Revista Umělec 2010/2 >> Antonio Negri in The Porcelain Workshop Lista de todas las ediciones
Antonio Negri in The Porcelain Workshop
Revista Umělec
Año 2010, 2
6,50 EUR
8 USD
Enviar la edición impresa:
Suscripción de orden

Antonio Negri in The Porcelain Workshop

Revista Umělec 2010/2

01.02.2010

Palo Fabuš | solutions | en cs de ru

If we ask ourselves what (if any) unique message has been bequeathed to us by postmodern theory, the hardest work would be agreeing on what that message is. Its usefulness cannot be reduced to words like diffusion, ambiguity, mystification or mere skepticism; in all likelihood we would look for a solution in vain. The Italian neomarxist and political philosopher Antonio Negri, a leading personality of the autonomist movement, is convinced of this as well, reproaching postmodernist thought for irresponsibility, intellectual weakness, and inconsistency.
In his collection The Porcelain Workshop: For a New Grammar of Politics, published by semiotext(e), he defines postmodernity as a significant caesura, and factually rejects theoretical tendencies, embodied, for example, in the works of Anthony Giddens, according to which we do not experience any deep restructuring of reality but, a mere radicalization of the processes of modernity. Rejecting the conclusions of authors like Lyotard, Baudrillard or Virilio on the indeterminate situation of the ubiquitous fetishization and commodification of the world, he indicates that the legacy of the moral position of the Frankfurt school is relatively vulgar. Negri’s postmodern caesura manifests itself in four ways. The first is the current hegemony of immaterial work, as in cognitive, communicative and affective. The second consists of the expressions of sovereign powers which can be defined by recourse to Foucault’s term biopower, a power influencing all aspects of life, which transforms disciplinary society into a society of control. The third element concerns itself with the weakening of the role of the national state in the process of globalization to the benefit of Empire and the multitude. The fourth element is the real and definitive subsuming of society to Capital.
These concepts of Empire and multitude are collected in a work called Empire written with Michael Hardt in the year 2000, which is regarded as the Communist Manifesto of the 21st century. By Empire these authors mean the powerful organizations of today constituted in three simultaneous ways: monarchistically (international organizations, NATO, the G8 states, etc.), oligarchically (supranational corporations) and democratically (the level of national states and non-governmental organizations). The power of Empire does not rest in any single position, but constantly shifts itself along networks created by imperial sovereignty and political subjectivity. The fundamental thesis of the book Empire is the claim that creativity and the political struggle of the proletariat always precedes and prestructures paradigm shifts of social and economic life under capitalism.
Multitude is a concept whose origins reaches into ancient philosophy; Negri and Hardt’s presentation, however, arises from the political philosophy of Benedict Spinoza. Multitude comes first of all from the relation between consitutive paradigms (singularity, creativity, risk) and the employment of power. Capital was always capable of reducing the multitude as a collective into something singular and organic (class, people, the masses) but after the postmodern caesura this capability has gradually diminished. “The multitude must be perceived,” writes Negri, “as an inorganic, different and powerful multiplicity.” And later on, “The multitude’s unity of action is the multplicity of expressions it is capable of.”
Discussing the multiplicity of expressions is thus entirely apt, when we take into consideration Negri’s fascination with the conversion to a post-industrial economoy with a metamorphosis of what is commonly understood by the term means of production. “Today we have the means of production in our head,” says Negri. Work has become identical to life. And if life has no ‘outside’ it must be lived entirely ‘inside’, its single dynamism can be the dynamism of potency (as biopolitical power, in the sense of puissance).
Negri, along with Hardt, understands the multitude to be of primary importance as a significant realization of Spinoza’s distinction between the difficult-to-translate concepts of potentia and potestas. Even their English equivalents ‘force’ and ‘power’ call for a more full explanation: potentia comprises the bases of political power in effectively combined human activity, while potestas is centered on the mediated expression of political institutions and decisions. Negri sees a distinction in that these mediators were inescapable in Spinoza’s time, when society was deficiently under-developed, whereas today potestas are not concepts that are as essential as they once were.
This is seemingly caused by the abstract, yet practically ubiquitous factor of measureability. Negri claims power is measureable, since leveling and inequity are valuable tools of discipline and control, whereas puissance is immeasurable, being a pure expression of irreducible differences. The main thought to which Negri continually returns is the crisis of all rules and paradigms of scale of the evolution of capitalism, the crisis of presuming this progress to be measureable, and the crisis of rational criteria. According to Negri it is not immeasurability, but the position of production in the processes of subjectivation entirely outside of the scope of measurability (e.g in the sense of temporality, private boundaries and common truth) that allows us to ponder the end of exploitation, at least as a propensity.
The vertical line of the disruption of modern power relations by the opposition of the people subejcted to them intersects the horizontal line of the whole of life as it pertains to the field of power. Biopolitics is a self-contradictory context for life, i.e. it shows the extent of the economic and political contradictions on the level of the whole of society, but also the emergence of singularized points of resistance which saturate it.
The Italian philosopher rejects essentialism, but also relativism—he sees solutions in the growth of subjectivity, in creative ontologies, such as those found in the radical feminist work of the 1990s of Judith Butler and Donna Haraway (here, the author is especially concrete in his otherwise quite abstract essays). We can only catch a glimpse of democracy on the horizon in its absolutely realized paradigm in the unity of the multitude. As told by the last sentence of Negri’s work, “To become the multitude is to become democracy.”




Translated from Czech by Stephan von Pohl.




Comentarios

Actualmente no hay comentarios

Agregar nuevo comentario

Artículos recomendados

Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy
Goff & Rosenthal gallery, Berlin, November 18 - December 30, 2006 Society permanently renegotiates the definition of drugs and our relationship towards them. In his forty-five minute found-footage film The Conquest of Happiness, produced in 2005, Oliver Pietsch, a Berlin-based video artist, demonstrates which drugs society can accommodate, which it cannot, and how the story of the drugs can be…
An unsuccessful co-production An unsuccessful co-production
If you know your way around, you might discover that every month and maybe even every week you stand the chance to receive money for your cultural project. Successful applicants have enough money, average applicants have enough to keep their mouths shut, and the unsuccessful ones are kept in check by the chance that they might get lucky in the future. One natural result has been the emergence of…
African Vampires in the Age of Globalisation African Vampires in the Age of Globalisation
"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
Malvado Malvado
“La persona debe sacudir tres veces la mano de alguien mientras mantiene fijamente la mirada en sus ojos. Así es como es posible memorizar el nombre de una persona con certeza. De ésta forma es como he recordado los nombres de las 5000 personas que han estado en el Horse Hospital”, me dijo Jim Holland. Holland es un experimentado cineasta, músico y curador. En su infancia, sufrió al pasar por…
04.09.2019
¿A dónde ir ahora?
fuera
S.d.Ch, Solitarios y Cultura Periférica   (una generación nacida alrededor de 1970)
S.d.Ch, Solitarios y Cultura Periférica (una generación nacida alrededor de 1970)
Josef Jindrák
¿Quién es S.d.Ch? Una persona de muchos intereses –activa en varios campos- la literatura, el teatro, conocida por sus cómics y sus collages en los campos del arte. Un poeta y dramaturgo principalmente. Un solitario por naturaleza y determinación, su trabajo no se encajona en las corrientes actuales. Siempre antepone la enunciación personal, incluso cuando su estructura interna puede volverse…
Leer más...
australia
Spaghetti Sauce on Your Moo Shoo Pork
Charlie Citron
Leer más...
Lithuania
Road trip Lithuania
Road trip Lithuania
Arunase Gudaitas
Aš menininkas — Aš save myliu Vincent van Gogh in one letter to his brother described a café as a place where one could easily go insane. The café in the Center for Contemporary Art (CAC) in Vilnius is such a place. Insider connoisseurs of the local scene consider it “very bohemian” and, indeed, in contrast to traditionally lackluster and overpriced eateries in museums, the atmosphere in the CAC…
Leer más...
reportáž
Under the Shadow of Heroes
Under the Shadow of Heroes
Alena Boika
Leer más...
Libros, video, ediciones y obras de arte que podrían interesarle Ir a la tienda virtual
22 x 31 x 1 cm / 32 pages / sérigraphie 5 pass. couleur / 200 ex || Gravures de Rémi Pierlo, Adolpho Avril, Benoit Montjoie...
Más información...
30 EUR
35 USD
Vytištěno bíle na černém, kvalitním a pevném igelitu. Ilustroval Ivan Mečl.
Más información...
3,80 EUR
4 USD
Más información...
2,50 EUR
3 USD
The first fiction piece by the author of the comics 96 Hours at Vokoun’s farm. After several opening pages, in which readers...
Más información...
6 EUR
7 USD

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Cita del día El editor no se responsabiliza por los estados físicos o mentales que puedan generarse después de leer la cita

Enlightenment is always late.
Contacto e información del visitante Contactos de la redacción

DIVUS LONDON

 

STORE
Arch 8, Resolution Way, Deptford

London SE8 4NT, United Kingdom
Open on appointment

 

OFFICE
7 West Street, Hastings
East Sussex, TN34 3AN
, United Kingdom
Open on appointment
 

Ivan Mečl
ivan@divus.org.uk, +44 (0) 7526 902 082

DIVUS
NOVA PERLA
Kyjov 37, 407 47 Krásná Lípa
Czech Republic
divus@divus.cz
+420 222 264 830, +420 602 269 888

Open daily 10am to 6pm
and on appointment.

 

DIVUS BERLIN
Potsdamer Str. 161, 10783 Berlin
Germany

berlin@divus.cz, +49 (0) 1512 9088 150
Open on appointment.

 

DIVUS WIEN
wien@divus.cz
DIVUS MEXICO CITY
mexico@divus.cz
DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK

alena@divus.cz

SUSCRIPCIÓN AL NEWSLETTER DE DIVUS
Divus New book by I.M.Jirous in English at our online bookshop.