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Agamben

Here is the complete text that originally appeared in a joint publishing venture between Journal of Visual Culture and the Harun Farocki Institute. https://www.harun-farocki-institut.org/en/2020/07/22/hope-or-pandora-in-the-time-of-the-pandemic-journal-of-visual-culture-hafi-35/

If there is any way to hold out hope today, it must not be the protracted optimism of liberalism and its implicitly theological promise of ultimate redemption: “one day, just you wait.” Instead, the kind of hope that I will speak of here is immanent, yet precisely as the immanent force of finitude.

One figure of it is found in Goethe’s Elective Affinities: “Hope shot across the sky above their heads like a falling star.” Following Calvin Warren’s philosophy of black nihilism and the latter’s absolute refusal of the politics of hope, we might refer to the falling star as an image of spiritual hope—its luminescence darkening the sky as it cosmologically burns bright. Unlike the politics of hope and its infinite deferral, the worthiness of such cosmo-spiritual hope lies in it standing apart from both the torment of expecting what cannot be had (ends), and of bestowing upon hope the power of a mitigating force (means). As the last gift of the gods, hope (Elpis) is what remains in Pandora’s jar, after her curiosity led her to open the container, thereby letting all of the other evil forces (except hope) out into the world. At the end of, The Adventure (2015), Giorgio Agamben writes: “The fact that hope, as the final gift, remains in the box means that it does not expect its factual accomplishment in the world—not because it postpones its fulfillment to an invisible beyond but because somehow it has always already been satisfied” (93). What might Agamben mean by this, and how is such a postulation not a capitulation to the status quo, and hence perhaps a fate even worse than the politics of hope?

I think one answer can be found in a text by Agamben published twenty years earlier, on the writer Elsa Morante. Toward the end of that essay, included in the collection The End of the Poem (1996), Agamben turns to Morante’s theoretical description of colour and light in paintings by Fra Angelico. As when she writes: “Colours, are a gift of light, which makes use of bodies…to transform its invisible celebration into an epiphany…It is well known that to the eyes of idiots (poor and rich alike) the hierarchy of splendours culminates in the sign of gold. For those who do not know the true, inner alchemy of light, earthly mines are the place of a hidden treasure” (Agamben, 106). As Agamben explains, “The ‘celebration of the hidden treasure’ is therefore the becoming visible, in bodies, of the alchemy of light. This alchemy is both a spiritualization of matter and a materialization of light”—something like a falling star.

Agamben then reminds his reader of one of Kafka’s aphorisms: “The fact that only the spiritual world exists deprives us of hope and gives us certainty,” and once again we are faced with what appears to be a counter intuitive. Yet only if we refuse to see spirituality as a materiality of its own, precisely as keyed to the glimmer of starlight, of moonlight. Such that, as he goes on to say, “the loss of hope (even of that retrospective hope, nostalgia for Eden [or that prospective hope, promise of emancipation] is the terrible price that the mind must pay when it reaches the incandescent point of certainty” (108).

It is that incandescence of which Goethe and Morante wrote, and that we might imagine remains contained in Pandora’s jar, now a symbol for the colonization of cosmo-spiritual hope. Hope is neither a hidden treasure nor a future salvation. Instead, its mystery is the secret held by Melville’s Bartleby, who we might imagine, in the near silence of his preference not to, holds out the hope that salvation (appropriation) and damnation (abandonment), will no longer be the extraneous forces that bear upon life, but that instead, he will be able to exist as the singular self that he is—irreparably unfinished in his finitude, and therefore to be loved.

In a curious statement several years ago, Giorgio Agamben claimed that “the fundamental ontological-political problem today is not work but inoperativity [inoperosità].” Yet, even if he goes on to unfold “the poetics and politics of inoperativity” in terms of potential and use, the meaning of this term remains elusive. It would seem to translate Maurice Blanchot’s formulations in his literary criticism and fiction of “désœuvrement,” designating at once “worklessness” and “unworking,” as later reelaborated by Jean-Luc Nancy, among others. But it also resonates with a sequence of motifs turning around the problem of nonwork more generally, such as leisure, expenditure, play, erotics, fugitivity, inertia, revolution, sabbath, failure, etc. We could venture that the diffuse semantic field of inoperativity suggests on the one hand varied modes of refusing, undoing, or deactivating given operations and structures. And, on the other hand, it implies another way of doing or being in common—that is, other ways of coexisting or living in the world—no longer captured by the powers of appropriation, re-production, and rational instrumentality otherwise presiding over the work of modern humanity. For this seminar, we invite papers that think through arts, literatures, or theories of inoperativity across the disciplines, with a particular emphasis on its ethical and political stakes.

Fun With Agamben! – The New Inquiry

Michael Krimper and I are organizing this seminar (panel) for the next American Comparative Literature Association (ACLA) conference, which will take place online from 8-11 April, 2021, with Montreal being the host city.

Abstracts are due by October 31st.

Submission instructions are available here: https://acla.secure-platform.com/a/organizations/main/submissions/details/1113

On Friday, August 7th, 2020 at 2PM (EDT) via Instagram Livestream, I’ll be in conversation with Adam Barbu, for a discussion of “queer solitude and non-reparative curating.”

Lucas Michael, Audiences Fortunas Iuvat, sculpture, 2011

We’ll return to Barbu’s recent exhibition Empty History (Vtape, 2019), now in the context of the COVID pandemic, and the current and ongoing degradation and dispossession of so many lives. Juxtaposing two theorists: Eve Sedgwick on “paranoid and reparative” reading, and Gilles Deleuze on “living in a world without others,” we’ll discuss an ethics and aesthetics of queer solitude as non-paranoid and non-reparative modes of being in the world. You can join the livestream here:

Instagram: @vtapevideoart

From the Vtape press release:

Late in 2019, Vtape presented the exhibition Empty History curated by Adam Barbu. This exhibition questioned histories of queer singularity and progress and was an elegant exploration of what he referred to as the “everyday”.

This conversation is a chance to revisit that exhibition and consider it in relation to the unprecedented conditions that surround us all. There is a short video currently available on the Vtape website that is a walk-through of the exhibition when it was installed in November-December 2019 in the Bachir/Yerex Presentation Space at Vtape. www.vtape.org

Works in the exhibition
DEIRDRE LOGUEHome Office, video, 2017, 03:33
LUCAS MICHAELFixed Kilometer, video, 2018, 46:35
LUCAS MICHAEL – Audiences Fortunas Iuvat, sculpture, 2011
PAUL WONG – Perfect Day, video, 2007, 7:30

Adam Barbu is an independent writer and curator based in Ottawa. He holds an MA in Art History from the University of Toronto. In 2015, he was the recipient of the Middlebrook Prize for Young Canadian Curators. Some of his past exhibitions include The queer feeling of tomorrow, Art Gallery of Guelph (2015-2016), A minimal doubt, Videofag, Toronto (2015), and The Circle Won’t Be Broken, Visual AIDS, New York City (2015). He has contributed to publications such as Canadian Art, Esse, Espace art actuel, Momius, and the Journal of Curatorial Studies.

Thanks to Christine Shaw for the screen capture!

This short article “Hope or, Pandora in the time of pandemic,” is a contribution to the online journal Rosa Mercedes, as part of a collaboration between the Journal of Visual Culture and the Harun Farocki Institute (Berlin) that was initiated by the COVID-19 crisis. The call for contributions, read:

“There is a lot of spontaneous, ad hoc opinion-making and premature commentary around, as to be expected. However, the ethics and politics of artistic and theoretical practice to be pursued in this situation should oblige us to stay cautious and to intervene with care in the discussion. As one of JVC’s editors, Brooke Belisle, explains: ‘We are not looking for sensationalism, but rather, moments of reflection that: make connections between what’s happening now and the larger intellectual contexts that our readership shares; offer small ways to be reflective and to draw on tools we have and things we know instead of just feeling numb and overwhelmed; help serve as intellectual community for one another while we are isolated; support the work of being thoughtful and trying to find/make meaning…which is always a collective endeavour, even if we are forced to be apart.’”

My article originates from a workshop seminar that I taught on July 4th, for this year’s group of young curators who are taking part in the Curatorial Incubator program at Vtape in Toronto. The program’s call read as follows:

“We live in hope of deliverance from the darkness that surrounds us.” 

P. McCartney 

The darkness. We each have our own and then there’s the shared sense of despair that bubbles up when we consider the degradation of our Mother Earth through our own polluting ways, the never ending wars that sweep refugees towards borders that close in their faces, the stories that are told, the lies that circulate. There is no end.

And yet we move on. Not in the way the so-called Enlightenment projected – towards greater and more perfect perfection. But just moving: towards love, towards caring, towards hope. At Vtape, we felt that we needed some of this spirit, so we propose that the current Curatorial Incubator look through our holdings to find those works that best exemplify hope. Happy hunting!

Falling stars, black nihilism, Elsa Morante, Walter Benjamin, Bartleby, Giorgio Agamben, and Pandora are brought together in this brief meditation on what an image of hope might look like today.

Published in the latest issue of the online journal Alienocene (journal of the first outernational), edited by Frédéric Neyrat.

Ca’ Rezzonico – Camerino del falchetto – Giandomenico Tiepolo

This issue or more properly, Stratum 7, also features essays by Alain Baidou, Bruce Clarke, Priscilla Wald, and many others. It also includes fiction, music, and sound works.

Through a reading of Agamben, Foucault, Heidegger, and Marcus Aurelius, I argue for the virtue and value of disappearance, and the ways in which the force of extinction is the provocation for thought, itself. Taking disappearance as other than negative, and finding its ecological correlate in extinction, I am interested in instances of being attuned to, and inspired by, the sonorous sound of the invisible flight of the birds, as moments when ecology becomes muse-ecology.

Ricco COVID poster

Join the Centre for Ethics for The Ethics of COVID, an interdisciplinary series of online events featuring short video takes on the ethical dimensions of the COVID crisis.

Isolation, Loneliness, Solitude:

The COVID-19 Pandemic Has Brought Us Too Close Together

In this brief talk I discuss how distance is the spacing of the ethical, isolation is the evacuation of that space, loneliness is the deprivation of the self, and solitude is what we need to reclaim as the only means by which an ethical sense of the common might take place. Drawing upon the work of Arendt, Agamben, Blanchot, and Foucault, I proceed to explicate how it is that the COVID-19 pandemic has actually brought us too close together.

This is an online event. It will be live streamed on the Centre for Ethics YouTube Channel at 3pm, Friday, May 29. Channel subscribers will receive a notification at the start of the live stream.

For registration: https://ethics.utoronto.ca/events/667/john-ricco-the-ethics-of-covid/

 

 

 

Drawing from Giorgio Agamben’s identification of impotentiality as the most proper power of the human, in this short presentation I argue that in the time of the COVID-19 pandemic, resistance to the political-economic logic of neoliberalism and to the bio-political effects of bare life, lies in our potential to not-do and not-be. That is, to live in ways that affirm the in-appropriable singularity of our existence, and a commonality shared by each of us, to be some-one other than simply a productive subject.

I want to express my thanks to Jérôme Lèbre for providing me with the opportunity to participate in his project.

View to the U: An eye on UTM research · John Paul Ricco

I was recently interviewed by Carla DeMarco for “View to the U,” the podcast that she produces and hosts out of the Research Office at UTM. In our conversation, framed in terms of “the value of art in times of social upheaval,” we talked about my research, and “how past health crises have shaped art movements” and artistic practice. As Carla goes on to describe: “We also talk[ed] about some of the ways in which this current pandemic may influence artists now and in creations to come, and what kinds of things [I have been] doing in this time of solitude.”

If you are curious about social distancing as an aesthetic proposition, or how walking in the city today has taken on a whole new choreographic quality, have a listen.

Here is a link to The New Yorker article that I mention toward the end of the interview:

A New Doctor Faces the Coronavirus in Queens

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The Blackwood Gallery has just released the latest issue in their SDUK series. It is free and you can download a copy here: www.blackwoodgallery.ca/

This issue, along with a second that is scheduled to appear around May 1st, features work by artists, poets, and writers in response to the COVID-19 pandemic. It is a beautifully designed publication, and my short essay, “Impotentiality and Resistance” (an expanded version of a recent blog post), is included. A copy of the essay can also be found here: https://unbecomingcommunity.wordpress.com/2020/04/21/impotentiality-and-resistance/

 

The COVID-19 pandemic returns us to our impotentiality and hence to our capacity to resist

 

In an essay titled “On What We Can Not Do” in his book Nudities, Giorgio Agamben makes clear that today (a present that is commonly referred to as the era of neoliberal rationality), we are alienated not from our potential to do, but from our impotentiality, that is: from our potential to not do. Agamben is well known for having identified this force of impotentiality as the most proper power of human beings. As he writes: “human beings are the living beings that, existing in the mode of potentiality, are capable of just as much of one thing as its opposite, to do just as [much as] to not do…human beings are the animals capable of their own impotentiality.”

In the midst of the global COVID-19 pandemic, in which millions of people have been laid off, are now working from home, or have had their work hours scaled back, they might not only be removed or distanced from their jobs, but might also be put a bit closer to finding, rediscovering, or amplifying their singular vocations.

Following Agamben’s argument, we can therefore read the current situation not only as the forced estrangement from our potentiality, productivity, work, and so forth, but also as a possible opening to our “being able not to do”—which is to say our impotentiality. In no more than five short paragraphs, Agamben makes clear that this would be the highest form of poverty, a renewal of a capacity to resist, and an experience of freedom. This includes freedom from the neoliberal rationality that has led so many people over these past few weeks to work ever more relentlessly (in the many ways and forms possible under the rubric of “work”), and in doing so, to allow this state of exception to further advance and intensify what has unfortunately been the norm for quite some time.

Just as it is true that the novel coronavirus knows nothing of the global COVID-19 pandemic, it is equally true that the virus is not the creator of the latter. Instead, both the knowledge and the creation of the pandemic (like any pandemic), belong to the human. In its extremely impure potentiality—that is, in its absolute reliance on a host organism in order to live and propagate—the coronavirus (like any virus) does not discriminate within the epidemiological parameters that define its microbiological domain, namely: animal and human bodies. Which is to say that as long as there are bodies to host it, or until there is a vaccine to prevent such viral hospitality, the virus will remain a contaminating and contagious disease that causes illness, and in some cases, death. In its global rapaciousness, the virus is a force of destruction similar to capitalism.

In these first months of the global COVID-19 pandemic, it has often been asserted that the virus does not discriminate. By strangely ascribing agency to a thing that entirely lacks intentionality (especially since the virus is not even a living thing), commentators have wanted to find in the virus a common equality of contagion. But this is to conflate the epidemiological and the political, where in fact these two axes are most in need of being distinguished. For while epidemiologically speaking the virus does not discriminate, politically—that is, as an active virological agent cast within the global pandemic—it is made to operate in innumerable, discriminate ways, and thereby is made to inaugurate yet another chapter in the bio-political narrative.

The virus itself is that bio-viral entity that is entirely without potentiality, precisely because it does not have the power to not-be or not-do, but instead is constrained by the very limited things that it can do. In other words, the virus is either actualized or simply does not exist. When commentators (and many others) cast the virus as a sign of common equality, they not only confuse two different versions of equality (epidemiological and political), but also obfuscate the workings of the bio-political regime, and its division of life into productive life and bare life. That is: life worth saving and preserving, and life that is allowed to be abandoned or sacrificed. But perhaps more significantly, these voices also obscure what uniquely distinguishes human life from all other forms of life. Namely, impotentiality (i.e. the power or capacity to not-do, or to not-be), which is what all human life shares in common—prior, that is, to the bio-political division, noted above.

Rather than fighting over which of us living within the neoliberal rational order of productivity is, on one hand, more privileged, or on the other hand, closer to bare life, and rather than ascribing a force of equalization to a virus, now is the time to affirm and reclaim impotentiality as the only power that we truly share in common. It is this power that will return our incommensurable lives to their singularity and their vocations, which no political-economic or bio-political reason (let alone any virus) can ever provide the proper measure. When that happens we will be—together—contagiously resistant.

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[This essay is also published in volume 7 of the SDUK broadsheet, Titling (1), free and available here: www.blackwoodgallery.ca/]

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