Summer Reading 2009

Roy Christopher has posted his annual Summer Reading List, and I am (as I was last year) one of the recommenders. My choices are as follows:

David Skrbina, Panpsychism in the West (Bradford, 2007): Panpsychism — the idea that everything in the universe, every last bit of matter, is in some sense sentient — has experiences of some sort, and an at least incipient mentality — sounds bizarre and crackpot when you first hear of it, but makes more sense the more you think about it. Skrbina’s book not only argues that panpsychism is plausible, but shows how deeply rooted it is in the last 2500 years of Western thought. [see also my previous post].

Graham Harman, Prince of Networks: Bruno Latour and Metaphysics (re.press, 2009): Graham Harman, with his “object-oriented philosophy,” is one of the most interesting and provocative thinkers working today. Not only are his ideas deeply original, he is also a great writer in terms of style, verve, and the overall liveliness, persuasiveness, and accessibility of his prose. Harman’s latest book takes a look at Bruno Latour, best known for his sociological studies of science, but whom Harman argues is also a major metaphysical thinker.

Bruce Sterling, The Carytids (Del Rey, 2009): In the mid-21st-century world of this near-future science fiction novel, ecological catastrophe has already happened. Billions have died or become homeless refugees. But this book is not another horror story set in post-apocalyptic wasteland. Rather, it is about creating a livable future. The survivors are involved in the search for plausible new directions, for the creation of some sort of civil society around which humanity can rebuild. The novel’s protagonists are four cloned identical-twin sisters, each of whom has embraced a different alternative for the future of humanity: Green communitarianism, capitalist entrepreneurship-cum-philanthropy, State paternalism, and nihilistic terrorism.

Jamais Cascio, Hacking the Earth (Lulu, 2009): This book provides a sobering look at the promises and perils of geoengineering. Even if we were to reduce carbon emissions to tolerable levels today, we might already be too late. What we’ve already done is enough to drive global warming for decades to come. If worst comes to worst, we might have to take more drastic measures to alter the climate globally: changing the reflectivity of the earth’s cloud cover, for instance, by launching giant mirrors into orbit, or injecting large quantities of sulfates into the stratosphere. Cascio looks into both the plausibility and the extreme risks of such interventions, and proposes ethical principles to guide us in making the difficult decisions that continued global warming might force upon us.

Owen Hatherley, Militant Modernism (Zero Books, 2009): There was more to modernist architecture than the Bauhaus or Le Corbusier’s Radiant City. In this book, Hatherley brings to light an alternative, politically radical modernism that I scarcely knew existed. Ranging from Soviet Constructivism of the 1920s, through Brutalist-style working class housing in the UK in the 1950s, and on to related developments in film and popular music, Hatherley uncovers a counter-history of the twentieth century, one that just might provide us with a remedy, or an antidote, for the cynicism and demoralization of today’s advertising-driven culture and politics.

Scott Bakker, Neuropath (Tor Books, 2009): One of the most disturbing science fiction novels I have read in a long time. By only slightly extrapolating from actual, cutting-edge neurobiological research, Bakker conjures up a frightening future in which our strongest emotions, our most profound convictions, and even our deepest sense of who we are can all be altered at whim by technological manipulation. [see my extended discussion of this book here].

China Mieville, The City and the City (Del Rey, 2009): China Mieville, the master of “New Weird” fiction (Perdido Street Station; Un Lun Dun; etc.). writes what can only be described as a dark urban fantasy police procedural. It’s a brilliant genre hybrid; and it is itself a book about hybridity, since it is set in two cities which… — I’d rather not give a spoiler here, if you read the book you will find out soon enough. Could this be the beginning of a new type of fiction? Noir + Weird = Noird.

Panpsychism

In my last book, I wrote that Whitehead’s position, that all entities have a “mental” as well as a “physical” pole, needs to be distinguished “from the ‘panpsychism’ of which he is sometimes accused” (page 28). I now realize that this is entirely wrong; such a distinction cannot be made, because Whitehead’s position is, in a very classical sense, a panpsychist one. Moreover, panpsychism is a respectable philosophical position, and not something that anyone needs to worry about being “accused” of.

I come to this new understanding from reading David Skrbina’s work on panpsychism — the philosophical doctrine that “mentality” is in some sense a universal property of all entities in the universe, or of matter itself. Skrbina’s book, Panpsychism in the West, both argues for panpsychism as a philosophical doctrine, and gives an extended history of this doctrine. Skrbina shows that panpsychism has been a leading strand in Western thought for 2500 years, from the pre-Socratics through Spinoza and Leibniz, on to William James and Whitehead a century ago, and up to many thinkers today. The idea that everything in the world thinks, in some fashion, is far more prevalent than its “crackpot” reputation might lead us to assume.

Skrbina’s companion edited volume, Mind That Abides, contains essays on the possibilities of panpsychism by a variety of contemporary philosophers, ranging from analytic philosophers (among whom Galen Strawson is probably the best-known), through post-Whiteheadian process-oriented thinkers, to “speculative realists” along with other non-analytic metaphysicians (there are contributions from Graham Harman and Iain Hamilton Grant). Together, these volumes make a powerful case for the plausibility of panpsychism, as well as making it clear that Whitehead’s contention that all entities have some sort of incipient mentality is a central expression of the panpsychist doctrine.

Arguments for panpsychism come in many forms, and its adherents often contradict one another. But if there is a central strain to contemporary panpsychist argumentation, it is this. If we reject radical mind/body dualism, and accept materialism, physicalism, or any other form of monism, then we must face the question of \emph{how to explain} the indubitable existence of mind or mentality. I am using “monism” here in its widest possible sense; I define it to include, not just scientific physicalism (the doctrine that the world is composed entirely of mass-energy, or that it is reducible to the subatomic particles described by contemporary physics), but also any form of what might be called “immanentism” (the doctrine that the world is composed of something like Spinoza’s unique substance, or of Bergson’s multiple durations, or of “experience” as it is understood in William James’ “radical empiricism”, or indeed as pure multiplicity, or as an open collection of independent objects a la Graham Harman). In other words, any philosophy that rejects supernaturalism or mind/body dualism as a way to explain the existence of mentality, must find some naturalistic, or at least immanent, way to do so.

I am trying to give as broad as possibile a definition of “mind” or “mentality” as well. This may be defined as consisting in cognition, and cognitive operations, of some sort; and, I would argue, in affectivity as well. But above all mentality consists in phenomenal experience, or of what analytic philosophers call “qualia”: my sensation of the redness or hardness of some particular object, or of pain or delight, or simply of being present in the world. Phenomenal experience is often conflated with consciousness, or the state of intentionality, being-aware-of; I have reservations about this identification, which I will get to later, but the rough equation may be accepted for the moment.

Understood in any of these ways, mentality would seem to be an irreducible aspect of our own existence, at the very least — leaving open the question of what other beings might have it. The question nagging at philosophers is how to explain the seeming indubitability, or incorrigibility of phenomenal experience. (“Incorrigibility” is what Descartes bases his entire philosophy upon. Everything that I think may be false or mistaken; but the fact that I am thinking cannot be mistaken). Cartesian dualism is the great classical solution to this dilemma, of course. Descartes has been (rightly) criticized for hundreds of years for reifying the act or fact of thinking into the the form of the “I” as a thing-that-thinks, and for separating the thinking-mind from any notions of body, matter, or extension. But this doesn’t negate the urgency of his initial observation.

Few of us are willing today to take Descartes’ dualist route, however. So the question becomes: how do we explain qualia, or phenomenal experience, or consciousness, or “inner” experience, on a materialist or monist basis? Modern thinkers have tended to favor either eliminativism or emergentism. Eliminativism is a reductionist thesis; it argues that qualia, consciousness, intentionality, and phenomenal experience are merely illusions, or linguistic misunderstandings, which disappear once we understand how neurological mechanisms operate on the physical level (one can find different versions of this position in Daniel Dennett, in Thomas Metzinger, and in the Churchlands).

Emergentism argues that mentality is the epiphenomenal result of interacting physical processes that have attained a certain level of complexity, as is the case with the massive aggregations of neurons in our brains. Phenomenal experience emerges at some point in the course of evolution; it may be associated either with the existence of neurons and nervous systems in animals, or with some more complex development of the nervous system in organisms of sufficient complexity, or in vertebrates, or in mammals, or just in human beings.

Both eliminativism and emergentism can be criticized, however, for just “explaining away” mentality, rather than actually explaining it. As Whitehead says, “philosophy destroys its usefulness when it indulges in brilliant feats of explaining away.” Eliminativism doesn’t account for mentality so much as it suggests that it is too trivial or illusory to even merit being accounted for; it ignores Whitehead’s insistence that “the red glow of the sunset should be as much part of nature as are the molecules and electrical waves by which men of science would explain the phenomenon.”

Emergentism, for its part, can be accused of begging the question. It is one thing to say that certain physical properties emerge out of other physical properties (in Strawson’s example, a single molecule of H2O isn’t in itself wet). But it is another thing altogether, Strawson argues, to maintain that mentality, or experience, or phenomenality, can emerge from something that is entirely non-mental, non-experiential, and non-phenomenal.

More generally, I think that it is worthwhile to challenge our almost reflexive belief, today, in the power of emergence or self-organization. (See my previous post, “Against Self-Organization”, for more discussion of this). It’s all too easy for “spontaneous emergence” or “self-organization” to be put into play as a catch-all explanation for things that cannot be explained any other way. The emergentist thesis threatens to violate Whitehead’s ontological principle, which is that “there is nothing which floats into the world from nowhere.” Theories of emergent self-organization may well be ways of illicitly reintroducing an idea of preprogrammed finality, or of a benevolent “invisible hand,” into our understanding of events, as Jean-Jacques Kupiec has recently suggested.

Panpsychist thinkers propose, against the eliminativists, that mentality is real. Against the emergentists, they propose that mentality doesn’t just come into being out of nothing; it is always already there, no matter where you look. Mind, in some form or other, exists all the way down. Panpsychists argue that mentality, or experience, is itself a basic attribute of matter (of subatomic particles, of quanta of mass-energy, of actual occasions, of minimal differences, etc.). In other words, mentality is not separate from physicality, but coextensive with it. One might think of this, classicaly, in Spinozian terms (matter and mind are two attributes of the same unique substance) or in Leibnizian ones (every monad is at once material and mental, since it is both a particle of the world and a perspective upon the world). But Galen Strawson, David Skrbina, and others have reconceptualized these arguments in terms that are grounded in contemporary physics. As Strawson puts it, the “ultimates” out of which the universe is composed “are intrinsically experience-involving… All physical stuff is energy, in one form or another; and all energy, I trow, is an experience-involving phenomenon.”

This line of argument intersects in interesting ways with the arguments of the Speculative Realists. For it implies that mentality must be seen as intrinsic to the universe itself — rather than just being a feature of the way that “we” (human beings, rational minds, subjects) approach it. To restrict mentality just to human beings (and perhaps also to some other species of “higher” animals) is an unjustified prejudice, an instance of the “correlationism” denounced by Meillassoux, or the human-centeredness questioned by Harman. (This also accords with Whitehead’s frequent point that the duality of subject and object is a situational and always changing one. Every entity is a “subject” in some conditions or some relations, and an “object” in others).

In Skrbina’s anthology, both Iain Hamilton Grant and Graham Harman write about the relation between realism and panpsychism in ways that are too complicated for me to do them justice here. Grant argues for “panpsychism all the way down, that is, without exception”; but in doing so, he complicates the whole question of emergence. For his part, Harman is reserved with regards to panpsychism. He sees mentality as an inevitable component of any relationality, or interaction between objects; “objects collide only indirectly, by means of the images they present as information.” But objects are not reducible to the “information” that they transmit to other objects. Harman therefore denies the property of information, or mentality, to objects insofar as they are in themselves, and therefore to objects that do not enter into “vicarious” relations with other objects. And of course, for Harman, relationality is only incidental to, and not constitutive of, the nature of objects. Hence, for Harman, “even if all entities contain experience, not all entities have experience.” Grant’s and Harman’s articles both raise important issues that I do not have the space to pursue right now — I will have to leave them both for another occasion.

In any case, Whitehead gives his own crucial twist to the overall panpsychist argument. In Whitehead’s formulation, all “actual entites” or “actual occasions” have both a “physical” pole, and a “mental” or “conceptual” pole. He also expresses this by saying that they have both a “public” aspect and a “private” aspect. “There are no concrete facts which are merely public, or merely private. The distinction between publicity and privacy is a distinction of reason, and is not a distinction between mutually exclusive concrete facts.” Everything exists, to different degrees, both physically or publically, on the one hand, and mentally or privately, on the other. Every occasion is inwardly mental or private, in its own process of “concrescence,” as it prehends other (previous) occasions. But every occasion is also physical or public, insofar as it enters into relations with the universe by serving as a “datum” to be prehended in turn by other occasions.

(There is thus a temporal as well as existential asymmetry between the mental and the physical, or between private and public dimensions of existence. This asymmetry has important consequences for how we understand relationality in general. In the privacy of its self-constitution, the occasion prehends, and thereby relates to, the entire universe. Publically, as a datum, the occasion is prehended by other occasions, and functions as a relational factor. I need to work out this asymmetry in more detail — I think that it is crucial for how Whitehead is able to maintain both relationality all the way down, and the sense that an occasion is something more than just the sum of its relations).

The most crucial way in which Whitehead revises the panpsychist argument is that, for him, mentality — or what William James calls “experience” — is not equated (as it is in the work of most panpsychists) with consciousness. Photons and quarks, and stones and thermostats, all have “experiences,” which means that they do possess some sort of incipient mentality; but for Whitehead, they are probably not conscious. Even in human beings, Whitehead says, most mental processes occur unconsciously, or below the threshold of consciousness. What makes them “mental,” then? Whitehead’s notion of unconscius thought is related to, but also quite different from, both the psychoanalytic sense of the unconscious, and from cognitive science’s recognition that most cognitive processes are unacompanied by, and often irreducible to, consciousness. Like psychoanalysis, Whitehead sees unconscious experience as having to do with “feelings” and “appetitions”, processes of action and reaction that are not merely automatic responses to stimuli; but in contrast to psychoanalysis, for Whitehead these feelings and appetitions do not necessarily involve any sort of representational activity.

For Whitehead, mentality is characterised by what he calls “conceptual feelings,” or “valuations.” These are processes in which potentialities are in some sense contrasted or weighed against one another. There is not just the perception (and perhaps the recognition) of what is. For Whitehead, such a perception and recognition is exactly identical to physical causality; to say that B physically perceives or prehends A is exactly the same thing as to say that A physically affects B, or that A is the cause of which B is the effect, e.g. in the way that one billiard ball transmits energy and motion to another billiard ball by hitting it, and causing it to move in turn. In addition to all this, Whitehead says, B also has a mental or conceptual experience of A: the experience, let’s say, of being-caused-to-move. I doubt that the billard ball is in any sense conscious; but the event of energy-transfer is a mental experience for Whitehead, because it involves the activation of a potential (precisely of a potential for movement). Mentality consists in the comparison of moving and not-moving; this comparison is the “mental pole” of the “occasion” in which billiard ball B is hit by billiard ball A and propelled into motion.

Now, the role of mentality, or experience, in the case of the billiard ball is vanishingly small, or (as Whitehead tends to put it) negligeable. Nonetheless, it exists — it is at least present structurally, you might say. Experience is present potentially, but almost not at all actually. But if this is so, it is because experience is in itself the impress of potentiality. The energetic shock of being hit by another billiard ball is precisely a prehension, or an apprehension, of possiblity. Possibilities, or conceptual prehensions according to Whitehead, are always perceptions of what he calls “eternal objects,” or “pure potentials” — and these, in turn, are equivalent to what other philosophers call “qualia.” The apprehension of qualia — of the red glow of the sunset, for instance — is intrinsic and irreducible, because it is felt, pleasantly or unpleasantly as the case may be, and because, insofar as it is thus felt, it implies potential and contrast. Redness-as-a-potentiality is in excess of merely being a quality or an aspect of this particular moment, this particular sunset. My sense of redness implies that this scene could perhaps change, so as not to be red after all; and also that something else could be imbued by redness as well. And my affective response to the sunset has to do with my liking or disliking of this redness, a reaction that extends into the prospect of other things being red, or of this redness itself disappearing (as it does, once the sun has entirely set).

Experience, or conceptual feeling, thus always involves a certain process of “valuation,” or evaluation. Whitehead agrees with the cognitivists in seeing that these evaluative processes are most of the time non-conscious. But he does not see evaluation as itself a “cognitive” process — it has much more to do with “appetition,” which “includ[es] in itself a principle of unrest, involving realization of what is not, and may be… All physical experience is accompanied by an appetite for, or against, its continuance.” In this way, mentality (or experience) is not just the calculation and representation of what is, but also involves a striving towards some potential novelty. As a result of this, experience always issues in some sort of decision; and for Whitehead, such decision “constitutes the very meaning of actuality.”

Experience is, as Whitehead says, irreducibly private; which means that I cannot observe anyone else’s experience aside from my own. (There may very well even be a limit as to the extent of my ability to observe my own experience — as Harman also suggests from another angle). The privacy of experience has fueled the skepticism found throughout modern Western philosophy, from Descartes to Hume, and beyond into the twentieth century. (I include, under this head, the answers to skepticism, or dissolution of its paradoxes, given by thinkers such as Wittgenstein and Cavell). But for Whitehead, the decision in which private experience culminates is also what makes it public and potentially conscious. Decision is not grounded in consciousness or cognition; rather, decision is what makes consciousness, cognition, and public relationality possible in the first place. “Feelings,” or movements of “appetition,” are the basic elements of mentality (or “inwardness,” or “qualitative experience”). Cognition, consciousness, and responsibility are consequences of this basic mentality, rather than preconditions for it. An aesthetic of decision precedes and grounds cognition and consciousness — rather than either of these being the grounds or preconditions for any process of decision. I say an “aesthetics” of decision, because it is a non-cognitive, and non-generalizable process; the problem of how decision leads from privacy to publicity, in Whitehead’s account, is a transformation of Kant’s problematic of how a singular, non-cognitive, non-conceptual aesthetic judgment can nonetheless lay claim to universality, through the process (precisely) of being made public.

I will stop here; instead of explicating this in more detail (which certainly needs to be done) I will conclude by simply juxtaposing Whitehead’s notion of experience-as-decision with some recent speculation in the physical and biological sciences. This is a continuation and expansion of some of the speculation that is already in my book.

The biologist Martin Heisenberg, in a recent article called “Is Free Will An Illusion?” makes a similar point about the “decisions” made by biological organisms. Arguing from experiments on bacteria, fruit flies, and other organisms, Heisenberg states that such organisms exhibit “behavioral output” that is independent of “sensory input”; that is to say, these organisms “actively initiate behavior” that is “self-determined,” rather than being “determined by something or someone else.” Studies of plants and slime molds, as well as bacteria and fruit flies, have isolated instances of “decision” that are not causally determined by the circumstances in which they occur, or the conditions to which they are a response.

Recognizing decision in all living organisms might seem to point to a kind of vitalism. But it would be considerably different from traditional vitalism, because it would not claim that some sort of intrinsic vital force would make living beings radically distinct from non-living things. Rather, as Whitehead says, the line between life and non-life of fuzzy, and the mentality or decisionality of life is something that is essential to life, but not exclusive to life: it extends all the way down.

Along these lines, the physicists John H. Conway and Simon Kochen propose what they call the Strong Free Will Theorem. According to Conway and Kochen, under certain conditions that arise as a result of quantum entanglement, subatomic particles respond “freely,” that is to say, non-deterministically, unconstrained by any prior physical events. If experimenters may be said to be acting “freely” when they collapse a quantum-indeterminate state by choosing which of several possible parameters they will measure, then to the same extent the particle thus measured is acting “freely” when it “chooses” which value to give this parameter. If this is correct, then even photons may be said to have a certain sort of inner “experience,” and to make a kind of “decision.”

Against Self-Organization

Life on earth is doomed, according to the biologist Peter Ward in his new book The Medea Hypothesis. This book is meant to be polemical and provocative; I lack the knowledge to evaluate its particular scientific claims. But just as a thought experiment, it is bracing.

Ward’s book is a critique of the quite popular Gaia Hypothesis, originally developed by James Lovelock, which claims that the Earth as a whole, with all its biomass, constitutes an emergent order, a self-organizing system, that maintains the whole planet — its climate, the chemical constitution of the atmosphere and the seas, etc. — in a state that is favorable to the continued flourishing of life. Essentially the Gaia Hypothesis sees the world as a system in homeostatic equilibrium — in much the same ways that individual cells or organisms are self-maintaining, homeostatic systems. Gaia is cybernetically, or autopoietically, self-regulating system: continual feedback, among organisms and their environments, keeps the air temperature, the salinity of the sea, the amount of carbon dioxide in the atmosphere, etc., within the limits that are necessary for the continued flourishing of life.

Ward’s Medea Hypothesis directly contests all these claims. According to Ward, the ecosphere is not homeostatic or self-regulating; to the contrary, it is continually being driven by positive feedback mechanisms to unsustainable extremes. Most of the mass extinction events in the fossil record, Ward says, were caused by out-of-control life processes — rather than by an external interruption of such processes, such as the giant meteor hit which supposedly led to the extinction of the dinosaurs at the end of the Mesozoic. The great Permian extinction, for instance — the most catastrophic of which we have knowledge, in which 90% of all species, and 99% of all living beings, were destroyed — was caused by “blooms of sulfur bacteria in the seas,” which flourished due to greenhouse heating and poisoned the oceans and the atmospheres with increased concentrations of hydrogen sulfide, which is extremely toxic.

More generally, Ward claims that life processes have destabilizing effects, rather than homeostatic ones, upon the very environment that they rely upon for survival. This is largely because of the Malthusian basis of natural selection. Traits that give any organism a selective advantage over its rivals will spread through the gene pool, unless and until they overwhelm the environment and reach the limits of its carrying capacity. An organism that is too successful will ultimately suffer a crash from overpopulation, depletion of resources, and so on. The success of sulfur bacteria means the poisoning of all other organisms; or, to give another example, the rise of photosynthetic organisms 2 billion years ago poisoned and killed the then-dominant anaerobic microbes that had composed the overwhelming majority of life-forms up to that time.

Now, biologists in recent years have given careful attention to the evolution of cooperation and altruism as means of averting these dangers. For instance, in an environment of cooperating organisms, a cheater will outperform the cooperators, and through natural selection will eventually drive them into extinction, thus leading to an environment of cheaters who no longer have access to the benefits for all of cooperation. But this prospect can be averted, and altruism can be maintained within a group, if the cooperators evolve mechanisms to detect, and punish or otherwise discipline, the cheaters. Scenarios like this have led to something of a revival of the once-discredited notion of “group selection” (a group all of whose members benefit from cooperation will be able to outperform a group dominated by cheaters).

Be that as it may, Ward does not see any evidence that cooperation or altruism can evolve on a meta-, or planetary, level. He argues, counter-intuitively but with impressive statistical analyses, that in fact the total biomass, as well as the diversity of species, has been in decline ever since the Cambrian explosion. And he suggests that life on Earth is doomed to extinction long before the heating and expansion of the sun make the Earth too hot to live on. The depletion of carbon dioxide in the atmosphere, leading to the extinction of all plant life, the decline of atmospheric oxygen, the consequent extinction of all animal life, and finally the evaporation and loss to outer space of the oceans, could happen as little as 100 million to 500 million years from now — a span far less than the 1.5 billion or 2 billion years we have before the sun roasts the planet to a cinder. The Earth will end up much like either Venus or Mars — both of which initially had conditions that were favorable to the origin and sustenance of life, but no longer do (in this regard, it would be quite interesting if we were to discover, as has often been hypothesized, that Mars once did have life but no longer does).

Now, even 100 million years from now seems too far off in the future for us to worry about today. And, as Ward points out, our current problems — for the next century or so — have to do with too much carbon dioxide in the atmosphere, even if ultimately the Earth will die from too little. Nonetheless (and regardless of whether or not the book’s arguments stand up in their scientific details, which is something, as I already said, that I am unable to judge), Ward’s replacement of Gaia (the good mother Earth) with Medea (the ultimate bad mother, who murdered her own children) makes an important point. In critiquing the Gaia Hypothesis, it is really questioning our contemporary faith in self-organizing processes and systems.

I use “faith” here in as strong a sense as possible. The widespread contemporary belief in “self-organization” is almost religious in its intensity. We tend not to believe any more in the Enlightenment myth (as it seems to us now) of rationality and progress. We are skeptical of any sort of “progress” aside from technological innovation and improvement; and we no longer believe in the power of Reason to dispel superstition and to make plans for human betterment. The dominant ideology in these (still, despite the economic crisis) neoliberal times denounces any sort of rational planning as “utopian” and thereby “totalitarian,” an effort to impose the will on matter that absolutely resists it. This also entails a rejection of “grand narratives” (as Lyotard said in the 1980s), and an overall sense that “unintended consequences” make all willful and determinate action futile.

Instead, we turn to “self-organization” as something that will save us. The anarchist left puts its faith in self-organizing movements of dissidence and protest, with the (non-)goal being a spontaneously self-organized cooperative society. Right wing libertarians, meanwhile, see the “free market” as the realm of emergent, spontaneous, self-organized solutions to all problems, and blame disasters like the Great Depression of the 1930s, and the current Depression as well, on government “interference” with the (allegedly otherwise self-equilibrating) market mechanism. Network theory, a hot new discipline where mathematics intersects with sociology, looks at the Internet and other complex networks as powerfully self-organizing systems, both generating and managing complexity out of a few simple rules. The brain is described, in connectionist accounts, as a self-organizing system emerging from chaos; today we try to build self-learning and self-organizing robots and artificial intelligences, instead of ones that are determined in advance by fixed rules. “Genetic algorithms” are used to make better software; Brian Eno devises algorithms for self-generating music. Maturana and Varela’s autopoiesis is taken by humanists and ecologists as the clear alternative to deterministic and mechanistic biology; but even the harcore neodarwinists discover emergent properties in the interactions of multiple genes. Niklas Luhmann, in his turn, applies autopoiesis to human societies. This list could go on indefinitely.

Now, it is certainly true that many phenomena can be better understood in terms of networked complexity, than in those of linear cause and effect. It is rare for an occurrence to be so isolated that linear models are really sufficient to explain it. And it is also certainly true that unexpected consequences, due to factors that we did not take into account (and in some cases, as in chaos theory, that were too small or insignificant to measure in advance, but that turned out to have incommensurably larger effects), interfere with our ability to make clear predictions and to impose our will. The best laid plans, etc. But still —

I think that we need to question our reflexive belief — or unwarranted expectation, if you prefer — that emergent or self-organizing phenomena are some how always (or, at least, generally) for the best. And this is where Ward’s Medea Hypothesis, even if taken only as a thought experiment, is useful and provocative. Lovelock is almost apocalyptic in his worries about environmental disruption; his recent books The Revenge of Gaia and The Vanishing Face of Gaia warn us that human activity is catastrophically interfering with the self-regulating and self-correcting mechanisms that have otherwise maintained life on this planet. For Lovelock, human beings seem entirely separate from, and opposed to, “nature,” or Gaia. From Ward’s perspective, to the contrary, human beings are themselves a part of nature. Human-created climate change and ecological destruction are not unique; other organisms have caused similar catastrophes throughout the history of life on earth. All actions have “unintended” consequences; these consequences may well be destructive to others, and even to the actors themselves. Presumably bacteria do not plan and foresee the possible consequences of their actions, and discursively reason about them, in the ways that we do; but this does not mean that ecological catastrophes caused by bacteria should be put in a fundamentally different category than ecological catastrophes caused by human beings. [I am enough of a Whiteheadian that I am inclined to think that bacterial actions have a “mental pole” as well as a “physical pole” just as human actions do, albeit to a far feebler extent; there is definite scientific evidence for bacterial cognition.] Rather than separating destructive human actions from “nature”, Ward suggests that “nature” itself (or the organisms that compose it) frequently issues forth in such destructive actions. The mistake is to assume that the networks from which actions emerge, and through which they resonate, are themselves somehow homeostatic or self-preserving. Rather, destructive as well as constructive actions can be propagated through a network — including actions destructive of the network itself.

Of course, on some level we are already aware of this destructive potential — as is witnessed in discussions of the propagation of both biological and computer viruses, for instance. Yet somehow, we tend to cling to the idea that positive self-organization somehow has precedence. And this idea tends to arise especially in discussions that cross over from biology to economics. Both Darwinian natural selection and economic competition tend to be celebrated as optimizing processes. Stuart Kauffman, for instance, the great champion of “order for free,” or emergent, self-organizing complexity in the life sciences, has no compunctions about claiming that his results apply for the capitalist “econosphere” as well as for the biosphere (See his Reinventing the Sacred, chapter 11). The highly esteemed futurist Kevin Kelly, a frequent contributor to Wired magazine, has long celebrated network-mediated capitalism, analogized to biological complexity, as a miracle of emergent self-organization; just recently, however, he has praised Web 2.0-mediated “socialism” in the same exact terms.

But the most significant and influential thinker of self-organisation in the past century was undoubtedly Friedrich Hayek, the intellectual progenitor of neoliberalism. For Hayek, any attempt at social or economic planning was doomed to failure, due to the inherent limitations of human knowledge, and the consequent prevalence of unintended consequences. In contrast, and inspired by both cybernetics and biology, Hayek claimed that the “free market” was an ideal mechanism for coordinating all the disparate bits of knowledge that existed dispersed throughout society, and negotiating it towards an optimal outcome. Self-organization, operating impersonally and beyond the ken of any particular human agent, could accomplish what no degree of planning or willful human rationality ever could. For Hayek, even the slightest degree of social solidarity or collective planning was already setting us on “the road to serfdom.” And if individuals suffer as a result of the unavoidable inequities of the self-organizing marketplace, well that is just too bad – it is the price we have to pay for freedom and progress.

Hayek provided the rationale for the massive deregulation, and empowerment of the financial sector, of the last thirty years — and for which we are currently paying the price. But I have yet to see any account that fully comes to terms with the degree that Hayek’s polemical argument about the superiority and greater rationality of emergent self-organization, as opposed to conscious will and planning have become the very substance of what we today, in Europe and North America at least, accept as “common sense.” Were the anti-WTO protestors in Seattle a decade ago, for instance, aware that their grounding assumptions were as deeply Hayekian as those of any broker for Goldman Sachs?

I don’t have much in the way of positive ideas about how to think differently. I just want to suggest that it is high time to question our basic, almost automatic, assumptions about the virtues of self-organization. This doesn’t mean returning to an old-fashioned rationalism or voluntarism, and it doesn’t mean ignoring the fact that our actions always tend to propagate through complex networks, and therefore to have massive unintended consequences. But we need to give up the moralistic conviction that somehow self-organized outcomes are superior to ones arrived at by other means. We need to give up our superstitious reverence for results that seem to happen “by themselves,” or to arrive “from below” rather than “from above.” (Aren’t there other directions to work and think in, besides “below” and “above”?).

Whitehead says that every event in the universe, from the tiniest interaction of subatomic particles up to the most complex human action, involves a certain moment of decision. There are no grounds or guidelines for this decision; and we cannot characterize decision in “voluntaristic” terms, because any conscious act of will is a remote consequence of decision in Whitehead’s sense, rather than its cause. Decisions are singular and unrepeatable; they cannot be generalized into rules. But all this also means that we cannot say that decision simply “emerges” out of a chaotic background, or pops out thanks to the movement from one “basin of attraction” to another. No self-organizing system can obviate the need for such a decision, or dictate what it will be. And decision always implies novelty or difference — in this way it is absolutely incompatible with notions of autopoiesis, homeostasis, or Spinoza’s conatus. What we need is an aesthetics of decision, instead of our current metaphysics of emergence.

Biopolitics and political economy

A new paper proposal:

BIOPOLITICS AND THE RETURN OF THE CRITIQUE OF POLITICAL ECONOMY

In The Birth of Biopolitics, his 1978-1979 lecture course at the College de France, Michel Foucault makes a surprising turn towards the critique of political economy. At the start of the lecture series, Foucault sets out to trace the genealogy of the “art of government” in bourgeois society, with its ever-expanding attempt to manage bodies and populations. But as the series progresses, Foucault ends up giving an account, instead, of the logic of neoliberal economics, and of the new version of subjectivity (a mutation in the form of Homo oeconomicus) that corresponds to this logic. Foucault doesn’t explicitly denounce the logic of neoliberalism; but he dissects it with the cool distance of an entomologist discussing the life cycle of parasitic wasps. Foucault’s focus upon neoliberal economic rationality is quite prescient, coming as it does shortly before the accession to power of Thatcher and Reagan, and the US Federal Reserve Bank’s turn towards monetarism. This turn in Foucault’s thought is also surprising, because it cuts against the grain of the veiled anti-Marxist polemic that is present in many of Foucault’s other works. It almost seems as if Foucault were being forced, in spite of himself, to return from his usual concerns with governmentality, power and domination, and the incitation of discourse, to the fundamental grounds of the critique of political economy.

In taking a new look at Foucault’s lectures, I want to argue two points. First, that Foucault’s account of neoliberal rationality, centered upon the market, provides an important missing piece to a Marxist understanding of capitalism under the regime of flexible accumulation. And second, that Foucault’s own turn to the critique of political economy is, ironically enough, precisely what is missing from contemporary, post-Foucaultian accounts of biopolitics and biopower. My ultimate aim in this paper is to place biopolitics within the framework of capital accumulation and the contemporary regime of finance capital.

A Brief History of Celebrity (with special reference to Asia Argento)

Asia Argento is a post-cinematic celebrity, and she inhabits movie and video screens in a far different way than older generations of actresses did. A classical female movie star, like Greta Garbo, is an image of purity and perfection. She is an object of infinite desire; she seems “descended from a heaven where all things are formed and perfected in the clearest light (Roland Barthes). She keeps us away from her at an infinite distance — a distance out of which we worship her. It is no wonder that Garbo concluded her career by withdrawing entirely from public view. Coming to the screen several decades later, Marilyn Monroe is unable to match Garbo’s transcendent perfection, or to maintain the same degree of distance. Instead, Monroe supplements her beauty with her performance as a comedic ingenue. Her seeming unconsciousness of her own sexual allure gives us permission, as it were, to approach the mystery of this allure. Even as Monroe retains a definite aura, she also — unlike Garbo — brings this aura down to earth. This descent from the heavens to the earth is what allows Monroe to commodify her image, to multiply it and make it signify — as Andy Warhol so clearly understood. In contrast to both Garbo and Monroe, however, Asia Argento no longer retains even the slightest trace of transcendence. She is directly carnal, directly present in the flesh. And her ferocious intelligence cannot be separated from this carnality. Argento collapses the seductive distance between star and audience, and instead offers us her own hyperbolic presence. Her performance is excessively immanent and embodied. Even her irony is too immediate, too close for comfort.

Argento acts in a double register. She turns acting conventions inside out, at once stylizing and naturalizing her performances, entirely inhabiting her roles, while at the same time distancing herself from them with a deep, who-gives-a-fuck irony. She manages to radiate sexuality in an entirely unselfconscious way; yet this unselfconsciousness is a deeply knowing one, not in the least bit naive, and “completely without innocence” (as Donna Haraway says of the figure of the cyborg). Argento’s knowingness ‘alienates’ us from her sexiness, but also allows it to remain intact. Argento is able simultaneously to display a method-acting intensity of commitment to her role, and at the same time to put her entire performance into postmodern “quotation marks.”

Argento fearlessly and knowningly exemplifies what Jean Baudrillard rather hysterically denounces as the “obscenity” and “transparency” of postmodern society. Baudrillard seems caught in the throes of heterosexual panic, as he describes, with great unease, the way that “the body is already there, without even the faintest glimmer of a possible absence, in the state of radical disillusion; the state of pure presence.” In opposition to this, Baudrillard much prefers the old-style feminine mystique and rituals of seduction, as exemplified by the older-generation movie stars. Seduction is “simply that which lets appearance circulate and move as a secret”; it “makes things appear and disappear.” Garbo and Monroe are seductive, therefore, because they are never simply and wholly present; they allure my gaze, beyond visibility, into the realm of that which is secret and hidden. But Baudrillard is not seduced by someone like Argento, because she is self-demystified, and all too fully there. For Baudrillard, seduction is a sort of metaphysical striptease, a play of revealing and concealing. In opposition to this, consider Argento’s own performance of striptease: in a cameo appearance as a stripper in Abel Ferrara’s Go-Go Tales, her character’s pole-dancing act culminates in an artfully provocative French kiss she exchanges with her Rottweiler. Here, the play of seduction is itself detourned into a literal “obscene transparency.”

Belatedly, Ballard

I was greatly saddened by J. G. Ballard’s death, but I didn’t get a chance to write about it, and him, until now. I am sorry that there will not be anything more; but Ballard did live to be 78, and he left us a lot of extraordinary works.

Lots of people wrote about his great works of the 1960s and 1970s, like Crash, The Atrocity Exhibition, Concrete Island, and High Rise. But I’d like to call attention, as well, and in particular, to Ballard’s four last novels — Cocaine Nights (1996), Super-Cannes (2000), Millennium People (2003), and Kingdom Come (2006) — which still have not received quite the attention they deserve. These books are closely related (although they are all narratively independent of one another), and stand apart from Ballard’s other work. For one thing, they are all set in the present, in decidedly non-exotic settings, and even without the extreme “pathologies” that are the subject of so many of Ballard’s other books. They all tell relatively humdrum stories; they are detective narratives without much mystery — or for which the only mysterious thing is the relative obtuseness of the narrators, who are all rather plodding and take much longer to figure out what is going on than the reader does. And in each case, what is really going on is some form of “transgression”, or sacrificial violence, that actually serves the deeper purpose of shoring up the capitalist-consumerist social order.

Each novel focuses on a different social class in today’s UK. Cocaine Nights is about middle-aged, middle-management Brits (and Germans) who have taken early retirement and moved to condo communities on the Spanish Costa del Sol in order to enjoy a life of leisure; Super-Cannes has to do with high-level business executives (largely British, but including the elites of many countries) working in a high-tech “industrial park”-cum-“managed community” on the Riviera; Millennium People focuses on upper-middle-class professionals living in condos in relatively swanky (but not super-rich) London neighborhoods; and Kingdom Come on lower-middle-class suburbanites in the ring of outer suburbs surrounding London (which is where Ballard himself lived).

In all four novels, some sort of community is sanctified, or at least solidified, by acts of violence. The retirees of Cocaine Nights are drawn together by a collective act and pact of murder, a sort of Rene-Girardian substitutive sacrifice; their shared guilt releases them from unstated anxieties, and allows them instead to enjoy their “creativity” (which Ballard describes mostly in the form of cornball arts-and-crafts activities, like amateur theater productions of Beckett and Pinter plays, and homemade sculptures for sale in local boutique galleries). The business executives of Super-Cannes get “therapeutic” release from the stress of their demanding, 24/7 jobs, and from their boredom with the usual bourgeois transgressions of adultery and drug use, which don’t give them frissons of naughtiness any more, by organizing themselves into fascist paramilitary gangs that beat, torture, and murder North African immigrants and “guest workers.” The professionals of Millennium People rise up in mildly nihilistic rebellion against the programmed sameness and continual stress of their lives, by trashing their own possessions, and other symbols of consumer culture, as well as by engaging in more destructive acts of terrorist bombing — all of which only has the effect of making their consumerist lives more bearable. Finally, the blue-collar suburbanites of Kingdom Come develop a kind of fascist cult based around shopping at the mall, rooting for their favorite football (i.e. soccer) teams, and (again) beating up and killing South Asian and Eastern European immigrants. In all four novels, violent “rebellions” are really sorts of stimulants to get the capitalist order on track again — the business execs are enabled to be more focused and vicious in their corporate planning, and the consumers get stimulated to buy again, despite (as well as because of) their boredom with what they have already purchased.

In all four novels, the narrator is an outsider: an older, fussy, and — I am not sure how to describe this with the proper degree of irony — somewhat insufficiently “virile” man, who eventually finds himself becoming complicit (to a greater or lesser degree) with the violence that originally puzzled and disturbed him, and the crimes that he initially (and naively) had hoped to “solve.” All of these narrators are almost parodies of Ballard himself, with his perpetual stand as an outside observer of all the perversities and entropic processes of decay that are his perpetual subjects. Ballard always wrote with an odd sort of clinical detachment; and this detachment was not a cover for, or defense against, his evident fascination with all the weirdnesses he wrote about, so much as it was a perfect expression of that fascination. Detachment is the best manner in which to approach experiences of dissociation and self-detachment; Ballard’s pseudo-clinical prose is a way to diagnose the “pathologies” of contemporary culture without thereby implying any norm or healthful state to which those pathologies might be opposed, or in respect to which they could be denounced as deviant. It’s a way to avoid the moral revulsion of the self-righteous satirist, to suspend the revulsion or outrage with which readers might be prone to arm themselves in order to think that what they are reading applies only to others, not to themselves. This tone was a constant in all of Ballard’s writings — there was never that great a difference between his first-person narratives (like Crash) and his third-person ones (like High Rise). But I think that the position of the Ballardian narrative voice is itself dramatized on a meta-level in these four last novels, to a greater extent than was ever the case before. I see this as a deepening of Ballard’s analytical focus. He grants his narrative voice a degree of agency, precisely (and only) to show that agency is itself a hollow fiction.

In any case, the four final novels all turn upon the narrators’ reactions to the violence that they belatedly discover. These reactions range from actively joining in, and trying to lead and shape, a fascist rebellion (in Kingdom Come) to plotting acts of counter-violence as an expression of moral revulsion, in order to make the statement that this must stop (in Super-Cannes). Of course, none of these narrators’ gestures are successful, or even adequate to the situations they are responding to. “The suburbs dream of violence” (opening line of Kingdom Come), of a vast convulsion which the imagine as a purgative or transformational Event. Ballard’s great subject, in his final four novels, is the hollowness of this dream, the emptiness and inevitable disappointment of any fidelity to the Event, every bit as much as of any loyalty to the ruling order. This is the way that Ballard remains unassimilable (despite the reverential treatment that he received in death from portions of the literary Establishment, such as it is, or from fans of Steven Spielberg). He casts a bleak light upon any naive optimism and hope for change (but what optimism or hope for change is not “naive”?); while at the same time corrosively destroying any sort of faith in rational norms or in the worthiness of the ruling order. His fiction is equally antagonistic to utopian idealizations, and to those (all-too-common) disgustingly fatalistic assertions that There Is No Alternative, or that the Eternal Human Tragedy is something that we must bravely and grimly bear. [Though he did write one sort-of utopia: an odd and somewhat neglected novel, The Unlimited Dream Company]. The only (very slender) hope that his novels offer is a hope in the value in itself of a disillusioned and demystified clarity of regard — one that his narrators in these last four novels do not themselves attain, but that the attentive reader just might get to. Even the narrator of Kingdom Come, who more than flirts with fascism, ends with the warning that the nightmare of violence that works to reproduce the very social order and social hierarchies against which it is a protest will recur, “unless the sane woke and rallied themselves.” I don’t think that the narrator himself can be included in this “sane,” but the phrase points to the way that Ballard still clings (rightly) to a kind of Enlightenment ideal, even as he tracks the horrific legacy of what Adorno and Horkheimer were perhaps too narrow to call “instrumental reason.” Ballard is (if anything) far bleaker than Adorno, but he’s also refreshingly free of Adorno’s high-European snobbery. I would want to argue, finally, that Ballard was a greater social theorist than Adorno, or than such contemporary sociological diagnostians of postmodernity as Bauman, Beck, Giddens, or Castells. And Ballard was a great social theorist not in spite of, nor even in addition to, but precisely because of, his aestheticism, or the fact that he was writing novels rather than engaging in empirical research. His four final novels really only deal with a small corner of Europe, and not with the rest of the world. But they rigorously anatomize, and shock us into a deeper awareness of, the social nightmare that, if alien to most of the world’s population, is nonetheless hegemonic over them.

Experience Music Project: Pop Conference (3)

Here are the rest of my notes on the 2009 Pop Conference. The last panel I went to on Saturday, “How Low Can A Punk Get?,” had only two speakers. Tavia Nyong’o presented an overview  of the work of video and music artist Kalup Linzy. Linzy has created a series of soap-opera videos, together with an album of songs accompanied by music videos, recounting the lives of characters whom he has created, and many of whom he plays. These characters are black, Southern, poor, and mostly gay; they play out tacky, trashy, and campy scenarios of love and desire; they enact or embody exaggerated stereotypes, sending up (but at the same time lovingly reinvesting) images of black folks that may well be racist in certain contexts. Abjection and parody thus become ways of expressing desires that have historically been debased and devalued. This is a camp strategy which has a long history among gay men in North America and Europe; but Nyong’o argued for its racial specificity in Linzy’s work, and for the way it took on a punk sneer as well as a campy sigh.

Drew Daniel is one half of the great electronic band Matmos. He described his paper, “Why Be Something You’re Not?’: The Afterlives of Queer Minstrelsy,” as the second in a series of reflections on queer punk music and culture. Daniel told the story of his encounter with the music of Hawnay Troof, who engages in over-the-top, and deliberately crude and excessive (hence “punk”), almost pornographic, expressions of gay male sexual desire. Daniel recounted his own assumption that the Hawnay Troof performer was (in actuality, or in “real life”) gay, and had fantasies on this basis, only to discover that he was actually bi, and showed up with a girlfriend for the recording session Daniel had set up. Daniel used the incident to critically reflect on those old questions of normativity and authenticity: why should a queer performer have to be “really” queer? why should a punk performing style, one that is so evidently artificial and enacted, nonetheless have to be grounded in the actual sexuality of the one who is doing the performance? It’s easy to be anti-essentialist in theory, but much harder to divest oneself of “essentialist” attitudes and assumptions in practice. Or, in more concrete terms: when is a performance of queerness by somebody who isn’t a legitimate and even powerful expression, and when is it minstrelsy in the most pejorative sense, a putting-on of the queer role by somebody in order to ridicule it and to separate oneself from it (because it is “only” a put-on performance)? By reflecting back upon, and in effect psychoanalyzing, his own initial response to Hawnay Troof, Daniel provided one of the most powerful and thought-provoking talks of the entire Pop Conference. However, I felt that the answers he gave were not quite up to the level of the dilemmas he explored. For he said, finally, that his assumption that a queer performer ought to be “really” queer was an instance of what he insisted upon calling “homonormative naive realism.” Now, this seems to me to be a bad way to criticize the tendency. First of all, because, as Graham Harman has argued (though I cannot find the precise posting), the denunciation of “naive realism” is itself something that should be viewed with suspicion. For the person who critiques naive realism is probably not thereby asserting that there is a more sophisticated sort of realism that would not be thus subject to critique; he is rejecting realism altogether, and saying that it is always naive. But as we’ve seen from Harman, from Quentin Meillassoux, and from the other “speculative realists,” the anti-realism of so much Continental theory of the last several decades ought not to be given a free pass. I’d even go so far as to say that “social constructionism” only makes sense to the extent that we are realists about “social constructions” themselves. And, given the richness of Daniel’s overally presentation, I don’t think that any sort of “realism” (naive or otherwise) is the problem; nor do I think that “homonormativity” is the problem either, even given the fact that pressures towards a kind of normativity of behavior exist in queer communities as in other social spaces, despite the non-normativity of queerness overall in relation to heteronormative society. Rather, the problem is that Daniel’s fundamental question does not have a fixed, conceptualizable answer. When do we judge a work of queer mimicry to be offensive minstrelsy, and when do we judge that it has critical and expressive power? (The same question can be asked, of course, in relation to racial and gender mimicries). The answer is that there is no answer: no criterion, no normative principle with which to make the judgment. We just have to judge this matter case by case, example by example, without being able to extract some higher principles to guide our judgment. This is what Daniel in fact was doing, as he moved through various instances of “fake” queer performativity. Case by case, the talk was cogent and compelling; it is only in its theoretical generalization that it ran into a certain amount of trouble.

I went to two panels on Sunday morning, the last day of the conference. The first panel, “Constrained Pleasures,” included my own talk on Grace Jones and Afrofuturism, which I will not discuss here. (I am still working on or revising it; eventually I will make the full text available on my website). The other talk on my panel was by Adrienne Brown, who discussed the use of music — or rather, perhaps, its non-use — on the TV series The Wire. Brown noted that, although music is ubiquitous on The Wire, usually as a diegetic feature of the scene, there is no attempt to use hiphop (for instance) thematically, even though hiphop arguably expresses much the same sorts of insight into poor black urban life as the show was striving for. Brown showed how this denial of the power of hiphop is programmatic: “The creators of The Wire have little use for hip-hop as a potential life-force, situating it as one more institution that has cut out those people whose imagery it profits from.” Affluent white suburban teenagers listen to hiphop; for the creators of The Wire, the people whom hiphop is ostensibly “about” do not have the luxury to draw sustenance from it. Listening actively to music is thus associated in the show, at best with feelings of grief and paralysis; at worst, as Brown illustrated with several clips from the show, it leads characters into trouble when their investment in music causes them to relax their street smarts and not notice what is going on around them. Brown argued both that “music intervenes in the show, in spite of itself,” in several important ways, and that the creators’ rejection of its expressive power, though justified in part, goes way too far.

The last panel I went to was called “Liminal Grooves.” Four speakers gave accounts of “lost” musical moments. Oliver Wang gave the history of what was supposed to be Betty Davis’ fourth album, Crashin’ from Passion. It was recorded in 1976, but not released, due to various factors that still remain murky, but that were both internal and external. One can only speculate as to whether the album could have given a boost to Davis’ career if it had been released back then; instead, she basically retired from singing. Betty Davis was never a truly popular and successful artist; she is probably better appreciated now than she ever was when she was actively performing. In any case, he album is now, finally, being prepared for its first proper release.

Mark Villegas was next, with the story of Joe Bataan’s “Rap-O Clap-O.” Bataan is an American artist of “mixed” ethnicity: his father was Filipino and his mother African American. “Rap-O Clap-O” was actually one of the first pieces of rap music ever recorded: it dates from before the initial successes of the Sugarhill Gang. Bataan originally wanted to provide a musical background for some Bronx rappers; but when they didn’t show up as planned, he did the rap vocals himself. He had difficulty getting the track released, and it never got noticed in the US at all; but it became a hit in Europe and South America. Villegas’ recovery of Joe Bataan exemplifies how so much musical history is a matter of contingencies and missed encounters.

Jason King examined the music of Maxwell, whose Urban Hang Suite made an impression in 1999, but whose laid-back, slacker ethos, and long fallow periods between albums, has made his relations with his fans difficult. Today, Maxwell sends out self-deprecating Twitters to his followers, and posts half-finished tracks on MySpace only to withdraw them shortly afterwards. Fans are still waiting for his long-promised fourth album. King linked Maxwell’s public performance of his persona to the themes and affects of his “ambient soul” music; he worked through “Maxwell’s radical embodiment of femininity, not only in his queer
deployment of falsetto, but also in his bohemian imaging and his
approach to original songs and covers.” All in all, this was a fascinating and deeply insightful look at a truly peculiar, and indeed wilfully self-marginalized, artist.

Finally, Andy Zax described his rediscovery, in the vaults, of a long-lost and never-released album which Chic (Nile Rodgers and Bernard Edwards) produced for the singer Johnny Mathis in 1981. The album is an odd one; it was not released due to its clash of styles (between Mathis’ lite crooning and Chic’s sophisticated swing). Zax only found the tapes two years ago, and hopes to release the album soon. The story of its loss and rediscovery is an exemplary one, for what it says about how the music industry operates.

All in all, the Pop Conference was an exhilarating experience. It stimulated me to think about music differently, and about different sorts of music, than would ever otherwise be the case. And although I have tried to give an account of all the talks I heard, this itself represents only a selection of what went on at the Conference. Other people, who heard other talks, may have come away with entirely different overall impressions.

Experience Music Project: Pop Conference (2)

Saturday was my busiest day at the Pop Conference: I went to five panels. The first was called “Shock and Awe.” I came in a bit late, so I missed the beginning of David Hesmondhalgh’s presentation on “Sex, Music, Pleasure and Politics.” But from what I heard, it was a great presentation, both sweeping and brilliant. Hesmondhalgh sought to map the contours of sexual expression in Anglo-American pop music from the 1960s to the present. Starting from the evident ambiguities of how 1960s rock expressed a sexual “liberation” that was nonetheless heteronormative and male-centered, he went on to consider how more recent genres and styles negotiated the demands of both sexual pleasure and sexual propriety. Most interestingly, from my point of view, was his effort to work out forms of sexual expression and sexual pleasure that were not transgressive in the manner of so much 60s rock: precisely because transgression always remains in complicity with the laws or norms against which it is transgressing. Next, Barry Shank spoke on the relation of pop music to notions of democracy, drawing especially on Lauren Berlant’s formulation of the “intimate public sphere” — this has to do with commonalities that are affect-based (rather than being cognitive in the manner of Habermas’ normative notion of a public sphere). If pop music can be a force for democratic collectivity, it would be through its power to create communities of affective expression (this could be developed further, in opposition perhaps to the overused notion of rock concerts as being like fascist rallies). I wish I had taken better notes on both these speakers; in their different ways, Hesmondhalgh and Shank were both proposing a change, or widening, of theoretical focus that would allow us to think about popular music in much richer ways than are allowed by the customary “empowerment” vs “commodification” debates.

For counterpoint, the third speaker on this panel was David Thomas, legendary frontman of the great band Pere Ubu. Thomas delivered what can only be called a RANT. It was energetic, hilarious, impassioned, self-conscious and self-reflexive yet entirely sincere, and utterly wrongheaded. Basically, Thomas argued that (as the Romantic poets put it) “we murder to dissect.” Thomas said that all the talks he had heard in the course of the Pop Conference, brilliant as they were, in effect negated the genius of the creators whose work was being defined, delimited, and analyzed. He especially objected to any attempts to “psychoanalyze” musical creators, citing specifically Robert Fink’s discussion of masochistic sentiment in the music of Marvin Gaye (this was from a panel that, unfortunately, I missed). He also took a strong “rockist” (as opposed to “popist”) line, denouncing critics who spent their time analyzing and praising the work of pop icons like Britney Spears, whom he regards as commercial products, rather than artists of genius. His prime example, throughout the talk, was the Raincoats — he spoke of his love for this band, and said that critics who talked about them in terms of feminism and women’s empowerment were by that very fact negating and besmirching the entirely singular genius of the band and its members.

Now, I thought that Thomas’ talk was wonderful, in much the same way that Pere Ubu’s music is wonderful. A lot of this had to do with Thomas’ performativity as a speaker (or singer), the way that he seemed at the same time utterly hysterical, yet clearly in control and very precise in what he was saying. But this doesn’t mean that I buy his argument. To understand feminist empowerment as a context for the Raincoats’ music does not mean to reduce the Raincoats to being merely another instance of generic “politically correct” feminism. If done non-reductively, this sort of identification enriches, rather than restricting, our enjoyment of the Raincoats and our sense of what they are doing. All art, popular or elite, depends precisely upon the tensions between the unique or singular, on the one hand, and the generic or familiarly categorized, on the other. (This is precisely what is at issue in Kant’s notion of the aesthetic as involving universal communicability, while at the same time being singular and ungrounded). To reduce the Raincoats to their singularity alone is as misguided as to reduce them to their generic characteristics alone. If mere generic familiarity does not tell us anything new, absolute singularity does not communicate at all. The spark of aesthetic rapture can only come about when a work is at the same time both communicative (by means of being generic) and singular (or exceeding the bounds of generic recognition, by proposing something new). Thomas’ purism fails because it ignores one side of this relation — without the tension between the generic and the singular, the aesthetic force field simply collapses. In the Q&A, one person in the audience, supporting Thomas, invoked Norman O. Brown to say that we ought to be fully and bodily involved in all our experiences, rather than distanced and contemplative. Hesmondhalgh, in response, said “I hate that shit”; he said that he was fully and bodily involved when he played soccer, but he certainly didn’t want every moment of his life to be like this. And at the end of the Q&A, Robert Christgau maintained (not nastily, but just in a matter-of-fact tone) that in the last ten years, Britney Spears had produced better music than David Thomas; Thomas nodded and shrugged, but didn’t respond (instead, the moderator called for a few moments of silence so that everybody could cool down).

The next panel I went to was called “Spectacular Diva Excess” — a topic I find entirely irresistible. Maureen Mahon gave an account of the career of Ronnie Spector,  focusing on her miscegenated racial identity and on her “bad girl” image, and deployment of sexual suggestiveness, in pre-British Invasion rock of the early 1960s. (She also, unavoidably, spoke about Ronnie’s marriage to, and abuse by, Phil Spector). Mahon convincingly argued that Ronnie Spector deserves a larger place in the history of rock ‘n’ roll than she has been accorded heretofore: her singing style, and her dancing, were important, innovative, and influential alongside, and in addition to, the (more widely recognized) impact of Phil Spector’s “wall of sound.” Tina Majkowski followed with a discussion of the stange identity play in Cher’s solo (post-Sonny) career. Cher’s signature songs, often performed together in a medley, (fictively) identified her as a Cherokee “half-breed” (“Half-Breed”), a Gypsy (“Gypsies, Tramps and Thieves”), and as a murderess (“Dark Lady”). This led to an oddly excessive and off-kilter performance of racial and ethnic difference. Majkowsi thereby discovered in Cher’s performances and videos something that is embarrassing and laughable, but that somehow can’t simply be dismissed, because of how strongly it resonates within the racial and ethnic confusions of 20th century American culture. Lauren Onkey followed with a discussion of the vexing problem of Janis Joplin. Janis is a figure of “sexual, sartorial, and narcotic” excess, as well as vocal and performative excess. Yet her mythic reputation has turned into an irritating cliche, in the decades following her death; and the way her performance style is really a form of minstrelsy, in its imitation of African American blues singers, is all too obvious. Onkey explored various ways of rethinking Janis Joplin, rather than coming to any definitive conclusions; I found her talk compelling, because it helped me to articulate my own confusions about Joplin: I loved her and her music in my teens and twenties, but later I came to feel that I had become enamoured of her only because of my ignorance of black music. Finally, Lucy O’Brien gave a talk about “Damaged Divas,” in the course of which she looked at Amy Winehouse, both as a singer and as a figure notorious for her drug dependencies and bad behavior, in the context of a tradition dating back at least to Billie Holiday and Edith Piaf. Must female singers lead such damaged lives, and dramatize that damage publically, in order for us to regard their emotional expression as “authentic”?

In the afternoon, I was the moderator for a panel on “Viral Video.” Richard Poplak discussed the phenomenon of sexually suggestive music videos that are broadcast and seen throughout the Arab world, including especially in extremely conservative countries like Saudi Arabia. These videos seem to provide an outlet for sexual expression that is otherwise forbidden; they are hated by religious conservatives, but financed and supported by elements in the Saudi ruling class that see in them a way of managing and channeling desires that otherwise might explode. SMS text messages can be sent commenting on the videos; through these, young people are able to flirt and otherwise express themselves in ways that would be forbidden in any more open and explicit context. One couldn’t really call these videos and text messages “transgressive,” but they do suggest the complex negotiations of feeling and expression that continue to occur even in “closed” societies. Carol Vernallis followed this with a discussion of the expressive power of music videos. She first made general comments about how music videos address their audiences, and create them as audiences; and went on to exemplify this with a close analysis of will.i.am’s “Yes We Can” video for the Obama campaign. Though Vernallis didn’t use the phrase, her discussion was consistent with Lauren Berlant’s notion of an “affective public sphere,” which was invoked by various speakers throughout the conference (including Barry Shank’s presentation that I discuss above). The last speaker on the panel, Kurt B. Reighley, traced the strange history of “Papaya,” a song by avant-garde Polish singer Urszula Dudziak, which was first picked up, and danced to, by drag queens in the Philippines during the Marcos era, but subsequently, much later (starting in 2007), became a mainstream dance craze thanks to its being featured on a Philippine game show: it has now spread around the world, appeared on TV in the Us and elsewhere, and inspired more than 17,000 youtube videos. Reighley’s account of viral video proliferation made an interesting contrast to that of the will.i.am video discussed by Vernallis.

The next panel I went to was called “Sex Machine.” Charles Kronengold unearthed, and analyzed in depth, some of the strangest soul songs (from the 1970s) that I have ever heard. I can’t reproduce the full subtlety and complexity of Kronengold’s argument; but his key terms were articulation and disarticulation. In the course of articulating (i.e. expressing) feelings in these love songs, the musicians also articulated (literally — in the sense of joining together) a number of widely disparate, and sometimes even incompatible, musical elements. Kronengold took apart these ungainly articulations, and then brought them together again, in order to evoke a sense of oblique affectivity (this is my phrase, not Kronengold’s). Carl Wilson followed with a close look at the widespread use (one might even say, deliberate abuse) of Autotune software in recent pop music, especially hiphop. The current Autotune mania can be related to the use of falsetto and other sorts of voice alteration (like Zapp and Roger’s use of the vocoder in the 1980s), predominently by men, throughout the history of soul and r & b. This explicit denaturalization of the voice is affectively and erotically ambiguous, modulating machismo with vulnerability, and intimacy with robotic affectlessness and distance. I am not doing full justice to Wilson’s argument — one result of attending so many talks in a row is that I haven’t retained as many details as I would have liked — but this is another talk which, despite the fuzziness of my explicit recall, continues to resonate richly in my mind. The last speaker on this panel was Daphne Carr, who speculated on our (meaning, music critics, and more generally, writers) autoerotic love affairs with our laptops. This talk was somewhat audience-involving and performative, as Carr asked everyone in the audience carrying a laptop to turn it on, and perform certain actions on her cues. The actions ranged from playing a few seconds of one’s favorite mp3s, to allowing strangers to touch or caress one’s laptop, to encircling the laptop in one’s arms in a sort of protective cocoon. The point of all this was to think hard about how our laptops are not just tools we use, but (erotic as well as prosthetic) extensions of ourselves, and objects with which we interact in highly charged ways. Carr worked through ideas about the emotional costs, as well as the obvious benefits, of our monadic and work-obsessed (or work-avoidance-obsessed) cyborgian relationships with our machines. All in all, this was one of the most intriguing panels I attended; all three speakers spoke suggestively about how subjectivity is mediated and modulated through our technologies (including songwriting and song recording as technologies in their own right; and suggesting that there is no such thing as a pure subjectivity free of any such modulations and articulations).

I will post this now; the remaining sessions (one more Saturday afternoon, and two on Sunday) will be the subject of yet another post.

Experience Music Project: Pop Conference (1)

This weekend I attended the yearly Pop Conference, at the Experience Music Project in Seattle. This is one of may favorite conferences — it’s been going on for eight years, and this is the fifth time I went. It is good because everyone is passionate about the music they are discussing, and because there is a great mix of academics and music journalists. There’s a certain synergy to the conference, which makes it more interesting than nearly any other one I have attended. There are discussions of an amazingly wide range of popular music, from the early 20th century to the present. This year, I went to 11 panels, and heard something like 26 presentations (not including my own). I will try to say at least a little about all of them — noting that, since there were usually up to four panels running at any single time, people who made other choices might well have had an entirely different sense of the conference than I did. This posting will be part one — it will be followed shortly by a second post.

The conference opened Thursday night with a Q&A with the great Nona Hendryx. What can I say? She was inspirational. She spoke at great length about her career, both with Labelle (as a singer and frequent songwriter) and as a solo artist. She gave a shout-out to her high school English teacher, for initiating her into the pleasures of language and rhythm; recalled her collaborations with artists ranging from the Rolling Stones to Talking Heads to Bill Laswell; spoke about how the changes in Labelle’s music in the early 1970s related to the spirit of Black Power and other social and political stirrings of the Sixties and Seventies; traced the genealogy of funk from gospel to r ‘n’ b and talked about how funk is about motion plus singing plus libido. But of course it wasn’t just what she said, it was her presence, her gracious intensity, and the way she communicated the sense that music matters, that it can be life-changing and affirmative, that it isn’t just about the Benjamins. Excuse me for gushing — but this is one case where I really can’t help it. Someone asked Hendryx about her image as being ferocious or “fierce”; she responded that she was just attracted to what was dangerous, edgy, and apart from the norm. [The issue of describing unconventional black women as “fierce” — and the question of how this adjective is applied racially — is of course something that is equally relevant in relation to Grace Jones, the subject of my own presentation at this conference].

I went to three panels on Friday. The first, “Dance Floor Democracy,” featured my old friend Michelle Habell-Pallan, talking about Chicana punk singer Alice Bag, from the early-80s Los Angeles scene, and about the influence of “ranchera” music (the Mexican mariachi sound she listened to as a child) on her performances — a whole hidden history of women’s emotional expression and how this complicates the history of punk. The other two panelists also talked about the racial history of music in Los Angeles. Anthony Macias traced the interplay between Mexican Americans and African Americans in the popular music of East LA in the 1940s and 1950s (he played amazing samples from recordings of the period — I only wish I could have heard more). And Sherrie Tucker gave a summary of her oral history research into the Hollywood Canteen of the early 1940s: a dance hall, sponsored by the film industry, where American servicemen, off to fight the War, could meet and dance with local women. Unusally for the time, the Hollywood Canteen was racially integrated: but only to a certain extent. 65 years later, white and black people who went to the Canteen remember things quite differently — the whites tend to remember how it catered to all servicemen regardless of race, while the blacks still remember the separate and unequal treatment they received once inside the doors. Hmm. In particular, white women were strongly discouraged from dancing with black men. Tucker’s talk illuminated, not only a history that would otherwise be lost, but also the differences that persist in forms of memory in the present, as well as in the actualities of a past distant enough that there are not all that many people left who still remember it.

The next panel I went to, “Embodying Electronic Dance Music Cultures,” featured a joint performance by three DJs (Bernardo Alexander Attias from Los Angeles, Fred Church from New Jersey, and Anna Gavanas from Sweden), together with a lecture/performance/demonstration by Mark Gunderson (aka Evolution Control Committee, one of the masters of the musical mashup). Talking over a mix they had made collaboratively over the web, the three DJs (who had never met in person before the conference) talked about the nature of their work, responding to claims that Djs aren’t “authentic” musicians because they are just playing other peoples’ recordings. They emphasized the musicianship involved in what they do; and they also (rightly) critiqued the whole discourse of “authenticity.” But also, they spoke a lot about the question of embodiment in musical performance. All musical expression is physical and embodied in some way; aside from singing and slapping one’s thigh, nearly all musical expression also requires some sort of mediation, via some sort of instrument. Obviously this worrks out differently when  a DJ manipulates turntables from when a guitarist strums a guitar; and activating a digital interface on a laptop is quite different from playing an analog instrument. But binaries of authenticity versus secondary mediation, or of physical versus virtual interaction, are not really good ways of talking about this. Though Arttias, Church, and Gavanas just hinted at this, it seemed to me that they were really talking about becoming-cyborg, as they interfaced with their digitized musical prosthetics or enhancements.

For his part, Mark Gunderson displayed and demonstrated his homemade system for combining and playing samples, and thereby creating mashups live, in a manner that involved physical movement and therefore a kind of performativity in relation to the audience (unlike electronic “concerts” where the performers simply remain behind their laptops). He said that he had first tried a system in which ten rings on his fingers (sort of like The Mandarin in Iron Man comics) controlled software on his laptop, allowing him to move freely about the stage while creating mashups and mixes on the fly. His current system involves an enormous backlit board, the icons on which he could manipulate like a touchscreen, through devices worn on his index fingers. He simultaneously mixed tracks live and explained how he was doing it: his demonstration was quite impressive, as well as entertaining. I was particularly thrilled to see and hear Gunderson, because his early-1990s mashup of Chuck D with Herb Alpert was the very first musical mashup I ever heard, and really blew my mind when I first encountered it. Today mashups have become so ubiquitous as to be banal (despite their still-often-illegal status), but Gunderson reminded me anew of the potentialities of recombination as a musical form.

The third panel I attended Friday was called Rap Memes. Tamara Palmer led off with a brief discussion, followed by a 10-minute audio montage, dealing with the line “it ain’t trickin’ if you got it”, which has shown up with alarming frequency in the past year or two in raps by T-Pain, T.I., Lil Wayne, and others. Not only has this line been repeated in many songs, it has also led to a lot of controversy, with people arguing vehemently about the phrase on youtube. Are the rappers expressing a sense of sexual entitlement (since they got it, the money they spend on atttracting and dating women doesn’t count as “tricking”), or is it merely a big in-joke? Are the phrase and the sentiment demeaning to black women? Etc. No resolutions, but an interesting presentation of a “meme” that has had a significant presence in Southern rap; a microstudy of how cultural meanings are made, and unmade.

Jon Caramanica and Sean Fennessey followed this with an in-depth discussion of the career to date (i.e from late 2006 to the present) of Soulja Boy.Their presentation was both incisive and hilarious. They went through Soulja Boy’s various — and mostly successful — manipulations of the Net in order to gain attention and make money: his youtube videos, his songs, his instructional dance tapes, his crass displays of wealth and of teenboy swagger and stupidity, his inane polemics (answering Ice-T’s charge that he had ruined hip-hop, by observing, basically, that Ice-T was old enough to be his grandfather), his loopy narcissism, etc. And also some of the multitude of response videos that these displays inspired. What can you say in the face of such a minimal, low-concept, low-production-values, and yet insanely successful (in terms of hits received and even  of money received) new-media assault? I can laugh at the sheer idiocy of it all, but I cannot avoid also feeling a certain sort of admiration for the sheer gall, immensity, and (yes) success of such a DIY media assault. Soulja Boy’s egomaniacal self-expression is pretty dumb, empty, and disposable; but any high-minded denunciation of the Soulja Boy phenomenon as representing the decline of western civilization or some such would be even emptier and dumber. As Caramanica said, it may be totally ephemeral, with no lasting value — it may already be gone and forgotten six months from now, “but I’m OK with that.”

The last presentation at the Rap Memes session was an amazing performance by Holly Bass, called “Pay Purview.” This performance was about “the endless allure of booty — from Venus Hottentots to video vixens.” An announcer solicited all of us in the audience for our dollars; when enough money was collected, a curtain opened and Bass appeared, in a gold lame costume, with two enormous “booty balls” attached to her derriere, transforming her into the Hottentot Venus. She danced for a bit, mostly with her back to the audience, making sure to wiggle that immense booty; and then retreated back behind the curtain. A recorded soundtrack accompanied the dancing, informing us of the history of the Hottentot Venus, and playing musical snippets from then until now that all dealt with the big-booty theme. The ritual was repeated five or six times; whenever the announcer had collected additional  money, Bass would emerge from behind the curtain and dance a little more. Her last dance was to the accompaniment of Tina Turner’s “Private Dancer”; this time she made some eye contact with the audience, which she had declined to do earlier. Bass’ performance was brilliant because of the way it instilled a sense of shame, complicity, and excitement in all of us in the audience: regardless of whether we paid or not, and regardless of how sophisticated our understandings of race, gender, and the economics of exhibitionism might have been, we could not help but being placed in this position, where the ascription of power became a source of embarrassment.

I will continue my account, describing the panels I went to on Saturday and Sunday, in another post.

Charles Altieri

The DeRoy Lecture Series 2009 presents:

Friday April 10, 3pm
English Dept Seminar Room (10302)
Wayne State University
5057 Woodward
Detroit

Charles Altieri
“Why Modernist Claims for Autonomy Matter”

Charles Altieri teaches in the English Department at the University of California — Berkeley.  That privilege has allowed him to write several books, the most recent of which are The Particulars of Rapture and The Art of Modernist American Poetry. He is working on a book on Wallace Stevens and a sequel to Particulars.