Category: Volume 27 – Number 2 – January 2017

  • Notes on Contributors

    Charles Bernstein
    Charles Bernstein’s Pitch of Poetry, new essays, was published in 2016 by the University of Chicago Press. His most recent book of poems is Recalculating (Chicago, 2013). In 2010, Farrar, Straus & Giroux published All the Whiskey in Heaven: Selected Poems. Bernstein is Donald T. Regan Professor of English and Comparative Literature at the University of Pennsylvania, where he is co-director of PennSound. 

    Louise Burchill 
    Louise Burchill is Visiting Lecturer in Contemporary French Philosophy, Aesthetics, and Feminist Thought at the Faculty of the Victorian College of the Arts, University of Melbourne. Her research and publications focus on the feminine in contemporary French philosophy, the notion of space, and the intersection of philosophy with film and architecture. Of the numerous texts she has written on the work of Jacques Derrida, two notably inquire as to what cinema might provoke by way of a (re)thinking of certain key conceptual constellations within Derrida’s thought: “Derrida and the (Spectral) Scene of Cinema,” in Felicity J. Colman (ed.),Film & Philosophy: Key Thinkers, London: Acumen, 2009, 164-178; and “Derrida and Barthes: Speculative Intrigues in Cinema, Photography, and Phenomenology,” in Zeynep Direk and Leonard Lawlor (eds.), A Companion to Derrida, Chichester: Blackwell, 2015, 321-344.

    David Coughlan
    David Coughlan is Lecturer in English at the University of Limerick, Ireland, and the author of Ghost Writing in Contemporary American Fiction (Palgrave Macmillan, 2016). He has published articles on contemporary literature and critical theory in ParallaxImageTexTDerrida TodayCollege LiteratureCritiqueModern Fiction Studies, and several edited collections.

    Simon Glezos
    Simon Glezos is an Assistant Professor of political science at the University of Victoria. He has a Ph.D. in political theory and international relations from the Johns Hopkins University. He is the author of The Politics of Speed: Capitalism, the State and War in an Accelerating World, from Routledge press. He has published articles in CTheory, Contemporary Political Theory, The Journal of International Political Theory, International Politics, and Philosophy in Review. His research focuses on global political theory, applying the insights of classic and contemporary theory to questions of speed and acceleration across multiple sites within global politics.

    Timothy Holland
    Timothy Holland is an Assistant Professor of Film and Media Studies at Emory University and co-editor of Discourse: Journal for Theoretical Studies in Media and Culture. His essays have been published in Film-PhilosophyDiscourseScreen, and New Review of Film and Television Studies. His current book project explores the overlooked role of cinema in Jacques Derrida’s oeuvre as well as the timeliness of deconstruction for contemporary film and media studies.

    Phillip Lobo
    Phillip A. Lobo is a Ph.D. candidate in the Department of Comparative Literature at the University of Southern California, where he was awarded the College Doctoral Fellowship.  His dissertation addresses formal realism as a technology for the production of subjectivity in novels and games.  His work has appeared on Chiasma: A Site For Thought, in Critical Insights: Joseph Conrad, and he has numerous articles archived at Open Letters Monthly.

    Robert Meister
    Robert Meister is Professor of Political and Social Thought in the History of Consciousness Department at the University of California, Santa Cruz. He is also a visitor at the Center for Contemporary Theory at the University of Chicago. His writings include After Evil: A Politics of Human Rights (Columbia University Press, 2011); Political Identity: Thinking Through Marx I (Blackwell,1990) and “Liquidity” (in Lee and Martin, ed., Derivatives and the Wealth of Society, University of Chicago Press, 2016). 

    Sharon Willis
    Sharon Willis is Professor of Art History and Visual and Cultural Studies at the University of Rochester.  A Co-Editor of Camera Obscura, she is the author of Marguerite Duras: Writing on the Body, High Contrast: Race and Gender in Contemporary Hollywood Film, and The Poitier Effect: Melodramas of Racial Pedagogy, and numerous articles on race and gender in popular cinema. 

  • Women’s transnational cinema: displacement, projection, and identification

    Sharon Willis (bio)
    University of Rochester

    A review of White, Patricia. Women’s Cinema, World Cinema: Projecting Contemporary Feminisms. Duke UP, 2015.

    Patricia White’s ambitious project sets itself the daunting task of tracking fast-moving targets. Its anchoring terms— “women’s cinema” and “world cinema” —remain in constant flux as a result of their uneven interactions. In a real sense, White’s book rises to the implicit challenge that Stephanie Dennison and Song Hwee Lim pose in their introduction to Remapping World Cinema: Identity, Culture and Politics. “In the final analysis,” they write, “World Cinema as a theoretical concept is destined not to definition and closure but to ceaseless problematisation, always a work-in-progress, its ground beneath one’s feet forever shifting even as one attempts to pin it down” (9). As White notes in her introduction: “Cultural globalization, in turn, puts pressure on the concept, content, and address of women’s cinema . . . while remappings of world cinema in the current phase of globalization are the object of growing attention in film studies, questions of gender have yet to structure such inquiry significantly” (6). Women’s Cinema, World Cinema shapes its broad analytical survey around the category or figure of woman, however unstable. In pursuing its ambitious project, this book recalls the shaping impact of feminist film theory on film studies at large from the 1970s onward. It asks some audacious questions: is “women’s cinema still a meaningful term” (11), and if it is, can it produce a similar shaping force in the arena of world cinema studies? Foregrounding women’s production and reception with special emphasis on the emerging and shifting channels of global film circulation, this book makes a powerful intervention in the most exciting discussions in contemporary film and media studies by carefully deploying a number of methodologies and analytical frameworks—not all of which seem immediately compatible.

    Organized by what White loosely terms “case studies,” her project turns on metaphors of displacement, framing, and projection. Together, these concepts form the book’s central insight: that we must consider production and address, as well as circulation and reception, in order to understand women’s transnational cinema as a multivalent circuit of projection and identification. These powerful processes, understood in their psychoanalytic force, provide a potential framework for analyzing the elaborate cross-cultural exchanges that structure the global circulation of women’s cinema, especially across festivals. Film festivals, as White carefully demonstrates, subject transnational women’s cinema–in conditions of often dramatic juxtaposition–to shocks of reorientation and reframing as films from widely divergent cultures come into contact. And festivals have increasingly grown in importance and impact in the twenty-first century. Accounting for her book’s primary “focus on filmmakers who emerge after 2000,” White indicates that since this moment, “feminist cultural politics [has] offered a less stable frame through which to view women’s work” (7). She continues:

    Ultimately, the works of these filmmakers were selected not only for their aesthetic and cultural significance but also for the ways they reveal the institutional shapes of film culture—the politics of funding and programming, protocols of reviewing and the anointing of celebrities, and various political agendas. (7)

    These different cinematic objects, as well as the concepts of reception, production, circulation and exhibition contexts, are held together by White’s consideration of issues around authorship and identity, aesthetics and reception, national and transnational context. This is a vast terrain to map and manage. White is obliged to embrace some risks, and they largely pay off. Her choice of a case study model focuses on commonalities—or even conversations—among film texts that might at first seem entirely foreign to one another.

    However, the case study model presents some limitations as well; notably, it tends to suggest exemplarity and representativeness, about which this study remains justifiably ambivalent. It also risks the implicit suggestion that the film in question exists primarily as an illustrative example of the tendency under exploration; its portraits of women directors are somewhat uneven and seem to represent or exemplify various analytical issues. For example, Samira Makmalbaf (1980, Iran) anchors an analysis of the shifting critical status of national cinema as a category. Lucrecia Martel (1965, Argentina), whose work appears in the same chapter, seems to count more as an example of international auteurist appeal and of celebrity status, much like Jane Campion (1954, New Zealand), and Deepa Mehta (1950, India). The framing of the case studies raises and perpetuates the question: what is each “case” exemplifying? Could it also provide an example of something else? For example, could the analysis of Deepa Mehta’s Water (2005) have sustained more attention to the rise of Gandhi’s passive resistance movement for independence? Could it have devoted more attention to the film’s references to Satyatjit Ray’s Apu Trilogy? Could it have taken Mehta’s particular position as a transnational filmmaker (India/Canada) as a more powerful anchor for the book’s commitment to global circulation and exchange? In White’s own assessment of her project’s complexity: “Water could be analyzed in the chapter addressing women’s human rights, but appears in the chapter on cultural authenticity” (21).

    Another key strategy for managing this ambitious and complex analysis depends on the figure of the auteur, which “is operative across all chapters” (21). Central as it has been to the emergence of film studies as a field, the figure of the auteur has a long and sometimes vexed history, and remains haunted by traits that seem incompatible with the commitments of White’s project. It stubbornly clings to the national cinema model, and it emphatically shapes analysis around the individual, often to the exclusion of social/historical context and at the expense of acknowledging the invariably collective process of film production. As White observes:

    Surveying the status of women’s cinema in the early twenty-first century persuades me that the categories we have used—authorship, aesthetics, and address—remain vital, yet they are insufficient at this juncture. They must be supplemented by consideration and theorization of institutional questions—of production, distribution, exhibition and reception. (13)

    In retaining the figure of the auteur as an historical and cultural touchstone and as a category of identity and aesthetics, one whose valences are plural, White also launches her project into much broader circulation than traditional film studies. She considers, for example, the translation of cultural capital built within national industries into transnational cultural capital, often through the woman director’s star status, and her place in a circuit of generational mentorship—familial or otherwise (Mehta, Llhosa, Makmalbaf). In examining Llosa’s work, Madeinusa (2006) and The Milk of Sorrow (2009), White names lead actor Magaly Solier as a “coauthor, in part, of the film’s construction of a new image of indigenous femininity,” suggesting that the “‘fictional character’ could be read as her persona as well as her role,” so that “her collaboration with Llosa” becomes a “‘co-production of newly emerging cultural identities’” (190). Each chapter strives to complicate the organizing figure of the auteur while simultaneously using it to question and reframe the categories of national cinema, always maintaining the centrality of gender to its analysis. This is a complex project because, as White observes, “‘Woman’ is as frequently associated with national ideologies in film as in other forms of politics, and feminist approaches must tease apart competing representations and self-representations” (16).

    The book’s structure is further complicated by its strategies of juxtaposition. Staging collisions and encounters across cultures, it may remind us of the centrality of surrealism to the earlier twentieth century ethnographies, including Michel Leiris’s and Jean Rouch’s. Each of Women’s Cinema, World Cinema’s five chapters elaborates a kind of “transnational conversation” designed to capture the significance of commodification and consumption in dialogue with politics, auteurism, and identities. But each reframing highlights the contradictions and volatility that attend the cinematic practices under examination. As White puts it, “The case studies are marked by the return of the author: the personae of woman directors are read as closely as their films,” but her textual analyses also always focus on the “frames through which [the films] are seen. These may be biographical, political, figural, or generic” (21). Thus, the case studies are invariably complex, even messy, and messy in ways that complement the subject of this study.

    The first chapter situates Lucrecia Martel (1966, Argentina) and Samira Makhmalbah (1980, Iran) in relation to the classic European festivals—Cannes (especially), Venice, and Berlin. Their auteurship comes into view alongside that the now iconic Jane Campion. This chapter turns on the tension between the film text’s enunciation and address and the transnational currency attached to the author’s persona—linked to classical Western film traditions and to newly reconfigured national identities. Yet, as White insists, in this work “the national does not disappear into the transnational” (21).

    Chapter II, “Framing Feminisms” offers perhaps the cornerstone argument of the book, considering Deepa Mehta (1950, India/Canada) and Water alongside Marjane Satrapi’s Persepolis (2007) (1969, Iran/France) as representatives of the category “women’s cinema as art cinema.” This chapter interrogates “the potential of art cinema to serve as a transnational feminist public sphere,” while suggesting “that new critical practices are needed to cultivate” this possibility (68). It wrestles with the weight of “cultural capital” that accrues to these directors— themselves embodiments of transnationalism—and it leads us to question the tension between local specifics and transnational address.

    In “Feminist Film in the Age of the Chick Flick,” the third chapter, White explores global flows of cinema and generic exchange, arguing “that the globalization of the chick flick taps into feminist energy through the link with popular forms” (106). She continues with the characteristically bold assertion that “their themes—homosocial bond; critiques of women’s limited role in the public sphere; the radical implications of reformed kinds of intimacy—also inform the global chick flick.” She continues with this challenge: “The scholarship on world cinema has yet to address these multidirectional flows and the ways women filmmakers modify the process by which national cinemas cross into transnational fields” (107). This provocative claim opens new lines of inquiry that should command all of our attention. The chapter pairs Jeong Jae-eun (1969, Korea) and Nadine Labaki (1974, Lebanon) to argue that these directors “negotiate the constraints of the globally traveling commodity form of the festival film—signed by a auteur but inevitably positioned through regional and national frames.” White asserts that “their engagement with women’s genres allows them to challenge both auteurist singularity and the dominant reception patterns of national cinemas” (131).

    In “Network Narratives: Asian Women Directors,” White approaches the “rise in influence, both cultural and economic, of Asian cinema” (132). Exploring “a broad range of practices and topics in gender and Asian cinema, this chapter “stress[es] both the transnational nature of the phenomena (one example suggests another) and the specificity of each development (each example asks for explication)” (133). This fourth chapter maps what she calls “the centripetal and centrifugal forces” that mark these films and structure their interactions—“network narratives”: “these regional, gendered dynamics in world film culture generate what I will call network narratives” (133). The foregoing, by the way, constitutes an apt description of this book’s analytical strategies in general. Taking as its point of departure the International Women’s Film Festival in Seoul, this chapter offers a special case study: it examines the impact of Asian women’s work internationally, but particularly on queer culture and youth culture. Focusing on the work of Nia Dinata [(1976, Indonesia)] and Zero Chou (1969, Taiwan), it explores the contemporary vicissitudes of transnational circulation and influence. As White contends, “Chou enters transnational spaces with local identity and community politics trailing—if she doesn’t quite gain the status of art film auteur, she is able to travel these networks without having to transcend nationality, queerness or feminism” (168). “Shaping careers that defy standard pathways limiting women’s achievement,” she continues, “Nia Dinata and Zero Chou are feminist icons. They connect with audience through their incorporation of popular and youth-oriented idioms without relinquishing their political affiliations” (168).

    The final chapter, “Is The Whole World Watching?: Fictions of Women’s Human Rights,” explores “the implication that perhaps women’s films are worldlier than some other types of film, that they travel outside national boundaries more feely, on a particular kind of passport” (169). White considers the tension between aesthetics and ethics that structures three films about war and trauma: Silent Waters, 2003 (Sabiha Sumar, 1961, Pakistan), The Land of My Dreams, 2006 (Jasmila Zbanic, 1974, Bosnia), and Milk of Sorrow, 2009 (Claudia Llhosa, 1976 Peru). She resolves this tension in the three films through what she calls a “gaze of engagement,” which is

    crucial to fiction films about women’s rights. It makes a claim on the viewer. Not a legal claim, but a claim on attention—attention to language and location and all that film is capable of revealing of the world, but also attention to the frame itself, so prominent in these compositions. (198)

    For White, acknowledgment of the frame is also recognition of the spectator’s “difference and displacement” (198), perhaps crucial for any real ethical engagement across cultures.

    Here Women’s Cinema, World Cinema: Projecting Contemporary Feminisms asserts perhaps its most daring—and productive—position. With the “gaze of engagement,” White works to rewrite the terms and forms of address by which women’s cinema from the global South and the global North relate to each other. This argument offers a way out of the frequent impasse of projection, which has too often characterized the posture of Western feminisms towards the rest of the world. As she writes at the end of her introduction, “projection can of course imply cross-cultural insensitivities (their lives, their feminisms, must look like ‘ours’) but it is also a vision of futurity, based on knowledge, partial as it must be, that is currently available” (27). In this final chapter, the book sketches a framework for engagement that does not confine itself to the forms of projective identification through which Western feminist criticism has often elaborated its analyses. To arrive at this compelling point, Women’s Cinema, World Cinema has developed through a consistently curatorial impulse. In other words, this book is itself structured like a film festival. White’s career-long affiliation with Women Make Movies and her scholarly commitment to attending a wide range of film festivals have particularly prepared her to produce a series of powerful cross-cultural juxtapositions that offer us newly framed transnational conversations in women’s cinema. In doing so, this book makes a significant claim on our attentive gaze.

    Works Cited

    Dennison, Stephanie and Song Hwee Lim, editors. Remapping World Cinema: Identity, Culture, and Politics in Film. Wallflower Press, 2006.

  • After the après-tout

    Timothy Holland (bio)
    Emory University

    A review of Szendy, Peter. Apocalypse Cinema: 2012 and Other Ends of the World. Translated by Will Bishop, Fordham UP, 2015.

    As Samuel Weber observes in the foreword to Peter Szendy’s Apocalypse-Cinema: 2012 and Other Ends of the World, few things are more timely and fascinating than the spectacular destruction of life on earth: “[t]he apocalypse,” he points out, “is in fashion” (ix). To say nothing of the dread that has accompanied Donald Trump’s presidency, nor of the alarming proliferation of jingoistic political movements throughout the West, one finds today a glut of apocalyptic texts (films, novels, television programs) as well as a reciprocal body of criticism that addresses this “fashion” in one way or another. Szendy’s signal contribution to the latter eludes the rigid historicism, systematic classification, and/or political signposting that some readers may expect from a book with this title. Contrary to much contemporary literature on the topic, which tends to decode the genre’s utopic/dystopic narratives allegorically, Apocalypse-Cinema argues that films depicting the end of the world—particularly those of the blockbuster variety—illuminate a subterranean topography of cinema itself. Within the most recognizable generic conventions— such as atomic detonations, glacial freezes, interplanetary collisions, overwrought deadline structures, and extravagant special effects that at once suture and rend the surfaces of the world—Szendy excavates the representational limits of cinema and, as such, the thresholds of understanding an event that remains without prior model, or put differently, totally referential and fictional.

    The book begins with a confessional-autobiographical mode of address that recalls the opening of Jacques Derrida’s The Animal That Therefore I Am (2008), in which Derrida relays an encounter with his cat that unfurls into an expansive reassessment of animals and conceptions of animality. The confrontation with otherness that enraptures Szendy and catalyzes Apocalypse-Cinema is the ten seconds or so of silent black screen that takes place at (or just before) the end of Lars von Trier’s Melancholia (2011). Following the film’s terrestrial depiction of the Earth’s incineration, this uncomfortable moment of darkness serves to remark the impossibility of post-apocalyptic survival. There is no diegetic “after” at or beyond the end of Melancholia. The end of the film—the arrival of the apocalypse—leaves no potential for renewal.1 This moment at or just before the end of Melancholia generates what Szendy calls “a cinema of the afterwards…a cinema that comes after it all, after everything has disappeared” (3). A “cinema of the after-all,” which, Weber explains, plays on the French idiom après-tout (as in “ultimately” or “nevertheless,” but also “after everything” [xi]), does not simply name the portrayal of the end of all life within a given diegesis (3). Szendy views the exemplary finale of Melancholia as responding “purely and absolutely to the demand that is proper to apocalypse-cinema: that the last image be the very last image, that is the last of them all—of all past, present, or future images” (2). A proper cinematic apocalypse, a true “cinema of the after-all,” therefore, revisits both the Greek word (and New Testament usage of) apokalupsis as disclosure or revelation and the conceptualization of cinema as a medium that reanimates the world by rendering things visible. What is brought to life within Melancholia’s closing ten seconds—the film’s disclosure, one might say—is the impossibility of any future revelation or image after the annihilation of the world. The inventiveness of Apocalypse-Cinema stems from Szendy’s near obsession with this brief moment of silence and darkness, especially the way in which he interweaves it with the history of cinema and the complications attending to generic codification. For him, the film’s denouement broadcasts the generic “demand,” what he calls “the strictest law of the apocalyptic genre (if indeed there is a genre): that the end of world is the end of the movie…Or vice versa …: The end of the movie is the end of the world” (1, 2).

    The first confessional chapter of Apocalypse-Cinema establishes the method and stakes of Szendy’s provocative study, as its moves from the apocalyptic genre to the singularity of spectatorship to the general conditions of cinema. The book is guided by a conviction in an indispensable correspondence between movies, on one hand, and the so-called “real world,” on the other. Enduring Melancholia’s soundless black frames before the reassuring appearance of its credits, according to Szendy, leads to calling into question a spectator’s disavowal of her experience with the film as “only a movie, after all” (3). A “cinema of the afterwards,” such as the one produced in von Trier’s film, sticks with you; it is a cinema with an indefinite end that resists being shaken off as “just a movie”; it is thus a cinema that deconstructs, rather than reifies, the fiction/reality (or cine-world/real-world) dichotomy. Many readers of Apocalypse-Cinema will likely recognize that the deconstruction of this opposition was also something Derrida performed in his 1984 essay “No Apocalypse, Not Now: Full Speed Ahead, Seven Missiles, Seven Missives.” In that essay, Derrida contends that “real-life,” or that which apparently counters the expansive literary field (which includes cinema), cannot fully understand its own destruction and constitution through knowledge and proof alone because its end—the total apocalypse—takes or has its proper place within virtual, fictional, and/or cinematic worlds. Properly engaging the possibility of this referent—and by extension, “real-life” and “the world”—requires fictional practices such as apocalypse-cinema. Although it is left unstated in the book, Szendy appears to hold cinema as the privileged medium, and “apo” (a French abbreviation for the genre) as the privileged filmic code through which one encounters not just the end of the world as a referent without reference, but also the knotted imbrication of cinema and what goes by the name “the world.” Melancholia’s production of the remainder-less obliteration of the world through its own self-erasure transfixes Szendy; it is this dual erasure that stays with him (and presumably, us) after the movie’s end, after it all.

    If, as Szendy submits, the ending of Melancholia makes it “the only rigorously apocalyptic film in the history of cinema,” then, as the sole instantiation of “a cinema of the after-all,” it also serves as a sort of barometer to gauge how other thematically linked films respond to the “demand” placed upon them (3). This “gauging” can be read as Szendy’s modus operandi. This is not to say that Apocalypse-Cinema merely cites the shortcomings of apocalyptic films not named Melancholia. Instead, the book amplifies the particular conversations of each film under analysis with the “demand” or “strictest law” of “apo,” that the end of the movie be the end of the world. These films—Cloverfield (Matt Reeves, 2008), Twelve Monkeys (Terry Gilliam, 1995), Watchmen (Zack Snyder, 2009), and A.I. Artificial Intelligence (Steven Spielberg, 2001), to name but a few—become emblematic of the genre itself as Szendy uncovers novel conventions and tropes that re-sketch formerly codified (and ostensibly delineated) terrain. Each chapter—save the seventh and the postface—follows an analogous nominal pattern of placing the conjunction “or” between an individual film title and a pithy fragment or word that encapsulates one of Szendy’s discoveries (“The Last Man on Earth, or Film as Countdown,” “A.I., or The Freeze,” and “Cloverfield, or The Holocaust of the Date”). And yet, Apocalypse-Cinema is not a series of separable, self-contained reflections. Szendy’s analysis progresses in an additive fashion, with Melancholia always at or near the fore, and readers would benefit from reading the book with that structure in mind.

    Szendy’s lyrical style, attention to the singularity of the films he examines, and incorporation of a wide-ranging philosophical and literary archive, make providing a condensed summary of Apocalypse-Cinema difficult, if not impossible. In spite of these challenges, the common thread that binds the text together is clear: Szendy traces what might be called the raw underbelly of cinema, the mutations of the performative double erasure occurring just after the Earth and Melancholia’s “embrace or grasp until death, their lethal and cosmic kiss” (49). Apocalypse-Cinema reads as an index of cinema’s capacity to annul or penetrate the spectacular veneer of its audiovisual prowess; by grappling with events without reference in the “real-world,” the medium, Szendy suggests, harbors an inherent destructive avisuality that reveals as much it fails “to show” in the conventional sense. One of the most lucid examples of this cinematic death-drive transpires during Szendy’s discussion of Akira Mizuta Lippit’s term “cinefication,” elucidated in the latter’s 2005 book Atomic Light (Shadow Optics). Lippit develops this term through a homonymic analysis of the prefix “cine-”: cinema, as a practice that can be said to “cinefy,” conjures both movement or the movies (via the Greek kinema) and incineration, the reduction of someone or something to ash (via the Latin incinerāre). The double resonance of “cinefication” forms, Szendy says, “the knot where the themes and stakes of apocalypse-cinema are tied together,” which is to say that the cinematic production of the end of the world—even in its most commercial or generic guises—exhibits an antagonistic side of the medium that disrupts the smooth consumption of its spectacles (73). The term prefigures a sort of autoimmune cinema that Szendy harnesses in his original theory of film as a medium always already engulfed by the end.

    Subject to an admirable, if sporadically too literal, translation, Apocalypse-Cinema is a key text for those invested in film and media theory, the burgeoning field of “film-philosophy,” speculative and science fiction studies, and the overlooked intersections of deconstruction and cinema studies. The book will also be of interest to readers seeking to think through the apocalyptic compulsions and obsessions that characterize Western (Christian) culture, as well as those whose interdisciplinary training and areas of specialization—continental philosophy, musicology, comparative literature, and French studies—reflect Szendy’s own. At first glance, the consideration given to Hollywood blockbusters may appear to be at odds with the philosophical or theoretical stakes of the project. However, in the place of the rote application that frequently undermines what passes for “film-philosophy,” Szendy invites readers with his prose and regard for the texts that are fortunate enough to entice him, and with which he, in turn, entices us. This will come as no surprise to those who have read his other translated works, such as Listen: A History of Our Ears (2008) and Hits: Philosophy in the Jukebox (2012), or his more recent publications, Phantom Limbs: On Musical Bodies (2016) and All Ears: The Aesthetics of Espionage (2017).

    Footnotes

    1. For a trenchant analysis of survival in Melancholia, see Christopher Peterson, “The Magic Cave of Allegory: Lars von Trier’s Melancholia,” in Discourse, vol. 35, no. 3, 2013, pp. 400–422. Muse, muse.

  • On Influence and (Un)Originality

    David Coughlan (bio)
    University of Limerick

    A Review of Luter, Matthew. Understanding Jonathan Lethem. U of South Carolina P, 2015.

    Just the second monograph published on the work of Jonathan Lethem, following James Peacock’s 2012 volume, Matthew Luter’s Understanding Jonathan Lethem is issued as part of the University of South Carolina’s Understanding Contemporary American Literature series. It provides an engaging and accessible account of Lethem’s three most high-profile novels, Motherless Brooklyn (1999), The Fortress of Solitude (2003), and Chronic City (2009), together with an analysis of selected short stories and essays. Luter’s welcome book is an enjoyable and illuminating read, and its author has a clear appreciation and enthusiasm for Lethem’s work, as can be seen in the way he burrows out the references and allusions buried in the texts. The particular strengths of the book lie in the clarity of the structure and especially in its choice of an effective and fitting approach to Lethem’s work, focusing on the writer’s “career-long interest in questioning what literary originality means in a postmodernist age” of “collage, pop art, pastiche, remixing, or sampling” (2).

    The book’s introductory chapter, in addition to providing a short biography, situates Lethem in the context of three studies on literary influence: Harold Bloom’s The Anxiety of Influence (1973), which provides a “definition of influence that Lethem has spent an entire career rejecting” (Luter 9), given its emphasis on the anxiety of the text, cultural belatedness, and “a poet’s melancholy at his lack of priority” (Bloom qtd. in Luter 9); “The Literature of Exhaustion” (1967) by John Barth, with whom Lethem shares an appreciation for the work of Italo Calvino; and Michael Chabon’s “Fan Fictions” (2008), in which Chabon concludes that “all novels are sequels; influence is bliss” (qtd. in Luter 12). Luter suggests that Lethem “sounds most like Chabon when he discusses his vision for himself as a writer.” He illuminates Lethem’s perspective with a detailed analysis of his essay “The Ecstasy of Influence” (2007), “both a brilliant defense of creative appropriation and a call for a new, more generous understanding of copyright” (13). Luter then identifies two of the most significant influences on Lethem, sci-fi novelist Philip K. Dick and American film critic Manny Farber, before moving to discuss a number of Lethem’s earlier short stories, particularly “Vanilla Dunk” from The Wall of the Sky, the Wall of the Eye (1996), drawing attention to the ways in which Lethem recontextualizes and reuses elements from earlier texts and, therefore, providing a useful starting point for the following considerations of influence and originality in the novels.

    The second chapter is about Motherless Brooklyn, a book that Luter describes as “Lethem’s breakthrough novel and a book as much about hard-boiled detective fiction as it is a hard-boiled novel” (27). Luter argues that Lethem’s adoption and adaptation of the rules of the genre as set out in Raymond Chandler’s essays “The Simple Art of Murder” (1944) and “Twelve Notes on the Mystery Story” (1948) result in a novel that is an “excellent exercise in accepting the weight of literary history without being visibly burdened by it” and an “example of purely joyful quasi-fan fiction” (29). Initially establishing its indebtedness to its precursors and their “vibrant, hostile, punning, impossible language” through the heightened style of its own language, the novel is not so much about a detective as it is about a fan of detective fiction who then becomes a detective; Lethem’s protagonist, Lionel Essrog, understands his experiences in terms of the conventions of the noir genre even as Lethem constantly invokes that genre through references and citations in his framing of Essrog’s world (Lethem qtd. in Luter 30). Throughout this chapter, Luter pays welcome and effective attention to the patterns of language both of the hard-boiled detective novel and of Essrog’s speech, which is affected by his Tourette’s syndrome, thereby addressing the question of how the influence (of a genre or of a syndrome) expresses itself and then shapes, or is shaped by, representation. Luter concludes that “this is a novel that understands and articulates clearly its own relationship to detective fiction of the past” (47). The chapter also includes discussions of surrogate families and school, the importance of music in the novel, and the role of New York City — where, if I might add to the punning language, Luter might have linked a concept of genre-ification to gentrification — and of how these feed into the characters’ sense of identity and belonging, or lack thereof. This engagement with the question of what makes us who we are is one with the novel’s relationship to a tradition of detective writing because, as Luter argues, “figuring out one’s attitude toward a complicated personal past is akin to (and sometimes directly involves) figuring out what to do with artistic influence” (46).

    This is especially apparent in the next chapter’s reading of The Fortress of Solitude, a novel that “highlights Lethem’s career-long interests in the racial politics of popular culture as well as the joys and dangers of passionate consumption and intellectual appreciation of cultural artifacts” (48). Similar themes emerge of surrogate families, schoolyard friendships, and the “class and racial politics of gentrification” in Brooklyn in the 1970s (50). The focus of the chapter, however, like the novel’s, is on the relationship between the white Dylan Ebdus and the black Mingus Rude, who bond over the shared absence of their mothers and over comic books, graffiti tagging, music, and a magical ring. Following the two friends as they grow to adulthood allows Lethem to tackle questions of unequal opportunity, of “fetishizing blackness,” and “of cultural appropriation” (75, 54). In this context, Luter observes that “pop music is the art form most vital to Dylan’s childhood” (61). He charts the way Dylan’s “music tastes change, and the modes of racial identification attached to his listening get far more complex, personally and politically,” and explains the significance of having a record by the Specials or of wearing a leather jacket, examples of the various ways in which identity is performed, informed by life’s influences (62). The chapter ends by engaging more directly with “[i]nfluence and fandom” in a discussion of sci-fi and music communities, arguing that Dylan “has far more interest in reproducing the past than in building a new future,” so that his “attempt to come to terms with his past remains incomplete” (71, 75, 77). What this chapter lacks, however, is an extended analysis of the novel in terms of Lethem’s understanding of influence, which would have made this conclusion more meaningful. As it is, the references to Dylan’s appropriation of Mingus’s graffiti tag, to white “performances of black style,” or even to quoting, mimicking, imitating, forging, collecting, and stealing, aren’t systematically or consistently contextualized in relation to either Lethem’s theory or his practice (70). It is not, therefore, as original an analysis of the novel as it could have been.

    Chapter 4 deals briefly with the short story collection Men and Cartoons (2004), the essay collection The Disappointment Artist (2005), and the novel You Don’t Love Me Yet (2007) before turning to Chronic City, “a book about fandom gone wild to the point that it becomes debilitating” (79). Luter details again the real-world analogues in the text and, dealing with the two characters Chase Insteadman and Perkus Tooth, discusses fiction and reality, fantasy and realism, virtuality and hyperreality, politics and conspiracies, and Chronic City’s post-Giuliani and post-9/11 New York. Unlike the previous chapter, this one engages in a sustained and necessary discussion on the ecstasies and anxieties of influence, especially as manifested in the “curatorial impulse” (Lethem qtd. in Luter 93). Moreover, the framing of the novel in terms of terror threats and conspiracies presents it convincingly as a work with political intent, leading Luter to conclude that the novel “works as a powerful corrective to contemporary ideologies and practices that seek to distract people from seeing the reality before their eyes” (103). The final, short chapter surveys Lethem’s They Live (2010), his short monograph on John Carpenter’s eponymous 1988 film; Fear of Music (2012), his book on the Talking Heads’ 1979 album of the same name; his short story collection Lucky Alan and Other Stories (2015); and Dissident Gardens (2013), his most recent novel and, Luter argues, his “most sophisticated” and “most overtly political work yet” (108). It is a novel, he suggests, which highlights “the considerable difficulties, not impossibilities, that people of progressive worldviews encounter in their attempts to turn their beliefs from abstractions to realities” (111).

    This useful concluding chapter suggests that it might profitably have been matched by a chapter or section in the book covering Lethem’s earlier genre novels, which would have provided a basis on which to judge the ways in which Lethem remixes and riffs on genre in the later novels. By excluding these novels, Luter knowingly leaves himself open to the accusation that he is reinstating the lines between science fiction and literary fiction that Lethem seeks to trouble (despite “resistance from both sides”), as epitomized by his “chaperoning [Philip K.] Dick into the Library of America” (Lethem qtd. in Luter 20). Luter’s focus on three novels also raises other questions: in a work dedicated to understanding Lethem’s corpus, what does it mean if Luter effectively discounts four novels1 and a novella2 from the discussion — not to mention the bulk of the short stories, a coauthored, pseudonymous sports novel,3 and a co-authored graphic novel?4

    Some of these would have lent themselves easily to Luter’s overall argument, especially Omega the Unknown, which reworks and self-consciously paraphrases the original 1970s series by Steve Gerber and others. This represents something of a missed opportunity, and it reflects other instances in which Luter’s book doesn’t pick up on the kinds of creative repetitions that relate to Lethem’s interests in (un)originality: for example, in Motherless Brooklyn, Essrog describes his verbal tics as “echolalia . . . I was doing impressions,” but Luter doesn’t connect this to other impressionists, like Dylan or his father, or Lethem himself (qtd. in Luter 32). In fact, a weakness of Luter’s book is a certain lack of consistency in its explication of what influence means in and for Lethem or, more specifically, what the stakes are when it comes to the question of originality. For example, the final page of the introduction includes the observations that, in “Vanilla Dunk,” “Lethem argues that originality is still available to the artist who seeks it and values it,” that the three major novels are “all quite original books in their own ways,” and also that some might accuse Lethem of “merely unoriginal borrowing or pastiche” (26). But to what extent would it matter to Lethem if he were “quite original” or even “merely unoriginal” if, as Luter later asserts, he “has so dispensed with the idea of originality as valuable (or even possible) in ‘The Ecstasy of Influence’ that it seems a nonissue now” (92)? Luter’s hesitancy over how a non-traditional concept of originality might inform his readings leads to some contradictory-seeming, or at least un-nuanced, statements: for example, Dylan’s “imitation is … far removed from the sort of creative appropriation Lethem will celebrate in ‘The Ecstasy of Influence’” and yet, “to a lesser extent perhaps, Dylan and Mingus work to shape their own world in their acts of creation” (71, 78). Similar inconsistencies occur in the discussion of Perkus, “a creative appropriator and collage artist, working in a manner comparable to Lethem himself in ‘The Ecstasy of Influence’” (91), but one whose “old creative form now seems hopelessly uncreative” (92).5 A greater engagement with the debates around postmodern artistic practice would likely have enabled Luter to fine-tune his position and to build on the introduction’s discussion of influence rather than using it simply to label examples later on (91). A greater engagement with the debates around postmodernism itself — say Fredric Jameson’s “Reification and Utopia in Mass Culture” (1979), given Lethem’s imagined “Manhattan Reification Society” (qtd. in Luter 100) — would have enabled Luter to make the claim that Chronic City “is reminiscent of the Marxist critiques of popular culture launched by Frankfurt School cultural critics” more convincingly, especially when he so often characterizes Lethem as a nostalgic curator of popular culture up to this point (103).

    That last example is, I think, an instance when Luter tries to force a neater conclusion than might be available, but it is also symptomatic of a tendency to defer to Lethem (Luter makes far more use of Conversations with Jonathan Lethem than he does of existing criticism on Lethem). When, in Chronic City, Chase takes a copy of Obstinate Dust by Ralph Warden Meeker, evoking Infinite Jest by David Foster Wallace, and throws it into a pit to rid himself of its “asymmetrical sink-weight” (Lethem qtd. in Luter 85), Luter rather generously asks:

    What better way for Lethem to reject thoroughly the anxiety of influence than to have his protagonist buy a copy of (something clearly quite analogous to) the book to which his own novel might be reasonably compared, only to have said protagonist then throw that book into an actual abyss. (85)

    Luter concludes his study by saying that Lethem is “[u]ninterested in viewing these influences as a weighty past,” and yet here is the influence as “sink-weight” and Luter doesn’t press the point (113). His book is understandably tasked with understanding Lethem, but it could also have more explicitly questioned Lethem and specifically what he means by ecstatic influence and how he seeks to embody it in his writing. That said, this insightful and instructive book unquestionably provides an excellent introduction to the key works, opens new avenues for exploration, and contributes much to Lethem studies.

    Footnotes

    1. Gun, with Occasional Music (1994), briefly discussed in Chapter 2; Amnesia Moon (1995); As She Climbed across the Table (1997); and Girl in Landscape (1998), briefly considered in the introduction.

    2. This Shape We’re In (2000).

    3. Believeniks! (2006), with Christopher Sorrentino.

    4. Omega the Unknown (2007–08), written with Karl Rusnak, with art by Farel Dalrymple and Paul Hornschemeier.

    5. Luter further describes how Perkus turns to “work as a curatorial impulse” (Lethem qtd. in Luter 93), but curating creates only “a solipsistic monument” (Luter 93); Perkus “discovers the use value of art” (95), but “the solipsism is still there” (96); he “is remixing another artwork he likes … but he is doing it badly” (96); and for him, “to live is to interpret” (96), but “he has walled himself off from more experiences than he will ever realize” (97). In the end, it is not entirely clear how Luter wants us to interpret Perkus’s relationship to art.

  • Of a Cinematic Construction in Progress

    Louise Burchill (bio)
    University of Melbourne

    A Review of Lippit, Akira Mizuta. Cinema without Reflection: Jacques Derrida’s Echopoiesis and Narcissism Adrift. U of Minnesota P, 2016.

    That there is no sustained reflection on cinema in Jacques Derrida’s corpus, despite its consideration of photography, painting, drawing, architecture and the subject of vision and visuality per se—as well, of course, as philosophy, literature, psychoanalysis, history, law, sexuality, and so on—can be taken as an object of speculative inquiry and pursued in two principal directions. On the one hand, the question or problem is what it is in, or of, cinema that could occasion such an occultation in Derrida’s work. Would not some characteristic of the cinematic apparatus or medium have determined an inattention more apotropaic than merely circumstantial through its resistance to the conceptual constellations comprising Derrida’s thought? And, if cinema is Derrida’s blind spot, what specifically is he incapable of countenancing, or simply doesn’t wish to see? On the other hand, should the lack of any rigorous reflection be construed not as a problem but as an indication that a Derridean “theory of film” is rather to be gleaned by refraction—that is to say, in the light cast on cinema within other trajectories of his thought—then a very different line of inquiry is opened up. Here the question is neither “what (is it) about cinema?” nor “why not cinema?” but rather “where, then, in Derrida’s oeuvre, is cinema to be found?”

    In Screen/Play (1989), the first book on Derrida and cinema, Peter Brunette and David Wills responded to the latter question with the unabashed affirmation of “everywhere”—as adduced principally by deconstructive deliberations on (or “around”) framing and supplementation: “Given that everything he writes about a medium is precisely that, about or around it—in other words concerned as much with the separation between inside and outside as anything else—what would he have to have written before we could say he had written on cinema?” (99). Everything Derrida wrote—which was, as the authors note, predominantly in reference to literary and philosophical questions in the period their book was published— would then be potentially applicable to film theory, with Brunette and Wills thus taking up the task of “translating” Derrida’s concept of writing to the medium of cinema. One review of Brunette and Wills’s book aptly notes that their application or translation of “writing” to cinema “dissipate[s] the phenomenality of film into the recesses of an allegorical (literary) theory,” incurring thereby the loss of cinematic specificity (1131). That review is all the more apposite here because its author, Akira Mizuta Lippit, has now written in his turn a book (or perhaps more accurately, a book-in-progress) on the theory of cinema “adrift” in Derrida’s corpus.

    As indicated by its title, Cinema without Reflection equally follows the line of inquiry for which Derrida’s lack of reflection on cinema is not in itself a matter of interrogation: such speculative absence being of “no concern for those who have nonetheless perceived the tremors and evocations of the cinematic in this philosopher’s writings,” as Lippit put it in his review of Screen/Play (1130). Yet no less than Lippit’s criticism of Brunette and Wills’s “construct[ing] the premises of cinema within the confines of the grammatical,” these lines presage the difference between Lippit’s critical endeavor and that of his predecessors. Rather than apply to cinema concepts elaborated in respect to other (literary or philosophical) objects of inquiry, Lippit proposes to chart the topoi in Derrida’s thought that “appear to point towards cinema” and which thereby deictically compose “a secret thesis on film”—a “scrypt” deposed by Derrida, “elsewhere” (2). Of course (and in all fairness to Brunette and Wills), the years separating the publication of their book from Lippit’s saw the omnivorous extension of deconstructive schemas to just about every field or problematic one can think of, including a multiplication of texts by Derrida on photography and other visual arts that might seem particularly propitious for a deictic delineation of a covert theory of cinema.1 Even more pertinently, from the mid-90s on, Derrida was to make a number of interventions in the field of cinema itself. For example, he appeared as both actor and subject—or, as he put it, “an Actor who plays the role of himself”—in three films, a documentary and two “docufictions,” respectively released in 1994, 1999, and 2005 (although Derrida’s cinematic debut actually dates from 1983, when he appeared in the experimental film by Ken McMullen, Ghost Dance). Several important interviews about, or touching on, cinema—often themselves filmed and all of which relate, in part at least, to the films in which Derrida plays his “autobiographical role”—also date from this period, as does a text again addressing one of his cinematic forays (“Letters on a Blind Man: Punctum caecum”). For Akira Lippit, these “on-screen” and on-the-screen interventions are absolutely crucial; they are the veritable site—a medium-specific site—of Derrida’s film theory: “If Derrida has indeed formulated such a theory,” he stipulates, “then it is performative, which is to say, it takes place in taking place— a site-specific theory of film that occurs on screen” (21).

    This site-specific performativity accrues more than one sense over the course of Lippit’s argument. First and foremost, it refers to the fact that Derrida’s theory of film is, for Lippit, enacted and delivered within the frame of film itself, such that “Derrida’s cinema,” albeit “without reflection,” is nonetheless actualized and instantiated in voice and images. One such instantiation Lippit returns to repeatedly is the scene from Ghost Dance in which Derrida first declares himself to be a ghost before setting down the “algebraic formulation”: “Cinema plus psychoanalysis equals a science of ghosts” (Derrida, Echographies 117). This is indeed one of Derrida’s most incisive declarations of cinema’s affinity with spectrality but, in addition, as Lippit emphasizes, we witness here Derrida “yield[ing] to the phantom”:

    Because he is playing himself in a film, Derrida says he lets the phantom (his voice and image) speak on his behalf. It takes over and takes his place; he yields to it, but it also becomes him and marks his return . . . The other Derrida on-screen is a phantom second person (you) that takes his place. (31–32)

    In this spectral scene, Derrida is indeed presenting his film thesis in a performative mode, yet he is equally—in a second, “theatrical,” sense of performativity—performing himself, even if this entails his “playing […] an Actor who was, as it were, playing myself” (Derrida, Tourner 74). It is the inextricable intertwinement of these two performative occurrences—Derrida’s saying and doing his theory of cinema on screen, and Derrida’s playing himself in a phantom exchange of “one Derrida for the other”—that comprises, in fact, the medium-based articulation of Derrida’s film theory as Lippit understands it. This articulation therefore determines the topoi in Derrida’s oeuvre that “point towards cinema”: namely, spectrality, autobiography, and narcissism. These three topoi or discourses—themselves intertwined and interwoven in Derrida’s site-specific interventions—structure Lippit’s exegesis of Derrida’s “secret” film theory; his text tempering in this way, one might say, the extravagance of Brunette and Wills’s claim that a theory of film exists potentially “everywhere” in Derrida’s oeuvre.

    Yet the final pages of Lippit’s text introduce a topological complication in the context of returning to the medium-based performativity of Derrida’s film theory, now endowed with a third sense. The cinematic scene that prompts, or performs, this complication is less Derrida’s instantiation of his phantom status in Ghost Dance (though this does equally haunt Lippit’s analyses here) than his reflection on the myth of Echo and Narcissus in Amy Kofman and Kirby Dick’s Derrida. Situating Ovid’s tale of metamorphosis as a “privileged narrative” throughout Derrida’s oeuvre, Lippit writes that it provides “an illustration and orchestration of Derrida’s film thesis” (35) because—in addition to its invocation of voice and image, reflection and repetition—it finds its resolution in the recognition that subjectivity is irreducibly derived from the other (such that I discover myself “in the form of another, in another’s form—image and voice—in you” [61]). Derrida’s statement on-screen that he is “acting as both Narcissus and Echo at one and the same time” is, that said, what specifically informs Lippit’s final rendition of the “medium specificity” articulated by Derrida’s film theory. As is the case predominantly throughout Lippit’s text, this thesis is less set out constatively, in a series of argued points, than (at least at first) by way of paraphrase, reiteration, and word association. If Derrida acts as both Echo and Narcissus, he is, Lippit glosses, “[i]n the middle, mediating between Echo and Narcissus, . . . their medium” (61). From this, Lippit adduces that the specificity Derrida would attribute to cinema as a medium is neither formal nor technical (pace Greenberg or Krauss), but related to “the specific place of the medium in the middle” (61). Certainly, this definition gestures towards the cinematic techniques of “eyeline” and what Lippit names “echophony,” both of which enable a spectral exchange or “channeling” of voices and images, and thereby the transition of subjectivities: another’s voice allows me to speak on my behalf; my image becoming another’s “leads me to you” (60). However, this “medium” or “in the middle” is ultimately to be understood in a performative sense: “In this scenario Derrida is himself the medium” (61). That is, Derrida is “in the middle,” mediating qua “spiritual medium” the cinematic transaction of voice and image, but this role or place of in-between also marks Derrida himself, with “medium” now to be understood as “the place where phantom subjectivity takes shape.” Lippit immediately qualifies this place as the “trace of subjectivity”—a place, he states, that Derrida designated “already, long ago,” Derrida having in this sense “always been thinking about cinema in one form or another” (62). With this assertion, however, not only does Derrida’s medium-based performativity abruptly exit the confines of the film frame, as it were, but the place of cinema in Derrida’s oeuvre—in its qualification as “the place of the trace,” “always already,” “in one form or another”—exceeds its refraction in the discourses on narcissism, spectrality and autobiography, ultimately laying a claim to … everywhere.

    II

    Once identified as the medium where spectral subjectivity takes shape—and thereby the place designated by Derrida from the very beginning for the play of the trace—cinema would, then, always-already be found everywhere in his oeuvre. That Lippit’s contention replicates, in its underlying logic, Brunette and Wills’s claim of cinema’s omnipresence in Derrida’s thought does not mean, however, that it likewise incurs the loss of cinematic specificity. Locating cinema’s singularity in its instantiation of the logic of the trace pinpoints with far more acuity than do professions of cinema’s “writtenness” the topos in Derrida’s thinking that displays the greatest “proximity to the topographies and matrices of the cinematic apparatus” (to cite once again Lippit’s Screen/Play review; 1130). It is also counter-signed by Derrida himself when he insists that everything he advances concerning spectrality—and, hence, the “essence” of cinema qua an unprecedented instantiation of spectral logic—is informed by his deconstruction of Husserl’s living present, which was to reveal, of course, a constitutive play of traces at the very heart of the latter: at once the index of a “past that had never been present” and an irreducible exteriority preventing any identity to be closed within a proper “punctiform” interiority. This “radicalization of phenomenology”2 does indeed inform everything Derrida wrote, his deconstructive logic or matrix first devised in respect of philosophy/phenomenology spawning a multitude of paleonymic strategies in relation to the multifarious and disparate objects he was to focus on. Let us retrace our steps, therefore, back from “everywhere” to “medium specificity,” and turn now to the way in which Lippit would have us understand cinema’s configuration within Derrida’s deconstructive matrix—qua the place, let us say, of the trace of subjectivity.

    In keeping with Derrida’s pronouncements on spectrality and cinema, the opening chapter of Cinema without Reflection sets off from the scene in Ghost Dance in which Derrida both proclaims and performs this cinematic spectrality, with Lippit focusing here on not only Derrida’s algebraic formulation but equally his preceding definition (or demonstration): “cinema . . . is the art of allowing phantoms to return.” Lippit immediately glosses this definition in terms that resonate with what he will later designate “phantom narcissism”: “It [cinema] is the advent of oneself as another, as a phantom second person, ‘you’” (7). This inflection of Derrida’s own analysis of cinema’s spectrality and (thereby) specificity is significant. If “cinema is spectral in its very essence” for Derrida, this follows from its “structural specificity” of reproducing the event, scene or person captured by the camera with such an effect of “proximity” that this filmic inscription appears “live” and/or “living” (Echographies 39). In keeping with the deconstructive logic instantiated by cinematic spectrality, this “restitution of the living present” nevertheless bears death and absence within itself, insofar as these are structurally inscribed in any means of reproduction, however “live” or “im-mediate” its re-presentations appear. Crucially, Lippit later explicitly disagrees with claims that situate cinema’s specificity in such effects of “liveness,” and his refutation thereby encompasses the structural specificity adduced by Derrida, even if this is in no way acknowledged. In lieu of cinema’s unprecedented capacity of “’quasi presentation’ of an ‘itself there’ of the world whose past will be, forever, radically absent,”3 Lippit once again promotes the motif of phantom narcissism: “the singularity of cinema [is] not that it projects images and sounds as if live but that it brings the image and sound together into an impossible metonymy of the subject, of myself” (43).

    Whatever Derrida’s own pronouncements on cinema’s specificity, the secret film thesis to which his work points—if one attends to its deictic constellations and to the flashes and glimpses therein of a hidden “scrypt”—would be this: cinema’s singularity is that it is an apparatus of phantom identification, a machine that “allows one to believe another’s image, another’s voice, to be one’s own, as an image and voice proper to oneself, but also as one, image and voice” (43). That this unavowed thesis, “articulated without the use of its proper name” (57), would be uncovered by the analytic method of deciphering a script “written elsewhere” recalls to us quite simply (however evident be this point) its status as a construction: Derrida’s secret film thesis is, by definition, a thesis that Lippit assembles or pieces together on the basis of the material at his disposal, the traces he surmises this thesis to have left behind. Thus his way of proceeding less by constative or argumentative exposition of the discursive topoi he singles out in Derrida’s corpus than by recourse to word, or thematic, association, and the reiteration—or echoing—of Derrida’s statements in order to inflect and open these to a new, hitherto secret, implication (in accordance with his notion of echopoiesis?). In this light, though, the question confronting the reader of Cinema without Reflection is less the purport of Lippit’s Derridean film thesis per se than whether this thesis is constructed in a manner that “holds.” Whatever one might think of the thesis, it is the viability, the consistency, or indeed—to use Freud’s criterion—the “correctness” of its construction that must be pondered. As a film theory imputed to Derrida, does it, when all is said and done, hold up?

    III

    Lippit’s construction—his crafting of the discourses of spectrality, narcissism and autobiography into Derrida’s secret thesis—may be seen to wobble, waiver, and, on the whole, founder at a number of crucial junctures. Of the two such instances to be considered here, the first and clearest consists in attributing to Derrida an argument he is in fact contesting but which Lippit nonetheless draws on in order to bolster his contention that cinema’s phantom narcissism is at once constitutive and revelatory of a subjectivity always achieved only in the second person, such that “you” would be the subject’s most proper, and secret, name. According to Lippit, Derrida endorses this conception of the subject’s secret proper name when, in the context of a discussion on psychoanalysis and the history of the names in one’s life, he states:

    the ideal pole or conclusion of analysis would be the possibility of addressing the patient using his or her most proper name, possibly the most secret. It is the moment, then, when the analyst would say to the patient ‘you’ in such a way that there would be no possible misunderstanding on the subject of this ‘you.’ (“Roundtable” 107)

    However, Derrida is not here stating a position he himself holds, but is paraphrasing the stance of his interlocutor (Patrick Mahony) in order to mark his disagreement. “Pure address” or “a secret proper name” is impossible, Derrida immediately counters (now speaking in his “proper voice”), because

    the most secret proper name has its effect of a proper name only by risking contamination and detour within a system of relations . . . I can never be sure when someone says to me . . . ‘you, you,’ that it might not be just any old ‘you.’ . . . This is inscribed in the most general structure of the mark. (“Roundtable” 107)

    One cannot conclude, as does Lippit, that “Derrida’s proper name that comes at the end of psychoanalysis” can equally be said to end in cinema (with this shared status of endpoint following from cinema’s being “also the site in which a proper name appears . . . the apparition of this second person ‘you’ where I am” [30–31]). Quite simply: because there is not for Derrida a proper name that comes at the end of psychoanalysis, any film thesis constructed on the basis of a claim or misreading to the contrary cannot be attributed to him—not even were this a thesis that, by virtue of its being secret, would purportedly be all the “more properly” Derrida’s for being without the insignia of its proper name.

    The second instance of Lippit’s “instable construction” also relates to phantom narcissism’s exchange of one singularity for another, focusing in this case on the place in Derrida’s oeuvre where the thesis that subjectivity is constituted from the outside would show itself to be deictically indexed to cinema. Lippit finds this in Derrida’s reading of Roland Barthes’s Camera Lucida (a text seeking to define the nature, or eidos, of photography), which Lippit intertwines with propositions extrapolated from Barthes’s text itself. Put as succinctly as possible: Lippit’s construction is based on the “superposition” (19) to cinema of Barthes’s concept of the punctum, a fortuitous element in a photo that provokes a sudden emotional response in the viewer, quite unlike the general interest (the “studium”) solicited by the photograph’s “subject” or “signification.” Lippit then refracts Derrida’s reading of the punctum as “the site of metonymy, of an illicit, even supernatural, exchangeability” (12) firmly in the direction of a secret film thesis. Yet the punctum as “site of metonymy” only yields its full resources for filmic narcissism—on, and for, Lippit’s argument/construction— when understood to pass “from the outside” into the spectator’s body. Only “once it enters the body” does its singularity, on the one hand, become metonymic and thereby pluralize itself, “mak[ing] possible the exchange of one singularity for another, me for you” (13). On the other hand, and at the same time, the irreducible singularity and unique referentiality Barthes attributes to the punctum are shown to be “an effect of the outside, of an external light that enters into the system of representation through a puncture on the human body” (13). Here, Lippit mobilizes Barthes’s etymologically-inspired description of the punctum’s singular and “poignant” affect as “piercing, wounding, bruising, pricking” the viewer. The punctum’s force of puncture becomes indissociably intertwined with the motif of the eyes qua “punctures in the body” in Lippit’s construction (12), as well as with the cinematic convention of the “eye-line,” to which Derrida refers in relation to Ghost Dance. When re-watching this film several years after its making, Derrida was to re-share, as it were, an eye-line with the actress Pascale Ogier, who had since died—and who was indeed reappearing therefore, as one come back from the dead, to confirm the existence of ghosts. For Lippit, this experience exemplifies “the phantom economy of an eye-line,” on which he calls to consolidate his construction of a film thesis instating subjectivity to come from the outside: as an eye-line without symmetry—no reciprocity and no reflexivity being possible in the field of vision between a ghost and the living (14)—the phantom gaze “turns,” states Lippit, “me into you” (15). Which is equally to say—via a citation from Lacan on subjectivity’s constitution by the gaze, and Barthes’ description of the photograph as literally an emanation of the referent, “entering the spectator’s interiority through the force of puncture” (17)—that “I,” the subject/spectator, is “constituted from the outside” (16).

    What makes this construction problematic is not simply (as in the instance of misquotation above) that it attributes to Derrida a stance he did not hold, and with which he would not hold; it is also the confusion and confounding of things he did say with positions foreign to his own and which he sought in fact to deconstruct. I shall attempt to demonstrate, or unravel, (some of) this confusion by way of but two remarks.

    1/ To attribute to Derrida the thesis that the punctum’s seeming irreplaceability and unicity are an effect of “an external light” entering into the system of representation “through a puncture on the human body” is to attribute to him mutatis mutandis a position that he ceaselessly subjected to deconstruction from 1967 on: namely, that of an “originary impression” that would be the source or absolute beginning of the movement of constitution within—to use Lippit’s terms—the system of representation. Derrida identifies this position with Husserlian phenomenology, and it is, as such, significant that he recasts Barthes’s claims for photography qua an emanation of a past reality—of that which has taken place only once—as an echo of Husserl’s insistence that whatever is constituted in intentionality is first of all conditional upon an originary, punctual impression that is necessarily foreign to the intentional movement itself (Copy 8–9). Here it suffices to note Derrida’s succinct refutation of Barthes’s qualification of the photograph as a luminous emanation of the referent, by which the rays of light having touched a real body before the camera lens would be transmitted to the viewer: “what Barthes calls ‘emanation’ . . . is not a ray of light” (Echographies 122).

    2/ Derrida does indeed locate a site of metonymy in the punctum. Moreover, as Lippit states, he does so “following Barthes” insofar as Barthes recognizes in the punctum a force of metonymy. Yet Derrida adduces that, drawn thereby into a general exchangeability, the punctum’s singularity “pluralizes itself” such that “the unique” is immediately, and everywhere, repeated. This development, far from following Barthes—for whom the punctum’s metonymic force entails neither substitutability nor generality of address (Camera 73)—seeks instead to unsettle, dismantle, or simply disqualify the latter’s notion of “the referent” qua the necessarily real thing having been present before the camera lens and, as such, an indubitably singular occurrence that conjoins past presence and reality. Derrida’s and Barthes’s differend in this respect—pertaining to nothing less than the very nature, or eidos, of, let us say, (cinematic) perception/representation—is hardly minimal: Barthes’s notion of the referent, like the punctum that is inseparable from it, runs directly counter to Derrida’s deconstructive tenet that “the manifest evidence of an originary presence” can only be referred to within the movement of differance—the “play of the trace”—as an “absolute past” (Grammatology 72).

    This being the case, surely one should pause before amalgamating the resources of Derrida’s and Barthes’s respective determinations of the punctum? Let me be clear: to detect in Derrida’s deconstructive reading of Barthes a discursive development that points towards film—the punctum as the site of metonymy, of substitutability, “the metonymy of the phantasy of the eye,” “metonymy of the world,” “everything everywhere”—is one thing; to conjoin and confound this deictic constellation with themes extrapolated from Barthes’s own determinations of the photographic punctum and referent—eyes as punctures through which the punctum passes, the latter’s emanation of external light irradiating the body: becoming the “metonymy of the body,” as well too, as the point of contact, or eye-line, between two bodies: me and you—is quite another. Such a confusion of contradictory theses yields a film theory that would configure cinema’s “place of phantom subjectivity” (the place of the play of the trace) as, on the one hand, dependent on an originary impression irreducible to consciousness, entering by “puncture” from the outside, thereby conjoining—on Barthes’s understanding— past presence and reality; whereas, on the other hand, it would itself be what determines any such (notion of) originary impression as an “absolute past,” with the play of the trace understood here as “the memory of something never having had the form of being present.” In short, for this inconsistent, hybrid theory to be Derridean, Derrida would have had both to deny and to recognize cinema to call into question deconstruction’s foreclosure of an alterity irreducible to the internal workings of an auto-affective apparatus.

    The claim that cinema’s singularity consists for Derrida in its instantiation of the logic of the trace—that this is where Derrida’s thinking displays the greatest proximity to the topographies and matrices of the cinematic apparatus—is a thesis, a line of speculative inquiry, well worth pursuing. In his prefatory remarks, Lippit describes Cinema without Reflection as “a draft, sketch or design” of a work perhaps to come4; a description that aligns with the University of Minnesota’s “Forerunners” series, which publishes works “written between fresh ideas and finished books.” For Lippit’s sketch to be “finished,” the film thesis attributed to Derrida would best be fleshed out, I would advance, not only by tempering its inconsistencies with a stronger general construction but, equally, by reprising the idea at its source.

    Footnotes

    1. Derrida had, however, written texts relating to both photography and painting before 1989; notably, “The Deaths of Roland Barthes,” Right of Inspection and The Truth in Painting (published in French respectively in 1981, 1985 and 1978). These three texts are, moreover, mobilized by Brunette and Wills in their argument for the relevance of the schema of “framing” to cinema.

    2. See Note 6 in Chapter 5 of Specters of Marx (189).

    3. “Cinema and Its Ghosts: An Interview with Jacques Derrida.” By Antoine de Baecque & Thierry Jousse. Trans. Peggy Kamuf. Discourse, Vol. 37, No. 1–2 (Winter/Spring 2015), p. 33.

    4. Cinema without Reflection is, it should be noted, a revised and slightly amplified version of an article published in Discourse in 2015 and comprises, as such, a small volume of but some 70 pages. Lippit’s reading of Freud’s “On Narcissism” constitutes the major addition to the original text.

    Works Cited

    • Barthes, Roland. Camera Lucida. Reflections on Photography. Translated by Richard Howard, Hill & Wang, 1981.
    • Brunette, Peter and David Wills. Screen/Play. Derrida and Film Theory. Princeton UP, 1989.
    • Derrida, Jacques. Copy, Archive, Signature. A Conversation on Photography. Edited by Gerhard Richter, translated by Jeff Fort, Stanford UP, 2010.
    • ———. Of Grammatology. Translated by Gayatri Chakravorty Spivak, Johns Hopkins UP, 2016.
    • ———. “Roundtable on Translation.” The Ear of the Other: Otobiography, Transference, Translation. Edited by Christie V. McDonald, translated by Peggy Kamuf, Schocken, 1985.
    • ———, and Safaa Fathy. Tourner les mots. Au bord d’un film. Galilée/Arte, 2000.
    • ———, and Bernard Stiegler. Echographies of Television: Filmed Interviews. Translated by Jennifer Bajorek, Polity Press, 2002.
    • ——— “Cinema and Its Ghosts: An Interview with Jacques Derrida.” By Antoine de Baecque & Thierry Jousse, translated by Peggy Kamuf, Discourse, Vol. 37, No. 1–2 (Winter/Spring 2015), pp. 22–39.
    • Freud, Sigmund. “Constructions in Analysis.” Standard Edition 23. Hogarth Press, 1964, pp. 257–269.
    • Lippit, Akira Mizuta. Review of Screen/Play. MLN 105 no. 5, 1990, pp. 1130–1133.
  • The Brink of Continuity (on Ashbery)

    Charles Bernstein (bio)
    University of Pennsylvania

    On September 5, 2017, a few days after John Ashbery died, Le Monde published an obituary for him by Olivier Brossard: “Pour le poète américain, l’écriture était ouverture, fuite ou fugue, le refus d’une identité ou d’un poème qui soient clos ou définis à jamais”: For this American poet, writing was an opening, flight or fugue, the refusal of an identity for a poem that is closed or defined forever.

    I appreciate that Brossard addresses the identity of the poem in this opening paragraph, something sometimes lost in America, where there is so much attention given to the identity of the poet that the identity of the poem is eclipsed.

    Not that a poem can ever be separated from the person who wrote it.

    It’s just that with a poem you start with the flight and fugue of the words, not with what the poem represents.

    The day Ashbery died, the New York Times posted an obituary by its official obituary writer, the talented Dinitia Smith (with “Maggie Astor and David Orr contributed reporting” appended at the end). The oddest thing about Smith’s obit (O-1) was a paragraph on Ashbery’s relation to his parents:

    When I was about 3 or 4 years old, [my father] said to me one day, ‘Who do you love more, me or your mother?’ and I said, ‘My mother.’”

    No doubt the bored masses of Times readers could find at least this something they could relate to. I might have said the same to my father when I was three, but I hope it doesn’t land in any obituaries.

    Smith had the historical sense to mention Barbara Guest as one of the company of poets most closely associated with Ashbery, even if she called “Frank O’Hara” John, which I am sure Ashbery and O’Hara would have found amusing:

    Mr. Ashbery was originally associated with the New York school of poetry of the 1950s and ’60s, joining Kenneth Koch, Barbara Guest, John O’Hara and others as they swam in the currents of modernism, surrealism and Abstract Expressionism then coursing through the city, drawing from and befriending artists like Jackson Pollock, Willem de Kooning and Jane Freilicher.

    When David Orr’s byline was added to Smith’s the next morning (O-2), “Frank” was back and the poets were no longer “swimming in the currents of modernism” but, less aptly, reveling. And alas! Guest was out and the New York School was just guys:

    Mr. Ashbery was originally associated with the New York school of poetry of the 1950s and ’60s, joining Kenneth Koch, James Schuyler, Frank O’Hara and others as they reveled in the currents of modernism.

    The anecdote about the poet’s mother was also excised, making way for a bit more ideological clean-up.

    David Orr is most notable for his April 2, 2006, front-page Times Book Review rave for a favorite of Ashbery’s, Elizabeth Bishop. The piece begins:

    You are living in a world created by Elizabeth Bishop. Granted, our culture owes its shape to plenty of other forces — Hollywood, Microsoft, Rachael Ray — but nothing matches the impact of a great artist, and in the second half of the 20th century, no American artist in any medium was greater than Bishop (1911–79).

    This claim is so wacky that it can only be understood as a fetish for Bishop and her patron Robert Lowell, two of the central ideological icons of Cold War Official Verse Culture. And like all such fetishes, it reduces the poetry to propaganda.

    Ashbery and his New American Poetry comrades were the proponents of an alternative to the “cooked” (a.k.a. half-baked) poetry of Official Verse Culture – sometimes called “raw,” meaning grounded in process. (Lowell makes the deceptive distinction between open-form “raw” poems and closed-form “cooked” poems in his 1960 National Book Award acceptance speech.) So Brossard’s elegant Ashberian phrase, “clos ou définis à jamais,” is quite specific and delightfully so.

    O-1 mentions a key issue of Cold War aesthetic ideology –

    But [Ashbery’s] most significant artistic relationships were with other poets, including James Schuyler, who were rebelling against the formalism of Allen Tate and Robert Lowell.

    O-2 deletes this statement and with it any sense that this poet, now beloved of all, was “rebelling” against anything. In the Orr-revised version, Ashbery’s “Self-Portrait in a Convex Mirror” – long can(n)on fodder for those conservative critics who dismissed much of Ashbery’s earlier work along with that of his more radical contemporaries – is juxtaposed with Harold Bloom’s triumphalist claims for Ashbery. Yet also cut from O-2 is this tender morsel about “Self-Portrait,” which found its way into Smith’s first version:

    Though it became the signature piece in the collection that won Mr. Ashbery the Pulitzer and other prizes, Mr. Ashbery had reservations about the poem. “It’s not one of my favorite poems, despite all the attention,” he said. “I was always very unsure of the quality.”

    Ashbery’s comment is a marvel of wit and self-consciousness. Ashbery also distanced himself from the book many of us on the L=A=N=G=U=A=G=E side of the street especially liked, The Tennis Court Oath. At one point, Ashbery said it was the only poem of his we liked, which certainly wasn’t true for me, but this, again, was Ashbery’s way of deconstructing (there I’ve said it) false boundaries. He said somewhere he didn’t want his work to become a political football. There was no American poet more adept at eliding polemic and refusing mantles.

    Ashbery resisted becoming a polarizing figure because of the exquisite demands of his aesthetic. His greatness is connected to his poetics of aversion, deftness, deflection, humor, and, above all, privacy. For Ashbery privacy is a kind of politics, as is not wanting to be pinned down. This is one of many qualities in his work that is fundamental for me.

    Both versions of the Times obit included a British authority’s put down of Ashbery as “boring.” Both have a quote from a Times review that calls Ashbery “incomprehensible,” but in a possibly OK way; still, an offhand slap at poetic difficulty that traffics in anti-intellectuality and anti-aestheticism. O-2 both resists the aesthetic and claims its mantle. The shibboleth of “human experience” is meant to anoint with a humanist piety that is explicitly anti-political and nondenominational:

    But if his poetry is rarely argumentative or polemical, this does not mean it avoids the more difficult areas of human experience.

    O-2’s revisions gut the polemical force of Ashbery’s argument for poetic freedom, drift, and the imagination, uncontrolled by the forces of rationalization and accessibility:

    But while other eminent poets of his generation became widely known for social activism (Adrienne Rich and Gary Snyder, for example) or forays into fiction (James Dickey) or the details of their own harrowing lives (Sylvia Plath), Mr. Ashbery was known primarily for one thing: writing poetry.

    Orr and collaborators erase the key New American Poets of Ashbery’s generation outside the New York School – Amiri Baraka, Robert Creeley, Jackson Mac Low, Allen Ginsberg, Jack Spicer, Hannah Weiner (the list could go on) – in favor of apparently more mainstream poets, only to make the claim that they are less significant as artists than as icons, something each of these poets worked fiercely against. Ashbery no more resists becoming iconic than any of these poets; he is just iconic in his own way.

    Here is Orr & Co.’s coup de grace (a passage not in O-1):

    Charles McGrath, the editor of The New York Times Book Review from 1995 to 2004, recalled that a large portion of new poetry titles during his tenure could be (and often were) tossed into a pile labeled “Ashbery impersonations.” And Mr. Ashbery remains far and away the most imitated American poet.

    The authority of McGrath and Orr is based on their mutual pledges of allegiance to Lowell and Bishop –– not as poets, but as Cold War icons, forged in McGrath’s case by his long apprenticeship to New Yorker editor William Shawn. In a June 2003 piece, McGrath is worshipful of Lowell while condescending to Ginsberg as a “self-caricature” and dismissive of contemporary poets unable to be as serious as his “master”:

    Unlike so many contemporary poets, Lowell never wrote poetry about poetry, or worried about the insufficiency of words to stand for what they signify. Lowell may have belonged to the last generation to believe seriously in the poetic vocation.

    I suppose the swipe about poets who write about poetry is a reference to Ashbery; if not, it might as well have been. But McGrath’s remark about the “insufficiency of words to stand for what they signify” is the give-away; what Ashbery shows, as Brossard notes, is the sufficiency of words to say more than “what they signify.” To say otherwise is not just to dismiss Ashbery or the rest of us, but to dismiss the possibility of poetry and, indeed, of language.

    It is to consign us to the tawdry world of poets as icons.

    While there are many imitators of Ashbery, though no more than imitators of other poets, the McGrath quote in O-2 suggests that those who depart from the straight and narrow of convention, who follow Ashbery’s example of freedom, will be put in the discard pile. The burden of this obituary is to make Ashbery the exception, not the rule. It buries Ashbery in praising him.

    But we know from Ashbery, hero of the pataquerical: once discarded, twice derided, thrice’s the trick:

    So many of these things have been discarded, and they now tower on the brink of the continuity, hemming it in like dark crags above a valley stream. ––“The System,” Three Poems

    Works Cited

  • Survive Style 5+ and the Ethics of Creative Advertising

    Phillip Lobo (bio)
    University of Southern California

    Abstract

    This paper examines an exemplary piece of Japanese postmodern cinema, Sekiguchi Gen’s Survive Style 5+ (2004), in relation to the ethical quandaries and tensions that emerged around the practice of advertising during the so-called “creative revolution” in Japan. Drawing on the concept of the fetish in Marxist and Freudian discourse, as well as anthropological research and theories of translation, it shows how the film critiques the idea that advertising can act as a universal translator of desire in contemporary consumer capitalism through its use of jokes, style, and celebrity culture.

    This paper examines an exemplary piece of Japanese postmodern cinema, Sekiguchi Gen’s Survive Style 5+ (2004), in relation to the ethical quandaries that emerged around the practice of advertising during the so-called “creative revolution” in Japan. The debates in Japan during the 1980s and 90s are paradigmatic of the privileged place that advertising holds in the discourse of postmodernity, both as an object of critique and as a field of new signifying possibilities; in either case, advertising is seen as central to the formation of the subject of global capitalism. The popular and academic conversations in Japan during the creative revolution explicitly enlisted the language and methods of advertising to propose solutions to the problematic of global, postmodern identity, pitting the national myth of a traditional Japanese identity against the reality of Japan’s prominence as a global player in trade and media. As a participant in the larger cinematic conversation about the problem of postmodern identity, Survive Style 5+ is an ideal object of study because it benefits from the director’s experience of the advertising industry during its high-water mark in Japan. Sekiguchi’s film looks critically on the heady hopes of that time, but refuses to retreat into traditionalist nostalgia. It therefore provides a distinctive take on the still open question of the global subject. Drawing on the concept of the fetish in Marxist and Freudian discourse, as well as anthropological research and theories of translation, this essay outlines how Survive Style 5+ demonstrates a central paradox in the ethical tenets behind “creative advertising.” The film critiques the possibility that advertising can serve as a universal translator of desire in contemporary consumer capitalism, a notion that reached its apogee in Japan during the 1980s and 90s. Reflecting on the promises of the economic bubble of that era, but fully cognizant of their disappointment in “post-bubble” Japan, Survive Style 5+ addresses issues of identity that continue to reverberate through the Japanese cultural imaginary. By examining how the film addresses these issues in relation to the complexities and contradictions of contemporary consumerism, it lends broader insights into the role of advertising in the formation of those identities, in the Japanese as well as the wider global context.

    I’ve got to write about Sekiguchi Gen’s Survive Style 5+ if only so it might stop haunting me. A hyperkinetic, hyper-saturated piece of postmodern cinematic excess, it has lodged itself in my memory, where it bounces around the interior of my skull, resisting my best efforts to pin it down. I feel myself in the position of the Asano Tadanobu’s wife-killing character, Aman, trying endlessly to put this film to rest, alternately battering, dismembering, or immolating it with various critical weapons only to have it reassemble itself, not unmarked by my scholarly sallies, but rather stronger and more resilient for its scars. Part of my confusion is a product of the film’s own heedless self-celebration; its high postmodern style and its concussively bright pomo-rococo visual design can blind a watcher whose vision isn’t properly polarized. Its form, too, is paradigmatically postmodern, composed of a series interwoven stories that collide and react with one another in a fragmented cascade that makes it difficult to write about, because discussing any single scene implicates many related scenes. But for me, the real sticking point has been and remains the indeterminate foreignness of the film: indeterminate because it isn’t clear where it is simply strange to me because of my paucity of linguistic and cultural context, and where it is actually or – rather – meant to be strange. My perplexity need not be any deeper than the gulf of language, a lack of shared referents and a question of all-important comic timing. How, then, to distinguish what is lost in translation from what is added in translation? What does the film tell us about the task of translation itself and its means of mediation?

    This difficulty is most clearly demonstrated in the film by the recurring imaginings of Yoko, a commercial executive played by Koizumi Kyôko.1 She first appears lying in bed after an astoundingly brief round of intercourse with Aoyama, an odious but successful stage hypnotist played by Abe Hiroshi. Two plastic toys on the bedside table analogize their brief coupling: a pink bunny falls onto its back, spent, while the stick-legged faun it was bumping against continues to shiver, unsatisfied. However inadequate an encounter, it proves inspirational to Yoko, whose creative process manifests as a rapid blinking of her eyes and a dawning smile while a funky leitmotif plays in the background, ending in a compensatorily orgasmic “Oh yeah!” She dresses, gets up, grabs her dictaphone – a complexly embellished object marked with a crowned eye, another ongoing motif – and promptly records an advertisement idea: “A commercial about a man who’s quick in bed. He comes in three seconds.” This idea then plays out on a screen, depicting several men navigating an obstacle course of standard physical challenges, save for the final hurdle: sexual congress with a young woman. The underdog in the earlier challenges, lagging badly behind, is able to orgasm with such speed that he makes up for his lost time and crosses the finish line while his opponents are still thrusting away. Then the tagline: “Mind Blowingly Quick – For Fast Internet Access, Get SPEED!” (“Survive” 00:07:07-09:00). As with all humor, there is only so much accounting for taste and preference. Still, I thought this segment was funny, and Yoko certainly agrees – her snicker sputters in the exact cadence of self-amusement. Repeated viewings before friends and colleagues reinforce, however anecdotally, the sense that this first commercial is meant to be funny, and that its humor (more or less) manages to translate across the gap of cultural uncertainty. What could be more universal than the experience of unsatisfying sex?

    But as the film progresses and Yoko experiences more moments of inspiration, her “thought up commercials” require more active translation — for example, a segment in which two muppet-ish felt creatures in business suits pour water into holes on the crowns of their heads. It took some research for me to discover these characters are supposed to be kappa, folkloric water sprites. As with all jokes that require research, it failed to strike me as funny. But it also became impossible for me to discern just how funny the commercial might be to someone who did possess the necessary context. Worse still, I didn’t know if it was meant to be funny, how good of a joke it is, and how funny it should be.2 Is Yoko supposed to be making a bad joke? Is the scene funny because the commercial itself is not funny, and that’s the joke?

    Sekiguchi Gen’s own background is in advertising – Survive Style 5+is his only feature-length production – and so Yoko is the nearest thing to a self-insert in the film. This context is critical for understanding his contribution to the wider field of Japanese film that addresses the questions and problematics around the formation of individual identities in tension with traditional modes and foreign influences, which arose in the wake of the increasingly global economy and Japan’s turn-of-the-century recession (Iles 1, 23). Sekiguchi participates in a larger conversation taking place in post-war, post-bubble Japanese culture, not least in the field of cinema. The diffuseness of Survive Style 5+’s narrative is predated by at least as two decades in the work of Itami Jūzō, with his “textbook … postmodern filmmaking” (Iles 23) and its visual vibrancy and genre-defying experimentalism is indebted to the work of even earlier filmmakers such as Suzuki Seijun and Nobuhiko Obayashi.3 Yet these same traits and tendencies can just as easily be attributed to Sekiguchi’s time in the advertising industry, which had embraced postmodern methods with self-conscious enthusiasm (Ivy, “Critical” 33). In fact, the entire film is preoccupied with ethical issues that become clear only when viewed through the tensions at play during Japan’s advertising heyday, in the so-called “creative revolution” of the 80s and 90s. Advertising, one of the most prevalent and universal forms of discourse within late-stage capitalist society, is tasked with a wide variety of translational duties that represent genuine ethical stakes within a culture of corporate consumerism. Rather than view the indeterminacy that troubled me as a matter of obfuscation and ignorance, then, it profits us more to treat indeterminacy itself as central to the film: a problematization of a pro-consumer ethic championed by Japan’s “creative” advertising professionals, whereby the dual operation of advertising – making a product both universal in appeal and singular in its recognition – is in constant and irresolvable tension.

    In his book Ethnography at Work, anthropologist Brian Moeran outlines a drama that has shaped advertising practice and philosophy. Advertising agencies are effectively split into two branches: accounts and creative. The former court and keep paying accounts – the clients from whom the ad agency receives its commission – while the latter produce the copy, images, and campaigns. Traditionally, account workers had more job security and pay, the rationale being that “those who solicit, obtain and maintain accounts are an agency’s lifeline and therefore in some ways superior to those who do not bring in money” (Moeran 82). Creative workers, on the other hand, are tasked with spending client money, a distinction that – however restrained their budget4 – denigrated them by the functional standards of more conservative business practice (82). For watchers of Matt Weiner’s Mad Men, this may sound familiar, and with good reason. The US advertising industry of the 60s – the topic and setting of Weiner’s television program – saw the rise of these allegedly undervalued workers in what has been dubbed the “creative revolution.”5 The industry key change headed up by Sterling & Cooper in the fictional program was led in real life by Madison Avenue agency Doyle Dane Berbach.6 Both production and product changed as a result, leading to the rejection of traditional managerial practice in favor of individual initiative, and a re-prioritization of account management best exemplified by the era’s legendary creative directors walking out on clients who failed to grant them their due creative freedom, or to recognize their genius (Moeran 83). More fundamental, however, was the change in the perceived ethical obligations of advertising agencies, as well as the role of advertising in defining the symbolic function of commodities. During the era of account supremacy, the wishes of the paying clients were paramount, but the rise of creative saw a new commitment to consumers, even an avowed championing of them. As Moeran outlines:

    As advertising came to be seen as an ‘art’, and as creative people came to be regarded as ‘rebels’ against corporate order and general non-conformists, it was homo ludens (the consumer) rather than homo faber (the producer) who became the hero(ine) of the age. Thus were the Puritan values hitherto upheld by manufacturing clients challenged and temporally defeated by a carnivalesque approach to consumption. (85)

    In essence, the advertisers come to represent the interests of the people: not a people of workers – labor disappears when the term “producer” is assigned to the owners – but of consumers. In this model of capitalist liberation, the advertisers speak to and for the people against corporatism, forcing the stuffy, square company owners to give the people what they desire, to answer their wants without judgment. The promise of such a utopia is in keeping with the individualism that consumerism holds sacred, the assurance that every person can find, out the vast variety of products at their disposal, the one commodity that can answer their desires.

    This promise parallels the second change brought about by the rise of creative advertising, a shift that addressed “perhaps the most basic problem in advertising: how to make products that are very similar to one another seem ‘unique’” (Moeran 83). Advertising’s solution to this problem is to produce “visual and linguistic images that [are] themselves ‘unique’” through the practice of branding, a crucial operation in the consumer economy (83). Branding is no less than an attempt to grant proper name status — what Derrida calls “the reference of a pure signifier to a single being” (105) — upon the advertised commodity, to give it an untranslatable quality that renders it distinct and therefore memorable. And, indeed, the most successful branding projects do approach that grandeur, with brand-names like Band-Aid and Kleenex becoming not merely synonyms for their class of product, but the first term of reference.7 As Domzal and Kernan note, “[g]lobal advertising succeeds when it is perceived in semiotically-equivalent ways by multicultural consumer segments,” thus producing “culturally-transcendent meanings of the advertised product or service” (1). That is, a properly advertised product requires no translation or adaptation. It will speak for itself (or rather, the advertising will speak for it) in a manner that overcomes cultural distinctions, a re-imagining of a pre-Babel “pure language” that is, as Walter Benjamin posits, the impossible yet necessary underlying premise that makes the task of translation thinkable (257).

    This cultural overcoming is the presumed outcome of globalized media producing a single “global culture”, and the attendant “traditional products, with their localized cultural meanings, by universal products, which have global meanings” (Domzal and Kernan 8). This belief, dubbed “convergence theory,” predicts that variations in culture and politics will eventually “become at most surface markers for different societies in a globalized melting pot, more like regionalized accents than different languages” (Kline 102). Advertising’s place in this coming “homogenization” is privileged as “the ultimate means by which the developing world is integrated into the social framework of the developed West” (Kline 102). To wit, it depends on the victory of cultural imperialism, in which advertising serves both as the herald of a monolithic consumer culture and as its new lingua franca.

    The belief that advertising might somehow achieve this lofty goal may strike us as both quixotic and myopic, and not without good reason; this purportedly universal address targets a very specific group of consumers. In reality, the demographic segment that these supposedly “transcendent” advertisements address is a small subset of affluent, media-literate consumers (albeit figured as exemplary of the ascendant postmodern subject, the inevitable outcome of consumer evolution in a global marketplace). But this address, by definition global – and therefore both collective and “transcendent” – must also express the consumer’s individual sense of self, and answer their most personal desires. Indeed, this desire for a personal address is attributed specifically to the “global”, “postmodern” consumer, who wishes to be distinguished by their purchasing behavior and may even use products and commodities as a means of securing a coherent identity distinct from demographic expectations.8 Hence the postmodern consumer-subject’s rejection of “traditional bundlings of products in favor of eclectic … assortments which permit the creation of packaged styles to project individualism” (Domzal and Kernan 8). This paradox mirrors the challenge of bestowing unique identities on effectively identical products, and contributes to the peculiar role of advertising within contemporary capitalism: conferring fetish status upon consumer-commodities.

    Advertising’s fetish function can be understood both through a postmodern Marxist (by way of Baudrillard) concept of commodity fetishism, as well as the psychoanalytic definition of the fetish.9 Both cast commodities as possessed of seemingly-mystical properties that simultaneously indicate and occlude some deeper reality, symptomatic of the contradictions at the heart of the project of globalization. First, as commodities come to be viewed as objects for consumption rather than objects of production, they are invested with “sign-value,” the result of a “transeconomic act” in which consumption converts exchange-value into a signification of wealth (Baudrillard 112–113), so that the commodity represents “both a negation and affirmation” of use-value and exchange-value (Miklitsch 72). That is, the transformation of the commodity into an object of consumption brings to the fore its appearance as “the ‘ideal’ object of production: its ‘image’ (Bild), its ‘want’ (Bedürfnis), its ‘impulse’ (Trieb [also translated as ‘desire’ or ‘drive’]), and its ‘purpose’ (Zweck)” in a manner that aestheticizes the act of consumption itself (Miklitsch 85). The commodity therefore functions foremost not as an object-of-use or exchange, but as a locus of desire for both the postmodern consumer-subject and the engine of production itself, thus falling “simultaneously inside and outside the circuit of capital,” both motive-cause for production and luxurious signifier “beyond the surplus-value imperatives of the capitalist” (Miklitsch 83). This is particularly true of luxury commodities (Baudrillard’s example is the art auction), but can be extended to any commodity that possesses a symbolic excess, granting it that ‘special something’ that makes it worth of consumer attention. Advertising imbues the commodity with its sign value, bestowing the surplus value of meaning within consumer life. Further, the purportedly personal quality of advertising’s address, its targeting of the consumer’s unique selfhood and desire (qualities conflated in the postmodern subject), occludes the fact that the desire (and thus the selfhood of the desirer) is produced by the advertisement in the first place, and that—while both commodity and the desire it provokes and fulfills are meant to seem distinctive and unique—they are anything but, just as the target of the advertisement’s address is not a specific individual but a broadly-defined global demographic. For the production of desire is the other primary task of advertising, and goes hand in hand with its role of bestowing meaning upon the commodity – “why” is always also “why you want.”10 Advertising is tasked with presenting these desires as at once universal (understood by everyone regardless of cultural context) and particular (meeting individual needs and the need for individuality) while effacing the contradiction between the two, casting the enchantment that renders the consumer-commodity a fetish from the first.

    Advertising’s duties are thus quadrupled, forcing it to take on two types of fetishization, each of which also necessarily involves the double task of both effacing and indicating absence. It should come as no surprise, then, that – within postmodernity’s pervasive atmosphere of irony – the joke has become a critical part of advertising. As evidenced by contemporary campaigns – the constantly compounding silliness of GEICO ads, the entertainment arms race of Super Bowl spots – the joke makes the tightrope walk of advertising possible, allowing it to indicate absence without speaking of it outright, flattering the media literacy of the viewer/consumer, inviting them to indulge in the provocation of the advertisement without feeling duped. To “get” a joke is to be on the inside of some understanding, to be part of an elect, the receiver of the wink and the nudge. This feeling is indispensable to bestowing that necessary sense of individuality and exception. However, as indicated earlier, jokes are also one of the most difficult of cultural artifacts to translate, further complicating advertising’s aspirations to the role of the universal language of consumer desire.

    Survive Style 5+ takes up the question of advertising’s role in the formation of the consumer-commodity fetish and its relationship to jokes by way of its various interwoven narratives, which must be viewed in the context of Japan’s own advertising industry. The film not only serves as to document the aftermath of the high days of Japan’s own “creative revolution”, in which Sekiguchi Gen participated, but also puts to the test just how “culturally-transcendent” advertisements can be, particularly when undertaking the daunting task of translating humor. Moreover, it provides an alternative to the presumed dominance of American media, and of “American” aesthetics as “global” aesthetics. Indeed, it dramatizes the encounter between these “global” interests and representations of Japanese life and identity, which is produced and produces itself as possessed of a “uniqueness constituted as the particularized obverse of the West” (Ivy, Discourses 2), “an irreducible essence that [is] unchanging and unaffected by history” (Miyoshi and Harootunian xvi). This attributes to Japan a distinct relationship to postmodern globalism and diffuseness, although the tension arises at least as early as Japanese nationalism itself, starting with the forced end of the Tokugawa bakufu’s policy of isolation and the Meiji and Taishō efforts at modernization (Iles 39). However, the problem “acquired added urgency” due to the vicissitudes of consumer culture typified by the “economic strengths of the latter half of the 20th century, and then the economic hardships of the late 1980s and 1990s” (Iles 30). While not unique to the Japanese context, the self-consciousness of the commitment to “Japaneseness,” exemplified by the genre of Nihonjinron,11 makes the Japanese encounter with “the consumer age” an apt case study of how relational identity “must contend with questions of authenticity, of the brand, of fashion” that arise when self-identity is bound up with “such banal consumer-objects as pre-wrapped gifts from department stores” (Iles 40). Japanese advertising of the 1980s and 90s, and the films that arise around and out of it, provides a testing ground for advertising’s translational powers. This is not least because of the explicit connection established within Japanese cultural discourse between advertising and postmodern communication, in which copywriters and marketing corporations themselves took an active part alongside scholars and public intellectuals (Ivy, “Critical” 33). Released in 2004, a decade after the high-water mark of that discussion, Survive Style 5+ presents its own poignant critique of the hopes pinned on advertising during Sekiguchi’s time in the industry, and points towards a new mode of postmodern survival.

    The drama played out on Madison Avenue in the 1960s was restaged in Tokyo’s creative revolution during the 80s, roughly concurrent with the predominance of Japanese products – particularly electronics and automobiles – on the global market, and all the attendant American anxieties about Japan’s economic ascendency (Gordon 292). For all the neo-Orientalist fears of the super-efficient, ultra-conformist zaibatsu, however, Moeran’s account affirms that internal conflict is hardly foreign to Japanese companies, nor can Japanese corporate culture be viewed as entirely foreign. By 1996, when Moeran was staking out his ad agency (Asatsu), he claims that despite social and historical specificities, “the end results of creativity in Japanese and Western advertising industries do not appear to differ that much” (88). While this parallel is productive, we should not overlook the cultural and historical distinctions that mark Japan in the 1980s when this “revolution” was underway. Whatever the cachet enjoyed by American executives during the heady days of Madison Avenue, it never approached the degree of cross-pollination between theorists of postmodernity and the advertisers driving the industry in Japan, or the widespread popularity of such self-reflective texts as Now Is the Meta-Mass Age (Ima, chōtaishū no jidai), published by the trendy marketing company Parco Corporation (Ivy, “Critical” 33). At the time, the conversation about advertising’s central role in postmodern communication was explicit and widely voiced, with an emphasis on how it might be used to change communication in the postmodern milieu. In the rosiest and most radical assessments, this discussion held up the copyrighter (kopi raitaa) as a “cultural hero” who embodied “the creative, playful, and somehow subversive artist” as opposed to the “rigidified corporate and bureaucratic spheres in Japan” (Ivy, “Critical” 38).

    This tension in Japanese corporate culture is reflected in a scene in the film, where Yoko presents a completed ad – as opposed to one that is merely “thought up” – for “NonNon Aspirin” to a conference table of drab corporate suits. Prepared to show her work, with which she is “most happy” (“Survive” 00:29:30–39), Yoko’s presentation is interrupted before it begins by a phone call for the president of the client company, played by Sonny Chiba (billed as Shinichi Chiba).12 It’s his wife, making the first of a series of comically trivial calls that might shame him, if all the shame weren’t reserved for Yoko. The meeting turns into a creative director’s nightmare: her presentation is continually interrupted by the insulting calls, while the clients are yelling things like “this isn’t even close to what we asked for” (“Survive” 00:32:24–30). “The customers won’t understand the functionality of our product,” one particularly strident man barks. Yoko gives as good as she gets, of course. She rebuts the demand for functionalism, saying that consumers will “get lost in the technobabble,” a claim reinforced by the president’s inability to pronounce the active ingredients of his own product (“Survive” 00:34:01-31). In creative ethics, then, ads translate between unintelligible corporate functionalism – unpronounceable signifiers that describe content but not concept – and the consumer’s world of personal choice and significance, to help them “decide what a product means to him/her” (Moeran 80). The ad serves as symbolic supplement, evoking desire rather than merely relaying information, affirming the identity of the consumer rather than simply representing what the product “does.” Advertising must engage the consumer or lose their interest, leaving them unsatisfied. “Commercials must be entertaining. Otherwise no one will watch,” Yoko proclaims. “Simple one-sided corporate masturbation is…” (“Survive” 00:34:32–40). She trails off here, in favor of letting the president give a shocked echo: “Masturbation?”

    Fig. 1 NonNon Aspirin’s president (Shinichi Chiba) echoes Yoko.

    But for all her piss and vinegar – and Yoko comports herself with ball-busting imperiousness through most of the film – NonNon Aspirin is still footing the bill. During the taxi ride back from the meeting, she confirms that her idea has, indeed, been rejected. But they can’t fire her; she quits, hopping out of the taxi midway, only popping her head back in to harangue her meek associate one last time. Her mistake is classic; Moeran states that the advertising industry has a “‘multiple audience’ property” (84), meaning that its products must address both the client and the consumer, and Yoko has failed to account for the account – that is, for the clients themselves. Of course, this is only a sign of her fierce ethical commitment, for while account-centered practices emphasize the happiness of the corporate clients, the ethics of the “creative” place the emphasis on the consumer – specifically, on the presumed agency of the consumer – demanding that “copywriters and art directors construct their advertising messages in such a way that ideally everything is left up to the consumer” (Moeran 82–83). This rhetoric of choice is, of course, profoundly disingenuous when ascribed to a medium whose raison d’être is persuasion. It’s more accurate to say that, in keeping with advertising’s flattery of the consumer’s literacy and individuality, ads are meant to convey the impression of choice even while affirming that the smart consumer will choose only the product being advertised.

    Considering the construction of the film, which makes Yoko a much easier subject of sympathy than the faceless Non-Non Aspirin executives, it may be easy to read it as a simple celebration of creative advertising ethics. This kind of optimism was voiced by Japan’s postmodern intellectuals of the 1980s, who saw in advertising a parallel to their own role of intellectual translator: one who “mediates between the university and the masses” in the same way “the copywriter who mediates between the capitalist and the consumer” (Ivy, “Critical” 33). However, Yoko is not depicted as an unambiguous hero, nor even so clearly as a pro-consumer rebel. Certainly she styles herself as a champion of consumer entertainment, and considers herself an opponent of stern “Confucian” managerial style, favoring “playfulness and the carnivalesque” (Moeran 88). In practice, however, the specificity of her inspiration and the ferocity of her creative independence – hinging on the “joke factor” of the commercials – reveals less a contribution to consumer utopia and more a masturbatory tendency of her own. It is no coincidence that Yoko’s first inspirational moment follows the inadequate sexual encounter with Aoyama. The rapid flutter of her eyelids and the aforementioned “Oh yeah!” sound effect suggest that she’s “finishing herself off,” getting what her partner couldn’t give her while simultaneously revenging herself upon him in fantasy. This same eyelid flutter and sound effect mark every inspirational moment throughout the film, each signaling yet another “thought up commercial,” and each leading in turn to Yoko’s highly distinctive laugh, a wheezing snicker. Notably, this is the only laughter her commercials elicit, at least within the space of the film.13 The viewer may or may not find her jokes funny as suits their preference and capacity, but the onanistic aspect of Yoko’s inspirational process implicates her in the very practice she criticizes in her client. The ethics of creative advertising is her own fetish, covering up the disconnect between her practices and ambitions, the noble purpose she ascribes to her task as translator and the realities of the market in which she works.

    Fig. 2 Yoko (Koizumi Kyôko) pleasures herself in bed and in the boardroom.

    If corporate producers focus too much on the functionality of their product so that what they say becomes untranslatable, Yoko is excessively dedicated to the opposing principle: style. The role of a creative advertiser is to produce distinctness out of the undifferentiable, to bestow proper name status upon a product, but they must also make the product’s appeal as universal as possible. This combination of universal appeal and singular distinction has tended, historically, towards an excess of stylistic flourish that suffuses the film just as it suffused Japan’s advertising industry during the opulent latter days of its creative revolution (Lippit). This concept of style, already foregrounded in theories of the postmodern, was central to contemporary theories of advertising’s role in Japanese postmodernity: to convey a sense of “joyful knowledge” in which “sign and commodity fuse in an almost perfect representation of the larger symbolic economy” (Ivy, “Critical” 36). Style is a state of freedom for a signifier, a celebrated term within postmodernity, and one necessarily addressed in a film titled Survive Style 5+. On the face of it, Sekiguchi Gen’s film seems celebratory of or at least nostalgic for the heights of creative stylishness he must have experienced during his time in the industry, when commercials were regarded as “highly valued aesthetic artifacts” with the power to subvert their very consumerist messages through “a serial succession of images where the ad no longer advertises anything” (Ivy, “Critical” 37). However, the film retains its ambivalence throughout, not stopping with Yoko’s own frustrations. What emerges is a complex consideration of style – posited as the end result of creative advertising ethics, as the answer to the problem of personalizing the universal, of addressing the consumer properly – and its role in modern commodity fetishism.

    Celebrity cameos and endorsements are tried and true methods for advertising agencies. There is, of course, the benefit of associating the glamor of fame with the product being sold. More importantly, as international signifiers themselves, celebrities assist in the ‘proper naming’ that is so central to the creative effort. When I speak of “Bruce Lee,” the assumption is that I am referring to the Bruce Lee, rather than a Bruce Lee; international fame has made the name singular as well as universally recognizable, requiring no translation, as good a model for the culturally transcendent signification to which advertising aspires as can readily be found. Celebrities are particularly prominent in Japanese advertising.14 Kline views this tendency as a function of Japanese advertising’s distinctive method of “internalization,” whereby foreign influences are domesticated even as Japan rises to the fore in the global marketplace (101). He shows how advertising, as an exemplary indicator of the ascendant global consumer culture, elucidates the myth of Japanese cultural exceptionalism, a conception of Japanese national character that necessarily resists the claims of “convergence theory.”15 What Kline calls “internalization” is synonymous with Marilyn Ivy’s definition of “internationalization” (kokusaika), in which seemingly disparate, oppositional terms are united under the same function: “the domestication of the foreign” (Discourses 3). How, then, are American advertising practices be adapted, repurposed, and translated into the allegedly unique Japanese context, and how is it that a culture that prides itself on the domestication of outside influences can itself have become a primary competitor in the struggle for global media hegemony? Kline identifies two strategies in Japanese advertising, roughly analogous to the distinction (purely verbal and contextual) between gohan and raisu,16 whereby commodities are presented in two registers: either traditionally Japanese, in keeping with family values and an inviolable national character, or foreign, and thus “exotic and sensual” (112, 114). There is, however, an “intermediate world” where the categories of modern and traditional overlap, a register “not peopled by traditional types who represent longstanding characteristics of Japanese civilization, or foreign characters that resonate with the promise and sophistication of the ‘other’ modern world” (115). This liminal space, the space of translation between cultural categories otherwise constructed as distinct, “is populated primarily by well-known Japanese stars from the world of arts, sports, and entertainment” (115). How is this space of translation characterized? As a world of “entertainment” and “play” within the “world of goods” (112). This third realm, and the most obviously postmodern and ‘global’ in its conception, “reflects syncretic rather than coexistent grammars … assimilat[ing] alien meanings into the home context through the mechanism of style,” which Kline deems “of crucial importance” (116, emphasis added).

    Style, then, is the means by which cultural syncretism is achieved, even – or perhaps especially – in a culture that defines itself by its uniqueness. Extrapolated further, this observation informs the role of style and stylization in convincing the consumer of their own distinctness; “style” is frequently applied to the very quality of individuation that commodities claim to enable, as in “personal style” and “lifestyle,” terms loaded with connotations of choice and self-expression. Celebrities are avatars of style and stylishness; they are the stand-out example of sign-value’s preeminence. “Star-power” is a commodity with no materiality beyond its medium, its meaning, or its function as a universal signifier of significance itself. Moreover, because stars are instantly recognizable as themselves, they prove that style is the chief means by which the postmodern subject attains an individual identity; thus the Warholian promise of universal (if fleeting) celebrity becomes a general promise of distinct, individual identity in an era of alleged cultural homogeneity. Survival Style 5+’s own cast is appropriately star-studded. I’ve already named Sonny Chiba, Asano Tadanobu, Abe Hiroshi and Koizumi Kyôko, but there are also appearances by Reika Hashimoto as Tadanobu’s supernatural wife, and Vinnie Jones as a hit man who cuts a swath of misery through the narrative,17 whom Yoko has flown in from Europe to eliminate Aoyama.18 The overdetermination that comes from bringing together a cast with such diverse associations is in keeping with fragmented postmodern stylishness – there’s a Baz Luhrmann vibe to it.

    If you are tempted to ask what purpose this casting choice serves, you are not alone. Throughout the film, Vinnie Jones’s character asks “what is your function in life?” (01:51:40–45). His Japanese translator and near-constant companion, the plaid-suited coordinator for the Katagiri Killer Service, translates the question as “anatawa yakuwari nandesca19, a slightly awkward but accurate phrase. Yakuwari serves to translate “function,” but its connotations include “role” or “part” – a la a theatrical cast – as well as “contribution.” The same question, when begged of the celebrity casting, is answered in a scene in which Aman, Tadanobu’s character, hires the hit man to kill his wife, a task he’s as yet been unable to complete (though not for lack of trying). When this question is posed earlier in the film to an airline attendant, then to Aoyama, the results are grim; the airline attendant is verbally abused by both men because she cannot answer, while Aoyama ends up dead on his own stage because his answers are, by turns, a lie, and an admission of his uselessness (his fame and success do not draw water with Jones’s character). The brutal demand of functionality, as embodied by the starkly foreign character Jones plays, is a kind of evil avatar of global capitalism in its classically modernist conception; the violence of his performative foreignness recalls the way that Matsumoto Toshio’s Dogura magura (1988) codes its violence of the “global” against the “traditional” through fashion, with the characters in Western costume preying on those in traditional garb (Iles 46). Never permitting himself to be questioned or disturbed, Jones’s character instead demands that each character he encounters account for their usefulness. If he finds the reply lacking, as in the case of Aoyama, he renders judgment – “My friend, you’re not necessary” (“Survive” 00:41:51–42:23) – and destroys the object of the inquiry. In either case he is a force of reification, transforming persons into (dead) objects, his insistence on functionality not unlike that of the corporate suits, but backed up with ruthless violence.20 When the question is posed to Aman, however, he replies “I have none.” This answer – when translated into English – prompts the hitherto belligerent foreigner to smile, nodding. “Cool,” he says. (“Survive” 00:53:04–12)

    Fig. 3 Aman (Asano Tadanobu) answers the foreign hitman’s (Vinnie Jones) dangerous question.

    Cool. Meaning what? First and most obvious, that all these famous faces and big names are here for the sole sake of being cool. But, more importantly, that coolness itself – a concept closely allied with stylishness – is based in absence. Pure style, without the drab practicality of functional content, is cool. Moreover (and tautologically), cool can have no other use.

    What does this have to do with fetishism? The fetish is formed in response to the trauma of castration, of witnessing an absence where a presence had been previous imagined, prompting the synthesis of a replacement. Fetishes are compensations, transitional objects that attain their “magical” properties in reaction to absence, but depend on that very absence to operate. Seen this way, we can read the fetish quality of the commodity as a compensation for the lack of those master narratives and alleged culturally specific moorings that bestow a sense of identity in “traditional,” “local” contexts; sign-value as fetish is a distinctly postmodern necessity. Which brings us back to the film’s claim about coolness. The specific formulation of Aman’s reply – expressed in the English subtitles as “I have none” – is, in Japanese, “you butsu nani mo”. According to the Kokugo Jiten, “you butsu’ means, abstractly, the quality of visibility and presence; in less poetic usage, however, it simply means penis. Aman, still bloody from his last battle with his wife, is owning up to his castration. And castration, as it turns out, is cool – or, rather, it makes coolness necessary. The loss of meaning, of the presumed guarantee of presence provided by the phallus/logos, leaves a wound where substantive identity was once imagined to exist. Under the terms of postmodernity, style is the compensation for cultural castration writ large. As Jean-Luc Nancy puts it, the fetish

    is presence accumulated in its sign, presence collected into a sign, brought back to it. Therefore, it also makes the sign valuable as presence, signifying itself, present without signifying anything else. A presence that produces a sign and a sign that produces presence, a double artifice in whose lacework the imminently strange is incrusted … a pure sign, a pure present, the familiar uncanny of the power of nothingness (7).

    Aman’s status as castrated is attested to by more than just his confession. His plotline, which bookends the film, resembles nothing so much as a haunted house plot: the classic uncanny scenario that Freud links to the fear of castration.21 From the first frame, Aman’s narrative engages with horror movie tropes – a dark wood, a secret grave, a confessed killing – as he buries his murdered wife, an action he will repeat over and over during the course of the film, until the sequence attains a quality of mechanical repetition. Each time he returns to his home, an art nouveau palace of saturated color and visual opulence, only to reencounter his wife, a force of silent malevolence who, true to her ghostly status, has a formidable suite of supernatural powers while within the bounds of home, but is incapable of leaving the grounds. Aman’s is a proper haunted house, albeit one that substitutes tinsel for cobwebs and luminous color for shades of darkness. It is a geography of symbolist tropes that evoke the uncanny: autonomous dolls and severed limbs, phone calls from within the house and from within dreams, independently moving images, and of course the ghost of Aman’s own wife. It contains an entire room decorated with images of eyes – images that Aman replicates on his long coat, a cloak of substitute phalli – wherein Aman re-slays his wife with the help of a pointed minute-hand pried from a clock (also in the shape of an eye). Over and over he is pummeled and “unmanned” by his wife, and though he kills her again and again, she returns every time, frequently endowed with some new strength derived from whatever method he previously used to dispose of her body: detachable limbs, fiery breath. Every time she reappears in a more and more outlandish outfit, beginning with a brightly colored but relatively simple dress and hair-do, before ascending into the impracticalities of high fashion, becoming-image.22

    Fig. 4 The escalating style of Aman’s revenant wife (Reika Hashimoto)

    His wife’s first act of retributive aggression, however, is not any sort of direct violence. Upon their first tense reunion, she serves Aman an unbelievably sumptuous meal – a massive roast beef, a tower of flapjacks, a basket of bread, a dozen eggs merged on a single plate, just to name a few – an impossible culinary task that he consumes, with the help of a montage, under his wife’s ceaseless and watchful gaze. What might well serve as a commercial for a luxury all-you-can-eat breakfast – its visual composition bespeaks the director’s experience in the hyper-stylized heyday of Japanese advertising – takes on an aspect of menace, culminating in a cup of post-meal coffee, to which the wife adds an excessive portion of sugar, working the spoon with a sinister mechanical regularity. As Aman takes his first sip, his wife mounts the dish-laden table and delivers a kick that sends him flying, instigating the violent struggle that characterizes their interactions throughout most of the film.

    Fig. 5 A menacing breakfast.

    The scene dramatizes a collision between Kline’s two registers of Japanese advertising, a staging that occurs in a number of scenes throughout the film. On the one hand, we have traditional scenes of domesticity, as per the first register: Japanese home life, with wives serving food and drink to their husbands and dutiful children giving thanks to the head of the household. On the other, we have the invasion of Vinnie Jones, an avatar of foreign influence, whose import is explicitly linked (by way of Yoko’s request) to interaction with foreign commercial direction; brutal and reifying, he nevertheless offers a surrogate power for his translator, who, in acting as his voice, can partake in his unstoppable violence (preserving the resulting trail of dead bodies as stylish photographs that advertise his firm’s effectiveness). Between the two we have the realm of hypermediated images, initially suffused with a nightmare quality, in which traditional domestic relationships are fundamentally disrupted, marked by violence, the loss of family stability and – in a couple fleeting references – instances of rape and incest.

    We may be tempted to read a reactionary impulse into the film’s depiction of this convergence, and not without precedent; complaints about the corrosive effect of postmodernity on the coherence of cultural narratives are a dime a dozen. Japanese cinema of the 80s and 90s frequently addresses the issue of gender and family, both bulwarks of “traditional” social identity; Itami Jūzō’s Osōshiki (1984)23, Miike Takashi’s Bijita Q (2001) and Kawase Naomi’s Sharasojyu (2003) all tackle these questions (Iles 79). What little analysis has been performed on Survive Style 5+ correctly notes the relative powerlessness of its male characters, a reflection, the study claims, of anxieties around changing gender roles in Japan (Nah, Lee and Yu 817). Aman is pummeled by his wife, his own murderous rejoinders barely slowing her down; Kobayashi, a besuited father with troubled finances, is rendered ridiculous when a hypnotism-gone-wrong convinces him he is a bird;24 Sonny Chiba’s “president” character is sufficiently hen-pecked that he repeatedly interrupts a company meeting to take his wife’s calls about menial tasks as how to replace a light bulb. The only prominent male characters with access to power – the hit man and the hypnotist – are pointedly loathsome, and appear allied with the forces of global commerce and mystification. First there is Aoyama, whose tiger-themed trappings – a theme-song celebrating his power and beauty, an elaborate codpiece, a golden throne – conceal a profound inadequacy (as evidenced by his sexual failure); when matched up against the hit man, he is easily overcome, left bleeding to death on his own stage. The hit man, on the other hand, is a dangerous intruder whose interference and insistence on functionality – however it may have been solicited by Yoko and Aman – leads to tragedy, trapping Kobayashi in his hypnotized state, annulling Aman’s reconciliation with his wife, and wounding Jay, a good-hearted burglar, in a fit of homophobic rage.

    Yet these violent encounters result in novel outcomes and resolutions which, if not unmarked by ambivalence, are ultimately celebrated by the film. Kobayashi’s transformation allows him to achieve flight (with the help of his open-minded son, who delivers a monologue on the necessity of change), a pointed metaphor for liberation, which in turn saves Aman from self-destruction, the former catching the latter in mid-air as he hurls himself from the window of the Katagiri Killer Service’s office. The assault on Jay finally brings the mounting erotic tension between the burglar and one of his partners in crime to fruition, prompting Jay to avow a queer sexual identity and embark upon a new relationship with his friend. The film, therefore, does not propose a retreat into nostalgia; it does not reconstruct the “traditional” scene of Japanese home-life, nor does it bow to the global pressures embodied in the British hit man. Instead, it creates a new set of relationships that accommodates the changes ushered in by the era of the sign. It proposes to make peace with fetishization, accepting that traditional identity is a lost cause (if it ever existed in the first place) and embracing new conceptions of self-made possible in this realm of images, however frightening and new. For the fetish is at its most potent within the postmodern milieu, with its “its purely constructed meaningfulness” at once admitting to its artifice and its “double fictionality,” while at the same time “dissimulat[ing] that imposture,” continuing to function despite having, itself, no functional content (Bernheimer 4). This is explicated best in a scene in a grade school, where Kobayashi’s young son sits in class, his teacher delivering judgements on images the children have drawn of their fathers. For the most part these images are essentially identical, each deemed “normal” by the equivocating teacher, with an air of vague disapproval. The only images that break the mold are of Kobayashi himself, who is depicted soaring through the air with other birds; the teacher approves, misreading the image of Kobayashi as a “superhero” depiction (while simultaneously presaging his comic-book intervention at the end of the film). The other image, less well-received, is of another student’s father, dressed in women’s clothing, a misunderstanding stemming from the student’s mother saying that his father “likes women.” (“Survive” 01:04:42-06:12) While the teacher may not note the equivalence, the film earmarks it; both deviant dads have listed into the register of the image as images, one in the parlance of comics and movies, the other in the performativity of drag.

    The reference to transvestism is fleeting but telling, particularly in relation to the function of the fetish. As Marjorie Garber argues in her article Fetish Envy, “the fetish is . . . a metaphor, a figure for the undecidability of castration . . . of nostalgia for an originary ‘wholeness’ . . . Thus the fetish, like the transvestite . . . is a sign at once of lack and its covering over” (49). Yet when one forsakes nostalgia and rejects the myth of wholeness, instead avowing castration and the fetish it necessitates, it is possible to claim an “empowered transvestism” and thus “to seem rather than merely to have or to be” (Garber 56). As the essence of style, seeming is what counts in the era of the sign – not a naive approach or a mistaking of style for substance, but a willful avowal of the fetish, an empowered seeming. Garber refers to a performance by Madonna as a paragon of 80s style-as-substance, playing with religious iconography and the notion of her ‘materiality’, rendering unique and proper a name which was already unique and proper, but in a wholly different register. But this principle extends to the characters of Survive Style 5+, particularly Yoko, who staunchly refuses to use the verb-endings of feminine performance. Taking license to “get off” in front of the mystified (and all-male) corporate executives, her performative masturbation – an act comically pantomimed on-stage by Aoyama – reads as an empowering gesture. She is capable of pleasuring herself in ways Aoyama can only pretend, not because she “actually” possesses a phallus (unlike Aoyama, she doesn’t make grand proclamations about her power), but because she performs it, adopts it as a style, recognizing the necessary surplus of seeming. Style is power and pleasure in the milieu of postmodernity, as Yoko the creative advertising executive knows better than anyone in the film.

    But is advertising as a practice – endowing commodities with sign-value, and answering the demand for new identities better able to withstand the vicissitudes of postmodernity – capable of this signifying task on a universal scale? Can the fetish be mass-produced in a satisfactory way? The function of the fetish is, after all, highly personal, a critical supplement to the identity of the postmodern consumer. Can this role be entrusted to advertising, with its universal and ultimately functionalist (global, economic, capitalist) demands? Produced and released in the aftermath of the high hopes and low times of Bubble Era and its ultimate bursting, Sekiguchi’s film is positioned to give an incisive view on the promises and disappointments of postmodern advertising. These questions bring us back to the question of jokes, tied inextricably to the ethics of creative advertising in Survive Style 5+ by way of Yoko. She summons the foreign hit man (analog of foreign interests), is literally in bed with the hypnotist (a professional mystifier), and serves as the closest thing to a directorial stand-in, her job being the same as Sekiguchi’s own. She is the one who gives voice to the aspirations of creative advertising to entertain and communicate with the consumer, and she furthers those ends chiefly by way of her commercials’ “joke factor,” whether or not those jokes are funny or translatable. Jokes have a function similar to that of the fetish, particularly when viewed through Freud’s work on the subject. They indicate something repressed without outright revealing it, while also generating a surplus of pleasure. They are concerned with the “formation of substitutes” and the “representation of something that cannot be expressed directly” (Freud, Jokes 28). They are also indicative of the personal, establishing the position of the self; they are subjective communications that forge connections between the speaker and listener (which is why Yoko claims she uses them), which generally function best when they are culturally specific, spoken by and to the culture to which they pertain. The goal of global advertising, then, is to tell jokes that produce a common cultural field, to produce an all-inclusive “inside,” to generate a discourse that everyone will “get” on a personal level – a goal as strange as that of bestowing celebrity status on all people. Yet Yoko is the only one who laughs at her own (masturbatory) jokes, making them far more like the fetish-proper, an individual quirk that compensates for the disrespect and disregard she faces in her professional and personal life. As Freud notes, “no one can be content with having made a joke for himself alone” (Ibid. 175). Do Yoko’s jokes qualify as jokes, then? Do they qualify as ads? Can the fetish be universalized?

    The culturally-distinct kappa commercial mentioned above is inspired in a taxi, when Yoko – her frustration mounting throughout the film – browbeats the driver into a fit of literal hat-in-hand apology that reveals his comically bald head. However, when she tries to record the “funny” idea inspired by the encounter, she notices that her dictaphone is missing; she left it at a diner she visited earlier, where it is discovered by a pair of young female students, jaded youngsters who embody – along with Jay’s merry band of burglars and Kobayashi’s son – a rising postmodern generation. The students listen to a recorded litany of commercial ideas that play over Yoko’s panic as she exits her cab mid-trip and begins to run through the streets of Tokyo. Yoko’s urgency and upset are motivated by more than her desire to recover all her amazing ideas and hard work. Quite the contrary, the sound of the recording grows oppressive, and the content of the commercial brainstorming reveals the specific character of her ideas; a mix of the sexual and scatological, a series of foul smells and borderline dirty jokes, many without definite advertising application. They resemble nothing so much as vignette fantasies: “A crab and a shrimp having sex. A new taste is born. A snack food commercial.” – “Nose hair grows from lies.” – “An alien who eats from his butt and poops from his mouth. Farts hit his nose.” – “Deodorant commercial. A man with a canine sense of smell. He faints at the smell of his feet.” – “A guy as big as a horse with a condom to match.” – “A shampoo commercial. A man whose sexual pleasure zone is his scalp. Every time he washes his hair, he faints in agony.”25 – “When a girl’s period gets close, she jumps sideways.” – “A pain relief medicine commercial. A guy’s head hurts so much, it explodes. His brains fly BOOM, BANG!” (“Survive” 01:13:10–51; 01:17:30–45; 01:18:47-19:00; 01:24:01–09). Until finally the litany ends, and she stops running. Catches her breath. Intones: “I’m so stupid.” Turns and begins to walk back in the direction from which she came (“Survive” 01:28:03–58).

    Fig. 6 Yoko rushes to reclaim her tape recorder full of ideas.

    This sequence runs parallel to other movements towards closure in the narrative. We see Yoko again only in the final sequence, in which every major member of the cast makes a brief appearance. When seen alongside Aman’s reconciliation with his wife, and the burglars’ queer love connection, this proximity implies resolution or at least realization. By sheer weight of examples, we can see that Yoko’s jokes are not just untranslatable to non-Japanese audiences, but rather untranslatable generally: they are not funny, they are fetishistic; not popular, but personal.

    The ethics of creative advertising reach their deadlock here. While they endeavor to provide some means by which consumers can understand and experience their purchases as significant and so supplement their identities, creative advertising’s aspiration to universal address drives it into the crosshairs of postmodern critics like Baudrillard. Moeran cites Baudrillard when he presents the opinion (not his own) that “advertising appropriates people’s ‘real’ experiences”, devaluing them first by being “made reproducible in all other consumers,” and second because “the fluidity of commodity culture turns today’s ‘authenticity’ into tomorrow’s ‘falseness.’” “Ultimately,” these critics claim, “advertising signs indicate the absence of both human relationships and real objects” (Moeran 112). This (by now more or less standard) critique matches the claim to fetishization. Yet the mass-marketing of the fetish eliminates its particular character, eradicating the distinctiveness that creative advertising purports to create in the first place. Moeran holds out hope: his time spent in the advertising offices of Asatsu leads him to believe that some possibility of authenticity still exists in the social, human conditions of advertising production. Survive Style 5+ abandons the notion of the universal field of global advertising discourse, instead achieving the goal of individual distinctness, a proper naming that would sufficiently supplement the absence present in the life of the consumer. It does not bemoan this absence, but considers postmodern style as precisely the means of surviving, of synthesizing a new mode of being in the face of the failure both of traditional conceptions and foreign demands. It celebrates change and holds up the fetish, avowed fully and without reservation, free from functionalism. But that fetish must be personal, its style distinctive, and advertising is found inadequate to the task, precisely insofar as its address is purportedly universal.

    This, then, is the final failing of creative advertising ethics. The wish for both the universal and particular, the principle of granting a product a “proper name,” reaches an impasse in the function of the fetish. Try as the creative advertiser might to translate the value of an otherwise undifferentiated product into the specificity of the individual consumer’s desire, Survive Style 5+ posits that any such attempt will lead either to ads that are radically personal and untranslatable – as with Yoko’s jokes – or radically personal experiences that are transformed into objects of style – like the framed photos in the Katagiri Killer Service offices.

    Fig. 7 Photography and fire at Katagiri Killer Service.

    There is something commercial-like about the deadly dance between Aman and his wife in its consistent repetition, but it depicts a personal connection, a form of strange communication which resolves towards mutual recognition. The violence of their interchange, all of it stylized, develops into a dialogue, a reconciliation that finds them working together to mark the coat with eyes, to construct a cloak of fetishes, a profligacy of gazes, a surfeit of signification. They could go on like this forever, and given the chance they might wish to. Once Vinnie Jones’ hit man finally dispatches Aman’s wife once and for all, all that remains of her is the grave from which she won’t wake and the photograph that the plaid-suited translator coordinator has hanging on his office wall. Aman arrives and wordlessly sets the photo alight, rejecting the reified sign of the service he requested, establishing the terms of his own finality, the last act before his (aborted) suicide attempt. The message is clear: burn the photo, reject the universal, and accept no fetish but your own.

    Footnotes

    1. Former pop icon turned actress, Koizumi is a true engineered star. Her biggest selling-point is her ‘cuteness,’ the success of which lead to lucrative deals in advertising campaigns. This context is significant for the arguments to come. (Lippit 2011; Moeran 137–8)

    2. I may not, for example, find Anne Fletcher’s The Proposal (2009) funny so much as horrifying, but I do at least understand why Oscar Nunez’s strip show set piece makes other theater-goers titter. The joke’s mechanism is visible, and the investment in its funniness – the filmmaker’s faith in the gunpowder of the gag – are made evident through signs like duration, repetition and reference.

    3. Nobuhiko’s Hausu (1977), a haunted house narrative that employs animation and collage as well as live-action, is particularly resonant with the haunted house sections of Sekiguchi’s film, which contain their own multi-media elements.

    4. And one can imagine the expectations of the efficiency of ‘creative’ workers in their expenditure.

    5. This use of “revolution” can’t but sound ironic when the revolutionaries are Madison Avenue high rollers, but from a marketing perspective it’s very canny. Who could object to something called the “creative revolution,” much less during the heady 60s?

    6. Doyle Dane Berbach was responsible for the now iconic (at least in the advertising world) Volkswagen Beetle “Think Small” ads.

    7. I include another excerpt from Moeran to underline the importance of untranslatable self-identity to advertising; this section is descriptive of his own advice to the advertising company he was working with, who were then pursuing a client – Frontier Electronics – and brainstorming tag lines that would

    differentiate one company from another, in the way that Sony had been able to with its The One and Only. Frontier needed to be incomparable. It had to adopt a tag line that was distinctive and timeless, not subject to fashion. By going for something like It’s (All) in the Name, The Name says it (All) or Like the Name Says, Frontier would be able to re-enforce its image and turn back on itself in a never-ending cycle. Frontier produced cutting edge products at the ‘frontier’ – a descriptive noun that was also the company’s name, and so on ad infinitum. In short, Frontier = Frontier (13).

    Moeran’s italics make added emphasis redundant; the tag lines do, in fact, say it all.

    8. The oft-cited challenge of marketing hipness is that it must convince a large enough segment of the market that their own individuality, their own uniqueness (and thus the uniqueness of their desire), can be expressed through the purchase and use of a given product, which product is, perforce, mass-produced and mass-marketed.

    9. The connection between to two having been elaborated by numerous critics besides myself.

    10. The marketing of Listerine is the most commonly-cited example of this widely recognized phenomenon; first produce the cure, then invent the sickness.

    11. Translatable as “Discussions on Being Japanese” (Ivy, Discourses xv).

    12. The swinging reveal shot on this venerated martial arts film star plays up the cameo, begging recognition, a celebrity face ploy straight out of the kind of advertising that Lost In Translation (2003) pokes fun at. That he ends up being a henpecked corporate conservative rather than, say, Hattori Hanzo, is in keeping with the irony underwriting the whole piece.

    13. Though let’s be fair – all of these commercials, besides the Non-Non Aspirin presentation, occur safely in the privacy of her own mind.

    14. As Stephen Kline asserts in his comparative analysis of American and Japanese advertising content and practices, “Japanese advertising uses models, artists, television personalities (including singers, actors), and comedians most in its advertising” as compared to its American equivalent (111).

    15. That Japanese culture’s presumed resistance to global homogenization goes hand in hand with an equally pervasive myth about the homogeneity of Japanese cultural identity imbues the belief in cultural exceptionalism with its own fetish quality.

    16. Both are words for rice: gohan is the Japanese word generally written in kanji; raisu is a katakana transliteration of the English word. Thus rice signifies (and is signified) differently depending on its context.

    17. Vinnie Jones retains the thuggishness that made his acting career in Lock, Stock and Two Smoking Barrels, though without the redemptive fatherhood and with an extra helping of viciousness.

    18. Her reasons are derived from her experience working with foreign directors, whom she deems more “sophisticated” and who perform at a “higher level.” Yoko clearly does not cleave to a sense of Japanese cultural superiority; she is perennially frustrated by the limitations she faces, and her clients’ lack of vision.

    19. All translations are courtesy of Kathryn Page-Lippsmeyer, for whose assistance I am intensely grateful.

    20. A violence that is not without an erotic element: Aoyama states that it “feels good” as he dies, and Aman’s wife, in her final moments, smiles cryptically and silently bids her husband “bye-bye” before collapsing, her back a pincushion of tiny penetrations.

    21. The ghost story genre is also linked to earlier instances of the identity problem in Japanese culture, as evidenced by “a tremendous resurgence in the popularity of the ghost story and other literary works of horror . . . as a way of conceptualizing the trauma of social change on an individual level” during the Meiji and Taishō periods (Iles 39).

    22. This culminates in her final death, inflicted by Vinnie Jones’s hitman and preserved by way of photograph.

    23. Osōshiki prominently features a commercial set replica of a pre-modern inn (ryokan), staging the strange relationship between the traditional and the contemporary. (Iles 43)

    24. This scenario briefly places him in the care of farcical research psychologists, a recurring trope that appears as early as Kinugasa Teinosuke’s Kurutta ippeiji (1926), which locates the cure to contemporary identity fragmentation in “traditional” culture, signified by the Noh masks that are placed on patients to soothe them (Iles 20).

    25. Herbal Essences commercials of the late 90s, anyone?

    Works Cited

    • Baudrillard, Jean. For a Critique of the Political Economy of the Sign. Telos Press Ltd., 1981.
    • Benjamin, Walter. “The Task of the Translator.” Selected Writings, vol. 1. Edited by Marcus Bullock and Michael W. Jennings, Harvard UP, 1996.
    • Bernheimer, Charles. “’Castration’ as Fetish.” Paragraph, vol. 14 no. 1, 1991, pp. 1–9.
    • Derrida, Jacques. “De Tours of Babel.” Acts of Religion. Edited and introduced by Gil Anidjar, Routledge, 2002, pp. 104–134.
    • Domzal, Teresa J., and Jerome B. Kernan. “Mirror, Mirror: Some Postmodern Reflections on Global Advertising.” Journal of Advertising, vol. 22 no. 4, 1993, pp. 1–20.
    • Freud, Sigmund. Jokes and Their Relation to the Unconscious. Translated by James Strachey, W.W. Norton & Company, 1960.
    • ———. The Uncanny. Translated by David McClintock, Penguin Books, 2003.
    • Garber, Marjorie. “Fetish Envy.” October, vol. 54, Autumn 1990, pp. 45–56.
    • Gordon, Andrew. A Modern History of Japan. Oxford UP, 2009.
    • Iles, Timothy. The Crisis of Identity in Contemporary Japanese Film: Personal, Cultural, National. Brill, 2008.
    • Ivy, Marilyn. “Critical Texts, Mass Artifacts: The Consumption of Knowledge in Postmodern Japan.” Postmodernism and Japan. Edited by Masao Miyoshi and H. D. Harootunian, Duke UP, 1989, pp. 21–46.
    • ———. Discourses of the Vanishing: Modernity, Phantasm, Japan. U of Chicago P, 1995.
    • Kline, Stephen. “The Theatre of Consumption: On Comparing and Japanese Advertising.” Canadian Journal of Political and Social Theory, vol. 7 no. 3, Fall 1988, pp. 101–120.
    • Miklitsch, Robert. From Hegel to Madonna: Towards a General Economy of “Commodity Fetishism.” State U of New York P, 1998.
    • Miyoshi, Masao and Harootunian, H. D., editors. Postmodernism and Japan. Duke UP, 1989.
    • Moeran, Brian. Ethnography at Work. Berg, 2007.
    • Nah, Somi, Timothy Yoonsuk Lee, and Jinhwan Yu. “Research on Hypermediated Images in Asian Films.” International Journal of Social, Behavioral, Educational, Economic, Business and Industrial Engineering, vol. 5 no. 5, 2011, pp. 815–822.
    • Nancy, Jean-Luc, and Thomas C. Platt. “The Two Secrets of the Fetish.” Diacritics, vol. 31 no. 2, Summer 2001, pp. 2–8.
    • Lippit, Akira Mizuma. Visual Culture. University of Southern California, Spring 2011. Seminar.
    • Survive Style 5+. Directed by Gen Sekiguchi. Written by Taku Tada. Performances by Tadanobu Asano, Reika Hashimoto, Kyôko Koizumi, Hiroshi Abe. Tohokushinsha Film, 2004.
  • Reinventing Marx for an Age of Finance

    Robert Meister (bio)
    University of California, Santa Cruz

    Abstract

    This essay accounts for the production of specifically financial products such as hedges, focusing on how and why their liquidity adds value through a critical re-reading of Marx’s account of relative surplus value in the production of commodities. It then considers the political implications of its restatement of Marx’s view of capitalism, arguing that a political price should be exacted for rolling over the option of historical justice in the sense of sudden disaccumulation by issuing a government-backed liquidity guarantee (or “put”). Although economists have calculated the price of a systemic liquidity put as a liability of government–which becomes very high at moments like 2008–they do not take into account forms of political action that increase uncertainty about whether government will provide the guarantee, and in what form, if any, it will demand to be repaid. The essay seeks to pose this last, ultimately political, question about the financialization of capitalism.

    This essay is a response to the perceived inaccessibility of capitalism as an object of organized political action now that it has passed out of its specifically industrialized phase as a development of national economies, and into an era of globalized finance. In some ways, despair about the possibility of a transformative anti-capitalist politics is nothing new, going back to the representations in nineteenth century fiction of the dispersion of capitalist power from the factory floor to all spheres of life. But today, the dissemination of ubiquitous information technologies, coupled with the notion that “There Is No Alternative” (TINA) to harnessing them to the engines of finance, has led to a decoupling of the critique of capitalism as such from political strategies directed at the nation state—and to a consequent disillusionment with politics.

    My assumption is that there is no possibility of going back to a pre-financialized world of capitalism, whenever that might have been, so that we can, then, more effectively oppose it. Rather, I argue that capitalist accumulation has always required the creation of liquidity alongside the production of value, and that a political path forward can be found via a radical understanding of the world of contemporary finance. If my analysis is correct, then the theories and practices that brought us to the near-collapse of capital markets in 2008 are pregnant with other, transformative possibilities that are only now becoming apparent.

    I

    “Finance” is the name that capitalism now gives itself when understood and lived from the point of view of the investor for whom the easy convertibility of any asset into money—its liquidity—is logically distinct from any other utility that asset may have. What many critics (especially Marxists) profess to find most objectionable in the transition from industrial to financial capitalism is the lack of other utility in many financial products, especially derivatives, that are manufactured for the sole purpose of being liquid, and that are now large-scale repositories of accumulated wealth.

    Most of these critics are oddly nostalgic for the familiar problems of industrial capitalism, especially in the Fordist era, when financial products were far less prevalent, and crises were typically driven by the ever-present tendency of expanded production to exceed consumer demand. Rather than criticizing the financialized version of capitalism for leaving the familiar problems of overproduction and underconsumption behind, I approach the question of finance, and the manufacture of specifically financial products, by attempting to restate Marx in terms that allow for the extension of his analysis to our present era. Through this transposition of Marx into twenty-first-century language, I propose a new way of seeing him, and through him, a new way of seeing the historical continuity of capitalism throughout its changes.

    But why should we, who are living in a world dominated by finance, go back to Marx? The reason, put bluntly, is that for Marx, the whole point of extracting surplus value from commodity production is to transform that surplus value into what we now call an asset. An asset is a vehicle through which surplus value is preserved and accumulated. If surplus value could not be preserved and accumulated in the form of assets (capital), it would not be produced. That, finally, is why Marx named his book Capital rather than, for example, The Commodity, even though the latter is, most directly, the principal object of his analysis.

    Capitalist production is—both in its abstract form and historical origin—an activity that can be, and always could have been, financed by producers who had no initial ownership of the means of production and no initial control over their labor force. A capitalist “farmer” could, in principle and practice, have rented the land from a feudal lord and borrowed the money to buy seed. He could have, and sometimes did, pay for the seed only if the crop itself was able to function as security for that debt. The future crop was thus potential collateral even before it was a commodity. And so, two financial products, the debt and the security, were created alongside the consumer product for which there was a ready market. If in fact the capitalist ended up owning the means of production (the seed and the land), this was only because these came to function as vehicles for holding and accumulating the surplus created in earlier rounds of production. At this point the means of production would have also become financial assets that could themselves be pledged as collateral for future debt and thus material for creating new financial products that existed alongside the commodities they were used to produce.

    The fact that financial products are not merely instruments of circulation (that are sometimes fetishized), but also vehicles for accumulating real wealth is the problem Marx addressed when he tried to explain how capitalism could have arisen at specific historical moments. Any serious rehabilitation of his theory needs to be initially concerned with the role that an asset market (for capital) has always had in the ongoing reproduction of a commodity market (for goods and services).

    Today we need to be concerned with the way that financialized capitalism is a system in which accumulated wealth depends upon the liquidity of markets in financial assets that can grow independently of the output of useful goods and services so often idealized (in contrast) as the “real economy.” Despite this idealization, however, the possibility that asset markets can grow or contract independently of output is a conceptual truth about capitalism, resulting from the need for production to be financed in a way that makes it possible to accumulate the surplus. And whether there is a fundamental tendency in capitalism that asset markets tend grow faster than output is an historical question about the stages of capitalist development and its possible limits.

    Throughout the Twentieth Century both Keynesians and Marxists were concerned with what it means for asset markets to grow faster than the industrialized economies that supposedly “underlie” them. Is this differential growth something real that can be harvested to fund public goods? Or must it be regarded as a fiction that distorts the real relationship between the accumulation of surplus value and rising output—a mere excrescence of “late” capitalism that will simply vanish before it can ever be expropriated?

    Before proceeding to address these questions, we should note that Marx’s own sparse writing on financial instruments consigns them mostly to the sphere of circulation as distinct from accumulated surplus value in the form of (mostly physical) means of production that are only effective in preserving past wealth to the extent that there is a future demand for the increased output they enable.1 Marx’s materialism thus seems to commit him to some kind of conservation principle applying to value (by analogy with energy or matter), such that real growth in accumulated wealth (its value rather than its price) cannot be greater than the profits produced by total employment (wages) multiplied by the rate of exploitation as discounted by the rate of reinvestment. This means any duplication of the value of physical capital in the form of a financial instrument, such as a debt secured by such assets, would count as purely “fictitious” wealth from his strictly materialist standpoint.2

    My argument in this essay is that Marx’s valid insight into double-counting, as a potential problem, has led to an overly broad conception of “fictitious capital” that conflates two forms of economic contingency that ought to be distinguished. There is, of course, such a thing as fictitious wealth, created by purely speculative bubbles that have the logic of what Keynes called “beauty contests” and that René Girard calls “mimetic desire.” In asset valuation, we often see the suppression of the self-correcting (negative feedback) loops of market equilibrium in which, for example, rising asset prices lead to lower demand; instead, there can emerge a self-reinforcing (positive feedback) loop in which higher prices leads to greater demand until the bubble “bursts,” at which point asset values typically fall far below their initial levels and financial “speculators” are held to blame for both the run-up and the loss.3

    Without denying the occurrence of bubbles, I wish to distinguish such forms of artificial wealth from capital accumulation that takes the form of financial instruments that retain their liquidity—ready convertibility into money—without necessarily being money. The existence of assets that command a premium because they are represent liquid claims is artificial in the sense of being a “figment” of social convention and would lose this property if they were not believed to have it (Berle 60). But this is equally true of money itself, and it is essential to the existence of a market mode of producing commodities that there also be stores of value that are more highly pledgeable than ordinary consumer goods and that can be sold and resold to raise funds. Assets that have this property are valuable whatever else one might want. They are like “mimetic” (purely social) goods in being relatively immune to an elasticity of demand, and are contingent in a further, political, sense that states have an interest in supporting the values of liquid assets as safe (highly-pledgeable) collateral in order maintain credit in the economy—a function that takes on a heightened significance under today’s financialized capitalism.

    The argument that follows thus seeks to reintegrate finance into Marx’s account of the social materiality of capital by stressing the role of collateralization as a process that has always existed alongside commodification as a way of meeting the discipline of payments that market-based economies impose. This will allow us to understand the effect of capital on capitalism, and specifically how the relative independence of asset-market growth operates on the underlying inequalities that allow it to occur.

    II

    The practical question that I seek to address through Marx has been forcefully posed to a wide public by Thomas Piketty’s blockbuster book, Capital in the Twenty-First Century. His main question is, “What is the effect of wealth accumulation on income distribution?” and his contribution to the answer is both conceptual and empirical.

    Conceptually, Piketty’s approach measures capital accumulation by the number of years of GDP it would take to equal the valuation of a country’s capital market. His approach presupposes that there can be inequality in both wealth, which reflects the market value of financial assets, and the current income that results from the ownership of financial assets. Overall inequality increases, he says, as these assets both appreciate in value and throw off increasing revenue based on constant or increasing rates of total return on that higher valuation. Piketty’s question is one that Marx’s production-based analysis of capital growth purports to deflect—whether there is or (can be) a tendency for the rate of growth in the inequality of wealth to differ from (and generally exceed) the rate of growth in the inequality of income as economies (crudely measured by GDP) expand.

    Piketty’s way of framing this question makes it plausible that as the ratio of accumulated wealth to national income grows, so too will the likely share of national output each year that goes to the wealthy. He insists, however, that this is only a tendency. It can be offset by circumstances such as war and depression and by government policies that prescriptively lower the rate of return on capital as the ratio of wealth to output rises. Such deliberate policies—including redistributive income taxes, capital levies, and monetary controls—are possible because, as a purely conceptual matter, the rate of return on capital can be defined independently of the valuation of financial asset markets and could, thus, fall as asset values rise.

    But could the rate of return on capital fall fast enough to offset the effect of a rising ratio of financial markets to goods and services (GDP) in making income distributions more unequal? Piketty—who eschews talk of socio-economic revolution—seems to treat this hypothetical outcome as a criterion for a fair-enough distribution of revenue between classes in an era in which the growth of capital markets far exceeds the growth of output. The valid point here is that one could use Piketty’s empirical analysis to target the share of national income going to holders of capital and not allow it to rise while still allowing the relative rates of growth in asset markets and their underlying economies to follow whatever presumably natural course the mode of production requires. So, yes, the actual revenue growth derivable from capital accumulation could be constrained by a policy that indexes it to some other statistic such as GDP growth.

    Although Piketty does not say so, a predictable effect of such a policy, especially if workable, would be to lower the value of accumulated assets, which would disaccumulate capital until the rate of return on principal rises once again. Surely this is not an oversight on Piketty’s part. It may in fact be the intended result of his recommendation of a curb on the share of national income going to capital. What he does not say is that an expected decline in asset valuation would certainly be resisted by capitalists acting through their intermediaries in both government and the financial sector. In Piketty’s policy approach, we thus have a recipe for class struggle or, if not, an analytical description of what it looks like for class struggle to be forestalled by artificially restricting the nominal growth rate of capital markets to growth in real output plus inflation.

    III

    Oddly, Piketty’s book, though titled Capital in the Twenty-First Century, deals with almost every aspect of the rising inequalities due to rapidly expanding capital markets except for their grounding in finance (or capital itself) as it has changed in the twenty-first century and the years immediately preceding. In this respect, Piketty follows the tradition of both classical and neoclassical political economy by treating the discipline of payments (the need for funds), which defines market relations, as a veil that hides what is really going on in the exchange of equivalent values. A mainstream economist will typically “pierce the veil of money” by assuming that payments in money are always already being made and that access to money and/or credit (which postpones the need for money) is not part of what is being bought and sold in the real economy.4

    This working assumption is, of course, not true of capitalism in the twenty-first century. Today funding is obtained by finding arbitrage opportunities in the changing spreads between spreads. But these include, not only the spreads among different kinds of financial products, but also those created by among all kinds of borders—including spatial, political, socio-economic, and cultural ones—that can now be negotiated by those in economically precarious positions to obtain the work, credit, state aid, remittances, and so forth necessary to fund everyday life.5

    Neither, however, was the assumption true in Marx’s time. Like Hume, Smith, and Ricardo, Marx tried to pierce the veil of money by assuming his wage-earner to be both debt-free and uncreditworthy when he enters the labor market. This makes him entirely subject to the discipline of payments, which means that he must fund his means of subsistence entirely out of his wage, none of which goes for the purchase of any financial products, including those providing him with temporary access to funds. Marx here pierces the veil of money by defining wage labor as a social relation in which money is spent as soon as it is gotten on commodities that do not function as value preserving assets (investment goods) for either the purchaser or the seller. He says this despite the obvious fact that, when he wrote, there would not have been enough currency in circulation to pay workers cash in advance, and the custom was to pay in arrears using other forms of exchange.

    More importantly, Marx’s hypothetical assumption of the need to make immediate payment of one’s entire income for the food and clothing necessary to survive obscures the more general question he raises about labor under capitalism: How does capitalism fund working class consumption in a way that most reliably accelerates the accumulation of capital? It is, after all, capital accumulation that drives the system, and there are many historical circumstances in which such accumulation may be best advanced by indebting wage earners rather than making them pay for everything all at once. Today, many employed persons and the entire surplus population need the availability of funds outside the wage in order to live. They do not depend on sale of their labor power as their sole means of subsistence and are thus better described as participating in unwaged sectors of an economy in which there are not enough jobs for everyone than as “unemployed.”

    My takeaway lesson here is that for Marx consumption must be funded (financed), and that one way to do this is by the direct provision of jobs that pay money wages sufficient to purchase the means of subsistence and eventually to create an effective demand for mass-produced consumer durables. This is what happened in the case of twentieth-century Fordism. It is also clear, however, that according to Marx’s “Absolute General Law of Capitalist Accumulation” (Capital I, ch. 25), a large surplus population is an eventual consequence of greater capital accumulation. For these underutilized workers, and for many who are more fully employed, wages are only a part (and often a minor part) of a package of funding that now includes the return on various financial products purchased to insure their household against ill health, old age, and so forth.6 Even though some of these events may seem to be near certainties, they can be hedged against, and thus financed, to the extent that their timing and ultimate cost is contingent on unknown future events.

    It follows that the Marxism we now need (let’s call it a Capital for the Twenty-First Century) is one that connects the production of commodities (total social output) with the production and accumulation of asset values (total social wealth), as Marx tried to do with what he regarded as only partial success.7 The point of restating Marx by focusing on the question that drives Piketty is to better understand, as Piketty does not, the way the logic of capital itself drives capitalist development.

    For Marx that logic is based on the distinction between assets that preserve their value in use (and thus remain liquid), and consumer goods and services whose value is extinguished in use (so that they become illiquid, or valueless, as investments). His core argument is that the production of goods and services by means of wage labor creates a parallel demand on the part of investors for vehicles of surplus preservation that would themselves have had to be produced using the same wealth-creating processes. This understanding of Marx allows us to ask the following question for our moment of finance: What new types of financial asset could there be under capitalism, and how could the changing ratio of asset markets to the market in goods services drive its historical development by producing new social conflicts?

    Marx sees early on in Capital I that this new type of financial asset used for purposes of accumulation must distinguish itself in important ways from money, which remains the first and foremost financial product. He thus notes that the “General Formula for Capital” cannot be simply M-M1 (assuming that M1>M), where money begets more money (Capital I, chs. 4–5). There must be an investment of money in an asset other than money to create real, rather than nominal, wealth (M-C-M1). Marx is most famous for noticing, along with Smith and Ricardo, that new value can be produced by purchasing labor power by means of a wage that will then function to increase effective demand for the products created. He is less famous for his equally original argument about the way this increased value is preserved—namely, by buying new producer goods, which function not only as the means to increase output but also as assets that in many circumstances hedge against the danger of merely holding on to (i.e., hoarding) the money one received from the last cycle of production.

    Unlike his precursors, Marx thus saw the purchase of producer goods—his “constant capital” (including what Smith and Ricardo called “stock”)—as a partial solution to the problem of how to preserve and accumulate wealth without hoarding currency or speculating in land. The idea of constant capital as a relatively liquid asset that holds its value (in the sense of being exchangeable for money up to and including its conversion into an end product) is essential to Marx’s explanation of how capitalist production gets funded and why the resulting surplus can be reinvested in new production. And the essence of capitalism as a mode of production is precisely that production has to get funded: otherwise, how could the capitalist pay the worker a wage that will be spent on consumer goods that (unlike producer goods) do not hold their value in use?

    For Marx, it follows that in capitalism, funding production becomes an alternative to holding currency (or land) as a means of preserving and accumulating wealth. For an investor, this means that the purchase of financial assets (a version of M-C-M1) needs to be compared to buying money (M-M1) as a strategy for hedging the value of the assets one already possesses in a world in which the preservation of wealth is no longer assured by social convention or political force. To restate Marx in the register of finance, we must thus recognize that there are really two substitutions for (C) in his General Formula for Capital (M-C-M1)—capital invested in wages and capital invested in producer goods, which are seen partly as a means of production and partly as a more or less liquid collateral that can be used to generate cash.

    The concept of collateralization allows us to state more precisely how production gets funded. This, I believe, is the missing link between Marx’s developed account of the commodity form and his much less developed account of the asset form and, more generally, of finance. What we have in a fuller version of his account is a flow of funds and a flow of collateral providing liquidity for the circulation of commodities and the creation of value. To extend the parallel, the liquidity of accumulated wealth is a byproduct of finance in much the way that the valuation of socially necessary labor-time (GDP) is a byproduct of production. The relation between liquidity and value is mediated by market prices, eliminating the need to “transform” price into value.8 This means that asset prices can grow without affecting inflation because they are denominated in currency, the value of which is pegged to the purchasing power of the wage (consumer goods) rather than to purely financial products that have no use value other than to provide liquidity (Foley, ch. 2).

    In a previous paper, “Liquidity,” I argued that Marx comes closest to meshing the gears between commodity production and asset production in his account of “relative surplus value” in Capital I. By this point in Capital, he has already introduced the concept of “absolute surplus value” to describe the expansion of labor-force participation (and also a lengthening of the working day) that lies at the heart of the “labor theory of value” put forward by Smith and Ricardo. In their labor theory of value, all value is produced by the employment of wage labor. This means that there is no inherent bias in favor of production technologies that economize on labor-time rather than capital, provided that the potential labor force is fully employed and the economy is at a steady state.9 After full employment has been reached, capitalism would exhibit no inherent dynamic leading to industrialization and the consequent mechanization of tasks once performed by manual workers. It is “relative surplus value” that explains this later development, and thus avoids the conclusion of classical political economy that capitalism results in a steady state of full employment, which is the outcome that nineteenth-century socialists like John Stuart Mill hoped to influence.10

    “Relative surplus value” is not based on increasing total social labor time but, rather, on the most basic maxim of finance: the “law of one price.” This so-called law says that two identical units of any given commodity should be sold at the same price regardless of their cost of production. Beginning in chapter 12 of Capital I, Marx implicitly (and perhaps unknowingly) applies this maxim of finance to those forms of production that convert raw materials into finished commodities. His implicitly financial claim is that this form of production allows the producer an arbitrage opportunity on his investment in producer goods if he can put out more units of product in the same labor time.

    Why does such an opportunity exist? Because he (presumably) would not have to lower his selling price on units embodying identical inputs of material until the competition caught up in reducing labor costs. Creating this arbitrage opportunity in the turnover of raw materials (which are one component of Marx’s “constant capital”) is just another way of describing an increase in the productivity of labor through investment in machinery (another component of his constant capital).

    The important point here is how far Marx’s intuitive application of finance to production takes him from the labor theory of value in Smith and Ricardo. In his account of “relative surplus value,” unlike in his account of “absolute surplus value,” more value is not created by employing more labor. It comes, rather, from being able to resell the same amount of raw material in the form of finished product at a lower per unit cost. Does the origin of this surplus in a financial idea make it “fictitious” in Marx’s sense? The accumulation of wealth from “relative surplus value” is no less real/material for Marx, even though it comes from arbitrage on constant capital, than the accumulation of wealth from “absolute surplus value,” which comes from increasing the number of jobs as population grows. It is, moreover, relative surplus value that, according to Marx, explains the world-transformative mission of industrial capitalism and makes it unlike other systems that have organized themselves around a division of labor including the system of highly skilled and specialized hand manufacture described by Adam Smith.

    The foregoing account of relative surplus value presents an obstacle to readings of Marx that relegate finance to the sphere of what he calls “circulation,” where real value is misrepresented in the form of market prices that converge with values only in the aggregate form of GDP.11 Anyone who thinks that real wealth under capitalism consists only of use values created by the employment of labor would now have to dismiss all of Marx’s arguments based on relative surplus value. Most particularly, Marx’s argument about the effect of relative surplus value on the ratio of raw materials to labor costs (“the organic composition of capital”) would have to be seen as purely speculative inasmuch as it hinges on the ability to “realize” (i.e., market) the end product, which in turn depends on liquidity in both the consumer and financial sectors.

    I believe, on the contrary, that Marx’s account of “relative surplus value” leads to real accumulation and is as close as he comes in all three volumes of Capital to explaining the effect of asset markets, and ultimately of finance, on capitalism as a distinctive mode of commodity production. It is, for example, the logic of financialization, as reflected in relative surplus value, that leads to what Marx will eventually call “the general law of capitalist accumulation” (Capital 1 ch. 25).12 This law describes the creation of ever-increasing constant capital (productive capacity) alongside a growing surplus (i.e., unemployed) population that is not in aggregate employable because of capitalism’s bias in favor of labor-saving technology. Marx’s genius, beyond that of Smith and Ricardo, was to see that producer goods (constant capital) do double duty in relative surplus value both as produced means of production and as vehicles of accumulation (or what we would now call financial assets.)13 This is the gear connecting the asset and commodity markets that drives capitalism (for a time) to perform its historical role of creating both an abundance of things and an abundance of wealth. It does this by allowing investors to become wealthier through their ability to harvest the spreads created by the effect of technological and other change on the time it takes to generate returns on the investment in the raw materials necessary to produce commodities on an expanded scale.

    A striking parallel in modern finance is that the expanded manufacture of debt/credit instruments does double duty in our account of asset production, similar to the way the expanded manufacture of producer goods (constant capital) does in Marx’s account of commodity production. Here debts are like raw materials producing other financial assets that may involve splitting off and repackaging various aspects of risk (such as interest rate risk, default risk, principal risk, currency risk, etc.). Debts themselves also serve directly as vehicles of capital accumulation to the extent that they already constitute future revenue streams that have a present value. Today, an ever-larger proportion of the consumption basket is being used to purchase consumer financial products—often to fund necessities of life like health insurance and housing loans—that create financial instruments that can be used to manufacture new financial assets that can be purchased by institutions and wealthy individuals as vehicles of wealth accumulation.

    I have been claiming that there are two distinct arguments at play in Marx’s critique of the General Formula for Capital (M-C-M1). With respect to “absolute surplus value,” Marx’s argument is that the commodification of labor power allows for a surplus to be created by the employment of workers who are paid a wage that creates a market for the commodities they produce. In the case of “relative surplus value,” however, the argument is different. Here it is the financialization of producer goods that allows the capitalist to vastly increase output through investment in plant and materials alone, while simultaneously reducing his employment of wage labor and implicitly depending on non-wage sources of purchasing power to fund aggregate consumer demand.

    IV

    Whether my discovery of a concept of liquidity inside Marx’s concept of value is a critique or an elaboration of what he actually said is for the reader to decide. It is clear, however, that even when Marx takes his argument beyond the market to the factory floor, the market itself—that is, its liquidity—is already being constructed in the form of new financial products that also happen to be produced means of production. This is why the second volume of Capital concludes with an extended discussion of the need to balance the two “departments” of production—producer goods and consumer products—and then insists that such a “balance” could not constitute what economists would now call equilibrium. Rather, it is merely a point that is passed through on the way between boom and bust and boom, again. For Marx, the lack of any stable equilibrium is inherent in the “logic” of accumulation through overproduction described in Volumes I and III.14

    Is Volume II merely incorrect as a description of the way that the system of production appears within the realm of circulation—perhaps self-consciously so on the part of Marx? Or is it an anticipation of the logic of finance before it was possible to manufacture vehicles of accumulation that had liquidity and were not means of production? The basic fact is, as I argue in “Liquidity,” that what Marx narrowly called “the realization problem” is precisely what mainstream economists (just as broadly, but no less crudely) describe as the existence of “a market” for one’s goods and services. In both cases, what is at stake is quite simply the ability to monetize one’s price and thus raise funds. Marx rightly describes this as a problem, and not an equilibrium, but he did not see that what it means to problematize “a market” is to question its liquidity—to ask whether it exists at all. The potential inability to raise funds—literally, to get (or “realize”) money—is of course inherent in all financial assets other than money itself, the inner secret of which is that it does not have to be spent. So, the “realization” (or liquidity) problem that Marx identifies as causing disaccumulation-by-crisis is attributed by him to a hoarding of money—what Keynes called a heightened “preference” for liquidity—in times of economic turbulence.

    Like all liquidity problems, Marx’s realization problem results in a reduction of asset valuation. It differs from other financial devaluations only insofar as the assets themselves are also produced means of production, and not merely produced vehicles of accumulation. To the extent that they have use values other than to be liquid they are not pure financial products, whose use value consists entirely of having a price. Here it is unsold commodities and a resulting glut of raw materials that get written down in value as collateral, making it harder for the next round of production to get financed in a world in which (as Volume II unexpectedly demonstrates) there is no inherent equilibrium between the markets in producer goods and consumer goods. The key point here, however, is that Marx’s realization problem is ultimately a liquidity problem. The collapse of the market price for one’s end-product results in a shortage of funds and the reduced ability to sell off one’s unused raw materials and underutilized machinery to raise funds.

    What Marx could not have known, as I show in an earlier essay (“Liquidity”), is that his realization problem could be hedged by the manufacture of puts and calls that preserve the value of one’s investment in raw materials during the time it takes to convert them into finished product. Neither could he have known that it is possible, by manufacturing options, to lock in the otherwise fluctuating price of the finished product.15 Marx could not have known any of this because until the Black-Scholes-Merton (BSM) formula of 1973, there was no technology for manufacturing puts and calls in whatever quantity was necessary to meet the demand for these financial instruments without exposing the manufacturer to the speculative risk of owning puts and calls. Stated most simply, BSM defines the price of a manufactured put or call as the cost of hedging it (making it risk free), only after which can the trading of these financial instruments have the use value of pricing risk in the marketplace.

    The existence of a market in puts and calls—the continuing ability to price and monetize them—creates enough liquidity in the underlying market for producer goods to avoid the specific causes Marx gives for the “realization problem.” Value is preserved and accumulated in the form of financial assets by playing on the spread between the asset’s market value if it remains liquid and the asset’s liquidation value if it does not. A fully liquid asset is as good as cash and is thus an alternative to hoarding cash as a store of value because there is no risk of not being able to sell it immediately at its market value. To finance (fund) any asset that is less than fully liquid, one would have to pay a “liquidity premium” either by purchasing a hedge or by posting collateral that is more liquid than the asset itself. Here, the “liquidation value” of the asset would be the cash one could get by selling the pledged collateral, and the “risk premium” would reflect the extent to which the initial value of the collateral exceeds the value of the financial asset that it is used to secure. Based on modern financial theory, there is now an established sense in which an investor in any secured asset is in effect selling a put (or guarantee) to buy back the loan for the market value of the pledged collateral, even if it falls below the value borrowed against it. So, the secured creditor is implicitly collecting a premium (the price of the sold put) that is implicitly purchased (as a hedge against default) by the borrower, and which reflects the spread between the liquidity of the actually-pledged collateral and that of risk-free government bonds (Draghi, Giavazzi, and Merton, 14–25).

    Stated most simply, my argument is that Marx’s realization problem, which expresses the effect of the general “tendency” of capital accumulation to create “crises” of disaccumulation, identifies the space now occupied by portfolio theory in modern finance. In other words, the financial side of the M-C-M1 formula for the self-expansion of capital would now describe C as a portfolio consisting of both debt and equity, and both puts and calls. These are the purely financial products (other than money itself) that are thrown off by the process that Marx describes as capitalism. Their relation can be expressed statically in the basic financial formula that describes the parity of debt and equity in terms related to the parity of puts and calls:

    Stock + Put= =Call + Debt

    As I say in my essay “Liquidity,” “This formula is a simple identity. Intuitively, it says that, if you own a stock plus a put giving you downside protection, you can replicate an investment return equivalent to owning a call giving you upside participation on the stock plus the present value of a loan that has a principal value equivalent to the current stock price.”

    Market liquidity is a result of the ability to manufacture all of these elements, and the pricing of each depends upon the existence of a market in all of the others. Liquidity is thus what financial markets create alongside what Marx called the “value” of goods and services (GDP) that derives from the capacity of what we now call the “real economy” to employ workers who can purchase them.16 Value, for Marx, is in this respect the spectral effect of a fully-employed labor force on the price stability of wage goods—how much labor they command. This is what determines the value of money itself as a vehicle of financial accumulation.17

    The shadowy presence of liquidity alongside value implicitly pervades even Marx’s account of social reproduction through spending the wage. Wage goods, by definition, lack liquidity insofar as there are no economically valuable options embedded in them. This is why Marx’s abstract wage laborer is not investing when he spends on consumer goods and why he must constantly return to the labor market in order to fund his consumption. Every commodity, except for wage goods, has liquidity and can thus serve as a vehicle for preserving and accumulating capital.

    Now that financial products such as health insurance, pension plans, and student loans have become part of a household’s cost of living, the worker’s purchase of them can still be understood in Marxian terms. Rather than see them as investments in human capital, it is better to understand them as a tax paid to the financial sector instead of the state for the maintenance of basic human needs. The worker is here being sold the opportunity to hedge against a specific band of downside risk through an essentially financial product that now enters into the true cost of living without, however, appearing in the inflation index produced by national governments.

    In this re-stated form of Marxism, the pricing of a hedged portfolio would be the counterpart on the financial side of production to the pricing of the commodity on the production side. The ability to hedge is what preserves accumulated wealth by preventing it from fluctuating outside a specific band for a designated period of time. (This is true even as a matter of definition.) Yet the hedge itself, which is essentially a marketable contract, has no use value except to have (and to lock in) exchange value.

    Learning to manufacture and price hedges, first for the asset markets and now as consumer products, has been as important to the development of financial capitalism in the late twentieth century as learning to manufacture commodities by means of industrialized wage labor was in the late nineteenth. This ability of financial institutions to shed (or limit or shift) downside risk is what made asset values more resilient in relation to political risks of disaccumulation beginning in the 1980s. Although Piketty himself does not acknowledge this, it is what allowed the Piketty-effect of rising asset values relative to output to take off.18

    Was this growth in asset prices simply the result of an excess supply of fiat money following the demise of Bretton Woods and, ultimately, the gold standard that even Marx believed imposed a price discipline?19 Speculative bubbles brought on by currency gluts do occur. And there is such a thing as consumer-price inflation. But insofar as the domestic value of currency is ultimately tied to the purchasing power of wages at full employment (a premise shared by Marx and Keynes), there remains a valid distinction between price stability in wage goods and the rising value of investment products as vehicles of real capital accumulation.

    The central point here is that, even if the profit on employing labor for the purpose of producing finished goods declines,20 the overall return on capital can increase through the growing market for financial products. Nowadays these are being sold as an ever-larger portion of the consumption basket.21 And some non-financial products, such as food and clothing, are being marketed as though the consumer were really purchasing a financial option on a better life.22 All this has brought about what, following the Grundrisse, some Italian Marxists call a “real subsumption” of the labor process into the logic of finance.23 This development can be understood as encompassing and superseding the logic of commodification that so preoccupied Marxist cultural studies in the late twentieth century.24

    Piketty’s observation of the tremendous growth in the value of asset markets vis-à-vis the market in goods and services (GDP) after the 1970s corresponds to the development of the ability of the financial sector to manufacture marketable vehicles of capital preservation and growth directly, without investing in expanded production. Although this specific form of capital preservation was not directly anticipated by Marx, it would be consistent with his predicted correlation between rising accumulated wealth and a rising population partially outside the labor force, provided that this accumulated wealth takes the form of assets that allow this “surplus” population to live off credit or government expenditures rather than wages. (How else could they live?)

    The implicit force of Marx’s critique of the “mystery of surplus value” (M-C-M1) is that there must be financial liquidity to fund the creation of value even in the abstract sense described by rigorous theorists of his “value form” (Postone, chs. 4–5, 7). Their account of historically specific market modes of production presupposes that there are markets the impose the discipline of payments for money on people whose access to the means of subsistence thus depends on earning a wage. For the wage-labor relation to occur, sufficient liquidity in financial markets to generate the currency needed to fund production in this form. But financial liquidity is not merely a positive externality thrown off by primary commodity markets themselves. It, rather, comes at a price. In one sense, this price is political—the repression of forces, such as debtor revolts, that would make credit instruments less liquid. Such events would create a cascade of demands that debts be paid off—converted into money—in situations where there would not be enough money in circulation for everyone to do so.

    In another sense, the price of liquidity is set by capital markets that manufacture liquidity by allowing someone to receive a premium for assuming the risk of not being able to monetize an illiquid investment—of not being able to turn it back into money right away, or maybe ever.25 This risk of illiquidity is what the financial market hedges by assigning a price to a vehicle that has liquidity now, and is thus defined as being just as good as money after the price has been paid. In normal circumstances, the function of creating liquidity is privatized through the role of “market-makers” (Treynor 27–28, cf. Ayache).

    V

    Guaranteeing against that risk, and thus supporting the value of asset markets in general, is something only states with the exclusive power to issue currency can do. They do it by swapping their bonds for otherwise illiquid assets at par and then redeeming (or buying back) those bonds by printing new money. The effect is to inject liquidity into the financial markets, and thus satisfy the demand for funds. Clearly, the state’s willingness to do this in order to preserve the value of accumulated wealth—and avoid massive disaccumulation—can come at the expense of justice.27 By this I mean at the most obvious level that, instead of borrowing in order to spend more on social programs that mitigate rising inequality, the state spends less so that it can borrow more cheaply in order to shore up capital markets by providing relatively safe collateral as a substitute for the privately issued financial instruments that have become illiquid. I am here referring most directly to the government austerity programs necessary to shore up the value of accumulated wealth by swapping bad private debt for good public debt at one hundred cents on the dollar.

    But in saying that wealth preservation comes at the expense of justice, I also allude to a point beyond the scope of this paper—namely, that most (though probably not all) wealth gaps are the cumulative effects of past injustice and that leaving accumulated wealth intact will very likely allow the effects of past injustice to keep on compounding. To the extent that justice itself might consist of disgorgement of such unjust enrichment, then, maintaining the liquidity of accumulated assets as they stand is at best a postponement of justice for which no real price has been paid by the ongoing beneficiaries of past injustice. The price of using the government’s borrowing power to support financial market liquidity is therefore ultimately political in the sense that the demand for justice must be repressed in order to accomplish it.

    If we treat a “Marxist” revolution, or any forced imposition of historical justice aimed at appropriating and sharing the value of accumulated wealth as the analytical opposite of bailing out capital markets, it would almost certainly reduce (if not end) the liquidity of financial instruments based on debt, and thus reduce their value as assets and as collateral pledged to fund other assets. A major ideological tool of political repression is thus the claim that exercising the option of a Marxist revolution would bring about a major illiquidity event (also known as a threatened counterrevolution) that would reduce asset valuation to zero before any redistribution could even begin to take place. We (on the side of justice) are thus led to believe that accumulated wealth is not a collective product of past—and ongoing—injustice, but rather a chimera (or “fiction”) that would vanish if and when we try to seize it for purposes of reparation. This is not a good response to the opportunities raised by the threat of capital disaccumulation due to illiquidity because it fails to price the “justice” premium that could and should be collected for not exercising the option of imposing an illiquidity event on capital by means of force (such as the financial equivalent of a general strike in labor markets).

    The most serious political question, I have come to believe, is not who gets the credit or blame for destroying the fruits of past injustice, but rather who gets paid the price or can be made to pay the price of rolling over the option of justice and preserving the value of accumulated wealth. But before taking up this question in Part VII, let me take up some of the more obvious objections to my reading of Marx in the register of financialized, rather than industrial, capitalism, and develop the idea that even in a period of low political turbulence there is always a price to be extracted for letting accumulated wealth continue to grow.

    VI

    As an advance on Piketty, I propose that the object of justice is not merely the marginal redistribution of revenue flows from current income, but also the harvesting for public purposes of the asset (i.e., capital) market valuation that he expresses as a multiple of GDP. The asset market represents accumulated wealth, whose present value depends on preserving its liquidity. Although some wealth may have been acquired and accumulated justly, and some as a matter of chance, I regard the total volume of it as a reasonable proxy for the continued benefits to society from past injustice. I believe the wealth of asset markets should be viewed as a potential fund for remedying the extent to which those ongoing benefits have compounded, and thus widened, inequalities even after the original injustice itself has either ceased to exist or ceased to be defended by its present beneficiaries. By parallel reasoning, the welfare state might be considered the price extracted (up to one third of GNP) for rolling over the option to have a general strike that would have substantially reduced economic output.

    My underlying premise, first introduced in After Evil, is that the effects of past injustice worsen to the extent that the benefits arising from them continue to compound and that the gaps/inequalities attributable to them continue to deepen. In A Theory of Justice, John Rawls regards social wealth as though it were a product of collective agreement on the basic principles of justice. In After Evil, I view the widening of cumulative inequalities due to past injustice as a collective social product that results from rolling over the option of demanding an earlier disgorgement of those gains. This is true, I argue, even when (perhaps especially when) the injustice has been put in the past and the differential advantages to beneficiaries have been allowed to continue without being seen to perpetuate past evils. In a sense, these benefits are a collective product of allowing the gains from past injustice to continue to compound.28

    I am here suggesting that justice itself should be viewed as an “option” (a contingent claim) on the cumulative value of past injustice, and that the socio-economic spreads attributable to it could now be seen as a resource from which greater justice (a reduction of the gaps) could be funded. If this suggestion is plausible, then the magnitude of the notional value on which that funding claim is made would be very much larger than GDP—which is national income measured as revenue flows. At the very least (and considering the US alone), it would include the Total Credit Market Debt29 that can be pledged as collateral for creating the financial assets, including derivatives, in which most wealth is held. This amount is c.>3.5x GDP (Duncan), a figure that does not include the asset valuation of real property and equities, which can also be pledged as collateral. The notional value of asset values at risk due to an illiquidity event rises dramatically if we consider the level of cross-collateralization that exists in global financial markets (Singh and Aitken) as well as the systemic interdependencies among global financial institutions (Merton, “New Approach”).

    The central question, however, is not how high the notional value of financial asset markets is, but how to value the U.S. government guarantee (often called a “liquidity put”) that supported asset values in cross-collateralized markets that were conceded to be “bubbly” (Farhi and Tirole).

    Fortunately for my approach, top economists from the IMF and NBER, led by at least three Nobel Prize winners (Merton, Tirole and Holmström) have recently argued that the guarantees, both implicit and explicit, that the U.S. government provided to financial markets should be reflected as a liability on its books at its value during the financial crisis, and also on the books of financial institutions as an asset that took the form of a direct subsidy. Their initial approach was to apply “contingent claims analysis” (options pricing theory) to macroeconomic guarantees, such as government deposit insurance (Merton and Bodie) and other “off-balance sheet” risks of private-sector institutions that are implicitly and explicitly transferred to the balance sheet of governments during financial “shocks” (Draghi, Giavazzi, and Merton). The result of this approach—combining options-pricing theory with macroeconomic analysis—is now called “Macrofinancial Risk Analysis” (Gray, Merton and Bodie; Gray and Malone) and provides the policy analysis supporting government provision of “outside liquidity” to the private financial sector so that assets are not sold off at “fire-sale” prices, leading to what these economists regard as an inefficient utilization of resources (Holmström and Tirole). Based on their analysis, the price of the liquidity put that was actually provided to the financial sector in 2007–2009 should have been assessed in the range of $7-13T of dollars (higher or lower depending on what implicit guarantees are included). This is, according to their argument, a price that the financial sector could/should have paid to government without reducing asset values, and that, arguably, might have benefited those “consumers/taxpayers” negatively impacted by the financial crisis.

    What, then, is the difference between their pricing of the liquidity put in 2008 and my argument that justice is, and was, an option? The first—most obvious—difference is that they, as policy experts, are advocating the government guarantees of the financial sector, even as a free gift, rather than calling attention to the compounding of injustice that might make it more politically difficult to follow their recommendations next time. For this reason, they tend to avoid adding up the component prices of the liabilities they believe should be fully reflected on the government’s books. A second difference is that I want to make it politically more difficult to provide the put without actually selling it at its full price.

    So, I am proposing in the spirit of Marxism that we posit simple political equation between the price of the liquidity put that supports asset values and prevents their disaccumulation (the “fire-sale”) and the premium that could be charged for rolling over the option of justice seen as an event of disaccumulation (the “fire-sale”). This stresses the fact that financial asset valuations are politically contingent: there is nothing “natural” about them, but neither are they artificial. They are, rather, a reflection of the cumulative social effects of past injustice which should always be at stake in any version of democracy that does not merely manufacture acquiescence to the status quo.

    Why is this in the spirit of Marx? According to my restatement above, the fundamental fact that production under capitalism must be financed (or it’s not capitalism) means that the investor is always buying a financial asset that is meant to maintain or increase its value except when he is spending money to consume or to employ workers who will spend their wages to consume. In finance-centered capitalism the investor (chooser) rather than the producer (maker) is the focal point. Here, capital itself is never not invested. The question is always what to fund.

    In Capital III Marx discovered the independent and destabilizing role of capital markets in the mode of production described in Capital I—both enabling and disrupting the system of circulation described in Capital II. He was limited, however, to describing a transitional mode of producing commodities (the transition from manufacture to heavy industry) as a capitalism that shared key characteristics of investment-based manufacture or farming (Meister “Liquidity,” 152–63). Marx did not, however, get as far as to see capitalism as also a distinctive technology for producing prices based, essentially, on the ability to price the generic form of an investment, i.e., the hedge or option form, as the primary example of a pure financial asset. In foregrounding the option, alongside the commodity, as the kernel of capitalist epistemology, I here suggest that what many call “the financial revolution” beginning in the 1970s may not have been such a fundamental break in the nature of capitalism after all. My argument has been that in capitalist forms of value liquidity has always been coequal with utility, and that a focus on the drivers of accumulation (asset market growth) is no less important than a focus on the drivers of production (GDP growth). Indeed, the role of the state in preventing rapid disaccumulation of even “bubbly” capital markets by creating macrofinancial options makes the continuation of capitalism as such appear to be more contingent, and thus politically vulnerable, than it was when Marx captured the forces driving the industrialization of manufacture and broke of his manuscript at just the point of reconnecting this with classes and the state (Capital III).

    Looking at accumulated wealth from the point of view of the investor, not of the state, we thus have an asset “market” that produces as a byproduct goods, services, and the funding with which to buy them in the quest for ever greater liquidity. A purely financial product—of which money itself is only the most liquid example—is something that is produced in order to be priced (made liquid) as an investment through which value is preserved by giving its buyers and sellers the ability to hedge out price fluctuations, currency fluctuations, counter-party default risks, etc. What can’t be hedged out is “liquidity risk” itself, the failure of dealers to make a market in funding the liquidity of all financial collateral (especially that which is debt-based). It is liquidity risk, and the resulting need to back all private debt with public debt, that provides the foundation for treating justice as an option that can be socially valued and put back on the table of democratic politics.

    A crisis in liquidity threatens to bring about a disaccumulation of all wealth, much of which was created by allowing the cumulative benefits of past injustice to persist into the present and even increase. And so, alongside the goods and services market we now have the market in financial asses that makes rolling over the option of justice more or less valuable as economic and political turbulence create opportunities to trigger a liquidity crisis. The exercise value of the option of justice (let’s call it “Marxist revolution”) could take the form of either socialist abundance, in which the accumulated wealth of society is preserved in its entirety, independently of its present possessors, or of socialist austerity in which the accumulated wealth of society turns out to be entirely dependent on present ownership arrangements, leaving no one better-off, but the wealthy considerably poorer unless they buy back the option at a very high price. But in order for capitalism to coexist with some form of democracy, the option of justice can never expire. This means that it could be continuously repriced as what Robert Shiller calls “perpetual futures”30 in much the way that Merton, Tirole and Holmström et al. advocate continuous repricing of the government-issued “liquidity puts” to support financial asset values.

    The important point is, thus, that revolutionary justice as an option that can’t yet be exercised is clearly not worth zero to those whose claims might threaten market liquidity if not repressed.31 To say that the liquidity of asset markets should not come without a political price is to say that there is an open question about what price should be paid, and who should receive it, in order to preserve liquidity. The positive side is that cumulative wealth in these markets has grown by not settling the claim of justice yet. There should be resources in the form of flows of funds and collateral that could be used to reduce rather than increase the ongoing gaps that past injustice has caused.

    The question of justice today, when asked in Marx’s spirit, is how to harvest the benefits arising from past injustice, instead of making all that bad history a complete waste. What makes democracy matter, when it does, is precisely that it preserves justice as an option, which also suggests that removing justice as an option would be a strategy for making democracy no longer matter. In the democratic politics of financialized capitalism, it is thus important to treat historical justice as an inherently contingent claim, whole value remains in play whether or not it is—or can be—exercised by force. As a political matter, we can thus learn to speak of justice as a kind of option on historically accumulated wealth, and not as a fixed pattern or set of end-states.32 And we can regard this option as something that can be rolled over by extracting a premium for the continuing liquidity of accumulated wealth.

    My analytical use of the concept of communist revolution as an exercise of the option to make cumulative wealth illiquid creates a framework for understanding the rare occasions in which political settlements occur instead of revolution. This happens when political and economic volatilities are high enough for one or the other side to give up, rather than roll over, its political options. In a wider range of circumstances, however, we can still learn to speak of justice as a kind of optionality on historically accumulated wealth, and not as a fixed pattern or set of end-states. To begin to see and live justice using the concepts that emerge from reconceiving Marx’s analysis and critique of historical capitalism in the register of contemporary finance expresses the contingency of the realization of historical justice far more completely and creatively than prevailing concepts of “transitional justice” ever will.

    Footnotes

    1. See Capital Vol. III, especially chapters 25 and 29–33.

    2. For a critical view of analogies between economics and physics, see Mirowski.

    3. Orléan (chs. 2, 7) argues that the desire for “liquidity” is inherently “mimetic (in a Girardian sense): thus “[l]iquidity is a creation of the desire for liquidity, just as prestige is a creation of the desire for prestige” (114). His argument focuses on the “polarizing” rather than “equilibrating” dynamic of the pursuit of liquidity in financial markets. It is what everyone is conventionally presumed to want—and to want unanimously, so its existence is in effect a precondition for investing in anything at a stable price. According to Orléan, price itself is ““a wholly original creation of the financial community in the search for liquidity” (234), the logic of which “rests on conventional belief . . . and disappears when this belief is cast in doubt” (234).

    In my view, Orléan’s correct observation that liquidity is conventional in the sense that everyone will want to sell whatever seems to lack it into a falling market makes it “social” rather than “fictitious.” It is no more or less material than the existence of the market itself, which rests on liquidity. So, my focus on liquidity in the argument above is meant to be a focus on the political vulnerability of finance at the point where it relies entirely upon convention.

    4. For a survey, see Patinkin and Steiger. The term goes back at least as far as David Hume’s 1752 essays on money and is taken up in Joseph Schumpeter’s History of Economic Analysis. See, also, Boianovsky for uses of the term in Böhm-Bawerk and Fisher.

    5. See Mezzadra and Neilson, Border and “Borderscapes.”

    6. See Beggs et al.; Bryan and Rafferty.

    7. See, especially, the end of Capital I, chapter 25 and Appendix; Capital II, part 3; and Capital III, part 3.

    8. A now-massive literature on the “transformation problem” begins with Marx, Capital, vol. 3, ch. 9.

    9. See Meister, “Marx.”

    10. See The Principles, especially chapters 6–7.

    11. See, e.g., Foley.

    12. This “absolute general law” appears for the first time in Capital I and is missing, for example, in the Grundrisse, where the concept of “relative surplus value” is mentioned.

    13. In relation to financial theory, Marx’s great innovation was to extend of the logic of economic “rents” from Ricardo’s treatment of land as a vehicle of wealth accumulation to the investment in producer goods, especially raw materials, which fall under his rubric of “constant capital.” This logic today extends into the manufacture of purely financial products, such as credit-backed derivatives, and on to non-financial commodities (consumer goods and services) that mimic financial products, such as cell-phone contracts and “price-fare locks” on airline tickets.

    14. I am grateful to Moishe Postone for clarifying this point and look forward to the publication of his lectures on Volume II.

    15. An investment, for example, in steel as a raw material can be protected against lower demand for manufactured goods containing steel by buying the option to put back the steel one overbought at the price one initially paid for it. The price of this put would then rise as the price of steel falls, preserving the value of the steel as collateral for the funds the capitalist needed to buy it. It is, moreover, possible to profit from a higher demand for steel by selling puts or buying calls without investing in the underlying asset, steel, at all.

    16. It is true, of course, that both the bursting of a speculative bubble and what Marx calls the “disaccumulation” of surplus value are typically results of an illiquidity event. From this one might conclude that relative surplus value is no more “real” than financial speculation (in this case on the continuing growth of consumer demand). The correct point, however, is that maintaining liquidity is a requirement of all accumulated capital, whether “speculative” or “real” in Marx’s sense, and that vulnerability to a liquidity crisis is not sufficient to distinguish real disaccumulation in the sphere of production from the bursting of a speculative bubble that can also occur and is a distinctive phenomenon. My interpretive claim, above, is that Marx left this illiquidity undertheorized when he called it simply “the realization problem” (which could be said to comprise the entirety of the market system that non-Marxist economists study).

    17. It is worth pausing for a moment to ask why the stability of currency is of interest in Marx. The reason is that money is not merely a medium of exchange establishing an equivalence (through price) of otherwise disparate products. It is also, in his terms, a “store of value.” Thus, the transformation of value into its “money form” (emphasis added) does not mean merely the exchange of a commodity for a price. It also means that value can be held—that is, preserved and accumulated—in the form of money rather than in the form of any commodity of equivalent price. The very fact that money gives its holder the option of not investing it, but rather hoarding, makes it a potential store of value such that the source of funds for investment can be described by the Federal Reserve as “dishoarding” (Copeland 254). Now, of course, “the money form of value” (characterized by hoarding and dishoarding) precedes the existence of other financial assets, such as producer goods. That is why Marx and other political economists needed to pierce the veil of money to define the historical specificity of capitalism. But even in capitalism, as Marx says, it is the flight into money (the refusal to spend) that creates the “realization problem.” This formulation represents a throwback to the time when currency was the only truly liquid financial asset.

    18. My view of accumulated wealth as largely consisting of financial products, beginning with hedges, cuts across the distinction between “real” and “fictitious” forms of capital accumulation introduced by Marx himself, and carried forward even by David Harvey, whose Limits of Capital (1982) leaves room for a more nuanced treatment of finance that he does not undertake in subsequent writings (e.g., The Enigmas of Capital [2011]). In the market for liquid assets we have a “value form” that is no less “real” than the money form of value is in Marx, or than the accumulation of relative surplus value or even the surplus value created by faster turnover of materials as described in Capital II in a way that makes no connection to embodied labor-power. In all these ways Marx was less orthodox on the question of “fictitious capital” than many of his present-day acolytes.

    19. See, e.g., Duncan chs. 1–3.

    20. See, e.g., Brenner.

    21. See, e.g., Bryan, et al.

    22. It is also the case that, today, even manufacturing companies are being bought and sold as financial products (to be valued based on their revenue streams). For an accessible narrative of this development, see Fox.

    23. See, e.g., Negri, especially “Lesson Seven”; Tomba and Bellofiore. The source of this discussion is Marx’s “Fragment on Machines.”

    24. The seminal work of Martin broke with this tendency. See, e.g., The Financialization and An Empire.

    25. The investment could be raw materials to be used in production, or a house, or a long-term bond, or, perhaps, a financial option to buy or sell any of the above at a predetermined price. For useful discussions of the various uses of “liquidity” to describe financial innovation see Ricks and Nesvaitolova, “’Liquidity’” See also Nesvaitolova, “The Crisis.”

    26. For a succinct statement of the mid-century (Keynesian) view of money-creation, cf. Lerner., esp., pp. 38–41.

    27. For an explicit recognition of this, see Angelatos, et. al. States and banks are the paradigm case of public/private partnership. Both can “create” money by either spending or lending it into existence; either can incur debt (liabilities) that are expected to remain liquid rather than being repaid. The difference is that states can repay or refinance their debts by either issuing or withdrawing (taxing) money of their own creation, whereas banks are obliged to use state money for this purpose. In this sense banks are both backed and regulated by the state’s monopoly power to issue and tax currency.

    28. I thus regard the value of any widening disparities that result from past injustice as a social product in much the way that John Rawls regarded differential social benefits as a product of a social agreement on principles of justice. For me, the premium that can be extracted for rolling over the cumulative gains of past injustice (while reducing differential benefits) departs from my baseline scenario of revolutionary disaccumulation in much the way that Rawls’s “difference principle” (allowing a limited range of income inequalities, but only if the worst-off would be no better off without them) departs from his baseline conception of justice that otherwise have been more radically egalitarian. Cf. Rawls, ch. 2; Cohen (2008); cf. Cohen (2000).

    29. Total Credit Market Debt had been, until a few years ago, a statistic reported quarterly by the US Federal Reserve Bank (Statistical Report) Z.1, The Financial Accounts of the United States: Flow of Funds, Balance Sheets, and Integrated Macroeconomic Accounts. I base the analysis above on the 2011 Q2 Report Table L.1, following Duncan, chs. 2–3.

    Adding all sectors together, total credit market debt averaged around 150 percent of GDP between 1946 and 1970. That ratio moved up gradually to 170 percent by the end of the 1970s, but then accelerated sharply during the 1980s, ending that decade at 230 percent. The rate of debt expansion slowed during most of the 1990s, but surged again from 1998. By 2007, total credit market debt to GDP had hit 360 percent. (Duncan 77)

    The current version Z.1 can be found at https://www.federalreserve.gov/releases/z1/Current/z1.pdf. It discontinues Table L.1 which is, nevertheless maintained by the St. Louis Fed at https://fred-stlouisfed-org.ezproxy.library.uvic.ca/series/TCMDO. Here the ratio hovers around 350 per cent. In 2016 TCMD is $63.5T and GDP is $18.6T, yielding a ratio 340 percent. Although I am indebted to Duncan for calling my attention to the TCMD/GDP ratio, my analysis and conclusions differ significantly from his argument, which attributes global instability to the fall of the gold standard and the rise of fiat currency. He, thus, wants to reintroduce a bright line between currency creation and credit, whereas I focus here on the liquidity of credit as such. My own view of the matter is closer to Orléan, who could explain these anomalies by regarding liquidity as, essentially a “mimetic” concept in Girard’s sense, “[L]iquidity is a creation of the desire for liquidity, just as prestige is a creation of the desire for prestige (114)” and sees money (and moneyness) itself as growing out of “a unanimous desire for liquidity” (138).

    30. It might be based, for example, on the spread between an inequality index and a growth index (Shiller, “Measuring Asset Values.” See, also, Macro-Markets, ch. 4 and New Financial Order, ch. 9).

    31. Rolling over their out-of-the-money option may be worth something, for example, to indigenous peoples who are, or could be, in a position to threaten the liquidity of real estate markets by pressing specific claims, whether in the courts or through direct action.

    32. See Nozick, ch. 7.

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    • Singh, Manmohan and James Aitkin. “The (Sizable) Role of Rehypothecation in the Shadow Banking System.” IMF Working Paper 10/172, International Monetary Fund, July 2010. Tomba, Massimiliano, and Riccardo Bellofiore. “The ‘Fragment on Machines’ and the Grundrisse: The Workerist Reading in Question.” Beyond Marx, edited by Marcel van der Linden and Karl Heinz Roth, Brill, 2013, pp. 345–367.
    • Treynor, Jack. “The Economics of the Dealer Function.” Financial Analysts Journal, vol. 43, no. 6, 1987, pp. 27–34.
    • US Federal Reserve Bank (Statistical Report) Z.1, The Financial Accounts of the United States: Flow of Funds, Balance Sheets, and Integrated Macroeconomic Accounts, June 9, 2011.
  • No one has yet learned how fast a body can go: Speed and Technology after Spinoza

    Simon Glezos (bio)
    University of Victoria

    Abstract

    As new technologies accelerate the pace of the world, the human body is exposed to hitherto unexperienced velocities. Will the body acquire new powers and opportunities in consequence, or will we find it torn apart by this new speed? This article considers three possible types of encounter—destructive, diminishing, and augmenting—between speed, technology, and the body. It then turns to the work of Spinoza to explain the interrelation between them and to provide a political and ethical guide to promoting positive encounters.

    This article considers the relation between theories of speed, theories of the body, and the work of Baruch Spinoza. While the topic of speed has not been absent from the history of political, social, and cultural thought,1 there has been renewed theoretical investigation of it in the last two decades.2 This investigation of speed has gone beyond the discussion of macro sites such as warfare and globalizing capitalism, turning instead to the micro terrain of the body and applying the results of the extensive work done in the realm of corporeal theory over the last few decades.3 Curiously, this discussion has not by and large considered Spinoza.4 This seems like a missed opportunity, as the work of Spinoza is an ideal hinge between theories of the body and theories of speed. Spinoza’s Ethics explicitly conceives of the body in terms of “relation[s] of motion-and-rest” (73, Part II, Proposition 13, Lemma 3, Proof), making speed and the body inherently related. My goal in this paper is not primarily to contribute to the rich vein of recent theoretical work on Spinoza,5 although I hope that putting Spinoza in conversation with work on speed and the body will help to bring out important aspects of all three. Rather, my belief is that the philosophy of Spinoza can play an important role in helping us to better understand the relationship between our accelerating world and the human body, and to develop an ethical framework to help us navigate this relationship.

    I begin by articulating three different types of “encounters” (to use Spinoza’s vocabulary) between the human body and an accelerating world. The first is exemplified by the experience of jet lag; the second by the technological apparatus of the flight suit; and the third by the Acheulean axe, one of the earliest human tools. Each highlights a different possible outcome of the encounter between speed and the body, and crystallizes a set of assumptions and understandings about how they relate. Each also expresses a different vision of life in an accelerating world: in the first, speed is destructive to the human body; in the second, speed is a prosthetic for – and possibly parasitic on – the human body; and in the third, speed is constitutive of the human body. These three examples are not, of course, exhaustive of all possible encounters between speed and the body. Following Spinoza, I will argue that there is no way of knowing all the ways in which such encounters can take place. However, it is useful to focus on these three because they address influential accounts of speed, technology, and the body. I show how the assumptions, implications, and ontologies involved in each cut across multiple philosophical traditions, and show up in widely divergent social contexts. I draw from diverse sources (including literature, philosophy, history and anthropology) and time periods (from the contemporary to the pre-historic). My goal is not to argue that these accounts are novel or unique, but rather that they are consistently recurring perspectives, as likely to be articulated in high philosophy as in common sense. What is more, as we will see, these different accounts of the relationship between speed and the body can give rise to important political effects and affects.

    Having laid out these visions of what speed does to bodies, I go on to show that the work of Spinoza can provide an overarching theory for all three. I turn to his monistic ontology, showing that differences are never metaphysically “substantial” but the result of interacting patterns of “motion-and-rest.” I then introduce his concept of conatus, arguing that each of the three encounters affects the conatus of the human body differently. The result is a rubric that allows us to understand encounters between the body and speed; it asks not whether they are natural but rather what their ethical effects might be. Spinoza, I argue, offers us an important set of tools for understanding the status of the body in an accelerating world.6

    Three Encounters Between Speed and the Body

    First Encounter: Jet Lag

    Five hours’ New York jet lag and Cayce Pollard wakes in Camden Town to the dire and ever-circling wolves of disrupted circadian rhythm.

    It is that flat and spectral non-hour, awash in limbic tides, brainstem stirring fitfully, flashing inappropriate reptilian demands for sex, food, sedation, all of the above…

    She knows, now, absolutely, hearing the white noise of London, that Damien’s theory of jet lag is correct: that her mortal soul is leagues behind her, being reeled in on some ghostly umbilical down the vanished wake of the plane that brought her here, hundreds of thousands of feet above the Atlantic. Souls can’t move that quickly, and are left behind, and must be awaited, upon arrival, like lost luggage. (1)

    William Gibson has a knack for identifying the ways in which life has changed in the digital age. In the passage above – from his novel Pattern Recognition – Gibson points out the extent to which jet lag marks a fundamental shift in the human condition. However minor an irritation, jet lag speaks to a much greater rift in the world. To say that souls can’t move as quickly as bodies is to argue for a fundamental disjuncture between the natural pace of the body and the velocities at which technologies now allow us to travel. Jet lag results when the human body is exposed to something for which evolution could not have prepared it: a situation in which the body’s internal clock doesn’t sync up with external light cues. Gibson presents us with the image of a reptilian brainstem desperately trying to make sense of a world that seems to outstrip the body’s ability to adapt. Gibson’s description carries with it an account of the relationship between the body and speed that is neither new nor uncommon. In its simplest form, it says two things: 1) that the body has a natural speed, an essential velocity, rhythm, or pace layered into its “soul,” enacted by its nervous system, and encoded in its DNA; and 2) that as the world has accelerated, a disjuncture has formed between the natural pace of the body and the world in which it lives. This disjuncture produces a kind of friction where the body rubs up against the speed of the world and is worn down. Cayce Pollard lies in her bed, trying to immobilize her body for at least a little while, allowing its natural rhythms to reassert themselves and waiting for her “soul” to catch up with her body.

    We should not view this story as unique to our modern, hyper-accelerated world, for it tends to emerge regularly in times of social or technological change. For example, a similar account of bodily anxiety over acceleration developed in the 19th century. John Tomlinson’s The Culture of Speed charts the rise of this anxiety, driven by advances in railroad and telegraphy:

    there was, from at least the 1880s, a string of extravagantly alarmist prognoses of the effects of the pace of modern life on the human nervous system. In one of the earliest and most influential, American Nervousness: Its Causes and Consequences (1881), George M. Beard introduced the concept of ‘neurasthenia’ into psychotherapeutic discourse: “Beard argued that the telegraph, railroads, and steam power have enabled businessmen to make ‘a hundred times’ more transactions in a given period than had been possible in the eighteenth century; they intensified competition and tempo, causing an increase in the incidence of a host of problems including neurasthenia, nervousness, dyspepsia, early tooth decay and even premature baldness.” (Kern 125, qtd. in Tomlinson 36)

    Here we see jet lag avant la lettre: an image of bodies crumbling, decaying, and dying from the pressures of high velocity society. Though not always articulated in such extreme ways, wherever we hear of the unnatural or inhuman acceleration of the world, this perspective lurks in the background.7

    Second Encounter: The G-Suit

    Even as our anxiety about the pace of the world increases, technological acceleration continues relentlessly onward and humans travel at ever-faster velocities. As our bodies are buffeted by the accelerating pace of technology, we turn to technology in order to protect them. Take the example of the G-Suit. The gravitational force (or g-force) created by jet travel at supersonic speeds puts so much pressure on the human body that blood pools in the lower extremities, causing pilots to black out. The G-suit was developed in response to this risk. A G-suit contains a set of bladders around the legs and abdomen that inflate during high g-force acceleration, compressing the body and maintaining blood pressure. It therefore allows pilots to experience higher g-forces for longer stretches without passing out. The G-suit thus augments the human body, allowing it to withstand the rigors of supersonic travel; it acts as an intermittent exoskeleton, periodically becoming rigid to protect its soft human interior from the effects of the disjuncture between the “natural” pace of the body and the “artificial” pace of technology. In fact, the G-suit is only the most visible aspect of a much wider technological assemblage augmenting the human body in flight. Maintaining flight at supersonic speeds requires constant adjustments at a pace faster than human reflexes allow. Fighter jets are full of computers and sensors that produce these micro-adjustments without human intervention, augmenting the “natural” speed of the human body and allowing it to engage with technological acceleration. In this encounter, rather than the simple opposition between the velocity of the body and that of the world (as experienced in jet lag), the same technological velocity can be grafted onto the body, with the G-suit serving as a kind of prosthetic accelerator.

    How, more precisely, is the relationship between speed and the body being imagined here? To conceive of technology as prosthesis is to reject the claim that technological velocity can only destroy the body and its velocity. Nevertheless, this conception shares with the first story the idea that a disjuncture exists between natural and technological speeds. The body must be shielded and augmented, wrapped in a carapace of technology before it can be subjected to the violent pace of the future. The internal pace of the body and the external pace of the world are still opposed, though they can be harmonized through technical artifice. By maintaining the distinction between natural and technological velocities, between the pace of the “inside” and the “outside,” both accounts oppose that which is essentially human to that which is essentially technological. Thus, implicitly, the more human you are, the less technological you are. And conversely, the faster you are, the less human you are.

    This position is emphatically expressed in the work of Jean-Jacques Rousseau. Rousseau begins his investigation into politics by positing a state of nature; where others found human life in this state incomplete and inadequate, Rousseau sees it as happy, robust, and complete. Every increase in civilization only takes the human further from perfection and self-sufficiency, and every technological advancement distances us from our essence. As Bernard Stiegler puts it in his account of Rousseau, “[t]he man of nature, without prostheses, is robust, as robust as a man can be – and it is civilization that will weaken him” (115). In Rousseau’s own words:

    Accustomed from childhood to inclement weather and the rigors of the seasons, acclimated to fatigue, and forced, naked and without arms, to defend their lives and their prey against other ferocious beasts, or to escape them by taking flight, men develop a robust and nearly unalterable temperament . . . thus acquiring all the vigor that the human race is capable of having. (40)

    In this account, the second skin of technology that we wear – the exoskeleton, the G-suit – only muffles and weakens the vitality of the body. By accelerating the human body technologically, we rob it of its natural liveliness, and the dichotomy between the natural and the technological persists. Both jet lag and G-suit present a strongly humanist reading of the encounter between speed and the body, but with a crucial difference: in the second account, the inside of the body is no longer destroyed by the velocity of the outside, but is instead hollowed out by it. The fear is that this hollowing out of the body will lead to the full prostheticization of the human, where the body becomes an extension of technologies, rather than the other way around.

    Paul Virilio, writing two hundred years after Rousseau, shares this prosthetic image of accelerative technologies. For Virilio, the speed of modern life requires a fundamental letting go of our power, a surrender to automatic systems of moving, seeing, and thinking. If we consider not just the G-suit but the entire technological assemblage that enables supersonic flight, we see how much of this apparent augmentation of the body is actually a handing over of power to the automatic systems that plan flight paths and make course corrections without our input. This surrender becomes more complete as technologies reduce even the need for physical movement, instead allowing us to project our “influence” through virtual and telematic prostheses. The speed of human action in late modernity thus paradoxically immobilizes the body. As Virilio says,

    the interactive being transfers his natural capacities for movement and displacement to probes and scanners which instantaneously inform him about a remote reality, to the detriment of his own faculties of apprehension of the real, after the example of the para- or quadriplegic who can guide by remote control – teleguide – his environment . . . Having been first mobile, then motorized, man will thus become motile, deliberately limiting his body’s area of influence to a few gestures, a few impulses, like channel-surfing. (Open Sky 16–17)8

    Here, the supposedly accelerated, autonomous, and “interactive” being (the late modern counterpart of Rousseau’s “civilized man”) is really the barely motile actor whose range of motion and freedom of thought has been vastly curtailed. The real action and decision happen in the prosthesis, not in the body. This essentially pessimistic conception of technological acceleration again has its roots in a conceptual separation of the natural from the artificial, of a healthy human speed from a pathological technological speed. As Virilio says, “[t]here is a struggle . . . between metabolic speed, the speed of the living, and technological speed, the speed of death which already exists in cars, telephones, the media, missiles” (Pure War 136). Virilio offers an extreme version of this account of the relationship between the body and speed, but the image reappears in a host of different narratives. Wherever commentators worry about dehumanizing technologies, wherever we feel that the accelerating pace of life leaves us merely an automaton or a cog in the machine, we see a variation on this image.9 We become servants of this new velocity and no longer know whether we wear the G-suit or whether it wears us.10

    Third Encounter: The Acheulean Axe

    The Acheulean axe is the oldest human tool found. Archeological investigation shows evidence of its existence as far back as 1.5 million years ago, from the time of early hominids such as Homo Erectus up to modern Homo Sapiens. The human and the axe are therefore coeval in their emergence. Though we can only speculate on the ways in which this tool was used, one theory posits that the Acheulean axe was a throwing weapon. Adrian Mackenzie lays out the immense complexities involved in the seemingly simple act of throwing:

    A throw depends on timing. For the hand-axe, the window of control ranges between one and several tens of milliseconds depending on the length of its trajectory. That is, assuming that the hand-axe is thrown, it must be released at the right moment +/− 10 ms (milliseconds) from the hand during the throw if the device is to hit a small target five metres away (Calvin, 1993). The problem here is that the neurones twitch. They can’t modulate movement with any great accuracy. The timing jitter for spine-motor neurones is approximately 11 ms (Calvin, 1993, 246). On average they vary that much in their activation time. Neural feedback from arm to spinal cord and back at its fastest still requires approximately 110 ms. A problem of control develops because the window of control is less than the average variation in activation time, let alone the time of neural feedback. (61)

    The result is that “[t]echnical performance, if it is to have efficacy, must be much faster than certain raw facts of our own physiology seem to permit” (61). And yet axes are thrown. As Mackenzie recounts, the seemingly insurmountable gap between inside and outside velocities is bridged through practice. By practicing, internal processes are harmonized with external ones, not speeding up internal response times so much as training and distributing the process to sync it up with external paces. Thus, as Mackenzie describes, the difficulty

    involved in throwing or hitting is overcome because action is mapped out in a network of cortical zones associated with hand movements. Action is repeated both synchronically and diachronically: first, there are multiple circuits of control in parallel which together average out the activation times, thereby improving accuracy; second, the control paths are trained and adjusted by earlier repetitions; third, and most important, the sequence of neuronal firing is ‘buffered’ or stored up in advance and then released at one go. (82)

    This disjuncture between internal and external velocities isn’t resolved solely through a technological prosthesis (the axe); such an account would leave itself open to the creeping prostheticization of the body by technology. Instead, this account posits not an emptying out of the inside, but the creation of a new relationship between outside and inside. Velocities that couldn’t be achieved by the human body in the thick of things can be “‘buffered’ or stored up in advance.” Rather than the inside of the body being emptied out, the outside is invited in. As the body brings speed into itself, it changes its internal rhythms.

    This third encounter challenges the fears and anxieties of Rousseau and Virilio, for whom technology marks the decline of the human, initiating and accelerating its fall from completeness and self-sufficiency. By contrast, even in this early moment of axe-use, we see that speed and technology can be imagined to be coeval with the emergence of the human. Indeed, axe-use might have contributed to that emergence. Some paleo-anthropologists conjecture that the corticalization (the expansion of the neocortex in the brain) that marks the emergence of what we think of as Homo Sapien was spurred by just this kind of expanded tool use. In other words, the first human moment might indeed have been a moment of opening up the body to speed. Rather than opposing a slow internal velocity to a fast external one – a jet-lagged body to techno-acceleration – here speed lies in the heart of the human. The process of “humanization” was therefore also the movement of acceleration – of making stone axes (and neurons) accelerate. The Rousseauian ideal of the self-sufficient human body – perverted, enslaved, and eventually nullified by technology – misses the central role that technology played in shaping and developing that body. Gibson’s image of a slow-moving soul in a fast-moving world also misses the way in which velocity can be generative of the human. In this third encounter, we see how a human body hurled out into the world develops new rhythms and velocities. Inside and outside learn to adjust to and modulate one another. The human was born in speed, outside and in.

    Taken in its simplest articulation – that there is an inherent interpenetration of the human and the technological – this perspective emerges in several contemporary theoretical approaches, from Marshall McLuhan’s theory of extension (1964) to Deleuze and Guattari’s assemblage theory (1987) to Bernard Stiegler’s technogenesis (1998) and Donna Haraway’s discussion of the cyborg (1997). This story of a mutually-constitutive relation is itself accelerated in the work of Ray Kurzweil and other transhumanist thinkers, for whom the first moment of modifying and accelerating the human body from within becomes the starting point of a long teleological arc of bodily enhancement. Kurzweil’s techno-utopian analysis depicts a future in which a coming technological “Singularity” will allow humans to “transcend biology” (2005). For Kurzweil, this process of accelerating the human body to interact more effectively with the surrounding world is a natural, and inevitable, process. As he puts it (mimicking Mackenzie’s account of the neurology of throwing an axe),

    [a]lthough impressive in many respects, the brain suffers from severe limitations . . . our thinking is extremely slow: the basic neural transactions are several million times slower than contemporary electronic circuits. That makes our physiological bandwidth for processing new information extremely limited compared to the exponential growth of the overall human knowledge base. (8–9)

    According to Kurzweil, it is only a matter of time until this physiological lag is solved not through practice, but by the direct introduction of the technological into the biological. In the future:

    Billions of nanobots in the capillaries of the brain will . . . vastly extend human intelligence. Once non-biological intelligence gets a foothold in the human brain (this has already started with computerized neural implants), the machine intelligence in our brains will grow exponentially (as it has been doing all along), at least doubling in power each year. (28)

    While Kurzweil too envisions an increasing reliance on technology by the human body, he rejects Virilio’s pessimism and sees this as an inherently empowering process: “The Singularity will allow us to transcend [the] limitations of our biological bodies and brains. We will gain power over our fates” (9). For Kurzweil, the increasing introduction of accelerative technology into the body is simply the continuation of the profoundly natural and human process that started hundreds of thousands of years ago with the throwing of an axe (9).11

    Acceleration

    I have presented three different images of the relationship between speed, technology, and the body. The first conceives of the body as opposed to and harmed by speed, the second focuses on the useful but dangerous application of accelerative prostheses to the body, and the third presents the relationship between speed and the body as mutually constitutive. These accounts overlap, suggesting the need for a mode of cultural analysis that can think through their differences and explain why an encounter is destructive, exteriorizing, or interiorizing. Such an analysis would seek to discern the most productive modes of interaction for any given encounter between bodies and speeds. Here the work of Spinoza is helpful, because the relationship between speed and the body is at the heart of his philosophy. Bodies are defined not by their material substance but by particular patterns of motion-and-rest, of quickness and slowness. Moreover, these patterns of motion-and-rest can interact in diverse ways, as different bodies encounter one another. Spinoza conceives of encounters that can increase the power of the body, and encounters that can diminish them. He seeks to learn which patterns of motion-and-rest can be harmonized, and which are best avoided as destructive of vitality. In what follows, I investigate how Spinoza’s philosophy can help us to understand bodily encounters with speed, and how we can begin to think these encounters in a productive, and ethical, manner.

    Speed, the Body, and Spinoza

    Motion-and-rest

    I begin with Spinoza’s idea that all bodies can be distinguished by relations of motion-and-rest: “All bodies are either in motion or at rest . . . Each single body can move at varying speeds (Ethics, 72, Part II; Prop. 13, Axioms 1 and 2) . . . Bodies are distinguished from one another in respect of motion and rest, quickness and slowness, and not in respect of substance” (Ethics, 72 Part II, Prop. 13, Lemma 1). This follows from Spinoza’s argument in Ethics Part 1 that “in Nature there exists only one substance, absolutely infinite” (36, Prop. 10, Scholium). Differences between bodies result not from differences of substance but from differences in the vectors, velocities, and positions that organize the singular substance modally expressed as matter. Spinoza’s monism, though not unproblematic, disrupts many of the oppositions central to philosophical thought in the West (between thought and matter, the natural and the artificial, the human and the inhuman, etc.). Instead of these substantial differences, he introduces a continuum of difference based on patterns of motion-and-rest. While Spinoza does certainly speak of the “essence” of a body, this essence does not play the role of defining a class, form, or substance. Rather, essence is always a singular thing, describing the particular relations of motion-and-rest that inhere in a particular body (109, Part III, Prop. 7, Proof). Thus, as Hasana Sharp puts it, for Spinoza, “[s]trictly speaking, there is no human essence; there are only singular essences of similar beings that are called ‘human’” (86).12 Contrary to the first two conceptions of speed presented above, Spinoza’s philosophy does not posit an essential distinction between stable, self-sufficient human bodies and the uncertain spaces of flow and flux that oppose these bodies or sap their energy. Instead, all bodies are marked by a certain motion (and a certain rest), a certain quickness (and a certain slowness). This is not to say that relations of motion-and-rest can’t be opposed to one another or destroy the other’s energy. But Spinoza leaves us with a more complex and open image of the body.

    Simple and Composite Bodies

    Through this lens of “motion-and-rest,” Spinoza develops a complex analytical toolkit for understanding the composition of bodies and describing their relationships to one another and to different speeds.

    All the ways in which a body is affected by another body follow from the nature of the affected body together with the nature of the body affecting it, so that one and the same body may move in various ways in accordance with the various natures of the bodies causing its motion; and, on the other hand, different bodies may be caused to move in different ways by one and the same body. (73, Part II, Prop. 13, Lemma 3, Axiom 1)

    In addition to explaining how to differentiate between bodies, Spinoza’s theory also shows how those bodies can interact. Here again, the outcome of encounters between bodies is determined not by substance, but by how their different patterns of motion-and-rest relate. These relations can, for example, link up to form what Spinoza terms a “composite” body:

    When a number of bodies of the same or different magnitude form close contact with one another through the pressure of other bodies upon them, or if they are moving at the same or different rates of speed so as to preserve an unvarying relation of movement among themselves, these bodies are said to be united with one another and all together to form one body or individual thing, which is distinguished from other things through this union of bodies. (74, Part II, Prop. 13, Lemma 3, Axiom 2 Definition)

    For Spinoza, composite bodies are characterized by a distinctive movement-style, which is the particular choreography of the simple bodies it contains. To understand Spinoza’s conception of composite bodies, two points are crucial. First, the idea of “unvarying relations of movement” does not mean that composite bodies are unchanging. Indeed, Spinoza immediately notes the ways in which these composite bodies can change while still “preserving their nature”:

    If the parts of an individual thing become greater or smaller, but so proportionately that they all preserve the same mutual relation of motion-and-rest as before, the individual thing will likewise retain its own nature as before without any change in its form. . . .

    Furthermore, the individual thing so composed retains its own nature . . . provided that each constituent part retains its own motion and continues to communicate this motion to the other parts. (75, Part II, Prop. 13, Lemma 5 and Lemma 7)

    Says Spinoza, “[w]e thus see how a composite individual can be affected in many ways and yet preserve its nature” (75, Part II, Prop. 13, Scholium). This gives us a way to begin thinking about relations of speed without automatically thinking about oppositions between essential velocities (as in Gibson’s story, between the speeds of the “soul” and “technology”). Interactions can speed up or slow down a body, speed up or slow down its parts, and change their direction, without thereby decomposing that body. Second, the distinction between composite bodies and simple bodies is not as straightforward as it may appear, because all composite bodies are themselves the simple bodies from which other, larger composites are formed. As Spinoza says, “[i]f several individual things concur in one act in such a way as to be all together the simultaneous cause of one effect, I consider them all, in that respect, as one individual” (63, Part II, Definition 7). In this respect, for Spinoza, “individual” bodies are always multiple. This holds true for the human body itself, which – though it might be treated as an individual, and might have an essence – is always already a layered and multiple thing. As Moira Gatens puts it,

    The human body is understood by Spinoza to be a relatively complex individual, made up of a number of other bodies. Its identity can never be viewed as a final or finished product . . . since it is a body that is in constant interchange with its environment. The human body is radically open to its surroundings and can be composed, recomposed and decomposed by other bodies. Its openness is a condition of … its life, that is, its continuance in nature as the same individual. (110)13

    All of this follows naturally from Spinoza’s monism. Because all being is one, there are ultimately no ontological differences between bodies, and thus the universe can be conceived as a nested set of composite bodies (atoms make molecules, molecules make cells, etc.). An infinite chain stretches from the most infinitesimally singular body up to the most fully composite body, which is the totality of being that Spinoza terms deus sive natura, God or Nature (75–76, Part II, Prop. 13, Scholium). However, this unity of being is only present when we perceive the world sub quadam specie aeternitatis (92, Part II, Prop. 44, Corollary 2): from the perspective of deus sive natura. When viewed from the perspective of individual bodies, we see a world replete with opposition, conflict, and destruction. Interactions between bodies can therefore lead not only to the formation of composites, but also to the decomposition of one of the bodies through the destruction or diminution of its relations of motion-and-rest. Indeed, decomposition is inherent in the idea of composite bodies, because simple bodies must at times be absorbed into a larger aggregate, while previously existing composites must be decomposed and stripped for parts, as it were. Interactions between bodies, then, are frequently struggles between different relations of motion-and-rest. As Deleuze puts it in his reading of Spinoza,

    The bodies that meet are either mutually indifferent, or one, through its relation, decomposes the relation in the other, and so destroys the other body. This is the case with a toxin or poison, which destroys a man by decomposing his blood. And this is the case with nutrition, but in a converse sense: a man forces the parts of the body by which he nourishes himself to enter into a new relation that conforms with his own, but which involves the destruction of the relation in which that body existed previously. (Expressionism 211)

    The factor that drives these encounters and “judges” their outcomes is the Conatus Essendi (in Latin, the drive to exist).14 All bodies are possessed of a fundamental conatus, Spinoza claims:

    Each thing, in so far as it is in itself, endeavors to persist in its own being.

    The conatus with which each thing endeavors to persist in its own being is nothing but the actual essence of the thing.

    Therefore, the power of any thing, or the conatus with which it acts or endeavors to act, alone or in conjunction with other things, that is . . . the power or conatus by which it endeavors to persist in its own being, is nothing but the given . . . essence of the thing. (109, Part III, Prop. 6; Prop. 7; Prop. 7 Proof)

    Thus, in any contest between two bodies, each will struggle to persist in its own being, and the winner of any encounter is the body whose ability to persist – whose conatus – increases as a result. From Deleuze’s examples, poison persists in decomposing the patterns of relation in the blood, and the body persists over the patterns of relation in the food (and its own organs).

    Bodies and speed

    This onto-vision of different bodies attempting to maintain their particular patterns of motion-and-rest by subordinating others can help to frame the three encounters with which I began. In the case of jet lag, an encounter between the human body and a particular set of relations of motion-and-rest in the world (airplanes, time zones, light cues) overpowers and decomposes the internal relations of the bodies “of” the composite called the human body, and – like a toxin – diminishes that composite’s power of action. In the case of the G-suit, a technological body increases the human body’s power of action (it can now travel faster than the speed of sound), but does so in a way that potentially endangers that particular body’s power of action; the human body becomes a component of a larger technological assemblage, and finds its capacity to enact its conatus heavily restricted or even disabled. Finally, the Acheulean axe not only increases the body’s power of action, but introduces fundamental changes that increase that body’s power more broadly through reflex training and corticalization.

    This last point introduces what appears to be a contradiction in Spinoza’s thinking. He describes bodies as gripped by the drive (conatus) to maintain their relations of motion-and-rest, and yet any encounter with another will produce some change in ourselves. This tension is lessened by the fact that one’s parts may change in any number of ways without signalling the functional destruction of the body, so long as its relations of motion-and-rest are able to adjust and retain their shape. Thus, in the case of food mentioned above, individual organs are changed (nourished, healed), but their overall relation remains the same. The problem is somewhat greater when it comes to corticalization. It would be something of a stretch to argue that a human before and after corticalization “retained the same pattern of motion-and-rest”; we’d probably say that the human only emerges with corticalization. And yet, from Spinoza’s perspective, would it have been a proper expression of conatus for homo erectus to avoid corticalization in order to maintain its essence? By this account, all evolution – any change of whatever type, biological or technological – would be against nature, because it would go against our drive to “persist in [our own] being” (an idea that hews rather closely to Rousseau’s narrative).

    But this interpretation would be a misunderstanding of conatus. Although conatus is the drive by which “[e]ach thing . . . endeavors to persist in its own being” (109, Part III, Prop. 7), it does not endeavour to persist solely as it is at any given moment. A being that only ever sought to exist as it was in the present wouldn’t last very long. For instance, the baby antelope that didn’t learn to walk or grow to be an adult wouldn’t last against predators. Conatus is not merely the drive to persist, but the drive to persist as long and as much as possible. Spinoza describes this conception of conatus as a body’s drive to increase the number of ways in which it can affect, and be affected by, other bodies:

    That which so disposes the human body that it can be affected in more ways, or which renders it capable of affecting external bodies in more ways, is advantageous to man, and proportionately more advantageous as the body is thereby rendered more capable of being affected in more ways and of affecting other bodies in more ways. On the other hand, that which renders the body less capable in these respects is harmful. (177, Part IV, Prop. 38)

    Thus, for example, prior to the acquisition a G-suit, the body was severely limited in its ability to affect external bodies in ways that required high-g acceleration. In such contexts, the body literally could not “persist in its being” and would pass out. The G-suit thus increases the body’s conatus by introducing a wider array of encounters while still “persisting in its being.” In so doing, it changes the nature of that being, and the human body transforms from a thing that can’t sustain high-g acceleration to a thing that can.15

    The acquisition of new powers to affect and be affected necessarily changes the relations of motion-and-rest within a composite body. Spinoza acknowledges that the changes in a human body while growing from a child into an adult are so great that it’s safe to say the body is a different “thing” in the end (177, Part IV, Prop. 38, Scholium). However, it doesn’t follow that growing is against conatus (or nature); what matters is what a thing can do. One could say that the nature of the body of a baby is to self-alter through encounters, and to increase its ability to be affected. This idea of the body places movement – slowness and speed – at the center. As Deleuze puts it in his commentary on Spinoza,

    the kinetic proposition tells us that a body is defined by relations of motion and rest, of slowness and speed between particles. That is, it is not defined by a form or by functions. Global form, specific form, and organic functions depend on relations of speed and slowness. . . . The important thing is to understand life, each living individuality, not as a form, or as a development of form, but as a complex relation between differential velocities, between deceleration and acceleration of particles. (Spinoza 123)

    Even if it changes a composite body’s relations of motion-and-rest, increasing the ways in which a body can affect and be affected still expresses its conatus, because existence for Spinoza is a process of affecting and being affected. The body that can affect and be affected by more encounters is one that exists more. Moreover, not only are bodies inherently composite or multiple; so too is conatus. It is not enough to speak of “the” conatus of the body without acknowledging a conatus of the organ within the body, and the cell within the organ, and the mitochondria within the cell. For the body – for any body – to survive, its conatus must cooperate with the conati of other bodies at different scales, and, most importantly, at different velocities.16 As in Mackenzie’s discussion of the Acheulean axe, the human composes different velocities at many levels, incorporating the conati of different bodies to increase “a” body’s conatus.

    This vision of bodies as always already inherently multiple helps to challenge a vision of the human body as an essential or hermetically-sealed unit, set in opposition to the non-human world. Instead, the human body is a composite, always intertwined with and determined by non-human bodies. As Bruno Latour puts it, “Humans, for millions of years, have extended their social relations to other actants with which, with whom, they have swapped many properties, and with which, with whom, they form collectives” (Pandora 198). This extension of social relations to non-human actants doesn’t hold only for biological lifeforms (such as, for example, the foreign bacteria that makes up much of the human microbiome, and upon which our health and survival depends), but also for the technological artifacts and processes that extend and determine the capacities of human bodies. Again, as Latour says, “There is no sense in which humans may be said to exist as humans without entering into commerce with what authorizes and enables them to exist (that is, to act)” (Pandora 192). This approach therefore begins to erode the basic framework with which my paper started, one based on a supposed opposition between the human and the technological. Instead, Spinoza’s horizontal ontology guides us towards the vision, familiar in McLuhan and Stiegler, among others, in which the human is always already technological.

    Speed, Politics, and Ethics

    What we are left with is a profoundly multiple, layered, open, and creative vision of the body that rejects the idea of a universal, transhistorical human essence – or an essential human pace – posited in the first two accounts of speed above. This shift in perspective goes beyond simply changing our descriptions of the relationship between speed and the body. It also has important political and ethical implications, because different accounts of speed and the body can produce different assemblages of affects and effects. Invested as they are in an essentialist vision of human nature and pace, the encounters with jet lag and the G-suit can give rise to a variety of fears and anxieties in the face of growing technological transformation and social acceleration, and these can crystallize into reactionary political affects.17 Against these affects, Spinoza leads us to consider not what a human body is, but what it can do (Montag xvii–xviii). Deleuze describes this as the shift to an ethological perspective. Ethology, a mode of analysis in zoology, bases its investigation on behaviours-in-response-to-habitats rather than on natural qualities:

    Such studies as this, which define bodies, animals, or humans by the affects they are capable of, founded what is today called ethology. The approach is no less valid for us, for human beings, than for animals, because no one knows ahead of time the affects one is capable of; it is a long affair of experimentation, requiring a lasting prudence, a Spinozian wisdom. . . . (Spinoza 125)

    In contrast to the extremes of the first two images of speed, ethology pushes us to accept a more open, pluralistic vision of human life, refusing to allow our fears or frustrations with an accelerating world to calcify into a violent or reactionary politics and culture.18

    At the same time, Deleuze also cautions prudence. The experimentalism of the ethological approach does not require the uncritical acceptance of all technological acceleration. As noted, the third account of speed discussed above carries with it the danger that its particular worldview can manifest in a reckless embrace of technological innovation, a libertarian technoutopianism, or even fascistic desires for a transcendence over human frailty. A Spinozian framework can moderate these excesses, attuning us to the ways in which the human is always bound up in broader assemblages of composite bodies that necessarily limit both our knowledge of – and our ability to intervene unilaterally in – the chain of causal connections that envelop us (Macherey 156–157). A mode of analysis that asks broadly what a particular formation lets us do – that is, how it allows us to affect and be affected – can also lead bodies away from particular technologies or accelerations. For instance, the acquisition of an automobile increases a body’s ability to affect and be affected by radically increasing its velocities of travel. But if the emissions that automobile produces contribute to global warming, then it might very well decrease our conatus through the destruction of our ecosystem. Michael Mack argues that we must understand Spinoza’s conception of conatus “not in terms of teleology but in terms of sustainability on both an individual and a social scale” (“Toward” 102–103). In order for one’s conatus to increase, the ability to affect and be affected must be sustainable (Braidotti 148). I can run faster by taking steroids, but if they ravage my health in other ways, am I able to sustain existence at these higher speeds?

    Mack’s attention to “sustainability on both an individual and a social scale” means that conatus links the fate of individual bodies to the fate of bodies politic. For Spinoza, the thing that most increases our power is the cultivation of the broadest possible community of alliances; the principle of conatus leads him to argue that “[i]t is of the first importance to men to establish close relationships and to bind themselves together with such ties as may more effectively unite them into one body, and, as an absolute rule, to act in such a way as serves to strengthen friendship” (198, Part IV, Appendix 12). A community will always be stronger than an individual, and thus an individual able to draw on the strength and capabilities of a community is capable of being “affected in more ways [and] . . . capable of affecting external bodies in more ways.”19 A strong community of friends plays a central role in the expression of conatus, so when it comes to decisions about how a community wishes to engage with speed and technology, the question of sustainability applies not just to people’s own bodies, but to the bodies of others as well. Such questions are therefore a proper subject for Spinoza’s multitude, the self-governing body politic of his political works. In this regard, we might reject the individualism of techno-libertarianism and explicitly politicize questions of speed and technology, subjecting them to democratic deliberation rather than leaving them up to the wisdom of corporate capitalism or the military-industrial state.20 What is more, given the necessarily multiple and layered nature of conatus, and given the interdependence of individual human bodies (and bodies politic) with a vast assemblage of non-human bodies, adopting such as an approach implies a concern for the conati of those non-human bodies. Thus, we might start thinking in terms of a multitude that cuts across the human/non-human divide, sharpening our concern for the well-being of non-human others and seeking ways to represent their interests in our political deliberations.

    This approach to the multitude enters usefully into conversation with several contemporary theories of technology – for example, Bruno Latour’s account of a Parliament of Things. We have already seen that Latour has a comparable approach, arguing that human beings are always already bound up in collectives with non-human actants in a world of proliferating hybrids. Latour argues that refusing to acknowledge these hybrids is one of the central problems with dominant accounts of science and technology in the modern world (We Have 112). As he says, “So long as the human is constructed through contrast with the [nonhuman] object … neither the human nor the nonhuman can be understood” (We Have 136). Rejecting an essentialist account of the human and recognizing the deep symbiosis between the human and the nonhuman (both ecological and ontological) opens the way for a political and ethical discussion that includes non-human actants as members of human collectives, whose interests and well-being need to be considered. Thus, Latour argues, “it is time, perhaps to speak of democracy again, but of a democracy extended to things themselves” (We Have 142). Latour’s Parliament of Things might itself benefit from the inclusion of both Spinoza’s metaphysics and his ethical theory, while Spinoza’s work would benefit immensely from Latour’s contemporary scientific knowledge and perspective. As Latour says, “the more nonhumans share existence with humans, the more humane a collective is” (Pandora 18). Sharp has a similar insight in her Spinoza and the Politics of Renaturalization, arguing that a Spinozian orientation to politics leads us to understand that “our agency, perseverance, and pleasure depend upon affirming and nourishing the nonhuman in and outside of ourselves. The relations that matter to our intellectual and our corporeal well-being are far from exclusively human” (10).21

    Conclusion

    A mode of analysis (and political practice) inspired by Spinoza offers an alternative to a techno-utopian (or dystopian) position that argues for a transcendent (and frequently individualized) escape from the body through speed. This alternative inherits a wariness of speed shared by Gibson, Rousseau, and Virilio, as it seeks to understand the impact of accelerating velocities on bodies individual and political, human and non-human. This mode encourages us to subject these issues to the deliberation of the multitude, as it would with any other policy or phenomenon that potentially affects the conatus of others. And yet it urges this prudential relationship to technology without recourse to a conception of human essence or to the natural speeds and rhythms of the body. Spinoza is more interested in the possibilities of new formations, in the struggle for more and greater affects. Scholars return to Spinoza’s injunction that “nobody as yet has learned from experience what the body can and cannot do” (106, Part III, Prop. 2, Scholium) because it proposes a space of experimentation and openness.

    That is why Spinoza calls out to us in the way he does: you do not know beforehand what good or bad you are capable of; you do not know beforehand what a body or a mind can do, in a given encounter, a given arrangement a given combination. Ethology is first of all the study of relations of speed and slowness, of the capacities for affecting and being affected that characterize each thing. (Deleuze, Spinoza 125)

    Spinoza encourages political, social, and cultural theory to be less concerned with the essence of the human than with what people can do, how they can live, and what they can do for each other.22 This framework gives people a way to engage productively and ethically with technologies of speed without losing sight of the destructive effects (and affects) that can result. It avoids the uncritical nature of techno-utopian accounts of the body and technology without lapsing into humanist accounts. It leaves us aware that we do not yet know how fast a body can go.

    Notes

    My thanks to Smita Rahman, Jairus Grove, Daniel Levine, Jane Bennett, Bill Connolly, Morton Schoolman, and several anonymous reviewers for their comments on this article.

    1. A not at all exhaustive account would include Machiavelli on fortuna (1998), Locke on prerogative power (1988), Kant on cosmopolitanism (1998), Henry Adams on acceleration (1931), and Marx on capitalist dynamism (2000), as well as twentieth-century discussions such as Heidegger’s (1971), Derrida’s (1984), Deleuze and Guattari’s (1987), Baudrillard’s (1994), Simmel’s (1997), and Schmitt’s (2007).

    2. A partial list includes Wolin (1997), Der Derian (2001), Rosa (2013), Scheuerman (2004), Agamben (2005), Tomlinson (2007), Duffy (2009), Glezos (2012), Mackay and Avanessian (2014), Noys (2014), Sharma (2014), and Wajcman (2016).

    3. See Connolly (2002), Mackenzie (2002), Massumi (2002), Grosz (2005), and Bell (2010).

    4. It should be noted that, while Connolly’s Neuropolitics includes discussions of all three, his discussion of Spinoza is separate from his account of speed. The same is true of Deleuze, who deals extensively with speed in A Thousand Plateaus, but does not explicitly integrate this with his work elsewhere on Spinoza. For a discussion of Deleuze’s account of speed, see Glezos (2012).

    5. See Braidotti (2006), Gatens (1996), Vardoulakis (2011), Montag (1999), Williams (2007), Sharp (2011), and Skeaff (2013).

    6. This article will therefore focus on the first of Spinoza’s attributes – extension – and leave aside his discussion of the attribute of thought. Doing so means leaving out crucial elements of Spinoza’s account of the body, including affect, memory and imagination. Several texts work through this dimension of Spinoza’s thought, including Gatens (1996), Braidotti (2006), and Sharp (2011).

    7. This particular vision of speed and the body can give rise to social and political efforts to slow down the pace of life in an accelerating world. In its more innocuous forms, these manifest through movements based around “slow-food” and “slow-living” (but see Sharma, chapter 4). However, several theorists have also noted that these efforts can give rise to reactionary political affects and movements. As Connolly argues, “reactive drives to retard the pace of life” have a tendency to manifest “in locating vulnerable constituencies to hold politically accountable for the fast pace of life” (142). See also Glezos (2014) for a discussion about the ways resentment over speed can translate into anti-immigration and xenophobic political movements.

    8. It is worth noting the stark ableism of Virilio’s perspective in his valorization of a natural, normal, able body, and his reciprocal denigration of the apparently pathological disabled body. This necessarily suppresses the wide variety of different bodies and abilities, a point raised by Mitchell and Snyder in their introduction to The Body and Physical Difference (1997).

    9. A review of just the titles of contemporary books on technology provides a wealth of examples of this sort of discourse, from Simon Head’s Mindless: Why Smarter Machines are Making Dumber Humans (2014), to Jaron Lanier’s bestselling You Are Not a Gadget (2011).

    10. And as in the previous encounter, these humanist anxieties about an accelerating world can crystallize into conservative and reactionary political movements. In addition to the ableism of Virilio’s position, we can also look to Donna Haraway’s discussion of ways in which humanist anxieties over technology can resonate with anxieties about race, difference, boundaries, purity, and normalcy (61–62).

    11. Furthermore, while Kurzweil does reflect up to a point about technology, such a worldview has frequently translated into an uncritical embrace of technological innovation, in which any “enhancement” or acceleration of the body is viewed as part of humanity’s technological destiny. This techno-utopian worldview, and the dream of human transcendence, is by no means tied to our contemporary digital age. For example, the Futurist Manifesto of 1907 embraces the “beauty of speed” and aims “to sing the man at the wheel” (Marinetti). The Futurists’ fascist sympathies have been connected with the fantasies of transcending the human body through technology in Nazi ideology (see Nussbaum 346–347). My point is not that the post-humanist outlook is somehow necessarily fascistic, but rather to note that this view of the relation between speed and the body, when taken to its most extreme articulation, can have dangerous political and ethical implications (just as the other two encounters do).

    12. Or, as Stuart Hampshire puts it, for Spinoza “such phrases as ‘the essential nature of man’ and ‘the purpose of human existence’ are phrases that survive in popular philosophy and language only as the ghosts of Aristotelianism, and can have no place in a scientific language” (115).

    13. See also Macherey 177.

    14. Note that “judgement” should not be understood as a moral or transcendent category. Rather, conatus “judges” in the same way that evolution does, through the resolution of immanent, ateleological struggle of bodies to persist.

    15. Jane Bennett provides an excellent account of the creative character of conatus, saying it “is not a process of mere repetition of the same, for it entails continual invention: because each mode suffers the actions on it by other modes, actions that disrupt the relation of movement and rest characterizing each mode, every mode, if it is to persist, must seek new encounters to creatively compensate for the alterations or affections it suffers” (22). Sharp makes a similar point when she states that “Nature, for Spinoza, names the necessity of ongoing mutation” (8).

    16. For a discussion of the multiplicity of the body in Spinoza, see Sharp (38) and Macherey (156–177). For a discussion of the multiple velocities of the body, see Connolly (chapter1).

    17. Once again, we can look to Connolly’s description of how, in the American context, “Resentment against the acceleration of pace becomes projected upon religious and nationalist drives to identify a series of vulnerable constituencies as paradigmatic enemies of territorial culture, traditional morality, unified politics, and Christian nationalism” (147).

    18. Such an approach would also help to immunize our thought against the ableism of Virilio’s approach, or the obsession with purity that concerns Haraway. Expanding this account of affect is the crucial next step in developing a Spinozian politics of speed, which I seek to pursue in future writing. In the meantime, for engagements on speed and affect, see Connolly (2002), Massumi (2002), Glezos (2014), and Sharma (2014).

    19. We should not assume that the formation of such friendships and communities is easy or inevitable. Books III and IV of the Ethics are devoted to identifying obstacles that make forming communities difficult, and the Politico-Theological Treatise and the Political Treatise both point to ways in which the set of issues raised in The Ethics can lead not to community and friendship, but to conflict and the “war of all against all.” This, indeed, is one of the central projects of The Ethics – to provide a moral argument for community, to note affective and social obstacles to the formation of community, and to suggest both tactics and strategies for overcoming these obstacles. Here I merely wish to point out the way in which Spinoza’s philosophy points toward such ethical and political practices.

    20. For examples of attempts at such a politicization of speed, see Der Derian (2001), Wolin (1997), Rosa (2013), Scheuerman (2004), and Glezos (2012).

    21. See also Williams 354.

    22. Mack comes to a similar conclusion in How Literature Changes the Way We Think: “Spinoza implicitly conceives of the human as an open-ended and not to be fully defined entity. From this perspective he is a post-humanist” (37). See also Skeaff (154) and Macherey (52–3, 75).

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