Cognition and Decision in Nonhuman Biological Organisms

My edited volume, Cognition and Decision in Nonhuman Biological Organisms, has just been published as part of the new Living Books About Life series from Open Humanities Press.

I’m excited about the entire Living Books About Life series. It represents a new form of collaboration between scientists and scholars in the humanities. And it is entirely open access as well. Each volume contains a number of crucial science articles, collected (or curated) and introduced by a humanities scholar.

My own volume covers topics such as “free will” in fruit flies, moods and emotional tones in bees, and more generally processes of affect, cognition, and decision found not just in animals, but in other sorts of organisms (trees, slime molds, bacteria) as well.

When the biologist and science fiction writer Joan Slonczewski, in her recent novel The Highest Frontier , envisions plants that display a sense of humor, and that can learn to resolve “Prisoners Dilemma” situations with mutual cooperation, she isn’t extrapolating all that much from what we actually already know about “mental” operations even in entities that have few or no neurons.

Harman on Metzinger

I have just a few quick notes on Graham Harman’s article on Thomas Metzinger, recently published in the latest issue (volume 7, # 1) of the open-access journal Cosmos and History (available here).

I should mention first of all that I have not read Being No One, which is Metzinger’s magnum opus, and the book on which Harman is commenting. Instead, I have read Metzinger’s volume that is in effect a popularization of his ideas — The Ego Tunnel — together with Metzinger’s precis of Being No One, available here (pdf). So I am aware that my own capacity to enter into this debate is somewhat limited. In particular, I cannot make commentary in the sort of way that David Roden does here.

But I do have a few brief reflections, from within my limited grasp of the topic. In the first place, I am largely in sympathy with Harman’s overall critique of scientism and eliminativism. One can take the results of neurobiology seriously, and use them to rethink questions about mind and consciousness, without having to attack so-called “armchair” philosophizing and “folk” psychology, epistemology, etc. And one should be especially suspicious of what Harman calls “the entire ‘ominous’ dimension of Metzinger’s book, which has made it so especially appealing to nihilistic younger males who enjoy breaking things into pieces.” (I’m not sure it is fair to charge Metzinger himself with this, but it does apply to certain aspects of Metzinger’s reception). This goes along with my general sense that Metzinger is not discrediting the very notion of a “self,”, so much as he is describing what a “self” actually is. The notion of a deep, substantial self that Metzinger attacks is something of a straw man; the “phenomenological self-model” that Metzinger opposes to this straw man itself is our consciousness or selfhood.

Also, the discovery of the ways in which our “self,” or sense of self, is hallucinatory, sel-contradictory, mistaken about itself, and so on and so forth, need not entail the earth-shattering conclusion that all values have been nullified, that life is suddenly devoid of meaning, that it is impossible for us to go on as before, etc. Once we have divested ourselves of an excessive anthropocentrism, the discoveries of recent brain science, like the prior discoveries of Copernicus and Darwin, no longerhave to reduce us to nihilistic desperation.

Despite the rhetorical rejection, in Metzinger and others, of anything “armchair” or not backed up by scientific research, it remains the case (as I think Harman effectively shows) that science alone (even given the recent quite powerful and interesting advances in cognitive psychology and neurobiology) underdetermines the answers to philosophical questions, which means that “armchair” reasoning cannot be dispensed with — indeed, Metzinger himself (as Harman points out) frequently and unavoidably participates in this.

One can see the underdetermination of philsophy of mind by empirical research if one reads Metzinger alongside the very different philosopher of mind Alva Noë. Noë’s ambitious philosophy of mind book, Action in Perception, was published just a year after Metzinger’s Being No One; and Noë’s popularizing book, Out of Our Heads, was published the same year as Metzinger’s Ego Tunnel. The works of these two thinkers overlap and interfere with one another in quite intriguing ways: they often refer to precisely the same empirical research, from which they draw diametrically opposed philosophical conclusions. I think that this juxtaposition is itself significant; both Metzinger and Noë have quite interesting things to say, and I wouldn’t want to categorically maintain that one is right and the other is wrong. (I am temperamentally inclined more to Noë’s position than to Metzinger’s, but for this very reason I think it is crucial to read them with and against one another, in order to get a grasp on what is being argued by both of them).

Getting back to Harman’s review of Metzinger: I am also inclined to agree with Harman about the high value and interest of many of the ways that Metzinger does employ empirical brain research for philosophical ends. This is especially the case with what Harman calls the science-fictional aspect of Metzinger’s look into the multiple sorts of mental activities that have been too simplistically been grouped together under the rubric of “consciousness.” As Harman writes. 

[Metzinger] thinks that decomposing the self into numerous complicated dimensions makes the self less real, when in fact it makes the self so much more real than before. By showing how much complexity is underway in our supposedly simple selves, Metzinger leads us to conclude not ‘well then, the self is just a sham in the end’, but ‘think of how many different and bizarre selves we might create, or which might already exist among animals or on other planets!’… [In Metzinger’s account] the human is just another bizarre species whose experience is generated by specific constraints, just as reptiles, insects, and extraterrestrials might have different lives from ours at this very moment.

We can find an attention to what might be called Metzingerian possibilities in such SF novels as Scott Bakker’s Neuropath and Disciple of the Dog, and in Peter Watts’ Blindsight. There are also a number of science fiction and fantasy novels that delve into what I am inclined to call Jamesian explorations of entirely nonhuman consciousnesses (I’d mention, just off the top of my head, such books as Justina Robson’s Living Next Door to the God of Love, and N, K, Jemsin’s The Hundred Thousand Kingdoms). But all in all, the different kinds of conscious experience described by Metzinger constitute a rich vein of speculation, that more SF writers ought to explore. 

There are other aspects of Harman’s critique of Metzinger that I am less happy with. Unsurprisingly, Harman chastizes Metzinger for “underming” and “overmining” objects, instead of accepting their full reality. Harman especially objects to the ways that Metzinger claims that all is “process,” and that therefore fixed objects (or Aristotelian substantial forms) are illusory. Metzinger says, in Harman’s paraphrase, that what we perceive as objects are really just the illusory results of reifying our own perceptual process, or freezing it in time. At the risk of opening up an old (and at this point boring) debate, I will repeat my own Whiteheadian sense that, indeed, all “things” are “really” processes. But for me, this doesn’t mean that things (or Harman’s objects) are thereby “undermined” by something else that is more essential than they are. For the fact that objects are “reifications” of processes doesn’t mean that they are illusory, or even that they aren’t basic. For the endurance of things, or their establishment of an “identity,” as a result of “reification” (which I think would better be called, in Whiteheadian parlance, social transmission and inheritance) is something that is perfectly real in and of itself. Endurance is an accomplishment, a singular and specific achievement in every case.

Moreover, this endurance is not something that happens (as Metzinger seems to claim, at least according to Harman) in our perceptual process, but actually in reality itself, in the very things which we are in process of perceiving. I am entirely in accord with Harman in rejecting the “simple a priori dogma that if something has causal antecedents, then only those antecedents can have independent reality” — to the extent that Metzinger buys into such a dogma, he is wrong, and Harman’s criticisms are justified. But it remains more of an open question for me than it does for Harman to what extent Metzinger is actually guilty of this; and my accord with Harman in rejecting this “simple a priori dogma” is part of the reason why I find ascriptions of process to be much more acceptable than he does. 

The biggest question for me that is raised by Harman’s review has to do with the relation between epistemology and ontology. Harman agrees with Metzinger in positing “autoepistemic closure” for all entities: this is the claim that we are never in direct contact with reality, since what we “perceive” is really just our own construction or simulation. But Harman goes on to criticize Metzinger for trying to somehow sidestep this clsoure in order to assert the objectivity and truth of scientific knowledge (as opposed to “folk” beliefs). I agree with Harman that, when the eliminativists belittle human cognition in general, but praise the positive and objective knowledge embodied in science, they are in effect contradicting themselves. Indeed, as Harman suggests, they are still being anthropocentric, since they see scientific knowledge of the world (whether in the form of mathematicization, as with Badiou and Meillassoux, or more generally with the results of experimentation, as with Metzinger and other scientistically inclined analytic philosophers) as a uniquely privileged instrument of making contact with other entities in the world, sharply different from the way that (to use one of Harman’s old examples) hailstones make contact with tar.

But for me, this is not just a problem of epistemology. I would say, against Harman, that of course we are always in direct contact with reality — since we are a part of this reality, rather than being separate from it (i.e. rather than being “withdrawn”). We are not caught in some Cartesian or Humean mental prison, familiar only with our own sense impressions (orfamilar only with our own languages, in the 20th century version of this line of thought). The point, however, is that this contact cannot be reduced to, or captured as, “knowledge.” The contact is not epistemological; when it comes just to epistemology, Harman and Metzinger are correct. But our contact with other entities is not restricted just  to relations of knowledge. Harman is right to say that my concept of a tree, however full and nuanced, will never be equal to the tree itself. But this does not negate the fact that the tree has “touched” me, and I have “touched” it, non-cognitiviely and unconceptually. 

Metzinger claims that “we are never in any direct epistemic contact with the world surrounding us even while phenomenally experiencing an immediate contact”: Harman, quoting this claim of Metzinger’s, wants to convict him of a contradiction,or of an “attempt to have it both ways.” For we cannot both be cut off from contact and be in immediate contact. However, here I think that Metzinger is more in the right, because he is talking about two different sorts of contact. “Phenomenal” contact need not, and cannot, be reduced to “epistemic” contact. Contact among entities is ontological, not epistemological — and this other dimension, which Metzinger at least senses as a problem, is omitted entirely from Harman’s account, when he says that, because we do not actually know other entities, or even ourselves, therefore all all entities must “withdrawn” from one another — and even from themselves.

I think that this all hinges upon questions of intentionality — and this is where I reach my own limits. Harman criticizes Metzinger’s attempt to resolve the contact paradox by calling upon intentionality — he criticizes Metzinger for misunderstanding both Brentano’s and Husserl’s theorizations of intentionality. “Contra Metzinger’s misreading,” Harman says,” the intentional for Brentano does not mean leaping outside the mental sphere and making direct contact with the real. Intentionality intends intentional inexistence, not something lying behind that inexistence.” Harman therefore does not think that Metzinger succeeds in “actually find[ing] a way to jump outside the phenomenal capsule and make some sort of contact with the real.” He particularly rejects the idea that experimental scientific knowledge represents such an actual contact.

But I am not convinced that Metzinger is wrong when he argues that mental states “intentionally contain an object within themselves.” I am more inclined to think that this is indeed what happens — as Whitehead puts it, “an actual entity is present in other actual entities” (PR 50). This presence is not cognized, and cannot be equated with Heidegger’s “presence-at-hand.” And Metzinger does have some sense of this, even though he is wrong (here I agree with Harman) to turn this into the unique guarantor for scientific knowledge, and for nothing else. Intentionality — including Molnar’s “physical intentionality” — has an important role to play here; even if this is not Brentano’s version of intentionality, nor Husserl’s. (I am trying, instead, to yoke intentionality to Whitehead’s sense of “prehension”). At this point, I no longer see very clearly — this is where I am stuck right now, and what I am trying to work my way through. And both Harman and Metzinger give me hints for this, even if I am ultimately not willing to follow either of their paths. 

 

Hyperbolic Futures

My essay “Hyperbolic Futures” attempts to think about the ways that speculative fiction (i.e. science fiction) works in relation to speculative finance (of the sort that has screwed us over in the last several years). I take a look back at my 2003 book Connected, Or What It Means To Live in the Network Society, and think about what has changed in the world, and in SF’s relation to the world, since then. And I discuss two recent, great SF novels in particular: Richard K. Morgan’s Market Forces, and Lauren Beukes’ Moxyland.

The article was published in the excellent SF journal Cascadia Subduction Zone, published four times a year by Aqueduct Press. Each issue is published both in hardcopy and in pdf, and the pdf version is released free on the Internet six months after intial publication. The issue that includes my article (volume 1, # 2) is now available for free download, here.

Panpsychism And/Or Eliminativism

Here is the text of the talk I gave twice last month: at the OOO III conference in New York, and at the SLSA conference in Kitchener, Ontario.

PANPSYCHISM AND/OR ELIMINATIVISM

Today I would like to think, in a cosmopolitical frame, about the recent philosophical movement known as Speculative Realism. It would be better, actually, to speak of speculative realisms, in the plural; for the four thinkers who spoke at the initial Speculative Realism conference, at Goldsmiths in London in 2007, in fact have vastly different positions and programs. And still more varieties of speculative realism have been enunciated since. What justifies uniting these diverse new modes of thought is that they have a common starting point. The four original speculative realists — Quentin Meillassoux, Ray Brassier, Graham Harman, and Iain Hamilton Grant — all reject what Meillassoux calls correlationism, or what Harman characterizes as “the bland default metaphysics that reduces objects to our human access to them.” In what follows, I will consider what positive positions this initial rejection commits us to.

Correlationism is defined by Meillassoux as the doctrine according to which “we never grasp an object ‘in itself’, in isolation from its relation to the subject.” Kant’s transcendental idealism is correlationist, and so is Husserl’s noetic-noematic structure. For correlationism, a mind-independent reality cannot exist, because the very fact that we are thinking of such a reality means that it is not mind-independent after all. From the correlationist point of view, Meillassoux says, “thought cannot get outside itself in order to compare the world as it is ‘in itself’ to the world as it is ‘for us’, and thereby distinguish what is a function of our relation to the world from what belongs to the world alone.” In correlationism, as Brassier puts it, “since it is impossible to separate the subjective from the objective, or the human from the non-human, it makes no sense to ask what anything is in itself, independently of our relating to it.” Or in the words of Harman, under correlationism “everything is reduced to a question of human access to the world, and non-human relations are abandoned to the natural sciences.” In other words, “the correlationist holds that we cannot think of humans without world, nor world without humans, but only of a primal rapport or correlation between the two. For the correlationist, it is impossible to speak of a world that pre-existed humans in itself, but only of a world pre-existing humans for humans.” As Harman sarcastically summarizes the position, correlationism assumes that “what is thought is thereby converted entirely into thought, and that what lies outside thought must always remain unthinkable.”

Correlationism is not the same thing as the “bifurcation of nature” denounced by Whitehead; the critique of the correlation and the critique of the bifurcation arise from different needs and concerns. Nonetheless, the two are not unrelated. It is only when our experience has been sundered in two that we could ever think of the need for a correlational structure in order to put it back together again. Modern Western thought, from Descartes through Locke and on to Hume, partitioned the world between primary and secondary qualities, or between objectively extended objects, on the one hand, and merely subjective “psychic additions” (CN 29), on the other. This culminated in the crisis of Humean skepticism, which Kant resolved by arguing that the unknown realities “out there” must be organized in accordance with the conditions imposed by our minds. We have viewed the world through a correlationist lens ever since.

Correlationism might seem to be at odds with everyday common sense; most people, if you asked them, would unhesitatingly affirm that things outside us are real. Remember Dr. Jonson, who kicked a rock, and claimed thereby to have refuted Berkeley. Nonetheless, the idea that the world is necessarily beholden to our ways of shaping and processing it has indeed been the “default metaphysics” of the West for more than two centuries, ever since Kant. To reject the correlationist consensus is to risk being accused of “naive realism.” Now, in fact, no version of speculative realism actually maintains the “naive” thesis that we can somehow have direct, unmediated access to a reality that is simply “out there” and apart from us. However, I also agree with Harman that we should be suspicious of any argument that disparages something by characterizing it as “naive.” For there is something disingenuous about such an accusation. Usually, the critics of “naive realism” are not urging us to adopt a more robust or sophisticated sort of realism instead. Rather, they are making the underhanded rhetorical suggestion that all realism is unavoidably naive. This critical sleight of hand really works to reinforce the solipsistic primacy of thought thinking only about itself. It’s a way of refusing and denying any movement towards what Meillassoux calls “the great outdoors, the eternal in-itself, whose being is indifferent to whether or not it is thought.”

In any case, the basic speculative realist thesis is the diametrical opposite of the “naive” assertion that things in themselves are directly accessible to us. For the key point, rather, is that the world in itself — the world as it exists apart from us — cannot in any way be contained or constrained by the question of our access to it. “Man” is not the measure of all things. We habitually grasp the world in terms of our own pre-imposed concepts. We need to break this habit in order to get at the strangeness of things in the world: that is, at the ways that they exist without being “posited” by us, and without being “given” or “manifested” to us. Even the things that we have ourselves made possess their own bizarre and independent existence. If philosophy begins in wonder — and ends in wonder, too, as Whitehead insists — then its aim should not be to deduce and impose cognitive norms, or Concepts of Understanding, but rather to make us more fully aware of how reality escapes and upsets these norms.

This is why any true realism must be speculative — despite the fact that “speculation” has been held in ill repute for most of the past century. For, confronted with the real, we are compelled to speculate: that is, to do precisely what Kant told us that we cannot and must not do. Pace Kant, we must think outside of our own thought; and we must positively conceive the existence of things outside our own conceptions of them. In Eugene Thacker’s terms, it is not enough to just consider the (objective) world-in-itself, in its difference from the (subjective) world-for-us. We must also actively explore what Thacker calls the world-without-us: the world insofar as it is subtracted from, and not amenable to, our own concerns. We learn about the world-for-us through introspection, and the world-in-itself through scientific experimentation. But we can only encounter the world-without-us obliquely, through the paradoxical movement of speculation.

Speculative realism is therefore as far removed from post-Kantian “critical” thought as it is from “naive” or unreflective thought. It rejects, not only the “default metaphysics” of continental anti-realism, but also (and perhaps more importantly) what Jon Cogburn calls “neo-Kantian ‘realism of the remainder’ type realisms… the view that the real is some inarticulate and inarticulable mush.” Slavoj Žižek, for instance, proposes that human subjectivity marks a unique rupture in the fabric of being. In the light of this continuing human exceptionalism, the Real can only be regarded negatively. It is nothing more or less than the traumatic remainder of a primordial split. The Real is what’s left over from our separation from it. Since this Real resists all of our symbolizations, Žižek says, it cannot be characterized at all. For Žižek as much as for Kant, then, articulation and determination can only be found on the side of human access. Kant, after all, never denied that there was such a thing as a nonhuman real. He maintained that things-in-themselves must really exist; he only insisted that we could not know anything positive about them, or say anything meaningful with regard to them.

Let me rephrase all this as a formula. Philosophers have only described the correlationist circle, in various ways; the point, however, is to step outside it. The aim of speculative realism, as Meillassoux puts it, is to break the circle, and once more reach “the great outdoors, the absolute outside of pre-critical thinkers.” Early Modern philosophers like Spinoza and Leibniz exhibit a freedom, boldness, and daring that are scarcely imaginable today. More precisely, the question posed for speculation is how to attain this “pre-critical” freedom without reverting — as Meillassoux says we must not do — to any sort of pre-critical or pre-Kantian metaphysical “dogmatism.” How, Meillassoux asks, can we “achieve what modern philosophy has been telling us for the past two centuries is impossibility itself: to get out of ourselves, to grasp the in-itself, to know what is whether we are or not”?

In order to get beyond Kant’s assertion of unknowability, or contemporary philosophy’s disappointing “realism of the remainder,” it is necessary to propose some sort of positive, speculative thesis, alongside the negative (anti-correlationist) one. More precisely, every variant of speculative realism must maintain both a positive ontological thesis, and a positive epistemological one. The ontological thesis is that the real not only exists without us and apart from our conceptualizations of it, but that it is actually organized or articulated in some manner: on its own, without any help from us. The epistemological thesis is that it is in some way possible for us to point to, and speak about, this organized world-without-us, without thereby reducing it yet again to our own conceptual schemes.

What distinguishes the various speculative realisms from one another is that they all propose different ways of stepping outside the correlationist circle. However, I think that all these approaches do have something in common. They all return to the very starting point of correlationism — Kant’s so-called “Copernican revolution” in philosophy — in order thereby to redistribute Kant’s original terms differently. This redistribution of terms opens up a place for renewed speculation.

Meillassoux himself follows such a strategy. He disrupts correlationism from within, by establishing that the Kantian correlation of thought and being is itself contingent (or “factial”) rather than necessary. Where Kant in his Paralogisms of Pure Reason demonstrates that certain fundamental metaphysical propositions are undecidable, Meillassoux traces this undecidability back to a more fundamental contingency — which turns out to be necessary in its own right. Kant argues that the sort of logic which works in particular, limited empirical circumstances is no longer valid when applied to the world conceived as a totality. Meillassoux follows a nearly identical line of argument when he shows that probabilistic reasoning, valid when applied to “objects that are internal to our universe,” cannot be applied “to the universe as such.” The difference, of course, is that Meillassoux draws upon Cantor’s theory of transfinites (which was unknown to Kant) in order to show that any sort of totalization is a priori impossible. This radicalization of Kant’s own argument opens the way to a new kind of absolute knowledge, one that is free from Kant’s strictures against it.

Iain Hamilton Grant similarly returns to the Kantian moment of decision, and orients it otherwise, when he reconstructs and revitalizes Schelling’s critique of Kant. The Kantian transcendental argument becomes a principle of genesis and productivity, rather than one of a priori necessity. In consequence, thought does not, and cannot, posit or legislate the nature of appearance. Rather, thought is itself generated through a process that is antecedent to it, and that forever exceeds its grasp. It is a “necessary truth,” Grant says, that “antecedence is non-recoverable.” Somewhat like Meillassoux’s ancestrality, Grant’s antecedence cannot be recuperated in any sort of correlation. And yet, the “unthought” of an infinitely productive Nature is not sheer negativity (as it remains for Hegel and for Žižek). Rather, it is an active composition of powers or forces.

For his part, Harman proposes what I would like to call (echoing Derrida on Bataille) a “Kantianism without reserve.” This consists in extending the gap between phenomena and noumena to the experiences of all entities. We can no longer specially privilege human beings (or rational beings in general), because every object encounters all other objects phenomenally only, as “sensual objects,” without being able to reach those entities as they in themselves, noumenally, as “real objects.” No object can ever entirely know (grasp or comprehend) any other object; indeed, an object cannot even really “know” itself. But Harman points out that we can, and do, allude to objects — indeed, we are doing this almost all the time. We refer to objects that we do not know by designating them metaphorically, or indirectly. In this way, we can be aesthetically moved by objects, even when we do not (and cannot) actually know them. Indeed, such “vicarious” affection is a crucial mode of contact among entities. (It roughly corresponds to what Whitehead calls “conceptual prehension”). In this way, for Harman as for Whitehead, “aesthetics becomes first philosophy.”

Brassier’s physicalist revision of the Kantian distinction between phenomena and noumena can be contrasted with Harman’s aestheticist one. Brassier converts Kant’s “transcendental idealism” into a “transcendental realism,” by asserting “the transcendental presupposition of an extra-conceptual difference between concept and object.” That is to say, the real as such is non-conceptual; and the difference between the real and our concepts of it cannot itself be conceptualized. Our concepts are always inadequate to the objects that they refer to, and that they futilely endeavor to circumscribe. Physical science is a way of exploring this gap between concept and reference — even if it can never bridge the distance altogether. Rather than thought imposing its categories on the real, Brassier says, “the reality of the object determines the meaning of its conception, and allows the discrepancy between that reality and the way in which it is conceptually circumscribed to be measured.” Kant’s own defense of scientific objectivity is thus transformed into a more robustly realist form than Kant himself was able to provide. Physical science is grounded in the inevitable failure of any correlation between thought and the world, rather than in the necessity of such a correlation. The nonconceptual remainder is no longer mute, as it was for Kant and Žižek; rather, scientific experimentation allows it (or forces it) to speak.

I have been insisting upon the Kantian background of all these speculative realist projects, even though speculative realist thinkers themselves often describe what they are doing in very different ways. I have done this because Kant’s Copernican revolution in philosophy — or rather, his “Ptolemaic counter-revolution,” as Meillassoux insists — itself establishes correlationism and anthropocentrism on the basis of its own critical self-reflexivity. We should stop to think for a minute about how strange this is. According to Kant, thought does not discover its accordance with the world by reaching out towards the world. Rather, it is precisely when thought reflects back upon itself, when it engages in the critique of its own powers and limits, that it is suddenly brought into correlation with being. It is only by focusing back upon itself, to the exclusion of all else, that thought comes into correspondence with something that lies outside it, and beyond it. And it is this strange knot of thought and being — mirrored within thought itself by the pre-established harmony of inner-directed self-reflection with outer-directed intentionality — that speculative realism strives to undo.

In order to untie this knot of thought and being, it is necessary to dislodge the self-reflexivity of thought in one way or another. Thought needs to be radically problematized, from ouside — instead of grounding and validating itself by means of its own purifying autocritique. The anthropocentrism of our “default metaphysics,” which Harman rightly finds objectionable, rests almost entirely on the dubious presupposition that human beings are uniquely rational, uniquely possessed of subjectivity and interiority, uniquely capable of thought and/or language. Such a position was radically undermined by Darwin. Whitehead entirely removed the need for it, by elaborating an analysis of prehension that applies equally to all actual entities. And human exceptionalism is even less tenable today, now that we know that not only chimpanzees and parrots, but also slime molds and bacteria, communicate, calculate, and make arbitrary decisions.

But in fact correlationism is not reducible to humanism, nor to notions of subjectivity. As Meillassoux writes: “we must emphasize that the correlation of thought and being is not reducible to the correlation between subject and object.” Even the freeing of thought from subjectivity and from representation — Meillassoux gives the example of Heidegger — does not suffice to undo correlationism. And further, even the deconstruction and dissolution of the humanist subject does not really get us away from anthropocentrism: at best, it merely replaces this with an impersonal noocentrism or logocentrism.

In order to step outside the correlationist circle, Meillassoux insists that we must displace thought (and language) altogether. We need to adopt a stance, he says, “which takes seriously the possibility that there is nothing living or willing in the inorganic realm.” If we are to reject the phenomenological notion of “the givenness of the world,” then we must recognize the existence of “a world capable of subsisting without being given” to us or to any other perceiver: a world that is “capable of existing whether we exist or not.” Reality for Meillassoux is “totally a-subjective.” We must “think a world that can dispense with thought, a world that is essentially unaffected by whether or not anyone thinks it” (emphasis added).

I think that we need to take this radical purgation of thought from being seriously. Anti-correlationism can plausibly lead to radical eliminativism, as Meillassoux’s formulations at least suggest, and as Brassier argues much more forcefully and straightforwardly. For such an account, matter must be entirely impassive — devoid of life, initiative, or active force — in order that it not be affected by thought. And sensation and perception need to be downgraded — or even abolished — because (like anything carnal) they imply an interaction between an observer and something being observed.

In his quest to guarantee the independence of being from thought, Meillassoux goes so far as to reintroduce into philosophy the explicit distinction between primary and secondary qualities. Meillassoux privileges mathematical formalism at the expense of perception and sensation: this is the only way to “remove the observer,” leaving behind just those properties that an object has in and of itself. “All those aspects of the object that can be formulated in mathematical terms,” Meillassoux writes — and only those aspects, we might add — “can be meaningfully conceived as properties of the object in itself.” Radicalizing Badiou’s dictum that mathematics is ontology, Meillassoux argues that it is exclusively through “the mathematization of nature” that physical science indubitably allows us “to know what may be while we are not.” In effect, Meillassoux resolves the bifurcation of nature by brutally amputating the subjective side of the duality.

Brassier’s arguments are similar to Meillassoux’s, but even more far-reaching. Once we accept that the difference of objects from the concepts we have of them is itself non-conceptual, and not to be subsumed by thought, then we are forced to come to terms with “a world that is not designed to be intelligible and is not originarily infused with meaning.” This leads us inexorably to the “truth of extinction,” the inevitable extermination of all thought in the future course of the universe. For Brassier, even more than for Meillassoux, the recognition of a (past or future) time without thought must radically devalue thought in the present — including even the thought of this recognition itself. Unless we were to embrace some bizarre form of extreme idealism (thought without being?), we would seem to be condemned by the rejection of correlationism to a regime of being without thought. Undoing the Kantian nexus of thought and being leads us, in this case, to the conclusion that thought is epiphenomenal, illusory, and entirely without efficacy. Where Western science has traditionally seen mere matter as passive and inert, Brassier — following Thomas Metzinger and Patricia and Paul Churchland — argues that, once we are rid of an unjustified anthropocentrism and narcissism, we must view human beings in this manner as well.

Brassier pushes this grim logic all the way to the end, proclaiming an “extinction of meaning that clears the way for the intelligibility of extinction. Senselessness and purposelessness are not merely privative; they represent a gain in intelligibility.” There is something impressively bracing about such militant nihilism, even if I am unwilling to give it the last word. But, once we accept the anti-correlationist argument, what other alternatives can there be? Must the radical annihilation of meaning and purpose be the price we pay for understanding the real as it is, apart from us?

In contrast to Brassier, Meillassoux evades the radical consequences of eliminativism by arguing for the absurd, radical emergence ex nihilo, at some point in the history of the universe, first of life and then of thought. As Harman makes evident in his recent exposition and partial translation of Meillassoux’s otherwise unpublished manuscript The Divine Inexistence, Meillassoux insists — against all of modern biology — both that life is radically discontinuous with mere matter, and that thought is radically discontinuous with mere life. Meillassoux thus maintains the Cartesian picture of matter or extension as passive and inert, while providing an escape clause in the form of the absolutely contingent and unforeseeable coming-into-existence first of life and then of thought, both of which are irreducible to matter. This restores human exceptionalism with a vengeance. The violent audacity of Meillassoux’s reversal reminds me, once again, of Kant. Just as Kant lets God back in through the back door, as it were, in the Second Critique, after having eliminated him in the First Critique by destroying the ontological argument for his existence, so Meillassoux rehabilitates life and thought in The Divine Inexistence, after having expelled them, together with the principle of sufficient reason, in After Finitude.

I am not willing, myself, to travel this route with Meillassoux. Despite his demonstrations of the contingency of the correlation, and of the impossibility of transfinite totalization, I cannot see any justification for abandoning the principle of sufficient reason. Harman observes that Meillassoux has two objections to the principle. The first objection is that it implies an infinite regress of causes, unless we bring it to an end by arbitrarily positing a First Cause or Unmoved Mover. The second objection is that it implies that effects are reducible to their causes; and if this were the case, then novelty would be impossible. But Harman replies that there is nothing wrong with conceiving an infinite regress; and that an effect can well exceed its causes, without thereby being entirely independent of those causes.

Both of Harman’s points are in accordance with Whitehead’s revision and restatement of the principle of sufficient reason in the form of what he calls the ontological principle. According to this principle, everything that exists — every actual entity — has a reason (or more than one) for being what it is; and these reasons are themselves actual entities in their own turn. “Actual entities are the only reasons; so that to search for a reason is to search for one or more actual entities” (PR 24). There is no First Cause independent of this process; even God is a particular actual entity, the reasons for whose existence reside in other actual entities. Whitehead insists that nothing is ever entirely determined by its causes. An actual entity must decide how it receives and responds to the causes that feed into it. And every such decision introduces at least a modicum of novelty into the universe. But the ontological principle also states that no entity can ever be entirely free from its antecedent reasons; “there is nothing which floats into the world from nowhere” (PR 244).

Beyond this, the real problem with Meillassoux’s and Brassier’s accounts is that they both assume that matter in itself — as it exists outside of the correlation — must simply be passive and inert, without meaning or value. But isn’t this assumption itself a consequence of the bifurcation of nature? It is only an anthropocentric prejudice to assume that things cannot be lively and active and mindful on their own, without us. Why should we suppose that these are qualities that only we possess, and that we merely project them upon the “universe of things” outside us? Eliminativist arguments thus start out by presupposing human exceptionalism, even when their explicit aim is to humble and humiliate this exceptionalism. If you take it for granted that values and meanings are nothing but subjective human impositions, then it isn’t hard to conclude that they are ultimately illusory, for human beings as well as for other entities.

What’s needed is an alternative way of unbinding the Kantian knot of thought and being. And this is what Whitehead offers us, following William James. Rather than brutally purging the physical universe of anything like thought — an enterprise as absurd as it is ultimately impossible — James and Whitehead urge us to recognize the commonness and ordinariness of thought. They do not contest thought per se, as the eliminativists do, but only its self-reflexive self-privileging, its claim to specialness and preeminence. Isabelle Stengers observes that James engaged in “a deliberate project of the ‘depsychologization’ of experience in the usual sense of conscious, intentional experience, authorizing a clear distinction between the subject and its object.” In this way, James “denied the privilege of occupying center stage to reflective consciousness and its pretensions to invariance.” Or, as James himself puts it, the reified entity known as consciousness “is fictitious, while thoughts in the concrete are fully real. But thoughts in the concrete are made of the same stuff as things are.”

James’ thesis is both monist (since everything is “made of the same stuff”) and pluralist (since there are many thoughts and many things, which cannot be gathered together as one). But it is anti-dualist, and opposed to the bifurcation of nature. Indeed, James positions his thesis in explicit opposition to what he calls the “neo-Kantian” doctrine that “not subject, not object, but object-plus-subject is the minimum that can actually be.” In this way, James is an anti-correlationist avant la lettre.

James’ characterization of experience provides the “prototype,” as Stengers says, for Whitehead’s “actual occasions.” These are always “bipolar,” with conjoined “physical” and “mental” poles (PR 108). This means that thought is an immanent attribute — or a power — of being itself, and of each individual entity that exists. Nothing could be further from the post-Kantian (or correlationist) sense of thought as something that would approach being from without, and that would strive (successfully or not) to be adequate to it. For Whitehead, every entity immanently experiences something; or better, every entity is an experience. This does not mean, however, that every entity is conscious. Whitehead insists that “consciousness presupposes experience, and not experience consciousness” (PR 53). Timothy Morton makes a more concrete, but somewhat similar, point when he suggests “that there is something that my mind does that isn’t that different from what a pencil does when it rests on a table… It’s not that pencils have minds, it’s that minds are pencil like.” In this way, thought is common and humble, rather than rare and preeminent.

Nonconscious experience is not an oxymoron; it’s simply that more things are felt than are known. Whitehead writes that “the primitive form of experience is emotional — blind emotion” (PR 162). It is only in a few rare cases that this emotion is subsequently elaborated into self-conscious cognition. Emotional feeling, Whitehead says, is always “felt in its relevance to a world beyond”; but “the feeling is blind and the relevance is vague” (PR 163). Primordial “vector feeling,” the physical movement or “transmission” from one thing to another, is undoubtedly the raw material out of which the whole drama of correlationism was constructed. But in its non-cognitive, or pre-cognitive, blindness and vagueness, thought as Whitehead describes it happens, or passes, without any epistemological warrant. It makes to sense for thought to be correlated to a world outside itself. For thought is already a constituent — think of it as a sort of flavoring — of the very world that it is supposed to be “about,” and whose objects it is supposed to “intend.”

We might think here of George Molnar’s claim for the existence of what he calls physical intentionality. The commonly held doctrine, deriving from Brentano, is that intentionality is an exclusive mark of the mental or psychological; indeed, intentionality is generally held to provide the definitive principle of a “demarcation between the psychic and the physical.” Against this, Molnar argues that “something very much like intentionality is a pervasive and ineliminable feature of the physical world.” Rejecting commonly-held Humean or nominalist assumptions, Molnar is a thoroughgoing realist about the physical powers or dispositions of things. He insists that “physical powers, such as solubility or electrical charge, also have that direction toward something outside themselves that is typical of psychological attributes.” Of course, physical intentionality, so described, cannot be conscious; it does not have any semantic or representational content. But Molnar argues that mental intentional states are not necessarily semantic or representational either. Pain, for instance, “is directed towards its intentional object” — the location where it is felt — “without representing (symbolizing) its object.” Although Molnar does not himself put it this way, the result of his argument is to detranscendentalize intentionality. That is to say, intentionality becomes an implicit relation, or a potential for becoming, within the world — rather than being an underlying principle or structure of correlation.

Molnar admits that this point of view might lead to what he calls the “threat of panpsychism.” And he pushes away this “threat” by replacing intentionality “with another criterion of demarcation” between mind and matter. The only other available criterion, however, is precisely “the capacity for consciousness” — which Molnar embraces while acknowledging “that this position has its own distinctive difficulties.” If we accept that thought (or feeling, or experience) need not be conscious, then we might well be led to abandon the demarcation between mind and matter altogether.

Although Molnar is unwilling to embrace panpsychism, I propose that it gives us a good way to avoid the problematic baggage both of consciousness and of phenomenological intentionality. In this way, panpsychism might be a promise, rather than a “threat.” The non-eliminativist way of escaping the correlationist circle is to recognize the sheer ubiquity of thought in the cosmos. We don’t need a criterion of demarcation, because there is nothing to demarcate or separate. Once we understand “thought” in Whitehead’s deflationary sense, rather than in Kant’s grandiose one, we discover that it is everywhere, rather than nowhere.

We can take an inverted clue here from Meillassoux. If we reject his thesis of the radical emergence of thought out of nothingness, then we must rather conclude that thought is always there already, in the very place where he claims that “there is nothing living or willing.” This is basically Galen Strawson’s position. Strawson argues that radical emergence is impossible; “experiential phenomena cannot be emergent from wholly non-experiential phenomena.” Strawson regards eliminativism as absurd, “because experience is itself the fundamental given natural fact… there is nothing more certain than the existence of experience.” But since experience cannot float into the world from nowhere, our only alternative is to accept that reality is experiential, all the way down.

Panpsychism, no less than eliminativism, undoes the Kantian knot. Precisely because panpsychism claims that thought is always already present everywhere, it does not grant to thought any special foundational or reflexive privileges. If mind is intrinsic to being, then it exists in and for itself, apart from any question of what it might be correlated with. For panpsychism, everything is mindful, or has a mind; but this does not necessarily entail that everything is “given” or “manifested” to a mind.

To conclude, I need to bring this discussion back to the initial speculative realist thinkers. Neither Harman nor Grant is a full-fledged panpsychist, but they are both inclined strongly in the panpsychist direction. This is evident from their essays in David Skrbina’s anthology of contemporary panpsychist thought, Mind That Abides. Grant indeed argues for “panpsychism all the way down, that is, without exception”; but in doing so, he complicates the question of emergence. Everything is in some sense minded or mindful, he says, but this mindedness is not there at the beginning. Rather, it necessarily but belatedly arises out of the antecedence of nature’s productive powers. For his part, Harman sees mentality, or experience, as an inevitable component of any relationship, or interaction among objects. But since he claims that objects are “withdrawn,” existing apart from all relations, he doesn’t attribute mentality or experience to these objects in and of themselves. There are undoubtably objects, he says, that remain “dormant,” never entering into relation with anything else. Hence, for Harman, “even if all entities contain experience, not all entities have experience.”

Despite these qualifications, I think that we are left with a clear alternative. If we are to reject correlationism, and undo the Kantian knot of thought and being, no middle way is possible. We must say either (along with Harman and Grant) that all entities are in their own right at least to some degree active, intentional, vital, and possessed of powers; or else (along with Meillassoux and Brassier) that being is radically disjunct from thought, in which case things or objects must be entirely divested of their allegedly anthropomorphic qualities. When we step outside of the correlationist circle, we are faced with a choice between panpsychism on the one hand, or eliminativism on the other.

As a coda, I would like at least to mention — without further comment — some of the newer versions of speculative realism, beyond the four presented at the 2007 Goldsmiths conference. Ben Woodard’s “dark vitalism,” Reza Negarestani’s “dark materialism,” and Eugene Thacker’s “horror of philosophy” all seem actually to combine the most extreme tendencies of both panpsychism and eliminativism — however oxymoronic such a conjunction might appear. For these thinkers, the world-without-us is alien and actively hostile to human life and thought. If nothing else, such projects are further signs that we are beginning to think speculatively and cosmologically again — after a century in which, with the lonely exception of Whitehead, such efforts were viewed with suspicion and derision.

Paranormal Activity Roundtable and other stuff

The new issue (#10) of the online film journal La furia umana is out, and it contains lots of interesting stuff, including a roundtable discussion, featuring Therese Grisham, Julia Leyda, Nicholas Rombes, and myself on the two (to date) Paranormal Activity films. I think this was a great discussion — my own remarks were very much stimulated by Therese’s questions, and by Julia’s and Nick’s own quite different takes on the films. I think that — whether in spite of, or more likely, precisely because of, our divergences — the discussion stands up pretty well as a whole. [Note added 2015: the roundtable is now available here.]

The journal also presents web-readable reprints of two chapters of my last book, Post-Cinematic Affect: the chapter on Gamer is here, and the Coda is here. (The introduction and the three earlier chapters were intially published here; or you can simply buy the whole book).

SLSA 11

I’ve just spent the last three days at the SLSA (Society for Literature, Science, and the Arts) conference in Kitchener, Ontario. I saw friends, met people whom I had only read before, and heard a good number of excellent talks, plus keynotes by Isabelle Stengers and by Bernard Stiegler. I gave a paper (on which more later) in one of the Whitehead/Stengers/cosmopolitics sessions organized by Steven Meyer. I also was the respondent for a panel on “Aesthetics Beyond the Phenomenal,” with talks by Scott Richmond, Patrick Jagoda, and James Hodge. I don’t know if any of their papers are (yet) available for reading — they will all eventually be published as parts of book projects. But since my response most likely won’t be appearing anywhere else, I will post it here.
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These are three fascinating and highly diverse talks. I would like to approach them in a slightly oblique way, as suits the discussion of matters that are themselves oblique. What these papers all have in common is this: they all speak to experiences that are below or beyond the threshold of human perception. They all describe works of art that contrive to bring into our awareness events or processes that cannot be apprehended directly. The video games described by Patrick Jagoda work “to render global systems” — those massively distributed networks in which we find ourselves invisibly enmeshed — “cognitively, perceptually, and aesthetically accessible.” Tony Conrad’s The Flicker, as described by Scott Richmond, engages in “perceptual modulation”: that is to say, it “configures perception such that it becomes affection,” inducing us to see things that aren’t actually there on screen, and bringing into the open the ways that our bodies actively resonate in and with the world. John F. Simon’s Every Icon, discussed by Jim Hodge, operates on a time scale that is incommensurable with our own internal time sense, as it is both too fast — flipping over at a rate of 100 times a second — and too slow — taking a time to complete itself that is far longer than the actual age of the universe — for us to be able to observe it concretely.

My own oblique approach to these three talks will consist in pulling back to consider their metaphysical underpinnings. The question of limits — limits both of sensation and of thought — has long been an important concern of Western philosophy. Even without tracing this question back to medieval formations of negative theology — something that I cannot do, since I know far too little about it — we may say that the problem of limits has been approached in quite various ways over the course of the last several hundred years. Leibniz was interested in the existence of micro-perceptions, which could not be apprehended individually, but whose summation, or integration, produced sensory impressions like the sound of the crashing of waves on the seashore. At the opposite extreme, incommensurable macro-sensations were the raw material of the experience of the sublime, addressed in the 18th century by such thinkers as Burke and Kant. We can also credit Kant with linking the question of the limits of sensation and perception with that of the limits of cognition, and indeed of the limits of Reason itself. In the Analytic of the Sublime of the Third Critique, the mind recognizes its own rational power in the very act of reflecting upon the limits of the (merely finite) imagination. But in the Transcendental Dialectic of the First Critique, reason comes face to face with its own limits, in the form of unavoidable illusions: errors that are intrinsic to its very nature, and that it will never be able to shake off, once and for all.

There are limits, then, both to what we are able to perceive, and to what we are able to comprehend. In the wake of Kant, Romanticism and Modernism alike — both in art and in philosophy — were largely concerned to test and to push against these limits. In the second half of the twentieth century, we still find these concerns at the center of the reflections on aesthetics by such crucial thinkers as Jean-François Lyotard and Gilles Deleuze. Lyotard’s injunction to what he calls “postmodern” artists (though I would rather call them belated modernists) is that they must strive to “present the unpresentable.” Somewhat more subtly, Deleuze sees the task of the modern artist to be both to confront invisible forces so as to render them visible, and to release cosmic forces from the limitations of the visible forms in which they are trapped. Lyotard and Deleuze, like Kant, are concerned with the limits and deformities of representation. Although these more recent thinkers insist upon the possibility of non-representational modes of affirmation, such as Kant never conceived, they remain committed to the modernist, formalist, and ultimately Kantian project of (as Scott here describes it) “the continual reinvention of a continuous medium, in a way that worries its specificity, and by means of aesthetic production that pushes the limits of what will count as a film (or a painting or a sculpture or a piece of music), usually taking the form of the acknowledgment of the material facts of that medium.”

The question to which I am brought by the three papers that we have just heard is this. To what extent do the works that thee papers discuss remain inscribed within the Kantian-Romantic-Modernist paradigm that I have outlined; and to what extent do they gesture towards a new, and different, tracing of the problem of limits? Scott’s talk approaches this question most explicitly, since he argues that the “proprioceptive aesthetics” of Conrad’s work mark a rupture with the standard modernist project. The Flicker works in the register of affectivity, rather than in that of cognition. It addresses the body, rather than assuming a notion of aesthetic experience that would be dissociated from carnality. As Scott says, it “places its faith in the perceiving body as a sensate and sensitive object.” In this way, The Flicker is perhaps no longer a modernist work. On the other hand, Scott also continues to describe the film in ways that suggest the modernist paradigm is simply being modified and expanded a bit, rather than being more radically superseded. On his account, the film entices us to perceive and feel what isn’t actually there; but in this way, it testifies to an undecidable intertwining of body and world which is the very basis of phenomenal experience. Where a more normatively modernist art leads us to cognize the very limits of our experience, Conrad’s piece rather forces us to feel those limits. But in this way it still ultimately conforms to the Kantian-Romantic-Modernist paradigm, in that it is concerned with the act of perception per se, rather than with what it is that we perceive. They deal, as Whitehead would say, with what we can know, rather than what we do know.

In contrast, the system simulation games and alternate reality games described by Patrick offer challenges that remain largely cognitive. But they also involve a sort of experiential immersion in complex networks and widely distributed systems that are entirely real, but that cannot be grasped phenomenologically or existentially. Patrick says that these games serve as “formal equivalents” for worldwide networks and systems — a condition which is something quite different from their being representations of such networks and systems, and which requires a kind collective or transindividual active participation, in a way that differs quite markedly from the sort of spectatorial absorption and/or critical reflection at the heart of what I have been calling the Kantian-Romantic-Modernist paradigm. Yet I am still not entirely convinced that any of these games really have the capacity, as Patrick claims, “to mediate emergent collectivities and render dynamic virtual worlds.” I remain skeptical, if only because each of these games involves, as Patrick concedes, “a particular set of political assumptions” — and also, I would add, of procedural assumptions. The problem here is that the engagement with, and reverse engineering of, underlying algorithmic procedures itself works as a sort of Kantian-reflexive validation of those procedures. I would suggest that this is not a bug, but a feature; the necessary, built-in consequence of any effort to simulate a complex system by means of abstraction. Games like PeaceMaker and Superstruct strike me as being a bit like Keynesian economics: they offer resolutions that might well alleviate suffering in real-world terms; but they are constrained by the very parameters that serve as their enabling conditions, the terms and presuppositions that allow them to function in the first place. Going beyond this horizon would require a game whose own rules and algorithms could be altered in the course of play. So I would say that these games, too, still remain within what I am calling the Kantian-Romantic-Modernist paradigm.

In his discussion of Simon’s Every Icon, Jim argues that the piece provides us with “an articulation of the technological conditions of possibility for an experience of time.” This is the case not just because the piece operates over — and forces us, therefore, to reflect upon — time scales that are incommensurable with our own capacities for phenomenal attention, but also because it demonstrates for us the gap between instruction and execution. Computer code distinguishes itself from other languages due to the fact that it is executed rather than read: that is to say, it is entirely performative, rather than semantically informative. It doesn’t mean something, but rather does something. We often assume, without really thinking about it, that performance is somehow more direct and immediate than signification: as if action were free from the detours and indecisions of hermeneutics. But Jim’s account of Every Icon shows us, to the contrary, that there is as much of an “opaque chasm” between instruction and execution as there is between inscription and interpretation. By the force of this demonstration, Every Icon induces us to reflect in a new way upon the conditions and limits of the “digital” as an aesthetic medium. As Jim notes, it radically revises the modernist figure and technique of the grid. However, while the piece provides a refreshing new version of the critical paradigm that I have been tracing throughout my response, it still concerns itself with its own conditions of possibility, and thereby doesn’t really escape this paradigm.

I do not intend any of my remarks to suggest any disparagement, either of the brilliant and innovative works that the panelists have discussed, or of the elegant and thoughtful accounts of these works that the panelists themselves have given. I seek only to point up the contours of the problematic that we have been bequeathed in this age of globalization and digitalization, and that we have barely begun to work through. The premise of this panel was to consider how “technical and aesthetic objects phenomenalize the non-phenomenal,” and how such a process might “inform an understanding of the non-phenomenal world.” I think that the contradiction between these two goals — of giving us phenomenal access to that which lies beyond the phenomenal on the one hand, and of open up a radically non-phenomenal sort of the experience on the other — in fact describes the difficult aesthetic conjunction with which we are in fact faced today. The tasks of conceiving a social order beyond that of capital, and of dephenomenalzing ourselves on the other, would seem to be still beyond our current powers of invention.

Speculative Realism talk

I’m back home from the Object Oriented Ontology symposium in New York. My own talk, “Pantheism And/Or Eliminativism” is not quite finished — I had to wing it a bit there at the end. And in any case, I am now reworking it for the SLSA conference next week (where I will be delivering it instead of the entirely unwritten talk that I originally planned to give).

I will post the text of my talk online, once I have finished it and revised it to my satisfaction.

In the meantime, Tim Morton livestreamed and archived the entire symposium. So you can watch the morning session, moderated by Ken Wark, and with talks by Graham Harman, Aaron Pedinotti, and myself, here. (The other talks and sessions are also archived on Tim’s blog).

Post-Cinematic Affect symposium

This past week, there has been a symposium on my book, Post-Cinematic Affect, over at In Media Res. There were postings by Elena Del Rio, Paul Bowman, Adrian Ivakhiv, and Patricia MacCormack, plus lively discussions in the Comments sections. Today, my response to the various postings was published. I am reproducing it here:

 

First of all, I would like to thank Michael O’Rourke, Karin Sellberg, and Kris Cannon for setting up this theme week at In Media Res devoted to my book Post-Cinematic Affect, to the curators Elena Del Rio, Paul Bowman, Adrian Ivakhiv, and Patricia MacCormack for their postings, and also to Shane Denson for his comments. The discussion has been so rich, and it has gone in so many directions, that I scarcely know where to begin. I will try to make a few comments, at least, about each of the four curators’ postings in turn.

Elena Del Rio praises the power of affect, for the way that it “throws into disarray the system of recognition and naming.” She opposes the state of “exhaustion” and indifferent equalization that we might seem to have reached in this age of globalized finance capital to the way that “affect or vitality” remains able to energize us, to shake things up, to allow for (in the words of Deleuze) “a vital power that cannot be confined within species [or] environment.” While I remain moved by this vision — which has its roots in Spinoza, Nietzsche, and Deleuze — I am increasingly dubious as to its viability. I’m inclined to say that praising affect as a force of “resistance” is a category error. For we do not live in a world in which the forces of affective vitality are battling against the blandness and exhaustion of capitalist commodification. Rather, we live in a world in which everything is affective. What politics is more virulently affective and vital than that of the American Tea Party? Where is intensive metamorphosis more at work than in the “hyper-chaos” (as Elie Ayache characterizes it, following Quentin Meillassoux) of the global financial markets? It is not a question of a fight between affect and its “waning” or exhaustion (whether the latter is conceived as the actual negation of the former, or just as its zero degree). Rather than being on one side of a battle, affect is the terrain itself: the very battlefield on which all conflicts are played out. All economic and aesthetic events today are necessarily aesthetic ones, both for good and for ill.

Paul Bowman is therefore not being wrongheaded when he wonders “whether approaching the world in terms of affect offers anything specific for cultural theory and the understanding of culture and politics.” Indeed, I answer this question in the affirmative, whereas Bowman seems to lean towards the negative. But my saying this is not because I think that affect offers us “anything specific”; it is rather because affect (much like Whitehead’s creativity, or Spinoza’s conatus) is an entirely generic notion, one that more or less applies to everything. Affect is not a particular quality; rather it designates the fact that every moment of experience is qualitative and qualified. Eliminativist philosophers notoriously argue that “qualia” do not exist; at the opposite extreme from this, I follow WIlliam James and Whitehead in insisting that there is nothing devoid of qualia. For this reason, I am in agreement with the commentators who suggest that the two affective readings Bowman offers of the clip from Old Boy are not in contradiction to one another, and that sensual heightening and loneliness in fact go together. Bowman’s effects are inseparable from what I am calling affects.

Adrian Ivakhiv asks “whether there remain breathing spaces and sources of transcendence outside of hypercapitalism’s ever-modulating codes.” That is to say, he worries that my account of what Marx called the “real subsumption” of all social forces under capitalism in contemporary leaves room for anything else. Do I not run the risk of painting so totalizing a picture that Whitehead’s and Deleuze’s vision of an “open universe” becomes impossible? Imust admit that I present a rather pessimistic view of our prospects. I fear that under the sway of what Mark Fischer has called “capitalist realism” we suffer today from a general paralysis, both of the will and of the imagination. I do not share Gibson-Graham’s happy vision of all sorts of wonderful utopian alternatives burgeoning under the surface of actually existing capitalism. If I instead present what seems like a totalizing picture, this is only to the extent that capitalism “itself” — however multiple and without-identity it may actually be — involves an incessant drive towards totalization. This is capital’s essential project: the ever-expanding accumulation of itself, of capital. It’s a process that is both economic (quantitative) and aesthetic (qualitative). The goal of complete subsumption is of course never entirely realized, precisely because accumulation can never come to an end. Also, we cannot see, feel, hear, or touch this project or process: in itself it is a version of what Ivakhiv calls “magic.” And to my mind, this makes the aesthetic a kind of counter-magic, a spell to force the monstrosity to reveal itself, an effort to make it visible, audible, and palpable.

Patricia MacCormack generously expands upon the aesthetic and affective stakes of what I was trying to accomplish in Post-Cinematic Affect — as opposed to the concerns over “capitalist realism” that also play a large role in the book, and that were the focus of the other posts. I thank her for calling attention to the Whiteheadian and Deleuzian themes that, as several of the other commentators noted, seemed less present in this book than in my earlier ones. Indeed, this is a tension — or a problem that I have been unable to solve — running through pretty much all of my work. Mallarmé’s maxim defines everything that I am trying to do as a critic: “Tout se résume dans l’Esthétique et l’Economie politique” (“everything comes down to Aesthetics and Political Economy”). This seems to me to be a necessary truth about the world; but I am never certain where to draw the line, how to partition the world between aesthetics and political economy, or when they are absolutely incompatible with one another, and when they are able to partially coincide.

In conclusion, I offer a media object that I hope responds to at least some of the tensions and confusions that we have been discussing this week: the music video for Janelle Monae’s song “Cold War.” The song, from Monae’s concept album The ArchAndroid, works as a kind of Afrofuturist counterpoint to Grace Jones’ “Corporate Cannibal.” It addresses the unavoidable conflicts of a world that is increasingly posthuman (as well as post-cinematic). The lyrics to “Cold War” reflect upon the demands and meanings of Emersonian self-reliance and authenticity, and of subjectivity more generally, in a world that is entirely manufactured and commodified. The Metropolis Suite, of which The ArchAndroid is a part, narrates the plight of a robot/slave — a commodity, all the more so because she is nonwhite — who has been slated for demolition because she has fallen in love. She is therefore forced, not only to flee for her life, but to invent out of whole cloth, and without models, what it might mean for her to be a “person” with a “life,” that is to say, with feelings, needs, and desires. The lyrics of “Cold War,” in particular, speak both to the absolute requirement of self-integrity and to the near-impossibility of defining what it might be. The video is a single, continuous take: we even see a time code running in the corner, and a title reading “Take One” appears near the beginning. Against a dark background, we see an extreme close-up head shot of Monae as she sings the song. But at some point, there’s a glitch: she flubs a line, looks to the side and seems to be bantering with someone off-camera. Then she clenches her face and seems to be barely holding back tears. Through all of this, her voice and the music continues to play, indicating that she has in fact been lip-synching all along. The extreme intimacy and emotionality conveyed by the close-up on Monae’s facial expressions coincide with the revelation of the video’s artifice. The video thus resonates with the “Club Silencio” sequence in David Lynch’s Mulholland Drive (which was sampled in Elena DelRio’s video). I don’t think that the revelation of technological artifice undercuts the affective intensity of the performance (as might have been the case in some twentieth-century modernist work). Rather, the incompossibles coexist, without negation and also without synthesis or resolution.

Post-Continuity

I’ve been meaning for some time to give my own take on Mattias Stork’s video-essay, “Chaos Cinema,” which has made quite a sensation in the blogosphere. I think that what Stork is talking about is pretty much the same as what I referred to in my book Post-Cinematic Affect under the rubric of post-continuity. I find Stork’s essay very useful and illuminating for the way that it highlights and describes the stylistic changes in recent Hollywood action films; but I also think he is too monolithic in dismissing this style as an inferior (and almost necessarily exploitative) form of filmmaking. (Many of my problems with Stork’s piece have already been addressed by Matthew Cheney, who very kindly mentions my own work as a counter-example to Stork’s overall claims). In any case, rather than write a full-fledged response to Stork at this point in time, I have decided to make my prospective answer into a proposal for a paper to be given (if it is accepted) at the next Society for Cinema and Media Studies conference.

Here is the full text of my proposal (though, as it exceeded the space limit for proposals, my actual submission is an abridgement of this):

POST-CONTINUITY

In my book Post-Cinematic Affect (2010), I argue that American commercial filmmaking has, in the last decade or so, been increasingly characterized by what I call the stylistics of post-continuity. This is a filmmaking practice in which a preoccupation with moment-to-moment excitement, and with delivering continual shocks to the audience, trumps any concern with traditional continuity, either on a shot-by-shot level or in terms of larger narrative structures.

Post-continuity stylistics is an offshoot, or an extreme development, of what David Bordwell calls intensified continuity. Bordwell demonstrates how, starting with the New Hollywood of the 1970s, commercial filmmaking in America and elsewhere has increasingly involved “more rapid editing… bipolar extremes of lens lengths… more close framings in dialogue scenes…[and] a free-ranging camera.” But although this makes for quite a different style from that of classic Hollywood, Bordwell does not see it as a truly radical shift: “far from rejecting traditional continuity in the name of fragmentation and incoherence,” he says, “the new style amounts to an intensification of established techniques.”

I argue that this situation has changed in the twenty-first century. The expansion of the techniques of intensified continuity, especially in action films and action sequences, has led to a situation where continuity itself has been fractured and devalued, or fragmented and reduced to incoherence. Bordwell himself implicitly admits as much, when he complains that, in recent years, “Hollywood action scenes became ‘impressionistic,’ rendering a combat or pursuit as a blurred confusion. We got a flurry of cuts calibrated not in relation to each other or to the action, but instead suggesting a vast busyness. Here camerawork and editing didn’t serve the specificity of the action but overwhelmed, even buried it.” In mainstream action films by Michael Bay, Tony Scott, and Paul Greengrass, as well as in lower-budget action features by directors like Mark Neveldine and Brian Taylor, continuity is no longer “intensified”; rather, it is more or less abandoned, or subordinated to the search for immediate shocks, thrills, and spectacular effects by means of all sorts of non-classical techniques. This is the situation that I refer to as post-continuity.

Recently, the question of post-continuity cinema has come to the foreground of discussion, thanks in great part to Mattias Stork’s video-essay, “Chaos Cinema,” which argues that, in recent commercial films, “we’re not just seeing an intensification of classical technique, but a perversion,” which is “marked by excess, exaggeration and overindulgence.” Stork’s essay has the great virtue of clearly defining the characteristics of these new cinematic practices, and of both showing and explaining how they differ from the more classical action sequences of directors like Sam Peckinpah, John Woo, and John McTiernan. However, it seems to me that Stork is too monolithic, and even moralistic, in his outright dismissal of nearly anything made in the post-continuity, “chaos cinema” style. Despite his grudging exception for Kathryn Bigelow’s Hurt Locker (which in my view, is still a film that largely observes a more classical conception of continuity), Stork largely regards post-continuity cinema as “an easy way for Hollywood movies to denote hysteria, panic and disorder,” leading to audiences “sensing the action but not truly experiencing it.”

In my talk, I will take a more nuanced look at post-continuity cinema, considering its virtues as well as its defects. I will consider the ways in which post-continuity stylistics are expressive both of technological changes (i.e. the rise of digital and Internet-based media) and of more general social, economic, and political conditions (i.e. globalized neoliberal capitalism, and the intensified financialization associated with it). I will suggest a strong affinity between what Stork calls “the woozy camera and A.D.D. editing pattern of contemporary releases,” and the minimalist and relativel static styles of recent low-budget horror films (like the Paranormal Activity series), “mumblecore” slice-of-life films, and reality television. All of these are post-continuity, in the sense that they do not altogether dispense with the concerns of classical continuity, but move ‘beyond’ it or apart from it, so that their energy and investments point elsewhere. Like any other stylistic norm, post-continuity stylistics involves films of the greatest diversity in terms of their interests, committments, and aesthetic values. What unites, them, however, is not just a bunch of techniques and formal tics, but a kind of shared episteme (Michel Foucault) or structure of feeling (Raymond Williams).