Filozof kojeg biste mogli poželjeti pozvati na večeru.
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Aversion to information. Rudiments of a state of rapture. Great sensitivity to open doors, loud talk, music.
Walter Benjamin, first experiment in taking hashish, 18 December 1927
To be clear my aim is not to validate this coupling of intoxication, acceleration, and immanence. Instead I wish to critically explore what I regard as a particular fantasy of immersive immanence and its correlation with acceleration and production. This is not intended as yet another moralist discourse on drugs. In fact, as we will see, actual drugs are not always at stake. Drugs take on the role of being a simulacra or fiction. What is at stake is a desire. This is a desire for a real production. Contrary to the simulacral discourse of drugs, the simulacrum is put at the service of a collapsing of fantasy in intensification and immanence.
Tuesday, 28 May 2013
The shock acceleration of labour in 'speechless joy' (jouissance?), reverses itself into a chaos that ruins any linearity. In the moment of the revolution, in the revolutionary negativity of the proletariat doubled with the animal, the revolution revolves and reverses.
Wednesday, 15 May 2013
Many thanks to Daniel Spaulding for his rapid response to my paper 'Aesthetics of Communization'. I hope to reply on Monday, but there is probably more common ground that might at first appear.
There is no “aesthetics of communization.” Indeed to claim as much suggests that the inquiry has been posed at the wrong level, as if communization were a thing to which aesthetics might be attached – a predicate added to a subject. Communization is not a subject; it is, rather, a process that abolishes existing relations. The question then is whether a process (moreover, a process that has never yet truly occurred) can in fact possess an aesthetics. If we take “aesthetics” broadly to mean sensuous appearance, then yes, communization will necessarily have its modes of appearance; there will be movements of matter, form, affect, and so forth that will neither look nor sound nor smell nor taste nor feel like the world mediated by capital. However, if we take seriously communization theory’s basic contention that revolution in the current phase of capitalism cannot proceed as the affirmation of an existing position within class society, but only as a break with the reproduction of the totality of capitalist relations, then there is today no standpoint from which to elaborate a positive aesthetics adequate to communism. From the perspective of communization we cannot possibly speak of an ascendant proletarian art in the same way as we can speak of the historical ascendance of bourgeois art, because communization takes the form of the immediate abolition of class society rather than the affirmation and universalization of a class that might possess its own particular representational structures.