luka

Well-known member
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Quote of the Day: Tiqqun on speed and strategy


Posted on June 26, 2013 by edmundberger


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People have often insisted — T.E. Lawrence is no exception — on the kinetic dimensions of politics and war as a strategic counterpoint to a quantitative concept of relations of force. That’s the typical guerrilla perspective as opposed to the traditional perspective. It’s been said that if it can’t be massive, a movement should be fast, faster than domination. That was how the Situationist International formulated their program in 1957: “it should be understood that we are going to be seeing and participating in a race between free artists and the police to experiment with and develop the new techniques of conditioning. The police already have a considerable head start. The outcome depends on the appearance of passionate and liberating environments, or the reinforcement — scientifically controllable and smooth — of the environment of the old world of oppression and horror… If control over these new means is not totally revolutionary, we could be led towards the police-state ideal of a society organized like a beehive.” In light of this lattermost image, an explicit but static vision of cybernetics perfected as the Empire is fleshing it out, the revolution should consist in a reappropriation of the most modern technological tools, a reappropriation that should permit contestation of the police on their own turf, by creating a counter-world with the same means that it uses. Speed here is understood as one of the important qualities of the revolutionary political arts. But this strategy implies attacking sedentary forces. In the Empire, such forces tend to fade as the impersonal power of devices becomes nomadic and moves around, gradually imploding all institutions.
Conversely, slowness has been at the core of another section/level of struggles against Capital. Luddite sabotage should not be interpreted from a traditional marxist perspective as a simple, primitive rebellion by the organized proletariat, a protest action by the reactionary artisans against the progressive expropriation of the means of production given rise to by industrialization. It is a deliberate slow down of the flux of commodities and persons, anticipating the central characteristic of cybernetic capitalism insofar as it is movement towards movement, a will to potential, generalized acceleration. Taylor conceived the Scientific Organization of Labor as a technique for fighting “soldiering/go-slow” phenomena among laborers which represented an effective obstacle to production. On the physical level, mutations of the system also depend on a certain slowness, as Prigogine and Stengers point out: “The faster communications within the system are, the bigger is the proportion of insignificant fluctuations incapable of transforming the state of the system: therefore, that state will be all the more stable.” Slowdown tactics thus have a supplementary potential in struggles against cybernetic capitalism because they don’t just attack it in its being but in its process itself. But there’s more: slowness is also necessary to putting lifestyles/forms-of-life that are irreducible to simple information exchanges into relation with each other. It expresses resistance of relations to interaction.
 

linebaugh

Well-known member
Not sure if i buy this. There are plenty of ways to capitalize on slowness. unless by slowness you mean 'things not working properly' which, duh.
 

linebaugh

Well-known member
And I know that excerpt is talking about things on the production side, but its semi interesting trends on the consumer end are turning towards slowness. TV shows are returning to the once a week model, video games are all on a slow roll out now and even albums are going this way. Rent seeking behavior in general you could call monetized slowness
 

Clinamenic

Binary & Tweed
Just occured to me that the increasing wealth gap is partially due to speculation and finance becoming more of an art/rig that can be mastered, especially insofar as certain financial markets are detached from the real economy. If you're liquid (i.e. rich and patient) enough, you can endure market cycles and benefit in ways that less financially enfranchised folks cannot. Whereas the financial prosperity of most of the working class is not only more constrained by the real economy, it is also subject to socialized losses from meltdowns in financial markets. Mildly intoxicated at the moment.
 

Clinamenic

Binary & Tweed
Ya, you can tortoise and the hair the rest of the economy with certain types of wealth, potentially
Exactly, the pithy saying here is "time in the market beats timing the market" but the exceptions here, where speculative bets pay off at rates that "beat" the market, are almost always luck and market manipulation
 

dilbert1

Well-known member
The quote is from The Cybernetic Hypothesis but these films by Lutz Dammbeck do a much better job than Tiqqun at exploring the same themes. The first one (2003) is about the history of cybernetics and includes correspondences between Ted Kaczynski and the filmmaker, and the latter (2015) picks up the thread in a different way, examining the origins of television game shows in early 20th c psychiatric practices which were incorporated in denazification efforts after WWII. They are not exactly straightforward documentaries and have an essayistic quality. He is an unequivocally better version of Adam Curtis: an artist pretending to be a documentary filmmaker, instead of a documentary filmmaker pretending to be an artist. He is somewhat prolific and has more films that are also interesting, always with a political or ideological backdrop, besides his animation and more experimental work. Everyone on dissensus has to watch these two






It’s unfortunate Tiqqun mask their shoddy and confused speculations with post-structuralist sophistry. Dammbeck, on the other hand, lays his absolutely bare, like a man:

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dilbert1

Well-known member
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The others worth seeing:


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The Master Game (1998)

At the Vienna Art Academy in 1994, one or more perpetrators spread black paint over 27 works by Austrian painter Arnulf Rainer. Rainer had become world-famous for his abstract art and, in particular, for his over-painting of photographs and his own and other artists’ paintings. Now, who has painted over the over-painter? Speculation rages: Did he deface his works himself? A year later, an unsigned letter surfaces that claims responsibility for the act and accuses Rainer—and modern art in general—of being complicit in “destructive modernism.” At the same time, Austria is shaken by a series of mail bombings by the Bavarian Liberation Army, which sees the country’s “German identity” threatened. In this film, Dammbeck sets up a game to explore the mystery. Are there connections between the over-painting event and the mail bombs? Or is it all just a game? A dream? Or perhaps a hallucination?



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Time of the Gods (1992)

While working on his Hercules Concept, director Lutz Dammbeck became fascinated by the life and work of the German sculptor Arno Breker (1900-91). How could a highly talented sculptor—who had met French avant-garde artists in Paris in the 1920s and whose work was first considered “degenerate art” by the Nazis—become Adolf Hitler’s preferred sculptor and protégé?

In trying to find an answer, Dammbeck meets with several of Breker’s contemporaries and friends, including authors Roger Peyrefitte and Ernst Jünger, West German art collector Peter Ludwig and Breker’s model, the former decathlete Gustav Stührk, who posed for a Nazi-commissioned sculpture in 1936.

The film explores what transformations in power and politics do to art, how much opportunism can be found in “pure” art and whether fascist symbols can ever regain their aesthetic innocence. The questions it addresses about the relationship between ethics and aesthetics make a valuable contribution to any discussion about art and power.



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Dürer’s Heirs (1996)

This documentary paints an insightful, often critical picture of early East German art history. A 1961 painting by Harry Blume starts the exploration. Beside the painter himself, artists Werner Tübke, Bernhard Heisig, Heinrich Witz and Hans Mayer-Foreyt are depicted. All five are members of the first post-WWII generation to study art at the Leipzig Academy for Graphic and Book Design, after it reopened in 1947, and some go on to become professors at the academy themselves. Director Lutz Dammbeck, himself an alumnus, presents and explains the origins of the new style of German realism associated with the so-called Leipzig School that, crucially, evolved during the height of Socialist Realism in East Germany, before the Wall was built in 1961. In this film, Dammbeck talks with Tübke, Heisig and former GDR cultural officials about modernism, artistic conformism, political pressure, party discipline, personal claims and fading memory.
 

version

Well-known member
And I know that excerpt is talking about things on the production side, but its semi interesting trends on the consumer end are turning towards slowness. TV shows are returning to the once a week model, video games are all on a slow roll out now and even albums are going this way. Rent seeking behavior in general you could call monetized slowness

Data caps and premium speeds. Technology and services being artificially slowed and restricted in pursuit of further profit.
 

luka

Well-known member
Data caps and premium speeds. Technology and services being artificially slowed and restricted in pursuit of further profit.
im sure i got shadow banned by my bank recently. my card mysteriously stopped working.
 

version

Well-known member
18355

Looks alot like luke

Andrew Tate minus the inner turmoil.
 
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