{"title":"The Regulation of the Subject by the Technology of Time","authors":"M. Kennel","doi":"10.20415/RHIZ/034.E06","DOIUrl":"https://doi.org/10.20415/RHIZ/034.E06","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117249951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On a political, economic, and social terrain of increasing xenophobia, inequality, and apathy, the project of radical social transformation— collective attempts to shift the set of shared beliefs, ideas, and moral attitudes which operate as a coalescing force within society towards a more egalitarian future—is largely in disarray. This essay probes this decline of transformative politics by locating its disarray in the emergent disconnection between the central focuses and tactics of left politics and the current structures of oppression in late capitalism. As a response to this disarray, it argues for a repositioning of affect—a pre-personal intensity of existential orientation—if radical politics are to begin to close this emerging disconnect. It bolsters such claims by: 1) introducing a framework of affect and its relationship with activism; 2) linking the advent of reactive forms of affect management to the rise of the 'affectariat' in the 20 century, 3) exploring the phenomena of anxiety in conjunction with accelerated capitalism, technology, and a return to moral panic, 4) probing the failure of contemporary activism to respond to anxiety and theorizing some alternative tactics for politicizing affect in a time of increasing democratic malaise. “Activism has to confront real obstacles: war, poverty, class and racial oppression, creeping fascism, venomous neoliberalism. But what we face is not just soldiers with guns but an affective capital: the reactive society, an excruciatingly complex order. The striking thing from an affective point of view is the zombie-like character of this society, its fallback to automatic pilot, its cybernetic governance. Neoliberal society is densely regulated, heavily over-coded. Since the control systems are all made by disciplines with strictly calibrated access to other disciplines, the origin of any struggle in the fields of knowledge and power have to be extra-disciplinary.” — Brian Holmes, The Affectivist Manifesto>, 2004 “Neoliberalism has exalted the multiplicity of the social actors; it has brought the all-social back to plurality: and now the State, in all its sovereignty and with the anxiety of the general equilibrium, intervenes in every little struggle, in every fragment of movement. Oh, how beautiful this neoliberalism is, allowing us to see the Government as the counterpart of every singularity in the process of struggle!” — Antonio Negri, The Winter is Over>, 2013 Introduction The 2016 presidential victory of Donald Trump brought more emotion to a US election than that of any previous candidate. There is a startling euphoria among supporters during his rallies—not to mention a unique feeling of fear and anxiety he sparks in liberals, and even in many conservatives. When, at the end of 2016, Patrick Healy and Maggie Haberman of The New York Times analyzed 95,000 words from Trump’s speeches, interviews and rallies, they observed a “pattern of elevating emotional appeals over rational ones,” a tact
{"title":"We the Affectariat: Activism and Boredom In Anxious Capitalism","authors":"A. T. Kingsmith","doi":"10.20415/rhiz/034.e07","DOIUrl":"https://doi.org/10.20415/rhiz/034.e07","url":null,"abstract":"On a political, economic, and social terrain of increasing xenophobia, inequality, and apathy, the project of radical social transformation— collective attempts to shift the set of shared beliefs, ideas, and moral attitudes which operate as a coalescing force within society towards a more egalitarian future—is largely in disarray. This essay probes this decline of transformative politics by locating its disarray in the emergent disconnection between the central focuses and tactics of left politics and the current structures of oppression in late capitalism. As a response to this disarray, it argues for a repositioning of affect—a pre-personal intensity of existential orientation—if radical politics are to begin to close this emerging disconnect. It bolsters such claims by: 1) introducing a framework of affect and its relationship with activism; 2) linking the advent of reactive forms of affect management to the rise of the 'affectariat' in the 20 century, 3) exploring the phenomena of anxiety in conjunction with accelerated capitalism, technology, and a return to moral panic, 4) probing the failure of contemporary activism to respond to anxiety and theorizing some alternative tactics for politicizing affect in a time of increasing democratic malaise. “Activism has to confront real obstacles: war, poverty, class and racial oppression, creeping fascism, venomous neoliberalism. But what we face is not just soldiers with guns but an affective capital: the reactive society, an excruciatingly complex order. The striking thing from an affective point of view is the zombie-like character of this society, its fallback to automatic pilot, its cybernetic governance. Neoliberal society is densely regulated, heavily over-coded. Since the control systems are all made by disciplines with strictly calibrated access to other disciplines, the origin of any struggle in the fields of knowledge and power have to be extra-disciplinary.” — Brian Holmes, The Affectivist Manifesto>, 2004 “Neoliberalism has exalted the multiplicity of the social actors; it has brought the all-social back to plurality: and now the State, in all its sovereignty and with the anxiety of the general equilibrium, intervenes in every little struggle, in every fragment of movement. Oh, how beautiful this neoliberalism is, allowing us to see the Government as the counterpart of every singularity in the process of struggle!” — Antonio Negri, The Winter is Over>, 2013 Introduction The 2016 presidential victory of Donald Trump brought more emotion to a US election than that of any previous candidate. There is a startling euphoria among supporters during his rallies—not to mention a unique feeling of fear and anxiety he sparks in liberals, and even in many conservatives. When, at the end of 2016, Patrick Healy and Maggie Haberman of The New York Times analyzed 95,000 words from Trump’s speeches, interviews and rallies, they observed a “pattern of elevating emotional appeals over rational ones,” a tact","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127005162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Arctic Circlings: A Nomadology","authors":"D. Chisholm","doi":"10.20415/RHIZ/034.E03","DOIUrl":"https://doi.org/10.20415/RHIZ/034.E03","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116909524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A clip of Wynton Marsalis playing with a jazz orchestra on the Late Show with David Letterman appears on YouTube. As the performance progresses, Marsalis’s usual exquisite tone and virtuosic playing slowly starts to reveal a certain disjointedness, exhibiting wayward passages, mishit notes, and cracks. Meanwhile, while struggling to maintain some semblance of a swing beat, the musical background of the string-infused jazz orchestra playing behind Marsalis becomes increasingly dissonant, sounding even a bit ominous – as if some bewitching force has been injected into the performance. What is happening? Enter the world of music video shreds. Following Deleuze and Guattari’s work regarding “minor” languages, this essay addresses the relationship between music video shreds and their object as that of a “minoritarian becoming.” The music video shred “minorizes” the original music video clip by not only stripping the audio from the original music video clip and replacing it with entirely new audio, but by playing with our expectations concerning the congruence of sound and image. In other words, the music video shred has to do with both art and culture, with both aesthetics and performativity. For its part, the Urban Dictionary defines music video shreds, or “shreds” for short – the activity of which we would call “shredding,” or “doing a shred of...” – as follows: shred 1. inf verb: to extract the audio track from a video (usually featuring an overblown, over-rated rock guitarist) and replace it with perfectly synchronized, very well played rubbish. The joyful result of this painstaking process renders the featured musician looking even more totally fucking risible than they were already. 2. noun: A parody video clip likely to be removed from YouTube. To a greater extent than other new audiovisual aesthetic practices, as well as “user-generated content,” music video shreds seem to invite the question, “But is there more to it than that?” However, the more interesting, yet often neglected, issue whenever this kind of response is at play has to do with why we might want there to be “more to it than that” in the first place. In challenging and complicating our expectations and evaluation through a particular type of subversion with respect to the original video content, music video shreds, I wish to suggest, affirm both aesthetics and performativity. More specifically, they affirm aesthetic and performative possibility, or becoming (i.e. what art does, what art might be), instead of confirming what we think should be the case (i.e. what art is, what we think art should be). Minoritarian music videos Although it might just be the case that, were he alive today, Adorno would be horrified by shreds (whether because of their apparent amateurishness or what would likely be his generally cynical view of YouTube, the seemingly infinite and potentially unhinged origin of shreds), there is arguably a particular kind of political gesture with respect to shreds – a
也就是说，音乐视频碎片“最小化”(通过它的“粉碎”)“ma”
{"title":"Music of a Witch’s Line: Deleuze and Guattari, and Music Video Shreds","authors":"Michael Szekeley","doi":"10.20415/RHIZ/034.E10","DOIUrl":"https://doi.org/10.20415/RHIZ/034.E10","url":null,"abstract":"A clip of Wynton Marsalis playing with a jazz orchestra on the Late Show with David Letterman appears on YouTube. As the performance progresses, Marsalis’s usual exquisite tone and virtuosic playing slowly starts to reveal a certain disjointedness, exhibiting wayward passages, mishit notes, and cracks. Meanwhile, while struggling to maintain some semblance of a swing beat, the musical background of the string-infused jazz orchestra playing behind Marsalis becomes increasingly dissonant, sounding even a bit ominous – as if some bewitching force has been injected into the performance. What is happening? Enter the world of music video shreds. Following Deleuze and Guattari’s work regarding “minor” languages, this essay addresses the relationship between music video shreds and their object as that of a “minoritarian becoming.” The music video shred “minorizes” the original music video clip by not only stripping the audio from the original music video clip and replacing it with entirely new audio, but by playing with our expectations concerning the congruence of sound and image. In other words, the music video shred has to do with both art and culture, with both aesthetics and performativity. For its part, the Urban Dictionary defines music video shreds, or “shreds” for short – the activity of which we would call “shredding,” or “doing a shred of...” – as follows: shred 1. inf verb: to extract the audio track from a video (usually featuring an overblown, over-rated rock guitarist) and replace it with perfectly synchronized, very well played rubbish. The joyful result of this painstaking process renders the featured musician looking even more totally fucking risible than they were already. 2. noun: A parody video clip likely to be removed from YouTube. To a greater extent than other new audiovisual aesthetic practices, as well as “user-generated content,” music video shreds seem to invite the question, “But is there more to it than that?” However, the more interesting, yet often neglected, issue whenever this kind of response is at play has to do with why we might want there to be “more to it than that” in the first place. In challenging and complicating our expectations and evaluation through a particular type of subversion with respect to the original video content, music video shreds, I wish to suggest, affirm both aesthetics and performativity. More specifically, they affirm aesthetic and performative possibility, or becoming (i.e. what art does, what art might be), instead of confirming what we think should be the case (i.e. what art is, what we think art should be). Minoritarian music videos Although it might just be the case that, were he alive today, Adorno would be horrified by shreds (whether because of their apparent amateurishness or what would likely be his generally cynical view of YouTube, the seemingly infinite and potentially unhinged origin of shreds), there is arguably a particular kind of political gesture with respect to shreds – a","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122851385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Arab body has long been a focal point of literary, political, technological, and military interventions. The state of otherness attributed to the embodied nature of Arab identity has made it a key locus of social domination as well as, more positively, a springboard for fresh takes on social domination far beyond the particular social suffering of a single social category. By engaging in a close reading of Kerouac's On the Road in tandem with an autoexperiential account of sociopolitical developments targeting Arab corporeality in the post-9/11 era, this article demonstrates the contradictions and potentialities of social suffering. To be a bearer of an Arab body is to be the on the receiving end of a whole host of societal suspicions, social anxieties, modes of surveillance, military incursions, and, more generally, deployments of negative symbolic power. But this state of domination turned corporeal also makes for a potential site of freedom, a vector for new solidarities with other groups and categories turned alien and other. What is it to have an Arab body? “When daybreak came we were zooming through New Jersey with the great cloud of Metropolitan New York rising before us in the snowy distance. Dean had a sweater wrapped around his ears to keep warm. He said we were a band of Arabs coming in to blow up New York” (p. 117, Kerouac, On the Road). It’s all right there, in Kerouac’s novel, everything of relevance has already been said...The Arab’s body is violence, an unapologetic celebration of hot-headed exuberance, intemperate and irrational outburst of pure passion: as the Norwegians say, sint som en tyrk, “angry like a Turk.” The brown-bodied Orientals, all of the same sort, homogeneous bodies, Deleuze’s smooth spaces against the striating maneuvers of Western statecraft...I passed through customs at God knows which one of those miserable US East Coast airports – what was it Joe Biden said? “If I took you blindfolded and took you to LaGuardia Airport in New York, you must think ‘I must be in some third-world country’” – you must think – all those brown bodies, crowded and sweating over impossible suitcases, huddled masses, wretched refuse of a teeming shore... Arriving in America, through the airport, a chaotic mass of automated passport scanners stretched out across the polished airport arrivals hall, how many billions went into them that should have saved the homeless from sleeping under overpasses – self-administered discipline, then, proclaiming the ascendancy of the administered self, even the penalization of the self, no longer a panopticon but a synopticon, even an autosynopticon, a self-seeing-all – those automated checkout counters at Safeway must have saved the corporation billions, and when I go grocery shopping, every item bipped is a unit of labor performed for the corporation and its shareholders...At JFK Airport I stood before the machine, scanned my own passport, all those biometric and digital fingerprints sucked up by
{"title":"The Arab Body","authors":"Victor L. Shammas","doi":"10.20415/RHIZ/034.E09","DOIUrl":"https://doi.org/10.20415/RHIZ/034.E09","url":null,"abstract":"The Arab body has long been a focal point of literary, political, technological, and military interventions. The state of otherness attributed to the embodied nature of Arab identity has made it a key locus of social domination as well as, more positively, a springboard for fresh takes on social domination far beyond the particular social suffering of a single social category. By engaging in a close reading of Kerouac's On the Road in tandem with an autoexperiential account of sociopolitical developments targeting Arab corporeality in the post-9/11 era, this article demonstrates the contradictions and potentialities of social suffering. To be a bearer of an Arab body is to be the on the receiving end of a whole host of societal suspicions, social anxieties, modes of surveillance, military incursions, and, more generally, deployments of negative symbolic power. But this state of domination turned corporeal also makes for a potential site of freedom, a vector for new solidarities with other groups and categories turned alien and other. What is it to have an Arab body? “When daybreak came we were zooming through New Jersey with the great cloud of Metropolitan New York rising before us in the snowy distance. Dean had a sweater wrapped around his ears to keep warm. He said we were a band of Arabs coming in to blow up New York” (p. 117, Kerouac, On the Road). It’s all right there, in Kerouac’s novel, everything of relevance has already been said...The Arab’s body is violence, an unapologetic celebration of hot-headed exuberance, intemperate and irrational outburst of pure passion: as the Norwegians say, sint som en tyrk, “angry like a Turk.” The brown-bodied Orientals, all of the same sort, homogeneous bodies, Deleuze’s smooth spaces against the striating maneuvers of Western statecraft...I passed through customs at God knows which one of those miserable US East Coast airports – what was it Joe Biden said? “If I took you blindfolded and took you to LaGuardia Airport in New York, you must think ‘I must be in some third-world country’” – you must think – all those brown bodies, crowded and sweating over impossible suitcases, huddled masses, wretched refuse of a teeming shore... Arriving in America, through the airport, a chaotic mass of automated passport scanners stretched out across the polished airport arrivals hall, how many billions went into them that should have saved the homeless from sleeping under overpasses – self-administered discipline, then, proclaiming the ascendancy of the administered self, even the penalization of the self, no longer a panopticon but a synopticon, even an autosynopticon, a self-seeing-all – those automated checkout counters at Safeway must have saved the corporation billions, and when I go grocery shopping, every item bipped is a unit of labor performed for the corporation and its shareholders...At JFK Airport I stood before the machine, scanned my own passport, all those biometric and digital fingerprints sucked up by ","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"2006 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128867135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Etymologically, the noun “archive,” although now commonly applied to the storage place of cultural objects, had until recently a much more limited meaning applying only to government records. Most contemporary discussions of the term use the modern usage that effaces the earlier connection to the seat of political power. The notion of a collection, or collecting of, historical and rare materials of any kind — but usually of cultural importance — almost makes it grist for personal or aesthetic fascinations.
{"title":"Finding Aid, Archives as Art & Pharmakon, Box I, Folder 16: Gabriella Giannachi‘s Mappings","authors":"Craig Saper","doi":"10.20415/RHIZ/034.R05","DOIUrl":"https://doi.org/10.20415/RHIZ/034.R05","url":null,"abstract":"Etymologically, the noun “archive,” although now commonly applied to the storage place of cultural objects, had until recently a much more limited meaning applying only to government records. Most contemporary discussions of the term use the modern usage that effaces the earlier connection to the seat of political power. The notion of a collection, or collecting of, historical and rare materials of any kind — but usually of cultural importance — almost makes it grist for personal or aesthetic fascinations.","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121249227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I decided to conduct an experiment into abstraction, chance and writing. This meant interrogating my bookshelves. I started reading through many texts. Reading from top to bottom in an order based on common fate, chance and randomness. I opened up each book, and each text, one at a time, from right to left, and shuffled through the stacks of information. I recorded the information in fragments, grazing on bits and pieces of text, as how a sheep grazes on grass in a paddock. I did this in order to invite chance to intervene in the invention of the language of the artist. I recorded random sections of books, opened up on any particular page, and began this essay.
{"title":"Lost in the Information Age","authors":"Nicole Brimmer","doi":"10.20415/rhiz/034.e02","DOIUrl":"https://doi.org/10.20415/rhiz/034.e02","url":null,"abstract":"I decided to conduct an experiment into abstraction, chance and writing. This meant interrogating my bookshelves. I started reading through many texts. Reading from top to bottom in an order based on common fate, chance and randomness. I opened up each book, and each text, one at a time, from right to left, and shuffled through the stacks of information. I recorded the information in fragments, grazing on bits and pieces of text, as how a sheep grazes on grass in a paddock. I did this in order to invite chance to intervene in the invention of the language of the artist. I recorded random sections of books, opened up on any particular page, and began this essay.","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134560849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Eric Gordon and Paul Mihailidis, eds., Civic Media","authors":"Doreen M Piano","doi":"10.20415/RHIZ/034.R03","DOIUrl":"https://doi.org/10.20415/RHIZ/034.R03","url":null,"abstract":"","PeriodicalId":315328,"journal":{"name":"Rhizomes: Cultural Studies in Emerging Knowledge","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127128601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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