e-flux journal issue 46:
guest-edited by Gean Moreno
with Alex Williams, Steven Shaviro, Benjamin
Bratton, François Roche, Franco Berardi Bifo,
Mark Fisher, Benedict Singleton, Debbora
Battaglia, Patricia MacCormack, and John Russell.
e-flux journal iPad edition is now available.
Free download here.
Where did the critical tradition of art go? Maybe that’s the wrong question. Because we know the answer. It went into spectacle. It went into finance. It got privatized, democratized, scrutinized, defunded, bureaucratized, then professionalized. The critical stick became a seductive carrot. But maybe we don’t have to see this only in terms of a fall from grace. Maybe this is the time for a long-overdue realism that an art field still in the thrall of modernist humanism struggles to avoid recognizing. Isn’t it strange how we are subjected to the most extreme aspects of this new order and yet still suppress its most emergent qualities? What if we suspend the guilt of lapsed certainties and good-person compulsions for just a moment and take a look in the mirror? What would we see? We might see velocity-driven psychotics ravaged and dragged through sky and sludge, crying from revolution teargas and boring discussions at the same time. We might see uneducated beasts using their own bodies to mash culture with physics with economics with mysticism. We might see a strange new form of human tumble out. For the Summer 2013 issue of e-flux journal, we are very pleased to present Gean Moreno’s guest-edited issue on accelerationist aesthetics. Read it at the beach!
—Julieta Aranda, Brian Kuan Wood, Anton Vidokle
The entrenchment of neoliberal fundamentalism has been accompanied by a desire to save whatever critical edge art production can still muster. This has become increasingly pressing as art becomes decor for the offices of hedge fund managers, and as the art world—as David Graeber put it somewhere—mutates into “an appendage to finance capitalism.” The urgency to maintain a critical edge has manifested itself variously: in a turn toward post-autonomia theories that shed light on the position of the cultural producer within a post-Fordist regime of labor; in the production of artifacts that engage reflexively with the conditions of production, display, and circulation in the art world; in recovery operations that target particular legacies, such as those of politicized Conceptual art and structuralist or essayistic filmmaking; in interventionist efforts that leave behind the commercial circuits of art presentation altogether and attempt to work in the social field itself. The common aim of all these efforts amounts to approaching concrete conditions soberly, to being analytical and measured. A subtractive logic is the general animating force: take away—subjective imprint, gratuitous ornament, traces of skill, commercial viability, ambivalent postures, ideological residue, and so forth—until a potent and probing, if often flat-footed, proposal crystallizes.
Past the edges of the art world, however, where the condition of privilege doesn’t haunt every gesture with the possibility of contradiction, less “sober” engagements with the social are awake and on the prowl. There may still be a line of thinking excited by subtraction and formal rigor, but it is pitted against a proliferation of delirious and maximalist redeployments of pop culture: salvage-punk fantasy literature that probes obliquely, through gasoline fumes and/or unapologetic and slimy monsters, points of resistance to late capitalism and residual anthropocentric nostalgia; hauntological sonic archeology that calls up utopian traces often muffled by electronic music, using the latter’s digital methods of production; B movies that are jacked into the symptomatology of attention deficit disorders as a way to point to the incessant modulations that subjectivity suffers through in control societies; novels written and impossible buildings dreamt in code-language that has mutated like a virus and swallowed the antibodies deployed to eradicate it; soundings of the strange new territories—abyssal drops for a self now revealed as not actually there in the way we had thought—that neuroscience is carving open and sci-fi is mainlining onto its pages; board-game strategizing adjusted to new transnational networks and transformed, through the prism of “Total Design,” into geopolitical planning for the future. The gleefully overloaded and hyperactive artifacts that result often feel less handicapped than art objects that are safely ensconced in cultural institutions when attempting to cognitively and affectively mapping the spaces and forces of transnational capitalism. Perhaps these hyperactive artifacts can even begin to map a hard-to-imagine Outside beyondtransnational capitalism.
One of the strands that participates in this revved-up deployment of forms is what has been called “accelerationist aesthetics,” even if the precise traits that establish its parameters and the full range of products that constitute it may still need to be determined. The name was suggested by Steven Shaviro in his book Post-Cinematic Affect. It derives from a political program—accelerationism—which comes down from the Deleuze and Guattari of Anti-Oedipus and the Lyotard of Libidinal Economy, and which finds its most virulent and seductive expression in the texts that British philosopher Nick Land began producing in the 1980s.
The term “accelerationism” was first coined by Benjamin Noys in his book The Persistence of the Negative: A Critique of Contemporary Continental Theory, as way to designate this tendency and the political praxis it suggested. Shaviro, in turn, drew a distinction between an accelerationist politics or praxis, and an accelerationist aesthetics. As a politics, in the version that comes filtered through the writings of Nick Land, accelerationism has been taken to task by a number of theorists, including Ray Brassier, Alberto Toscano, Noys, and Shaviro himself. However, as it is being questioned and bashed, there is a parallel effort afoot to think accelerationism beyond the boundaries that were established for it by Land et al. Reza Negarestani, Alex Williams, Nick Snirneck, and Benjamin Singleton, among others, have been looking for ways around the shortfalls and blindsides of an early accelerationism, generating new ways to think through it, employing it less as a drive toward meltdown than a cunning practice through which to capture and redeploy existing energies and platforms in the service of a re-universalized left politics.
Although often disparaged as a political program, accelerationism, which early on performed its ideas most notably through carefully crafted theory-fictions, has always had a robust aesthetic side. It is here, in both a seductive performative dimension (which spills into the everyday experiential field) and in the affective range of these aesthetics—which ran for a time parallel to an emerging cyberpunk, a fertile moment in electronic music and Cronenbergean flesh-melts, and now begin to link up with interfacial skins, data avalanches, predictive modeling at substantial scale and the like—that we may find what sustains the desire to keep accelerationism around even if some remain weary of it (or one of its versions) as political theory or praxis.
Despite Shaviro’s effort to define it, the notion of an accelerationist aesthetics remains an open problem, suggestively bubbling with, on the one hand, the potential to provoke innovative cartographic exercises that probe unprecedented social complexity and look for new liberatory programs that live up to it, and on the other hand, dark intimations that this aesthetics is indissoluble from the drive to deliberately exacerbate nihilistic meltdowns as the only response to being dragged by the vertiginous speeds of a runaway capitalism. It is working through the impasse between these two extremes—and, more often than not, assuming the first at the expense of the second—that fuels a number of the texts in this issue of e-flux journal. The essays respond to two sets of questions:
What constitutes an accelerationist aesthetics?
Is it possible?
Why would it matter?
What should its scope be?
And whose interest would it serve?
Does such an aesthetics, if possible or desirable, have anything to offer an art production exhausted with sober formalisms and critique-based models that increasingly spin in place, taking ineffective aim at the very protocols and institutions that allow them to exist in the first place and that provide the infrastructure for their sustainability?
Bound to these questions is a desire to turn the horizon that currently sets the coordinates of what is deemed of importance or value in art production into a porous border from which we can, through pendular sweeps, reach out to adjacent neighborhoods of thought and production and bring back fertile material. The returns on a model deeply invested in critique, as it has been structured within the art world, seem to dwindle at an alarming rate in the face of social and economic relations that everywhere eat away at whatever autonomy the cultural field ever had, or ever dreamed of. The very space of possibility that this model once ushered in with such force seems to have been foreclosed upon. Surely there are efforts still articulating themselves out there, refusing the institution and its co-opting logic no less than the market and its logic, sounding potential alternatives or prefigurations of a different world. But, barring full conversion into activism, these interventionist art exercises seem increasingly pushed to the cusp of having to default on their promise.
The anxiety to shake things up, in light of the disaster of a vanishing critical dimension, has to boil over into something concrete at some point, and this, at least from where I’m standing, demands a lateral move through the horizon that currently determines the conditions in which art production is allowed to unfold. It demands probing expeditions into other spaces, into terrains from where the other side of what we are currently inside may begin to take shape. And it demands the sharpening of robust synthesizing conceptual tools to engage in fruitful cross-fades and appropriations. This issue of e-flux journal is one of these probing expeditions.
Alex Williams—Escape Velocities
It is Land who exemplified, and indeed exacerbated, this strategy of “the worse the better” to new heights of sick perversity in the 1990s. But what is of interest to us is not so much questions of conceptual genealogy but the resurgence of the idea: What is accelerationism today?
Steven Shaviro—Accelerationist Aesthetics: Necessary Inefficiency in Times of Real Subsumption
This is why transgression no longer works as a subversive aesthetic strategy. Or more precisely, transgression works all too well as a strategy for amassing both “cultural capital” and actual capital; and thereby it misses what I have been calling the spectrality and epiphenomenality of the aesthetic. Transgression is now fully incorporated into the logic of political economy.
Benjamin Bratton—Some Trace Effects of the Post-Anthropocene: On Accelerationist Geopolitical Aesthetics
It measures its situation from picoseconds to geologic temporal scopes, and nanometric to comparative-planetary scales, and back again. It does not name in advance, as some precondition for its mobilization today, all the terms with which it will eventually have at its disposal in the future. The aporia of the post-Anthropocene is not answered by the provocation of its naming, and this is its strength over alternatives that identify too soon what exactly must be gained or lost by our passage off the ledge.
François Roche—Gre(Y)en (a history of local operative criticism)
The machine collects the ingredients of this pathological period and recycles them for productive use, from a highly dangerous no-man’s land abandoned since the end of the war (more than half a century ago), which come back to its natural wildness, with the reappearing of elves, wizards, witches, and harpies, and some new vegetal species. Legends and fairy tales are transported out of the deepness of the forest, as in a Stalker experiment to touch the unknown … x
Franco Berardi Bifo—Accelerationism Questioned from the Point of View of the Body
The accelerationist stance, in my opinion, is an extreme manifestation of the immanentist conception. Paradoxically, it also seems to be a particular interpretation of the Baudrillardian assertion that “the only strategy now is a catastrophic strategy.” The train of hypercapitalism cannot be stopped, it is going faster and faster, and we can no longer run at the same pace.
Mark Fisher—”A social and psychic revolution of almost inconceivable magnitude”: Popular Culture’s Interrupted Accelerationist Dreams
We live in a moment of profound cultural deceleration. The first two decades of the current century have so far been marked by an extraordinary sense of inertia, repetition, and retrospection, uncannily in keeping with the prophetic analyses of postmodern culture that Fredric Jameson began to develop in the 1980s.
Benedict Singleton—Maximum Jailbreak
But his project extended further, and inevitably upwards, not least because an enlarging human race would require more room to expand. Freedom from death would extend to freedom from the earth itself, in quite practical terms. Technologies must loosen the grip of gravity, not eradicating it per se but meaning we would no longer be forced to obey it without question, no longer subject to its necessity. Epic and unexpected, the creativity of Fedorov’s vision extended to its detail.
Debbora Battaglia—Cosmic Exo-Surprise, or, When the Sky is (Really) Falling, What’s the Media to Do?
Interesting things happen when we translate this tactical orientation to the extreme environment of outer space. For one thing, the effect that accelerationism aims for is already a given there; the work of excessive velocity has been taken up by the disinterested force-fields and entities of “space as itself,” as I have elsewhere termed it, and the results are already threatening global communications and other infrastructures.
Patricia MacCormack—Cosmogenic Acceleration: Futurity and Ethics
The stranger the combinations are, the more inhuman they are; the more inhuman, the more minoritarian. The futurity thus opened to minoritarian recombinings—and not to the inclusion of “types”—is more ethical. Ethics and the need for unnatural, strange recombining are defined insofar as they are timely. Acceleration aesthetics is about qualities of time as intensity. Thus, it is arguably an ethical aesthetics.
John Russell—Abysmal Plan: Waiting Until We Die and Radically Accelerated Repetitionism
Billions of tons of meat sliding down a chute minced out into surplus value and programed into dull servitude of a bloated homogenizing ruling class (the contingent rule of the bovine). Dark capitalism … you got to crack a few eggs … I mean, exactly how many fucking cuckoo clocks do you want anyway?
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