Archive for the ‘Mobile Phones’ Category

How does one engage an event?

The event has gone through torsions in this blog. But we shouldn’t confuse an event with a blog. What is happening as I write in Libya is an event that changes the contours of everything, but not for everyone in the same way, or for the same duration, or with the same speed. The event does not take the form of an equality of duration, but rather partakes of the excess of transvaluation.

Libya in flames, bombed out, but what of the becomings that have expressed something powerful but as yet unknown through this event (we hesitate to endorse Hardt and Negri’s hopes of the Arab revolts—see:; the comments are as interesting as the article. Hardt and Negri are assimilating the Arab protests to their own particular war machine, but something else is going on, beyond what they “hope” for). In thinking this through and in affirming our support of the revolts, we should remember not to confuse the two becomings that Deleuze differentiates, a revolutionary becoming and a radical deterritorialization, which can be suicidal (and often fascistic).

In thinking the politics of events as the massacres in Libya we want access to that which exceeds the actual event, the lives of the lives lost, through what processes were they brought to that moment? The machinic phylum, the body without organs, concrescence, ecologies of sensation allow us to pose the transvaluation in and mutation of a given event. In my work on Indian mobile networks and their ecology of sensation, what I have benefitted from thinking is the co-evolution of human capacities with technologies of perception. Part of what needs understanding concretely is the role the mobile has played in these uprisings, it would seem that facebook and the mobile have found a new form of political expression across the Arab world. But how long has this fire been burning, isn’t this, as James Baldwin said once, just the fire next time, isn’t the Arab uprising simply the heir of the last conflagration, the last murder, the last violation? Is the Arab uprising an example of what Hardt and Negri argue is a new form of horizontal organizing for social justice? This is a problem in Hardt and Negri’s analyses: theirs is a proleptic or anticipatory criticism where what emerges always already affirms the powers of the multitude, but they are dealing with people potentialized through both a noncognitive ingression of force and resonance of specifically habituated techno-perceptual assemblages, and a people whose aspirations are also replete with the forces of ressentiment and affirmation. And as always there is a desperate, violent, but most importantly active struggle over the interpretation of events: interpretation becomes directly ontological in such circumstances. So it should not surprise us when on the scale of human politics ressentiment becomes the reigning affective disposition of the new regime. But to make an affirmation of becoming is not to live in the hopes of Western criticism, seeking another aprioritized example (Derrida is very good when it comes to thinking the dialectic of the example—see the analysis of the Derrida-Lacan debate collected in the Purloined Poe) of a multitude, a movement, a becoming. To make an affirmation of becoming is to return thought each time to a political ontology of an infinity of attributes, infinitely variable, the process of concrescence going from potentiality to actual nexus, or assemblage. And it is absolutely not the case that such a political ontology is status quoist, compromised (what is not? But there are gradients…), and ineffectual in the “real” world. A political ontology worth its salt will attain the status of a diagram of becoming.

The fire next time could also be one of those highly improbable, but decisive events that has entered into popular discourse through Gladwell’s The Tipping Point and Nassim Nicholas Taleb’s Black Swan. But of course the highly improbable event has been foundational to poststructuralism, which has made many careers defining or engaging with events. Both Derrida and Deleuze had very different kinds of engagements with the revolutionary, critically intensive, symmetry breaking event of becoming. People confuse being a Deleuzian with thinking one is right about ontology or causality. There is nothing right about a diagram, it either works with complexity, compounding and correlating powers, or affects, or dies of its own decomposition.

Without making excuses for quick transitions, I think one way to contribute to a revolutionary becoming is by diagramming vectors of ingression. Ingression correlates directly with potentiality in A. N. Whitehead’s process philosophy, and it is worth quoting here at length (the virtual? I think a close study of the precise differences between Whitehead’s pure potentiality and Deleuze’s virtual is in order—see Tim Clark, A Whiteheadian Chaosmos: Process Philosophy from a Deleuzean Perspective, “(vi) That each entity in the universe of a given concrescence can, so far as its own nature is concerned, be implicated in that concrescence in one or other of many modes; but in fact it is implicated only in one mode: that the particular mode of implication is only rendered fully determinate by that concrescence, though it is conditioned by the correlate universe. This indetermination, rendered determinate in the real concrescence, is the meaning of ‘potentiality.’ It is a conditioned indetermination, and is therefore called a ‘real potentiality.’ (vii) That an eternal object can be described only in terms of its potentiality for ingression into the becoming of actual entities; and that its analysis only discloses other eternal objects. It is a pure potential. The term ‘ingression’ refers to the particular mode in which the potentiality of an eternal object is realized in a particular actual entity, contributing to the definiteness of that actual entity” (Process and Reality 23). One could quite easily loose it in what Whitehead later in the lectures calls the technical language of his project, but I think the sense of real potentiality as a certain movement is very much what Deleuze argues of Spinoza: real distinction is not numerical, but qualitative.



“Marketing is an organizational function and a set of processes for creating, capturing [added by the authors], communicating and delivering value to customers and for managing customer relationships in ways that benefit the organization and its stakeholders.” Dhruv Grewal and Michael Levy, Marketing (London: McGraw-Hill, 2008) i

Let us begin with a refrain developed in previous postings: value, sense, force. What follows will differentiate from the trite position that marketing pedagogy is a biopolitical project. That marketing seeks to goad life into mutation and habituation, and to raise the power of information to the nth degree seems almost obvious. This much is true of marketing: sensation-desire-information are its very lifeblood. By adding the participle “capturing” to the definition the authors show clearly that some mechanism (or abstract diagram) is necessary to assemble flows of communication with the production of consumer desire (cf. Virilio, Information Bomb 17). That is not a turgid sentence. It means simply this: that new media advertising builds on the machinery that came before it. Virilio in The Information Bomb tells us that advertising has shifted from the 20th century function of producing consumer desire to what he calls pure communication. Facebook and the spacetime of Web 2.0 (the informatization of everything). Desire needs to be captured and entrained (a neutralizing-potentializing circuit) through and in the flow of information—in the mode of communication—itself. We are all entrepreneurs of the self, even and perhaps in a special way when we disavow that capitalism as the extraction of surplus value from the processes of the world is the destiny of posthumanity. In what sense is marketing pedagogy a biopolitical process? How does marketing situate itself vis a vis the production of desire in the interest of domination? The aim then is to produce mutations in habit that allow an unmediated experience of virtuality. The transvaluation of all values must value becoming.


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.


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.


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.
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.
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.