Archive for the ‘Clinamen’ Category

FirstPersonShooter

With Sandra Mezzadra and others associated with UniNomade, I want to link dynamics of workers refusal of measure to questions of capital’s specific, if heterogeneous, deployment of affect through a consideration of this passage from

James Ash, Architectures of affect: anticipating and manipulating
the event in processes of videogame design and testing, Environment and Planning D: Society and Space 2010, volume 28, pages 653 – 671:
http://www.academia.edu/4906196/Ash_Architectures_of_affect_anticipating_and_manipulatingthe_event_in_processes_of_videogame_design_and_testing

CAREFULLY.

As a preface, I should note that I have been reading Being and Time (his etymologism, so valued by subsequent deconstruction as method, tends toward an image of thought as authentic depth; his analysis of equipmentality is profoundly generative), with Hegel or Spinoza (an infinite text), reading Mezzadra’s excellent work:

Mezzadra S, 2006, ‘Borders,migrations, citizenship’, translated by Casas Cortes, S Cobarrubias,
http://deletetheborder.org/node/1515
Mezzadra S, 2007, ‘Living in transition: toward a heterolingual theory of the multitude
transversal’, in The Politics of Culture: Around theWork of Naoki Sakai Eds R F Calichman,
J N Kim (Routledge, London) pp 121 ^ 137, http://eipcp.net/transversal/1107/mezzadra/en
Mezzadra S, 2009a, `Italy, operaism and post-operaism’, in International Encyclopedia of
Revolution and Protest Ed. I Ness (Blackwell, Oxford) pp 1841 ^ 1845
Mezzadra S, 2009b, `The labyrinth of contemporary migrations’ European Alternatives
http://www.euroalter.com/2009/sandro-mezzadra-the-labyrinth-of-contemporary-migrations/
Mezzadra S, 2010, `The gaze of autonomy. Capitalism, migration and social struggles’, in
The Contested Politics of Mobility: Borderzones and Irregularity Ed.V Squires (Routledge,
London) pp 121 ^ 142
Mezzadra S, 2011a, `How many histories of labour? Towards a theory of postcolonial capitalism’
Postcolonial Studies 14(2) 1 ^ 20

And thinking about methods of worker’s inquiries in different forms of community organising in East London.

Part of this set of researches into ontological methods has led me to consider the role of play in contemporary capital. Hence, James Ash, Architectures of affect: anticipating and manipulating
the event in processes of videogame design and testing, Environment and Planning D: Society and Space 2010, volume 28, pages 653 – 671.

Let us consider this passage from the phenomenon of its intensities and sensations, as Massumi suggests, that is from an analysis of durations.

The game designers increased the length of the animation that was played every
time the user reloaded the grenade launcher. In the first testing sessions the reloading
process took less than two seconds; in the amended version the same reloading process
took close to four seconds. Although this difference may sound inconsequential to the
casual observer, the extended delay put the user at a severe disadvantage when taking
part in a multiplayer match. The two extra seconds left the user essentially defenceless;
they were unable to fire back if they encountered an enemy. As such, after each shot,
users would have to react defensively whilst the grenade launcher reloaded, and this
gave rival users a chance to enact their revenge. Through alterations made to the delay
between cause (hitting the Y button to reload on the Xbox 360 control pad) and effect
(having a reloaded grenade and the ability to fire again), the designers were able to
alter the potentiality of users’ responses to various contextual events and encounters
within any one match. By extending this delay, the designers were able to reduce
negatively affective encounters–they could minimise the experience of frustration
for the user–and avoid a breakdown in the user’s captivated state. Quite literally the
designers could design out the potential for creating particular visceral states in
users, such as the tense, shifting, agitated bodies described earlier. On the one hand, users waiting for the grenade launcher to reload experienced anxiety and a feeling that
time was passing very slowly as their avatar was exposed during the reload animation.
On the other hand, the other user who had been shot at with the grenade launcher
was given an increased window in which to react, which was experienced as a very
small amount of time to shoot at the other user. By extending the time taken to reload
the grenade launcher, the game designers could avoid the experience of time inter-
vening in and replacing the captivation of users (other than those using the grenade
launcher)…. After it had been altered to be less powerful and to
take longer to reload, users had to focus more closely and try to anticipate the
direction in which they thought the user might head because an indirect hit would
not kill the user. As a process of passing, time became more apparent to the user in the
seconds during which they remained vulnerable as the grenade launcher was reloading.
They were also forced to sense time more minutely because, with a reduction in the
power of the grenade launcher, the user had to track the enemy more closely in order
to successfully hit and kill an opponent. Page 664-65

This shift in the game’s architecture allowed designers to alter the potentiality of users’ responses to various contextual events and encounters within any one match. This consisted of adding two seconds between action and effect. That two second potentialized the play itself in that what happens in the intensive duration is that the possibility of having an effect in the game becomes active, thus what is opened is a kind of possibility space (Delanda’s Emergence of Synthetic Reason), interactivity becomes possibilistic. Why I like and admire this passage is that Ash is able to draw our attention to the minute intensificaiton of game play in First Person Shooter games through design strategy that attends to bodily dispositions and shifts through the process of the game play. His emphasis on the immersive quality of the gameplay is also to the point: through the process players become differentially involved in performing the competitive strategy of killing the enemy player, acting as a unit, marshalling dwindling resources (health, ammunition), keep moving to the pre-set targets. Ash writes, “As a process of passing, time became more apparent to the user in the seconds during which they remained vulnerable as the grenade launcher was reloading.
They were also forced to sense time more minutely because, with a reduction in the
power of the grenade launcher, the user had to track the enemy more closely in order
to successfully hit and kill an opponent.” This is what he calls the process of captivation and its differential modulation across gameplay, proprioceptive engagement (the player’s sense of bodily movement), and staging contingent events/encounters.

For Ash, this argument contributes to contemporary theorisations of the event:

… this paper has added to current debates regarding theorisations of
the event, emphasising what might be termed an ecological rather than absolute
conception of the event. In an absolutist notion of the event, “the event cannot be
reduced to the fact that something happens. It may rain tonight, it may not rain. This
will not be an absolute event because I know what rain is … . The arrivant must be
absolutely other” (Derrida, 2002, page 13). Instead, I have outlined a conception of the
event as a process of ecological emergence. Here an event is the outcome of a material
assemblage of various entities, forces, and rules working together to encourage and
prohibit specific forms of movement and action. Whilst an absolute account of the
event is interesting, framing the event from an ecological perspective is useful because
it allows us to begin to pick apart how the potential for events to happen are being
designed into environments (both digital and physical) and thus begin to understand
how various bodily states (such as frustration and anger or pleasure and pain) can
potentially be produced and controlled through manipulating affective relations in
the environment. This then allows us to interrogate the possible responsibilities the
designers of such environments have in the kinds of affective relations (and thus
bodies) they (potentially) construct. page 667

One must say this is rather modestly put: the implications of this argument seem to me immense. The ecological perspective on affefct is effective in producing (counter-) engineering diagrams. It is processual in that it follows events through a virtual-actual circuit of becoming and being.

What this points to is both the autonomy of affect (Massumi, 2002) and the manifestation of affect as a multiplicity which encounters different bodies in complex ways that cannot be (pre-) resolved as either simply `positive’ or `negative’ for the body that is shaped by an encounter. Rather, what I have shown across this paper is that the `shaping’ of bodies and the `infusion of affective dispositions under the skin’ are not the product of passive exposure to, or reception of, affective images. Instead, I have argued that the body is shaped through the creative responses generated by users in relation to the images they
experience, rather than the images themselves.page 668

What Ash doesn’t attend to very well, that is not ecologically enough, is the form of subjectivation this event of potentialisation incorporates. As I suggested above, potentialisation is something of the nature of a creative encounter with the world’s necessities/tendencies/capacities/degrees of freedom. We must understand FPS games as tied closely to a form of neoliberal subjectivity: the particular aggressions, anticipations, pauses, bursts (recall the pause-burst structure of Hong Kong cinema analysed by Bordwell, there is some correlation to be drawn out in terms of the modulation of intensity in martial arts films and digital FPS gaming), and so on are all linked in different ways to the sad passions of control. This is to say, that while Ash is quite good at analysing carefully the autonomy of affect (as is Massumi) through an ecological multiplicity, he is less attentive to contextualizing FPS subjectivity as it ties in with forms of neoliberal control. Admittedly that’s not his aim (nor perhaps his interest) in this article, which is focused on a kind of phenomenology of affect in game design. But to write as if the contexts of for instance the hypercompetitiveness of captialist play, the psychopathologies of security, postcolonialism, debt, and precarity, not to mention the wide ranging integration of FPS interfaces across a variety of digital platforms (recall as just one example the penultimate ‘battale royale’ sequence in kickass in which Hitgirl’s nightvision glasses becomes a firstperson shooter perspective)–all these contexts play into the ecology of affect, directly and indirectly.

Which leads us to pose the question of gameplay design from the perspective of an analysis of capitalist subjectivity today, which potentializes affect to the extent that immersive integration is successfully modulated to add value and accumulate brand equity, a kind of accumulation in the realm of affect (Clough). Ash ends his essay by noting that most FPS games don’t in fact do this: they fail at capturing attention.

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FROM THE BORDER OF BODIES, TO THE HORIZON OF MEANING

There is always betrayal in a line of flight. Not trickery like that of an orderly man ordering his future, but betrayal like that of a simple man who no longer has any past or future. We betray the fixed powers which try to hold us back, the established powers of the earth. The movement of betrayal has been defined as a double turning-away: man turns his face away from God, who also turns his face away from man. It is in this double turning-away, in the divergence of faces, that the line of flight – that is, the deterritorialization of man – is traced. Betrayal is like theft, it is always double. Oedipus at Colonnus, with his long wanderings, has been taken as the prime example of a double turning-away…It is the story of Jonah: the prophet is recognizable by the fact that he takes the opposite path to that which is ordered by God and thereby realizes God’s commandment better than if he had obeyed. A traitor, he has taken misfortune upon himself. The Old Testament is constantly criss-crossed by these lines of flight, the line of separation between the earth and the waters. ‘Let the elements stop kissing, and turn their backs on one another. Let the merman turn away from his human wife and children . .. Cross the seas, cross the seas, urges the heart. Leave love and home.’ The ‘great discoveries’, the great expeditions, do not merely involve uncertainty as to what will be discovered, the conquest of the unknown, but the invention of a line of flight, and the power of treason: to be the only traitor, and traitor to all Aguirre, Wrath of God. Christopher Columbus, as Jacques Besse describes him in an extraordinary tale, including the woman-becoming of Columbus. The creative theft of the traitor, as against the plagiarisms of the trickster. G. Deleuze and C. Parnet, Dialogues II, 40-1.

We must define a special function, which is identical neither with health nor illness: the function of the Anomalous. The Anomalous is always at the frontier, on the border of a band or a multiplicity; it is part of the latter, but is already making it pass into another multiplicity, it makes it become, it traces a line-between. This is also the ‘outsider…” Moby Dick, or the Thing or Entity of Lovecraft, terror. G. Deleuze and C. Parnet, Dialogues II, 4

What would it take to produce a line of flight as pure experimentation in becoming, and one continuous untimeliness? The effervescently cynical amongst us would no doubt insist that it would first off take a lot of money, lots of time, and a certain high threshold for nonsense. If there is nothing I have learned from people such as Erik Empson, Arianna Bove, Matteo Mandarini, Valeria Gaziano, Liam Campling, Camile Barbagallo, Gerry Hanlon, Simon crab, Gini Simpson, and Stefano Harney it is that materialism begins with the betrayal of cynicism.

After displacing social constructivism

Act in thought, think through action.

And above all, it is objected that by releasing desire from lack and law, the only thing we have left to refer to is a State of nature, a desire which would be natural and spontaneous reality. We say quite the opposite: desire only exists when assembled or machined. You cannot grasp or conceive of a desire outside a determinate assemblage. on a plane which is not preexistent but which must itself be constructed. All that is important is that each group or individual should construct the plane of immanence on which they lead their life and carry on their business. Without these conditions you obviously do lack something, but you lack precisely the conditions which make a desire possible. Organizations of forms, formations of subjects (the other plane), ‘incapacitate’ desire: they subjugate it to law and introduce lack into it. If you tie someone up and say to him ‘Express yourself, friend ‘, the most he will be able to say is that he doesn’t want to be tied up. The only spontaneity in desire is doubtless of that kind: to not want to be oppressed, exploited, enslaved, subjugated. But no desire has ever been created with non-wishes. Not to want to be enslaved is a non-proposition. In retrospect every assemblage expresses and creates a desire by constructing the plane which makes it possible and, by making it possible, brings it about. Desire is not restricted to the privileged; neither is it restricted to the success of a revolution once it has occurred. It is in itself an immanent revolutionary process. It is constructivist, not at all spontaneist. Since every assemblage is collective, is itself a collective, it is indeed true that every desire is the affair of the people, or an affair of the masses, a molecular affair. G. Deleuze and C. Parnet, Dialogues II, 96

For Deleuze, the machine groups independent and heterogeneous terms, developing a topological proximity, which is itself independent of distance or continguity. A topological proximity could be across time/scales, perhaps the more complex resonances always are. To define a machine assemblage follow the shifting centre of gravity along gradients, tendencies, speeds, and abstract lines. An abstract diagram runs through it, seriously.

I am writing on day two of the jury deliberations after the trial of George Zimmerman, a neighborhood watch volunteer, in the politically charged murder case of Trayvon Martin. A white man racially profiled and shot dead an unarmed African American boy. There are race riots warnings all over the country. On CNN they are asking what’s going on in the deliberations of the jury. The system has transparency says the correspondence. Correspondent: Index of evidence, here is how it could have happened. We don’t know if it was a fight, the defence said that it was a fight. Zimmerman got punched, we know that much.

Martin, who lived in Miami, was walking back to the house of his father’s fiancée at the Retreat at Twin Lakes gated community carrying a soft drink and sweets he had bought at a local convenience store. Zimmerman, who worked as a mortgage underwriter, said he spotted the hoodie-wearing youth as he was on his way to buy groceries, then called police to report a “suspicious male”. Somehow, the two ended up in a fight.
Zimmerman was released without charge on the night of the shooting. After a campaign by Trayvon Martin’s parents prompted nationwide protests, Florida’s governor, Rick Scott, appointed a special prosecutor to re-examine the circumstances of the case. Zimmerman was arrested in April last year, 44 days after the shooting. The case hinged on the conflicting testimony of witnesses and the key issue of whose screams were heard on a recording of a 911 call made by one of Zimmerman’s neighbours, which also captured the fatal shot. Martin’s mother, father and brother all testified that they were certain it was the teenager who was pleading for his life. Zimmerman’s parents and a numbers of friends and neighbours took the stand to insist that it was Zimmerman. The earlier call, made to a non-emergency police line by Zimmerman, caught the defendant using profanities that were repeated by the prosecution to try to show he acted with spite, ill-will and hatred, the benchmarks for a second-degree murder conviction. “Fucking punks. These assholes, they always get away,” assistant state attorney John Guy said as he began his opening argument on the first day of the trial. “Those were the words in that grown man’s mouth as he followed in the dark a 17-year-old boy that he didn’t know.” He concluded by telling the jury: “George Zimmerman did not shoot Trayvon Martin because he had to. He shot him for the worst of all reasons, because he wanted to.”

What was the role of race in the murder? The media returns to 1991, and Rodney King, revolving the present into the past of upheavals, as if the populations were trapped in a tragedy/farce dialectic. We of course remember Mark Duggin as well (how can we not after Fahim Alam’s provocative film, Riots Reframed—and I affirm once more, as I did to Fahim the critique of power that is and affirms a revolutionary practice is one that functions in the complexities of topological proximities, not in the arbitrary sign that is identity—we need a practice that while speaking directly to the lived conditions, experiences of value, and algorithmic life of capital can, through that practice, affirm with Gabriel Tarde that to exist is to differ, and in that seize the resources for the untimeliness of revolutionary becoming. “Total madness is losing all identity. Nijinsky constantly asks himself whether he has really gone mad, he makes it the stakes of a wager. The subject who wonders whether it is mad can neither be classed as mad or rational. Such writing goes on to act as gauge in a topology of the mind that cna no longer be localized from that point on” (Kuniichi Uno, The Genesis of an Unknown Body (27).

Back to Emmet Till, and further still. But media spins it positively, rationally, peacefully. But there has always been a race war in Amerikkka, and it is classed and gendered as well, but those are not all the same wars. The movement of movements—their quite specific and yet universal revolutionary becoming—runs, through them, as throwing up new abstract diagrams of an intensive pragmatism that is both transcendental and empirical. “Everything I have written has been vitalistic, at least I hope it has,” said Deleuze. I want a practice that can do more than nod agreement.

Many writers and activists have been attending to this problem of the movement of movements and its relation to revolutionary becoming (not, we should note as a program for a successful revolution, but as a necessary decolonization of the embodied mind). We merely add some observations in the aims of creating diagrams of morphogenesis in radical politics.

[Commnet: To move thought toward the diagrammatic, through experimental diagrams of topologies changing form and expression. Deleuze/Parnet:

But the essential point, in the end, is the way in which all these regimes of signs move along a line of gradient, variable with each author, tracing out a plane of consistence or composition which characterizes a given work or group of works: not a plane in the mind, but an immanent real plane, which was not preexistent, and which blends all the lines, the intersection of all the regimes (diagrammatic component): Virginia Woolf’s Wave, Lovecraft’s Hypersphere, Proust’s Spider’s Web, Kleist’s Programme, Kafka’s K-function, the Rhizosphere … it is here that there is no longer any fixed distinction between content and expression. We no longer know if it is a flux of words or of alcohol, we are so drunk on pure water, but equally because we are talking so much with ‘materials which are more immediate, more fluid, more burning than words’. G. Deleuze and C. Parnet, Dialogues II, 122

What is the abstract diagram that runs through race lived as an affirmation of the body’s capacities in intensive ecologies of sensation (blocs of sensations, durations of mood, patterns of rhythms, a network of assemblages) and the actuality of race as white supremacy (with its own blocs of sensations, social relations, durations of mood, patterns of rhythms, war machines)?

One of the fundamental capacities of the body is to exit. The exit is important in an age after psychoanalsysis. But how to resist spatializing the exit? Follow the movements of the exit. This movement of bodies, their trajectories, tendencies, capacities, resonances, rhythms, and speeds—singularly populational, collectively assembling/enunciating. To leave the scene, which is what Martin was aiming to do. This is one of the capacities of the body that racism has always sought to control, ‘watch,’ modulate, turn into a sad passion, saturate with resentment: To begin again somewhere else, again in the middle, to continue the body’s experiment of the universal implication and the universal explication—this has been the tragedy of joy in Western ethics, politics, philosophy. Hegel accused Spinoza of a certain oriental derivation (not genetically, but genealogically, in his conceptual filiations, as Heidegger might have said), and Deleuze asked what if the West had a grain of Zen added to its mixture. At this stage, it is difficult to say where Zen as a basic philosophy of art-in-life has not affected, let us not forget its ideological resonance with wofe—the collapse of work and life—cf Tim Edkins. But as a practice, Zen is the overthrow of capitalist control of value. (I should mention that I have just begun to read the work of Uno Kuniichi, but I feel already in proximity with his conceptual filiation).

From Andrew McFeaters via Facebook: A couple of thoughts in anticipation of a verdict on Zimmerman: Police are prepared to establish First Amendment Zones so that impassioned protestors can freely express themselves behind fences. Ahhhh, what? Secondly, the media have already foregrounded that any collective actions by people will be viewed as riotous. Language matters: riots, protests, and marches are different categories. By calling something a riot, you are denying the legitimacy of the political actions and expressions of the assembled people.

The jury found Zimmerman not guilty of all charges.

If today we return to the question of race in radical democratic politics, we draw practical, historical, and theoretical topologies of virtual-actual revolutionary becomings. This is not a happy phrase. It is not meant to roll off your tongue, its not meant to be aspirated, but tasted quite literally.

I have been experimenting with Scotch Bonnett peppers. Two peppers, whole cumin, garlic, onion, tomato, brown sugar, and your favorite vinegar, ‘materials which are more immediate, more fluid, more burning than words’ (recipe thanks to Saskia Fischer). The sensation lingers on your tongue while dissolving your tastebuds. Its good, you should try it.

What is the power of the monstrous? Where does it get this power? Jacques Derrida, who in his early work associated the future as such with a certain monstrosity (cf Derrida’s preface to Of Grammatology), said in an interview:

A monster may be obviously a composite figure of heterogenous organisms that are grafted onto each other. This graft, this hybridization, this composition that puts heterogeneous bodies together may be called a monster. This in fact happens in certain kinds of writing. At that moment, monstrosity may reveal or make one aware of what the norm is and when this norm has a history–which is the case with discursive norms, philosophical norms, socio-cultural norms, they have a history–any appearance of monstrosity in this domain allows an analysis of the history of the norms. But to do that, one must conduct not only a theoretical analysis, one must produce what in fact looks like a discursive monster so that the analysis will be a practical effect, so that people will be forced to become aware of the history of normality. But a monster is not just that, it is not just this chimerical figure in some way that grafts one animal onto another, one living being onto another. A monster is always alive, let us not forget. Monsters are living beings. This monster is also that which appears for the first time, and consequently, is not yet recognized. A monster is a species for which we do not yet have a name, which does not mean that the species is abnormal, namely, the composition or hybridization of already known species. Simply, it shows itself–that is what the word monster means–it shows itself in something that is not yet shown and that therefore looks like a hallucination, it strikes the eye, it frightens precisely because no anticipation had prepared one to identify this figure. . . . But as soon as one perceives a monster in a monster, one begins to domesticate it, one begins, because of the `as such’–it is a monster as monster–to compare it to the norms to analyze it, consequently to master whatever could be terrifying in this figure of the monster. And the movement of accustoming oneself, but also of legitimation and, consequently, of normalization, has already begun. However monstrous events or texts may be, from the moment they enter into culture, the movement of acculturation, precisely, of domestication, of normalization has already begun. . . . This is the movement of culture. Texts and discourses that provoke at the outset reactions of rejection, that are denounced precisely as anomalies or monstrosities are often texts that, before being in turn appropriated, assimilated, acculturated, transform the nature of the field of reception, transform the nature of social and cultural experience, historical experience. All history has shown that each time an event has been produced, for example in philosophy or in poetry, it took the form of the unacceptable, or even of the intolerable, of the incomprehensible, that is, of a certain monstrosity” (Derrida, Points 385-87)

There are some key tools for the method of ontogenesis in Derrida’s words. (more…)

What is the nature of a connection? I have been influenced by Franco Berardi (Bifo) recently. He points out that definitions have to be approached through multiple strategies because what is important is shocking thought by the reconstitution of a virtual field of sense and sensation. In other words, part of what is at stake in understanding marketing is the creation of new concepts commensurate with marketing’s specific ecology of media and perception, and new affects that work toward an untimely experience of marketing. What is an untimely experience of marketing?

Considering the untimely is why this module has become something of an extended meditation and experimentation on habits. Habit is both an achieved state and a process in itself. Habit, in short, is productive of intensive difference through its repetitions. This is not a difficult notion. But wait.

If differences are produced in processes of repetitive reconnection or refrains, ethics becomes in fact both a diagramming of refrains and a counter-actualization of the forms of habituated duration that are miring us in their spectacles. Bifo again:

The refrain is an obsessive ritual that is initiated in linguistic, sexual, social, productive, existential behaviour to allow the individual – the conscious organism in continuous variation – to find identification points, that is, to territorialize oneself and to represent oneself in relation to the world that surrounds it. The refrain is the modality of semiotization that allows an individual (a group, a people, a nation, a subculture) to receive and project the world according to reproducible and communicable formats. In order for the cosmic, social and molecular universe to be filtered through an individual perception, in order for it, we may thus say, to enter the mind, filters or models of semiotization must act, and these are models that Guattari called refrains.
The perception of time by a society, a culture or a person is also the model of a truly temporal refrain, that is, of particular rhythmic modulations that function as modules for accessing, awaiting and participating in cosmic temporal becoming. From this perspective, universal time appears to be no more than a hypothetical projection, a time of generalized equivalence, a ‘flattened’ capitalistic time; what is important are these partial modules of temporalization, operating in diverse domains (biological, ethological, socio-cultural, machinic, cosmic …) , and out of which complex refrains constitute highly relative existential synchronies. (Chaosmosis, 16)
What is the fundamental passage through which the anthropological transformation of modern capitalism is determined? This passage consists in the creation of refrains of temporal perception that invade and discipline all society: the refrain of factory work, the refrain of working hours, the refrain of the salary, the refrain of the production line. The postindustrial transition brings along with it the formation and imposition of new refrains: the refrain of electronic speed, the refrain of information overload, the refrain of digitalization. My feeling of personal identity is thus pulled in different directions. How can I maintain a relative sense of unicity, despite the diversity of components of subjectivation that pass through me? It’s a question of the refrain that fixes me in front of the screen, henceforth constituted as a projective existential node. My identity has become that of the speaker, the person who speaks from the television. (Chaosmosis, 16–17) In communication, obsessive and fixated types of nuclei are determined; certain refrains thicken and solidify, entering into resonance and producing effects of double bind. When the existential flow gets rigidly brought back to logical, mythological, ideological or psychic refrains, behaviour tends to become paranoid. For example, when the money refrain becomes the structuring element of all social and communicative life, this engenders behavioural paradoxes, paranoid anticipations, social double binds, and depression.

To work counter to our time, and so to work on our time, in the hopes of a time to come. That is, ethics would be a recomposition of a body’s habituated durations.

So in answering the question about the connections this course is making for you, define this course through your habits. What connections between information, neurology, matter, energy, perception, chemistry, habits, speeds, intensity, joy, desire, capital, discipline/control, and becomings do your habits make in its existential being. As should be clear from the syllabus (available here), the connections I am bringing together is a critique of capital in the Marxist tradition of revolutionary becoming, new untimely lifeworlds through radical practices of aesthetics, love, friendship, kinship, and community dwelling. In other words, the creation of untimely ecologies of sensation, that is ecologies that work counter to our time and thereby work on our time by reorganizing the set of refrains (habit) that lull us in blocs of dominant temporalities.

We are reading Kline No Logo, watching It Felt Like a Kiss, by Adam Curtis, reading Guy Debord, and reading Wark’s The Beach Beneath the Street, listening to Bifo on Mp3, we are taking photos, making videos, creating webpages, we dream of situations and apps that will disrupt the accumulation of data-in-marketing, we drink, smoke (too much, too much), but keep excerising. Trying to live a resonance that would be plastic enough to affirm a practice while also making that practice an affirmation of becoming. An ecology of sensation.

We are thinking information in terms of the untimely. As should be clear from all I have said, ethics for it to affirm becoming must work in the service of a time to come, not a time of freedom and equality, but a practice of assemblages of temporal blocs (a minute, a summer, an afternoon are singularities as Deleuze and Guattari remind us in What is Philosophy?).

Sundaram writes in the mode of the postmedia postcolonial critic. But it was Guattari, as Bifo notes, who saw the infinite potentiality of information society. This is not an affirmation of informational capital, it is not a capitulation to the desires of consumer society, it is not the production of spectacles. In some sense, it is merely a return to the virtual that is at stake. The virtual in so far as it is fully real, but not actualized (affects and tendencies are fully real, but their most important characteristic is that they remain ontologically tied to a phylum that is purely potential). Isn’t that why information, and more specifically practices that gradually diagram the ontological (the composition of multiplicities along gradients of intensity), informational dimensions of data, energy, attention, perception. Information can then be thought of as a cut into affect itself, a cut in time, both a measure (in order to be information very specific critical thresholds of noise must be exceeded) and intensive (or semio-chemical) flow.

Regardless, I return to the question of connections. What is marketing today? What are the refrains of marketing? Its habituations? Its attractions? The emergence of the brand that Kline writes about is rooted in a history of radical politics, from anti-colonial, feminist-socialist, to postcolonial movements against the grain of capitalist globalization, or integrated world capitalism. Over the weekend, thousands and thousands of people the world over participated in occupations of public and private space. This practice of occupation you know is very interesting. Dan Moshenberg tells the great joke, and Dan does this again and again, whenever he sees students at GWU sitting around together he asks them, Are you with the occupation?

Well are you?


Banksy!

We have seen that the world was an infinity of converging series, capable of being extended into each other, around unique points. Thus every individual, every individual monad expresses the same world in its totality although it only clearly expresses a part of this world, a series or even a finite sequence. The result is that another world appears when the obtained series diverge in the neighborhood of singularities. (Deleuze, The Fold 60)

reticulation 9.6 copy

Abstract: This essay aims to diagram the set of connectivities (or “system of relations”) developing in business outsourcing affective, communicative labor and the value-adding digital image in contemporary Hindi-Urdu cinema. What emerges is a resonant set of nested temporalities constituting a new media assemblage. Throughout, I draw on a set of analyses that has developed the notion of affective labor as a decisive break in the organization of value under capital. In this work by feminist political economists, postcolonial critics, and Marxist phenomenologists, affect becomes the substance of interaction and communication: distinct from “emotion,” affect is defined by its relational, bodily character, and cannot be reduced to an internalized feeling. In that regard, affect is considered pre-individual, operating in that moving strata of being and becoming where the subject and populations meet. Affect is both virtual and actual at once, it is an emergent, incipient space of mutation and potential as well as the site of modulation, control, and capitalist valorization. Theoretical frameworks that have brought together Marx, Freud, Foucault, and Deleuze have conceived of affective labor using terms such as desiring production, and more significantly, numerous feminist investigations, analyzing the potentials within what has been designated traditionally as women’s work, have grasped affective labor with terms such as kin work and caring labor [or “labor in the bodily mode”]. Through an analysis of No smoking (Kashyap, 2008) and Office Tigers (Mermin, 2006), I explore the singular emergence of affective labor in the South Asian context, in pervasive processes that are informatizing (rendering as/through data) various forms of life and work. I correlate the function of affective labor in both business outsourcing and digital media through analyses of two key modalities: the evolving functionality of information in the nonlinear, open system of computer technology; and the modulation of subjectivity in the capacities of attention and sensation of value creation.

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This lecture is based on research conducted in Delhi-NCR and Mumbai on mobile phone cultures over the past nine months. This research has focused on changing patterns of use emerging from shifts in relations of power between government, network providers, content producers, value added companies, and communities of active users across urban and rural space. The wager of my research is that a new ecology of sensation is emerging through an evolving, globally distributed security apparatus. This apparatus has become centered on controlling populations as searchable digital information, while mutating the biopolitical project of maximizing productive capacity and minimizing risk.

Flow:

1. What is a Media Assemblage?
2. Why is it particularly appropriate for diagramming Mobile phone networks?
3. Emergent properties, critical thresholds, and phase transitions of multiplicities
4. Types of connectivity: Security, interoperability, and standardization (ICON, TRAI regulations); pirated connections (ends up valorizing what you are stealing, non-standardized, on the margins of control); and the strategic refusal (Naxalite sabotage); pre-empting emergence: keep control but enable capitalist innovation and value creation
5. Intensive gradients of populations cannot be understood through linguistic categories, we need tools to be able to model intensive gradients of perception, meaning, rates of flow, density of connectivity…etc
6. This leads to a perspective where we take the body’s sensorimotor processes seriously as a mode of unmediated connectivity to media. UNMEDIATED. DIRECT. But with a history. Patterned but unpredictable, as virtual as it is actual, ecologies of sensation are evolving fields of sense, value, and force. So we can understand in this way the mobile phone as directly productive of sensation: in narrative: the mobile phone is a sensational technology (Dev.D), a dangerous device (A Wednesday), and passage into an intercalated timespace (the private bubble around the bodies of people in public places so common in Hindi cinema)…The mobile phone in cinema has become banal, a device assumed to be everyday for postcolonial modernity…VAS production: the creation of sensation through viral content and “necessary” services.
7. Art and Mobile Phones: The Creative deployment of the mobile: social viscosities project, GPS and mapping, the camera (Kainaz’s iPhone photography), the mobile dropping out of the pants video, use of the camera, text novels in Japan
a. Dialtones: A Telesymphony. There are a few different interactive mobile phone performance art pieces that I am aware of but this is by far the coolest of the bunch. Basically, when you come to see this show you (and your cell phone) actually become a part of the show. You register the phone number of your cell phone so that it gets linked with your seat. Then the show starts and it involves the ringing of your cell phone with new ringtones that have been added to it to make it more musical. Your phone and the phones around you are all ringing as part of this amazingly beautiful musical piece. It’s music but it’s made using mobile phones. It happened way back in 2001 but I still think it’s a magical piece to remember today. http://www.flong.com/projects/telesymphony/
b. Cell Phone Movies by Giselle Beigulman. This artist actually uses the mobile phone to create art by taking different models of cell phones and using the video recorder on them to record different scenes in movement whenever she is on buses or trains or in the car. These videos are then combined together to make cell phone movies of the subjects that she has taken video footage of. Learn more her
c. Phonetic Faces. This is another one of those interactive art pieces that utilizes mobile phones. In this case, the Phonetic Faces exhibit is set up (it’s been in various galleries around the world) and people at the exhibit can come add to the piece. They do so by calling a specific cell phone number which tells them how to choose images to collage together as part of the piece and then also allows them to upload their own picture for use in the collage. Essentially, this captures the visitors to the exhibit in images but also alters the piece through their contributions. That’s public art at its best and it has the cell phone at its core.
d. http://www.textually.org/textually/archives/2007/01/014567.htm
8. Social Viscosities: cuts both ways…. After a certain threshold of connectivity, the network (which includes but is not reducible to people’s use, no one part of the open, distributed system is decisive, what is decisive is the emergent properties that take hold with the nonlinear interaction of these components), the system takes on a kind of life, it becomes self-organizing after a gradient of probabilistic functionality, a gradient of connectivity…
a. Self-organizing networks doesn’t mean that this is utopic, without hierarchies of power, or resistant
b. Sensation gets us out of the dialectic of docility-agency.

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