The Uses of Horror: Obsession and Get Out

I teach a philosophy of film class, and have for years now. It is a fun class, I get a lot of students, and I like talking about movies and philosophy. However, every year I wonder if I am talking about an art form that has a future or even a present. Do people even go to movies. I have contemplated switching it, for a few years I thought of replacing film with television, with shows like The Wire, Breaking Bad, The Sopranos, etc., but time moves fast, and those seem as dated as Hitchcock or even Tarantino. I cannot imagine teaching a class on TikTok or other short form videos. However, just as I am about to relegate film to something from the past, to part of the history of media, there is a sudden revival of interest in movies, even going to the movies. Years ago it was Barbenheimer. This year, it has Obsession and Backrooms.

Translation: A Spinozist Noo-Politics: Reconsideration of two recent books on Spinoza by Lorenzo Vinciguerra and Pascal Sévérac by Yves Citton

This is a draft translation of an early review by Yves Citton 

Published in Multitudes 

Picture from The Brain from Planet Arous

In his latest work, Maurizio Lazzarato proposed designating as "noo-politics" the "new power relations that take memory—and its conatus (attention)—as their object." Noo-politics (as it is currently exercised through "wireless, audiovisual, and telematic networks, and through the constitution of public opinion, perception, and collective intelligence") effects "the modulation of flows of desires and beliefs, as well as of the forces (memory and attention) that circulate them within the cooperation between brains" (This neologism—which, as a footnote clarifies, is to be situated at the intersection of the Greek noûs ("the highest part of the soul, the intellect") and the Internet service provider Noos—is rooted in a tradition of thought that the author explicitly traces back to Gabriel Tarde and Leibniz. Just as Tarde took pains to clarify his relationship to Leibniz in a lengthy essay devoted to the link between "Monadology and Sociology," so too does Maurizio Lazzarato propose a "neo-monadology" that draws upon Leibniz for the concepts of "event" and "possible world"—the very concepts upon which he constructs his political analysis of early twenty-first-century social movements. 

Working Together: on Fischbach's Faire Ensemble (and the question of solidarity)

Having spent a lot of time thinking about, and thinking with, the concept of "negative solidarity," it sometimes occurs to me that I should think about its opposite, about solidarity, as the necessary condition for collective action. I have read on the topic from time to time, I read Astra Taylor and Leah Hunt-Hendrix's book Solidarity: The Past, Present, and Future of a World Changing Idea as soon as it came out. However, I struggle to say anything interesting about it for two reasons. First, as I argued in The Double Shift, capitalism has so undermined our imagination that it is difficult to think of any model of action than a purely individualistic one, everyday people deal with poverty, precarity, and insecurity, by endeavoring to work harder, to hustle, to find a side gig or scam. Working with others collectively is unimaginable, especially when that collectivity is mediated not by the wage form. Second, I am not sure if this default in the imagination can be addressed theoretically, or even through a historical recounting of times in which solidarity seemed easier to imagine, it is not a matter of theory, but of practice. Solidarity increasingly seems like something to do rather than ponder. 

Phone Home: What Disclosure Day Discloses

E.T. The Extraterrestrial 

Can set design make or break a film? In general, probably not, but it made one film for me. I remember seeing E.T. The Extraterrestrial as a kid and seeing the image of a television set with an Atari 2600 stacked on top, and cartridges underneath. It was the first time that a movie looked like something I recognized, like it could have been my house, my television. This is true of the whole film, with its middle class messiness of action figures and toys strewn about. Of course as a kid I was not exactly looking for realism in film. I saw the original Star Wars thirty some times by my last count, and spent the rest of the late seventies and early eighties searching to recreate that experience.

We're All Starbuck*:The Barista as Worker and Cultural figure

The Double Shift had its moment on Brooklyn Coffee Shop 

 My first job, my first real job, was barista. Before that I had babysat, and done a bunch of odd jobs around the daycare center my mother ran, painting, assembling cots, making meals, which involved a lot of fish sticks and mac and cheese. It was my first real job in the sense that I had to apply for it, and received a paycheck (along with tips). I worked at Arabica: Coffee and Tea on Shaker Square (otherwise known as Chic-abica) during high school and on breaks during my first few years of college. This was before Starbucks came to Cleveland,  and thus before fancy coffee drinks went mainstream. While Arabica offered all of the espresso drinks, cappuccinos, mochas, lattes, etc., as well as various roast coffees from around the world, our average customer did not know about many of those things, and just wanted a "regular coffee." (which meant they got a medium roast coffee in a medium cup). Iced Mochas were popular though, basically as close as you could get to a milkshake without admitting that you were drinking a milkshake. I was a barista before coffee became the beverage that it is now. More importantly, I was a barista before a barista became a representation of work and a cultural figure.

Society is a Scam: On the Proliferation of Cons in Contemporary Life

 

A detourned Calivn and Hobbes cartoon going viral

When I was a kid we received a chain letter. It was sent to our house. It promised untold riches and bountiful luck if we sent money, I am a little unclear on the details, and warned of misfortune and calamity if we did not. I remember that it was adorned with all kinds of images from the world magic, strange symbols, evil eyes, and the like. It was absolutely fascinating. I also remember, a few years later, a friend of my father's bought a VCR from a shady looking fellow on the street. It seemed like a great deal, which reminds me of one of the first rules of cons, make the mark feel like he is in on it. When he got it home he opened the box to find a brick wrapped in a newspaper inside (VCRs used to be heavy). This were both scams, cons, and they seemed to be incredibly exotic and isolated incidents. My father must have told that VCR story at countless parties. Cons and scams were few and far between. 

Discontinuity and Continuity: On Reading (and Rereading) Lazzarato

 

War and Money is Part of the Pile of Books that I am working on

Philosophy is filled with famous breaks. The break between the young and mature Marx, the Wittgenstein of the Tractatus and Logical Investigations, Heidegger's Kehre, Foucault's transition from archeology to genealogy. Sometimes such breaks are declared by the philosopher in question, other times they are discovered, or perhaps invented, by readers and interpreters who have no other way of making sense of a philosopher. Which means that breaks only become legible, only become visible, when enough people read them, or worry about how they fit together. I have often thought that those of us who write philosophy, or theory, should think about our own writing when we read others. I say this because I imagine that most of us do not have radical breaks, but odd intersections of continuity and discontinuity as we try to think about whatever in the world we try to think about. 

Through A Google Glass Darkly: On The Draw

 

Marx wrote, "The tradition of all dead generations weighs like a nightmare on the brains of the living," but he neglected to add that it is the nightmare of traditions that weighs the heaviest in moments of crisis. Ever since 2016, we have seen a revival of some of the darkest moments of the imagination, Octavia Butler's The Parable of the Sower has made the best sellers list, and 1984 has been reread, made the subject of a documentary, which I have not seen, and also to some extent remade, as The Draw, which I did see. 

Structured and Structuring: Lordon and Éwanjé-Épée on Race and Class

 

As I mentioned when I first reviewed it here, Frédéric Lordon's Figures du Communisme is an oddly titled book. It is not about some communist past or event, about the Soviet Union or China, but what communism must mean if it is to be a force of transformation in the future. Its central topics, the environment, work, and the intersection of race and class, are not exactly topics that immediately come to mind when perusing the history of communist thought. Or all of the sections, the long discussion of race and class is the most interesting (and the reason why I agreed to translate it).

Society Effects: Living in a Society from Marx to Spinoza (and back)

 

Something is amiss in society. Many people have noticed a seemingly recent tendency of people acting in such a way in public as to disregard the very presence of other people, listening to music without headphones, having facetime conversations in coffee shops (also without headphones), and so on. Perhaps all of this started with Covid, which exasperated the already existing social distancing of modern life (in the name of saving others), or perhaps it started with smart phones, which are perhaps the greatest anti-social technology since the automobile. Personally, I think that the increased anti-social tendency is in some ways a reaction to Covid, I think that the idea that we had to treat everyone, even employees as human beings in part generated some of the massive reaction against sociality as such that we are living through, but that is a digression you can follow the links to. Whatever the causes might be, the Hobbesian war of all against all seems to have trickled down into a series of ever frustrating micro-aggressions of everyday life.