Now that the dust has settled, solidified and developed into its own geographic strata, what to make of that mythical construct we like to call the blogosphere, wherever we might identify it. What is its supposed influence? Does it still exist? Did it ever exist? What lessons can be learnt from it? Was it even important? Did it succeed? Did it fail? If so, why? All of these questions are beyond my specific knowledge to answer, so in an act of knowing disappointment to anyone who might have started reading this and expected answers, I’m about to utterly fail to deliver any of them, speaking as I do from a position outside any kind of identifiable “blogosphere” if it did or does exist. The only reason it arises for me at all is as influence, a something I discovered or unearthed as a retrospective echo among the still present archives of K-Punk. The blogosphere everyone refers to is largely only evident in that vast hall of dead hyperlinks, in hundreds of severed references, mentions whose referents are long forgotten, perhaps buried on someones hard drive but likely never to see the light of day again.
And perhaps its better that way, as a ghost. It’s quite likely, given its ongoing, unfinished nature, that a lot of that material was “better when you were there”, that much of it has dated, faded like the hopes and fears that drove it, like the neoliberal consensus it responded to. Its important not to hypostasize our wishes in the failures of the dead, and therein lies the risk of a million hagiographies and gleaming platitudes regarding the excitement of a faded institution or moment. To keep, preserved in formaldehyde, some idealised vision of the early internet era belies our current moment, one in which any “blogosphere” cannot really exist in that form again; in fact, the promise of the net, that counter-cultural excitement swirling around cyberpunk imagery and tech-futurism has, like countercultures before it, become largely and seamlessly subsumed into the silicon valley sprawl, a vast network of information harvesting and management prefigured by the famous essay by Richard Barbrook and Andy Cameron on the Californian Ideology.
This tendency of countercultures to become re-incorporated into hegemonic structures can be felt throughout the 20th century, exemplified in the “capitalist hippy” archetype of the Californian Ideology. In some sense, it strikes at the heart of the critical apparatus of sub-cultural politics or aesthetics, reflecting the libertarian critique of the state back in the form of endless cybernetic flows and free market teleology. It is this movement, from underground opposition to newly adapted forms of hegemonic social control, that above all may lead us to question what value cultural politics by itself can have. It might not be a stretch to say that there was something absent from the hope of these movements, from the faith in aesthetic and culturalist change they exhibited. There is a tendency for some to place an inordinate degree of faith/hope in cultural politics, usually in a transparently self-engorging manoeuvre, placing their own discipline of interests at the centre of change. “Art can change the world” sounds good, as does “art changes how we think”, and both may be true in one way or another, but they remain problematic in some key ways. My skepticism of both statements emerges not in their underlying truth, but their implications, what might be missing from these statements and what may lead us to uncritically support them.
The problem with these approaches is, to risk repeating some Marxist slogans, but necessarily so, that they will tend to remain locked into, at the mercy, of the current social order, the mechanisms of production and exchange which foreclose and stifle the change they hope to enable. If we are to tentatively return to the subject of the phantasmic blogosphere, this issue arises, we could say, in the ubiquity of the internet itself, and the problem facing theory/philosophy at all in the age of the very online. If it existed anywhere, the “sphere” as such is to be found in the comments and hyperlinks, the tethers and conversations extending beyond the blog posts themselves, and which have mostly become either inaccessible or eerie remnants. Whereas its conceivable that at one stage this engagement was an exciting back and forth, where sparks flew and ideas were exchanged, such conversation has long since dissipated, moved into the perpetual hellscape of twitter or calcified into the odd response here and there. Where it does exist [twitter, for example] the problem I’m getting at asserts itself, whatever one says, whichever carefully worded, lengthy provocation, statement or revelation you unleash into the world, the internet as a perpetual, ubiquitous parasitic supplicant is there to swiftly bury it under a heap of clout-chasing generic content. In the days of always-online totally wired total anxiety, the idea of using the internet seems relatively quaint, such is its presence as a kind of second unconscious nagging at the back of your brain.
Of course, every social media application has arranged itself around such compulsive feedback loops, and is designed to become relied upon. Over the last decade at least its become commonly accepted knowledge [though increasingly perhaps an imaginary salve] that success or popularity comes with riding the algorithm, and countless how-to guides have been vomited out of the self-help industry regarding social media branding, on how to optimise your presence, gain followers, become insta-famous, and so on. This reminds me most prominently of some thinkers connected to Operaismo, specifically Paolo Virno regarding the prominence of virtuosity in the workplace, roughly speaking labour without product, where the performance inherent in the work itself is tantamount to the product we might expect of it. It may not be overstepping the mark too much today to say that in comprising a kind of 21st century virtuoso, the social media entrepeneur takes Virno’s formulation of Poiesis and Praxis on board and then some. Their labour is the presentation of life, the sustained simulation of behaviour seen in profiles, updates and curated posts, geared carefully towards gaming the system, repeated and practiced to the extent to which lives are lived around it in a wholly predictable inversion of the supposed supplementary nature of the online. What’s more, none of this, in the name of furthering their brand and product, makes an iota of sense without the public reach afforded it by the internet, while at the same time this same public reach serves as a constant barrier, an insurmountable distance to the kind of “presence” once pined for; we inevitably find that even given a certain degree of reach or success, the sheer amount of available material online is the very thing swamping the spotlight.
The emergent nature of this new, parasitic entity of information and communication, whether we call it communicative capitalism, semio-capitalism, not capitalism at all, or just, quite simply the internet [though this does admittedly seem wholly insufficient given the kind of social stratification and sheer level of functionality that is afforded it beyond the merely online components], is something that arguably inevitably swamped the hope of an online intellectual counter-hegemony in an avalanche of information and “content”. And all this content, for what, to what end, to what benefit? It’s inevitable to bring him up in this context, but Baudrillard offers us the best prefiguring of this situation when in The Ecstacy of Communication he emphasises the loss of both private and public space, “The one is no longer a spectacle, the other no longer a secret.” What this text perhaps emphasises is something of the futility of our attempts to escape all this, to retreat to “real life” when real life itself exists in thrall to this supposedly immaterial online space. Baudrillard, in his retreat from Marxism, somewhat abandoned himself any kind of hope of radical change, and there is little of this to be found in his texts, which tend to function more as diagnostics or provocations.
And here is where I step back from fully accepting the thesis of Baudrillard’s work, and the problem common to many of the outer reaches of post-structuralism presents itself, precisely that of immaterialism, and the way this move towards an all-consuming open-ended-ness itself begins to preclude any hope of shifting reality, of building something anew. The problem with much of our attempts to grapple with the issue of the virtual is perhaps simply the assumption of its virtuality, the shearing of it from the body, from visceral being, and even from the technics and commodity production that made it possible. Could it be that buried within all our texts and expositions on the virtual is an unspoken, unaddressed privileging, or assumption of the real? What is, ultimately, so unreal about the virtual. In which way can we so readily separate our “real” and “online” existence beyond an enacted mythology? Indeed this is the primary feature of Baudrillard’s hyper-reality, precisely this confusion of reality and unreality. But perhaps he didn’t go far enough, was there every any distinction between the two?
This is the problem we face if we wish to undertake any analysis and prescription of cultural politics today, that of materiality/digitality, the inevitable inadequacy of any approach which attempts to fallaciously extract the tendrils of economy, production, flesh and bone, from the lake of information and knowledge. The importance of Baudrillard was precisely in noting the extent to which the two were connected and could not be unconnected, to which the influence on our behaviour and thought by machines could not be undone. This was the fear of Adorno when he spoke of the fascistic mirror of the machine in Minima Moralia, the authoritarian movements of technology exerting its malign influence on human bodies, and the problem of the technological cannot be sidestepped if we wish to change a world already driven by it. A critique of the seeping influence of the californian ideology and the undoubtedly reactionary tentacles of its largely unnoticed ideological aims surely must be accompanied increasingly by a plan of action, a new form of engagement with the technological.
Blogging at least partially failed as some meaningful underground through a failure to really achieve this. The onward march and current domination of web 2.0, the ubiquitous social media twitch, smartphone at the side of every good citizen of the Californian republic, every denizen of Apple Google, Microsoft, likely all of the above, has centralised communication and data in a way that might have seemed like Sci-Fi imagining twenty years ago, and ultimately we all answer to those who sit in the drivers seats of these corporations. McKenzie Wark has identified from this what she calls the “Vectoralist” class, an attempt notably to reimagine the terms in which we describe the current moment that, even if it doesn’t catch on, should be taken more seriously than some have done. Because, in all our time advocating some kind of cultural alternative, a kind of digital Gramscian-ism of counter-hegemonic strategy, it could be that our failure to, in Wark’s terms, be more “Vulgar” in our Marxism, our forgetting of how important the underlying structures of production and exchange are, may have allowed something nastier to creep in through the back door.
Hauntology is everywhere these days, or should I say, everyone’s talking about it, or maybe it’s more that everyone’s complaining that everyone’s talking about it? It all becomes a bit tiring when you’ve spent some time sequestered online, once you’ve been through the umpteenth iteration in some kind of endlessly repeated discussion that would like to think it’s a weighty debate at the acropolis but is closer in resemblance to “my dad could beat your dad in a fight”; who has the best take, the spiciest or the hottest? Tune in after the break to find out…
Regardless, read what you want into the time of year I’m writing this, but I found myself lately in something of a Hauntology hole, probably after watching Ken McMullen’s Ghost Dance and returning to Derrida, the thinker that strangely enough for me I can’t seem to escape, who seems to wait for me somewhere however far I travel, whichever paths I go down. For all that he can be frustrating, and I very much understand the criticisms of Deconstruction as often being a kind of desiccated critique, there’s something more, and something vital within his critique of metaphysics that I can’t escape; indeed there’s something of the denaturalising impulse that we must search for in an emancipatory sense that seems to permeate much of Derrida’s work. When it comes to Hauntology, I think it is immensely valuable at this stage to strip away some of the dissatisfaction, repeated points, misrepresentations and identify a certain strand, something that very much still resides in Specters of Marx.
By this point a lot of what is pointed towards or identifies as such seems to be distinctly un-hauntological, a kind of flattening of the term to mean simply “haunting”, and a disconnection almost entirely from its implications of disjuncture, the intention of Derrida to invoke the “conjuring” of ontology, centred around the unspoken, the said and the yet-to-be-said, the “presence” of the text itself becoming a spectre. What is lost often is what is contained within the Hamlet quote “time is out of joint”, which Derrida evokes repeatedly throughout SoM. Hauntology is never about a simple haunting, the past coming into the present, a straight lineage of time, it revolves around the very unsettling of temporal lines, the paradox of presence and non-presence, the disjointedness of time and memory, it has everything to do with our state of being in time. Hence the wordplay, a portmanteau of haunt and ontology, it is, if we are to simplify it at all Ontology as Haunting, Being as Spectre. It is by its very nature an unsettling, just as when Hamlet speaks the above line, it is to evoke the idea precisely that something seems wrong, that the world is not as it should be…
Do You Believe in Ghosts?
You know that point of coincidence, when at some undefined point you encounter something familiar somewhere it shouldn’t be? It might be a flicker of a television advert, or something re-occurring years or decades later in some unexpected corner, a piece of writing, a snippet of lyric, a phrase that lay dormant and forgotten, but suddenly flickers into view for a second or more. It’s in this way that our lives are populated by ghosts, that time does not operate as we think it should. It’s not just that we remember something long buried, but the sense that the past remembers us.
But this seems like it should be impossible, it makes no sense. How could something that no longer exists still exert a pull on us? It is precisely this that Hauntology draws on, the strange slippages and dispersed fragments of time that exist at the intersection of being, the words before they are spoken. Indeed Derrida draws heavily on the sense when we speak that our words come from someone else, that we speak and write as ghosts. In Ghost Dance, we find him ruminating on being asked whether he believes in ghosts, “here, the ghost is me..”. The Hauntological displaces any sense of metaphysical grounding and places the present as a space of spectral projection, always out of view, always peripheral. In short, it undermines the Metaphysics of Presence. Hauntology teases out the threads of this unspoken periphery from the fabric, the implicit connections lying behind a form. There is no “haunting” something; if we intend to do something “Hauntologically” we have failed before we’ve begun, for the spectres we find, the hidden glimpses, must be prior to the expression itself, immanent to the text. The point of SoM was always to pick out what lay behind the text, the terms and associations that haunted the text, ones that inevitably Marx himself was not aware of.
This is all to counter the easy assumptions that Hauntology is merely a kind of calling-back, a kind of appeal to the past, which I’ve hinted at before but wanted to go into in more depth. If we are looking at a simple vision of the past we’ve gone badly wrong somewhere. Hauntology is by necessity a complication of the past, a tangling of it with its own future in which, and I can’t emphasise this enough, the unspoken becomes key. We enter a world of the not-quite, the never-here, the out-of-sight.. the echo precedes the shout.. a distinct uncertainty, where did that sound come from? Hauntology precisely dismantles our comfortable temporalities and disrupts chronology to the point where we can no longer say A then B then C with confidence in our memory of this progression, it becomes jumbled, disordered, out of joint.
“Hamlet already began with the expected return of the dead King. After the end of history, the spirit comes by coming back [revenant], it figures both a dead man who comes back and a ghost whose expected return repeats itself, again and again. “
The motif of recall, of memory dominates the Hauntological, becoming a central theme of SoM. A memory is something which lingers from that which no longer exists. It returns as spectre, which is precisely not to be, it is not a presence. In this sense, if we are to return to Derrida, “it is necessary to introduce haunting into the very construction of a concept”. To Derrida, Ontology is the exorcism of this haunting… “Everything begins before it begins”… the spectral precedes the real and the real is haunted by the spectral. This is to say that each concept, each form, is by necessity an exorcism of its own haunting, wherein it is conjured into being. This exorcism or ritual is a grounding in presence, where the hauntological concerns what precedes it, the impossibility of presence.
The Hauntological then, concerns everything that is not present, the gaps, frissons and openings; it is moreover an Ontological disturbance, foregrounding our distance from something, its disintegration and transience. This goes on to suggest, however, that a haunting, as Mark Fisher makes explicit, is as much a disturbance of space as it is time. Where the immediate association of haunting may seem a temporal one, the revenant, the return of the past, repetition and rhythms of ritual mourning and melancholy, it is worth pointing towards the prevalence of the haunted house, the connection to location in so many ghost stories. Fisher provides us with a key example in the overlook hotel of the Shining, the way in which family history, trauma, the crimes of the past, become residues in a place, the family drama of psychoanalysis crossing over with something larger and further reaching. So to move on from its one association as a temporal condition to this Ontological uprooting is to find that Hauntology is inevitably spatial. If, as Derrida said, Psychoanalysis is the study of ghosts, those phenomena of the psyche with no real presence that continue to exert influence upon us, then so must our connection to space, and our existence within it, be a spectral one. Here, the primacy of the virtual becomes apparent.
Mourning, The Return of the Dead
There is a specific engagement in Specters of Marx with the time in which it was written, namely the “end of history”, that final triumph of liberal Capitalism evoked most famously by Fukuyama, something that Derrida connected to Freud’s account of the triumphalist phase of the mourning process in relation to the demise of the soviet union and with it the very idea of Communism, of Marx. This approach, famously identified by Fisher as Capitalist Realism, consists of the recall, repetition, incantation, evoked through the spectres of Hamlet. “To the rhythm of a cadenced march, it proclaims: Marx is dead, communism is dead, very dead, and along with it its hopes, its discourse, its theories, and its practices. It says: long live capitalism, long live the market, here’s to the survival of economic and political liberalism!“, Mourning here takes upon itself the task of the aforementioned exorcism of alternatives, the codification of a universal reality and the final expunging of any memory that might still act upon the present.
So what from this is the significance of Hauntology in the cultural sense, the identification of a tendency, indeed a confluence in music and culture? It seems to emerge from what I’ve just described in the condition of melancholia, this refusal to let go. Where Derrida identifies in the end of history a process of mourning, of detachment and triumphalism, the death of Marx and the exorcism of his ghost, he simultaneously speaks of our inability to banish the dead. The Haunting present in culture speaks to something that is no longer with us, but that has been unsuccessfully banished, the work of mourning arrested. It is, more to the point, a refusal to “give up the ghost” that is, to yield with regard to the insidious pull of our own desire, as Lacan put it. The accusations of nostalgia here are misplaced I think quite simply when we realise that what’s being held onto here is not an idealised version of the past, but a potentiality, an alternative that never made good on its aims. While a traditional nostalgia harkens back to a supposedly ideal time, Hauntology points towards what is unfinished, and again, unspoken. It is for this reason that Fisher refers to “lost futures”, it is not what was, but what might have been. Here there is no object to mourn, and so it lingers on in expressions and cultural resonances. The death here does not pertain to some completed construction or project, but an approach, a world-view. For Capital, the dead always return to haunt it.
Many discussions and expositions on Hauntology over the past few years have started with Mark Fisher, but I purposefully did not, firstly because I’m aware that this Blog might quickly become a K-Punk fansite, and also because I think the origins of the term in Derrida is something worth dredging back into view, if only to emphasise the de-ontological qualities of the word. Nevertheless, if I’m going to talk about Hauntology, it has to be said that Fisher is largely responsible, with a few others [Simon Reynolds also had a part to play] for bringing the term into wider usage within cultural theory and criticism, and so addressing what he did with it, and where he applied it, becomes something of a necessity.
It’s often implied that there is an immense difference between Derrida’s Hauntology and Fisher’s, but right away I think that this is overstated. It’s true that Fisher harboured a frustration with Derrida as a thinker, criticising Deconstruction, as it manifested in the academy, as “a kind of pathology of scepticism, which induced hedging, infirmity of purpose, and compulsory doubt in its followers”. This frustration is something I alluded to above, and is not unfounded, and yet is something I can easily look past in his work, partly due I think to the fact that it was Derrida who lay somewhat centrally to my re-introduction to philosophy and theory after a long wasteland of disenchantment some time ago. In some sense it was precisely this pathology of scepticism which provided an opening for me into the paths I ended up exploring, and has pushed me always not into an infirmity of purpose or inability to hold a position, but instead into a constant wariness of simplicity and reduction behind a position. It is of course largely a matter of what you do with a thinker, and Fisher indeed refers to the ways in which Derrida among others drove a creativity and excitement in the music writers so influential to him.
I mentioned above the identification from Fisher and others of a certain cultural confluence with Hauntology, and to go further down that lane will require us to pull together some of the threads I’ve been exploring so far into what Fisher termed Sonic Hauntology, specifically at points linking it to the Hauntological tendencies of Afrofuturism with its displacement and jumbling of time and space. In his essay The Metaphysics of Crackle – Afrofuturism and Hauntology, an astonishing text that I must admit I only chanced upon recently, Fisher outlines this tendency, focusing on the presence of crackle or sonic disintegration in so much of the music to be identified with Hauntology. The railing against the metaphysics of presence is here beautifully opposed to the attachment to the presence or authenticity of the singer-songwriter in the work of Greil Marcus and found within the fiery opening salvo of Kodwo Eshun’s More Brilliant than the Sun, where Eshun opposes in the strongest terms the “troglodytic homilies” of the “intertia engine”, the tendency of music writers to appeal at all times to a “terminally stupid sublime” –
“The fuel this inertia engine runs on is fossil fuel : the live show, the proper album, the Real Song, the Real Voice, the mature, the musical , the pure, the true, the proper, the intelligent, breaking America: all notions that stink of the past, that maintain a hierarchy of the senses, that petrify music into a solid state in which everyone knows where they stand, and what real music really is.”
What Eshun is doing here is not too far removed from Derrida’s project in Specters of Marx, that is he is opposing the centrality of presence, of immediacy, of the present. In Metaphysics of Crackle, Fisher draws our attention to Dub, the “Afrofuturist sonic science” , and what’s notable is how it is treated by two different music writers, Marcus and Ian Penman. What’s notable about Marcus is not that he doesn’t address or talk about Dub, but that he talks about in the sense that a literary critic might talk about a text. What’s important is its presence, its importance, its meaning, never the materiality of the sound, what it does. What Marcus is ultimately beholden to is a kind of Rock Metaphysics, seen in the proclamation of raw, pure expression, common attitudes towards the blues. And yet, as Fisher points out, something that a writer like Marcus barely ever touches upon is the role of production, of music technology, of everything that mediates between us and the musician. For in truth, while we tend to look towards bluesmen like Robert Johnson as the ultimate purity of expression in music, we listen to them practically through the material haze of time, through the broken up, crackling deterioration of sound. Fisher quotes Owen Hatherley, “there’s surely no music more utterly dominated by its recording technology than 1930s blues. Listening to Robert Johnson you have, rather than the expected in yr [sic] face earthiness and presence, layers upon layers of fizz, crackle, hiss, white noise..”
So sonic Hauntology is precisely the foregrounding of that technology, the cracks, deterioration and surface noise, rather than the rockist privileging of the man & guitar, the voice. It is in this sense that Penman identifies it and Afrofuturism as “two sides of the same double-faced phenomenon”. The same material foregrounding of the lack of presence found in Hauntology is central to the diasporic, fractured, cut-and-paste jumbling of space-time of Afrofuturism, where the alienation within black culture, the transience and lack of place, are exactly what becomes emphasised and re-configured. “Afrofuturism unravels any linear model of the future, disrupting the idea that the future will be a simple supersession of the past. Time in Afrofuturism is plastic, stretchable and prophetic—it is, in other words, a technologised time, in which past and future are subject to ceaseless de- and recompostion” So, through the dominance of technologies to how we experience sounds, music or otherwise, sonic Hauntology intensifies this pattern, emphasises it.
But to what end? What purpose does Hauntology really serve, we might ask, where does this distancing of presence lead us? The answer lies I think somewhere in the postmodern world of simulacrum, virtuality and abstraction that has become so familiar to us today, the communicative wonderland and digital landscape. Sonic Hauntology’s heightening of crackle and distortion, the surface noise of old media technologies is something that immediately distinguishes it from the formal nostalgia pointed to by Fredric Jameson in Postmodernism, something which also is immanently connected to the prominence of technology. This formal nostalgia not only separates itself from emotional or psychological nostalgia, it is in some sense predicated on its absence. It is only when detached from its past, when the direct memory is severed, that an attachment to the forms of the past comes into focus. The “Slow Cancellation of the Future” Fisher refers to [from Franco Berardi], is a nostalgia, but one very different from the paradoxical one found in sonic Hauntology for example.
Ghosts of My Life is the project of Fisher’s I’ve found is most sidelined. This is not to say that it is unknown or anything of the sort, but that the main focus tends to be on either of his other books. It has, however, resolved into my favourite of the three he published, and something of this lies in its diaristic, fragmented quality. The book, while it centres on themes, is not a simple treatise on them, but an exercise in the very excavations of lost futures implied through Hauntology as some kind of practice. This is why, far from its distended nature reducing its effectiveness as Hauntological text, it is precisely this that, in the lineage of Walter Benjamin’s Arcades Project, and indeed Laura Grace Ford’s Savage Messiah zine to which Fisher contributed a preface, places it within the Hauntological beyond simply containing a definition of it as a tendency. While we might search for a clear, elegant, singular text, it is the cut-and-paste quality of a project like this, the immediate appearance of cracks and lines in its construction, that presents it as a kind of spectral archaeology par excellence.
So what to take from the yearning for Lost Futures. Is it, as some have tried to insinuate, some kind of re-constituted nostalgia? Are we, through this, doing precisely what donkey-jacketed old socialists are most often accused of and wishing for a return to the 70s? I mention Ghosts of My Life as here we can find an engagement with this –
“What is being longed for in hauntology is not a particular period, but the resumption of the processes of democratisation and pluralism for which [Paul] Gilroy calls. Perhaps it’s useful to remind ourselves here that social democracy has only become a resolved totality in retrospect; at the time, it was a compromise formation, which those on the left saw as a temporary bridgehead from which further gains could be won. What should haunt us is not the no longer of actually existing social democracy, but the not yet of the futures that popular modernism trained us to expect, but which never materialised. These spectres – the spectres of lost futures – reproach the formal nostalgia of the capitalist realist world. “
The point here is precisely not a yearning for times past but of tendencies curtailed. The “Lost Futures” are not a kind of Schlaraffenland we might readily associate with a kind of reactionary nostalgia for the past, nor are they the melancholia of Gilroy or Wendy Brown, “Post-colonial” and “Left” respectively, in which we become attached to either an idealised moment or the repetition of failure. As usual within the purview of Hauntology, the Lost Future concerns the unspoken, the yet-to-exist or the no-longer-existing. This might seem like an obvious point, one I re-iterate here, but it contains within it something immensely important to realise culturally and politically, and that is that tendencies we might look towards in the past, be they Socialism or Popular Modernism, are not restricted to the time within which they existed, and are not finished, packaged wholes. The common line directed at the left that “you just want to return us to the 70s” commits two major errors; it firstly presents us with a retroactively constructed narrative of the 70s, an image of neoliberalism arriving to modernise the clear failure of social democracy [Thatcher’s“Labour isn’t Working” posters come to mind], putting to the side a lot of the inconvenient attempts to forcibly impose neoliberalism and ruthlessly crush opposition, secondly, it assumes that the left, socialism, whatever we want to label the tendencies dominant at the time, are locked within that decade, that any attempt to continue them today is by its very nature some kind of nostalgic pathology.
So, in trying to perceive the flickering, disintegrated echoes of a past era, there is a melancholia, but which takes the form, rather than a time-locked nostalgia, of a refusal, a refusal to mourn, to banish the dead. There is a defiance in yearning for something violently strangled before its time, to hold on to the reverberations it leaves behind. This distinct refusal to mourn, to give up on potential, is central to the political and cultural prevalence of Hauntology and the Spectral. It is the vector towards renewal perceived through a technological haze, just as the lone bluesman is heard through the indefinite layers of crackle and noise. It is the distance afforded us by the technological here that preserves and propagates the ghosts of our lives. The distended, fragmentary cut-and-paste alienation of time from itself that we experience in a landscape where all emerges at once, regardless of time and space, that distinct flattening of spatio-temporal distinctions of our era, is something that Hauntology, both in cultural, political, sonic, psychological, geological terms, intensifies.
It is this process, the intensification of disjuncture, that may become a vector towards a new modernist impulse. For how long now can we continue to hold to the limitations of presence, and for how long can we prioritise the kind of grounding Rockist authenticity demands? The disturbance of causality itself, and the undermining of metaphysical presence itself, becomes today the task of any future, for it is surely the “realistic” appeals to purity, to identity, that form the ritual exorcism of spectres. It is in assuming that what we see it what we get, that it is a solid, unmoving excrescence, that in a real sense we do away with any potential, any echo. There is only the music, and great music speaks for itself, right? Hauntology is to percieve in this gigantic echo chamber a world, a fragmented map of associations far larger than any building or song, to draw out the fabric into an immense spool outwards… unravelling, and through this sensing the tremors, the barely perceptible patterns still present through the gaps, reveal themselves…. like apparitions through the fog…
Reading List [Not all of these are explicitly mentioned here but all are relevant and informed/inspired it, however tangentially]-
Jacques Derrida – Specters of Marx
Ken McMullen – Ghost Dance [Linked above]
Mark Fisher – Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures
Fredric Jameson – Postmodernism: The Cultural Logic of Late Capitalism
Mark Fisher – The Metaphysics of Crackle: Afrofuturism and Hauntology
Kodwo Eshun – More Brilliant than the Sun: Adventures in Sonic Fiction
Walter Benjamin – The Arcades Project
Laura Grace Ford – Savage Messiah
Simon Reynolds – Retromania [see also Rip it Up and Start Again]
Greil Marcus – Lipstick Traces: A Secret History of the Twentieth Century
There is a staple of BBC daytime television I remember filtering into my brain as a child called “Escape to the Country”, an example of the property/lifestyle programme in which prospective buyers are shown round a series of houses in a particular rural location. The very premise of the series, contained in the title, lies in the idea that the countryside is where one escapes. Usually in this context this means well-off city couples looking for somewhere they might be able to “get away from it all”, live out their days in idyllic peace and quiet, they’ve has too much of the hustle and bustle of city streets and want to find a nice cottage in a picturesque heartland, the good life.
Of course having grown up in a country village, this didn’t quite square with me, this clear-cut duality.. why would I want to escape to the country when I was already there? On top of this, it was far from the pastoral idyll these city-dwellers seemed to envision; sure, you might relish the idea of having a view over the fields, but just wait until that breaks down into a sea of industrial agriculture. Sartre pointed out the ways in which city people often see in the countryside an untrammelled natural world that belies the carefully managed ways in which the landscape is effected by human activity, how a hedgerow or a field, entirely man made, are interpellated as the sublime beauty of mother nature, undisturbed. What happens when someone else’s outside is your inside? What for many represents this mysterious other becomes for another a deeply familiar, even banal reality. The “escape from modernity” implied in its twisting branches fades into a pile of discarded kebabs and coke bottles, the terrifying sublime into a half completed building project.
This is of course the issue of familiarity that inevitably follows such distinctions. Home, where we come from or where we live, inevitably carries with it a certain familiar tinge that disavows us from the illusions and mythologies others stretch on top of it. For me, the Norfolk landscape I grew up with is as much a site of blasted industry as folk tales and crooked trees, as much the place that framed my awkward adolescence as a place of nostalgia and yearning. Of course such phenomenological inconsistency is ironed out completely in escape to the country, devoted as it is to selling a dreamlike vision, it is practically a textbook example of a capital-driven fetishization of an other, the ideal other free of blemishes and faults. Of course while this example is a clear, explicit move to sell, hawk wares in the most base sense, another way we encounter the same issue is in the attempt to escape such banalities. The problem here becomes an overall equation of “outside” with a particular subject, a particular place.
To us, of course, the inside/outside division will always re-orient itself along the lines of familiarity. Home=familiar, inside, Away=unfamiliar, outside. Someone who grew up in the city might indeed view the countryside with a kind of rapt fascination, or idealism, but then of course from the other side of the mirror the city begins to look just as exciting, a hive of modernity and hedonism, of the new, the future.. both an interlinked burrow of contradiction and negation. Familiarity on both counts becomes a moderating influence, what in psycho-analytic terms we could call a reality principle. From the unbroken mask, we begin to see the cracks, the guano on the pavements, and are disavowed of our previous excitement. The search for the outside as Lacanian objet petit a, always frustrated whenever we think we have reached it.
Mark Fisher, in Weird and the Eerie, as well as elsewhere referred to the “inside as a folding of the outside”. This is indeed an apt observation, but by itself incomplete. What this seems to point towards at various points in his writing is if anything the collapsing of an inside/outside distinction as ontological truth, akin with both a Spinozist collapsing of Cartesian dualism and the post-structuralist death of the subject. And so just as much as the inside may be a folding in of outside influences, it is equally true that the outside is a projection of the inside. The point, as ever, is not the search for the green grass on the other side, but the collapsing of the boundary itself. Here we find the alien contained within the human and the human in the alien, nature in civilisation and civilisation in nature, the country in the city and the city in the country, each clear distinction muddied, questioned and broken down. It is here that the subject becomes an extension in contravention of experience which might hold each of us to be a walled off entity in our own right.
From this then, it becomes a matter of de-familiarisation. If it is the familiar that generates reality, to generate another reality, what Alenka Zupančič would attribute to a process of sublimation, requires a de-mystification of the banal, the reality principle itself. It is of course this process, this “revealing” of the ideological mediation that is experience, that opens the door to new worlds within the familiar; it is not the projection of some ego ideal but the very unfolding of what we perceive as natural and real. The conception of nature is a prime example of such a reality, a nice comfortably sectioned-away, bottled and labelled thing that must stand in opposition to the human subject, in a kind of pre-copernican anthropocentric universe. To de-familiarise, to unfold our surroundings is then to place the outside within the inside, the inhuman within the human as it were. But just so I don’t fall into a particular trap here, this unfolding is not any kind of revealing, not the mechanism hidden behind the magicians illusion; indeed don’t we have to assume that within this action of unfolding is contained the inherent precedent to a “re”folding, wherein the act of sublimation not only unveils the contingency of reality but transforms it, creating new possibilities.
Isn’t there a problem then, with our assumption of the “otherness” of the country? Should we be staring at the mirror hoping to reach the reflection on the other side? It is true, and I value these experiences very much, that we can stand in the middle of the woods and experience a remarkable and refreshing emptiness, feel somehow that we have “escaped”, but today what’s the likelihood we can do this without both coming across some clear evidence of manmade intervention or being interrupted by a holidaying family? More to the point, doesn’t this simply leave one familiar for another? The urban industrial for the pastoral industrial, we move from one to the other side of the river in the hope that the other we so desperately seek is contained there, and neglect the vital work of re-orienting the perception of the ground beneath our feet.
Now I’ve definitively extracted my foot from the mulch of certain online theory trends, there is a certain bracing wind that accompanies where I go from here. It is my intention from here to turn into this wind, taste the salt it brings in from the crashing waves and relish it. There has been a trajectory I’ve found myself on that I can most clearly identify from the evening I read Mark Fisher’s Capitalist Realism; something that I would compare to a genuine epiphany towards the anti-capitalist convictions that have only grown stronger. In the year since it’s been a wavering line rather than a strong arc, but as it clarifies, it became clear that it was defined by two distinctive currents; put simply that of a Praxis towards a communist alternative, the radical re-configuration of the means of production, and that of culture, of its production and its influence on social relations. This divides in different terms somewhat into the political imperative to build a better future, and that of what lies close to my heart so to speak, or more succinctly to the collective and the particular.
To elaborate on this I want to go further back in my own experience and elaborate on the significance music has for me. Music was actually something I never really got into until I was 16. By this I don’t mean that music had no significance, it was ever-present in my childhood, around me at home and in the circles I encountered, but until that point I had never really been a fan of a particular band, musician or anything like that. It was the fateful meeting of a guitar and a book of White Stripes tabulature that catapulted me into actually listening to music, and it was here at the intersection of creating and experiencing music that I found some kind of escape from the rather miserable experience of my social reality at school, an opening onto a world removed from the one where I had to endure the gauntlet of other people, something better. A few years on from this, the musical experience opened up to me in what I can now recognise as a characteristically postmodern deluge of multiplicity, flashing lights, different sounds, a million new things at once. I discovered probably hundreds of groups and figures in one sweep, and each successive sound was one I hadn’t really encountered before.
Nonetheless, despite this overwhelming wash of musical discovery, something else comes out at me from those initial years, and that’s how music consistently offered me something apart from the endlessly careers-focused hell of college, the social anxiety I faced in the outside world. This seems in a sense perhaps a result of the fact I was experiencing music at a greater rate as most of what I was stumbling across was both new and old, from multiple different decades and eras at once. At that time, the dizzying array was exhilarating and I embraced it. Music, the experience of sound, captivated me in the way that nothing else could, and the further I explored its corridors, the more it was this experience, not simply listening to a song but letting the song hit me in the face, that appealed to me. I distinctly remember playing Godspeed You! Black Emperor’s Lift Your Skinny Fists Like Antennae to Heaven from front to back in a room on my own and being driven to tears simply by the combination of sounds at a particular moment, and this experience, similar to the experience of the mystical that often emerges into the lives of characters in Clarice Lispector’s stories, that began really to drive my musical obsessions. When it comes down to it, what bleeds through all the music that I’ve really attached to myself is this sometimes violent, sometime strange, always somewhat blissful entrance of something that seems otherworldly [and yet it’s worth noting that the reason it seems this way is precisely because it is not].
What is the point of this lengthy exercise in self-reflection? It is in part to ground more clearly what precisely it is that forms my intimate connection to cultural production as something that can change the constitution of the world. I felt the need to elaborate on this precisely because at this point the “communism” part is far more easy to understand without much exposition. The point, then, is how we might achieve it. Of course I might note at this point that I am not a professional musician and my university education thus far has been in Fine Art, so there is quite clearly more to this, but I find even my focus via visual mediums is often defined irreducibly by musical influence as much as or more than other visual ones; music is something that one might say haunts any work I produce. This leads in fact to what I want to start defining more in terms of the overlap between cultural forms and modes, the ways in which a piece of music may lead directly or otherwise towards a book, or the latter towards a film… the space in which it is possible to open up new worlds and teach new languages, something I will tentatively call a pedagogical cultural space.
Cultural Hegemony is the term used by Gramsci to refer to the naturalised social order, the idea that for the ruling class to maintain control, the natural order must seem like second nature, common sense [of course this has a lot to do with good ol’ ideology which I will no doubt address further down the line]. Something I’ve often held with me from my musical excursions is precisely an instinct of resistance to what was held to to be normal or natural, but one that at the time I obviously had no idea how to effectively talk about or channel into anything. All that the regular drumming into us in college of the market stalinist dogmas of careers and economic success achieved for me was an inherent distaste for the stultifying banalities that it promised, and I have no doubt that while this has caused me much grief in the form of existential/identity crises and persistent nagging anxieties, and capital is geared consistently towards making you feel like shit for doubting its good word, it set me in good stead. It’s when you consistently flout the rules of common sense that you simultaneously discover how contingent they are and how keen people are to reinforce them.
So in this sense, I’ve always had a distrust of the hegemonic ideas that are spoonfed by decree, the rather distasteful implication that growing up is a process of self-imposed exile and disillusionment from our stupid dreams, that upon exiting into “the outside world” we just have to suck up, get a proper job and be happy with our lot. The most we can expect is a promotion at the behest of some depressed stooge whose task it is to shift the decks endlessly on board a sinking ship. In this sense, what culture offered me, in its otherworldly potential, was an alternative. It undoubtedly opened me up to worlds I would never have encountered without it, even as I grew frustrated at the endless covers of classic rock songs everyone insisted on learning whenever we actually managed to play music together.
Of course before I get too carried away I’m not trying to romanticise culture here as some autonomous zone, a genuine utopian enclave away from the troubles of reality, but it is apparent to me that this is precisely how it felt at the time, as if through the collection of music that I carried with me I could walk through the door in the wall and spend time in some ethereal wonderland for a bit. This sense of escapism through culture is something I want to come back to, but for now I want to address that culture cannot in fact magically detach itself from its own means of production any more than another facet of society. Indeed, what I’ve just described might all fall under the heading of Fetishism, a kind of reified description of something that is, when all is said and done, nothing but a commodified, packaged product from a supermarket aisle. As we are aware now, even alternative cultural spaces are by no means pure, untainted by the logics of the Culture Industry. In fact, its potentially in alternative cultures where it sometimes makes itself more apparent, whether that is in the sectioning of “avant garde” or experimental forms far from the centre where everything stays in its lane, never to intersect, or simply in the surface level adoption of an “alternative” aesthetic, symbols of resistance, transgression and “Punk” that have now become so much semiotic slurry in the every-day experience.
An object of study; the recent episode of Black Mirror, starring Miley Cyrus, called “Rachel, Jack and Ashley too”. Much has been said about why elements of the last season of Black Mirror didn’t necessarily come together, but what really stood out to me about this episode in particular was the way it presented the culture industry in what amounted to a good vs evil, imprisonment vs freedom ethical narrative wherein the malicious influence of “pop” is set against the transgressive freedom of “alternative” forms of music and presentation. Throughout the episode we have persistent black and white contrasts between the cartoonish villainy of the dystopian pop industry, an inhuman machine that must churn out palatable content at all costs, and the freedom of “liking what you like “, doing your own thing. This is exemplified in the relationship between the main character and her sister, who both constantly argue over this very cultural divide.
Much of what’s presented here echoes some of the blistering critique Adorno & Horkheimer levelled at the Culture Industry, but even they, often somewhat unfairly given short shrift today, grimly noted how expressions of spontaneity, freedom, improvisation, often are made palatable, they are accepted, but only through the absorbtion of their disrupting influence as a new tool in the Culture Industry’s armoury. We can experience the alternative, but only as another sub-heading of the commodity. Paolo Virno notes in On Virtuosity [from Grammar of the Multitude]that while at the time such deviations where considered by Adorno & Horkheimer as remnants, something that remained from the old cultural modes and was soon to be lost somewhere in the innards of capital, chewed to a pulp, it seems now, after the convulsive propulsion into post-fordist modes of production and labour, that these elements have re-aligned to the centre of the culture industry itself. Virno proposes, in a similar vein to the common statement that neoliberalism and post-fordism emerged as a result of a desire to escape the misery of fordist capitalism, that the very aspects of culture that in that primary critique were held to be dead meat, have become part and parcel of what Jodi Dean might call “communicative capitalism”.
“These were not remnants, but anticipatory omens. The informality of communicative behaviour, the competitive interaction typical of a meeting, the abrupt diversion that can enliven a television program [in general, everything which it would have been dysfunctional to rigidify and regulate beyond a certain threshold] has become now, in the post-Ford era, a typical trait of of the entire realm of social production.”
Here we move past the image of packaged goods on a production line that often comes to mind when we consider the Adornian culture industry, into the elasticity of contemporary communication, the feedback loops and open ended performances of online networks. Of course this does not mean that the promise this offers is legitimate, that we are seeing a complete cessation of formulaic entertainment, more that the means of its production are now supposedly in sync with these means of communication. We can see an example of this for instance in the increasing attempts of brands, from fast food chains to social media companies to Disney, to “appear human”, to generate seemingly spontaneous interaction online, and more generally in the universal PR machine that drives not only the culture industry today but practically every facet of socio-political life. When mark Fisher said “all that is solid melts into PR”, he was perhaps referring to this very tendency towards what Virno calls Virtuosity, away necessarily from packaged, closed off products, towards the open-ended performance.
In the aforementioned Black Mirror episode, this is most clearly criticised on the one hand as the inauthentic pop industry, purposefully hiding and effacing the unhappiness and suffering of Miley Cyrus’s character in order to present an “aspirational” figure, and then celebrated towards the end, in the ability, the implied freedom, allowed her in embracing her trangressive desires… except of course as we’ve found this transgression is not what it seems, for despite the content, in form this is simply another set of etiquettes, another mediating influence that must be maintained. The communicative matrix is the same, all that’s changed is the set of signifiers, the actions themselves… there is no escaping the machine… unless…
I want to return to the idea of culture as an escape. Of course when we talk about culture as escape so far, it is escape in a figurative sense, an abstraction, and so in itself could very easily translate to inaction, the “my planet needs me” approach to disaster or suffering, in which we simply beam up to the stratosphere to avoid tackling earthly problems, seen of course in Elon Musk’s extraplanetary ambitions. But does this have to be the case? The language here, “escape” perhaps belies the framing of the action, for it suggests above all the escape from one reality into another. Of course in this movement of escape its not hard to begin to see a translation into social change.
The issue I see with the way I consumed the vast milieu of music available to me was the lack of what I’ll call a cultural space. I immersed myself in various expressions of culture that were nonetheless completely virtual, they rarely if ever manifested themselves in something that one might call the aforementioned social reality, in any kind of confluence, movement or presence. The move into globalization also facilitated in some sense the raising up of culture with a capital C into a kind of loft space where it could exist as a repressed simulation without really having much of an effect on the building beneath it. In another sense, this meant that music, cinema, literature, all simply became hats that we wear, topics for small-talk, nicely depoliticized chunks of empty entertainment that provide solace but little else. “Have you seen (x) on netflix?” “What music do you like?” becoming common questions but existing in a kind of netherworld of hedonism that can’t make itself distinct enough from serious issues of the world talked about by serious people.
The lack of space here is in some sense this sectioning-away, this mono-disciplinary approach wherein x is x and y is y and never the twain shall meet. By “Space” I here refer somewhat to what Fisher in Acid Communism called a confluence, a meeting point. I will lead off from this more in future posts at some stage but I hold that it is through a process of cross-pollination and intersubjectivity that the process of mere escapism becomes a movement into something else, that the fractured global multitude can collectivize into something more. A pedagogical approach has for too long implied what Lacan attributed to the process of psychoanalytic transference as the creation of a subject supposed to know. We immediately conjure an image singularly of a teacher doling out information like packets of rations to a willing audience, and collectively of a vanguard movement imparting the truth upon the supposed subject who does not know. We must desperately move past this, to open up the relationship between subject and object and to encourage a new form of cultural pedagogy at the intersection. There must be an uncovering, the exposure of each subjectivity to the open air, an archeology, of culture, and of cultural space itself.
I find myself, as I often do at this time of year, away from the perpetually bedraggled kingdom that for now still seems to be holding on for dear life to its browbeaten and blood-soaked photographs of past glories, nestled instead somewhere in the north of Germany where if I’m perfectly honest I haven’t much of an idea what specifically is going on. This said it has already been constructive to peel myself away from the quotidian day-to-day realities of city-life for a little bit; it seems that certain repetitions that prove necessary for a minimum level of survival also tend to channel my thoughts into a kind of analogous Nietzschian eternal return, whereupon I never truly allow myself a moment of commitment or pause to gather together whatever I’ve been working towards. The constant routine, while reassuring somewhat in its similitude, also is punctuated by blockages, pulses of activity that seem to interject and swirl up silt into the currents just as it was on the verge of settling.
Some thoughts that have emerged since I have been here, and as I was reaching the final passages of Fredric Jameson’s monumental Valences of the Dialectic [a book that will no doubt be informing my writing for a while yet and from which I have noted a staggering amount of new reference points] have surrounded as much what I intend to do, leading up tentatively to a potential PHD application in the coming year, as vigorously as what I absolutely want to avoid. Since it seems prudent to undergo a process of elimination before we reach any kind of statement of intent, I will first of all outline the latter in the most euraesthetically despondent way I can.
The Plane of Total Abstraction [No I don’t want to associate with Fascism]
My own experience studying Fine Art at university familiarised me a little too well with the kind of obfuscatory poetic allusion that dominates a certain mode of discourse there. Unfortunately, the same language extends, despite what one might assume, beyond the doors of the art school, as anyone who has encountered the reams and reams of pseudo-deleuzian romanticized creativity porn might attest to. The issue quickly becomes a wider theoretical one, in which you may find yourself buried amid attractively worded poetic and mysteriously aesthetic passages that nonetheless appear to have little to no purchase on anything concrete. This is the plane of total abstraction, where progressive really means reactionary, where emancipation is less desirable than reading ones preferred gothic allusions into Marx & Engels. We here end up at the point where largely online writers congregate, where we find the slippage between the emancipatory and the deeply conservative, where people are intent on transforming commitments to revolutionary/leftist politics into the same grey mulch of word syrup where practically mystical conceptualisations stand in for collective praxis, where “the left” is intoned with the same ironic cynicism as one finds in the worst right wing snake pits. Everywhere in this plane we find an unbearable malice towards those who in reality have good, if perhaps misguided intentions, and you don’t have to walk far through this blasted land to find the bitter, unpleasant aroma of first a general misanthropy, then as the fog thickens more immediately objectionable outbursts of racism, misogyny, the worst kind of reactionary poison until it all coagulates in the viscous sludge of fascism [here come the cries of “everything is fascism now!”].
Unfortunately I find that despite the moment of cyber-futurism that led to what is called Accelerationism holding some degree of historical interest now, I would take aim at a good portion of the online communities around what now carries that label. Am I saying they’re all fascists? No. What I’m saying is that I have less than zero interest in reactionary politics, in maintaining social relations with “ironic” fascists, or people who form their online identity around an obnoxious edginess and occulted language. In terms of actually effecting the world, in considering others, in any form of democracy, empowerment or collective joy, these online cultures are a lead weight, a choking cloud of dust, at worst actually dragging people down to their level and emptying them of blood. Their aloofness, objection to emancipatory desire, insistence on removing themselves from the social and political particulars, remaining behind the veil at all costs, make them little better than the academic professors they often so despise, and even on a surface level all that we really find here is a universal ironic dismissal where everything is weightless, nothing forms unless around the individual ego…
So where do I stand here. No doubt there is no small degree of abstraction per se in the sometimes labyrinthine texts I’m approaching, so it’s not the abstract itself clearly that I object to, lest I be accused here of a monumental hypocrisy. Where the problem intervenes, and shows itself time and again online, is in the failure to bridge the gap from here to the particular. Something is wrong, quite simply, when what is objected to in the work of a political thinker is precisely the point at which they directly engaged with politics, the point where Lefebvre becomes actively involved with the production of space he wrote about, the point, in other words, where theory intersects with praxis. The whole idea of praxis in this regard becomes lost in the plane of total abstraction, a place where a concept shared between a few clued-in people somehow stands for a whole process of collective engagement.
The issue here is a shortcut taken in between conceptualisation and realisation that unfortunately must be somehow bridged, whether in potentiality or actuality. We can’t progress, for instance, from some extensive pontification on “exit” towards a genuine radical redress of social reality without at some stage theorising how this in the starkest terms translates into material processes and affects. This of course means not simply from the position of the individual subject, but also the ripples we can perceive across the totality, by which I mean the vast webs of cause/effect that criss-cross the reality beyond direct experience and can largely be accessed through a kind of narrative topology, or in some sense a conceptualization, whether that be explicitly through the avenues of theory or the no less effective dreamworks of cultural collage and social imagination. Either way, the shortcuts taken in this regard often lead into an effervescent confusion in which the entirety of the political and historical processes that form the socialist project and horizon becomes transmuted into something… fuzzy. In this no-mans land, discussion of political strategy becomes unfashionable, so it is not approached, anything as concrete or dry as history becomes something more sexy to some perhaps, but loses its hold on particular reality.
The problem with accelerationists
Even worse is the perturbation from these spheres to anyone who dares “misunderstand” their chosen buzzword. Let me for example take the term “accelerationism”. I repeatedly see protestations from people who to a certain extent identify with accelerationism as a term, often in the form of a modifier such as U/acc. Much of accelerationism it must be said keeps itself intentionally occulted, vague, easy to appropriate into a million different forms, but let’s be honest, upon hearing it our first associations will likely come from the word “accelerate”. In both senses it becomes patently absurd when people connected to this term complain in the most vociferous, hard-done-by-terms about the association with speed. I’m not one usually these days to attach to a term concrete and unmovable definitions, but we choose a certain language for certain reasons, and if we don’t want our philosophy [or project, or politics, or whatever it is] to be associated with a concept like speed I’m going to go out on a limb and suggest you probably don’t use a word of which the dominant connotation is precisely to “go faster”. If we look towards the singular [and relatively brief] moment of the 90s in which the current usage of the term online largely arose from, there is a general quickfire, heightened aesthetic and lifestyle and way of writing that is indelibly connected to it and formed its dominant mode. Even extending to the use of amphetamines, or “speed” no less, the heightening suggested in this cyber-futurism was dominated by the implications contained in the term accelerationism itself, it was either an injunction, a prediction, a wish perhaps, for something faster, more intense, bigger, more total. Now of course before I am accused here of wilfully misinterpreting anything I’m acutely aware that many do not actively pursue it in this way, but in lieu of that it must be said it’s not particularly clear what’s being offered. A theory of time? Perhaps, in fact quite likely, but frankly if acc-heads don’t want their philosophy or label to become so frequently appropriated or misused according to their own ideal interpretations I might advise setting forth something a little bit clearer about what precisely it is supposed to be.. what it really is, what implications it has, other than some kind of easily ignored teleology. If it is not a political project for instance, or just another, cooler word for futurism what is it? The more you read about it, the less clear it gets. In the plane of total abstraction, things are made to be misinterpreted.
And here I reach what really becomes uncomfortable territory for anyone who calls themselves in some regard an accelerationist, and another regard in which I have seen hand-waving protestations, as if one is nothing but a troll for bringing this up in the first place, and that is the nigh-constant flirtations with the reactionary right. The proximity of the acc sphere to Nrx isn’t difficult to ascertain after a small amount of research, and not just because one of it’s primary progenitors Nick Land now spends most of his time spouting exceedingly dull neoconservative talking points on twitter and penned some of the primary literature for what has become known as neoreaction, or Nrx for short [none of this lessens the interest of his early work, but it does bring it into perspective], but because of the consistent allusions, friendly banter, politesse, compromise and praise for right or reactionary ideas and figures. When coupled with a certain brand of misanthropy, irony and the sneering attitude towards left action and politics, one begins to legitimately question the political aims here. Of course if you are more inclined towards the reactionary right, and make no bones about it, then fair enough on your part, but I don’t really have much of a reason or desire to share your predilections.
This is far from some complete denunciation of anything at all connected with the realms of theory I’m here discussing; in fact if it is anything it is my cry of frustration at the state of theory as it is discussed and formulated online at the present moment. Accelerationism as it exists online, in twitter communities and elsewhere, is in some sense merely a symptom for the wider issue I might now connect back to the plane of total abstraction, that discourse that really does seem to result in nothing besides an aesthetic commitment. Of course if we are to hold that aesthetics, or rather the manner of presentation matters, then how can we avoid the conclusion that people who wallow in an aesthetic of mysterious cyber-allusion/gothic darkness/scrambled poetics/irony to some degree are actively resisting interpretation. And, if indeed this is the aim, more power to them, but in this regard, why protest misinterpretation? Is it only the horror at being connected via the term to violent murders that provokes this? And if so, shouldn’t this provoke some reflection, shouldn’t the question be asked “why is it so easy to misinterpret?”, instead of the usual comments on the idiocy of those doing the misinterpreting? Why, even, is the aesthetic of accelerationism, the term itself even, attractive to such people who would commit such acts? Is the fault here not with the misuse of the term, but the lack of feasable interpretation, of structure, of explicit implication?
If this has proved a little negative, I promise soon a more positive affirmation of what I do intend to do; before I did that however I have found it constructive to get these issues out of my system, as the contradictory dominance online of a discourse that claims for itself a fringe status, the constant and unwelcome appearances of reactionary sentiment and abstract edginess, has become on the whole quite irritating, not to mention the consistent hostility towards open and unambiguous leftism. Some of the same problems I would argue extend more generally to people who adhere to a kind of vulgar-deleuzian language and philosophy, who deliver passages that for all the world could have been uttered from the mouth of your local weed-head, but here I wanted to outline specifically some of my issues with accelerationism as it appears and is seen today, precisely to illustrate the sum of what I want to avoid in my own work. It is all too easy to dissolve oneself into the plane of abstraction, to avoid any sense of commitment to a cause and to immerse oneself in a kind of constant deferral of intent. After some time however, perhaps all this effort should be reverted into a single question; why?