attempts at living

to make a system out of delusions

Tag: pessimism

Hermeneutical and Corporeal Objects: withdrawal and causation

Everything exist; nothing exists. Either formula affords a like serenity. The man of anxiety, to his misfortune, remains between them, trembling and perplexed, forever at the mercy of a nuance, incapable of gaining a foothold in the security of being or the absence of being.

– EM Cioran, The trouble with being born.

…The life of the living in the struggle for life; the natural history of human beings in the blood and tears of wars between individuals, nations, and classes; the matter of things, hard matter; solidity; the closed-in-upon-self, all the way down to the level of the subatomic particles of which physicists speak.

Levinas, Entre Nous.

Causation is corporeal, not aesthetic. In this post I want contribute to the argument that causation is a matter of bodies acting on bodies. This is also part of a response to Timothy Morton’s beautifully evocative book Realist Magic (2013, all references to Morton refer to this text). It is a wonderful, touching, and almost viscerally moving book in places, even if, by its own concept of withdrawal and causation, it could never touch or engage anything viscerally. To be fair, I haven’t yet finished reading Morton’s book owing to too many responsibilities and too poor time management. As such, any mischaracterising of his positions are all my own fault and I deserve to be publically flogged for them. What follows began as a set of notes but has (I hope) transformed into a more cohesive blog post.

Withdrawal and encryption.

Objects are a ‘reading, an interpretation’, of one another. Early on Morton provides us with two out of what I consider the three strong definitions of withdrawal presented in Realist Magic (as far as I have read so far):

They [objects] have withdrawn, yet we have traces, samples, memories. These samples interact with one another, they interact with our us, they crisscross one another in a sensual configuration space. Yet the objects from which they emanate are withdrawn.

Withdrawal means that at this very moment, this very object, as an intrinsic aspect of its being, is incapable of being anything else: my poem about it, its atomic structure, its function, its relations with other things … Withdrawal isn’t a violent sealing off. Nor is withdrawal some void or vague darkness. Withdrawal just is the unspeakable unicity of this lamp, this paperweight, this plastic portable telephone, this praying mantis, this frog, this Mars faintly red in the night sky, this cul-de-sac, this garbage can. An open secret.

Withdrawal is set into play with the ‘unspeakability, enclosure….secrecy’ that Morton holds is the essence of mystery. He states that ‘things are encrypted’. On encryption, Tom McCarthy (author of the fantastic Remainder “leader” of the International Necronautic Society) notes the immanent etymological relation of the word; encryption. In an encrypted communication only the person with the key can access the message but Morton states that the encryption of objects is ‘unbreakable’. If objects were messages they would be messages that were destined to go undelivered (later in the book, Morton will discuss appearances-perturbations as deliveries in a specific sense- a house is a delivery, an mp3, a book, etc). For now, I want to stress the crypt. McCarty points out that the crypt is simultaneously the space of encryption and the space of burial. In an interview with McCarthy, Cerith Wyn Evans says that

‘the crypt is perceived as a model whereby the subject is unable to…as they say or as Freud would say…mourn properly’.

It is no accident that Morton also speaks of objects being mourned and mournful in his Introduction. I can’t help but get the feeling that the withdrawal of the object is its encryption both as the secrecy of the coded message that can never be read (picture the Rossetta Stone pre-translation, or the “schizophrenic speech” before people realised it wasn’t asignifying non-sense), and as the secrecy of the corpse in its tomb. It is because of this unbreakable withdrawal, this uttermost mystery of the object that causality is said to operate at on or as ‘the aesthetic dimension’, a dimension often identified as the ‘realm of evil’, although Bataille might disagree. There is a lyricism to this treatment of withdrawal, presented as it is in much the same way as death: an secret everyone knows prefer flee from.

An odd statement: ‘aesthetic dimension floats in front of objects. If causality operates on the aesthetic dimension, and this dimension floats in front of objects, then it isn’t really objects that are interacting with each other. In my own terms, bodies don’t seem to be acting on bodies but on incorporeals. Morton says this floating in front of is figurative but I suspect this doesn’t mean not real or not literal. Figurative in this case is less likely to mean metaphorical, more likely to mean derivative of real objects as it does for figurative art. Withdrawal and causation are what Realist Magic are all about.

Causation and varieties of emptiness

Morton makes reference to a ‘meontic void’ being concealed, This concealment is clearly the concealment of withdrawal, the concealment of what the object can’t ever express of itself, what the object can never share. In art theory there are two main kinds of representation:

1. Mimesis: the reproduction of what is able to share itself; the nonwithdrawn. This is representation of what is experienced. It is a species of fixing presence.

2. Me-ontic: This is the attempt to represent what is not there, what does not show up, what can only be imagined or speculated on; precisely the withdrawn. Obviously, the meontic is a void. A species of absence.

At the moment I have the sense that causality is being painted as mimesis (against Plato), but that this mimetic pseudo-contact- the caricaturing of objects as ‘object x-for-object y’- is always going to have this ambiguous pull of the me-ontic, the suggestion that that is what is being aimed for? Every causal interaction is going to be suggestive of something more; every aesthetic interaction is a testament to the distance and isolation of objects from each other. The me-ontic is, after all, also the not-ontic and this makes sense as non-actual, non-evental. In this form of withdrawal the object does not exist in space or time as to delimit it this way would be to make it an event, a causal and therefore mimetic thing. It is also non-actual in the sense that despite being absolutely real it is absolutely absent. We can understand this by way of analogy: the meontic void is exactly void, the kind of void that the Epicureans thought that atoms moved through. Yet it gets weirder, because the void in this sense is the ontologically autonomous real object and not some emptiness that it is situated in and through which it moves. The situated and the mobile belong to the causal dimension, the aesthetic dimension. As such we should think of Epicurean void as being divisible- every atom moves in its own particular void. The atom is the sensuous object, the void the withdrawn object. So every atom, every sensuous object, moves in its own void, its own withdrawal. But this doesn’t make sense in Morton’s terms because the aesthetic objects is the causal object and therefore it is only this that is involved in interaction. As such, and here Baudrillard rears his head once again, we have reversibility: it is the void that is ‘within’ the atom.

There is another sense of the me-ontic as a being’s origination, the source of its being the being that it is. This could have the spatial sense of ontological ground or foundation, but it could also have the temporal sense of being a being’s pre-being (the being of a being before it becomes what it is). The sense of me-ontic void here would signifying the lack of ground and foundation, and emphasise the idea that there was no primordial being out of which the particular being produces itself, no permanent Being subsisting ontic beings. In this way, we start to get a sense of withdrawal as

(not) hard to find or even impossible to find yet still capable of being visualized or mapped or plotted. Withdrawn doesn’t mean spatially, or materially or temporally hidden yet capable of being found, if only in theory. Withdrawn means beyond any kind of access, any kind of perception or map or plot or test or extrapolation.

(Morton 2013, Realist Magic).

The me-ontic of the ontic, the absent real of the casual presence, is not a ground, foundation or origin. The me-ontic is void because it lacks all determination and all possibility; the me-ontic, that is to say the withdrawn, is under this reading the object’s horizon of im-possibility. This makes sense if we put recall that for other variants of object-oriented ontology the withdrawn aspect of the object is precisely the domain of the object’s capacity for action. In Levi Bryant’s formulation, the withdrawn ‘virtual proper being’ of a machine is the domain of its pluri-potent volcanicity, its capacities for propertising itself and producing local manifestations. Bryant’s generative concept of withdrawal retains a Deleuzianism insofar as it is a philosophy of production involving a concept of the virtual; whereas, in Morton’s concept of withdrawal as absolute absence, the withdrawn dimension of the object seems to be an absolute spectrality, an insubstantiality at the heart of substance. This might be related to Morton’s Buddhism, so here, a quick trip down another version of withdrawn, a version that Morton has called attention to him; emptiness (sunyata).

Sunyata is a fairly difficult idea to isolate and talk about without doing it injustice, largely because it is not a concept in the sense that, say, “power-knowledge” is; sunyata belongs to a long, live, and self-differentiated Buddhism. Interestingly though, sunyata has been translated into English as “emptiness”, “nonsubstantiality”, and “voidness”. This list doesn’t exhaust the translations of sunyata but they do nicely display the resemblance between withdrawal in object-oriented ontology and sunyata in Buddhism, at least in the what seems to be Morton’s understanding of it.

The monk Nagarjuna systematised the thought on sunyata and is seen as one of the pivotal expressions of its meaning. According to Douglas Berger of the Internet Encyclopedia of Philosophy, Nargarjuna’s intellectual project was an attempt to undo all ‘systems of thought which analysed the world in terms of fixed substances and essences’. For Nagarjuna, it is only because things lack essence and are insubstantialities that they are capable of change or of becoming something else entirely. I only introduce this idea because I think it might become important for understanding things later.

But back to the text, Harman states that things withdraw from total access. This, at least here, suggests that objects don’t withdraw completely and offers a chink of access. We can still “get at” them and they can still “get at” each other.

Attuning to emptiness

‘Tuning is the birth of another object: a tune, a reading, an interpretation’. (Morton 2013, Realist Magic).

Objects seems to be tunings, readings, interpretations of one another. In this sense, they aren’t mimetic. After all, an interpretation isn’t a mirror of the thing itself in the way that mimesis is- although of course, mimesis can be more or less faithful, more or less distorting. The point here is that the interpretation, the mimetic object, is not the original object. My experience of the sun is not the sun itself, it is a reading of it. My reading, my experiential object, and the sun pre-experiential sun, the sun in itself, are not the same. Here, Morton is restating the Kantian noumena-phenomena and producing a pancorrelationism: every object-object relationship sunders the object between noumena and phenomena. Every object is an experiential object and a pre, or non-experiential object. What is fascinating though is that Morton doesn’t say that this object is split from itself. What Morton actually says is that mimetic work is ‘the birth of another object’. I can only conclude that the experiential and non-experiential objects, the sun-for-me and the sun-in-itself, are not dual aspects of a single object but two distinct objects. This is sort of the core of object-oriented philosophy. Indeed, it also accords with an enactivist approach in which the sun such as I experience it is co-enacted by my neurology, my lived and biological body, and the sun itself. Except that the warmth of the sun can’t be my interpretation of it, unless we’re talking about interpretation as impoverishment of that which is being interpreted. My experience of the sun’s heat is thus an impoverishment of the sun itself.
But isn’t this reminiscent of Plato’s Cave? Aren’t we then living in a world where all we have the shadows cast on the wall? Morton states this is the case plainly, describing the ‘interobjective space’ as exactly that.
The new object is real-for-me but only sensuous-for-itself. Yet does the object itself experience my experience of it? Is the new born object fully fledged or still-born? To put it otherwise, to whom does the third object belong? To me, to itself, or to the sun? These questions are premature given that for Morton the object is withdrawn from total access in such a way that I can only interpret it. But:

Yet when you tune, real things happen. You are affecting causality. You are establishing a link with at least one other actually existing entity.

(Morton 2013, Realist Magic).

It is true that tuning is efficacious, that interpreting produces effects. When you interpret a text you make a new text and that new text is link to the original. These things can even happen simultaneously. I am re-reading Marcus Aurelieus’s Meditations, and it has a few annotations. The annotations are interpretations of Marcus and are therefore not part of the Meditations. Some complexity is present here because the interpretation and the text (the new and the original) are contained in one object (the book), which is itself a translation (an interpretation). I think this is what returns us from the mimetic to the me-ontic. The me-ontic is what is what does not show up, what is not present but is nevertheless real. An interpretation is what does not show up in the thing interpreted. The annotations about Marcus are not the writing of Marcus, nor are they Marcus himself, even though a link is established between all of these moments. The link is tenuous and mediate. It is through the interpretation I can know the text; after all, even without the annotation my own interpretation of the words on the page would filter and frame them. If this is how we consider affecting casuality to operate then it seems like it is merely the ‘establishing a link’ that counts, and not the nature of that link. This is understandable when we consider the strangeness of the phrase “affecting causality”.

Causality usually refers to material causality, to bodies acting on bodies. As discussed in my post on corporealism, I take ‘bodies’ to be materialities that possess a capacity for action (to be acted upon, or to act on). Causality is the name for the system of bodies acting upon and being acted on by other bodies (a discussion of incorporeal subsistence remains to be undertaken). In this material causality it is bodies that interact with bodies. I repeat this point in order to emphasis the idea that acting on causality seems strange. If causality is bodies acting on bodies then acting on causality is acting on bodies acting on bodies, which is causality. The link that one establishes with bodies seems not itself to be a corporeal one and therefore exist outside of the domain of causation. What exactly is this link? In my own post I suggested it may have something to do with a concept of virtuosity but that still involves direct contact between bodies.

In terms of this virtuosity, Morton does go on to state that

We must tread carefully here, to avoid the thought of overmining. This doesn’t mean that there is no table, but rather that how I use the table, including thinking about it, talking about it, resting my teacup on it, is not the table.

In the philosophical perspective of “mereological nihilism”, almost defended by Peter van Inwagen (Material Beings), there are no wholes, only parts that fail to cohere into wholes. Inwagen’s only exception to this ontological rule is living organisms that do manage to cohere into composite units. Inwagen is rather like the Epicurean atomist in that he claims everything besides live organisms are ‘simples’ and that these are independent of one another. So, Morton is discussing a table. He is discussing this table in the context of the Sorites paradox and states that we can’t say a thing is a table because of its use or because of parts. If we go with its use then the table can fail to be table, it can break, or I can use other objects as tables (hence he calls this “overmining” process the tables ‘as-structure’). Likewise, if we go with the table’s components then we could infinitely divide them without ever locating the table hidden within that heap. For Morton, these upward-downward reductionism fail to visualise, map, plot, find, perceive, test, extrapolate or otherwise access the object itself because the object itself is not ‘as-structured’ or heaped but withdrawn. This withdrawal is such that

The total vividness of this actual table, this tode ti (Aristotle), this unit, this unique being here, wooden cousin of the friend of many philosophers, is what is unspeakable, ungraspable.

Unspeakable, ungraspable. Once again, we see Michael’s contention of the epistemic (unspeakable) and the structural (ungraspable) relations being conflated, as if the being-able-to-say-the-object is the same thing as the being-able-to-touch-the-object. The particularlity of this particular table, this table that I am sitting at now, is withdrawn to the point that its vividness to me, its ‘as-structure’ is a certain tuning, a definite interpretation.

So when I link to the table, when I engage in a causal relationship with the table, it is not this table “tode ti” that I am linking up with. It is instead the system of casual relations that comprises the interobjective aesthetic realm. Of course, when ‘I’ link up to the table this ‘I’ is not necessarily me, Arran James, but might instead be the coffee cup resting on its surface, or the laptop, or the lightwaves colliding on its grainy surface, or one of the wood chips that the table contains without being reducible to. Object-object relations are mediated through a causal system that stands separate from them.

To return to Buddhism and sunyata with Morton, we are told that

Emptiness is not the absence of something, but the nonconceptuality of reality: the real is beyond concept, because it is real.

This nonconceptuality is really another way of saying that the real is not epistemic. Emptiness in this sense is a kind of substractive principle akin to the workings of mysticism: the negative theology of Meister Eckhart; Zen; the Gnosticism of Thunder Perfect Mind. At this point, Morton recalls Graham Harman’s account of occasionalist vicarious causation in order to show that emptiness can serves as this kind of occasional link between objects, a link that Morton now calls a ‘magical illusion’. There is a strong sense that theological-mystical concepts are operable in this metaphysical system, and this gives us a pretty clear idea of withdrawal for Morton. If something is nonconceptual then it can’t be cognised and thus presents a limit to thought. It is for this reason that the object can’t be epistemically accessed through the ability to visualise, map, plot, find, perceive, test, extrapolate etc. In order to discuss the object in itself it becomes necessary in this system to eliminate what it is not, to dissolve it in reciprocal contradictions, and to give to its substance all the (non)qualities of the insubstantial. Consider Nagarjuna:

One may not say “there is emptiness” nor that there is ”non-emptiness”. Nor that both (exist simultaneously), nor that neither exists; the purpose for saying (“emptiness”) is for the purpose of conveying knowledge.

(Nagarjuna quoted in Magliola 1984, Derrida on the mend).

A kind of pragmatism

Talking about objects is already too much if we want to have any access to them. “Emptiness” is itself an epistemic link to the object rather than a way of gaining direct partial contact or intimacy. Here we might just as well quote Wittgenstein, a philosopher accused of mysticism himself, and his famous dictum that ‘whereof one cannot speak thereof one must pass over in silence’. The point is that in discussing withdrawal we aren’t really legitimated to say anything at all because whatever can be said can’t possibly be withdrawn. Again, the “speculative” of “speculative realism” is obviously part of the (il)legitimation of speaking about beings themselves. I can’t speak of my table, or of Morton’s table, but I speak about it all the same, always missing it, always somehow falling short of it. Here is another example of such emptiness taken from Stephen Bachelor’s highly accessible Buddhism without beliefs (1997), and its one that almost anyone reading this can take part in:

Pick up a ball point pen. Take off the cap and ask: “Is this still a ballpoint pen?” Yes, of course- albeit one without a cap. Unscrew the top part of the casing, remove the ink refill, and screw the top on again. Is that a ballpoint pen? Well, yes, just about. Is the refill a ballpoint pen? No, it’s just a refill- but at least it can function as a pen, unlike the empty casing. Take the two halves of the empty casing apart [or break it in two if it’s a nice cheap bic]. Is either of them a ballpoint pen? No, definitely not. No way.

This is the same kind of example that Morton provides for withdrawal, and we can recognise in it the bi-directional reductionism that Morton already discarded. I like this example because I can engage with it right now without much effort at all. I engage with it corporeally in an embodied interaction. In this case it is my embodied manipulation of the thing that reveals its emptiness; it is my coping-with-being that exposes the objects innermost absence. Yet this absence could only be reached because the body that I am corporeally manipulated the body that the pen was. Of course here I am attempting to return to the very virtuosity that has already been rejected. To accept virtuosity is to accept that interobjective space is in fact a kind of intercorporeality in which bodies are virtuous agents. For Stephen Bachelor the above example is evidence that objects ‘emerge from a matrix of conditions and in turn become part of another matrix of conditions from which something else emerges’. If we follow this argument then

Withdrawal = sunyata = emptiness = conditions of emergence.

Batchelor doesn’t go into whether these conditions of emergence are corporeal or transcendental, material or formal, and this is very clearly the horizon of this post (and those it is inspired by and alongside). I’m not going to pretend to have a definitive answer, but to me it seems that the question is answered by the consideration of how we “get at” the fact that we can’t “get at” the sun, the pen, or the table, and that is through corporeality. I “get at” the emptiness of the table by attempting to chop it to pieces or by it failing to do what I wanted it to do. The fact is that these are structural relations between bodies; they are embodied relations wherein I discover the excess of the withdrawn over my conceptualisation of the real. In order to realise that bodies withdraw from their embodiment I have to approach them in a pragmatic, embodied way. Emptiness is itself empty except ‘for the purposes of conveying knowledge’. The epistemic relation attempts to cope with withdrawal by saying too much of nothing.

But emptiness isn’t just a metaphysical principle in Buddhism. As Batchelor points out emptiness also names the awareness of emptiness, naming an ethos, a way of being that is

A life centred in awareness of emptiness…an appropriate way of being in this changing, shocking, painful, joyous, frustrating, awesome, stubborn, and ambiguous reality. Emptiness is the central path that leads not beyond this reality but right into its heart. It is the track on which the person moves.

It is clear that the awareness that Batchelor is talking about is fully existential. It is a ‘way of being’ as much as it is the condition of being. A way is an orientation, a chosen direction that I move in; a form of life, replete with political engagements and ethical commitments; it is a style or a particular mode of doing that requires cultivation; it is a threshold, a “way in” or a “way out”, and as such involves a kind of territorialisation; and it is a skilled doing, the way of being as analogous to the way I draw up a medication from a phial into a syringe, having first to assemble that syringe and then to administer it into the exposed flesh of the patient, careful not to hit blood vessels or the sciatic nerve. In this polysemy there are notions of a conscious and engaged movement, an appropriated practicality. Emptiness as a way of being is not something passively undertaken but is an active engagement with my own being and the very onticity of ontic bodies. What runs throughout this pragmatic orientation to living is precisely a sense of embodied activity, of the embodied capacity to act that the ancient stoics called God. Furthermore, insofar as emptiness is conceived of as the very conditions of emergence, this existential emptiness is a commitment to live with ontological emptiness:

the “empty life” is not naked life; the empty life is the life lived in awareness of ontological intimacy, material vulnerability, and the radical incompletion of all beings, including myself.

Obviously, not all bodies can embody emptiness as “empty life”; this is the problem at the heart of debates surrounding animal ethics and personhood. We could say that persons are those beings that appropriate an awareness of emptiness. If this sounds all-too-Heideggarian, I can only apologise. I have commented elsewhere that my own problems with Heidegger centre on Da-sein’s tragic heroism, more than anything to do with his ontology (as far I am capable of understanding it). At any rate, we could say that the appropriation of emptiness as empty life is what we mean by consciousness. If this is the case, obviously nonconscious bodies can’t have emptiness as a way of being in that sense, but they can in the minimal sense of simply being-empty. Whilst the two modes aren’t in duet with one another, they do share the same choreographic space. The point is that nonconscious bodies- objects without minds- don’t grasp emptiness epistemically. They don’t interpret emptiness, they enact emptiness. This is also true for conscious bodies insofar as their capacity for reflexivity is emergent from but irreducible to their specific carnalities. In this way, I completely agree with Morton’s footnote that states that ‘this refreshes the Buddhist idea that different sentient beings inhabit different sorts of reality’, but it is an agreement with a disagreement, a repetition with a difference.

I turn my gaze back to my table. It has a cup on it, now empty of coffee, a laptop heats the surface beneath it, my forearms rub and bump against it as I type, a stack of books extend vertically from its horizontal plane, extending the choreographic space (the space of activity) upwards. Also on the table, invisible to me, are countless microorganisms. These microorganisms crawl out from gorging on the pages of my books (they chew on The Trouble with Being Born as if in parody), and from my poorly covered coughing mouth and sneezing nose. Bookbugs and cold germs mingle with grounded dust mites and their excrement. The invisible life proliferates whether I know it’s there or not. And all these organisms are also pragmatically concerned with the environment, but in radically different ways than I am. From the environment, in it, as it, across it, involving so many more bodies, there comes multiple worlds- mine being the only one I have epistemic access to. The books? They are real bodies, they act and are acted upon, but this doesn’t mean have their experience their own ‘reality’; they constitute worlds but lack the capacity to experience their worlds. My ballpoint pen, now lying in ruins, can’t ‘read’ the book its pieces rest upon, and the books can’t translate or interpret the ballpoint pen. Virtuosity, the practical orientation of bodies towards one another, the very activity of their being active, is explainable by the stoic materiality of God. There is no need to interpret, translate, or otherwise operate ideally. Intercorporeality is always a mutual making use of, even if that making use of is, in Harman’s word to describe the fire-cotton relation, “stupid”.

Photographer Trevor Paglen, in an interview with ‘Smudge’ recently published by Punctum Books in Making the Geologic Now, (thanks to Adam at knowledge-ecology for pointing it out) says that

I often think about this notion of geology, or geomorphology, in relation to hu¬man institutions. Consider a place like Guantanamo Bay, for example. I would submit that the reason why Guantanamo Bay still is there is because it’s there. The chain link fences and the brick and mortar that the buildings are made of actually have a kind of historic agency. They actually want to reproduce themselves. We’re all familiar with the 19th Century idea about the “annihilation of space with time” but the obverse is also true. Space also annihilates time. Whether we’re talking about nuclear waste or Guantanamo Bay, we can see how materialities produce their own futures. This is a way in which materiality and politics intersect. Material¬ity is not politically neutral, so I think that you can talk about Guantanamo Bay as a political phenomenon. I think that materiality can explain some things.

This “geomorphology” seems to me to be proximate with DeLanda’s morphogenic capacity, the same capacity I have identified with the stoics materially immanent God; it is the capacity for matter to self-organise, for bodies to embody themselves. This is far from the image of material causation as ‘clunky causation’. This hypnotic notion that ‘materialities produce their own futures’ is also incredibly close to Morton’s own concept of ecological crisis in connection with the burial of nuclear waste in the Earth.

In other words, there is no need for causality to be magical or to seem like an illusion when God is the operations, and the interoperations, of bodies. Bodies are both cause and effect. This stoic doctrine is closer to Buddhist codependent arising than I can see realist magic allowing. The table-for-my-books, the table-for-my-forearms, the table-for-me, the table-for-the-cup, the table-for-the-laptop and the table-for-the-table aren’t going to be the same kind of table-for. I take this as part of the reason for attending to what Michael calls onto-specificity, and what has come to be known as Buddhist mindfulness practice. Virtuous beings, pragmatic bodies, are not always sentient beings, and are therefore not always centres of an “alien phenomenology”. At the same time, emptiness does not translate as spectrality but the perishability of all corporeal existences: bodies reach their apotheosis in dissolution, destruction, and death.

Final words then, I get the sense that for Morton any assertion to the effect that ‘reality is mingled and uncanny mesh’ is mistaken. The mingling and meshing is a property of the ‘sampling’ effect of object’s interactions in the aesthetic domain- a domain he seems to think is derivative of but not coexistensive with objects. Causation thus seems to be something like the transcendental conditions of possibility for the emergence of objects, akin to codependent arising in Buddhism. If causation is an illusion and a non-illusion, it is magical and mysterious, for Morton then that is because it is ’empty’ (shunyata). If I’m right about this (and I’m in no way certain that I am), then the problem is really about what it is that is casually interacting. Objects as samples of other objects? Objects as interpretations of other objects? Sensuous appearances? These hermeneutical objects seem to be the objects of causation, and causation seems to be the hermeneutic labour undertaken by objects on other objects. My disagreement with Morton, if I have understood him at all, is over the question of whether objects and causation are corporeal or hermeneutic.


After reading Michael’s last post, which I don’t feel I’ve responded to properly (more using it as a jump off to explore aspects of stoicism), I couldn’t help but reflect on the title: Being and Coping.


There is a wonderfully Heideggarian flavour to that. Just as for Heidegger the Being of Dasein is time, for us it has to be translated as coping. Apparently the German for coping is Bewältigung- but Bewältigung-Sein doesn’t have a great ring to it. Man is a coping-being. 


But when you think about it, what exactly is it that man is coping with? To cope is always to be confronted with difficulty, to keep going, to fail and fail better, to take responsibility for…. but it lacks the connotation of heroism. Dasein didn’t cope-with going to the shops at rush hour, didn’t cope with office parties or embarrassing attempts at seduction. 


My point is that as a coping-being we are essentially something quite banal. Though we are coping with our being itself, coping with knowledge, with access to reality, coping with the prospect of our “ownmost” death, there is something quotidian about it all. It is, I suggest, this “with”. We are pragmatically engaged in our world, we are doing things with things to thing, to other, for others, with others and so on and so forth…


The kernal of coping-being in its pragmatic lived aspect is always a coping-with. 


There’s got to be something in that for an existential analysis all of its own. 

The stoic as pessimist

The Stoics held that thought was the cause of all suffering, while others like the Buddha, Schopenhauer, Zapffe, Cioran (the whole pessimist gamut) held otherwise. Life itself, existence in this form, this conscious modality, is the cause of all suffering. This is the veil of tears. This is the thesis that seduces many into a subjectivist nihilism, or a resignation. This is the first, the only, noble truth. And from whence does its nobility spring? Are we to think that because it fell from the Buddah’s lips that it is noble? No. It’s nobility is not that of the highborn or the superior, it is the nobile of ‘gnobilis’, the knowable. It is what we come to know. It is the irrevocable knowledge that precedes the writings of any and all traditions, that precedes the production of a system of notation to inscribe meanings on page, on rock, on skin. It is knowledge that precedes even the birth of meaning, and which survives it in death. It is noble because it is always and everywhere the first knowledge; it is what life necessarily comes to know. The neonate’s primitive scream; the President’s tears after gunshots in an elementary school, and the children who ran to hide; the battle fields, the urban squalor, the inherited evolutionary itch to fight, to flee, to erect dwelling and cower (in comfort admittedly) from the elements. Suffering is what life comes to know irrevocably.

Some would say the function of art, and all aesthetics maybe, is to deliver us from suffering- to provide a salvic operation on what we have discounted as our ‘soul’. Beauty is born to soothe us, to raise us above the murk and mess and mulch of darkness, pain, and the compacted rot of corpses we call our history, our present. And I won’t dispute that. What do I know that those greater minds didn’t?

But the Stoics. They refused to characterise existence as suffering. We suffer to the extent that we acquiesce to the events that we take as the external source of our suffering. Writ large: we suffer because we don’t know how to be indifferent to the fact of life, to living. It was this that allowed them, or at least some of their contemporary interpreters, to make the illegitimate move of thinking that life is, in the words of one such modern Stoic, ‘amazing, incredible, wonderful’.

But then, it’s undeniable that beauty is produced by suffering. This isn’t to say that all who suffer produce beauty (and nor is it to say that beauty transforms  suffering- the beautiful and the merely pretty don’t necessarily coincide). It is simply to say that suffering appears necessary for the beautiful to emerge in conscious life.

So what have we said? That life is suffering. That the living suffer. That suffering is the fertilizer of the production of beauty. That the beautiful might elevate us, however fleetingly, from our condition. So don’t we have sufficient ground to say with the contemporary Stoic, who is surely exceeding his ancient Masters, that life is amazing, incredible, wonderful. In short, beautiful. Beauty, after all, is not opposed to ugliness but to the bland.

The pessimist  can find in life, in death as idea and as materiality (as corpse), some beauty. Likewise the pessimist need not be viewed as the dour and miserable or the cold and distant. The pessimist is overwhelmed sometimes by the world, not just in its aspect as source of suffering but also as source of beauty- because that is the same.


Stoicism as cosmophilosophy

The idea of cosmopolitics is popular again today, in part because of Stengers and Bennett. This is one side of the speculative philosophy that has a kind of therapeutics. Against this is the Brassier led side of things that denies this therapeutic, this sop to suffering, and this ‘vibrant’ remystification of the world. The Stoics, who I would see as folded within a pessimist tradition (in the same way that Taoism gets included in anarchism), have a philosophic therapeutic based on the nihilist recognitions of death. They are the Western philosophical source of the practice of making friends with death, this is how they make praxis from the Socratic tradition that others would make theoretic. Below is a video by Julian Evans, a modern day proponent and practitioner of Stoicism, and Donald Robertson, who has written on the links between CBT and Stoicism. Of particular interest to me is the disdain that Robertson has for the idea that Stoicism is a variant of ecophilosophy. It is not his disdain that I like but his jump to say that for the Stoics an emphasis on all things green (even if most ecophilosophy today exceeds this) is too limited, that it must take in all that exists. Cosmophilosophy extends to everything, but knows everything as hurtling toward finality, to death, to exhaustion, to the opposite of vibrant matter. Stoicism then, is, in part, a resource for that brand of pessimism that I sometimes call Catastrophia.


The trauma of adolescence is the trauma of the awareness of things for the first time. Adolescence is that period of life where certain truths are gleaned for the first time, allowed to incubate, to be experimented with in terms of style and behavioural outputs. These are more properly intuitions of truth, and they may be experienced rather differently by this yound woman and that young man. This is not a worked out idea. or an essay length post…I have neither the time nor the desire for that. I am haunted by adolescence and its force. The horrific insights, the discovery of one’s own body, the reductive attitude, the desire to turn one’s head and let happen what may happen- maybe even to get blind drunk while it is going on. And I wonder, humans being cognitively of a type (or a few types) whether this is so unique a feeling. An intuition about intuitions then, and one that might contradict itself at that. A speculation I have never been able to get rid of:


at adolescence we see the world and ourselves and soon after turn tail and run as fast and as far as we can manage. Growing up, being an adult, getting a life… it is all the evasion of a body that cannot bear the glimpse of its own fragility, precariousness, its unimportance and (perhaps, sensing it tentatively, uncertainly, a little frightfully) its own accomplished nonexistence.

Adolescence is the age of the blossoming of the delicate buds of nihilism. After that we learn how to cope with that nihilism. A post-nihilist pragmatism? Maybe it already exists…it’s everything you and I are doing right now, tomorrow, and each day thereafter. Pragmatism is all we have? 


Maybe then, the ‘objective nihilism’ that is indistinguishable from the structure of the world in these fading days after the future are also a kind of developmental transition for us all…a kind of species-adolescence. The question might then not be what is to be done, but who do we want to be when we grow up?

Adolescence remains dangerous though. Some fall in to ego-bolstering to seal up the cracks (as I did in my youth, having had something of an intellectual hardon for people like Hakim Bey, Max Stirner…all that jazz). Maybe the reason there is so much anti-anthropocentrism around today is less due to the rediscovery of the great outdoors, which was really only a rediscovery for those philosophers and cultural theorists who didn’t like going anywhere without a Text to hand, and is more about the reactive impulse of a threatened psychology. Faced with our own unimportance we discard the mirror and reach for photoshop; scared, we turn away from the technical manual and begin again to mythologise.


A tempting question presents itself, one that might be considered neurotic or irresponsible- what would it look like to hold true to adolescence? To flee in neither direction. Maybe it would only spell ruin. But at least ruins are pretty.


It’s heady stuff, the sheer power of the natural–of theoretical knowledge. Given our incompetencies, it is perhaps inevitable that many will want to lay claim to it. It seems clear that as soon as people begin asserting that ‘social constructivism is a naturalism’ the concept has been stretched more than my sexy underwear. In his curious, ‘gotcha’ followup, [Levi] Bryant [Larval Subjects] introduces the crucial criterion of naturalism: Everything is natural. But this is meaningless if ‘natural’ is a barrel-wide thong, so let’s stipulate another criterion: Naturalism entails openness to the possibility that intentionality is illusory. If you cannot bring yourself to believe that this is a real, empirical possibility, then you are a transcendentalist plain and simple, one of those kids who dresses cool, but slips away as soon as some jock cracks the Jack.

Because the empirical possibility that intentionality is a kind of cognitive mirage, that meaning is merely an ‘informatic blur,’ is very real. Naturalism has to be as open as science is open to be naturalism. There’s no reason to assume that evolution did not saddle us with a profoundly deceptive self-understanding. We are need-to-know, and given the steep metabolic requirements of the brain, not to mention the structural infelicities incumbent upon any self-tracking information system, it is certainly possible, perhaps even probable, that we are fundamentally deceived about our own nature, that the counterintuitive gymnastics of the quantum has us as a qualitative counterpart. In naturalism, meaning is an open question, one that scientific research, not theoretical confabulation, will answer.

– R. Scott Bakker, over at The Three Pound Brain. Here,


When the strange threat of extinction looms, and ecological collapse renders the special place of the landscape we gave over to the dead in order to symbolise their pagan-scientific rebirth in the worms and flowers in the soil, when death was isolatable and discreet and still that of the individual organism, becomingnoncorporeal is the last abortive transcendence. Akin to the idea of cyber-gnosis, becoming-noncorporeal appears as a kind of nostalgia for a time when death was something that could conceivably be overcome.

Further notes on becoming-noncorporeal

Men of broader intellect know that there is no sharp distinction betwixt the real and the unreal; that all things appear as they do only by virtue of the delicate individual physical and mental media through which we are made conscious of them; but the prosaic materialism of the majority condemns as madness the flashes of super-sight which penetrate the common veil of obvious empiricism– H.P Lovecraft, The Tomb.


For Deleuze becoming-animal is also the becoming of a ‘zone of the indiscernible, of the undecidable, between man and animal’ [1]. This undecidability means that one cannot isolate and fix the separation between man and animal. The spectator, who might be the living reversal of the image subject to such spectatorship, is unable to separate the low from the high, the dirty from the clean, the brute from the humane, the instinctive from the rational. In becoming-animal all dualism that extracts the human from the animal or subtracts the animal from the human collapses whilst remaining in fraught operation. I cannot say that I am this or that; I am both and neither, the point at which I cannot speak through the logic of identification. This undoing of molar surfaces is the undoing of the engine of meaning-production [2] that Giorgio Agamben has termed the anthropocentric machine [3].


The anthropocentric machines carves out human from animal and as such serves as the motor for those political philosophies that seek to delineate regimes of humanity. A regime of humanity is at once this system of meaning-production, or anchoring* in Zapffe’s nihilistic formula, that separates man from his other and elevates him ‘above nature’ and is also what allows for the creation of an aesthetic regime of degrees of humanity. As such the Jew is conceivable as nonhuman animal, the woman is conceivable as something to be tamed and domesticated- turning her wild sexuality into the regulated affection of the pet-, and the slave before both is conceivable as just within humanity. This anthropocentric machine is properly engine of meaning-production that gives humans the sense that they are other than nature and which serves as a self-reproducing system of domination that paints itself as nondomination. Anarchism responds to the effects of this system without always having the balls to attack it’s basis. For the mythological ‘classical anarchist’ this wasn’t a problem because the world had not yet been revealed as catastrophic.


Becoming-noncorporeal operates based on an engine of meaning-production that takes the body as it’s site of operation. As Deleuze writes ‘The body is the Figure, or rather the material of the Figure’ which must not be conflated with the ‘material structure in space’. For Deleuze the body is not reducible to the biological matter of physiology and anatomy. The body remains material without suffering from this reduction. How? Elsewhere Deleuze is engaged in a discussion on the body in Spinoza when he remarks that the latter’s God, which is a substance to which all attributes belong (a pure virtuality of which all actualisation is an expression), is ‘the speculative figure of immanence’ [4]. If the body is not identical or reducible to biological matter but remains material then this materiality is the materiality of the virtual.The actual body that we talk about when we talk about embodiment, about corporeality, about conditions of health and sickness, is dependent upon but never coincides with the virtual body. Zizek understands this as the ‘incorporeal/immaterial’ real of the body but this does Deleuze a disservice [5].


The materialism here is the materialism of affect, of affection, of the virtual’s potency to condition, to alter, to perturb, to disrupt, to delimit or delineate the actual in any number of given ways. Deleuze goes on to state that For Spinoza ‘the individuality of a body is defined by the following: it’s when a certain composite or complex relation (I insist on that point, quite composite, very complex) of movement and rest is preserved through all the changes which affect the parts of the body ‘ [6]. A body then is virtual and all actualisations of this virtual are expressions of the that virtual. A body also only appears through relations of movement and rest- we might say of being moved and of resisting being moved- by other bodies**. There are ‘all sorts of relations which will be combined with one another to form an individuality of such and such degree’ so that ‘the body’ is not the material structure at all but the Figure. How to understand the Figure? As the combinatory relations that solidify into distinct objects that can then appear to the spectator. As such it is not an immaterialism but an immanent materialism under which organisation is the self-organising performances of the engines of matter. The human body of anatomy and physiology is the actualised dynamic encrustation of the powers of the virtual body to act and be acted upon. The Figure is the name of this virtual-actualising body that differs from itself without being separable from itself (no physicalism without virtuality). This is what I mean by the skin of the world; it is an encrustation, a dead form, that is nonetheless dynamic and constantly in performance.


The materialism of the virtual implies a virtuosity of the body. To return to the sense of the lived body of embodiment- the dancing body, the fucking body, the eating body- this tells us that what a body does is to constantly make itself actual in such and such a way. The Figure is constantly Structuring. From moment to moment the substance of my body only continues to exist due to the immanent performances of each degree of individuality. This is revealed in the body of the clown. The clown’s is that body which purposely refuses its own virtuosity- it is the body in deliberate failure to perform and constantly catching itself before that refusal becomes total. The dancer also perfectly puts in motion this virtuosity; the dancer’s relation to choreographic space is always one that is modified, adapted and corrupted by degrees of physical inability to perform such and such a motion just so but also by way of her body’s idiosyncrasies and her own improvised insertions. Choreographed space becomes corrupted space and the priority given to one over the other is no longer maintained. At the same time the hierarchy of the choreographer, the choreography and the choreographed (the dancer) breaks down into a ‘zone of the indiscernible, of the undecidable, between’ the dancing and the danced. Becoming-dancer and becoming-clown are modes of immanence being put on display, and of the strategic assembling and disassembling, of positions in space and spaces in position of being obviated. The dancer and the clown are privileged Figures for me. I watch them move and I watch the entire skin of the world; the surface that is its own depth.


In social media the body is lost. The temptation is to experience the body as lost. The hyppereality of social media obliterates the body leaving nothing behind. The body as structure, as organisation of organs, is what is lost in this. The hyperreal of social media stimulates the production of a hyperreal identity- an identity that increasingly comes to precede my IRL identity and which does not rely on my IRL identity for its truth. This is the point of critiques of social media activism, of critiques of social media as digital dividuation, as the disorienting proliferation of plastic identities, of ‘trolling’ and of the use of the use of social media as a predictor of human political behaviours. All of these phenomena, really epiphenomena of the internet itself, are coming to be seen as the real of our society. It forms the core of critiques of media technology such as those launched by Sherry Tuckle that are based on a dualism between the physical universe and the digital universe. As Tuckle has it

‘texting and e-mail and posting let us present the self we want to be. This means we can edit. And if we wish to, we can delete. Or retouch: the voice, the flesh, the face, the body. Not too much, not too little — just right. [7]

Tuckle’s major text, Alone Together, has a string of dualist claims. She states that “If Facebook were deleted, I’d be deleted…’ and ‘Second Life gives me a better relationship that I have in real life’. These two short quotes show that Tuckle is involved in another dualist machine such that Deleuze’s becoming-animal wanted to undo. This is a dualism for which facebook deletes the body, edits the flesh, in which Second Life- the online world- is literally a second life detached from the physical realm. There is the physical and the digital and while they may interact they are fundamentally different. Indeed, the thrust of Tuckle’s criticisms of media technology is that the digital and the physical are incompatible, antagonistic towards each other, and that they compete against each other for us- (why they would do this and where the agency comes from, I don’t know).


Tuckle thinks I edit myself online. That this online persona is an obliteration of my authentic fleshly self. I am nothing but body but that body is gone and all that remains is the simulation of a self on the shimmering desolate whiteness of the screen. The body edited, deleted, I am nothing. But this is to fundamentally miss the point of the ontological virtuosity of immanence. As I have hopefully shown to some degree of competence, the body is not identical to its physical organisation. Materiality does not depend on flesh and blood and if it did then anything that was not subject to the law of evolution, any nonorganic matter, would not be real. If this seems a hyperbolic claim and one that is unfair to Tuckle then let me illustrate further. If her problem is that I can edit my appearance online then she misses the point that I can edit my appearance in flesh and blood as well, and in more or less extreme forms; I can have my haircut, change my style, tattoo permanent cosmetic improvements onto my face, I can ‘delete’ parts of my body through extreme elective surgical procedures or other interventions, such as the incredibly common removal of fatty tissue. I can also add to myself, making myself excessive of my ‘authentic self’ and therefore destroying myself in the opposite direction. All that Turkle has discovered is that there is a good degree of negotiation surrounding identity and that such identity appears as the metastable resultant of a combinatory logic of identification and disidentification (of movement and rest) that makes identities more or less malleable, more or less fixed, more or less corrupt, multiple or singular. Indeed, Turkle has discovered that we engage in interpersonal strategies through which we perform our personhood through both our bodies and our ability to present ourselves in digital spaces. There are practices of the self which are practices of embodiment and those which do not seem to be practices of embodiment.


This kind of digital dualism is hung up on the moment where practices ‘do not seem to be’ those of embodiment. This seeming is the seeming of the separation between the physical and the digital. It is the distribution of the sensible of the new social that social media are generative of; the spectral electronic social that disavows and dreams of a liberation from matter. Turkle’s analysis is in fact part of this social insofar as it is part of this dream: it is the dream in its wish-fulfilment function. The social of noncorporeality. [8].


The practices of the body that do not seem to be of the body are nevertheless only playing at not being of the body. I mean this in both the sense of the being of the virtual body and the actualisation of that body as it is experienced as embodiment. First of all, the body is affected by and affects the digital. The digital sphere is not one in which I am passively caught up as a victim and it is not one in which we are necessarily ‘alone together’. Banal examples proliferate: last night I was at a birthday party that had been organised entirely through Facebook, I met new people I would not have otherwise met because of the digital. In my previous post I focussed on agitation. The problem that Turkle talks about when she talks about techniques of communication having supplanted the art of conversation (the eternal conservatism of this is ringing) is really that of a diminution of social relations. This can only be a problem for Turkle if the techniques of communication and the art of conversation, the former belonging to the digital and that latter to the physical, are mediations of some plane of immanence. To phrase this differently, there can only arise a concern that two modes of interaction that exist on two separate and separable ontological domains are relating with each other in such a way that one does harm to the other if they are not finally separate or separable at all. The digital dualist’s critique can only make sense if it fails to make sense.

Another example: my eye. Deleuze uses the eye as an example of a body in his lecture on Spinoza and states that the eye is a born out of the complex relations between it’s own parts and the parts of other objects that surround it, which it is affected by and which it in turn affects. The eye is set in the orbit which is a structural feature of the skull which sits on top of a spine which forms a part of a skeletal and nervous system that are protected and moved by a muscular system which is coated by a dermal system which is a threshold traversed by bacteria, food, air, blood, itself, and that touches and is touched, and that sits in front of a computer which is itself a body formed microchips, plastic molds, wires, nickle atoms, light and so on and so on. In order that my eye see the computer there must be a light source- thus the sun or some artificial means of lighting are brought into the equation of my sitting on Facebook or Twitter and being able to be disembodied. But my eye also relies on other eyes for its existence. My eye is not ex nihilo but is the eye I have inherited from the genetic information of my parents and all less immediate evolutionary ancestors. The computer had to be built by men and women in factories and laboratories, which had to be built with tools and by people who had received training, and the computers themselves had to be built with tools and by people who had to be trained in how to do build computers and so that I could post this post on my WordPress blog there has to be telephone lines and streets and engineers and and and and and and

a vast material network of bodies.


This is the what I am saying when I say that the social of social media is ‘the spectral obliteration of materiality through the simulacrum which leaves the material in place’ [9]. The ontosclerosis of the social generated by social media is one in which we leave the body without leaving the body behind; a disembodied embodiment. Noncorporeality is never achieved. It is neither a utopian nor dystopian condition although it has the potential to be either of these. Noncorporeality is neither actual nor virtual but the demand that we shed our physicality and dive headlong into the digital. It is the demand that we do something impossible. Yet it is at the same time precisely what exposes and undoes the digilogical machine. Becoming-noncorporeal is a becoming precisely because it is a zone of indistinction, undecidability. It is also a becoming because it is this impossibility of its own completion.


All this points to the notion that bodies have always been products of simulation. The simulacrum never engaged in any procession but was always already. Bodies, objects; these are always already simulations.

As soon as behavior is focused on certain operational screens or terminals, the rest appears only as some vast, useless body, which has been both abandoned and condemned. The real itself appears as a large, futile body [10]’.

And bodies, or their actualised portions, are these operational screens and terminals. The inexhaustibleness of bodies and, for humans, the potentially inexhaustible ways of being a body means nothing. The nostalgia for the body which has has not been lost, the nostalgia for a unitary solely physical body belies the nostalgia for the soul. It is not the body that is in question in becoming-noncorporeal if the question is a loss of materiality. I have emphasised throughout that this loss of the material, this destruction of the real, is an effort that is incomplete and impossible. That every time we deny the real that is precisely when it is resurgent; this is what makes radical denial a strategy of realism, and why one can state as fact that reality itself is speculative [11].


The real is a large and futile body. This is a nihilistic truth. That the body/real is futile means that it is without purpose, without telos, without justification. This is perfectly in keeping with a naturalism that takes Darwin seriously. There is no point or purpose to anything in nature and nature, via selection, mutation, heredity and all its other materialist magic tricks, has always been a process of artifice, of recomposition, of experimentation, of the production of doubles without origins, the generation of bodies that are not copies of some original: that nature has always been simulation. If being a body means nothing then the Spinozo-Deleuzian question of what a body can do becomes the question of a post-nihilistic pragmatism***. It is not what bodies mean but what they do that concerns us. In the breakdown of the anthropological machine, the digilogical machine and all the other machines of meaning-production we are left with transparent meanings that although real have lost the sufficiency to motivate us. Meaning now suffers a failure. We built it up and it was there but now that we know that we built it it appears as a ruin. The body itself, our body, can no longer be identified and held in place by being fixed in an image of itself… not its physical image or its digital one.


There are massive problems with social media, with electronic culture being plugged into our nervous systems…it produces anxieties, agitation, unrest, insomnia, an inability to concentrate, a kind of traumatisation and so on… but these are problems of immanence and not dualism. They are problems of ‘the advent of hyperstimulated man’ [12], changes in speed and quantity rather than ontological quality of being. They are problems that can only be problems, dangers that can only be dangerous, if the physical and the digital are not antagonistic categories of being that we must choose between. The choice is not between brains and clouds but to see where brains are situated within clouds. This is not the place to go into those problems or to trace the braincloud machinery.


In all of this there are competing images of the body and of embodiment. The image is what fixes the body in place. Ontology is an aesthetics; actualisations are the surfaces of a depth; the skin of the world; the self-organised displays of matter. Becoming-noncorporeal is indifferent to binary distinctions and forces us to think of a spectral kind of embodiment and the possibility of such a disembodiment that we might adopt instead of react against. If becoming-noncorporeal obliterates materiality and leaves it in place, if it is a simulation that teaches us that everything is simulated, then it is also an invitation to address the Image afresh. What is at stake in these notes on becoming-noncorporeal is the body and its images; the withdrawn depths and the ways we access those depths. What is at stake is the prospect of leaving the mirror stage behind us without mourning the unitary body and finding instead that we have always been bodies without images capable of life after and inside of the catastrophe.


Dancers and clowns are of the debris of the catastrophe, the seducers and satirists of things falling apart- artists in love with catastrophe. The body without image represents only that there is nothing to represent, that the only ethic is one falling, faltering, tumbling.

References and apologies

[1]. Deleuze, G. The body, the meat, the spirit: becoming animal. Here.

[2]. Meaning-production is my own term. I discuss it here, here, and here.

[3]. Agemben, G. 2004. The open. Man and animal. Stanford: Stanford University Press.

[4]. Deleuze, G. On Spinoza. Here.

[5]. Zizek, S. 2007. Deleuze’s Platonism: ideas as real. Here.

[6] Op. cit. Deleuze, G. On Spinoza.

[7]. Turkle, S. 2012. The flight from conversation. In the New York Times. Here.

[8]. See my notes on becoming-noncorporeal. Here. The current work forms a second part to this set of much shorter notes.

[9]. Ibid.

[10]. Baudrillard, J. 1983. The ecstasy of communication. NonPDF. PDF.

[11]. This is my idea of the Radical Denial which is taken from a more sustained engagement with Baudrillard and object-oriented philosophy. Essay 1. Essay 2. Aphorism.

[12]. Virilio, P. Future war: a discussion with Paul Virilio. Here.

* Anchoring is the “fixation of points within, or construction of walls around, the liquid fray of consciousness”. The anchoring mechanism provides individuals with a value or an ideal that allows them to focus their attentions in a consistent manner. Zapffe also applied the anchoring principle to society, and stated “God, the Church, the State, morality, fate, the laws of life, the people, the future” are all examples of collective primary anchoring firmaments. (text taken from wikipedia).

** In this connection, it is a shame that the dromology of Paul Virilio isn’t read in an ontological light. Deleuze is framing his assemblage theory materialism as a materialism of movement and rest that is dispersed, as all Deleuze’s antibinaries are, on planes of intensity. The language for measuring these intensities that exist in the interstitial space between movement and rest is speed or temporality. It should be recalled that Deleuze and Guattari’s identification of deterritorialisation is inspired by Virilio’s use of the same term.

*** I owe Michael of ArchiveFire entirely for this phrase which I liked so much I’ve stolen it.

Notes on becoming-noncorporeal

Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal.

The concept of society is transforming. The social, endlessly mourned by postmodernism, is becoming the product of a work of generation, of electronic ghostly simulation. Society, that super-subject nonsense that has never existed, returns again, but this iteration marks the redistribution of sensible differences into commensurable units of code. Online, the sociologist’s dream is manifest in digital vibrancy. It is a dream the sociologist didn’t know he was dreaming, that he denied dreaming, and that his theories and models were trying to express. The latency of what was manifest is now come to pass: the spectral obliteration of materiality through the simulacrum which leaves the material in place [2].

Yet social researchers are dazzled by the data logged by social media sites and are apparently eager to use that information as uncomplicated proxies for social choices in general. At this point, enough people have made Facebook use a part of their everyday life that social researchers are treating Facebook as an empirical model of society itself.


What could we call such a tendency? The only term adequate is ‘trend’. We are speaking the language of social media- the prism through which the social is compositionally refracted. As organisms we pass into the new media, our nervous systems extending into that placeless time in denial of physicalist certainty, and are agitated. Agitation today comes to be more than the distressing or nonfunctional arousal of the nervous system by the environment and is no longer always simply treatable by mantras, by the breath, or by psychopharmacology. Today agitation is the agitation of Exhaustion, that sense of spent possibility that forms the mood of the time after the future wherein we realise that we never had any such future. Agitation is the psychoaffective outcome of being unable to unplug from this new social space, and of the ceaselessness of prompts to speak, to declare, to choose. The problem with this new social that eclipses the material is that it is infinitely refracting, plastic, without necessarily fixed axes: to speak of the space of social media is to illegitimately delimit its multiple indifferentiations.

This new social, the newness of which we have to continually stress to keep in place, isn’t just about technology directly inserting itself into our neurotransmission system. The novelty isn’t novel, we have always externalised our minds and we have always existed by prosthesis, the cyborg-image is as old as an ape using a nut as a hammer. The point is rather that this agitation is the result of the proliferation of multiplications of injunctions to participation that first of all demand that we participate in nonactual space. The new social produces agitation because it is this rampant nonactuality. This nonactuality is not identical to a virtuality. The claim isn’t that the social of social media is composing a society that is withdrawn from itself and the operants that condition it as this would only be to claim that the essence of the object ‘society’ does not exhaust itself in its becoming manifest. Instead, the claim is that nonactuality is neither actual nor virtual but exists as a kind of tidal movement between the two. Nonactuality is the non-physicality of the code made into an objective system of space and time that occupies and is occupied by the physical system of the object body. Otherwise put, every demand of the new social that is generated by social media and media sociology is always already a demand that we participate in something genuinely impossible: incorporeality. It is a pathological becoming-incorporeal; of becoming a body without a body by way of the acceleration of those organic systems that are stimulated when a prosumer of social media sits in front of their screen and subjects themselves to Facebook, Twitter, WordPress.

The new social, the hyperreal social, is a side-step of materiality that confirms what it disavows and retains under the effort of its obliteration. The new social is also a distribution of the insensible, in the sense of the flattened and blunted affect of the overexposed patient (for example, the depressive who loses the potency of the body; the restrictive anorexic who recodifies and/or loses the social materiality of space and relation; a whole ontosclerotic regime. Urge upon urge upon urge upon urge. ‘Desire’; ‘Take part’; this is the democracy of depleted serotonin and oversaturated dopaminergic receptor sites. A million clear and cogent signals are sent into the semiotic ecology becoming lost among one another, becoming indecipherable white noise.

We are inside a pathological ‘relation between statements and the incorporeal transformation or noncorporeal attributes they express’ [4]. Deleuze and Guattari meant something like performative speech acts wherein words affect bodies to alter the state space that those bodies occupy. I pronounce you man and wife does something to the man and woman. What happens when the man and woman are abandoned, when all that is left is the noncoporeal attributes? Exhausted at the end of the future, always in the heart of the catastrophe and anticipating its completion, we even begin to shed our bodies. The prophets of the technological singularity have always missed the point; one doesn’t need to flee the body to leave it behind. Social media is disembodied and without a future, it’s only future being the impossible instant that the body can’t cope with, that it can never manage to keep apace with. ‘We have been cheated out of the future, yet the future’s ruins lie about us, hidden or ostentatiously rotting’ [5].

Inside of becoming-noncorporeal there can be no memories of the near future and there can be no history, only the consensual linearity of a time-line. Becoming-noncoporeals don’t regret but ceaselessly construct,reconstruct and edit an autobiography that can never articulate what language can’t grasp, what language skirts around and illuminates only by dint of revealing shadows. And all these dreams of liberations. The dream of a liberation from matter that can be enacted by means of matter; the dream of a liberation from the social being enacted by an intensification of a perverse sociality; the dream of a liberation from unitary personhood only being enacted by an intense scrutiny of the self’s narratives. Soon a nostalgia will doubtless appear, and it will have the body as it’s object.

[1]. Baurillard, J. The procession of simulacra. Here.

[2]. For example see: Hart, W. 2011. Mind, self, facbook: towards a postmodern sociology. Here.

[3]. Horning, R. 2012. Facebook as experiment. Here. [Note the connection of facebook as an experiment in social form and various anarchist and Marxist ideas of praxis as experimentalism].

[4]. Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1987.

[5]. Hatherly, O. 2009. Militant Modernism.. London; Zero Books. Pg. 2.

Anarchy of Objects

Levi Bryant has a post up linking to a review of his Democracy of Objects in the latest edition of Continent that places that book, and Bryant’s wider project, within the tradition of anarchism. Bryant has himself recently suggested that Democracy of Objects should have been called the Anarchism of Objects.

In this connection I wrote a couple of articles back in 2010 on my old blog, under my old psuedonym ‘dronemodule’, that pre-date even Timothy Morton‘s identification of anarchism and object-oriented philosophy.

The articles:

Object-oriented anarchism?

Proudhou: ‘ideo-realism’

My relationship to OOO and to anarchism are ambivalent. I swerve into and away from both on an elliptical orbit. The essence of my work, such as it is, on this blog is an explication of a kind of pessimism that seems to undo the optimism of both of these positions. Yet, OOO is an ontology; anarchism a politics; pessimism a temperament and an ethics. Perhaps they don’t necessarily collide with each other. Or perhaps the point is to be able to bear the way that any intellectual engagement with the condition of things- especially one as half-cocked as mine- just doesn’t make sense…even resists sense. Of the three anarchism is that position which I find most unshakeable, the one tradition that I seem to be unable to free myself from despite finding myself as an employee of the state as a psychiatric nurse.

The review of Bryant’s book makes direct reference to Hakim Bey’s beautifully poetic book Temporary Autonomous Zones and other essays . This text has long had a disavowed influence on anarchism, one that in at least one respect (the fetishisation of the temporary autonomous zone as action- ie. social centres, squats, the #Occupy Movement becoming dead-ends-in-themselves) needs to be eliminated from anarchist practice. The reviewer puts forth that ‘Levi Bryant gives us a reason to believe that we can achieve the promise of Bey’s ontological anarchism without sacrificing the scholarly standard of rigour’. I think Bryant’s anarchist credential can be seen further back and throughout anarchist thought. But I leave the last word to Prodhoun, that anarchist that a Marxian like Bryant might have the least sympathy for:

A partisan of immanence is a true anarchist