness, as much as he is — albeit a game that is rigged in favor of middle-aged, sexually predatory men, and against the young women who enter into it. For in fact, Clay never delivers on his promises. As the women start sensing this, and seek to withdraw from him, he becomes more brutal and sexually abusive. The relationship is so crass and cynical, that it isn’t even disguised as something nicer. It happens something like half a dozen times in the course of Imperial Bedroom’s brief 167 pages: Rain Turner (the beautiful but incompetent actress who seems to be the object of desire, not just for Clay, but for all the heterosexual men in the novel) says she doesn’t want to have sex, or prepares to leave Clay’s apartment, and Clay gives her an ultimatum: do what I want, now, or I will call up and cancel your audition for the part you want so badly in my new movie. And in fact, “this is the way I always wanted the scene to play out and then it does and it has to because it doesn’t really work for me unless it happens like this” (119).

In addition, whenever the woman in question leaves him, Clay goes into a tailspin of depression and rage and anxiety, as if he had been betrayed by somebody whom he deeply loved — despite the fact that the whole situation, up to and including the woman’s departure, is something that Clay himself has pretty much all scripted in advance. So what we get, in the course of Imperial Bedrooms, is a lot of hysteria and emotional turmoil, all the more disturbing for the fact that it is depicted so coldly and flatly, and that there is nothing whatsoever behind it. Al of this builds up gradually, so it takes a while for the reader to figure out that there really isn’t anything to figure out, and that what we see is what we get. At the start of the book, we are inclined to think that Clay is just passive and vapid, the way he was in Less Than Zero; it takes us a while to realize just how complete a psychopath he is.

I said that, in genre terms, Imperial Bedrooms is Hollywood Noir; in interviews, Ellis has mentioned Raymond Chandler as a particular influence, and Chandler provides one of the novel’s epigraphs: “there is no trap so deadly as the trap you set for yourself.” Another one of the novel’s accomplishments is that it both honors the genre’s conventions, and turns them inside out. There are all the trappings of a violent and sordid Hollywood mystery: a femme fatale (Rain Turner), a menacing gangster  type (Rip Millar, the drug dealer from Less Than Zero), intimations of conspiracies, people spying on Clay and sending him disturbing anonymous messages, etc. But the logic of noir gets inverted, as we gradually realize that Clay is neither solving a mystery, nor finding himself lured into crime, vice, and ruin. Rather, he is one of the perpetrators, one of the people who makes the mystery. He doesn’t commit a murder for money or for a woman — both of these are things that he already has easy access to. The femme fatale is essentially his victim, rather than the reverse. Even the massive betrayal that Clay commits at the end of the book is not a surprise, since he has already confessed to it in the opening pages.

There’s an incredible coldness in Imperial Ballrooms; and this is something that has to do with the background of comfort and power and privilege that the novel depicts: a comfort and power and privilege that all the rich white men in this novel have, and take entirely for granted. In this sense, the novel is not about the fictions that Hollywood produces, so much as it is about the people who produce them. Beneath the flatness and coldness, there’s a savagery about Hollywood here that rivals the great portrayals by Nathanael West (Day of the Locust) and F. Scott Fitzgerald (The Last Tycoon). It’s as if Ellis has updated these portrayals for the postmodern age, so distant from the classic Hollywood of West and Scott, and yet in basic continuity with it; and combined it with James Ellroy’s take on Hollywood’s sleazy underside. What Ellis adds to all of these, perhaps, is a sense of the everydayness of what, from another angle, might be seen as depravity. This is both because of the privileged status of his narrator, and that narrator’s friends and milieu, and also because of the way, as I said before, a total media immersion is taken for granted as one of the story’s premises.

Where Lunar Park ended on a note of at least potential hopefulness (the closest Ellis has ever come to suggesting even the glimmer of something like redemption), and where even Glamorama (still Ellis’ craziest novel, and the one most engaged with a broader social reality even though, or because, its narrative is entirely delirious) had a slight metaphorical suggestion of improvement in its final words, Imperial Bedrooms leaves us with an unrelieved chill. It’s intentionally narrow focus has a strongly intensifying effect. Where American Psycho (1991) totally nailed the ethos of the Reagan 80s, and Glamorama (1999) presciently divined the social maladies (terrorism and reality television) of the decade following it, Imperial Bedrooms glancingly suggests the psychological malaise (can we even call it “narcissism” any longer?) of a society in which capitalist realism survives, and continues to dominate, despite its utter loss of all credibility.

Post-Cinematic Affect

The new issue (14.1) of the open-access journal Film-Philosophy is now online.

Featured in this issue as an “extended article” (it comes out to 100 pages!) is my latest: “Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales.”

The article is freely available for download; it comprises about two thirds of my forthcoming book Post-Cinematic Affect, appearing sometime later this year from Zero Books. (The book version will include two additional chapters: one on Neveldine/Taylor’s Gamer, and a general conclusion).

Peter Watts alert

Peter Watts is a brilliant science fiction writer — I have written about all four of his novels on this blog (Starfish, Maelstrom, Behemoth, and (at greatest length) Blindsight).

Earlier this week, returning home to Canada from the US, Watts was assaulted for no good reason by US Homeland Security guards at the border, and charged with a felony for supposedly assaulting a Federal officer. Cory Doctorow has the whole story at BoingBoing, here. Watts’ own account of the incident is here.

Watts was released on bail, and is back home in Toronto, but he needs money for his legal defense. I am going to make a contribution, and I urge all everyone reading this to do likewise. (There are details on how to contribute on the BoingBoing page I cited already).

This is something that could happen to anybody, given how security mania connected with the so-called “war on terror” has become so completely excessive and out of control. But it sort of hits home when I see this happening to somebody whose work I greatly admire. (I do not know Watts personally, though I exchanged email messages with him once).

New Books

Several new books have arrived in the mail this week.

First of all, there are two great books, by friends of mine, that I read in manuscript, and for which I provided a blurb. The first is Sonic Warfare: Sound, Affect, and the Ecology of Fear, by Steve Goodman (aka the DJ and producer kode9), and coming out shortly from MIT Press (as part of the same series as my book on Whitehead):

In the beginning, there was rhythm. In Sonic Warfare, Steve Goodman surveys the soundscape, or “vibrational nexus,” in the midst of which we live today, tracking it in its various guises, from Jamaican dub soundsystems to US military infrasound crowd-control devices, from Muzak as mind-numbing sonic architecture to grime and dubstep as enhancers of postapocalyptic dread, and from  the cosmic vibrations left behind by the Big Bang to the latest viral sound contagions.

The second is Capitalist Realism, by Mark Fisher (aka k-punk), which is available now from Zero Books:

What happened to our future? Mark Fisher is a master cultural diagnostician, and in Capitalist Realism he surveys the symptoms of our current cultural malaise. We live in a world in which we have been told, again and again, that There Is No Alternative. The harsh demands of the ‘just-in-time’ marketplace have drained us of all hope and all belief. Living in an endless Eternal Now, we no longer seem able to imagine a future that might be different from the present. This book offers a brilliant analysis of the pervasive cynicism in which we seem to be mired, and even holds out the prospect of an antidote.

Zero Books has also just published two more worthwhile volumes. One is the brilliant One-Dimensional Woman, by Nina Power (aka infinite thought). The other, edited by Mark Fisher, is called The Resistible Demise of Michael Jackson; it’s a collection of essays responding to Jackson’s death, and it includes an essay of mine (a smoothed-out version of something that initially appeared here in blog form), together with many smart essays, deeper than mine, by many people whose work I highly respect, including Joshua Clover, Mark Sinker, Geeta Dayal, Ian Penman, David Stubbs, Owen Hatherley, Dominc Fox, Reid Kane, and Alex Williams — to mention only people whom I have met before, or heard speak before, or whose work I have encountered in the blogosphere (I hope I haven’t missed anyone; there are lots of interesting articles in the volume by people I do not know at all).

I hope this doesn’t sound like in-group blog cronyism — the real point, I think, is that, in spite of everything, the blogosphere really has worked, for me and for many other people, as a stimulus to thought.

I also just received in the mail my copy of Les différents modes d’existence by Étienne Souriau — a book that has been out of print for years, and is now once more available thanks to the interest of Bruno Latour and Isabelle Stengers, who provide a lengthy joint introduction. (For now, this is only in French. I have been looking forward to this book ever since I read an earlier article on it by Latour, also only in French for now, but forthcoming in English translation in The Speculative Turn).