diana@mrf.hu on Mon, 1 Dec 1997 01:18:47 +0100 (MET) |
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<nettime> Hakim Bey : The Obelisk 2/2 |
To illustrate Capital as its own medium, and as our second example, we can look at bioengineering. There is no force that can prevent pancapitalism from acquiring patents to every identifiable gene. This means that farmers are now being asked to pay "rents" on certain genetic strains that they themselves developed, because the "rights" to those strains were acquired by the zaibatsus. The dubious triumph of cloning is supposed to compensate for the profit-driven ravaging of Nature's last remnants. Moreover, the human genome project, which has "solved" the production of life as a biochemical machine, allows "evolution" itself to be coopted and absorbed into Capital. As the market envisions the future, the human itself will become humanity's final commodity and into this "value" the human will disappear. Capital's self defacement implies humanity's self-effacement. Acting as a purely spiritual substance money Capital will attain the ownership of lifeís becoming, and thus the power to shape the very protoplasm of the material world as pure exchange. Our essential question then concerns the possibility of the re-appearance of the unseen as opposition. Finally it would seem that a tactical refusal of all strategic systemization may be inadequate to bring about this desired re-appearance. A positive proposal is required to balance the gestures of refusal. We must hope that an organic strategy of victory will emerge as "spontaneous ordering" from the driftwork of tactics. Any attempt to impose this strategic unity from "above" must be renounced as (at best) nostalgia for the lost utopia of ideology or as "bad religion" of some sort. But just as the Image has its spectre and its form, so we might play with the notion that the Idea, too, has a spectral and a formal manifestation. As a "spook in the head" the idea remains nothing but a semantic trap disguised for example as a moral imperative. But as a "form" in the Blakean sense the idea itself may take on organicity as a production of the body and the "creative intellect", just as the image may be turned toward realization by the body and the "creative imagination". Perhaps in some sense it is the idea that has remained unseen till now, and thus retains all its power, having never fallen away into representation. Neglected all along having never been given a price and perhaps remaining inexpressible even in its manifestation this idea may "give meaning to revolt." And it may be written ambiguously in hieroglyphs whose meaning is uncertain, but whose "magical" effect is nevertheless potent it may be written even on a hidden obelisk. But it will have been written by us. 6. Platonic Nets It seems as if there should exist two possible kinds of network (or even of communication technology) one aristotelian, text-based, linear the other platonic, image-based, non-linear. Language, for example, as viewed from this perspective might appear more platonic, since words are based on "inner pictures" and thus cannot be limited by pure lexicality or one-to-one "translation"; while by contrast a network of computers, using digital text-based programming, might appear as a perfect aristotelian system. But this neat dualism dissolves into paradox and conundrum. Text itself is picture-based (hence "non-linear") in Sumer, Egypt, China. Even our alphabet is picture-based; the letter "p", for example, is simply an upside-down foot, since Indo-European words for "foot" almost always begin with "p" (or "f"). Text, which is supposed to be linear, is "language-based" and partakes of language's non-linearity. When "speech genres" are textualized they become in some senses more linear (because stripped of contextual depth formerly provided by the extra dimensions of speech such as tone, gesture, performance, etc.) but in some other ways this stripping of language to produce text results in further ambiguities, since the context of the text now consists largely of the reader and the reader's inner world. Thus the fact that computers are digital (simple on/off switches in massive array) and text-based does not make them genuine aristotelian machines, since image is already embedded in language, and even more because the screen itself is also already an image, whether it displays image, text, or both at once. If programming could be based directly on images rather than text as some savants believe possible the computer could easily be seen as a platonic machine. The platonizing effect of the computer is already present not only in its screenal display of images but also in the psychological reality of the screen as image. In effect, the computer is a hieroglyphic machine, an interface mode of text and image; hence its magic appearance to the unconscious. The Renaissance magi (especially Athanasius Kircher) believed that the Egyptian hieroglyphs were purely platonic ( in this, they followed Plotinus and lamblichus) that is, that each image was an ideal form, and that their deployment could not only indicate meaning but also create and project it. Thus the hieroglyphs were seen as an ideal amalgam of text and image an emblematic form of writing. Now when Champollion deciphered the Rosetta Stone, it was discovered that hieroglyphs were already used quasi-alphabetically (on the model of "[picture] foot = [phoneme] p"), although there were also cases where single images or imageclusters represented the objects depicted as words. This discovery relegated the unsuccessful translation attempts of the old magi to complete oblivion. Their theories are now only mentioned in passing as examples of "false" hermetic science and bad Egyptology. But as Couliano noted, these discarded theories have great secret heuristic power, because they describe empirically some of the ways in which text, image, and mind interact. Once the neo-platonic metaphysics and crude magical fantasies have been discarded, hieroglyphic theory can be used to understand the mode of operation of text/image complexes that is, emblems. The emblem books were Renaissance experiments in the "projective semiotics" of hieroglyph-theory. Allegorical pictures accompanied by texts (often one text in prose and one in poetry) and in a few cases even by music (the great Atalanta Fugiens of Michael Maier, for example) were collected in sequences, published as books, and intended for the magical edification of readers. The "morals" of the emblems were thus conveyed on more than one level at once. Each emblem was simultaneously: a) a picture accompanied by words; b) a picture "translated" from words. That is, the pictures' real values are not purely formal but also allegorical, so that Hercules stands for "strength", Cupid for "desire", and the emblem itself can be read as a "sentence" composed of these "words"; c) a hieroglyphic "coding" in which certain images not only represent words but also "express the essence" of those words, and project them in a "magical" manner, whether or not the reader is consciously aware of this process. Our working hypothesis is that the world's image of itself not only defines its possibilities but also its limits. The world's representation of itself to itself (its "macrocosmic" image) is no more and no less than the selfís "microcosmic" image of itself "writ large" so to speak, on the level or mentalitÈ and the imaginaire. This is part of our "secularized" hermetic theory; it explains, for instance, why emblems have influences on multiple levels of cognition. The radical magi encountered a world wherein one world-image was locked in place not just the geocentric cosmos but the whole Christian orthodox value system that went with it. Their subversive purpose revolved around the project of a free circulation of imagery, a breaking-up of the stasis and the creation of a more responsive model. The single world-view of orthodoxy was seen as stifling, tyrannical, oppressive. Inasmuch as the self interiorized this view it reproduced the oppression on the level of the subjective. The hermeticists opposed the very singleness of this worldview with a contradictory multiplicity, a critical form of "paganism" based on difference. Analogously, since 1989-91 we have entered a new "dark age" in which one worldview (and its imaginaire) claims hegemony over all difference. Not only is "pancapitalism" a global system, it has also become its own medium, so to speak, in that it proposes a universal stasis of imagery. The free circulation of the image is blocked when one image of the world structures the world's self-image. True difference is leached away toward disappearance and replaced by an obsessive re-cycling and sifting-through of "permitted" imagery within the single system of discourse (like the medieval theologians who supposedly quarreled over the gender of angels as the Turks besieged Byzantium). Pancapitalism "permits" any imagery that enhances profit hence in theory it might permit any imagery but in practice, it cannot. This is the crisis of "postmodernism" crisis as a form of stasis, of infinite re-circulation of the same the impossibility of difference. Within the crisis of stasis all manner of imagery can be allowed or even encouraged when it tends toward the depiction of relation as exchange even the imagery of terror, murder, crime even the extinction of Nature and the Human all this can be turned (as imagery at least!) into profit. What cannot be allowed (except perhaps as nostalgia) is the imagery of relations other than exchange. Nostalgia can be contained and marketed but actual difference would threaten the hegemony of the one worldview. The "Gift Economy" of some nearly-extinguished "primitive tribe" makes excellent TV; our mourning for its disappearance can only boost the sales of whatever commodity might soothe our sense of loss. Mourning itself can become fetishized, as in the victorian era of onyx and jet and black-plumed graveyard horses. Death is good for Capital, because money is the sexuality of the dead. Corpses have already appeared in advertising "real" corpses. Assuming that our hypothesis holds so far, we might well ask from "whence" there could appear any image of true difference in such a situation. The obvious answer is that it would have to come from "outside" the stasis. This means war, obviously. At the very least, it means "Image War". But how can we even begin to define what might lie "outside" the stasis? Are we not precisely engaged in a situation where all circulating images become part of the crisis of circulation? This is the "malign hermeticism" of the totality of mediation its spectral metastasis, so to speak ontology as oncology. Everything that enters the discourse, all that which is "seen", is subverted by the very fact that there is only one discourse, one exchange. "Image War" might be just as productive for exchange as other forms of "pure war", since it would at least offer an "illusion of choice". This, then, is the hermetic crisis of the tactical media. 7. Tactical Media The unseen lies at least potentially outside the space of the represented totality. Thus it becomes for tactical media a subject of great theoretical interest. But as media the tactical media must still mediate, and therefore the unseen remains "mysterious" in the precise sense of the term. Since only the seen can be described, the pure unseen cannot be written about or represented although it can be communicated, at least in "Zen" terms. However the unseen is not necessarily "pure". If it were pure, it would interest us a great deal less that it does, sinee it would thereby share in a characteristic we associate with ideology and stasis. In fact the unseen attracts us because of its impurity. In effect there appear to exist degrees of the unseen. The unseen can paradoxically appear even within the locked circularity of the mediated totality, either inadvertently or else by subversion. For example the TV show about the primitive tribe, and the melancholy of the disappearance of the Gift, cannot touch the unseen actuality of the Gift and its meaning for the people who know it. But sometimes the spoken text or the editing of the film will create potent cognitive dissonanes with certain images that suggest the presence of the unseen, at least for a few viewers who are prepared for such irruptions of the mysterious, its "guerrilla" raids on consensus consciousness. Moreover, the "intimate media" remain relatively invisible to the totality because they are so "poor". The petty extent to which such media participate in market economics, much less consensus aesthetics, makes them so insignificant as to render them meaningless for all practical purposes. Of course as soon as any energy and originality is seen to emanate from such media they are at once absorbed into Capital and the unseen must retreat, drift on, evade definition, move elsewhere. But this process takes time, and time makes opportunities. Thus tactical media could make use either of "guerrilla" operations within the media totality, or of intimate media that remain (in some impure manner) outside that totality. But in either case tactical integrity would demand that such "appearances" take place only where they can be effective in military terms: where they can damage the totality without being absorbed into its "spectacle of dissidence" and permitted rebelliousness. Tactical media will retreat from any such englobement, and in such moments of tactical withdrawal tactical media may have to engage in violence and sacrifice (at least on a conceptual level). Tactical media will make mistakes all the more so because of its improvisational nature, the absence of any overall strategy. Because tactical media refuses purity, it will engage and it will be defeated, very often by its own "success". The purpose and intention of tactical media is precisely not to rejuvenate the consensus by allowing itself to be vampirized of its creative energies by the imaginaire of the UnDead and its "natural laws" of exchange. But we cannot say therefore that the purpose of tactical media "is" the destruction of the totality. This statement of identity would define an ideology or source of authority for tactical media, and limit it to the role of opposition in effect, to its "spectral" appearance. We certainly don't wish long life and success to the totality, but by defining ourselves (or our techniques) solely as "destructive" we are simply inviting our own recuperation into the pattern of oppression. Tatical media, I suggest, should be about something and for something this would constitute its "formal" appearance.It should be for the unseen even for a seduction into the unseen. Does this mean that the tactics of tactical media can only be defined "situationally"? Even if we reject all ideologizing of intentionality can we still say anything descriptive about specific goals? If we refuse strategy, can we nevertheless articulate something about a tendency or movement or unifying imaginaire of presence (a "myth" perhaps) that might underlie and inform our tactical mediations? This may indeed be possible, if only because the imaginal values in the process of emergence in tactical media seem to concern those empirical freedoms expressed not only in immemorial "rights and customs" but also in the most radical politics of desire. In other words, an "organic" substitute for strategy/ideology arises from a shared imaginaire based on such traditional yet radical perspectives. It is in this way that tactical media can be seen as an aspect of a possible effective opposition to exchange itself, to the post ideological ideology of Capital an opposition that cannot be englobed, and therefore can contemplate the possibility of victory. All this is pure hypothesis, so it would be pointless and perhaps even counter-productive to engage in any attempt to prescribe or predict or even to influence the tactical media. The historical movement envisioned here (which even faces thc challenge of the very "End of History") can make nothing out of any outmoded vanguardism or "unacknowledged legislator''-ism of a discredited intelligentsia, artists, etc., etc. It does, however, seem possible lo adopt an ''experimental" approach. Who can foretell succcss or failure? An inherent weakness for narrativity, however, and a desire to work on some sort ol "emblematic" structure leads me to an "aimless wandering" or taoist theorizing around certain themes considered here notably the notions of hermeticism in both its "formal" and "spectral" aspects. For instance: since money is "imaginal" it is susceptible to hermetic manipulation even to the "intuition" discussed by such strange billionaires as George Soros. It seems theoretically possible to "hack" money at the level of its representationality all the more so now that most of it is pure representation. Money that can be manipulated imagistically because money itself is image, however, can also be "downloaded" from its CyberGnostic numisphere and manifested on the earthly plane as hard cash, goods, production. Thus it would appear feasible to redirect capital as wealth, away from areas where pancapitalism has "decreed" its (symbolic) presence, into areas where it has "forbidden" its (real) presence. "Decree" and "forbid" are enclosed by quotation marks because in truth the situation is so complex that "legality" has become an extremely ambiguous category. Money as medium is engulfed in the same crisis of definition as all the other media. Into this space of uncertainty, hermetic operations could be directed (in perfectly legal ways) such as to interfere with the circulation of Capital. The space of uncertainty the crack in the monolith of representation has its deep origin in the intense anxiety of the crisis of stasis. The image of the imaginaire as a labyrinth with no exit induces a kind of claustrophobia akin to that experienced by the Renaissance occultists in relation to the cosmic stasis of doctrine: escape panic. We are after all still "in transition" toward a perfect global market the cosmos of economy is not yet fully and flawlessly enclosed. Hence for instance the sudden obsession with "content". What are we going to do with all the data what use is it? And who shall create in order that others (all others) may consume? A real puzzle. Certain elements within political structures still retain a half-hearted sentimentality about the "Social" state; they still want to help program the "content". They are opposed by the zaibatsus that demand "pure" content, measurable only by price rather than value. But what do "the people" want? Into the tactical spaces left vacant by this clash of bewildered titans, certain mediations might be effected. The old magic power of the scribe, the hermetic initiate, might constitute a counter-force to the magic power of the manipulation of content, the monopoly of meaning and interpretation claimed by the totality (which suddenly doesn't look quite so total...). As we are discussing media, the evocation of the word "magic" seems somehow permissible. How relevant these musings might prove to situations encountered in unmediated reality perhaps that is another kettle of fish. For now, however, we are simply exercising our imagination. Hakim Bey NYC May 1, 1997 [ this text was delivered a the nettime meeting in Ljubljana 1997 it will be *exclusivly* printed in an upcoming nettime publication, you can also find it in the excellent Hakim Bey archive: http://www.t0.or.at/hakimbey/obelisk.htm ] --- # distributed via nettime-l : no commercial use without permission # <nettime> is a closed moderated mailinglist for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@icf.de and "info nettime" in the msg body # URL: http://www.desk.nl/~nettime/ contact: nettime-owner@icf.de