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Textual Practice Journal news. What is the future of literary . Permissions. 10Views; 1CrossRef citations; 0Altmetric . Volume 31, - Issue 5. Published.
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An architectural need is formulated in such a way that any call to curtail the progress of destruction is rendered romantic.
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This is the new normal, the way power is extracted from the only future that transnational capital proposes as conducive to its maintenance and growth. Like credit in the financial sphere, pre-emptive design objectifies the future before it even arrives. Pre-emptive design capitulates to an erosion of critical distance in order to vindicate itself as the pragmatic-ethical option: it is willing to look the bitter truth in the face and devise, in an unsentimental way, the best possible solution for the depletion to come.
However, these are its conditions as it explicitly relates to us. What if we attempt to take stock of it from a different vantage point? What if we read capitalism not as it manifests itself in relation to human bodies but as its destination reveals it to be: an Alien monstrosity, an insatiable Thing that appropriates the energy of everything it touches and, in the process, propels the world toward the inorganic?
What if we propose that capitalism has something like agency and that this agency is manifested in ecophagic material practices? Capitalism eats the world.
Whatever transformations it generates are just stages in its monstrous digestive process. Capital properly thought is a vast inhuman form, a genuinely alien life form in that it is entirely non-organic of which we know all-too-little. A split, at some point, is easy to imagine: capitalism continues to expand virtually, while the landscapes it once extracted resources from are left useless.
The end of the world again, before the end of capitalism. The end of us. Granted some license, we can graft the slimed and dead world that the grey goo problem promises to an imaginary point at which capitalism has realized the goal inherent to its compulsion to deplete. One scene becomes a figural machine through which another one can be explained or approximated, particularly where direct representation is found wanting, where the stiff edges of verisimilitude prohibit accurate depiction, where bodies are asked to generate an understanding of their own abolishment.
How do we do more than find the best compromise for a dissipative tendency that forcefully encodes itself in cultural objects, that works from the get-go to confiscate and annul divergent options to the kind of aesthetic artifacts that reinforce its naturalization? Surely, there is the possibility of generating resistance, of finding new ways to counter the compulsion to expand at any cost, of articulating and producing or prefiguring new ways of living that challenge capitalism.
In short, there is the possibility of refusing any perspective that puts us under erasure, that disregards a priori whatever participatory, resistant, transformational, insurrectionary, and emancipatory gestures we may still muster. This is what marks intelligent, politically infused cultural projects as relevant in a lifeworld no longer free of the tendency to absolute commodification and ruthless co-optation.
Not long ago, Franco Berardi wrote about one of the continuities between modernity and what has followed it: the idea of acceleration as an underlying principle. He proposes that, despite whatever changes characterize the social transition out of modernity, the drive to speed things up has survived the shift from the manufacturing sphere to the semiotic one. These days,. As is always the case with Berardi, he is interested in how these things function in relation to the human body. His metric is always anthropocentric.
For him, it is a question of processing time for the brain—or, rather, of the lack of this necessary time and the injunction to make things increasingly easier that follows this shortage.
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Everything must be easier, less meaningful, so that we can take in more of it, sacrificing robust experiences for the sake of mere informational ingestion. But what of a different tactic, one that is the very opposite of this: an aesthetics that pivots on testing acceleration, in speeding things up even further, disintegrating things more ruthlessly? Can we draw unexpected morphologies and affects by intensifying this will to deplete? Can we push until mutations imminent to its perpetually recurring processes become manifest?
Can we force random glitches in its patterns of reproduction? Can we embrace the inorganic as a way to crack open pockets of resistance to it, to perturb our implacable movement toward it, to discover unexpected potentialities? Gean Moreno is an artist and writer based in Miami.
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He has contributed texts to various magazines and catalogues. Click to start a discussion of the article above. Robert A.
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Or: are these questions mere manifestations of our naivete, ways of duping ourselves into participating in a fantasy or a symptom generated by a dissipative compulsion that advances regardless of how we position ourselves in relation to it? Are we surrendering more than we mean to when we take this treacherous path? Are these questions blindly groping for a kind of fetish aesthetics that allow us to have our transnational capitalism while claiming to be able to challenge it—to recover critical distance—from the inside?
One should tread cautiously here. Subscription pending. Your email subscription is almost complete. An email has been sent to the email address you entered. In this email is a confirmation link. Please click on this link to confirm your subscription. Journal John Russell, Faerie Poem , Backlit digital print on vinyl. Image of ant captioned "Nanotechnology makes possible devices thousands of times smaller than this ant's microchip". Erik Drexler and Nanorex, Inc. Laminated Mirropane, FedEx shipping box, accrued FedEx tracking and shipping labels, silicone, metal, and shipping tap.
Download PDF. As we continue to reflect upon the chain of political upheavals of , it may be interesting to consider a particular shift in the status of information technology, now that it has been deployed as such a powerful force in facilitating the rise of a new popular voice. But first, how did this happen? How did a form of communication—developed in the late s with a well-funded US Defense Department initiative in response to the Sputnik threat, then blossoming in the hands of Keller Easterling.
The computer has escaped the box, and ordinary objects in space are carriers of digital signals. This capacity seems to finally fulfill the dream of artists and architects of the mid- to late twentieth century, among them Jack Burnham, Cedric Price, Archigram, and Christopher Alexander, who experimented Gean Moreno. Yet, however deplorable, growth and devastation can Since we proceed in such a way that it is always possible to go back, along the chain of transformations i. Hence the LATOUR's argument, which he so nicely illustrated by the case of the research expedition to the Amazon forest: scientific texts speak of reality not because of a mysterious bond between things and words something philosophers are so busy with , but rather thanks to well-tied chains of small transformations, during which something is preserved while other qualities are lost.
However, I am not so much interested here in reference as a bond between the world and the word which we strive to maintain during the move from the field to analytic work on data. Rather, my task is to apply science studies' imagination to a "next step", i. I would like to show that what is often seen as an achievement of mind can be perhaps better described in terms of practical manipulations with bodies of texts. But what kind of qualitative analysis am I going to discuss?
There exist different traditions and approaches to qualitative analysis 6 and my account will in no case be "methodologically neutral". I should stress right from the beginning that it is not "grounded theory methodology" as a label for a self-contained epistemology that really matters. Rather, by GTM I refer to a loosely defined set of analytic practices, the use of which is very common among sociologists, ethnographers, psychologists or even historians.
There are several good reasons for choosing GTM as an example for my argument. First, the choice is not surprising given the credit the authors of Atlas. Further, whether one likes it or not, GTM enjoys persisting popularity, especially among students and teachers, and aspires to be taken as an overall strategy for non-deductive research projects.
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Occasionally, if taken as a generic approach for generating theory out of qualitative data, it is even perceived as a synonym for qualitative research. Last and perhaps most important and in close relation to the above GTM is nowadays a challenged and often misunderstood qualitative paradigm. Further, software packages organised around the procedures of coding and retrieving contributed to a more or less implicit conviction that grounded theory methodology is nothing but an application of the code-and-retrieve principle.
On the other hand, however, the "ecumenical" focus on something-like-grounded-theory-methodology is relatively arbitrary. In fact, we could try to follow other analytic practices—e. It should be also stressed that I am not going to come out with some new and specific analytical procedures. No new analytical techniques and no new features of Atlas.
Instead, I suggest just an alternative "theory" and practice-oriented account of very ordinary and basic procedures we all usually do as analysts. A question might appear: if we are to understand material practices of qualitative analysis, why not to look at a pre-CAQDAS researcher working with real things such as sheets and pieces of paper, printers, colour pencils, scissors, glue and card files?
Such a focus would definitely be possible. And at some moments it could be pretty illuminating. In comparison to that when an analyst works with a specialised computer programme, the only thing he or she can manipulate seems to be pure information—bits and bytes that are thought to represent ideas in researcher's mind. Indeed, if we consider a computer to be a direct extension of human thinking, we could hardly talk about material practices at all.
They have keyboards, mouses, speakers and monitors. And on screens of monitors we can create, see and manipulate various objects. These objects can be of different sizes and shapes; they can be hidden, moved, split, colourised, grouped and regrouped, forgotten and rediscovered on unexpected occasions. In short, computers provide a virtualised environment in which we can not only do all the operations available to the pre-CAQDAS researcher equipped with paper, scissors and pencils, but much more.
Virtual ob jects on the screen are even more shapeable by and embedded in practices than real ones.
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What do researchers practically do with Atlas. Let me pick up just a few key moments of the process. I will proceed from what is typical for the beginning of the project to what usually takes place at later stages. In Atlas. These are our data. And data, so is the common belief, are what we gather in the field. True, but this is only a half of the story.
Because data are also everything that we strive to put on one place , on one table. Or, more exactly, into a single textual laboratory—which has the power to shrink time and space distances between observable phenomena so that everything important is present and under control. We can better understand the point when we imagine what happens when primary documents are assigned to a project to a "hermeneutic unit", as it is called in Atlas.
Adding new documents has important practical consequences: once we open the hermeneutical unit next time we immediately have all the materials at hand.