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We know that Jacques RanciA?re speaks about the relation between politics and aesthetics in terms of a€?the distribution of the sensible.a€? Tonight I want to speak about the distribution of the insensible. But I also want to register an implicit critical dimension of this argument, a critique of RanciA?re and of his presently immense influence, which I view as unwarranted.
By way of a first approach to what I mean by a€?the distribution of the insensible,a€? leta€™s recall some basic passages from Volume One of Capital on the transformation of materials.
Labor is, first of all, a process between man and nature, a process by which man, through his own actions, mediates, regulates and controls the metabolism between himself and nature. What distinguishes capitalism as a mode of production, however, is the peculiar manner in which the transformation of materials through the labor process is shadowed by the process of valorization.
We can thus view the process of production either from the perspective of the labor process or the valorization process.
So, this brief summary of Marxist fundamentals is our first approach to the distribution of the insensible. In Intellectual and Manual Labor, Alfred Sohn-Rethel argues that the social abstraction of the value form and the exchange relation gives rise to our abstract forms of thought.
The exchange abstraction excludes everything that makes up history, human and even natural history. In Sohn-Rethela€™s account, the exchange relation gives rise to a social genesis of the transcendental (the forms of intuition and the categories of the understanding).
In the act of exchange, the natural and material physicality of the product is negated by the abstract value of the commodity, and this negation constitutes the a€?positive realitya€? of the social physicality of the exchange process. The history of modernity, which is to say the history of capitalism, is also the history of modern technology. And thena€”in the discourse network of 2000, spawned by the cybernetic systems, information theories, and encryption technologies of World War II, digital technology draws media differentiation back together through the synthetic resources of digital code, a universal medium traversing audio, video, and textual recording. However (fourth approach)a€”we should recognize that just as Kittlera€™s media theory offers a necessary supplement to Sohn-Rethela€™s account of the social genesis of conceptual abstraction, it is also necessary to submit Kittlera€™s own work to a Marxist inversion. What Marx calls a€?formal subsumptiona€? is the initial subsumption of labor under the value form, through wage labor and exploitation (the extraction of surplus value from surplus labor time). This contradiction bears upon the history of technology, because it is by revolutionizing the means of production that capital attempts to overcome this contradiction. The same process also generates a different problem: as automation increases, less labor power is required. Automation, which is at once the most advanced sector of modern industry and the epitome of its practice, confronts the world of the commodity with a contradiction that it must somehow resolve: the same technical infrastructure that is capable of abolishing labor must at the same time preserve labor as a commoditya€”and indeed, as the sole generator of commodities. We could rephrase this by saying that Fordism both requires and paves the way for post-Fordism. At the same time, however, we know that a commodity like an Apple computer is, in fact, produced by processes quite clearly identifiable as a€?labor.a€? Despite the fact that every effort is made to keep this fact out of sight and out of mind, we know it because we read about it on Apple computers. Composed of aluminum, nickel, steel, glass, vinyl, and fluorescent, the production of Vanitas involves a virtuosic performance of mimetic exactitude.
In a dark room, the viewer looks at the object, sees into it, and sees nothing of herself (like a vampire in front of a mirror, Baier says) while the object reflects its own interior infinitely in all directions. The first thing we might note about this piece is its complex engagement with relational aesthetics. Second, we can say that if Vanitas is a captivating work of art, much of what makes it so is money. Baiera€™s piece instantiates the problem of the relation between materials and money, captured in the art object. Behind Vanitas, a glass reproduction of Baiera€™s eyeball at the center of a projected disc of light, gazing without seeing across the room at a mirrored box which does not reflect its image. Beside Vanitas, a fond de scA?nea€”a reflector used in the background of photo shootsa€”which Baier placed in a template with a circular hole and left in a window for nine months. Around the corner, a piece called Projet A‰toile (Noir), consisting of a graphite painting titled Monochrome (Black) and a sculptural replica of a meteorite recovered from Death Valley. These are photographic pieces and sculptural objects which Baier would have worked on at the computer in the center of Vanitas. At the crux of materials and moneya€”through the complex history that crux containsa€”the subject of Baiera€™s installation is the relation between memory, recording, mimesis. Baiera€™s problem is not only the remembrance of things past, but, more specifically, the reminiscence of that which has never been sensed, the distribution of the insensible, recalled. By way of a first approach to what I mean by a€?the distribution of the insensible,a€?A  leta€™s recall some basic passages from Volume One of Capital on the transformation of materials. Our In-Ear White Noise Generators, Sleep-Eze and Snoremasker Pro, offer the ultimate defense against loud snoring. Man's first plunge into the unknown territory beyond the speed of light (c): in the light of the discoveries necessary for the attempt, the date is meaningless, although in rational terms it is ludicrously optimistic.
My only regret is that I found it necessary to provide a certain chronological continuity in order to remain, if faintly, within the bounds of comprehension.
Friends - "They're the kind of band who might have invented stereo had it not existed already". The album was released in 1972 by Dunhill with a different gatefold cover.Thanks to Koot, an album cover artist himself, for the loan of the record.
The inner gatefold shows a fore-shortened version of "Checkmate" (shown above) with the lyrics printed above it, which I haven't reproduced here. And I want to argue that it is the specificity of this problem which allows us to think the relation between the history of capital and the history of mimesis. I could summarize this critique as follows: if RanciA?re were more inclined to focus his attention upon the distribution of the insensible, perhaps he might think more perspicuously not only about the relation between politics and aesthetics, but also the relation between political economy and aesthetics.
Marx analyzes the process of production from two perspectives: the labor process and the valorization process. Moreover, we transform materials into tools, instruments of labor, with which we transform materials. The transformation of materials produces objects with use value, but it also produces commodities with exchange value.
But insofar as it is specifically capitalist, what the process of production produces is value, and a particular kind of value: surplus value and its reintegration into the production process as capital.
The entire empirical reality of facts, events and description by which one moment and locality of time and space is distinguished from another is wiped out. And this social genesis is at once material and abstract, since the exchange value of a commodity is borne by its use value, and since exchange (like the labor process) is a physical act which also requires abstraction from all physicality. Hence the exchange process presents a physicality of its own, so to speak, endowed with the status of reality which is on a par with the material physicality of the commodities which it excludes. This is what Sohn-Rethel, following Marx, calls a€?the real abstractiona€? of the value form as a social process of exchange.
In a materialist inversion of the Kantian transcendental, media technologies constitute the a priori conditions of possibility for the sensible, such that the distribution of the sensible already operates within these conditions. From the industrial revolution to the production and networking of digital information technologies, the history of modern technology emerges from and responds to the demands and internal contradictions of capitalist accumulation. This early period of subsumption is merely a€?formala€? because the production process itself (the labor process which is subsumed) remains primarily pre-capitalist.
New technologies of production, and new techniques of production (assembly lines, for example) make it possible to increase productivity, and thus increase the amount of surplus value that can be extracted in a certain period of time. If automation, or for that matter any mechanisms, even less radical ones, that can increase productivity, are to be prevented from reducing socially necessary labor-time to an unacceptably low level, new forms of employment have to be created. Essentially, Society of the Spectacle is a book about the consequences of real subsumption, about the contradictions that it bears within its history and about the new regime of accumulation necessary to defer and compensate for the crises those contradictions contain.
A corporation like Foxxcon, the largest manufacturer of electronic components in the world, is something like a distillation of the entire history of the contradiction between capital and labor, the great movements of the industrial revolution, Taylorism, Fordism, the off-shoring of manufacturing labor, and the simultaneity of deindustrialization and post-Fordist cognitive capitalism with the persistence of the most traditional forms of miserable factory work. The main piece is the sculptural object we have been looking at, titled Vanitas, a reproduction of the artista€™s office. Every component of the artista€™s desk and of his tools is precisely rendered as either a three dimension drawing or a three dimensional scan. It mimics one of the primary gestures of that movement or style, bringing the artista€™s studio and living space into the museum.


Obviously it is expensive to reproduce onea€™s office in nickel-plated aluminum and to display it so dramatically. The content of his piece is nothing other than that relation, a reflection upon that relation.
Baiera€™s piece should be considered as part of an installation, not merely a sculptural object, insofar as it does, in fact, come into relation with its surroundings, surroundings composed of digitally produced images and objects.
In front of Vanitas, a meticulously composed compound photograph of the stone wall beside the earliest cave paintings, titled Canvas. Not a reflection of the sun but an indexical image of its absorption, marked by the circular discoloration of the black tissue. Having held this meteorite in the palm of my hand, three years ago, I can testify to the strangeness of encountering its inexistence, distributed between these two art of objects.
Instantiated as digital code, they were a€?ina€? that computer, stored in its memory banks, transformed on its screen.
At and through the limits of modernity, of capital, of mimesis, of thought, of sensation, and within their outside, his work draws us into that distribution. However, the matter was largely out of my hands, as the elements involved hang on the edge of memory (race or otherwise) and therefore have tendencies to self-direction.
It was co-written by me and an old school friend, John 'Stephen' Ward, who was not a member of Heebalob. Crucially, I want to show how the relation between those two histories is mediated by another: the history of technology.
That is: focusing on the specific problem of the distribution of the insensible turns out to be the key to thinking about the relation between aesthetics and politics in a materialist way, in a manner properly responsive to the exigencies of Marxist historical materialism. He sets in motion the natural forces which belong to his own body, his arms, legs, head and hands, in order to appropriate the materials of nature in a form adapted to his own needs.
For example, according to Sohn-Rethel, the purely formal character of the Kantian forms of intuitiona€”space and timea€”can be understood as genetically related to the abstract formalism of the value form and the exchange relation. Time and space assume thereby that character of absolute historical timelessness and universality which must mark the exchange abstraction as a whole and each of its features. Thus the negation of the natural and material physicality constitutes the positive reality of the abstract social physicality of the exchange processes from which the network of society is woven. This real abstraction constitutes a kind of a€?second nature,a€? and Sohn-Rethel argues that this second nature is a€?the arsenal from which intellectual labor through the eras of commodity exchange draws its conceptual resources.a€? We can situate this analysis more broadly at the level of the whole process of valorization, or the accumulation of capital through circulation. We need to supplement Sohn-Rethela€™s materialist critique of epistemology with a history of media technologies like that carried out by Friedrich Kittler. Thus, without further increasing the length of the working day, one can increase surplus value (this called a€?relative surplus valuea€?). But Marx makes clear that the part of capital invested in constant capital does not undergo any alteration in the process of production, it does not increase (this is why it is called constant).
This means that less money is being paid out on the labor market for the consumption of commodities. A happy solution presents itself in the growth of the tertiary or service sector in response to the immense strain on the supply lines of the army responsible for distributing and hyping the commodities of the moment. And behind the passage I just read, we can also read a commentary on the history of technology. The conditions of possible experience are themselves conditioned by the moving contradiction between capital and labor. Indeed, bearing the conditions of its production in mind, one might view a device like an Apple computer as a distillation of the entire history of modernitya€”of the manner in which modernity acts upon external nature and changes it, and in this way simultaneously changes its own nature, from the printing press to the steam engine to the silicon chip. Each of these objects is then reproduced, at exact scale, by either machining in aluminum (in the case of objects that were drawn) or stereolithography (in the case of objects that were scanned).
But in doing so it forecloses the primary content of that gesture, radically separating this space from that of the viewer, encasing it within a mise-en-abyme in which only images interact with one another. A tour de force of concept, design, and execution, the piece is also nothing if not resourceful. As he did with the objects reproduced in Vanitas, Baier made a three dimensional scan of the meteorite and then reproduced ita€”at a much larger scalea€”through stereolithography. I wrote all the lyrics, and I also wrote the music for the central section which later surfaced in 'Killer'. The relation between the history of capital and the history of mimesis is mediated by the history of technics. Through this movement he acts upon external nature and changes it, and in this way his simultaneously changes his own nature. It is independent because the exchange value of a commodity is entirely determined by the average socially necessary labor time required to produce it, not by the materials of which it is composed. We can view the process of production from two sides, but what it produces are commodities that are sold for money, which is reinvested in the production process and thereby becomes capital. He does not think the distribution of the insensible, the movement of valorization, and thus he misses entirely the dimension of political economy in his thinking of politics. The social process of valorization is the very medium in which we think, and to which thinking is applied through intellectual labor (such as management).
And indeed, Kittlera€™s media-theoretical analysis of discourse networks should also be understood as a materialist critique of Kantian idealism. It communicates with itself, through its own data channels, and consciousness is the epiphenomenon of communication. Thus, during the period of formal subsumption, the extraction of surplus value is primarily correlated to the length of the working day and the cost of labor power. This is what automation and capitalist management techniquesa€”Taylorism and Fordisma€”are for. So labor has to be reabsorbed into the labor market to support consumption and prevent overproduction. The development of industrial automation both necessitates and creates the conditions of possibility for the invention of new media apparatuses, especially digital information technologies and networks.
The history of the sensible, the transformations undergone in the media-technological conditions of sensation and experience, is also the history of the insensiblea€”the history of the process of valorization as it develops in relation to contradictions in the labor process.
This process includes every electric or electronic plug and cord connecting Baiera€™s computer, his monitors, his speakers, and his scanner. Although it draws the space within which the artist works and thinks into the space of the museum, the artist is pointedly absent. It patently shows off the artista€™s mastery of that form of technA“ so crucial to contemporary art practice: the capacity to get funding. At his desk, thinking, communicating, representing, the artist enters into the circuits of capital, the movement of valorizationa€”as do we all, one way or another. He then melted the meteorite down and used the graphite of which it was composed to paint the surface of Monochrome (Black). And it is through this history, this mediation, that art takes up techniques which throw us back outside the history of capital, outside the history of mimesisa€”indeed, outside the history of the human, the history of thought, and the history of sensationa€”within and through the technical means to which the linked histories of capital, mimesis, and technics give rise.
Labor time is that abstract, universal equivalent which will find its answer in the universal abstraction of the money form, and value is not a material thing but a social relation.
Production produces both surplus value and capital, and capital produces expanded cycles of accumulation.
One consequence of this failure is that he has no rigorous means of accounting for the relation of his history of art and artistic regimes to the history of capital, to structural changes of the contradiction between capital and labor.
Insofar as intellectual labor is subsumed by capital, as is manual labor, the forms of thought themselves enter into a relation of dialectical genesis with the value form. For Kittler, it is not transcendental categories but media technologies which determine the conditions of any possible experience.
The capitalist wants to extend the working day as much as possible, and to reduce wages as much as possible. What Marx calls a€?real subsumptiona€? is this revolutionizing of the production process such that it becomes properly capitalist.
Thus, as relatively more capital is invested in constant capital and relatively less capital is invested in variable capital, relatively less capital is available for conversion into surplus value.
The process of real subsumption thus also requires the growth of the tertiary service sector, which produces both a new labor market and new fields of commodity production and consumption.


These not only enable the growth of the tertiary service sector and its forms of communicative labor and consumption, they also themselves produce new markets of goods and services. Shortly after he coined the term a€?immaterial labor,a€? Maurizio Lazzarato renounced it, for the good reason that the term was impossible to reconcile with a materialist position.
It includes the crumpled pieces of paper in his trash can and a book lying open beside his keyboard.
The piece is something like an anti-humanist negation of relational aesthetics: perfectly finished, enclosed, complete, pristine, it subtracts the participation of the viewer precisely through the viewera€™s gaze, which is drawn into and lost within the reflexive auto-mimesis of the object.
The distribution of the insensible: the movement of capital, the structural transformation of the contradiction between capital and labor, the circuitous courses of the process of valorizationa€”all this is how a digital information system ends up inside a mirrored box in the company of fluorescent lighting and minimalist furnishings, installed on the distressed concrete floors of an art gallery. The matter of the object thus remains, and so does its form, but the object itself has disappeared into an uncanny splitting of their formerly integral relation. Canvas shows us the primordial matter of mimesis: the substrate of inaugural images carved in stone, with stone. You'll see that the time thing explains the tensing of the lyrics, the 'statue' bit in particular.
They are thus potentially ghouls, ghosties, poltergeists and all manner of indefinable Forces: this is one possible explanation but, truly, in such circumstances explanations are meaningless, irrelevant and totally speculative. As Marx tells us in Chapter 8 of Volume One, a€?the means of production on one hand, labor-power on the other, are merely the different forms of existence which the value of the original capital assumed when it lost its monetary form and was transformed into the various factors of the production process.a€? Both the means of production and labor power are different elements of capital in its own valorization process. In my opinion, this is a problem substantial enough to render his history of aesthetics more or less irrelevant. For Sohn-Rethel, the Kantian transcendental subject is the representative modern figure of this dialectic (though its status as such is occluded by the idealism of transcendental philosophy).
The rate of surplus value extraction depends upon these factors (this is called a€?absolute surplus valuea€?). It is not only that labor is subsumed under the value form, but that the very constitution of labor itself changes. Capital needs to invest more in technology in order to increase productivity and sustain the valorization process.
The new regime of accumulation that accompanies this structural transformation is what Guy Debord theorizes as the Spectacle.
And more importantly, they are the technological ground for the massive growth of speculative markets we call a€?financialization,a€? which is predicated (in its contemporary form) upon the exchange of digital information. He should have referred instead to a€?insensible labor.a€? Information and cognition are not immaterial, but they are insensible. Each of these reproduced objects is then plated in mirrored nickel before being rearranged, in in a reproduction of their configuration, within a parallelepiped encased on all six sides in one-way mirrored glass and illuminated by overhead fluorescent light.
His studio is something like the Platonic form of so-called a€?immaterial labora€?a€”designer furniture and designer devices, neatly arrayed with the precision of an architectural firm blessed with a particularly fastidious custodial staff. This movement, this transformation, this process is what we are looking at, though we cannot see it.
But we can also recognize, as Catherine Malabou argues in What Should We Do With Our Brain?, that there is a structural homology between post-Fordist management discourse emphasizing non-hierarchical networks, self-organization, flexibility, and innovation, and contemporary neurological theory, which views the brain as a decentralized network of neuronal assemblies and emphasizes neurological plasticity as the ground of cognitive flexibility and adaptation.
In the discourse network of 1800, the book is the site of an encounter between reading and writing, wherein the romantic imagination produces a projection of the soul into what Novalis calls a€?a real, visible world,a€? written into and read off of printed signifiers, emerging from the text as synaesthetic phantasmagoria in which all the senses are drawn together by the hallucinatory experience of Literature.
Importantly, then, real subsumption requires and depends upon technological innovation: the capitalist process of production both needs and produces new machines because these increase productivity within a given period of time and thus compensate for limits on the length of the working day. But by doing so, it also decreases the amount of capital which can be converted into surplus value. The tech boom and its implosion are the logical and necessary outcome of real subsumption, pushing beyond its limits into the society of the Spectacle. And the forms of affective labor which precisely are sensed are premised upon the indistinction of labor and leisure, the impossibility of distinguishing them under conditions of post-Fordist accumulation.
Star (Black) confronts us with an extra-terrestrial outside, encountered, vanished, recordeda€”at once absent and yet uncannily present as residue and reproduction. The concrete process of transforming materials through labor, aided by tools, is subsumed by the abstract process of valorization. In the discourse network of 1900, gramophone, film, and typewriter effect an analytic separation of this sensory synthesis, constituting distinct technologies of recording and transmission for sound, the moving image, and the written word.
Thus, due to forces of competition and technological innovation driving increased productivity, the rate of surplus value extraction tends to decline. It is labor itself that becomes insensible under these conditions, dispersed into networks linking neurons and screens and indistinguishable from the most intimate gestures of our affective lives. These are images of the deep time of human and cosmological history, outside the limits of modernity, of capital and its enabling technologies of representation. Such would be a historical materialist account of conceptual abstraction following from Sohn-Rethela€™s critical of idealist epistemology. What Kittler calls a€?media differentiationa€? carves up the Romantic imagination, sutured to the book, and parcels out its capacities among discrete technologies addressed to a segmented perceiver: an ear, an eye, a minda€”a modernist collage of the formerly integral subject. Thus, it is only possible to extend the working day so much, or to reduce wages to so little, because the reproduction of capital depends upon the reproduction of labor.
What the installation asks us to think, however, is the manner in which it is these technologies of representation which record this outside, which draw our attention to it and make it manifest.
The precise transformations of materials it enablesa€”its retentional exactitudea€”precisely negate all transformation. Simply put, the way we thinka€”the form of thinkinga€”is dialectically intertwined with the structure and the historical movement of capitalist accumulation.
Like Malicka€™s The Tree of Life, Baiera€™s meteorite indexes a cosmological time and an inhuman history which never was sensed, which was prior to sensationa€”though, like Malicka€™s film, Baier makes this history manifest through the most sophisticated technological means of representation. The labor of the artist is the transformation of money, through materials, into its own image. Baiera€™s Canvas, a meticulous photographic recording of the bare stone wall beside the first recorded images, situates this indexical effort within the whole history of representationa€”again, carrying us outside the modern technics of mimetic exactitude which make the digital rendering of this stone wall possible in the first place.
But this is also to transform them into an art object: neither tool nor raw material, neither instrument nor that to which it is applied. Rather, a worked form, presented, apparently useless and withdrawn from exchangea€”though of course it has its uses and cannot help but find its way back to market. I thought I would never love like that again but I did and still do but I can't understand why I love someone who I KNOW loves me yet never let me love her was she just insecure or was I a fling I did tell her to guard her heart. Wish I hadn't but I am going to give her her space as hard as it is to do that it's harder to get ignored I thought things might have been going where I wanted but maybe I misunderstood her reaction when I brought her the card and one red rose I thought I saw that smile inher eyes I'm sure I did but might be she thinks I have more baggage than benifit  but she is and always has been kind I'm not closing the door on her just stepping back a bit.
If she or any other woman cost me money fifty grand or fifty million it wouldn't matter I can make do with or without money and I canalways make more but I can never replace her she's worth more to me than any amount of money I'm happiest when with her just talking and listening  everywhere I go I look for her even though I KNOW she is at work I don't know what to do or say if there is anything I can but I can't stop wondering did I ever really matter but I feel like I did even though she never let me love her.I think I'm Charlie brown as I can make her smile and I'm snoopy cuz I have been a dog but I am Cecil and you are ???
It began to get cold so the little bird took off south all alone but the weather was very cold and her wings began to freeze the bird was unable to fly and fell to the ground in a pasture wings frozen and unable to fly our feathered friend thought it was the end. The manure began to thaw out the little bird warm and happy the bird began to chirp and sing. The moral of the story is someone who craps on you is not necessaryaly your enemy and someone who pulls you out of a pile of shit is not always your friend. And the NWO doesn't have to make a deal with me, but they'd be smart to do so, as their "intelligence" isn't too wise.I have a little bit more coffee in the carafe, and a day to find a nice place to rent, and a car wash for the Chariot. But they know of what I know and know most people I know they can't and won't believe that I know things simply by some awfull ability I have to decipher things but my brain sees them but doesn't understand what they mean sometimes I wonder if I have a tumor I can't make sense of it but it bothers people that I'm this way they think I'm crazy when I mention things I often feel crazy as I can't piece it together my mind is always racing I wright things down and later think someone else did it it's not my writing but at times I catch myself writing in a way that is different can't explain it?
It seems as though some are out to destroy me and others trying to guide me but I can't remember the details I need only the ones that confuse me tell me why? At least not that I know of bee off to work soon I'm considering leading my own truck have another lead on a driving job from yesterday will be looking into it today after I'm done painting. I don't know you enough to dislike you immensely; I tend to be overly skeptical at times about the motives of others.




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