[-empyre-] from the [alter]south
swht at clear.net.nz
Wed May 29 17:04:55 EST 2013
On 29/05/13 05:56, Johannes Birringer wrote:
> expand on "What has happened is an evaporation of critical object"
It is necessary to collaborate. It is expedient to collaborate. You
can't escape the future.
The object attains criticality when we say, I can't go on. Let us go on.
Or: the left can't go on, can't go on in this pique-assiette magpie
piecemeal ideological supermarket fashion, branding itself
anti-capitalist, but not staying still long enough to metamorphose: the
Maoist gang - Badiou, Zizek, the rest - say they represent a
constructive alternative - collaborate on the same - to the last 25
years of destructive, fragmented leftist project, after the 'loss' of
RES, but without the constructivism that is always on the ground.
Surpassed by events - in the Badiou sense - there is an occupation of
the event, an attempt to stop. To frame a new kind of listening. ...
Corporatisation - of education - health - social services - and
corporate capture of innovation and creativity - pass by without a
single event (in the Deleuze sense), without the necessity of rupture.
We are very busy sewing back up the curtain, suturing back up the
corpus, saving nine.
So let us go on. But how? Professionally? Playing the game of expediency
but finding the necessity to plant the bomb underneath it - in the ground?
The critical object is there by sheer necessity. Not necessarily
singular, it demands a minoritarian consensus, a little pause, an hiatus
amongst us: I have felt /this/? Have you? ... the voices tell me to do
this. Do they you too? Must we? We /must/!
I am thinking about the Aufhebung onto the political plane where some of
us are not so strong in the upper body but think anyway we need to lift
ourselves up to this level which exists purely to cancel our own places
within it. By cancelling, deriding, not paying for, removing the
contexts and circumstances around us from which we derive our power, our
politics, our necessity. Into which we plug. But this derivation, seen
as a secondary surface affect, is the event itself: a project of
So art must talk in a certain way to pretend it is in order to be. And
educators must pay for the pay they receive in a lip service to the
institutional worlds. And now corpocracy grabs artists and teachers from
their ground, de-institutionalising them, mocking the institution, if
not razing it from the political landscape, skyline.
Who is there to answer to? what is now the critical exigency? the
Does it demand a restoration of the institution or another form of
building within the institution, a form of parasite that the institution
only played host to? (With the emphasis on play.) The parasite is
already there in our collaboration, I would suggest. But it is become
equally vulnerable as the institution itself.
I would ask that "an evaporation of the critical object" is understood
literally: there are indeed residues, and sometimes when I work with you
beads of sweat, but they are not from the work of collaboration, we are
stone to ignore the precipitation of air in atomies of criticality, on
our bodies, our things, our colleagues. General all over and a product
of an artfully catalysed evaporation, a hotplate, blood, a man suspended
above it, a woman, a dripping. Calling attention to what is being
incorporated from this evaporation. It is on us. To find the necessity
of the gesture that will make it more than representation, more than
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