Posts on: art
I may as well begin this roundup with a frank admission: at the beginning of this year, I did not know how to read.
Sure, I knew the technicalities: I was familiar enough with the particular socially agreed match-up of phonemes, graphemes and meanings that constitutes the English language. Familiar and capable enough, in fact, to practically inhale vast quantities of the written word. But we should be clear in asserting that such an ability to automatically respond to linguistic cues is not the same as reading, thinking, or intellectual practice in general. While it is such a practice’s necessary precondition, it is not the practice itself, which maintains its own singularity and uniqueness. For it is one thing to inhale, quite another to extract from that inhalation the oxygen that nourishes our intellectual bloodstream.
Things are changing, though. Last month, all too late in the year, I started a reading diary as a place to log my preliminary thoughts about the stuff I was reading, which were previously transiently flowing through me only to get lost in the aether. Principally, the diary is an attempt at commitment: a practice of staying faithful to and honouring the transformative impacts that books have on me, of – in Badiou’s terminology – showing fidelity to the Event (of reading). In our first readings of books, all we are left with is an accumulation of (positive or negative) sense-impressions or thoughts (“that bit was cool” “this bit was boring” etc), and maybe a few notes in the margins. Our duty after this first reading is to almost immediately begin a second reading, which drills into those particular sense-impressions and tries to clarify them, work out what in the book caused them to happen, at a level detached from (yet immanent to) the immediate experience of reading the book. This is what the practice of keeping a reading diary allows one to do: to give ourselves up to the books, to fully and psychedelically follow the path away from our “selves” that they set in motion.
Taking its cue from the reading diary, then, the principle of this roundup is precisely the opposite of showboating. Initially, the plan was simply to post a list of what I’d read this year, as some kind of achievement – but it quickly became apparent that this would be of no use to anyone, least of all me. A list such as that is like the initial material extracted from a mine, or the raw data collected by some online marketing platform: crude, incoherent, quite simply not ready. It is an uninviting mass that, far from being galvanised by some kind of connective or inspirational principle, simply lies there as sheer magnitude. A big, mangled rock of readings of philosophy, music criticism, literary modernism, SF and gothic horror, that no one wants to touch. (And even if, perversely, they wanted to, they wouldn’t know where to begin.)
When heaved and lugged onto the platforms of social media, those digital mirrors that provide the contemporary self with the reflected image that it mistakenly identifies itself with, this big mangled rock can only be self-serving and exhibitionist; a pseudo-intellectual form of dick-swinging. And lest it not be obvious, this is precisely what this blog stands against: the transmogrification of intellectual practice – quite simply, the practice of staying true to the Truth – into a putrid careerist ego-fiction. Intellectual practice cares little for what books are ostensibly “about”; it does not read blurbs. Instead it seeks to channel the real conceptual movements that weave through texts, extending and intensifying them into new, unknown zones. It operates in the underscore.
The below, then, has nothing to do with me. I can only predictably concur with k-punk when he wrote in 2004 that “writing, far from being about self-expression, emerges in spite of the subject.” And so it is with reading: when accumulated under the subjective frame of being “things I read”, the readings below can only appear as crude material, a mass of undifferentiated junk characterised only by its magnitude. But when the raw material is felt, held, and cradled, one begins to notice patterns; protruding excesses are transformed into murder mystery clues, ambivalent signs of something far stranger – and far beyond – any personal subject. (Adorno: “Every work of art is an uncommitted crime.”)1
What follows is therefore “my 2020 reading” as it deserves to be presented and acknowledged2. Not an individual ego-fiction, but various plateaus or planes of consistency, impersonal threads of connection. Not tightly policed “schools” of interiorised thought, but the open fields of the Outside. (Deleuze-Guattari: “A book itself is a little machine… [it] exists only through the outside and on the outside.”)3
Inherently defined by such an openness to the outside, such threads of commonality naturally bleed into and cross over each other – where does one field “end” and other “begin”? – and I will likely end up repeating myself. This is no problem, though: in fact it is precisely what allows us to see the works in their true form: flaming sites of multi-vehicle pile-up, the singular points of collision and intersection of the various planes of consistency that cut through them.
Or to put it more classically, we can say that this messy excess of cross-bleed is what allows us to stop seeing books as self-contained parts, and instead as particular instances of the Universal.
When one knows this, one knows how to read.
Theodor Adorno, Minima Moralia, part 72, “Second harvest”. ↩
Editorial notes: The below includes a mixture of books and shorter length pieces including articles, essays, interviews, blogposts, etc. A few things – some of them exceptional – have been left out, for one of two reasons: (1) because they did not seem to belong to any of the common threads that were at work in my reading this year (which is fine); and (2) because I either thought they were just not very good, or I still do not “get” them, or how to put them to use. ↩
A Thousand Plateaus, p.2. ↩
Activists and Artists
Let us begin by proposing that “the Left”, since its inception, has been divided into two main camps: a) the “bread and butter” up-the-workers Left of the trade union movement and various activist organisations, and b) the progressive counterculture or avant-garde located around the spheres of art, music, film, poetry and so on1. While both of these aggregates are united in adhering to some kind of anti-capitalist critique, each approach and enact their critique of capitalism in strikingly different ways and languages, varyingly leading to either 1) productive mutually reinforcing collaboration or 2) bitter hatred and resentment between the two camps. For shorthand, let us conceive of this as a split between the activists and the artists. (With all the usual caveats that such a shorthand is necessarily reductive - of course activists can also be artists, and artists can be activists, and many people actually are both those things.)
What is the nature of this split?
To start with the artists, we can first note that they primarily enact their critique aesthetically: their aim is oriented around the production of a singular Work or Event that ruptures common sense and forces us to drastically rethink our place in the universe, sometimes to such an extent that it initially offends all our pre-existing tastes and sensibilities. As indicated, this approach is driven by a logic of singularity, seeking to strike that uncanny moment that is simultaneously both absolutely unique and yet absolutely universal, a kind of return of the repressed that both horrifies and captivates us.
Consequently, while the artist is (usually) highly sympathetic to the critique of capitalism, they try and integrate such a critique into a broader, more universal frame. This often makes such a critique more muffled or abstract than, say, the activist would like: a film director may decide to critique capitalism’s ecological destruction by directing and writing a film that is heavily laden with ecological themes, without mentioning the words “capitalism” or “working class”, for example, at all in it. Nonetheless, in that the film presents us with a particular vision of Nature that capitalism works to obstruct, the artwork can be said to function as a critique of capitalism.
This is because the artist seeks to conjure and use a language that is poetic rather than direct and literal. The intention is not really to use language as a tool whose only function is to “point to” things in the exterior “real” world, but to treat language as a medium to be explored, stretched, cut up, etc, as a raw material with its own Truth. To borrow a point from Badiou, the artist seeks a Truth that is not propositional (i.e. does not take the form of a proposition which we then “prove”) but poetic. Or to put it in a Deleuzian register, artistic language follows a logic of expression rather than representation2. The artistic “language” of (a) painting, for instance, is not one that ultimately seeks to refer to an exterior ground – though it may, by happenstance, do that – but rather seeks to be a ground itself, to be a new Truth of its own.
In contrast to this aesthetic approach, the activists approach their critique politically, attempting to organise the working class into some kind of collective organisation (party, union, guerrilla, etc.) held together by a common vision. Unlike artistic production, this organising is driven not by a logic of singularity but commonality: the activist does not seek to “stand out” among fellow members of the working class, like a singular artwork, but rather endeavours to be a mediator between such workers3, helping them to see past their particular differences and become conscious of their shared subjugation. The activist is a far more deferential figure than the artist as a result: they become skilled in the arts of conversation and persuasion, learning to tease the worker out of themselves and into dialogue with their fellow workers. The activist is always keenly aware of this: it is not their voice that ultimately matters, but the subjugated members of the working class that they organise with.
Alongside this organising activity, a political programme emerges, which seeks to give concrete expression to this commonality, acting as a faithful cross-section of its members’ situations and interests. What quickly becomes clear when drafting this document, answering the questions “Who are we and what do we want?”, is that what the workers hold in common is not so much a set of positive qualities or attributes, but lacks: lack of control over their work from their boss, lack of ownership over their home, lack of money, lack of respect from the police, and so on. Dark, spectral and vaporous, it is these lacks that form the truly generic set that, initially, forms the basis for the activist political organisation.
Translated at the level of the programme, such lacks dialectically become the basis for demands: open antagonisms rather than simple negations. The activists name their enemy and hold them responsible for their oppression and exploitation: the boss, the landlord, the police, the media. Through such a translation, it becomes evident that the logic of commonality that structures the political organisation necessarily leads to it being openly particular in its membership and approach4. Deferential to its members and openly antagonistic, the organisation never claims to speak, or be for, everyone, and nor could it function this way. Consequently, unlike the artwork, the political organisation is particular and pragmatic, grounded in specific concrete situations that they seek to intervene in. And it cannot be otherwise: for, as the “frame” of a situation is widened outwards and outwards, both in space and in time so as to become less and less particular, it becomes increasingly difficult to make and sustain political judgements. After all, from the point of view of deep cosmic time, does it really matter all that much if you organise your fellow workers at the job you hate and want to quit? Is going to another miserable protest worth your time? The activist can never really answer these questions, which anyway do not concern them: they care about the here and now, the blood boiling in their veins. Seeking to distance oneself from the immediacies of the present is scorned, either as lazy or aloof – a bourgeois privilege.
The artists, however, famously thrive on such distanced territory. Artistic genres and aesthetics such as the Gothic, sci-fi, and cyberpunk (to give just a few limited examples) have much to say about such cosmological, theological, ecological, technological, and philosophical concerns: the relation of man and machine, evolution, science, consciousness, aliens, God, the natural vs. the artificial… The activists? Not so much. Such distanced, abstract topics appear to have little immediate use in building the organisation.
Now, it is worth stressing that neither of these modes are better or worse: they are simply different ways of responding to a shared situation, and both can (and indeed often do) work together very productively. Today, most musicians, artists, and writers are broadly left-wing and have great sympathy and admiration for the work of organisers, particularly in unions like UVW and IWGB (the former of which now has a branch for creative and design workers). Furthermore, some of the most visible union struggles in the UK and US recently have also been in the creative sector, such as workers at the Tate, National Theatre and Southbank Centre striking over job losses two months ago, or staff at both Pitchfork and Vice forming unions which have won recognition and new contracts, as well as doing work stoppages.
Simultaneously, however, such growing class consciousness among artists and creative workers does not seem to have been met with a growing “artistic” consciousness among activists on the Left. Indeed, for much of the contemporary “bread and butter” Left, the avant-garde is still something to be treated with suspicion: a pretentious, bourgeois plaything that is unnecessarily esoteric and detached from the everyday person’s life and concerns. And this is where the carrots come in.
The term “expression” may sound like vague nothing-speak, but Deleuze very rigorously theorises it, and its differences from signification/representation, in Expression in Philosophy: Spinoza. ↩
Clearly such organisations are not just made as workers – replace “workers” with “tenants”, “people of colour”, “queer people”, “women”, where appropriate, etc. ↩
The terminology is used precisely here: singular is not the same as particular. Whereas “singular” directs our attention to a certain absolute uniqueness, “particular” points us to the Whole that this particular thing is part of. When we talk about a “particular apple”, for instance, we are identifying this round, green object through the Whole (Apple-ness) that it is a part of. ↩