Voyou Désœuvré

Britney’s new song has been widely condemned as pure ideology; this piece in the Guardian is typical, arguing that the song reflects a contemporary, “religious” commitment to the value of work. That’s not what the song sounds like to me; it’s not so much capitalist ideology as capitalist id. While the official capitalist ethic proposes the necessity of hard work as the ground of equality, the capitalist id glories in the reality that you have to work while (indeed, because), capital doesn’t. Hence Britney’s imperious “work, bitch!” with the subtext that, work as hard as we like, we’ll never be as good as her; and doubtless we’ve all come to terms in our own way with the fact that we’re not Britney and never will be. But, if we follow the insight of the Neue Marx Lektüre that capital is the historical subject of capitalism, we might find in the id of this historical subject some useful indications of the mutations happening to the role of work in contemporary capitalism, and thereby come up with a more dialectical anti-work politics. Read more↴

revenge-emily-capeI think I liked Revenge more when it started as Gossip Girl meets The Count of Monte Cristo, before it turned into 9/11 conspiracy theorist Batman. The first season, in which Emily remorselessly enacted revenge on the family that framed her father, did have a war on terror connection, but it seemed properly post-9/11 in that terrorism was almost purely background (I initially thought, on the basis of some back-of-the-envelope calculations, that the terrorist event that formed the backdrop of the show took place in 2001, although it turns out there was an additional chunk of the timeline that puts it nominally pre 9/11). In the second season the terrorist attack becomes a more direct focus of the show, with Emily now targeting the vague conspiracy of politicians and businessmen who planned it (under the guidance of the man who taught her the Batman skills necessary to her quest for vengeance). Read more↴

I think Farrah Abraham’s My Teenage Dream Ended is a pretty great album, and anyway since Alex Macpherson drew people’s attention to it, the consensus does seem to be at least that it is an interesting record. In the ensuing discussion, though, people have got stuck up on the question of Abraham’s intentionality: can a reality TV star really have “meant” to produce such a strange, dissonant and disturbing album? Perhaps I’ve just been immersed in postmodern theory too long, but I’m not sure what this means. Unless you want to contend the album is the result of random chance or the blind working of natural laws, of course it’s intentional; what does something so obvious have to do with aesthetics? Read more↴

In "Our Song," Swift asks god to give her a "song" made up of sounds from her everyday life; in the promotional art, this becomes a serious of words on a classroom chalkboard.In a piece written in 1990, Judith Butler writes of defensive feminist responses to postmodernism, in which postmodernism is the sign of “an impending nihilism” with “dangerous consequences” because politics, and particularly feminist politics, “requires a subject, needs from the start to presume its subject, the referentiality of language, the institutional descriptions it provides” (Feminist Contentions, 36). According to the view Butler is criticizing here, feminist politics needs to be defended from postmodern theory because postmodernism undermines “the referentiality of language,” that is, the idea that the meaning of language is fixed and under our control, or that language is a medium through which we can express our intentions. Two developments of the past few years make me think it is worth re-opening this discussion of the relationship between feminist politics and the referentiality of language: the feminist blogosphere and the lyrics of Taylor Swift. Read more↴

W. is impressed by my stammer.—‘You stammer and stutter’, says W., ‘and you swallow half your words. What’s wrong with you?’ Every time I see him, he says, it gets a little worse. The simplest words are beginning to defeat me, W. says. Maybe it’s mini-strokes, W. speculates. That would account for it.—‘You had one just there, didn’t you?’

Perhaps, W. muses, my stammering and stuttering is a sign of shame. W. says he never really thought I was capable of it, shame, but perhaps it’s there nonetheless.—‘Something inside you knows you talk rubbish’, he says. ‘Something knows the unending bilge that comes out of your mouth’. (Lars Iyer, Spurious)

Equality is a central term for Rancière, but it is quite a circumscribed equality, the equality specifically and only of speaking beings. Which immediately raises the question, what about non-speaking beings? Read more↴

Given the amount of time spent discussing the handful of bank windows smashed during Wednesday’s Oakland general strike, you might imagine that many people care about property damage; and yet, if you look for such people, who are they? Liberals complain about property damage during the various marches and actions, but they’re quick to add that it is not they themselves who are disturbed or offended; rather, they are concerned about the effect this property damage will have on others, particularly the cops who will react violently and the media who will focus on images of destruction to the exclusion of whatever else the demonstration achieved. The liberal’s position here is perverse in the Lacanian sense: it expresses itself not as an actual desire, but as a desire to be the instrument of the desire of some fantasized other. Part of what supports this disavowed desire is that the objection to property damage can present itself as neutral, even expert, strategic advice. It’s bad strategic advice, though, and I think in a revealing way. Read more↴