Thursday, August 26, 2021

THE ILLUSORY NOTHING

 Samuel Beckett, "Texts for Nothing”: “Who are these people anyway? Did they follow me up here, go before me, come with me? I am down in the hole the centuries have dug, centuries of filthy weather, flat on my face on the dark earth sodden with creeping saffron waters it slowly drinks.”


Antione Volodine, fairly late in his 2014 Prix Médicis-winning stunner Radiant Terminus (once somebody has had a go at Anglicizing it): “The fuel rods had united. They tried to rejoin the core that had taken up residence at the bottom of the well the Gramma Udgul guarded like a dragon over its treasure.” 




 

PSYCHO-PERSONA

Some people don't like the film scholar, historian, and I guess, uh, aesthetical topologist (?) David Bordwell, but I do, and here's why: nobody wants to get elaborate about anything anymore because they are afraid they will look like they didn't study for the test. David Bordwell will show you thirty-six stills from two or three Yasujirō Ozu movies in a commendable effort to explain a certain kind of camera or cutting 'operation' Yasujirō Ozu can't seem to stop trying to perfect. I love David Bordwell, but so often in university I had to explain why I disagreed with him on one subject or another before I could proceed, which I found discouraging and stupid. In his essay "Art Cinema Narration," Davey Boy goes way fastidious with the subject. How do we do aesthetics and film form? Inventory, of course. One thing Bordwell believes is that "art is more complex than life can ever be," but then it becomes as though he forgets that movies are made in and about life. At this point somebody usually says I don't have a paying gig anymore. Heh heh. Academia didn't have a chance. I had completely forgotten where I had placed Academia.

How do we do structure and form in image + sound + floodlit time?

Jean-Luc Godard: "And something that is astonishing with Hitchcock is that you don't remember what the story of Notorious is, or why Janet Leigh is going to the Bates motel. You remember one pair of spectacles or a windmill..." 

Jean-Luc is not addressing me, because if he was addressing me he'd be quite wrong—of this there can be absolutely no doubt; I know these films too well—though it does seem credible that he is speaking to somebody way in the future and that this person does respond in this way when these two movies are evoked. If that's not true, you can turn it into some kind of placeholder and put it somewhere else and run it better so that it is true or close to true. Whatever.


All that aside, the main thing about Hitch is he puts an invisible cursor down over the action and drags the audience along like a puppy.

Well, cinematic modernism has a lot in common with literary modernism, which I insist on insisting shouldn't be too surprising, and you obviously know this if you've seen Persona or Last Year At Marienbad, each of which start throwing "objective realist" conventions out the window immediately, like maybe you'd walked in late or started with the wrong reel. However, if we were to suggest that "classical fluidity" is missing we need to very clear by "classical" we mean something approximately like the first half of the 20th century. If you believe your great grandmother has an experience of movies comparable, really, in any way to your own, you are sorely mistaken. Disjointed, confused? Tell me about it. But, look, word on the street is that there is a whole lot of different disjointed and confuseds out there.  

BUT I REALLY LOVE HITCH'S CURSOR!

David Bordwell gives a hint. Graphic counterpoint or temporally separated shots-reverse-shots between Marion/The-Cop-Who-Pulls-Her-Over & later ones with Norman/Arbogast help establish that, under heavy pressure & riddled with riddles, you can literally drag the audience's identification like a computer's mouse might, dropping (from) Marion, who has been murdered in the shower, and landing on Norman, who must VERY DESPERATELY burry the deed. Audience members who follow this pivot, bouncing off the shower more or less unscathed because "it's just a story"...have just been rooked...

]


OTTESSA MOSHFEGH, DEATH IN HER HANDS

I threw the notebook in the trash, along with all his other papers, then wished, 

when the trash got picked up, that I had burned it all instead, had the nerve to burn the 

whole house down and scatter the chalky ashes in an open sewer grate somewhere,

let all of Walter's thoughts seep into the urine and feces that must still exist somewhere in

the bowels of this messy earth. 



2.,

Persona relies on an effect-affect curiosity of relations, or a perplexity of them. Alma and Elizabeth are increasingly of one another just as they increasingly careeningly blast up. What is going on here and why? Traditionally, nobody has had a goddamn clue. However, in the case of this film and its particular space-time: evidently it very often has not and continues to not bother them. Purely on account of the aesthetics and the kinky stuff. That's my take.



     


 

  

         

Saturday, August 21, 2021

Jason's Y2K Deleuze: Redux


0.1. Gilles Deleuze was fond of Nietzsche’s Philosophical Hammer. In a basic sort of a way, Nietzsche suggests—or is retroactively assisted to that end
that the Critical Philosopher will look at a hammer and quickly realize that it has two ends which perform different kinds of task:1) bang end for banging nails; 2) pull end for pulling nails. Even in philosophy, it is too often the case that idiots run about frantically thinking you are just supposed to be hitting things with this or that hammer.

0.2. Little children always map-out a provisional ‘field’ better than your on-the-clock architect ever will. We become simpletons thanks primarily to institutionalized ('habituated') learning.

0.3. Self-explanatory title of André Pierre Colombat’s essay “Deleuze and the Three Powers of Literature and Philosophy: To Demystify, To Experiment, To Create.” 


0.4. It is style in and of itself that contains a mode of life unique to it.


0.5. A model for music of the spheres: heterocosms of difference and multiplicity.


0.6. Imagine for a second that it's acceptable to speak about something kind of like a Genealogy of All Lived Experience. Many philosophers—most especially Heidegger & Wittgenstein, in very different ways—have insisted that it is egregious to pretend we can do this. Toss such quibbles aside for the moment. It is through his close—perverted, he says—studies of Spinoza and Nietzsche, that Deleuze first really starts making central philosophical problems those which seem pretty unambiguously to relate to how collectivities of people have, throughout 'recorded history,' tried to organize and negotiate their (contingent) personal affairs in the context of broader worldly ones. This hardly comprises the Deleuzian project in its totality; but to ignore this crucial business altogether would be to exercise bad faith. It is not for nothing that Gilles Deleuze and Félix Guattari will ultimately go on in their famous two part study on Capitalism and Schizophrenia, to declare Schizophrenia the Process of Life.  



1.1. Deleuze on Spinoza: "Before Nietzsche, he denounces all the falsifications of life, all the values in the name of which we disparage life" (PP, 26).

1.2. Living is always a lot of untangling prejudices before you can access tasty things. This is ideally the case even when one is living high on the hog. If you have no idea what I'm talking about, you're already in serious trouble.

1.3. Spinoza sees most men using reason in order to offend reason most egregiously. Spinoza decries all tendencies to look for arbitrators or things/creatures in abstract conceptual non-spaces when everything is just nature doing nature all the livelong day. Spinoza puts himself in a position to be declared a heretic, and he only deepens his own radical crisis by addressing these possible charges early and often. He writes (in the 17th century!): "there have arisen prejudices concerning good and bad, merit and wrongdoing, praise and blame, order and confusion, beauty and ugliness, and other things of this kind" (Ethics, 31). For all his fancy footwork, again and again Spinoza makes clear that he's having none of it.      


1.4. People don't need to make the world intelligible in order to possess Greater Truth, but rather as a condition and project for living. If people don't like doubt, they show us an insecure hand pretty damn nakedly.


1.5. Because they know they are driven by drives and pulsed by impulses, Spinoza believes his contemporaries are dishonest with their bodies and, in fact, with all extended substance. Part of what appears to drive people is the need to not hear anything inconvenient. Doubt is an enemy to most people and when they are scared of their enemy they will demonstrate that fear by reasserting all the more aggressively the (conveniently simple) abstract model. The drives and impulses must come from a Intentional Divine Will that is Good, or the frightened person will not stop being frightened. In Practical Philosophy, Deleuze reminds us of Proposition XXXII from the "Concerning God" section of Spinoza's Ethics: "Will can only be a necessary cause not a free one" (Ethics, 26). Simple people view things with simple and reasonable end results in mind. This is why they assume that material effects in the world and even the whole of nature conform to the designs of an intentional intelligence: they "are satisfied, for then they have no cause of further doubt" (Ethics, 32).


1.6. If God were an intentional deity, why then all the hardship and calamity? Simple and very foolish people have traditionally had to make themselves believe these are mysterious punishments for known or unknown indiscretions. This is the modular opposite of the right path. Nietzsche will later call it 'reactive nihilism.'


1.7. Nature cannot have any fixed ends and is conditionally infinite. Spinoza: "Infinite things in infinite ways (that is, all things which can fall under an infinite intellect) must necessarily follow from the necessity of the divine nature" (Ethics, 16). God must be defined, as Deleuze and Guattari will go on to say, as omnitudo realitatas (the whole of the real, the Oneness of Infinite Substance). Now you can start actually having intelligibility. Man's greatest crime against reason is merely the habitual mistaking of an effect for a cause.   


1.8. You are not going to like this, but suffering is not negative, it is positive, just like ecstasy. The body only knows protons.


1.9. Deleuze: "There is, then, a philosophy of 'life' in Spinoza; it consists precisely in denouncing all that separates us from life, all the transcendental values that are turned against life, these values that are attached to the conditions and illusions of consciousness. Life is poisoned by the categories of Good and Evil, of blame and merit, of sin and redemption" (PP, 26).


1.10. There ends up being three tridents of Spinozist critique: 1) critique of consciousness; 2) critique of higher values; and 3) critique of the "sad passions."  We have thoughts, and maybe even a great many distinct categories of kinds of thoughts, but we do not have "consciousness" per se. We have bodies, and yet we have only begun to learn what they are capable of doing.    


1.11. Infinite possibilities or realities for mode and attribute within a unified infinite substance ("absolutely infinite"). 


1.12. Consciousness is enslaved by illusions (illusions of "finality" or "freedom" or "Theological Illusion" (PP, 19)).   


1.13. What is needed is not the blind authority (or governance) of illusions, naturally, but rather a rescuing of mind and intellection from subservience...as well as the repositioning of the work of mentality around an immanent/natural plane of effects. Thoughts only have positive information value, not truth value, but that 'positive information value' is still very much ACTIVE VALUE, ACTING.


1.14. Deleuze attributes to Spinoza the drawing of a fundamental and crucial distinction between good and bad (affinity/value) as opposed to good and evil (moral determination). Obviously this is thematic material Deleuze cannot help but also touch upon in his famous study of Nietzsche (written before Spinoza: Practical Philosophy). Negotiated and/or critically contested values become the Loadstar of a Philosophy of Life; Lived Experience is the Best Teacher— 




2.1. Friedrich Nietzsche is a very bad and scary man. In "From Ressentiment to Bad Conscience," the fourth chapter of his legendary 1962 book (or extended monograph) Nietzsche and Philosophy, our resident commentator would have his moustachioed German predecessor wholesale condemning anybody, it would seem, impudent enough to share the planet with him. Although...let's wait a second, and not so fast. Who or what earned this beastly rhetorician's most scalding ire? The reactive man and the nihilist. These are Brother Friedrich's sworn enemies. It is the reactive man and the nihilist who uphold prejudice, higher values, sad passions, and dialectic. A climax is or will be (or eternally will be, repetitively) arriving in the form of the last man, the most miserable sub-toll-bridge troll-person: pure domesticated, passive sufferer; a wretched and debased creature.


2.2. Active forces are forces that are able to act. To be able to act is to be able to do what you are capable of. The master is a master simply because he is in a position to act his reactions. In him, forces are made active because he can externalize them without much threat of penalty. If reactive forces are to stay dormant, and thus remain reactive, "reaction ceases to be something acted and becomes something felt (senti)" (NP, 111). The reactive mind has its own more active and more reactive dimensions. Mnemonic imprints form lasting impressions. Reactive forces get hung up on imprints and their traces (as though the whole thicket were tangled fishing line). The energy of the unconscious of thought itself is a terrible frothing vacuum-like caterwaul of impulsive-impulsal demands!! The conscious mind needs order in order to...order. Unfortunately, it becomes a tiresome terminal idiot, over and over, popularly, as a statistical-type median. People become dumber and dumber in order to corral their fear, cordon it off, scrutinize a pathetically tiny piece of it. If you don't fall in line they will become mean and bullish. It's okay, though. They're total idiots. It's pretty funny.


2.3. One active faculty of mind is that of instrumental or 'pragmatic' forgetting. Without this faculty, Deleuze has Nietzsche arguing, we could only ever be presented philosophically with a 'being-in-mind' whose foremost problem would surely have to be never being able to be done with anything. No? "We can finally see in what way reactive forces prevail over active ones: when the trace takes the place of the excitation in the reactive apparatus, reaction itself takes the place of action..." (NP, 114). 


2.4. If Spinoza doesn't think we humans have a general sort of "consciousness," Nietzsche definitely thinks shitty people have a general sort of reactivity complex.


2.5. Nietzsche believes we all have a problem and we'd all be better served by dealing with it effectively. "One cannot get rid of anything, one cannot get over anything, one cannot repel anything—everything hurts. Men and things obtrude too closely; experience strikes one too deeply; memory becomes a festering wound" (NP, 116). It is the cost of over-reaction, it is its own actual economics (double-ledger), and each of us will find ourselves in the red from time to time. Use these lessons to learn; or, alternatively, damn thee to the flies...


2.6. The way out is always through—   


2.7. The reactive man is angry at things proportionate to their direct effect on his body. The Spirit of Revenge mystifies and confounds his memory. Hark! There comes to emerge: the Venomous Spider of Vengeful Memory, spinning its web "on the plane of the subject" (NP, 116). Weakness wants to triumph as weakness.


2.8. The slave is a real goddamn Protestant. Driven by a morality of utility, the slave is the agent of profit, gain, and possessive paranoia. The slave is always accusing. This is the sad passions in all their shades of grey, blue, and white hot. What the slave is really pissed off about is...Life.


2.9. "When would the men of ressentiment achieve the ultimate, subtlest, sublimest triumph of revenge? Undoubtedly if they succeeded in poisoning the conscience of the fortunate with their own misery, with all misery, so that one day the fortunate began to be ashamed of their own good fortune and perhaps said to one another: 'it is disgraceful to be fortunate: there is too much misery!'" (NP, 128).


2.10. Anybody who has passed through roiling trauma into active recovery comes to discover that the question originally posed by the trauma (and subsequently by its imprints) is: okaynow what?


2.11. Nietzsche called "culture" the "species activity of man." Deleuze logically formalizes Nietzsche's roving critiques of culture by way of three more tridents: 1) pre-historic; 2) post-historic; 3) historic. The ground of pre-history is the grounding operation that demands there be a law about having laws. Culture quickly becomes the process of systematizing prejudices for a reactive citizenry. Models and habits. Culture counteracts the active faculty of forgetting. It fields memory. Creditor/debtor relationships come to predominate. Memory becomes the pathological conditionality for making promises and telling lies. Suddenly memory stars plotting and conniving. It does this in and around culture. It does this on the distant outskirts, also. A great lie conditions the condition of all conditions: Injury Caused = Pain Undergone. Culture wants us to believe we are responsible for arbitrary debts and if we balk it consolidates and finds ways to punish us.


2.12. Pleasure is being generated from all the punishment—that's for sure! that's pure economics!—but the reactive man is in debt and doesn't get to enjoy it...not really. It is profoundly cruel! 


2.13. Punishment cannot awaken a feeling of true guilt in the culprit. It can only excite the Spirit of Revenge (NP, 136).       


2.14. "Man's species activity constitutes him as responsible for his reactive forces: responsibility-debt. But the responsibility is only a means of training and selection: it progressively measures the suitability of reactive forces for being acted. The finished product of species activity is not the responsible man himself or the moral man, but the autonomous and supra-moral man, that is to say the one who actively acts his reactive forces and in whom all forces are acted" (NP, 137)




3.1. Nietzsche was too early; he could not see clearly enough the hovering spectre of the schizo/catatonic that he himself became. 


3.2. In 1972's Anti-Oedipus: Capitalism and Schizophrenia, Deleuze and his collaborator—institutional psychiatrist and Jacques Lacan successor-manqué Félix Guattari—trace the development of administrative logics of debt from primitive territorial machines to new binding despotic enterprises (early modernity) with modified infrastructures of alliance and filiation (and punishment, and culture). With respect to the book in question, the process leads up to (without terminating in) deterritorialized and destratified civilizing capitalist machines. You can live both in the city and the hills at one and the same time. Like a guerilla. 


3.3. It was Nietzsche, Deleuze reminded us in his earlier book, who was first to declare himself all names in history. But Nietzsche couldn't properly see beyond the last man; his view was obstructed. History was always the heraldry of triumphant weakness. It made a lot of fuckin' noise. 


3.4. A bad psychotic episode is all the impulses freaking out all at once.


3.5. There is still always a future and it still always asks now what?