Tag Archives: Matt Colquhoun

bold as (nostalgic) love: Gwyneth Jones and hauntology

A Metafilter thread on the new St Ettienne album (haven’t heard it yet) gave up this comment:

It’s interesting to see the 90s End Of History era displace the Swinging 60s as a lost golden age just out of clear memory.

I’m sharing this here due to its synchronicity with a point I made in a just-filed review of the Gollancz Masterworks reissue of Gwyneth Jones’s Castles Made of Sand.

In the introduction to said book, Adam Roberts draws a connection between the utopian idealism of the 1960s and the original British Romanticism movement of the early C19th, and in my review I leap from there to observe that, while Jones doesn’t only put the Sixties influence front and centre in the Bold as Love cycle, but also leans on the Arthurian mythos of Olde Albion (which was largely constructed by the long wave of Romanticism), the actual texture of the near-future Britain of the first few volumes is very much a Nineties vibe.

This was a great opportunity to wax shamelessly lyrical from the core of my own nostalgia for my formative years, but there was—or so I tell myself—a point to doing so, which is to underscore the way in which the Nineties, however unknowingly to many of us in the countercultural trenches at the time, was an attempt to re-run the Sixties, albeit absent the political theoretics whose influence on the Sixties we have been carefully encouraged to forget, as the cultural artefacts of that period have been pruned and bowdlerised in order to reduce a time of genuine (if misguided and largely failed) revolutionary fervour to an aesthetic: kaftans, badly-rolled joints, twelve-string guitars etc etc.

This has further relevance in light of the recently published last lectures of Mark Fisher, in which he was clearly trying to go back to that period and unearth all the dangerous stuff in order to determine what went wrong, and how that atmosphere of revolutionary change might be rekindled against the backdrop of the neoliberal settlement that has so successfully encased it it in the amber of the Spectacle. There’s an extent to which Fisher and some of his contemporaries were, for all their repudiation of nostalgia, somewhat fixated on the early Nineties as the Last Great Moment of Modernism (with e.g. the music of the “hardcore continuum” representing the last time anything felt to them genuinely new and futuristic), even as the reactionary revivalism of baggy, Britpop and what would become landfill indie rose like a tide to drown it all.

Matt Colquhoun has written a great deal about what we might think of as (post-)Fisherean hauntology, in an attempt to rescue the term from the trackless desert of semantic drift into which it (and so much else) seems to be receding, and I could really do with making the time to dig back into it all properly. But one chunk I recall passing clear is this bit on Boards of Canada, whose work:

… speaks to how important but also unstable acts of creation are in relation to worlding. On the surface, that is an obvious point, but creation is always a tightrope pulled taut between past, present and future; it is often a kind of double articulation, tangled up in maternal and paternal politics (symbolically, if not literally). It is always this complex balancing act between preservation, experimentation, and innovation. An album like Music Has The Right To Children is fascinating, I think, because it captures that tension pretty masterfully. Still, to this day, I listen to that album and feel in the presence of a deep engagement with the past that is nonetheless geared towards the future.

So often the discourse seems split between a kind of manic future-affirmatism (think of Teflon Mask’s hypercapitalist boner for Mars colonies on the right, or Bastani’s FALC solutionist-accelerationism on the left) or a hopelessly Romantic fixation on a largely imaginary and retconned past as the location of the utopian horizon (which has typically been a rightist and reactionary position, but in recent years manifests in a lot of soft-leftish thought as well). The denial of the past (and/or its strip-mining for the raw materials of a futurity intended to bury it), or the fetishisation of the past… neither are genuinely productive, if I understand Colquhoun correctly. But that temporal tightrope he describes above, now that’s interesting—not least because it doesn’t merely attempt to bring together the best of past and future. Rather, in drawing taut that rope between them, it affirms the continuity not of culture itself, but of the recombinative processes by which culture is produced.

Jones’s Bold as Love cycle, then, might be seen as culture that not only enacts that recombination, but actively foregrounds (even as it sort of cartoonises) the theatricality of cultural politics through which it is enacted: she is showing and telling, not just at the narratological level, but the historical as well.

the banality of the sacrificial truth

With the Covid pandemic, the sacrificial truth of capitalism came out. How so? We are openly asked to sacrifice (some of) our lives now to keep the economy going, by which I am referring to how some of Trump’s followers directly demanded that people over 60 should accept to die to keep the US capitalist way of life alive… Of course, workers in dangerous professions (miners, steelworkers, whale hunters) were risking their lives for centuries, not to mention the horrors of colonization where up to half of the indigenous population was wiped out. But now the risk is directly spelled out and not only for the poor. Can capitalism survive this shift? I think it cannot: it undermines the logic of an endlessly postponed enjoyment that enables it to function.

You know the world has been turned on its head (or on its feet, depending on how you saw the world before, I guess) when Žižek starts coming across as an optimist… though I guess you could counter that by saying that he’s consistently contrarian. Anyway, point being: I do not share his optimism regarding capitalism’s inability to survive the shift he’s describing here. It’s certainly possible that it might not survive it, but far from a fait accompli—to say otherwise is to fall into the same trap that Matt Colquhoun observes in folk who claim that “capitalist realism is over”, as if saying it were sufficient to replace the hard work of making it so. (Disclaimer: I’ve definitely done this myself. Magical thinking is very tempting in trying times.)

That said, Žižek’s observation of the pandemic’s exposure of the sacrificial truth of capitalism rings clear, at least to me, echoing as it does the bioethical implications of the pandemic that I discussed (or, more accurately, ranted about) months ago. But the neoliberal order’s response to (and incorporation of) that exposure was already then apparent, as manifest in the almost immediate establishment of global league tables of national death rates: the logic of market competition applied itself immediately, and we’re still arguing over who dun covid bestest, months later, despite it being far from over.

Furthermore, the same logic is starting to be applied to the sacrificial sectors: a competition to decide who gets the putative vaccine first, who gets to stay the safest for the longest time while we wait for it. Perhaps the Hunger Game vibes of this contest will eventually provoke some kind of pushback, as Žižek believes. But to return to Fisher, we’d do well to remember and respect capitalism’s ability to absorb, incorporate and commodify the fiercest attacks made upon it. The only counter to that paradigm is (a return to) a more communal, situated and grass-roots form of political organisation… and the medium-as-message constitution of the systems through which we are obliged to communicate and organise in lockdown and lockdown-adjacent circumstances are demonstrably and explicitly geared to exactly the opposite social dynamic. It is notable that the only political activity of any vitality at the moment is happening in the streets, in defiance of lockdown measures.

Is that an argument against lockdown measures? It’s not meant as one, but it might well be taken as such, I suppose. My point is that during lockdown, those privileged enough to be in lockdown experience the world outside only through multiple layers of mediation; the (very real) risk to older folk and the immune-compromised appears as part of the spectacle, but the (equally real) risk to the people embedded in the supply chains (in one’s own nation, but also far beyond it) which make living in lockdown possible appears far less frequently, if at all. The risk is indeed “directly spelled out”, as Žižek says—but to assume that this spelling-out of the universality of risk won’t result in people falling back on the old class and national divisions as a ready-made template for the (re)distribution of said risk seems optimistic in the worst possible passivity of that term. (OK, sure, the WHO has said everyone needs to pull together—but at this point it should be obvious that, for the most part, state apparatuses are taking only what they consider to be politically efficacious from the WHO’s pronouncements; an soft-pedalled argument for internationalism is unlikely to leave much of a mark, I’m assuming.)

After all, that (re)distribution of risk is always-already ongoing—and the metasystem’s effacement of consequences, now amplified still further by lockdown’s forcing us into a situation where our perception of the situation is so thoroughly and seamlessly mediated and curated by algorithms intended to flatter our pre-existing perspectives, makes it oh-so-easy to pretend that it isn’t. That which is appears is good; that which is good appears.

synthesis is an ever-complicating process

Here’s a gloriously rambling thing from Matt Colquhoun that starts off talking about dialectics. Hence my choice of title—I’m currently undergoing a sort of dialectics of my understanding of dialectics (if that’s not too pompously meta a way of putting it), and I keep getting sychronicitous little gifts of other people’s thought, like this one, that arrive just at the right moment to prod me along.

The piece wanders around to Colquhoun talking about what his new book was (in part) an attempt to do, where this bit leapt out at me:

A death is one of those moments — if not the only true moment — where a person’s thought really starts to come apart from within. Without a self to maintain the boundaries, all sorts of things start flying out of it. And what we see emerging on the left, when faced with Mark’s posthumously rendered thought in particular, is either an attempt to cancel Mark outright or instead just a sheering off of his work’s unattractive bits. Either Mark doesn’t deserve any attention whatsoever because he wrote an essay like “Exiting the Vampire Castle” or we shouldn’t talk about that essay and just focus on the nice bits about party political organising.

Mark was so much more than either of those things. And this isn’t just because Mark was some great and complex thinker but because he was human. This kind of complexity is present within everyone. But today we live in a culture that rejects this absolutely, on the most mundane level which, I think, is the most damaging. Like, most will reject an argument like this with alarmist examples like the fact someone can be a member of the communist party and they can also be an abuser. That’s a alarmist contradiction of a certain type and one that must be cut out without a second thought. Of course I agree that abusers and bullies are really bad, and I have no interest in affirming their existence, and I’d be quite content bullying them out of the things I hold dear, but today we find people can be excommunicated for having far less troublesome contradictory thoughts than these. You can find yourself socially shadowbanned for simply not following The Narrative, and the people who will deplore this kind of whingeing the most are, of course, those involve in the sorts of institutions that maintain the narrative, whatever it may be.

I hadn’t read the infamous Vampire Castle piece before I bailed on social media, but when I finally did read it, I recognised in it not so much my own experience but the fears and anxieties that had been building up in me for some time before. Perhaps it’s indicative of a particular twisted form of narcissism (or, indeed, of the acute case of mental dysfunction I was going through), but at the time I was less worried about by being censured for broaching The Narrative than I was of finding myself pinned into a caricature of my own ideas. It took a while to realise that those are two sides of the same coin, and furthermore that the phenomenon is ubiquitous, albeit variable in degree depending on where you’re looking.

(And now I’m intrigued by the possibility that I preemptively shadowbanned myself, on the basis of an emotional calculus whereby it’s somehow less painful to exile yourself than to face the possibility, however marginal, of being exiled.)

It’s an indication of just how persistent and wide-reaching the issue is that—even now, even here, on this all-but-unread blog—I feel the need to caveat that point with a statement to the effect that “of course I’m not saying that Twitter is the problem, or that I have all the answers, or…”. So perhaps my synthetic path is to henceforth abjure further such abjurations in my work and in myself… which is easier said than done, given the extent to which those anxieties are a core feature of my psyche, and have been for as long as I can recall.

But nothing worth doing is ever easy, is it?

no ists for this ism

Interesting squib here from Matt “Xenogothic” Colquhoun, highlighting a section of a Reddit of a discussion on accelerationism, and his description of the absurdity of identifying as an accelerationist:

As far as I see it, there’s no such thing as “being an accelerationist” because there’s nothing I can do to impact the process of acceleration. It is something that is happening to us already (and has been for centuries) rather than something I can do. It’s naive to think any of us have our foot on the throttle of global capitalism. In that sense, “accelerationism” is a bad name. “Hauntology” is a better term for the political impact of the process but it’s also just as misunderstood.

This reminds me strongly of arguments I’ve had over the past decade with Old Futures Men who would huff and puff about the damage wrought on the culture (or the academy, or whatever else it was that was annoying them that day) by “postmodernists” (which is the slightly more self-aware and/or intellectual conservative’s synonym for “Cultural Marxists”), which seemed to indicate little other than a complete unfamiliarity with any postmodern theory whatsoever, save its caricatured form (“Moral relativism! They’d have you believe that nothing is true, and that there’s no grounds for comparison between any set of beliefs or actions!”) as encountered in media outlets catering to a demographic unsettled by the increasingly obvious obsolescence of the certainties with which they were raised. (Which was always a pretty piquant irony when dealing with people who defined themselves as futurists.)

The point being: for the most part, though with some notable exceptions, postmodernist thinkers were not advocating for a doctrine of postmodernity so much as they were attempting to describe the contours of a new cultural condition that had been assigned that (unfortunate and contentious) moniker. As such, I’m tempted to see accelerationism as Colquhoun sees it — which, I concede, may not be a universal conception of that term — as being a condition rather than a creed, in the same sense that postmodernity was a condition rather than a creed; in both cases, the conditionality may suggest certain stances in response, but that’s a very different thing to waving a flag that says “postmodernity, yay!”

(I wonder, then, if accelerationism might be the term to replace the awkward placeholder terms of “post-postmodernity”, “altermodernity” etc. Given Colquhoun’s closeness to the thought of Mark Fisher, it might also be seen as the dialectical successor to capitalist realism… which, one might argue, is what the coronavirus pandemic is currently killing off.)