Cahiers du Vertebrata

a human being is never what he is but the self he seeks

Keith Jarrett, The Bremen Concert 1975, bootleg

Takashi Yoshimatsu – Pleiades Dances, Kyoko Tabe

David Lang – Cheating, Lying, Stealing

 

 

A couple of years ago, I started thinking about how so often when classical composers write a piece of music, they are trying to tell you something that they are proud of and like about themselves. Here’s this big gushing melody, see how emotional I am. Or, here’s this abstract hard-to-figure-out piece, see how complicated I am, see my really big brain. I am more noble, more sensitive, I am so happy. The composer really believes he or she is exemplary in this or that area. It’s interesting, but it’s not very humble. So I thought, What would it be like if composers based pieces on what they thought was wrong with them? Like, here’s a piece that shows you how miserable I am. Or, here’s a piece that shows you what a liar I am, what a cheater I am. I wanted to make a piece that was about something disreputable. It’s a hard line to cross. You have to work against all your training. You are not taught to find the dirty seams in music. You are not taught to be low-down, clumsy, sly and underhanded. In ”cheating, lying, stealing,” although phrased in a comic way, I am trying to look at something dark. There is a swagger, but it is not trustworthy. In fact, the instruction in the score for how to play it says: Ominous funk.

—David Lang

Byung-Chul Han, Beyond Disciplinary Society

burnout society.jpg

Today’s society is no longer Foucault’s disciplinary world of hospitals, madhouses, prisons, barracks, and factories. It has long been replaced by another regime, namely a society of fitness studios, office towers, banks, airports, shopping malls, and genetic laboratories. Twenty-first-century society is no longer a disciplinary society, but rather an achievement society [Leistungsgesellschaft]. Also, its inhabitants are no longer “obedience-subjects” but “achievement-subjects.” They are entrepreneurs of themselves. The walls of disciplinary institutions, which separate the normal from the abnormal, have come to seem archaic. Foucault’s analysis of power cannot account for the psychic and topological changes that occurred as disciplinary society transformed into achievement society. Nor does the commonly employed concept of “control society” do justice to this change. It still contains too much negativity.

Disciplinary society is a society of negativity. It is defined by the negativity of prohibition. The negative modal verb that governs it is May Not. By the same token, the negativity of compulsion adheres to Should. Achievement society, more and more, is in the process of discarding negativity. Increasing deregulation is abolishing it.
Unlimited Can is the positive modal verb of achievement society. Its plural form—the affirmation, “Yes, we can”—epitomizes achievement society’s positive orientation. Prohibitions, commandments, and the law are replaced by projects, initiatives, and motivation. Disciplinary society is still governed by no. Its negativity produces madmen and criminals. In contrast, achievement society creates depressives and losers.
On one level, continuity holds in the paradigm shift from disciplinary society to achievement society. Clearly, the drive to maximize production inhabits the social unconscious. Beyond a certain point of productivity, disciplinary technology—or, alternately, the negative scheme of prohibition—hits a limit. To heighten productivity, the paradigm of disciplination is replaced by the paradigm of achievement, or, in other words, by the positive scheme of Can; after a certain level of productivity obtains, the negativity of prohibition impedes further expansion. The positivity of Can is much more efficient than the negativity of Should. Therefore, the social unconscious switches from Should to Can. The achievement-subject is faster and more productive than the obedience-subject. However, the Can does not revoke the Should. The obedience-subject remains disciplined. It has now completed the disciplinary stage. Can increases the level of productivity, which is the aim of disciplinary technology, that is, the imperative of Should. Where increasing productivity is concerned, no break exists between Should and Can; continuity prevails.Alain Ehrenberg locates depression in the transition from

Alain Ehrenberg locates depression in the transition from disciplinary society to achievement society:

Depression began its ascent when the disciplinary model for behavion, the rules of authority and observance of taboos that gave social classes as well as both sexes a specific destiny, broke against norms that invited us to undertake personal initiative by enjoining us to be ourselves…. The depressed individual is unable to measure up; he is tired of having to become himself.

Problematically, however, Ehrenberg considers depression only from the perspective of the economy of the self: the social imperative only to belong to oneself makes one depressive. For Ehrenberg, depression is the pathological expression of the late-modern human being’s failure to become himself. Yet depression also follows from impoverished attachment [Bindungsarmut], which is a characteristic of the increasing fragmentation and atomization of life in society. Ehrenberg lends no attention to this aspect of depression. He also overlooks the systemic violence inhabiting achievement society which provokes psychic infarctions. It is not the imperative only to belong to oneself, but the pressure to achieve that causes exhaustive depression. Seen in this light, burnout syndrome does not express the exhausted self so much as the exhausted, burnt-out soul. According to Ehrenberg, depression spreads when the commandments and prohibitions of disciplinary society yield to self-responsibility and initiative. In reality it is not the excess of responsibility and initiative that makes one sick, but the imperative to achieve: the new commandment of late-modern labor society Ehrenberg wrongly equates the human type of the present day with Nietzsche’s “sovereign man”:

Nietzsche’s sovereign man, his own man, was becoming a mass phenomenon: there was nothing above him that could tell him who he ought to be because he was the sole owner of himself.

In fact, Nietzsche would say that that human type in the process of becoming reality en masse is no sovereign superman but “the last man,” who does nothing but work. The new human type, standing exposed to excessive positivity without any defense, lacks all sovereignty. The depressive human being is an animal laborans that exploits itself—and it does so voluntarily, without external constraints. It is predator and prey at once. The self in the strong sense of the word, still represents an immunological category. However, depression eludes all immunological schemes. It erupts at the moment when the achievement-subject is no longer able to be able [nicht mehr können kann]. First and foremost, depression is creative fatigue and exhausted ability [Schaffens- und Könnensmüdigkeit].

The complaint of the depressive individual, “Nothing is possible,” can only occur in a society that thinks, “Nothing is impossible.” No-longer-being-able-to-be-able leads to destructive self-reproach and auto-aggression. The achievement-subject finds itself fighting with itself. The depressive has been wounded by internalized war. Depression is the sickness of a society that suffers from excessive positivity. It reflects a humanity waging war on itself.

The achievement-subject stands free from any external instance of domination [Herrschaftsinstanz] forcing it to work, much less exploiting it. It is lord and master of itself. Thus, it is subject to no one—or, as the case may be, only to itself. It differs from the obedience-subject on this score. However, the disappearance of domination does not entail freedom. Instead, it makes freedom and constraint coincide. Thus, the achievement -subject gives itself over to compulsive freedom—that is, to the free constraint of maximizing achievement. Excess work and performance escalate into auto-exploitation. This is more efficient than allo-exploitation, for the feeling of freedom attends it. The exploiter is simultaneously the exploited. Perpetrator and victim can no longer be distinguished. Such self-referentiality produces a paradoxical freedom that abruptly switches over into violence because of the compulsive structures dwelling within it. The psychic indispositions of achievement society are pathological manifestations of such a paradoxical freedom.

Byung-Chul Han, The Burnout Society

Andrei Tarkovsky, Andrei Rublev

 

“…art must must carry man’s craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist’s version, the more clearly perhaps must we see the ideal that stands in opposition – otherwise life becomes impossible! Art symbolises the meaning of our existence.”
Andrei Tarkovsky, Sculpting in Time

Franz Kafka, Prometej

O Prometeju govore četiri legende: Prema prvoj, jer je bogove izdao ljudima, prikovan je na Kavkazu i bogovi poslaše orlove da mu kljucaju jetra, koja bi svaki put iznova  narasla. Prema drugoj, Prometej se pred oštrim kljunovima, što ga kljucahu i nanošahu mu bol, sve jače utiskivao u stijenu, sve dok s njome nije postao jedno. Prema trećoj, njegova izdaja pala je tijekom stoljeća u zaborav; bogovi je zaboraviše, orlovi je zaboraviše, a zaboravi je i sâm. Prema četvrtoj, svi se umoriše od kazne koja postade bezrazložna. Bogovi se umoriše, orlovi se umoriše, rana se umorno zatvori. Preostade samo još neobjašnjivo stjenovito gorje. – Legenda pokušava objasniti neobjašnjivo. A kako legenda niče iz temelja istine, ona nužno mora završiti u neobjašnjivom.

(1918.)

3.50.

Tiho sam. Sjedim mirno za stolom i slušam, Franz, ali ne otvara mi se svijet kako si bio rekao. Možda jer je već konačno skroz otvorena ta pukotina u bezvremenost. Približili smo udaljenosti a vrijeme odmakli u beskonačnost. Nema više vremena, Franz. Nema više obećanja trajanja, nema više supstancije. Nakon katastrofe obično sve postane neobjašnjivo tiho, osim ptica koje i daje pjevaju. Kavezi, čekajući ptice, Franz. Tiho sam i osluškujem kako se u vremenu i s vremenom sve udaljava od mene. Umjetnik u gladovanju, Franz. Sanjao sam je kako se sjedinjujemo i postajemo jedno. Na kraju je nju nekako zahvatio požar, Franz. Kažeš postoji cilj ali nema puta. Ono što zovemo putom jest oklijevanje. I žališ se na tu mirnoću, na beznadnost te mirnoće, zid Dobrog. Na zaborav i umor. I tišinu sirena, koju nitko još nije uspio izbjeći. I jedna rana koja se umorno zatvara.

3.49.

Najgore što se može dogoditi ovisniku jest da dobije ono što želi.

3.48.

 

Zvijeri u sebi se pristupa pametno, mirno i staloženo. Sa pripremljenim planom akcije. Unaprijed  šahovski simuliran svaki njegov potez i pripremljen odgovor. Ako počne lajati, primirit se. Ako se počne pretvarati, govori istinu. Ako izbjegava tvoj pogled, privuci mu pažnju… Ako si dovoljno dugo, mirno i strpljivo prisutan kraj njega, primirit će se. Tada ga možeš odvezati i pustiti.

No da bi se uopće suočio sa Zvijeri u sebi, prvo moraš napustiti Dijete u sebi, koliko god kmečilo i plakalo.

3.47.

Kao djeca smo se smjeli igrati samo u plićaku. Čudo je bilo biti u moru, čudo je bilo skupljati školjke, čudo je bilo vidjeti rakove.

S vremenom, kako smo rasli, dubina mora se produbljivala, a čuda u plićaku smanjivala. Prihvatili smo tu činjenicu kao nešto što dolazi sa sazrijevanjem.

I onda smo prestali rasti, i plićak je pijesak postao. Na dubine i čudesa koje kriju smo zaboravili. Ostajali smo u plićaku, izbjegavali dubine, razočarani što nema više čudesa.

(…)

Gdje su te dubine u koje sad moraš zaroniti?

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a human being is never what he is but the self he seeks

roškofrenija

a human being is never what he is but the self he seeks

Sve ostalo su priče

a human being is never what he is but the self he seeks

six glasses of water

I could afford to be good, kind, generous, loyal and so forth, since I was free of envy. Envy was the one thing I was never a victim of.