Liquid Protest
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1 LIQUID PROTEST NATHAN BURR DESIGN INTERACTIONS 2012
Transcript of Liquid Protest
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LIQUID PROTEST NATHAN BURR DESIGN INTERACTIONS 2012
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NATHAN BURR Design Interactions R.C.A
2012 (Words 9586)
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LIQUID PROTEST
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LIST OF CONTENTS P.4 List of illustrations P.6 Introduction PART ONE P.11 The Boundary P.15 Technology P.18 Cinema P.21 The Blob PART TWO P.25 Quantum Mechanics P.27 Broken Symmetry P.29 Turbulence P.31 Liquid Reality PART THREE P.33 Cultural Viscosity P.36 Experiment I P.38 Experiment II P.40 Experiment III PART FOUR P.43 Beyond Technology P.44 The Word Virus Virtual Trajectory- (Stage One Solid) P.45 The Word Virus Virtual Trajectory- (Stage Two Liquid) P.46 The Word Virus Virtual Trajectory- (Stage Three Beyond Gas) P.47 Proposal P.49 Conclusion P.50 Bibliography
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ILLUSTRATION
1. Fig 1. http://www.listal.com/viewimage/4034431h 2. Untitled illustration. (2012) Nathan Burr
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“Once interests have been defined within the confines of a society, the rational is the way in which people pursue those interests and attempt to realise them1”
1 Deleuze, G., 2004. Desert Islands: and Other Texts, 1953-1974 (Semiotext(e) / Foreign
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INTRODUCTION
Protest is the ability to dream; a verb not a noun. I believe that the gesture of protest is the gesture of a dream; a vision of a potential rearrangement of social atoms. Protest is the effect of social turbulence; a moment that appears when society is in conflict, while in transition between two structures. The old and the new. The rational and the irrational. It is a moment when nothing is fixed and an alternative reality is visible.
Protest relies on its speed and movement to travel along its trajectory like a finely balanced tightrope walker between two states; chaos and order, the rational and the irrational. Protest as the line between these two states is a vehicle from which to view them both and to learn about their nature.
In their book A Thousand Plateaus: Capitalism and Schizophrenia the 20th century post-
structuralist philosopher Giles Deleuze and his collaborator psychotherapist Felix Guattari suggest that movement and speed occupy two different types of space, or, to put it another way; occupy space differently. These spaces are smooth space and striated space, which it appears, are not diametrically opposed:
“The two spaces in fact exist only in mixture: smooth space is constantly being translated,
transversed, returned into a striated space; striated space is constantly being reversed, returned to a smooth space.”
In his Manifestes du Surrealism (1924) Andre Breton also alludes to a merging of space: “I believe in the future resolution of these two states of dream and reality2”. For the Surrealists dreams where the key to unlocking the unconscious in a spirit of
revolution that began with the liberation of the mind and later would include political and social revolution3: “man has been too long stifled and inhibited by logic and rational thought4”!
An alchemic merging of space is desirable if a new reality is to emerge, and here in lays
protests relationship to liquidity. For if protest is to be the vehicle for proposing a new rationality then it must do so without becoming simply a response to the one that already exists. Guy Debord and the Situationist International of which he was a leading figure, learnt this lesson from the Dadaist’s. The Dadaists had previously opposed bourgeois rationality with irrationality not realising that they were inadvertently providing them with a new cultural order that learnt to accept its flaws.
2 Lewis, H.1988. The Politics of Surrealism. Paragon House. p.20 3 Lewis, H.1988. The Politics of Surrealism. Paragon House.p..17 4 Lewis, H. 1988. The Politics of Surrealism. Paragon House. P.18
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“The destruction of bourgeois values, undertaken as the highest aim of the avant-garde in culture,
could function precisely as the prerequisite to a more effective operation within that field of indeterminate, fluid and ambiguous forces5”
This force is capitalism. The middle ground, the fine line between, is the space to propose a new type of rationality
and it is this space that is the main focus of this essay. For Deleuze and Guattari the nomad is both a journey of metaphor and model for thinking
that provides a way to occupy a space between spaces; (the internal and external). They propose this concept as an answer to capitalism and what Heidegger called rationalism by technology6.
“The nomas is the consistency of a fuzzy aggregate: it is in this sense that it stands in opposition to
the law or the polis, as the backcountry, a mountainside, or the vague expanse around a city7.” I wish to understand the nature of this line between; what it is made of and why is it there? As a form of personal protest I will embody the nomad and take a journey of internal and
external stratification. I will use the Deleuzian theorist Manuel De Landa’s interpretation of Deleuze’s ontology as a vehicle from which to view and report on this internal and external terrain.
Like surrealism, which believed in one reality, Deleuze is a materialist and his ontology is
based upon a reality that is independent from the mind that experiences it, everything is built from intensive processes of immanence, everything is connected; what is happening on the macroscopic visible scale is the event of processes occurring on the microscopic level. The different states of matter are real but are also metaphors that allow for an open-ended dynamic way of thinking about the material world as a process of constantly becoming; an event of which materials become machines through which we can think and of which we are a part.
Liquid is the intermediate state between solid and gas and so becomes the metaphor for the
trajectory tightrope walk I wish to embark upon so i will search for liquids within protest to confirm the nature of protest as I wander this transient space in between.
The motivation behind this journey began in the hope that I could develop a system of consciously organising what the surrealists called the random or the ‘marvellous’8 in the form
5 Mcdonough, T., 2004. Guy Debord and the Situationist International: Texts and Documents (October Books). New Ed ed. MIT Press. p.x 6 Deleuze, G., 2004. Desert Islands: and Other Texts, 1953-1974 (Semiotext(e) / Foreign Agents). Los Angeles, CA: MIT Press. p.260 7 Deleuze, G., 1986. Nomadology: The War Machine (Semiotext(e) / Foreign Agents). New York, NY, USA: MIT Press. p.44 8 Lewis, H., 1988. The Politics of Surrealism. Paragon House. p.19
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of connecting protest to liquids that have been used as a form of protest. This subject is open-ended and the journey should also be read as such. The spaces and places that I encounter should, from a materialist point of view, reflect the different states of matter that I experience along the way. Solids could appear in the most refined detail, the liquid neurochemicals that shoot across the brain could appear as streams of consciousness and the fuzzy, chaotic crevasses spurts of gas.
De Landa says:
“Always keep a piece of fresh land with you at all times. Always keep a little spot where you can go back to sleep after a day of destratification. Always keep a small piece of territory, otherwise your go nuts9”. Nomadic stratification involves an amount of bravery. I expect to get lost along the way and to take many wrong turns. It will take me into the unknown, to a place poised between order and chaos; it is a place to fear and will not be treated lightly.
When I reach the end of this journey (10000 words) I will report back with a design proposal for a future form of protest based upon observations made on this trip. As well as being inspired by Deleuzian ontology I was also inspired by George Bataille’s The Story of the Eye (1928) with its ability to link objects to context in a string of metaphorical displacements. Many of the chapters and case studies should be read as ‘Kafkaesque’ in their being part of an infinite series of events of which just a small segment have found their way into this essay. I also was inspired by the non-moving title character of Daniel Defoe’s novel Robinson Crusoe (1719) as a model of storytelling.
9 Davis. E, 2010. De Landa Destratisfied. [webpage].Available from: www.techgnosis.com/delandaa.html [accessed 2 October 2012] p.4
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PART I
Everything about capitalism is rational, except capital or capitalism10.
10 Deleuze, G., 2004. Desert Islands: and Other Texts, 1953-1974 (Semiotext(e) / Foreign Agents). Los Angeles, CA: MIT Press. p 262
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I begin by shutting my eyes to observe the thoughts running through my mind at this moment.
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THE BOUNDARY
For Sigmund Freud the unconscious mind is driven by what he termed the pleasure
principle11, which is a powerful force of uncontrolled instinctual impulses that are potentially disruptive and dangerous to the individual and the society that they live in. Culture is able to operate by placing restraint upon these impulses in order for individuals to live together within the security of a group. The instincts behind Freud’s pleasure principle we know as impulses, wishes and desires, which all require direct satisfaction and operate outside of what is understood as logical, rational thought processes12.
Freud, along with many other sociologists that had been influenced by Charles Darwin’s
evolutionary theory saw a direct relationship between the development of the individual, ontogenesis, and the species, phylogenesis. He saw how the same unconscious desires that dominate infant development can also be seen in the early development of society, and how as both develop they learn to repress the drives of the subconscious through cultural controls13. It is important to note, in the context of this essay, that not everything in the subconscious is repressed because for Freud the relationship between the conscious and subconscious mind is dynamic and mediated through the preconscious. In psychoanalytic thought the preconscious is the part of the subconscious that allows us to recall memories, ideas and dreams, which can then be formulated and ordered into ideas or concepts.
The preconscious is the boundary between what is perceived as unordered and
uncontrollable and what is ordered and controllable. This boundary is a space in itself; it is a space of computation where connections are made between two states; it is a space between spaces.
For the British anthropologist Mary Douglas a social institution has always manifested itself
within society to protect this boundary into the unordered. Magic, religion and science are the institutions that Douglas uses to illustrate her point as all three are concerned with finding and controlling new patterns of reality; and they all do so through ritual. Ritual creates a controlled space between order and chaos from which change and the expansion of knowledge can occur:
11 Bocock, R., 1990. Freud and Modern Society (Open University set book). New edition ed. London: Chapman and Hall. P. 3 12 Bocock, R., 1990. Freud and Modern Society (Open University set book). New edition ed. London: Chapman and Hall. P. 4 13 Bocock, R., 1990. Freud and Modern Society (Open University set book). New edition ed. London: Chapman and Hall. P. 3
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Order implies restriction, from all possible materials, a limited selection has been made and from all
possible relations a limited set has been used. So disorder by implication is unlimited, no pattern has been realised in it, but its potential for patterning is indefinite14.
Anyone who ventures beyond this boundary has gone beyond the confines of society and so
anyone who practices moving beyond the boundary outside of the institution is seen as dangerous as they now process the knowledge that is capable of disrupting the regular pattern of order. As Douglas points out, uncleanliness or dirt both fall into this category, as dirt is matter out of place15. Anything that represents formlessness is deemed to come have come from beyond this boundary as it threatens to disrupt order.
The body has boundaries that should not be crossed, we fear our insides and anything that
crosses the boundary from within. Skin is the barrier that provides consistency to our body but skin is unreliable as it can give way to reveal urine, blood, sperm and excrement16.
Blood, especially menstrual blood is seen as possessing danger as it represents a sort of human
manqué17, a formless human that never lived. The French social historian Alain Corbin remarks that in the eighteenth century this view of menstrual blood played a large part in associating women with witchcraft and evil. This was until the pattern was changed by science and the discovery of ovulation, where it then became associated with creation18. But it was male sperm that gave woman’s smell its ideal quality19 because as with any patriarchal society sperm was seen as the main producer of life.
The desire for order is driven by fear; a fear of disorder is an instinct to survive the ultimate
chaos; death. Bad health produces the vomit, blood or puss that contain the smell of decay but these fluids do not represent death, instead, because they cross over from the inside to the outside they confirm that we are alive. Good health and bad health are not symmetrical opposed; they both represent life although the boundary between life and death becomes more evident with bad health and this is the abject. That which we find repulsive because it reminds us of death while we are alive, it is another boundary. Our shit and piss, our vomit, our blood and our puss are all evidence of the boundary between form and formlessness that exists within us.
14 Mary Douglas, Purity and Danger, an analysis of concepts of pollution and taboo. London and New York: Routledge, 1996. (chapter 6, p 2) 15 Mary Douglas, Purity and Danger, an analysis of concepts of pollution and taboo. London and New York: Routledge, 1996. (chapter 6, p 35) 16 Kristeva, J., 1984. Powers of Horror: An Essay on Abjection (European Perspectives). Reprinted Ed ed. Columbia University Press. p. 53 17 Douglas, P. M., 2002. Purity and Danger: An Analysis of Concepts of Pollution and Taboo (Routledge Classics). 1 ed. Routledge. p 2 18 Corbin, A., 1996. The Foul and the Fragrant: Odour and the Social Imagination. (New edition ed. London: Papermac.) p. 45 19 Corbin, A., 1996. The Foul and the Fragrant: Odour and the Social Imagination. (New edition ed. London: Papermac.) p. 46
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A mobile phone is ringing
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TECHNOLOGY
The solution to a problem is a process of repressing desire by desire. This process operates on every level of society, from the economy to the infrastructure, the superstructure (to which ideology belongs20) and technology. Deleuze calls this the organisation of power through desire. Technology is an extension of this power designed to channel the raw energy of desire into a specific task, this way maximising its efficiency and thus extends life efficiency. Life is always rationalising in this way for without forgoing some paths and actualizing others, life would not be able to go on living21.
This is how technology and life are entwined. They are both extensions of power; extensions of a tendency towards an efficiency of life but this tendency must always come at the cost of minimalizing life’s potentials.
Karl Marx wrote: “the bourgeoisie cannot exist without constantly revolutionising the instruments of production and
thereby the relations of production, and with them the whole relations of society22”. The more advanced and capable society becomes at mastering its tasks through production
the more limited life itself becomes. The war machine has a reciprocal relationship to the State as part of its apparatus as it maintains social, political and economic relationships in order to support its own continued existence in the world23.
Each society evolves and develops its own war machine and in this way a war machine is
connected to territory. There are two primary types of war machine and two ways of occupying territory. The type used by Genghis Khan, which was based upon a combination of psychological shock, and physical speed and the type used by sedentary peoples from which modern armies have evolved24. These war machines rely on surveillance of the outside and an expanding of territory through a process of internalising.
Traditionally a societies war machine has always used the most advanced technologies of the
day to protect society from the wild unformed outside but today, due to globalisation and the collapse of physical boundaries the outside is no longer a geographically located space. Fear has now manifested itself inside our daily life and routines, it is also emphasised and reinforced by the very technology designed to protect us by its watching over us.
20 Deleuze, G., 2004. Desert Islands: and Other Texts, 1953-1974 (Semiotext(e) / Foreign Agents). Los Angeles, CA: MIT Press. p.264 21 Colebrook, C., 2006. Deleuze: A Guide for the Perplexed (Guides for the Perplexed). New title ed. Continuum. p.11 22 Mcdonough, T., 2004. Guy Debord and the Situationist International: Texts and Documents (October Books). New Ed ed. MIT Press. p.x 23 Ensemble, C. A., 1998. Flesh Machine: Cyborgs, Designer Babies and New Eugenic Consciousness. Autonomedia.p.53 24 Landa, M. D., 1992. War in the Age of Intelligent Machines. Swerve ed. NewYork: Zone Books. p.11
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I feel my arm with my nose
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THE BLOB “You may not experience shame during defecation and intercourse
but you may well experience shame when these recordings are played back to a disapproving audience25”.
Cinema actualises the unknown and gives form to the unformed in a representational image that emphases danger. Cinema connects the biological eye to the mechanical eye of the cultural preconscious. The flow of desire returns to itself visually as a spectacle designed to imitate dreams. The representation of reality has merged with reality. The boundary is still there but it is blurred by movement/speed26
The 1958 Hollywood movie The Blob27 captures America's cold war paranoia and attitude
to cultural boundaries through the re-telling of the familiar tale of a threat from the outside crossing the boundary and bringing with it danger. Fear of the unformed is literalised into a partially formed alien fluid that shares the same viscosity to a bodily fluid. The danger that this ‘thing’ represents is actualised in the irrationality of its desire to consume and kill.
In The Blob space is the boundary that shouldn’t be crossed as this is where the formless
Blob appears to come from. The film follows the lead character 'Steve' (played by Steve McQueen) in his pursuit of finding what he has witnessed fall from the sky which he somehow believes threatens the safety of his town. The first victim of the Blob is an old hermit, who lives with his dog on the outskirts of town (the socially non-descript always live nearer to danger). The hermit hears something outside so leaves his house and ventures into the woods to see what's there. He finds a crater with a small meteorite type object in the centre. The hermit proceeds to prod the meteor with a stick and the meteor opens up to revel a thick gooey object reminiscent of a pool of thick mucus. The Blob. The Blob works its way up the stick and attaches itself to the hermit’s hand.
The potential for meaning and purpose of the blob is open to limitless interpretation. It
appears as if it is made from a highly viscous liquid that is somewhere between being slimy and sticky. The Blob is organic to a point way beyond the streamline aesthetics popular in 1950’s that Ellen Lipton proposes to display: a surreal conflation of the organic and the mechanical28. Its viscosity dictates its movement and this is what is so disturbing, it is more slug than car and yet it is dangerous. The Blob is the human body except only that which is gooey and liquid. It at one and the same time is itself and the remains of its victims.
25 Burroughs, W., 2000. Electronic Revolution. 11th edition ed. Pociao's Books.P.12 26 Deleuze, G. & Guattari, F., 2004. A Thousand Plateaus: Capitalism and Schizophrenia (Continuum Impacts No. 21). New Ed ed. Continuum International Publishing Group Ltd. p 437 27 The Blob - Steve Mcqueen (1958) [Uncut] [R2 Import English Audio]. [Dvd]. 28 http://elupton.com/2009/09/critic-article-y/#more-82
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As vague and fuzzy as the meaning of the Blob is the narrative of the movie is a pretty
straightforward moral tale of its time; boy meets girl, boy becomes man, boy saves his town. Unwittingly it is Steve who brings the danger into the town by finding the hermit and taking
him to the local doctor. When the doctor and Steve look at the hermits hand they realise the Blob is getting bigger. The Blog eventually takes over the hermit until he is no more. It is interesting to think of how the Blob is actually claiming its victims. Does it suffocate them? Squeeze them until they turn to goo themselves? It could even be eating them alive, (although I do not believe the Blob has a mouth with which to do so). How the Blob is claiming its victims is as ambiguous as the Blob itself.
By the time that Steve has had a quick race with the other ‘youngsters’ in the film and been
told off by the police, the Blob has taken the hermit, the doctor and his poor helpless female nurse who has come to assist the doctor. The Blob has now disappeared somewhere into the background of the story. Lurking. The next time we see the Blob is in Steve's fathers store where we are shown how it is capable of oozing itself through small nooks and crannies. It is here that I first feel slightly unnerved by the Blob; the second time is when it appears behind the air ventilation grid in the cinema wall, which it promptly begins to pour itself though.
Steve is modern morality itself, constantly at odds with choice, always wanting to do the
right thing. He opts for the freezing of the Blob (for the Blob cannot be killed) and dropping it in the Arctic where it will be safe "for as long as there's ice there"; these are the last words of the film. The freezing of the Blob has rendered it harmless, its atomic particles now packed tightly together as a solid structure, time slowed.. at----Om i c particles now pack ed tig htly toge-ther a solid structure, time s l o w e d. Science has saved the day. Is there an
ec ol o oica
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me ss ag e bei ng distribu ted h er e?
(Remember that when the human nervous system unscrambles a scrambled message this will seem to the subject like his very own ideas, which just occurred to him, which indeed it did29)
29 Burroughs, W., 2000. Electronic Revolution. 11th edition ed. Pociao's Books.p 16
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Fig.1
Fig.2
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PART II
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I lean in to look
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QUANTUM MECHANICS
Around the beginning of the twentieth century it became apparent that the way we describe
the motion of particles and bodies of the macroscopic world failed when applied to the motion of particles of the microscopic world30. Quantum mechanics is the scientific field concerned with the study of these particles. What quantum mechanics tells us is that the electron, the most basic unit of matter, does not have continuous spatial existence, but discreet points of manifestation in space31. This is because an electron does not only display the properties of a particle it also displays wave properties. The fact that an electron displays two simultaneous properties makes it impossible to ever measure exactly where an object is and where it is going at the same time. This was because of what the quantum physicist Werner Heisenberg called the uncertainty principle:
“certain pairs of properties, such as position and momentum or energy and time, could never be
specified with unlimited precision at a single instant. The more precisely a quantum objects position was specified, the less precisely its momentum could be, and vice versa32”.
As atoms spin they create kinetic energy. Depending on the direction of the spin the energy
will be either positive or negative. This energy allows groups of molecules to form together into the different spatial arrangements that on a macroscopic scale we perceive as a solid, liquid, or gas. The strength of the kinetic energy is dependent on how fast or slow the atoms and molecules are spinning and this is dependent upon temperature and pressure33. The higher the temperature the more pressure expressed so the faster the spin and the higher the kinetic energy.
The atoms of a gas are far apart and yet remain cohesive to one another, this is because the
kinetic energy of the molecules is great enough for them to escape one from another and yet retain their intermolecular attractive forces34. A solid’s molecules are packed tightly together in perfect alignments so instead of spinning they vibrate. On a macroscopic scale this gives a solid its volume and characteristic shape and resistance to deformation 35. In the middle there is liquid. Here the kinetic energy of an atom is large enough to overcome the rigid binding
30 A. Modinos, Quantum Theory of Matter: A Novel Introduction. p.1 31 McKenna, T. & McKenna, D. J. 1994. The Invisible Landscape: Mind, Hallucinogens, and the i Ching. Reprinted edition ed. HarperOne. p.37 32 Kaiser, D., 2011. How The Hippies Saved Physics: Science, Counterculture, And The Quantum Revival By Kaiser, David[Hardcover]Jun-2011. W. W. Norton & Company.p.9 33 R.Dewsberry, R. Hine, R. Potter, 1973. Matter and Molecules. first ed. Bungay, Suffolk UK: penguin education. p.142 34 R.Dewsberry, R. Hine, R. Potter, 1973. Matter and Molecules. first ed. Bungay, Suffolk UK: penguin education. p.129 35 R.Dewsberry, R. Hine, R. Potter, 1973. Matter and Molecules. first ed. Bungay, Suffolk UK: penguin education. p.212
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that characterises a solid and yet not as chaotic as a gas. The atoms of a liquid are free to
move so if the liquid is not confined it cannot resist a pressure that tends to define its shape36.
Within each state there are always a different level of kinetic energy so on a macroscopic scale there are always materials that display characteristics of another state. Within the state of liquidity the proximity of atoms in there characteristic arrangement can vary due the level kinetic energy. This determines if the liquid is thick or thin and displays itself when a liquid is in motion as viscosity.
Viscosity is the resistance by a liquid to the relative motion of different regions of a fluid
flow. If a fluid, having been set in motion is left to itself, interactions between the molecules reduce the relative motions of the various moving regions to rest. If a force is applied to maintain the motion, the viscosity of the liquid opposes the flow and a steady situation is produced37.
The atomic structure of these states of matter is dynamic as over time they are affected by
changes in temperature or pressure. And yet there are clear distinctions between the states. This is because of critical thresholds. These are boundaries of temperature or pressures where the atomic structures suddenly rearrange themselves into another distinct spatial arrangement when they are crossed. This process is called a phase transition. Just before a critical threshold is crossed there is a moment when the atomic particles behave chaotically while in transit between the two states. On a macroscopic scale this is witnessed as turbulence.
Turbulence is an atomic boundary between form and formlessness, it could be seen as nature’s preconscious as it is a mediation between two possible states. Certainly some scientists working in the field of emergent computation think that there’s the potential that living systems exist in this state between order and chaos:
evolution seems to have discovered the natural-information processing capacity inherent in these
near-critical dynamics, and have taken advantage of it to further the ability of such systems to maintain themselves on essentially open-ended transients38.
36 R.Dewsberry, R. Hine, R. Potter, 1973. Matter and Molecules. first ed. Bungay, Suffolk UK: penguin education. p.50 37 R.Dewsberry, R. Hine, R. Potter, 1973. Matter and Molecules. first ed. Bungay, Suffolk UK: penguin education. P.244 38 DeLanda, M., 2005. Intensive Science and Virtual Philosophy (Continuum Impacts). New Ed ed. London: Continuum p 87
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BROKEN SYMMETRY
For Manuel De Landa the mathematical model that best explains a phase transitional
processes is found in the differential geometry of Friedrich Gauss and Bernhard Riemann. “Differential geometry involves the idea that a geometrical object, a curved line or surface, for
instance, could also be characterised by the rate at which some of its properties changed, for example, the rate at which its curvature changed between different points39”.
Differential geometry treats the surface of an object (its boundary) as if it is a space in itself.
Until the 19th century Euclidean geometry, which relied on fixing points in a metric space40 dominated western thought, but other geometries where also being discovered. The mathematician Felix Klein realised that all these different geometries could be related to one another by categorising them by their invariants to change in a pattern called broken symmetry.
In broken symmetry, if a cube were turned 90º then its appearance would remain the same,
but if it was turned 45º is appearance would change. If the same rotations were performed on a sphere its appearance would not change at all. In mathematics this is expressed by saying that a sphere has more symmetry41. De Landa apples this mathematical model to different states of matter undergoing a phase transitional process:
“A gas would display its invariant properties under all translations, rotations and reflections,
while a solid would be invariant to only a subset of these transformations. For example, while the gas could be displaced by any amount but remain basically the same, a solid’s particles would need to be moved one unit crystal at a time (or multiples of that unit). In other words, the gas has more symmetry than the solid, and can become the solid by undergoing a symmetry-breaking phase transition. “42
metaphorically, the hierarchy “topological-differential-projective-affine-Euclidean” may be seen as
representing an abstract scenario for the birth of real space43. The cascade of broken symmetry can also be applied to the metric and non-metric aspects of
geometric properties, circle and roundness or Deleuze’s smooth and striated space for example. It is a mathematical model that explains the nature of the relationship between spaces, one
39 DeLanda, M., 2005. Intensive Science and Virtual Philosophy (Continuum Impacts). New Ed ed. London: Continuum. p.10 40 DeLanda, M., 2005. Intensive Science and Virtual Philosophy (Continuum Impacts). New Ed ed. London: Continuum. p.22 41 DeLanda, M., 2005. Intensive Science and Virtual Philosophy (Continuum Impacts). New Ed ed. London: Continuum. p.17 42 DeLanda, M., 2005. Intensive Science and Virtual Philosophy (Continuum Impacts). New Ed ed. London: Continuum. p.18 43 DeLanda, M., 2005. Intensive Science and Virtual Philosophy (Continuum Impacts). New Ed ed. London: Continuum. p.24
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that recognises the vague and the exact, the actual and the un-actualised, the real and the
virtual. This model provides a mathematical way to understand all concepts of space as fractal
elements of one another unfolding through time; as unrealised potentials unfolding into a virtual real. These notions of space can be measured as having more or less invariant potential and thus more or less symmetry.
To apply this mathematical metaphor to another metaphor (the material of the world around us) the virtual is near to a gas whereas a fully formed entity can be said to contain less potential and limited invariants like a solid.
The space between the real and the ‘virtual’ real must by default become liquid. Liquid is
the intermediate state that mediates between the virtual (unformed) and the real (formed) so to understand what is going on in either all you need to do is occupy a liquid space and as De Landa says “take averages of behaviour and you know what's going on44”.
In hydrodynamics there is a ‘dimensionless number’ that is used to generalise the
measurement of fluid flow without having to take into account specific details. This dimensionless number is called the Reynolds number (Re)45.
The Reynolds number works by measuring in ratios, it merges the ratio of the speed
(velocity) that drives the fluid flow with the ratio of drag caused by its viscosity. At different singularity points on the Re the pattern of flow takes on different characteristics.
For example, if a steady flow has an obstacle in its path its streamlines will be disrupted but if
the Re number is less than 4 there will be no major change. Above Re 4 the flow changes abruptly with vortices46 appearing behind the obstacle. Vortices, or eddies, are counter-circulating little pockets of fluid that have become detached from the main flow to form a closed loop.
44 Davis. E, 2010. De Landa Destratisfied. [webpage]. Available from: www.techgnosis.com/delandaa.html [accessed 2 October 2012] p.4 45 Ball, P., 2009. Flow: Nature's patterns: a tapestry in three parts. OUP Oxford. p.29 46 Ball, P., 2009. Flow: Nature's patterns: a tapestry in three parts. OUP Oxford.p.29
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There is a mouse under the sofa
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LIQUID REALITY
Note: the eye of this chapter is also the ‘I’. In a lecture given at the Institute of Science in September 2008 the geneticist Mae-Wan Ho
explained that: “An organism arises when a loop of circulating energy closes on itself to give a regenerating,
reproducing lifecycle. The organisation of oscillating ‘steady states’ of small biochemical compartments enclosed within a larger one that is itself enclosed within another domain47”.
The eye is the event of one particular biochemical compartment the organism has developed
to interpret light into visual information. Light enters through the pupil and focused by the cornea and lens onto the retina, which is lined with visual receptors rods and cones48.
Cones are found near the centre of the retina in an area called the fovea; they specialise in
colour vision and are very sensitive so produce information in great detail. The other receptors, rods, are found around the periphery of the retina and are more sensitive to dim light. There are other areas of the eye where the blood cells and ganglion cells band together to form the optic nerve which loops around the exit through the back of the eye. This anatomical area has no receptors and so creates the blind spot. The blind spot is an area where there is no sensation of light and so no vision at all; nothingness. The information of these anatomical extremes of the eye, detailed, peripheral and nothingness the brain then merges together to create our visual perception.
The process of light being transformed into vision consists of three convoluted stages. Light
is first absorbed as physical energy by the eyes receptors, which instead of sending the energy direct to the brain send it to other neurons called bipolar neurons located closer to the centre of the eye. The bipolar neurons then send their message to the ganglion cells even nearer to the centre of the eye. It is only then that the ganglion cells and axons join and loop together before exiting the eye en route to the brain.
I have gone into great detail to explain how the eye works not only demonstrate that
perception could be understood as being the result of a computational liquid process; but also to demonstrate the possibility that there is a slight delay between the information being initially processed by the eye before being registered by the brain,
The delay between reception and coding could be said to be an effect of viscosity.
47 The Quantum Coherent Organism & EMF Sensitivity/ www.isis.org.uk.QuantumCoherentOrganismSensitivity.pdf. p.3 48 Kalat, J. W., 1995. Biological Psychology. 5th Revised edition ed. Pacific Grove, Calif.: Brooks/Cole.p.183
29
PART III
“The mathematics describing the onset of turbulent behaviour in flowing liquids is now being applied to understanding the onset of armed conflicts between nations49”
49 Landa, M. D., 1992. War in the Age of Intelligent Machines. Swerve ed. NewYork: Zone Books.p.57
30
CULTURAL VISCOSITY
If culture had vision we could assume that it operates from information passed on from different cones and rods acting independently from one another. We could also assume that some of this information will be processed quicker than others. This delay I will call cultural viscosity.
Guy Debord wrote: “in a given society, what is termed culture is the reflection, but also the foreshadowing of
possibilities for life’s planning50”. Within capitalist society these possibilities are determined by the potentialities of
production. Sciences roll is to look beyond the boundary of what is possible to expand our domination over nature and to further economic growth. These discoveries need then to be embodied within a technology that is first used by the war machine before it can appear as a commodity within social space. It could be said that the cultural viscosity of the space between science and culture is high. The main reason for the high viscosity of this space is that unlike war, the economy and politics, ideology is connected to social attitude, which is always more resistant to change51.
The viscosity of this space needs to be carefully managed by the war machine. If it is too low
technologies become available to society too quickly and the momentum of velocity could affect the pace of everyday life, inadvertently causing society to cross a cultural critical threshold. This could lead to turbulence from irrational demands for the rest of society to catch up and manifest itself as social unrest.
The same could be said for cultural viscosity being too high. If the war machine’s
technologies enter into society to slowly then economic growth would slow down and lead to a loss of jobs and once again turbulence within society.
The Re number and the mathematical model of a cascading broken symmetry can now be
used as metaphors to understand historical events within post-war society where a critical threshold has been approached.
As with any turbulent fluid flow its use as a metaphor for cultural turbulence will also
determine that a critical threshold being crossed will coincide with the appearance of a vortex in the form of counter-revolutionary pocket of society detached from the main flow. These counter-revolutionary loops should appear behind an obstacle: law and order.
50 Mcdonough, T., 2004. Guy Debord and the Situationist International: Texts and Documents (October Books). New Ed ed. MIT Press.p.29 51 Ensemble, C. A., 1998. Flesh Machine: Cyborgs, Designer Babies and New Eugenic Consciousness. Autonomedia.p.57
31
The cascade of broken symmetry determines that every scale within each vortex should be
related by an amount of invariants that gradually reduces its symmetry as the vortex moves away from a metaphor to an actualised material entity. Because each vortex is defined by a metaphor of liquidity I expect to find a material entity that is also a liquid. Like a hologram, this liquid will be viewed as a fractal part of the larger vortex that contains information that refers to the entire vortex. The following case studies are experiments of this theory.
32
forgotten to speak
33
EXPERIMENT I
During the 19th and pre-war 20th century the avant-garde is an obvious group that displays
all of these properties of counter-cultural dissent. It was a part of society that went against the normal flow of bourgeois rationality by embraced irrationality to push up against the boundary to expand the terrain.
• The term avant-garde is a broad term that suggests many potential actualizations
thus it can be said to contain a lot of symmetry.
• There are many possible ways I could move from this topology of avant-garde space to a differential view but I will pick a period and place for the avant-garde; lets say 1872, Paris; as this is both particular and broad thus reducing the symmetry of this space.
• Next I will define a particular member of the avant-garde who was living in Paris in 1872; Arthur Rimbaud becomes the most symmetrical person to define as he was not only in Paris in 1872 he embodies the irrational as can be seen in the extract from a letter he wrote below.
“I’m now making myself as scummy as I can. Why? I want to be a poet, and I’m working at
turning myself into a seer. You wont understand any of this, and I’m almost incapable of explaining it to you. The idea is to reach the unknown by the derangement of all the senses.52”
• Next, (an affine view) would need to be a particular that relates both Rimbaud
and the cause of the eddy (which, lets not forget is the breaking away from the normal flow of life). This reduces the symmetry significantly; but his use of absinth, a liquid that confuses the senses does both suggest Rimbaud and irrationality.
• And finally Euclidean; the crystallisation of the eddy. This will be an actualisation
of all of the other spaces contained within its own fully realised entity. Rimbaud’s very own key to universal harmony53; his poem Voyelles.
52 Robb, G. 2001. Rimbaud. Picador. p 80 53 Robb, G, 2001. Rimbaud. Picador. p 135
34
VOYELLES By Arthur Rimbaud
A black, E white, I red, O blue,- vowels. One day I will recount your latent births: A - furry black corset of spectacular flies That thrum around the savage smells:
Gulfs of shade, E- whiteness of steam and tents,
Proud glaciers’ lances, white kings, quivering umbels, I – purples, expectorated blood, the laugh of lovely lips
In anger or in the ecstasies of penitence.
U- eons, divine vibrations or viridian seas, The peace of animal- strewn pastures and of furrows
That alchemy imprints on broad studious brows.
O- the final trump of strange and strident sounds, Silences traversed by Worlds and Angles:
O- Omega, the violet ray of His Eyes!
35
EXPERIMENT II
“When you trip you liquefy structures of your brain, linguistic structures, intentional structures. They acquire a less viscous consistency, and your brain becomes a super computer54”.
LSD was used in the 1960’s during the ‘flower power’ social revolution as an act of protest against the type of rationality that had led to war in Vietnam. LSD 25 with the brains metabolism to create a new perception of reality.
The molecular structure of LSD (lysergic acid diethylamide) closely resembles the
neurotransmitting chemical serotonin and so it can attach itself to a serotonin receptor known as 5-HT2 receptors. Once attached it acts as an agonist55 and decreases the metabolic processes of the neurons that release serotonin.
By binding to the 5-HT2 receptors LSD stimulates it at abnormal times and blocks serotonin
from stimulating it in the normal way. The 5-HT2 receptors contribute to perception and thus the abnormal pattern of stimulation of these receptors leads to abnormal perceptions.
Taking inspiration from the process of genetic intercalation (the process of placing one atom
between two other atoms in a DNA sequence of information) this experiment attempts to represent the fluidity of perception through the effects of an abnormal pattern. The three spaces will be represented by three different types of book that report the effects of LSD:
• The journalistic- The Electric Kool Aid Acid Test (1968) Tom Wolfe
• The speculative- The Invisible Landscape. Mind Hallucination and the I Ching
(1975) Terrence and Dennis McKenna.
• The scientific- The Varieties of the Psychedelic Experience (1966) Robert Masters PH.D and Jean Houston PH.
54 Davis. E, 2010. De Landa Destratisfied. [webpage].Available from: www.techgnosis.com/delandaa.html [accessed 2 October 2012] p.4 55 Kalat, J. W., 1995. Biological Psychology. 5th Revised edition ed. Pacific Grove, Calif.: Brooks/Cole.p.89
36
PSYCHIC AUTOMATISM
But exactly! The experience- that was the word! And it all began to fall into place thinking at the speed of light as….The Flash…the current fantasy the next thing you know it will attach itself to a serotonin receptor where it acts as an agonist electron spin resonance let me begin by outlining the process of ESR electrons usually travel in pairs they take a trip up into the High Sierras and dictate whether they rotate clockwise or anticlockwise the guide played a spoken recording he also mentioned a slight tremor every phenomenon and every person is the microcosm due to the proximity of the olfactory bulbs, I explore the room the flowers, the fruit, and on my own hands I discovered Day-Glo, Day-Glo paint and started painting it up the trunks of the redwoods some powerful plant growth hormones growth regulators in the central nervous system a huge surge of electricity had suddenly rolled through the wires causing the end bonds to fly apart and unwind as this is happening an internal shutter opens inside the helix and distributes positive charged ions ‘I don’t believe what I’ve always thought I believed being an ocean’ The effect of the helix unwinding and winding absorbed through the synaptic receptors and translated- you wouldn’t believe a girl with electric eel tits, would you king? Everybody up to the top of the spinal cord (I felt I was walking in a waking dream) atop a pyramid, studded with what seemed great buttons of ivory inherited from our reptilian ancestors floods of images: the minds interior- we are computers -The Unspoken Thing- ancestors i think I’ll close the window and in that very moment another ancestor gets up and closes it an oscillation that becomes an electromagnetic wave you could pick up the vibrations of the ordering principles of living systems Day-Glo green and orange do seem to have many similarities to low-temperature systems- superconductivity arising from macromolecular changes and he knows for the first time that there is a whole…other pattern…here
37
EXPERIMENT III
In the late seventies The Sex Pistols where a catalyst event of a phase transitional moment when high and low culture merged to form a new epoch; postmodernism. Back in the 1950’s the Situationsit’s had proposed that the only way to create a new form of rationalism was to not oppose the system but to become a part of the system “in order to make the negative itself the release valve of n unlimited potential for development56”. The Sex Pistols can be seen as Situationist theory put into practice.
Managed and led by Malcolm McLaren (who was supposedly connected to the
Situationsit’s) the Pistols subverted mass media by becoming a part of the mass media, using it to gain exposure from which to deny the illusionary pleasures and fraudulent myths that exists within the space of pop culture industry57.
The event of the Sex Pistols could be said to be the last successful act of cultural
detournment as art lost its critical distance and any attempt at an avant-garde counter-strategy was now doomed to failure as it needed a space outside of the mainstream to maintain a sense of artistic difference that mass market conditioning denied.
‘If art was commerce then commerce could be art58’. This last statement I would like to push to its extreme by suggesting that if commerce is art
and the Sex Pistols (which extends this to mean the whole contingent who constituted the phenomenon) embodied this then every act against the social order can be read as an intended design for a future social order.
Saliva is the fluid material that best represents this cultural vortex, as the act of spitting by
Punks was a deliberate sign of anti-sociability and its distain for the social norm. Opposed to a concentrated flow of liquid from the water cannon used by the war machine to keep disorder at bay, the material viscosity of saliva depends upon a biological mode of production that makes spitting unpredictable and open-ended in its aim and delivery. A biological assemblage of mouth, tongue and throat is created which is operated with the amount of craft needed to direct energy into the release of saliva in a general direction. This free action assemblage when used outside of a medical or sport institution contained the power to shock and offend.
What would a society that used spit as an architectural material look like I wonder?
56 Mcdonough, T., 2004. Guy Debord and the Situationist International: Texts and Documents (October Books). New Ed ed. MIT Press. p.x 57 1999. Punk Rock: So What?: The Cultural Legacy of Punk. 1 ed. London: Routledge.p.22 58 1999. Punk Rock: So What?: The Cultural Legacy of Punk. 1 ed. London: Routledge.p.19
38
I draw the first thing that comes to mind
39
PART IV
“After all, it was modern poetry, for the last hundred years, that led us there.59”
59 Mcdonough, T., 2004. Guy Debord and the Situationist International: Texts and Documents (October Books). New Ed ed. MIT Press. p.213
40
THE WORD VIRUS TRAJECTORY
STAGE ONE (Solid)
In between the words “From symbiosis to parasitism is a short step” and “The flu virus may once
have been a healthy lung cell” are found the words “the word is now a virus60”. These words are found in the top third of page twenty-six of the one hundred and five pages
that form the book The Ticket that Exploded. The Ticket that Exploded was written by the author William S Burroughs and first published in 1962. It is the second book in a trilogy referred to as the nova trilogy. The Ticket that Exploded is loosely based upon a narrative concerned with mind control by psychic, electronic, sexual, pharmaceutical, subliminal and other means.
In an essay written in 1970 called Electronic Revolution Burroughs develops the statement
“the word is now a virus” into a theory on the nature of language, “the written word was literally a virus that made spoken word possible” 61 he says.
According to Burroughs theory the reason that we don’t recognize language as a virus is
because it has reached a stable state of symbiosis with its host, but this relationship is gradually breaking down and that we are in danger of the parasite attacking the host. Burroughs suggests that with the aid of electronic technology (especially recording technology) the virus can be biologically extracted activated and used against the original host.
“Steinplatz postulates that the virus of biologic mutation, which he calls Virus B-23, is contained in the word. Unleashing this virus from the word could be more deadly than losing the power of the atom. Because all hate, all pain, all fear, all lust is contained in the word”.
The human organism is the time binding animal62 but it feels as if we have become animals
bound by time, slaves to our own technologies. Today we are bombarded by the mass media and coerced into engaging with new forms of communication more than ever. It is difficult to know where these new technologies actually begin and where they end. I agree with Deleuze when he says ‘we are denied the privilege of having nothing to say63’.
If we didn’t have the written word we would not be able to communicate to anybody outside
of our present spatial temporal dimension, in fact if there were no written word then there would be no other spatial temporal dimensions. Language has allowed us to pass on and develop the knowledge that has created today’s technology.
Could Burroughs have been right? Is language, the most primitive of technologies, an entity beyond our control? Is there a way to move beyond language if it is a virus?
Is the final piece in the jigsaw our ability to use technology to move beyond technology?
60 Burroughs, W., 2010. The Ticket That Exploded. Fourth Estate.p 26 61 Burroughs, W., 2000. Electronic Revolution. 11th edition ed. Pociao's Books.p 5 62 Burroughs, W., 2000. Electronic Revolution. 11th edition ed. Pociao's Books.p 4 63 2005. The Deleuze Dictionary. Edinburgh University Press.p 54
41
STAGE TWO (Liquid)
Since William Burroughs death in 1997 biology and technology have merged together to
form of technology that instead of being hard, external, massive and fixed is becoming increasingly miniscule, soft, internal and wet64. Biotechnology and synthetic biology are the two main branches of science that engineer and use the building block of life (DNA and RNA) to create this new generation of living machinery.
In 2009 the Canadian poet Christian Bök used biotechnology to take William Burroughs
theory that the word is virus one stage further by placing a poem inside the DNA sequence of an e-coli bacteria cell, to create what he has called “living poetry65” in a fascinating project called The Xenotext Project.
I plan to compose my own text in such a way that, when translated into a gene and then
integrated into the cell, the text nevertheless gets “expressed” by the organism, which, in response to this grafted, genetic sequence, begins to manufacture a viable, benign protein—a protein that, according to the original, chemical alphabet, is itself another text.66
The bacteria that Bök chose to place his poem inside of (Deinococcus radiodurans) is a
bacterium found in exceptionally hot and caustic environments and could conceivable outlive language and humanity. The Xenotext project is the first such attempt at literary immortality.
The Xenotext Project evolved the word virus into a reality and Burroughs original statement
(regardless of how far fetched the concept may have appeared to have been) has now become a prophecy. If the boundary between science fiction and science fact is fast disappearing then so to is rationality.
I would like to take full advantage of the rapid advancements that are happening today in
science to take the word virus trajectory one stage further to predict a gas stage. Although, gas by its very nature is unpredictable so delivery technologies would need to move beyond their current level of precision to become desirable for coding into a product for consumption.
Because of this it is the stage beyond a normal gas that i believe holds the truly fascinating
hypothetical potential for the word virus.
64 Wershler, Darren (2012) The Xenotext Experiment, So Far. Canadian Journal of Communication, 37. P 45 65 Christian Bök, The Xenotext Experiment, (publishing the Unpublishable 022 ©2007 /ubu editions) p 66 Christian Bök, The Xenotext Experiment, (publishing the Unpublishable 022 ©2007 /ubu editions) p 5
42
STAGE THREE (Beyond Gas)
An atomic Bose-Einstein condensate, predicted by Satyendra Nath Bose and Albert Einstein
in 1925, was first produced in the laboratory I 199567. Bose-Einstein condensate is achieved when atoms are cooled down to a temperature near absolute zero where they no longer display the properties of particles. Instead their wave properties are exaggerate and as the temperature approaches a critical threshold of -273.15ºC the waves of the atoms grow and display turbulence until the critical threshold is reached and the waves superimpose over the top of one another and spontaneously synchronise into an ‘atomic cloud’. This is Bose Einstein condensate.
This relatively new state of matter can be controlled as an atomic wave because essentially all
atoms occupy the same quantum state68. This means that instead of being an individual particle displaying properties that gives a state of matter their identity the matter behind Bose-Einstein condensate is in all places at all times. Bose-Einstein adds a new dimension to our rational understanding of reality.
This is a material that exists beyond the realms of the physical world around us and yet we
know exists. From a materialists point of view I cannot help but wonder if Bose-Einstein is the material of dreams?
Engineered atomic waves have already led to the start of a new generation of Bose-Enstein
technology. Different atoms in a Bose-Einstein state have been fused together to create Bose-Einstein molecules and these have developed into atomic machines that manipulate and bend atomic waves in the same way that light waves are manipulated through a lens69. This technology is in its infancy so the repercussion of how its technologies will affect our lives is yet to be seen, but once again science is proving that beyond the boundaries of what is possible today is simply waiting for science to discover it tomorrow.
“These things that, by his science and technology, man has brought upon this earth, on which he
first appeared a feeble animal organism” Freud once said. We are at the stage of our evolutionary ability where we are no longer taming the wild chaotic temperament of nature; we are actually manipulating the building blocks of life itself. Beyond that, the ability to engineer and manipulate atomic waves, to me, suggests the ability to create machines from the same materials as dream.
67 C.J Pethick, H. Smith, 2008. Bose-Einstein Condensation in Diluted Gases. Second Edition ed. USA: Cambridge University Press. p.1 68 C.J Pethick, H. Smith, 2008. Bose-Einstein Condensation in Diluted Gases. Second Edition ed. USA: Cambridge University Press. p.2 69 C.J Pethick, H. Smith, 2008. Bose-Einstein Condensation in Diluted Gases. Second Edition ed. USA: Cambridge University Press. p. 77
43
PROPOSAL
I would like to postulate that in the not to far away future we will be developing the
technology to manipulate and control thought waves. What this new generation of atomic wave technology would potentially have the ability to do is not only manipulate the appearance of the building blocks of reality from a distance by using superconductivity, they could also manipulate the building blocks of the mind.
This postulate once again returns to William Burroughs theory of the manipulation of reality
by the mass media through electronic technology, but on this return the word is no longer the manipulator as language as an external stimuli would no longer be needed. The ability to manipulate thought waves bypasses the need for both written and spoken language and thus also presents a way to exist beyond technology; through technology.
But of course this is not realistic, as this technology would be designed in such a way that it
would be able to expand economic growth first and foremost. A new form of language beyond word, beyond speech would need to be introduced before this technology was ever available to the public.
But I am allowed to dream, even if one day my dreams will not be my own. Burroughs proposes a use of electronic recording equipment that cuts/up and subverts reality
by use of the same technology that was being used to sensitize millions of people to receive scrambled versions of the same set of data70.
Let me speculate that the viscosity of society one-day lowers due to the regulated flow of
everyday life increasing because of a war or natural disaster. Let us also speculate that a black market has appeared and that this technology has appeared within society and is being used by a counter cultural movement which has also appeared.
The new atomic wave technology would allow mental communication that puts it beyond
language, as we know it. It could be done remotely through superconductivity putting it beyond time and space.
This form of protest would be free from the word virus and free from technology.
70 Burroughs, W., 2000. Electronic Revolution. 11th edition ed. Pociao's Books.p 16
44
But this maybe a dream built by science
45
Protest is the ability to dream, a verb not a noun.
46
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R.Dewsberry, R. Hine, R. Potter, 1973. Matter and Molecules. first ed. Bungay, Suffolk UK: penguin education. Robb, G., 2001. Rimbaud. Picador. FILM The Blob - Steve Mcqueen (1958) [Uncut] [R2 Import English Audio]. [Dvd]. WEBSITES AND PDF'S Davis. E, 2010. De Landa Destratisfied. [webpage]. Available from: www.techgnosis.com/delandaa.html [accessed 2 October 2012]
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http://elupton.com/2009/09/critic-‐article-‐y/#more-‐82 The Quantum Coherent Organism & EMF Sensitivity/ www.isis.org.uk.QuantumCoherentOrganismSensitivity.pdf
