Skip navigation

One form of disappointing realism, in my opinion, is the kind that cares more to valorize certain forms of knowledge than to safeguard the reality of the real. My views in this point are already known. The real is something never perfectly translatable, or even percentage-wise translatable into some model of it. This does not mean that the real is an ungraspable thing-in-itself with knowledge reduced to a relativist free-for-all. What it means, r … Read More

via Object-Oriented Philosophy

Advertisements

On The Idea of Communism Here is the speedy write-up of my notes from the three-day conference on The Idea of Communism, hosted by Slavoj Žižek at Birkbeck College, which included Judith Balso, Alain Badiou, Bruno Bosteels, Terry Eagleton, Peter Hallward, Michael Hardt, Toni Negri, Jacques Ranciere, Alessandro Russo, Alberto Toscano and Gianni Vattimo. I have only managed to type up my notes on a few of the papers, although I may try to add Judith Balso's a little later, … Read More

via Total Assault On Culture

Here's another one. All that business about Meillassoux's arch-fossil argument being so immensely and devastatingly novel that surely now all the idealists correlationists will die a horrible death reminded me of Lenin's Materialism and Empirio-criticism, a rather bombastic and, as some argued, not very deep philosophical book, written primarily for political reasons. Whatever the case may be, this is 1908 and here are a couple of quotes (Lenin h … Read More

via Perverse Egalitarianism

“Adrian Johnston’s newest book, Zizek’s Ontology, is an impressive attempt at systematizing Zizek’s notoriously hyperactive writing style. Focused on developing a “transcendental materialist theory of subjectivity” – i.e. an ontology capable of accounting for how subjectivity can emerge from an asubjective realm of matter – Johnston places Zizek’s work squarely in line with the contemporary materialists. As we will see, this perhaps raises some issues about whether Johnston/Zizek can meet the requirements of a truly materialist ontology set out by Ray Brassier (via appropriations of Francois Laruelle and Quentin Meillassoux), but regardless, Johnston’s work presents a huge rejoinder to both naive cultural studies proponents of Zizek and overly simply critics of Zizek. Cutting through the myriad of pop culture references and political interventions, Johnston aims at the heart of Zizek’s philosophical project – a re-reading of German idealism (specifically, Kant, Schelling & Hegel) through Lacanian psychoanalysis.”

the accursed share: Zizek and Materialism.

Several points in the post are indebted to discussions here and here. Derrida’s notion of language play and the purported death of the transcendental signifier seems to have anchored narratology, as it is understood in cultural studies and many veins of literary studies, in the swamp of post-structuralism. Furthermore, the phenomenological and post-Kantian articulation of experience as existence can, as Ray Brassier indirectly argues, can be cons … Read More

via Naught Thought

Bir zamanlar Kıbrıs “Akdeniz’in ortasındaki batmaz uçak gemisi” diye anılırdı. İngiliz-Amerikan emperyalizmi ile Sovyet bloğunun tahtaravallisi, dünyanın en hassas çatışma/ denge noktalarından biriydi yeşil ada. Emperyalist güçlerin kendi oyunlarını Türkiye ve Yunanistan üzerinden kurdukları; o zamanlar iç içe yaşayan Rum ve Türk halklarını birbirlerine karşı kışkırtarak kanlı provokasyonlarla, Rum ve Türk faşist örgütlenmelerinin önayak olduğu katliamlarla, Akdeniz’deki üstünlüklerini ve de üslerini korudukları kritik bir bölgeydi.

Gençler bilmez, ortayaşlılar bile ayrıntıları hatırlamaz. Benim kuşağım “Kıbrıs Türktür, Türk kalacaktır” mitingleriyle, “Ya Taksim ya ölüm” sloganlarıyla “Kızıl Papaz Makarios” söylemiyle  yetişmiştir. Sonraları, yeşil adanın nasıl kana bulandığını, çözümsüz bir sorunlar yumağına nasıl dönüştürüldüğünü, yani Kıbrıs gerçeğini Kıbrıslı arkadaşlarımdan, yoldaşlarımdan dinledim. Yetinmedim kitaplar okudum. Kıbrıs’a birkaç kez gidip her iki kesimdeki insanlarla, siyasal akımların temsilcileriyle, sosyalistlerle, aydınlarla tanıştım. Kıbrıs konusunda ne kadar yanlış bilgilendirildiğimizi, gerçeklerin ne kadar çarpıtıldığını, orada ne büyük oyunlar döndüğünü kavradım. Başbakan Erdoğan’ın Kıbrıslılar hakkındaki talihsiz yorumları, konuyu yeniden hatırlattı; bildiklerimi, sezdiklerimi paylaşmak istedim.

Kıbrıs Nasıl Türkleştirildi?

Burada Kıbrıs tarihini etraflıca hatırlatacak ne yer, ne de benim Kıbrıs tarihi uzmanlığım var. Ancak yıllardır bizlere yutturulan “Kıbrıs Türktür ve milli davamızdır” propagandasının içyüzünü anlamadan olup bitenleri kavramak pek mümkün değil. Önce kısaca ifade etmek gerekirse, Kıbrıs Türk değildir, Türkleştirilmiştir. Adanın yerlisi Kıbrıslılar, ister Türk ister Rum olsunlar, kimliklerini her zaman Kıbrıslı olarak ifade etmişlerdir. Kıbrıs Türkü sözü bile çok daha sonraki dönemlerde çıkmıştır ortaya.

Milattan önce Fenikelilerden başlayıp Ege, Yunan, Asur, Pers medeniyetleri, sonra Bizans, daha sonra Lüzinyanlar, 1489’dan sonra Venedikliler, coğrafi konumu yüzünden başı dertten kurtulmayan Kıbrıs adasında hakimiyet kurdular, 1571’de Ada’nın yönetimi Osmanlılara geçti. Osmanlı fetih yoluyla elde ettiği topraklara Anadolu’dan 20 bin kadar Müslüman Türk nüfus yerleştirdi. 1878’de Ada İngilizler tarafından işgal edildi, Osmanlı, anlaşmayla Ada üzerindeki haklarından vazgeçti. Kıbrıs’ın bu statüsü 1923’te Lozan antlaşmasıyla da onaylandı. Türkiye Cumhuriyeti Ada üzerinde hak iddia etmediği gibi Kıbrıslı Türkler meselesi de gündeme getirilmedi. 1960 yılına kadar İngiliz sömürgesi olarak kalan Kıbrıs 1960 sonrasında bağımsız devlet oldu. Ama tabii ki, oldu da olamadı. ABD emperyalizmi ve NATO çerçevesinde İngiltere, Yunanistan ve Türkiye Ada’da garantör devlet ilan edildiler. Sonraki yıllarda ise Ada’nın Türklerle Rumların birarada yaşayacakları bağımsız ve bağlantısız bir ülke olmasının önüne geçmek için, bir yandan Emperyalist güçler, NATO; öte yandan Yunanistan’ın ve Türkiye’nin askercil, faşizan, milliyetçi çevreleri ellerinden geleni ardlarına koymadılar. En önemli silahları iki halkı birbirlerine düşürmekti. Yunanistan’a ilhakı (enosis’i) amaçlayan Rum EOKA ile, Türk Gladyosuyla aynı dönemlerde ve iç içe  kurulan Denktaş liderliğindeki Türk Mukavemet Teşkilatı (TMT) bu görevi silahlı, kanlı ve başarılı (!) biçimde gerçekleştirdiler. Cinayetler, toplu katliamlar, nice faili meçhuller yaşandı. Çok kaba fırça darbeleriyle çizmeye çalıştığım tabloyu tamamlamak için, 1960- 70’lerde Ada’da güçlü bir solun varlığını ve Kıbrıs Komünist Partisi AKEL’in Türk ve Rum üyeleriyle Ada’nın bağımsızlığı ve bağlantısızlığını savunarak, neredeyse seçim kazanacak güce ulaştığını da söylemek gerek.

1974’te faşist Sampson’un; Kıbrıs Cumhuriyeti’nin başkanı Makarios’u bağlantısızlara yaklaşması ve AKEL’le yakınlaşması nedeniyle darbeyle devirmesi üzerine, Ecevit hükümeti garantörlük statüsüne dayanarak 1974 Temmuzu’nda Ada’ya askeri müdahalede bulundu. Türkiye’nin müdahalesi sonucunda faşist Sampson’la birlikte Yunanistan’daki faşist Albaylar Cuntası da devrildi. EOKA’cı Rumların giderek artan saldırılarına maruz kalan Kıbrıs Türklerini koruma gerekçesiyle geçekleştirilen bu müdahaleden sonra, Türk ordusu gerekli önlemler ve anlaşmalar sağlanarak geri çekileceğine hemen ardından ikinci müdahale geldi ve Ada’ya yerleşen Türkiye, uluslararası hukuka ve Birleşmiş Milletler’e göre “işgalci devlet” olarak bölünmüş, parçalanmış Kıbrıs’ta varlığını bugüne kadar sürdürdü.

1974 Kıbrıs harekatının ardından Kıbrıs’a Türkiye’nin dört bir yanından nüfus aktarıldı ve gelenlere ayrıcalıklar sağlandı. Güney’e çekilen Rumlardan boşalan mülklere Türkiye’den gelenler el koydu. Asker-sivil erkân; evler, villalar, arsalar, bahçeler edindi. 1974’te Kıbrıs Türklerinin toplam nüfusu 150 bin kadarken, bunların özellikle üst gelir gruplarından 40 bini aşkını Türk ordusunun adaya yerleşmesinden sonra Kıbrıs’dan ayrıldı, çoğu İngiltere’ye göç etti. “Beyaz Kıbrıslı”ların kendilerini her zaman İngiltere’ye daha yakın hissettiklerini, Adalı Türklerin Türkiye’ye hiçbir zaman özel bir yakınlık duymadıklarını da burada belirtmekte yarar var. Türkiye’den başka bir ülkenin resmen tanımadığı Kuzey Kıbrıs Türk Cumhuriyeti’nin nüfusu, 2006 yılı resmi verilerine göre 245 bin civarındaydı. Kıbrıslıların ifadelerine göre,Türkiye’den özellikle de son on beş yılda gelenlerin önemli bölümü resmi kayıtlarda yer almadığından, Kuzey Kıbrıs’ın nüfusu halen 300 bini aşmış durumda. Kıbrıslı genç nüfusun Ada’dan ayrılma ve Avrupa ülkelerine göç süreci devam ettiğinden, yapılan hesaplara göre, şu andaki nüfusun üçte ikisinden fazlası, 1974’ten sonra çeşitli dalgalar halinde Ada’ya gelip yerleşen Türkiyelilerden ve onların çocuklarından oluşuyor. Özetle 1974’ten sonra, Kuzey Kıbrıs’ı Türkleştirme politikası başarıya ulaşmış görünüyor.

Çözümsüzlüğü Yaratan Zihniyet

Türk derin devletinin Kıbrıs stratejisini çözümsüzlük üzerine kurduğu; Kıbrıs’ta çözümü engellemek için sadece politik oyunlarla yetinmeyip daha 1950 ortalarından itibaren, zaman zaman kanlı eylemlere, manipülasyonlara, provokasyonlara başvurduğu, konuyu yakından izleyenler için bilinmedik şeyler değil. Denktaş’ta temsilcisini bulan zihniyeti ve ardındaki örgütlenmeyi devletin darbeci, vesayetçi, statükocu geleneğinden ayrı düşünmek mümkün olmadığı gibi, derin devletten ve onun Gladyo, Özel Harp Dairesi, vb aygıtlarından ayırmak da mümkün değildir. Kişiler, yöntemler, kurumlar iç içe geçmiştir. Binlercesi arasından sadece bir örnek: Halen Ergenekon davalarından tutuklu Türk Metal Sendikası Başkanı Mustafa Özbek’in Kıbrıs’ta kendi adını taşıyan sözde eğitim tesislerinden Abdullan Çatlı başta olmak üzere kimlerin geçtiği, Kuzey Kıbrıs kumarhanelerinde kimlerin neler döndürdüğü, faili meçhullerin izlerinin kimlere uzandığı Susurluk raporlarından  Kıbrıs’da bulunmuş emekli paşaların hatıratlarına, akademik çalışmalardan gazete haberlerine, çeşitli belge ve kaynaklarda yer alıyor.

Denktaş’ın Kıbrıs’ı AB’ye Türk ve Rum kesimleriyle bir bütün olarak sokacak Annan planını sabote etmek için yıllar boyunca verdiği uğraş; görüşmeleri kimi zaman katılmayarak, kimi zaman hastalanarak (!), katıldığında da uzlaşmaz tavırlarla baltalaması; hem Ada’nın hem de Türkiye’nin AB’ye giriş sürecini tıkamak için elinden geleni ardına koymaması ilgilenenlerin hafızalarındadır. Referandumlar öncesinde, Annan planının her iki tarafça kabulüne çok yaklaşıldığı bir dönemde, yine hastalık bahanesiyle ortadan yok olan Denktaş’ı temsilen yurtdışına giden Kıbrıs konusundaki baş danışmanı Mümtaz Soysal’ın havaalanında söylediği “imzalamamaya gidiyorum” sözünü unutmak da mümkün değildir. Dönemin Cumhurbaşkanı A.Necdet Sezer’in, Denktaş’ın yerine seçilen yeni Kıbrıs Cumhurbaşkanı Mehmet Ali Talat’a aylarca randevu vermezken, aynı günlerde Denktaş’ı kırmızı halılar sererek Köşk’te kabul etmesinin neyin mesajı olduğu da herkesin malumudur. T.C. devletinin hiç iyi gözle bakmadığı Annan planına onay, Kıbrıs’ta statükonun sarsılması ve AB yanlısı eğilimler derin devlet tarafından kuşkuyla izlenmiş, başarısızlığı için elden gelen arkaya konmamış; o sıralarda sorunun çözümünden yana görünen AKP, başta CHP ve askeri kanat olmak üzere bütün “ulusalcı” güçler tarafından Kıbrıs’ı satmakla, Türkiye’nin bölgedeki çıkarlarını sarsmakla, hatta ihanetle suçlanmıştır.

Eğer Ergenekon veya adı her neyse Türk Gladyosu’nu ortaya çıkarmaya ve defterini dürmeye gerçekten niyet edilmiş olsaydı, o davanın Kıbrıs’a uzanması kaçınılmazdı. Nitekim bir ara gündeme gelen ve Denktaş’ı telaşlandıran böyle bir söylenti veya niyet, hemen ört bas edilmiştir. Özetle Kıbrıs, Türk derin devletinin ve onun operasyonel aygıtlarının en önemli merkez üslerindendir.

Kıbrıslılar artık vesayet istemiyor

Başbakan Tayyip Erdoğan’ın; bunca yıldır her türlü çirkin politikaya ve kanlı oyunlara alet edilmeye çalışılmış, önleri kesilmiş, yoksullaştırılmış çilekeş Kıbrıs Türk kesimi halkına reva gördüğü muamele, kullandığı dil, aşağılayıcı söylem, -onun sık sık kullandığı tabirle- kimse kusura bakmasın ama çok talihsiz, ayıp ve haksızdır. O insanları bu hale düşüren Türk devletinin bizzat kendisidir. Oraya yüzbinlerce Türkiyeliyi yığarak, bunu neo-kolonizatör bir devlet politikası haline getirerek, Kuzeydeki Rum mülklerini Türkiyeli bürokratlara, yüksek rütbelilere veya gizli görevlerdeki üst düzey zevata peşkes çekerek, 30 bini aşkın ordu mensubunu ve bir o kadar da çeşitli gizli teşkilat mensubunu besleyerek, Kıbrıslılara işgal ülkesinin yerli halkı veya kapıkulu muamelesi yaparak, en önemlisi de Türk kesimini dünyadan izole ederek, bugünkü çıkmazı ve tepkileri devlet  yaratmıştır.

Kendilerini Adalı olarak tanımlayan gerçek Kıbrıslı Türkler, kurtarıcı Türkiye’nin kalıcı işgalciye dönüşmesine her zaman karşı çıkmışlardır. Türkiye’den getirilip Ada’ya yerleştirilen nüfusun özellikle ikinci kuşağı umut ettiği özgür, bağımsız ve müreffeh ülkeye kavuşamamış, tek çıkış yolu gördükleri AB’ye katılım umutları da giderek sönmüş, mağduriyet ve kandırılmışlık duygusu giderek artmıştır. Kendi varlığını tehdit eden ordu içindeki vesayetçi, darbeci odaklara karşı siyasi irade koyabilen AKP’nin ve Erdoğan’ın yıllardır iktidarda olduğu düşünülürse, Başbakan’ın “çıkmazı ben yaratmadım” deme hakkı da artık kalmamıştır. Başka halkları, örneğin Mısır halkını ekmek ve özgürlük mücadelesinde cesaretlendirirken kendisine yönelen her türlü özgürlük talebine ve eleştiriye karşı kırmızı görmüş boğa tepkisi veren Erdoğan, Kıbrıs Türk kesiminden yükselen sesleri yanlış değerlendirmekle kalmamış, sözde bağımsız KKTC yönetimine, göstericileri sindirme ve koğuşturma telkininde de bulunmuştur.

Buradaki en vahim yanılgı, Kıbrıs halkının Türkiye’nin uydusu ve beslemesi değil bağımsız Kıbrıslı olma, işgali ve vesayeti reddetme taleplerini, kimilerinin son derece saygısızca ifade ettikleri “mamaları kesildi de ondan tepki veriyorlar” şeklinde okumaktır. Hem Erdoğan’ın hem de AKP’nin diğer sözcülerinin vurguyla telaffuz ettikleri “çirkin” sözcüğü, Kıbrıslıların haklı demokratik tepkilerine değil, derin devletin geleneksel Kıbrıs politikasına ve bu politikaya teslim olan AKP’nin Kıbrıs sorununa bakışına daha fazla yakışmaktadır.

Bu köşede sık sık dile getirmeye çalıştığım gibi, ilk reformcu adım ve atılımların hemen ardından AKP ve Erdoğan kendi sınıfsal- ideolojik zihniyet dünyalarının sınırlarına toslamış görünmektedirler. Fetihçi özlemlerin ve derinlerdeki İslamcı- milliyetçi güdülerin Başbakan’ın kişiliği ve üslubuyla birleşmesiyle çizilen bu sınırlar Kıbrıs düğümünü çözmekten uzak olduğu kadar, hem Kıbrıs hem de Türkiye için AB hedefinden de bir o kadar uzaktır.

Oya Baydar
09.02.2011
T24.com.tr

"Communique #4 The End of the World The A.O.A.* declares itself officially bored with the End of the World. The canonical version has been used since 1945 to keep us cowering in fear of Mutual Assured Destruction & in snivelling servitude to our super-hero politicians (the only ones capable of handling deadly Green Kryptonite)… What does it mean that we have invented a way to destroy all life on Earth? Nothing much. We have dreamed this as … Read More

via The Necromancer

Zimmermann, 'Basic Concepts of Transcendental Materialism' [Updated] Yet another great recording from Backdoor Broadcasting Company – this time from Rainer E. Zimmermann on transcendental materialism. Blurb from Kingston University: Rainer Zimmermann is a philosopher, mathematician and physicist who currently holds the chair of professor of philosophy at the University of Applied Sciences in Munich and whose general line of research, developed in copious publications including around twenty books, focuses on the a … Read More

via Speculative Heresy

Speculative Humbug isn't dead! I've been terribly distracted recently but I've finally decided to make time to write something new for the blog and this is it.  Hope you find it interesting.  Comments – especially critical ones – are very welcome! To kick things off again, I wanted to write on something that Pete Wolfendale got me thinking about in a conversation we had today, namely the specifically human context of the emergence of novelty in B … Read More

via Speculative Humbug

giphy (2) 

The Immortal Subject Beyond The Life Drive

In our daily lives we create little worlds of our own and invest them with various meanings. These worlds have their own logics, orders repetitively staged every day; this gives us a sense of continuity in time and hence a sense of security. Objects and subjects surrounding us, everything fits in its proper place in this microcosmic self-consciousness of ours.

The thought of being a tiny spot in the middle of nowhere, however, or somewhere in the vast universe is too unbearable to be thought through for many people because it reminds us of death. If one thinks this thought for too long all meaning collapses and life falls apart, the established symbolic order of object relations become disorganized. This is when the journey of the subject towards nothingness begins. If the subject manages to maintain integrity throughout the passage from self-consciousness to an impersonal consciousness reconciliation of self with life and the world takes place. With the advance of this macrocosmic impersonal consciousness in time everything symbolic loses meaning and credibility only to lead to an opening up of a space for the emergence of a new meaning. The new is not independent from the old. But is that which had hitherto been unseen, unrealised, unthought as a new possibility of a progressive movement.

Authentic fidelity is the fidelity to the void itself—to the very act of loss, of abandoning or erasing the object. Why should the dead be the object of attachment in the first place? The name for this fidelity is death drive. In the terms of dealing with the dead, one should, perhaps, against the work of mourning as well as against the melancholic attachment to the dead who return as ghosts, assert the Christian motto “let the dead bury their dead.” The obvious reproach to this motto is, What are we to do when, precisely, the dead do not accept to stay dead, but continue to live in us, haunting us by their spectral presence? One is tempted here to claim that the most radical dimension of the Freudian death drive provides the key to how we are to read the Christian “let the dead bury their dead”: what death drive tries to obliterate is not the biological life but the very afterlife—it endeavours to kill the lost object the second time, not in the sense of mourning (accepting the loss through symbolization) but in a more radical sense of obliterating the very symbolic texture, the letter in which the spirit of the dead survives.[1]

So, neither the work of mourning nor melancholia are progressive. It is the work of death drive to kill death, to cause a loss of loss, to destroy the symbolic texture causing death to take place; death drive is the only weapon against death in life. Rather than symbolizing and then accepting death, the subject as death drive contemplates death as nothingness and fills the space of death within the symbolic with nothing. Zizek points out that there is a great difference between willing nothing and willing nothingness.

What we are implicitly referring to here is, of course, Nietzsche’s classic opposition between ‘wanting nothing’ (in the sense of ‘I don’t want anything’) and the nihilistic stance of actively wanting Nothingness itself; following Nietzsche’s path, Lacan emphasized how in anorexia, the subject does not simply ‘eat nothing’ – rather, she or he actively wants to eat the Nothingness (the Void) that is itself the ultimate object-cause of desire. (The same goes for Ernst Kris’s famous patient who felt guilty of theft, although he did not actually steal anything: what he did steal, again, was the Nothingness itself.) So – along the same lines, in the case of caffeine-free diet Coke, we drink the Nothingness itself, the pure semblance of a property that is in effect merely an envelope of a void.[2]

The object that takes the place of the Real is what Lacan calls the objet petit a. The objet petit a is that which the master-signifier causes to be signified. There is nothing to signify the objet petit a, it is that signifier itself. The master-signifier signifies the objet petit a as its own signifier. Without the objet petit a the nothingness behind the master-signifier would become manifest. Master signifier generates signs that signify their own autonomous existence. That is, they hide the latent content of the master-signifier which is nothingness.  By manufacturing the illusion of its own non-being the master-signifier signifies itself as the transcendental signified. It does this through signifying the objet petit a as the transcendental sign, (signifier and signified at once). The sublime object which stands in for nothingness behind it is the object of desire of masses who fantasize that they are drinking something good, when in reality they are drinking the void and their own life/death.

One simply cannot conceal from oneself what all the willing that has received its direction from the ascetic ideal actually expresses: this hatred of the human, still more of the animal, still more of the material, this abhorrence of the senses, of reason itself, this fear of happiness and of beauty, this longing away from all appearance, change, becoming, death, wish, longing itself—all of this means—let us grasp this—a will to nothingness, an aversion to life, a rebellion against the most fundamental presuppositions of life; but it is and remains a will!… And, to say again at the end what I said at the beginning: man would much rather will nothingness than not will… [3]

In The Fragile Absolute, Slavoj Zizek gives the example of Diet-Coke as a symptom of will to nothingness inherent in contemporary society.

So, when, some years ago, the advertising slogan for Coke was ‘Coke is it!’, we should note its thorough ambiguity: ‘that’s it’ precisely in so far as that’s never actually it, precisely in so far as every satisfaction opens up a gap of ‘I want more!’. The paradox, therefore, is that Coke is not an ordinary commodity whereby its-use value is transubstantiated into an expression of (or supplemented with) the auratic dimension of pure (exchange) Value, but a commodity whose very peculiar use-value is itself already a direct embodiment of the suprasensible aura of the ineffable spiritual surplus, a commodity whose very material properties are already those of a commodity. This process is brought to its conclusion in the case of caffeine-free diet Coke – why? We drink Coke – or any drink – for two reasons: for its thirst-quenching or nutritional value, and for its taste. In the case of caffeine-free diet Coke, nutritional value is suspended and the caffeine, as the key ingredient of its taste, is also taken away – all that remains is a pure semblance, an artificial promise of a substance which never materialized. Is it not true that in this sense, in the case of caffeine-free diet Coke, we almost literally ‘drink nothing in the guise of something’?[4]

By drinking Diet-Coke, the subject, rather than being really healthy, is being merely less ill, since Diet or not, Coke is itself unhealthy.  Coke as we know it is miles away from its medicinal uses for which it was invented in the first place. The measure of health is not Coke without caffeine and sugar. So the Diet-Coke cannot be a sign of healthy living. Worse than being unhealthy, it is death disguised as an object of desire, that object of desire being healthy living. So we can see the process through which the Real of the subject’s desire, which is the death-drive, is turned into desire for healthy living. As the subject thinks he/she is moving towards greater health, he/she is in reality moving towards death. We have to be clear about where exactly the life-drive and the death-drive become separated from themselves and hence their roles are reversed, turning them into their opposites. It is precisely at this point of separation- unification of the life-drive and the death-drive that the conflict-event takes the place of the place itself.

This place is a playground on which this conflict-event between the life-drive and the death-drive is played out as a confrontation between the therapeutic society and critical theory. If the aim of psychotherapy is to adapt the subject to the environment, then it is by definition a normalizing practice. But asks critical theory, what is the definition of health? On which grounds are we talking about health? What are the values that make health? All these questions may lead down to the big question of ontology: “What is the meaning of life?” There is no meaning of life. It is my actions and words that invest my life with a particular meaning. What determines the meaning of objects surrounding me is the use I put them into. In this context, progress in therapeutic procedure is signified by an increase in the subject’s ability to use the objects surrounding him/her.

But critical theory says: you are confusing use-value and exchange-value. You are forgetting the need to remember that in your world the exchange-value preceeds the use-value. You are always already born into the world of objects with their values attached to them, how can you say that you are healing these people by telling lies to them concerning the cause of their desire and the Real of the objects they choose to put to use. Isn’t their choice already determined by the pre-dominant symbolic order?[5]

Critical theory agrees with psychotherapy that it is the use value of the object that is important. But what critical theory wants to say is that what psychotherapy presents the subject with, as the use-value, is already the exchange-value, so psychotherapy is presenting the subject with death disguised as life. It is there that there has been a shift in the gears, where Nietzsche conceived of himself as the stage of confrontation between Christ and Dionysus, as the conflict-event that shifted the gears at a certain moment in history. At this precise moment in time negation and affirmation change roles for the very reason that negating the symbolic order becomes the same as affirming the Real. One creates a fantasy which negates the symbolic and affirms the Real as it is, that is, with all its inconsistencies, internal conflicts, imperfections, and incompleteness. Something in the symbolic order is caused to fail by these interventions of the affirmative subject. Here a question awaits us: Does that mean that for creation to take place destruction is necessary? The answer to this question is a yes and a no at the same time. Because destruction causes a split in the order and yet this split’s consequence depends on the future of the response to it. Destruction is not essential to creation but is an inescapable result of it. [6]  So there may or may not be cases where there is something in the process of being created without anything being destroyed. For when one thinks about it, creation is not a subtraction from nature, but quite the contrary, an addition to it. For subtraction to become creative it should be a subtraction from culture, that is, from knowledge, or from the already existing symbolic order. Badiou’s subtraction opens a void within the already existing symbolic order and through this void a new truth flows. It is only in so far as the mortal human animal chooses fidelity to this truth-event that it becomes a subject, that is, an immortal indifferent to death.

André Kertész     Window, paris     1928

The Immortal Subject Beyond The Death Drive

The creature called human can cease being a passive non-being and become an active being only insofar as it produces love against the negative power of the already existing capitalist law. As we all know, the laws’ negative impositions give birth to the vicious cycle of the life and death drives, which is in turn exploited in the way of more money.

With the domination of nihilist global capitalism all over the world social life has become a masquerade. The silence diminishes and noise pollutes the lives of all. This noise is what Nietzsche calls “the noise of the marketplace.” The subject neither questions its being in itself nor its being for itself. The system provides the subject with innumerable facilities to keep boredom at bay so as to sustain the conditions for the possibility of the non-being of thought to take place. The subject simply does not feel the need to think and in time the subject loses the ability not only to think but also to act consciously. It all becomes an empty and meaningless spectacle to live. Every subject takes on a role, or an identity in accordance with the demands of the show business and hides behind this role turning into a solipsistic monad acting itself out in the way of satisfying the big Other. Just like Judge Schreber who had to endure inordinate measures of suffering to satisfy the demands of those cruel gods he populated himself with… And Schreber, satisfied as he was with the mere pleasure of sharing the high profile mission of satisfying cruel and invisible gods, becomes a madman when in fact he was a woman enduring privation.[7]

In the banality of ordinary social reality the subject forgets to think of its death as its own. Absence of the thought of death brings with it the presence of the thought of being, which means that the subject has lost his/her sense of self/other distinction, and is governed by his/her unconscious drives. This leads to the subject’s ignorance of an external world, or perhaps an unintentional neglect of an external reality other than the one it imagines, for it has itself become exterior to itself.

When death is thought about, this thought never takes place in terms of the death of the self. It is always through the death of the other that the subject thinks of death. It is always a “they” who die. Death is conceived as a symbolic incident. The reason of that reductive attitude towards death is the will to preserve the banality of ordinary reality and sustain the conditions for the possibility of an illusory sense of oneness with the world. All this, of course, is done to keep the Real of the external world at bay.

Global capitalism produces subjects who cannot stand the thought of the outside; they cannot conceive the absence of an external world within them. The fear of death is so strong that with the force of its negativity it totally negates death in life, erases the slash in life/death, and vainly erects statues to attain immortality.

It is a strange subject, however, with no fixed identity, wandering about over the body without organs, but always remaining peripheral to the desiring-machines, being defined by the share of the product it takes for itself, garnering here, there, and everywhere a reward in the form of a becoming an avatar, being born of the states that it consumes and being reborn with each new state. “It’s me, and so it’s mine…” Even suffering, as Marx says, is a form of self-enjoyment.[8]

Today the purpose of life has become keeping the subject busy for the sake of the business of not thinking death. The subject is bombarded by objects of introjection to such extent that it has no time for feeling anxious about its own death. The objects form a transparent sheet between the subject and its death. As inorganic substances the objects fill the space of death within life. What we witness in this time is life turned into a project aiming at erasing the silence necessary for thought; and not only erasing but also replacing it with an unceasing noise causing nausea.

The infinite, then, is within finitude, so in order to think the infinite we have to think the finite, that is, the thought of death. Although the thought of death has a high price which the subject pays by a loss of mental and physical health, it is nevertheless useful in opening up the way to limit experiences. The death drive devastates the predominant conceptualisations of the “good” of civilized progress and the “bad” of barbaric regress. The subject of the death drive situates itself as the traitor on the opposite pole of belief and faith in immortality. In the place of statues representing immortality, it erects nothing. That way it confronts the promised land of total security and harmony with a world governed by the anxiety of the feeling of being surrounded by nothingness. In this world there remains no ground beneath the symbolic order. Death is in the midst of life; it is life that surrounds death.

How would our lives change if we were to become capable of imagining ourselves as immortal beings? If we keep in mind that we are always already locked within the vicious cycle of the life and death drives governed by the law of capital, it becomes easier to understand why we need to break this vicious cycle of Capitalism and its governor, liberal-democracy, based on unjust representations, in order to create, produce or present the realm of love beyond the rotary motion of drives. But it must also be kept in mind that when we say beyond, we are talking about a beyond which is always already within the pre-dominant symbolic order and yet not within the reach of mortal beings. It is a beyond only from the perspective of the present state. In our scenario, immortality is not something to be attained, rather, it is a virtual potential or an actual capacity within every mortal being, awaiting to be realised. The realisation of the immortality within us, or the realisation of the infinite potential that life contains, depends on our proper use of our powers of imagination. Let us imagine ourselves as immortal beings then, which we already are, but cannot enact because of the finitude imposed upon us by the already existing symbolic order. Would we need to get out of this order to become immortal? Yes and no. Yes, because the within which we said infinity resides is a within which is exterior only from the point of view of the already existing order. No, because only from within the already existing order can we present an outside of this order, “an outside” in Deleuze’s words apropos of Foucault and Blanchot, “which is closer than any interiority and further away than any exteriority.”

 In his Theoretical Writings Alain Badiou attempts to separate himself from the Romantic understanding of infinity, and the pursuit of immortality. According to Badiou, contemporary mathematics broke with the Romantic idea of infinity by dissolving the Romantic concept of finitude. For Badiou, as it is for mathematics, the infinite is nothing but indifferent multiplicity, whereas for the Romantics it was nothing more than a “historical envelopment of finitude.” Behind all this, of course, is Badiou’s strong opposition to historicism and temporalization of the concept. It is in this context that Badiou can say, “Romantic philosophy localizes the infinite in the temporalization of the concept as a historical envelopment of finitude.”[9]

Mathematics now treats the finite as a special case whose concept is derived from that of the infinite. The infinite is no longer that sacred exception co-ordinating an excess over the finite, or a negation, a sublation of finitude. For contemporary mathematics, it is the infinite that admits of a simple, positive definition, since it represents the ordinary form of multiplicities, while it is the finite that is deduced from the infinite by means of negation or limitation. If one places philosophy under the condition such a mathematics, it becomes impossible to maintain the discourse of the pathos of finitude. ‘We’ are infinite, like every multiple-situation, and the finite is a lacunal abstraction. Death itself merely inscribes us within the natural form of infinite being-multiple, that of the limit ordinal, which punctuates the recapitulation of our infinity in a pure, external ‘dying.’[10]

The political implications of the move from Romantic infinity to mathematical infinity can be observed in Badiou’s Ethics: An Essay on the Understanding of Evil. In this little book Badiou criticizes the hypocrisy of human rights for reducing being-human to being a mortal animal. Of course Badiou admits that what is called human is indeed a mortal animal, but what he objects to is the exploitation of this state of being. Against this deprecative attitude, Badiou pits the immortal subject, or rather, the subject who is capable of realising his/her immortality.[11]

Badiou says that “being is inconsistent multiplicity.” As an advocate of immanence, unlike Heidegger, he doesn’t think that there is an ontological difference between Being and beings. As a matter of fact, he altogether refuses that there is such a thing as Being transcending the multiple beings, or beings as inconsistent multiplicities. To understand where Badiou is coming from we only need to look at his critique of Heidegger’s equation of being in the world and being towards death. For Badiou there is no such thing as being in the world, because for him there is not one world but multiple worlds and consequently being in the world as being towards death is a rather impoverished idea doomed to result in the mistaken assumption that consciousness of human finitude is self-consciousness. And I agree with Badiou that consciousness of human finitude merely serves to justify a life driven by death.

 I therefore propose a consciousness of infinitude rather than of finitude for a sustenance of the conditions of possibility for an ethical life and for an ethical death. For when you think about it, if we were immortal, that is, if our lives were eternal, we wouldn’t be so destructive of the environment, not so harsh on nature and one another, because no one would want to live in such a hell eternally. Since it is obvious that as humans we have been turning the world into a hell in the name of progress for a while now, and since death has been the end from which we have come to think we have been striving to escape in this progressive process, it is obvious that a forgetting of death, or rather, a remembering to forget our mortality would make us fear an eternal life in hell, rather than a finite life in an illusory heaven.

If we keep in mind that the global capitalist system, as we have tried to explicate, takes its governing force from its exploitation of life and death drives, that it is based on our fear of death and consciousness of finitude, it becomes clearer why a subtraction of death from life not only shakes, but also annihilates the foundations of capitalism.

To What End Last Words? To What End Suffering…

Throughout this article I have tried to develop a mode of critique in and through which nothing is excluded and/or determined. This reflective mode of critique itself enabled me to situate myself in the middle of the reflective and the determinative modes of judgment. The critical mode employed in this article is still context-bound to a certain extent, and yet it tries to restrictively dissociate itself from the predetermined context, rather than freely associate within it. A new field is opened, the conditions are created for the possibility of a decision beyond the Law of Militarist Capitalism and the Welfare State driven by and driving the exploitation of mortality on a massive scale.

There is this transcendental field that requires a non-mortal mode of being in the world, neither for nor against it, but engagingly indifferent to it in such a way as to turn its own alienation from mortality into its driving force in its attempt to demolish the faculty of finite judgment and create the conditions of possibility out of the conditions of impossibility for an infinite judgment to take place beyond the subject/object of a Law that is mortal, all too mortal.

A truth comes into being through those subjects who maintain a resilient fidelity to the consequences of an event that took place in a situation but not of it. Fidelity, the commitment to truth, amounts to something like a disinterested enthusiasm, absorption in a compelling task or cause, a sense of elation, of being caught up in something that transcends all petty, private or material concerns.[12]

The immortal subject within and without the pre-dominant symbolic order is not only the cause, but also the effect of its own alienation from mortal life. This regulatory idea of immortality, which is also a constitutive illusion, is inspired by the post-structuralist theme of becoming non-identical as we see in Deleuze and Derrida. If one could become non-identical, why would one not also become non-mortal? If one could become alienated from one’s identity, why would one not also become alienated from one’s mortality?  Why not become immortal so as to become capable of criticizing the exploitations of this mortal, all too mortal life? But what motivated me to take immortality as a virtual mode of being was Badiou’s theory of infinity which aimed at secularizing the concept of truth. Badiou’s technique of secularizing the truth is inspired by the 19th century mathematician Georg Cantor’s technique of secularizing the infinite. As Badiou claims, the secularization of infinity started with Cantor who stated that there was not one, but many infinities varying in size and intensity. From then onwards it became possible to link Deleuze’s concepts of impersonal consciousness and transcendental empiricism with Badiou’s theory of infinity and Kant’s assertion that for reflective judgement to take place and turn the object into a subject a transcendental ground is necessary.  Now I can say that for me a transcendental ground is necessary only to the extent that it enables the subject to shake the foundation of its own mode of being and opens a field for immanent critique to take place. In other words, the untimely indifference of immortality is required in order to actively engage in an exposition of the exploitation of mortality in this time.

I don’t know if it is worth mentioning that in this time we are all slaves and yet some slaves dominate the others. Where time goes no one knows. There are necessary illusions in this life, some for life, some not. Both the extreme belief in civilized progress and barbaric regress are good for nothing. These two are now in the process of being left behind. A third possibility of developmental process is emerging in the form of a becoming-reconciled which is based on the recognition of the otherness of the other as it is, that is, prior to the additions and the subtractions imposed upon the self and the other, nature and culture, life and death. For a non-normative and progressive work it is necessary for the participants to become capable of making distinctions between their natures and cultures, their cliniques and critiques. It is a matter of realizing that theory and practice are always already reconciled and yet the only way to actualise this reconciliation passes through carrying it out and across by introducing a split between the subject of statement (the enunciated) and the subject of enunciation.

It is indeed true that sometimes it takes a long journey to get there, where one eventually got to, and realise that one is other than one thinks itself to be. Apparently the numbers indeed start with zero and continue with two, but it takes time to realise this actuality and become capable of actualising this reality. Perhaps we should indeed know that absolute reconciliation is impossible and yet still strive to reconcile ourselves as much as we can to all the living and the dead.

Memory Void-Fallen Leaves By Yellowbagman

lawgiverz posted this


[1] Slavoj Zizek, Organs Without Bodies (London: Routledge, 2004), 13

[2] Slavoj Zizek, The Fragile Absolute (London: Verso, 2000), 23

[3] Friedrich Nietzsche, On The Genealogy of Morality, transl. Maudemarie Clark and Alan J. Swensen (Indianapolis: Hackett, 1998), 118

[4] Zizek, The Fragile Absolute, 22

[5] Marcuse, Herbert. One-Dimensional Man: Studies in Advanced Industrial Society (Boston: Beacon Press, 1964)

[6] Alain Badiou, InfiniteThought, trans. and ed. Oliver Feltham and Justin Clemens (London: Continuum, 2005), 132

[7] Sigmund Freud, Psycho-analytic Notes On An Autobiogrophical Account Of A Case Of Paranoia (Dementia Paranoids), trans. Strachey J. (London: Hogarth Press, 1986)

[8] Deleuze and Guattari, Anti-Oedipus: Capitalism and Schizophrenia I, trans. Robert Hurley, Mark Seem, and Helen R. Lane (New York: The Viking Press, 1977), 16

[9] Alain Badiou, Theoretical Writings, trans. Ray Brassier and Alberto Toscano, (London: Continuum, 2006), 38

[10] Badiou, 38

[11] Alain Badiou, Ethics: An Essay on the Understanding of Evil, trans. Peter Hallward (London: Verso, 2001), 41

[12] Peter Hallward, “Introduction” in Alain Badiou, Ethics (London: Verso, 2002), x

 

Here is Dark Chemistry’s rather generous and no less rigorous reading of my doctoral dissertation The Life Death Drives…

“Myth is the hidden part of every story, the buried part, the region that is still unexplored because there are as yet no words to enable us to get there.”
      – Italo Calvino

“We shall defend the complications of our theory so long as we find that they meet the results of observation, and we shall not abandon our expectations of being led in the end by those very complications to the discovery of a state of affairs which, while simple in itself, can account for all the complications of reality.”
     – Sigmund Freud

“Visibility is a trap.”
     – Michael Foucault

Read More

There is something fitting about the fact that this post is being written in an internet cafe (a couple of hours before I hit the cinema), with a sense of urgency which – although I've always viewed it as essential to my project here – has thus far been absent from the plodding style of my first few posts. In fact, one of the reasons I started this blog was because few people interested in speculative realism were trying to develop a consistent t … Read More

via Psychoanalysis and Speculative Realism

View this document on Scribd

Gallagher's translations of a number of Lacans unpublished seminars can be found for free here. Enjoy! … Read More

via Larval Subjects .

Via the Irish Left Review, here's audio from their 2009 event on the above topic. … Read More

via PHILOSOPHY IN A TIME OF ERROR

According to Melanie Klein we all oscillate between the paranoid-schizoid position and the depressive position throughout our lives. This means that none is normal since the world is a place in which all kinds of abnormalities take place all the time and nobody can be a normal person independently of all these abnormalities. One may choose withdrawal and indifference in a Stoic fashion, but who can claim that this is normal? The only thing that is normal is that nothing is normal.

Klein used the word ‘position’ as she was creating her concepts to designate moods which one finds oneself in throughout life. It is necessary to underline the word ‘position’ because the word ‘position’ is especially chosen to signify psychic conditions rather than stages of a linear course of development. The paranoid-schizoid position and the depressive position are complementary situations  of the subject in a non-linear course of development which attaches to the death drive, as much important a role as it does to the life drive in the course of development. It is obvious that for Klein the relationship between regress and progress is not in the form of a symmetrical binary opposition.[1]

If we keep in mind that creativity means creating a meaning out of the meaningless chaos we can see how Klein’s theory can be used in the service of a critical theory aiming at destroying the static unities and recreating non-static formations. Influenced by Klein, Wilfred Bion developed a theory of thinking concentrating on what Keats called negative capability. Negative capability is the ability to remain intact in the face of not-knowing throughout the thinking process. While Klein emphasized the negative aspects of the paranoid-schizoid position and gave a more important role to the depressive position in the developmental process, Bion argued that fragmentation of previous theories is as important as the reintegration process for the emergence of new thought. For Bion the subject’s oscillation between the paranoid-schizoid position(splitting) and the depressive position(synthesizing) is necessary for a healthy creative process to take place giving birth to new thought.[2]

Counter to the reparative and reconciliatory tendencies towards reconstructing the pre-dominant symbolic order, the poststructuralist subject of the death drive aims at explicating the problems inherent in the structure of the existing symbolic order. It is a response to the loss of an imagined future and involves a negation of the existing order which is based on negation and in which the subject finds/loses itself. The subject as the death drive is simultaneously the effect and the cause of splitting. The subject as the death drive occupies the other pole of faith. Its domain begins where belief ends. Its domain is a realm where silence and non-being confront the daily banalities of symbolic societies. In this realm nothingness and substance confront each other.

As the subject’s intensity of self-consciousness increases, so does its pain and anxiety in the face of death. This causes hopelessness and despair which may or may not lead to a total devastation of the project of inverting and putting into the spotlight the nothingness at the centre of the subject. Heidegger repeatedly puts all this down in Being and Time when he says that “being-towards-death is angst.” One cure for expelling anxiety has been to believe in god, any other metaphysical construct, or in some cases it has even taken the form of a materialist system of thought; in all these cases, however, an escape is seen as a solution when in fact it is the problem itself. For our concerns, an escapist attitude, and especially one that tries to go beyond the physical, does not work at all, for what we are looking for is a way of learning to make use of the reality of the death drive as an interior exteriority constitutive of the subject as a creative agent. 

The self-conscious subject questions itself. With the thought of death the subject gets in touch with the death drive and pushes itself further towards the periphery of the symbolic order and becomes its own persecutor in the service of a critique of the status quo. The subject of the death drive shakes the foundations upon which is built its own mode of being. Its mode of being becomes its movement towards non-being. It is the perceiver and the perceived of its own, the subject and the object of its actions, the persecutor and the persecuted at the same time. Through the death drive one can go beyond one’s symbolic role and become conscious of its time and place in the world. The use of the death drive requires recognition of death as the absolute master. That way one can become reconciled to life as it is. 

In critical theory we usually have to read the text at hand in an unorthodox way so as to create a new meaning out of it. The critical theorist breaks-down the meaning of the text and out of the pieces recreates a new meaning, which is to say that creativity bears within itself destructivity and inversely. It may not be necessary to destroy something intentionally to create something new, but to have destroyed something is usually a consequence of having created something new.  Jacques Derrida’s reading strategy called deconstruction exposes how a text writes and unwrites itself against its dominant meaning and in contrast to common sense perception. I see Derrida’s corpus as an intense meditation on the meaning of meaning itself. First Derrida shows the dominant meaning of the text as perceived by the majority and then he exposes the other within of the text, the minor meaning which contradicts the major meaning. By doing this Derrida makes not only the absolute meaning of the text collapse in on itself but also causes the concept of absolute meaning itself to explode from within. In Kleinian terms what Derrida does is to start from the depressive position and then move to the paranoid-schizoid position and there apply the splitting process peculiar to the paranoid-schizoid position to the text. It can be said that in a way Derrida exposes the paranoid-schizoid position within the depressive position. By doing this Derrida shows that the life drive and the death drive are within and without one another at the same time. This means that for Derrida creation and destruction are one. It is for this reason that I find deconstruction insufficient for effective critique to take place. For without the affirmative recreation of the destroyed text there remains nothing outside the ruins of the past. But that the new is inconceivable from within the pre-dominant context does not mean that it is impossible. What Derrida’s deconstructive practice lacks is the active intervention in the predominant order which would create the conditions of possibility for change, out of the conditions of impossibility. Derrida remains paralyzed in the face of the infinity of possibilities for change by declaring that the chain of signifiers is infinite and therefore nothing is outside the text when in fact nothing is this infinity itself since when there is infinity then everything disappears and nothing conceivable remains within the text. It is true that deconstruction dissolves the transcendental signified but the question remains: What is the price paid when the transcendental signified is deconstructed rather than affirmatively recreated and turned into an immanent sign here and now. In Derrida there is the waiting for the new to arrive but no action is taken in the way of making this arrival possible now. We shall ask why not recreate oneself as the new, why not do it now and give birth to the new here and now, why not be the new in action? In a fashion similar to Hamlet, Derrida perpetually postpones the action by playing with language and ends up locking himself up in an endlessly deferred self-perpetuating, self-consuming, and self-reflexive endgame with no beginning and no end, making it impossible for conscious desire to engage in effective action.


[1] Melanie Klein, Our adult world and other essays (London: Heinemann, 1975)

[2]Wilfred Bion. “A Theory of Thinking,” Second Thoughts: Selected Papers on Psychoanalysis (London: Karnac, 1967)

Derridagate

  

Here is another nice post from Dark Chemistry on Graham Harman as smasher of objects, which he opens with a fine quote from one of my articles on Artaud, Deleuze, will to nothingness and literature.

What we witness in this time is Aldous Huxley’s Brave New World turning into Rave New World. A world in which the well known and the so called lines between mind and body, fantasy and reality, nature and culture, organic and inorganic, life and death, are not just blurred, but have completely disappeared. And yet, at the same time, these lines are in the process of reappearance.

Here’s another ENCHANTING POST from D.C., referring to a bit of my stuff, and a bit of Badiou, Žižek, and Brassier. … Read More

via Object-Oriented Philosophy

enlace-m2woman-co-nz-stargirlweb_glenn-marshall1

Where would I go, if I could go, who would I be, if I could be, what would I say, if I had a voice, who says this saying it’s me? Answer simply. It’s the same old stranger as ever, for existence, of his, of ours, there’s a simple answer. It’s not with thinking he will find me, but what is he to do, living and bewildered, yes, living, say what he may.[1]

Yes, there are moments, like this moment, when I seem almost restored to the feasible. Then it goes, all goes, and I’m far again. With a far story again, I wait for me afar for my story to begin, to end, and again this voice cannot be mine. That’s where I would go, if I could go, that’s who I would be, if I could be.[2]

In Texts For Nothing the narrative voice subverts its subject’s resentment in the face of having no-identity, that is, for being incapable of changing the course of events in the way of having an identity, and prefers not to will at all, to will nothing, rather than will nothingness. Beckett reverses Nietzsche’s famous saying about man and nihilism: “man would much rather will nothingness than not will.” This is not an impoverishment of the will, rather, it is itself a will to nothing which turns Beckett’s writing into a motionless flight, a static genesis, and at the same time a movement of thought which spirals around and within nothing, in the process turning the absence of something conceivable into a neutral voice through which silence eternally speaks and engages in a non-identical relation with the world surrounding it.

In Waiting for Godot there is nothing at the centre of the subject; no one comes, no one goes, nothing takes place. That place is the side of a road where there is a barren tree, and there Vladimir and Estragon share an aloneness, an intimacy. They give the impression that they have been there for hundreds, or even thousands of years, associating by their clothes with Charlie Chaplin’s persona, “the universal vagabond.”

Vladimir: […] To all mankind they were addressed, those cries for help still ringing in our ears! But at this place, at this moment of time, all mankind is us, whether we like it or not. Let us make the most of it, before it is too late! Let us represent worthily for once the foul brood to which a cruel fate consigned us. […] But that is not the question. What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come–[3]

In Waiting for Godot Beckett continues his project of purgation, or purification through reduction of life to its bare bones. According to Alain Badiou, as he puts it in his book On Beckett, to achieve this reduction of life and truth to their most naked forms, in his novels Beckett had to write thousands of pages in the way of wiping the slate clean and getting rid of the non-generic details of daily social life. To open up a space within the existing order Beckett had to unwrite the symbolic order in the way of subtracting the Symbolic from the Real. By situating Vladimir and Estragon in the middle of now-here, which he shows to be nothingness, Beckett gives voice to the Real of being, which is non-being. Beckett shows that at the centre of the subject there is a hole. The split introduced by Beckett in-between the subject and the signifier shows the subject and the signifier as constituted by a lack of a third party outside them. There is the absence of something in-between the fantasy and the social reality and the subject is this non-being constituted through and as the gap separating them. The subject is an effect of language, and yet this effect manifests itself only in the form of gaps, absences, cuts. That is, the subject manifests itself only in the form of a negativity from the perspective of the big Other. For the big Other excludes nothingness and death. The big Other wants subjects that are something within the symbolic order.

 What Alain Badiou has written about Beckett’s writing at the time of Texts for Nothing becomes relevant here.

With extraordinary lucidity, they tell us of the nothingness of the attempt in progress. They come to the realisation, not that there is nothing (Beckett will never be a nihilist), but that writing has nothing more to show for itself. These texts tell us the truth of a situation, that of Beckett at the end of the fifties: what he has written up to that point can’t go on. It is impossible to go on alternating, without any mediation whatsoever, between the neutrality of the grey black of being and the endless torture of the solipsistic cogito. Writing can no longer sustain itself by means of this alternation.[4]

It is in this context that Beckett’s Texts For Nothing, Waiting for Godot and Lacan’s theory of the subject coincide. At the root of this coincidence is a shared way of being in relation to the unconscious and death.

After being subjected to purgatory in his novels, Murphy, Watt, Moran, Molloy, Malone and Mahood are finally shown to be the embodiments of a split subject constituted by two clowns who have no role to play, their selves separate from their consciousnesses, talking to but not with one another. Vladimir and Estragon are both no one and everyone, none of the existing things and yet all that there is left.

The relationship between Vladimir and Estragon is in the form of a conversation with no centre, for both of the subjects of this conversation are constitutive of one another. The gap that separates them is the constitutive non-relation between them.  Beckett has taken almost all the measures required to concretely present the journey of being in time as being outside time. It is from Vladimir and Estragon’s perspectives that we see the nothingness outside the frozen image of two vagabonds in their immobility. It is from this gap that new thought emerges; out of this nothingness arises a generic multiplicity. Beckett stages this generic multiplicity by employing the asymmetrically dialectical encounter with the other. To do this he had to remove the character configuration and logical plot development, if not the pattern, from the scene of theatre. Reduced to their minimal needs the Beckettian characters confront the symbolic order and challenge the immutability of Cartesian discourse. Of the One, there is almost nothing left in Beckett’s work.

Man has nothing left to say and yet if he stops saying this nothingness the sublime objects will fill the unconscious and occupy a space that should remain empty. Vladimir and Estragon know that although they are not integral parts of each other they nevertheless cannot do without one another. They are doomed to share this irreconcilable and endless movement against themselves. As they speak they are moving further away from their intended meaning, and yet if they ever stopped saying words they would be immediately in touch with the Real which would be inordinately painful.

The Real of desire is a mystery even to the subject which can only be spoken around and yet never about; this nothingness at the centre of the subject should remain unoccupied for the subject to survive trauma and get free of the past. Freedom cannot be freedom if it is not experienced as a forced-choice. For freedom is the right not to choose to do something; saying, “This is not it!” And yet what is there to do but choose the least worse of all the alternatives. And rather than not will, for that would be total destruction for them, Vladimir and Estragon choose to will nothingness; as empty shells they shall remain free of the symbolic order by introducing a split between one another, within themselves, and between themselves and the social reality.

What’s at stake in Beckett’s project is finding the ways and the means of presenting a time outside time, another space, something unnamable outside the existing symbolic order. Beckett’s meaning is very fragile and it is precisely this fragility that makes a new beginning possible. Governed by the death drive the subject splits the given unities and continuities, introduces splits between the past and the present, and out of this tireless and yet exhausted activity of splitting new signs, signs of other signs, emerge.

Vladimir: […] Astride of a grave and a difficult birth. Down in the hole, lingeringly, the gravedigger puts on the forceps. We have time to grow old. The air is full of our cries. [He listens.] But habit is a great deadener. [He looks again at estragon.] At me too someone is looking, of me too someone is saying, he is sleeping, he knows nothing, let him sleep on. [Pause.] I can’t go on! [Pause.] What have I said?[5]

Pozzo: [Suddenly furious.] Have you not done tormenting me with your accursed time! It’s abominable! When! When! One day, is that not enough for you, one day like any other day, one day he went dumb, one day I went blind, one day he’ll go deaf, one day we were born, one day we shall die, in the same day, the same second, is that not enough for you? [Calmer.] They give birth astride of a grave, the light gleams an instant, then it’s night once more. [He jerks the rope.] On![6]

Only in one single instant all is lived and died. But this single instant takes a lifetime to pass. For Beckett its end comes when one confronts death. The characters in his Trilogy, Molloy, Malone, and finally the Unnamable, are all narrating their processes of deterioration, they are trying to give a voice to that time-space where it all ends and yet something other than the all of life in the symbolic order begins. Beckett writes how subject and the death-drive overlap. But he writes this event in such a way that this overlapping of the subject and the death-drive turns into a life force and splits the given unities including the Cogito. After all is said and done away with there emerges the not-all, that which remains after all is said. To say this not-all one has to expose the void within the symbolic order, to show that this void is constitutive of the symbolic order, and that without it all meaning would collapse. What happens in Beckett, therefore, is the process of self-deconstruction which shows the inconsistencies within the text and uses these inconsistencies against the intended meaning of the text. In Beckett we see that in the place of the transcendental signifier there is nothing. The subject is portrayed empty and the subject becomes a signified itself, an empty signifier, a signifier that signifies nothing but is itself signified. So where there was the transcendental signifier now there is nothing, as itself a signifier. We can see how it becomes possible to say the unconscious is a signifier, or as Lacan would say, “the unconscious is structured like language.”


[1] Samuel Beckett, Texts for Nothing (London: John Calder, 1999), 22

[2] Beckett, 24-25

[3] Samuel Beckett, “Waiting for Godot,” The Complete Dramatic Works (London: Faber and Faber, 1990), 74

[4] Alain Badiou, On Beckett, ed. and trans. Alberto Toscano and Nina Power (Manchester: Clinamen Press, 2003) 15

[5] Samuel Beckett, “Waiting for Godot,” The Complete Dramatic Works, (London: Faber and Faber, 1986), 84-5

[6] Beckett, Waiting For Godot, 83

Renata Salecl and Slavoj Žižek (Eds.) - Gaze and Voice As Love Objects (SIC 1) Read.

via V£R$O

Harold Pinter as Krapp, in Krapp's Last Tape, ...

Image via Wikipedia

It is a characteristic of Beckett’s plays to give the impression that there is nothing outside the stage. In Beckett’s plays God is never allowed to die altogether, but rather God is made to be felt by the audience as his absence, as the nothingness outside the stage. Krapp’s Last Tape is a good example of this recurring presence of God as an absence in Beckett’s plays. It is very rare not to have a couple, or more than one couple in Beckett’s plays, and Krapp’s Last Tape comes especially handy as a Beckett play with a single individual in it; locked in the past and trying to figure out not only how he has become what he is, but also why he is in general. There is no concern at all with the future in Krapp’s Last Tape, unlike Endgame for instance, where Hamm and Clov, although they don’t seek salvation from misery, they at least, just like in Waiting for Godot, expect a message from without, from some unknown external source about which they know nothing as to its relation to their future. They do strive for the unattainable knowledge of the nothingness outside. It is as though all their thoughts, actions, and speeches are governed by the nothingness off the stage. Whereas in Krapp’s Last Tape there is no sign of will, rather than willing nothingness, Krapp prefers not to will at all.

The tape recorder is the projection-introjection machine in Krapp’s Last Tape. Krapp is now introjecting what he had projected over the years, likewise the tape recorder is projecting what it had introjected over the years. This change of roles between machine and man reflects a perhaps often-neglected aspect of Beckett’s work, that aspect being the ambivalence of Beckett’s relation to projection-introjection mechanisms as exemplified by the tape recorder in Krapp’s Last Tape. Krapp oscillates between rejecting the past and affirming it.

During the sixties we see Beckett’s plays getting shorter and shorter, and the subject deprived of the unity of mind and body, the conscious self and the unconscious. Beckett progressively shortens the text and moves towards theatrical, or visual expression. The characters’ experience on the stage is limited to people once able to live dramas and capable of remembering those dramas. Dispersal of the subject, disappearance of the body, the subjects reduced to bodies in jars, to a mouth, or merely a voice, are some of the characteristics of Beckett’s final period of writing. Now his characters are no more capable of doing anything other than trying to remember those days in which they could still express their thoughts and feelings on stage.[1]

At the beginning of Krapp’s Last Tape Beckett announces that it is “a late evening in the future. Krapp’s Den. Front centre a small table, facing front, i.e. across from the drawers, a wearish old man: Krapp.”[2]

Krapp is an old and lonely man. He is shown on his 69th birthday listening to tapes he had recorded on his previous birthdays. As usual he will listen to the tapes and then record his voice telling what happened throughout last year. Krapp is the analyst and the analysand at the same time. He listens to his past from his own mouth through the speakers.  The play opens with Krapp who has always lived alone, reducing his life to a few physical actions carried out in a ritualistic way. This is Krapp’s daily routine; a few meaningless actions. Sometimes Krapp goes inside and drinks, eats a few bananas, takes a few steps in his “den,” and as he says, he sleeps with the old bitch who comes around once in a while.

Krapp lives his life neither by writing his mind games as Molloy and Malone do, nor talks as Hamm and Clov do. Krapp has no memory at all. Besides, he does not construct stories for himself. His tapes are his memory. But like all the other Beckett characters engaged in a play of consciousness Krapp deconstructs his story by using the rewind, play, and f.forward buttons. All that remains is a mass of misery pieces of which are not even imperfectly remembered, a multitude of unrelated and disconnected thoughts and impressions about the past.

Throughout the play we watch the three stages of Krapp’s life. The most important stage is the one narrated by the voice of Krapp at 39. The tape he recorded at the age of 39 contemplates the tape that he had recorded at 29, and Krapp at the age of 29 contemplates the period corresponding to his youth. And all the past periods of his life are judged by Krapp at the age of 69, which is “the present.”

Krapp at the age of 29 looks down on his youth and at times mocks himself for being the way he was. He is very happy to have done with that earlier period of his life. That Krapp at the age of 39 does not remember that he used to sing shows that he does not want to remember those unhappy days of childhood and adolescence. Krapp at the age of 29 is at a stage in his life where he has to make choices and decide what to do with his life. (This is matter of laughter for Krapp at the ages of 39 and 69).

One of the most important decisions Krapp has to make is the one concerning breaking his habit of drinking and giving up alcohol. At this stage we see young Hamm from Endgame meeting Krapp. Krapp tells his story using numbers and statistical information. A numerical exactitude in his narration is clearly discernible. One other important decision that Krapp has made at 29 is about reducing the intensity of his sexual life. Perhaps that is why he broke up with Bianca. (However, Bianca’s loving gaze is remembered by Krapp even when he is 39). Krapp’s 29th year passes in search of happiness and eventual frustrations. 29 years old Krapp’s tape ends with a call to God to show himself? To this call to God Krapp at 39 (on the tape) and 69 (on the stage) laugh. According to Krapp at 39, from that miserable year there is nothing left apart from that lost lover.

In Endgame Hamm and Clov are the father and son repelled and yet attracted by one another at the same time. They can do nothing with or without one another, or they can neither do, nor not do anything with and without one another.

The stage decoration is such that considering the on-stage activity as taking place within a head is easy and helps to understand what Beckett and we with him are dealing with here. The portrait hanging on the wall is turned towards the wall and the two windows facing the external world are sufficient signs to associate the stage as the inside of a man’s head, with the spectators watching the play from behind the split open head. This is signified by the portrait of the father on the wall looking towards the wall with the nothing behind the picture turned towards the stage and the spectators. At some point in the play Clov even attempts to communicate with the spectators, he turns towards and addresses the spectators, which shows us that Beckett was trying to make this point clearer by making the audience aware of the inverted projection-introjection mechanism that they are caught in. In all his plays and novels, one way or another, Beckett achieves inverting the projection-introjection mechanism into the spotlight. And he achieves this precisely by putting under a magnifying glass the failures within the projection-introjection mechanism.

What Beckett wants to say by employing these unorthodox techniques in theatre is simple and yet sophisticated. He wants to say that to escape from the Cartesian mind-body dualism and the mechanistic view of the world associated with it one has to create an imbalance between the projecting side and the introjecting side, between apprehension and comprehension.

The creation of imbalance can take the form of either an excessive projection of the imaginary and the symbolic onto the real, or a lack of projection resulting in total introjection. In the first case the subject loses touch with the real and becomes a totally imaginary and symbolic construction, and in the second case the subject loses himself in the chaos of the real. In both cases there is a loss of gap between the Imaginary, the Symbolic, and the Real. And when the imaginary, the symbolic, and the real become one, the uncorrelation in-between them becomes impossible to be in touch with.  In Dissymetries Badiou repeatedly and recreatively points out that Beckett is not divided into two, but into three. To use Derrida’s words, “one plus one makes at least three.”


[1] Linel Abel, Metatheatre (New York: Hill and Wang), 82

[2] Samuel Beckett, “Krapp’s Last Tape,” Complete Dramatic Works (London: Faber and Faber, 1986), 215

Buradaki yazıların kimi önemli başlıklarında, özellikle insan doğası, siyasetin olanakları, bilginin geçerliliği ve toplumsal yapının anlamı üzerine olanlarda, farklı görüşlerden arkadaşların tepkisi yer yer söylemeye çalıştığım şeyin nihilizm olduğu; ya da sonuç olarak nihilizme vardığı/varacağı şeklindeydi. Nihilizm dendiğinde de bir sınıra gelinmiş olunuyordu açıkcası; tamamen olumsuz anlamlarla yerleşik hale gelmiş nihilizm düşüncesinin belirlediği bir sınırdı bu ve bir anlamda artık söyleyecek bir şey kalmadığını, tartışmanın sürdürülmesinin anlamlı olmadığını gösteriyordu. İşte, bu dediğin şey bizi nihilizme götürüyorsa orada durmak ve geri dönmek gerektir, denmiş oluyordu.

Nihilizmin latince nihil’den (hiç’ten) geliyor olması, açıkca hiç’e ya da hiçliğe giden bir düşünceden sakınmak gerekliliğini daha bu noktada bile anlaşılır kılıyor gibidir. Ancak bu anlaşılırlık kendi başına bir sorundur, çünkü hiçten hiç çıkar gibi bir yaklaşımla kaba saba bir inkarcılık meselesine indirger nihilizmi. Bu tartışmalarda “Dikkat!Nihilizm!” uyarısı yapıldığında, ister kabaca bilindiği haliyle her şeyi yakıp yıkmaktan ve değerlere saldırmaktan başka niyet taşımayan hınç politikaları kast edilsin, isterse kendi karamsarlığına ve melankolisine yenik düşmüş siniklik kast edilsin, bundan sıkıntı duymuş değilim! Gönül ferahlığı içinde de olmuyorum, fakat o sınırda nihilizmi üstlenmek bana sorun olarak görünmüyor açıkcası! Yakın tarihimizin ürünü olan, fakat kökleri düşünce tarihinin başlangıcından itibaren süregelen kuşku ve itirazlara bağlı olan nihilizm, sanki yerleşikleşmiş bu algılardan ibaret bir şey değildi ve nihai olarak olumsuz/yıkıcı eğilimleri ve topluma karşı kötücül girişimleri etiketlemek için kolayca kullanılıyor olmasında temel bir yanlışlık bulunmaktaydı.… Read More

via Mutlak Töz

The recent developments in electronic music present us with a good example of how the inorganic has become, at least in sound, more organic than the organic. With the rapid development of sound-producing machines it has become possible to create such sounds that while listening to it one feels like there is a living organism from a strangely familiar realm making noises in the room, or worse still, that the noises are coming from within one’s mind and body. Listening to this kind of music makes the mutual exclusiveness of the somatic and the psychic irrelevant. Especially after the three dimensional medium presented by CDs and DVDs it has become possible to present the sound to masses in a form that sounds more real than the original, live recording. 

I will return to the relevance of electronic music in a little while, but first let me revisit Herbert Marcuse’s theory of how capitalism keeps itself alive by feeding on the death of the counter-subjectivities and the life of the dominant consuming subject governed by the life drive which is itself externally constituted within the subject. In a nutshell, Marcuse’s theory in One-Dimensional Man was that the one dimensional market society absorbs and turns the counter-cultural products into its own agents, reducing the two-dimensional to the one-dimensional, hence making the forces of resistance serve the purpose of strengthening what they are counter to. Marcuse’s problem was the dissolution of the two-dimensional sphere of counter-cultural production and its domination by one-dimensional relations. He suggested using mythological imagery  not only to make sense of the pre-dominant social reality, but also to create a counter-social reality which would at the same time be a critique of the existing social reality. What Marcuse said is still relevant to a certain extent, but to be able to use this theory one has to adapt it to the demands of the present situation. What I will attempt to do, therefore, is to ignore the irrelevant parts of Marcuse’s theory and try to find out those parts of it that matter for my concerns. It is true that Marcuse’s theory is no more sufficient in understanding and solving the problems of our Superpanoptic societies. And yet in it there are lots of insights with high potential for development in the service of psychosomatic and sociopolitical progress today.

Today even Madonna’s latest release, Confessions on the Dance Floor, is produced in a DJ’s room in London. The electronic dance music products are mostly produced in people’s bedrooms on a personal computer donated with software especially produced for making electronic music. The recent shift in the gears of electronic dance music, of course, is a cause of the amazing possibilities the digital sound machines present. These machines have no material existence; they are loaded on the computer in the form of digital data. One can have a studio loaded into one’s computer by pressing a few buttons on the keyboard. In this context, making music requires technical knowledge of the tools of production more than the knowledge of the rules of what is called making music. With electronic music the sounds are already there, loaded into the computer; all one needs to do to become a music producer has become putting these sounds together, making them overlap with one another in a positively disordered way and produce something that is neither the one nor the other.

If we imagine for a moment Beethoven making his music after the orchestra plays it, composing the piece after it is materialized, we can see how paradoxical the situation the producer is caught up in inherent in the production process of electronic music is. It is as if Beethoven wrote the notes of his music as he listened to the orchestra play it. We can see that this is in fact exactly the opposite of what Beethoven did. For in the case of Beethoven, unlike the electronic music producer, it is the internal orchestra in the psyche that plays the piece as Beethoven writes it, not an actual orchestra in its material existence. With electronic music that internal orchestra is not in the creator’s mind, but in the computer. 

Some of the more creative and experimentalist logics in this field record the noises coming from within their bodies, or from within other animals’ bodies, load them into the computer, and with the aid of synthesizers and effects units, turn these noises into the basic rhythms and melodies of their music. Heartbeat, for instance, can be used as drum and bass at the same time in some electronic music recordings. It is possible to dub-out, echo, delay, deepen, darken, lighten, slow down, or fasten up the sound of heartbeat with the computer. And after a proper mastering process you get something that sounds neither totally organic, nor totally inorganic.  These products are not only digitally bought and sold on the internet, but also exchanged with similar other products.

The affective qualities of these products are extremely high. The producers of the five most developed forms of electronic music, which are Techno, House, Electro, Trance, and Breakbeat, claim that they are the beholders of the threshold between the soma and the psyche, that with their walls of sound they keep them separate and yet contiguous to one another. 

It would be wrong to assume, as many have done, that this kind of music is in touch with only a few listeners. On the contrary, since not only the listeners but also the producers of this kind of music have started to occupy dominant positions in the advertisement production business, it is not surprising that electronic music, and especially the underground minimal techno, is increasingly being used as the background music surrounding the object advertised in many advertisements on radio and T.V. Based on the erasure of the boundary between the psychic and the somatic, or between the inorganic and organic, the use of minimalist electronic music in the advertisements of today’s hectic life-styles is a very good example of the exploitation of the life/death drives inherent in contemporary nihilistic culture driving and driven by what has almost become transglobal capitalism.  The LG U880 ultra-slim mobile phone advert on T.V. is precisely the hard-core of how this exploitation of the life/death drives takes place. In the advert there is heart beating in the phone. Or, the heart is shown to have a transparent phone surrounding it. And with the minimalist techno at the back, that is, sounds that are neither organic nor inorganic but both at the same time. The beating heart in the phone creates the deep and dark bass sound with extremely electronic and yet organic sounding noises coming from within the phone.  It’s as though it is one’s own heart beating in the phone; this phone is you, so it’s yours… If we keep in mind that the transparency of the phone is fleshy, for there are capillaries of the phone, the overall impression created is one of ultra minimalist life reduced to its bare bones when in reality the LG U880 mobile phone is itself the product of exactly the opposite of an ultra minimalist attitude. The message is that this mobile phone is what attaches you to life, when in fact it detaches you from life as it is. The finishing words, “Life is Good,” only confirms my critique of this advertisement, of this marvellous sound-image which is an inorganic object disguised as a living organism. It is obvious that what’s at work here is the exploitation/oppression of the life/death drives, as the inorganic replaces the organic, and the real of death in the midst of life is expelled. 

As I said at the beginning of this article, in this perilous time the three dimensional sounds created by the contemporary electronic music are non-representational to such an extent that it is as though there is a living organism from a completely other dimension making organic noises in the room. And in this room and at this very moment  in which I found myself Marcuse’s theories are unfortunately insufficient in that they do not realize that it is precisely the reversing of the roles policy, that is, presentation of something as its opposite, of an inorganic entity as an organic entity for instance, or of that which is inside as if it is outside, that has to be left behind. As we know from Foucault and Hobbes, Panopticon and Leviathan are within and without the subject at the same time, and a reverse of the roles of the inside and the outside means nothing in this perilous time. 

For the solution of problems posed by the advanced projection-introjection mechanisms of what have become Superpanoptic societies, I shall attempt to show that post-structuralism and critical theory have never been as mutually exclusive as many suggest, especially in terms of the wrong and right questions that they have left unanswered. If we look at Adorno’s and Foucault’s writings we can see that most of their thoughts are directed towards finding out how to reconcile theory and practice. Just as theory and practice, post-structuralism and critical theory, too, are always already reconciled, because they come from Nietzsche, Marx, and Freud. They may be always already reconciled but the only way to actualize this reconciliation is to realize their common goal; to put theory in the service of ordinary life, to develop the conditions of existence, and to practise freedom. 

 It will almost sound offensive to say that the new emerges only if some people become traitors and shake the foundations of their own mode of being, or at least undertake opening up spaces so that light can shine among all, or death can manifest itself. But one must take the risk of offending some others, for every situation requires its expression, every problem bears within itself at least half of its own solution. It is all a matter of putting theory and practice in the service of one another. Theory that does not match the truth of its time is for nothing. It is important to theorize practical ways of dealing with the banal accidents of an ordinary life. I think what I have just said is one of the things that both Foucault and Adorno would have agreed on.

What we witness in this time is Aldous Huxley’s Brave New World turning into Rave New World.  A world in which the well known and the so called lines between mind and body, fantasy and reality, nature and culture, organic and inorganic, life and death, are not just blurred, but have completely disappeared. And yet, at the same time, these lines are in the process of reappearance.

click to listen

MANTIS 076 + BLACKMASS PLASTICS
DOWNLOAD STREAM ITUNES RSS

hour 1 / DVNT

Photek – Ni-Ten-Ichi-Rhy [Science]
Solar Chrome – Malevil [Maschinen Musik]
Petar Alargic – EeR NR1 [petaralargic.com]
Octave Mouret – Good News Everyone! I’ve Taught the Toaster to Feel Love [octavemouret.bandcamp.com]
Foul Shape – A Monster Has Created [Entity]
Loefah – Twisup VIP [DMZ]
Adam X – Downbursts [Prologue]
Plastikman – Ask Yourself (Dead Sound remix) [dub]
Intra:mental – Love Arp [Semantica Records]
Mothboy – Medusa feat. Sezrah Sylvan [Drawn Recordings]
Mothboy – Others [Drawn Recordings]
Drugstore – Razor [Offaudio]
Steve Bicknell – Track 5 [Cosmic Records]
Scanone – Angels [Syndetic Recordings]
Laserfire – Wires of Love (Encrypter remix) [dub]
Bruce Stallion – OK U Cunts [Off Me Nut Records]
Perforated Cerebal Party – Mystery Train [Russian-Techno.com]
Concrete DJz – Hadron Collider [Subsequent]
Pillpopper – Jewelry Box (Threnody remix) [Furioso] forthcoming
BEATure – Follow the Line [Sens Inverse Label]
ECHO PARK – After Burner [All City Records]

hour 2 / BLACKMASS PLASTICS showcase

Blackmass Plastics – Plasixsixsix
Blackmass Plastics – Bad Reflection
Blackmass Plastics – Step Up or Get…
Blackmass Plastics – Ouija Board
Blackmass Plastics – Arpexone
Blackmass Plastics – Biomega
Blackmass Plastics – Klonk Kreator
Blackmass Plastics – Visions of Plastic
Blackmass Plastics – OK Ozzy
Blackmass Plastics – Dial M.
Blackmass Plastics – D for Danger
Blackmass Plastics – Red and Black Rush
Blackmass Plastics – Known Space
Blackmass Plastics – Paranoid Agent
Blackmass Plastics – Selecta Infecta
Blackmass Plastics – Give Me Da Data
Blackmass Plastics – Scope Dog
Blackmass Plastics – T-Rex Powerdrill
Blackmass Plastics – Zargon
Blackmass Plastics – Nothing Nice
Blackmass Plastics – Get Destroyed
Blackmass Plastics – Get Bigga
Blackmass Plastics – Down Periscope
Blackmass Plastics – Get Jacked
Blackmass Plastics – Tek Tek v3
Blackmass Plastics – Ice and Slice
Blackmass Plastics – Future Past (original mix)
Blackmass Plastics – Trauma Centre
Blackmass Plastics – Blindsider
Blackmass Plastics – No Escape
Blackmass Plastics – Get Spooked

%d bloggers like this: