Broken Brains: On an Etiology of the Present

 

Image from Fiend Without A Face 

I am not sure when I first heard the phrase "broke their brain" but I know that I have heard it multiple times. I have heard it used to explain the obsession with cancel culture on the part of the pundit class. That once they were subject to criticism and mockery online it effectively broke their brain, making it impossible for them to distinguish between criticism and actual threats to free speech. I have also heard it used to refer to the 2020 election and its aftermath.The idea underlying the phrase, at least as I understand it, as that something can happen that is so difficult for particular individuals to process or make sense of, that it effectively hinders their ability to make sense of everything after. It marks a traumatic before and after in which nothing ever makes sense again.

Inalienable: Hobbes, Spinoza, and Locke on Self-Defense

 

Since I am discussing Dorlin's Self-Defense 

I thought that I would use some pictures from old self defense manuals

including this variation of nikkyo. 

Elsa Dorlin's Self-Defense: A Philosophy of Violence  considers, among many things, the role that self-defense played in social contract theory (and beyond). What follows bellow is a response to that particular provocation and not a review of the whole book, but it is very much worth reading.

The Order and Connection of Racism: Balibar on Racist Knowledge and Belonging

Balibar print from All Grim Prints 

An ongoing albeit sporadic project of mine is trying to understand the systematic nature underlying the conjunctural interventions of Etienne Balibar. This semester this investigation dovetailed with a reexamination of his writings on race for a seminar on Race, Class, and Gender. 

Between Micro-Politics and Mute Compulsion: Reflections on a Problem

 

Detail of Rapture by Jon Read

Since it was published I have taught Kathi Weeks' book The Problem with Work in my Politics and Philosophy of work class. When I introduce the book, stressing that it is written by a political theorist and not, as in the case of many of our readings, by a philosopher, sociologist or historian, I ask the two questions that Weeks asks: namely, why should a political theory consider work? why does work seem to be outside of politics? What I am trying to provoke with these questions is a particular aporia in which work is for many people the central experience of power, authority, control and subjection, but because it is seen as private and natural it is seen as outside of politics, as apolitical. I remember very well a student responding to the second part of the question by saying that work was not political because "no one made you do it." At first I found this formulation strange given all of the ramifications and consequences of not working from homelessness to starvation, but the more I thought about his response the more it made its own particular sense. The compulsion to work, to sell one's labor power, was in some sense mute, unspoken, there was no particular agency or institution in society demanding it, and there was no particular institution or agency in society enforcing it--in part because it is diffuse spread throughout society. 

Translating Transclass: Or Teaching Eribon in America

Since this is a post about class, family, and returns

I thought that I would illustrate it with pictures illustrating

the fact that I now live in the same neighborhood my mother lived in, 

but the neighborhood has changed except this old fishing/gun store

 

I have often considered teaching to be a kind of translation and not just because much of the history of philosophy is written in different languages. Part of what one does in teaching is try to take the questions and concerns of a different time and figure out some way to bridge that gap, while at the same time being faithful to its original sense and meaning (just like translation). These thoughts occurred to me again when I decided to teach Didier Eribon's Returning to Reims.

Team Transindividuality: on Vittorio Morfino and Bernard Aspe

 

Jeremy Gilbert and I sometimes joke about TOP, the Transindividual Oriented Philosophy. The reference is obviously to the phenomenon of OOO (Object Oriented Ontology) in the early part of the millennium. As much as our joke has to do with sort of doctrinaire and polemical way the former arrived on the scene and our lack of interest in any such thing. (I should say in a parenthetical that is way too late, one of the things that always troubled me about OOO is that it emerged and thrived on blogs, but blogs with their intersection of the social and the technological seemed the last thing that the last thing that the crowd wanted to think about. Part of what makes me irredeemably a historical materialist is that I think the question of understanding where one is thinking from is paramount even if a bit quixotic--one can never see the ground that one speaks from). Despite this joke transindividuality, at least in terms of contemporary writers who use the concept, less a school of thought than a series of intersecting critiques and articulations. Or, if one wanted to be clever about it, the collection of writers who work on transindividuality are all part of a general orientation that is individuated differently in each of their specif philosophical articulations. I would say more about this but I feel like this is something that I tried to say with the examination of Balibar, Stiegler, and Virno in The Politics of Transindividuality.

Go West, Young Man: A Lingering Postscript on Nope

 

I was invited to write a piece for the APA's blog about film. I decided to write about Nope a movie that has become one of my favorites of the year. I am generally pleased by how the piece came out. In the piece I generally viewed the film through the way in which it is framed in relation to the science fiction film. I think that one of the way in which the film addresses the dominance of the spectacle is that both the characters in the film as well as the audience views the film from the perspective of the "first contact" film. Of course the film subverts these expectations, illustrating that what we see and understand is itself already dominated by the dead images that overwhelm our vision. We see a silver disc as a flying saucer and expect it to be filled with "viewers' because so many films have taught us to see things that way. That the film ultimately forces us to confront the limitation of that way of seeing suggests that this film is in some sense about unlearning what the spectacle teaches us to see. 

The Imaginary Institution of Society: Spinoza's Version

When I was in graduate school "the imaginary" was one of those words that circulated all the more often because it was untethered to any specific theoretical source. It borrowed bits from Lacan and bits from Castoriadis to suggest some historically specific articulation of the very capacity to imagine. There were multiple imaginaries, political, social, technical etc., As someone who was getting interested in Spinoza at the time I tried to connect his writing on the imagination with this idea to no avail.

The Spontaneous Ideology of Conspiracy: This One on Marx

 

Sometime awhile ago I came up with the idea of doing a trilogy of posts on conspiracy theory, or modern conspiracy thought, read through Spinoza, Hegel, and Marx. I am not exactly sure why the idea appealed to me, in part because I increasingly consider Spinoza, Hegel, and Marx to be the cornerstones of my philosophical thought, even if these cornerstones come through the mediations of Tosel, Jameson, and Althusser (to name a few), but in this case, more specifically it seemed worth asking what would three critics of the mystifications of their day make of our modern mystifications.

A Translation Exercise: The Marxists Uses of Spinoza: Lessons of Method by André Tosel

Plekhanov/Labriola 

As a bit of an experiment, coupling my interest in André Tosel and my work on translation, I have decided to try my hand at a few translations of the former when I get the time. These are totally unauthorized, and rough drafts posted for edification and entertainment purposes only. I started on this piece because it is short, and because it works on an area that I need to learn more about, the history of Marxist-Spinozism before Matheron or Althusser. However, the more I worked on this piece, the more I thought that this split between Plekhanov and Labriola, still exists, in the divide between neo-enlightenment Spinozists and what some might call post-modern, but I prefer to call Marxist Spinozists. 

Strange Bedfellows: On Vaysse's Totalité et Finitude: Spinoza et Heidegger

 

Translation is the closest that I have ever come to demonic possession. Let me explain, I used to think that there were books I read, books I wrote about, and books I taught, each category representing a deeper level of familiarity, even intimacy to the point where it is harder and harder to tell where the book's thoughts end and my thoughts begin. Translation, however, is on a whole different level. It is thinking someone else's thoughts. 

We Have Met the Barbarians and they are...: On Barbarian

 

Every mention of the film Barbarian carries with it the warning to not spoil anything, to experience it completely ignorant so as to be best frightened by its particular twists and turns. [Fair Warning: I will spoil everything here] For that reason it is not entirely clear if the title refers to anything. It could just be a vaguely menacing word. Many horror movies from the last few years seem to take their title from a series of such words, Insidious, Malignant, Terrifier, as if someone was just looking up “evil” or “scary” in a thesaurus. The opening scenes of the film, however, suggest that this title is not just a vaguely scary word, after all, it would be an odd choice suggesting that the we are running out of synonyms for scary, but that the film is very much about what it means to be a barbarian and what it means to be civilized. 

The End? Narrative Incompleteness in the Age of Intellectual Property

The ending of the original The Blob 

I have a distinct memory of watching the original The Blob on a Saturday afternoon movie. I watched a lot of Saturday afternoon movies, Godzilla, all of the Universal monsters, and various giant ants, crabs, and praying mantises. The Blob stood out because it was actually frightening in a way that a giant monster crushing a city was not. It could be anywhere and could get past anything. It is also memorable because its ending, in which the image of  frozen blob dropped someplace north of the Arctic Circle was followed by a giant question mark hovering over the sky. This image lingered in my mind long after everything else was forgotten. At the time it seemed like the perfect way to end a horror movie, with the horror still intact. I must admit as well that Steve McQueen's last line, "As long as the Arctic stays cold," sounds much more ominous in these days of global warming.

The Dialectics of Obedience: Vardoulakis, Balibar, Macherey

Halloween in Houston 

The Following is a response to Vardoulakis book Spinoza, The Epicurean that I gave at SPEP. I previously blogged about the book. 

One of the many merits of Dimitris Vardoulakis’ Spinoza, the Epicurean: Authority and Utility in Materialism is that it focuses on the question of obedience as central to the Tractatus Theologico-Politicus. Obedience is what differentiates revelation from knowledge, scripture from philosophy, action from belief. On one side, the first of these terms, there is obedience, that which falls under the control the state, and on the other freedom, the domain of philosophy. However, such an assertion would suggest obedience is a simple matter, that the line between obedience and freedom can be sharply drawn. Vardoulakis suggests that obedience must be understood through a dialectic of authority and freedom. As Vardoulakis describes this dialectic: 

The Subject Supposed to Care: On Masking, Conforming, and The Guilty Remnant

To wear a mask in a store, bus, classroom, or other public space is now to be in a small, and dwindling minority, as much as this might vary from place to place. Aside from a few holdouts, doctors offices, the place where I get my haircut, and so on, there are no mandates requiring masks anymore. That it is a minority, and a choice, is not the way that it often appears, at least to those who do not wear masks.

Dreaming with their Eyes Open: The Sandman, the book, the television show, and memory

Every adaptation mining the vast troves of memory that we recall as our lives as readers of books and comics and watchers of film and television, but is known by its owners simply as intellectual property, always runs up against the singularity of the memory in adapting the generic nature of the property. Much of the politics of culture hinge on the conflict over the singular and generic nature of the memory. At times this politics takes the form as an attempt to retain some singular experience, a memory or attachment, against the commodification of culture  and at other times it takes the form of an attempt to insist on this singular memory or experience as the only correct one.  We are constantly trying to retain what is singular against what is interchangeable, which is, to some extent, a doomed project under capitalism. 

Reading the Menu Symptomatically: On Macherey, Marx, and Symptomatic Reading

What follows is not a review of the entirety of Pierre Macherey and the Case of Literary Production, something that is hard to do with collections of essays in general, trying to find some common theme or thread, but would be easy to do in this case, because not only are the essays excellent on their own they also unify around an important thread of saving Macherey's work in general and his first book on literary production from obscurity. This has also been one of the projects of this blog, and one can follow the links to reviews (or at least posts) on his books on daily life, the university, utopia, norms, Spinoza, and literary production. 

Welcome to Bizarro World: Part Two, Revenge of the Nerds

 

It has taken me a long time to write a follow up to my first post on Bizarro World. That is because once you begin to think about the strange inversions in which the persecuted are made out to be threats, and the comfortable are made out to be threatened, it is hard to not see it. Our entire world seems reversed and inverted, those who are most subject to violence are made into violent threats, and those who are most comfortable have made the threats to their comfort our central concern with the claims of cancel culture. Bizarro world would be one of those "descriptive theories" that Althusser talks about, something that stops thinking because it seems to be such an accurate description of what one is thinking about. 

Unbecoming Saul: Reflections on the Last Season of Better Call Saul (Part Two)

 

How it Started/How it is going

The final episode of Better Call Saul is not just a finale to the series but to the entire Breaking Bad multiverse (to use the parlance of our times). While the first half of the season dealt with Better Call Saul as a separate show from Breaking Bad, dealing with the fates of characters such as Ignacio and Lalo who are named but never appear in the latter, the second half returns to its status as prequel and sequel. This is not just because of the appearances by Walt, Jesse, and Marie Schrader, but because it returns to the fundamental question of both shows and that is personal change and transformation. Was Jimmy always Saul dovetails with the question was Walt always Heisenberg. Or, as Chuck put it, can people really change?

Between Legacy and History: On Peele's Nope

Seeing Nope at the Bridgton Twin Drive In 

Movie critics, even amateur ones, love puns, love working the title into their reviews in some sort of play on words. So it takes a certain amount of confidence to call a film "Nope". It just invites too many titles for negative reviews, say "Nope to nope" and so on. In the case of Peele that confidence is earned. It is the third movie by a director who is developing his own vision in an era where such things as vision or style, even directors as auteurs, are increasingly obsolete. The title of Nope recalls the title of Peele's first film, Get Out  which was an homage to Eddie Murphy's bit about how a haunted house movie would never work with a black family, they would Get Out at the first warning.