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Reading The Cybernetic Hypothesis

Tiqqun was a French journal that published two issues in 1999 and 2001. 1 The authors wrote as an editorial collective of seven people in the first edition and went uncredited in the second edition. More recently, one member of the original collective, Fulvia Carnevale, has said that:

I would like to say that Tiqqun is not an author, first of all. Tiqqun was a space for experimentation. It was an attempt at bridging the gap between theory and a number of practices and certain ways of “being together”. It was something that existed for a certain time and that then stopped because the people working at it weren’t happy with the relation between theory and practice and that certain people had decided that Tiqqun 3 would be a movie. 2

This space for experimentation amounted to to 450 pages over three years, producing several substantial texts such as Bloom Theory, Introduction to Civil War, and The Cybernetic Hypothesis. 3

Published in Tiqqun 2, The Cybernetic Hypothesis is forty-three pages long (in the original journal) and divided into eleven sections. Each section begins with one or two quotes which are then critiqued in order to further our understanding of the hypothesis and develop the author’s response. The author(s) write in the first person singular. They quote from a range of sources but do not offer precise references.

What follows are my notes on the text. A much more extended version of my notes is available here. Neither of these are a review of the text, simply a summary of my reading of each section.

Section one provides historical references for the objectives of cybernetics and argues that as a political capitalist project it has supplanted liberalism as both a paradigm and technique of government that aims to dissolve human subjectivity into a rationalised and stable (i.e. inoffensive) totality through the automated capture of increasingly transparent flows of information and communication. The authors understand this subjugation of subjectivity as an offensive, anti-human act of war which must be counteracted.

Section two establishes cybernetics as the theoretical and technological outcome and continuation of a state of war, in which stability and control are its objectives. Developing with the emergence of post-war information and communication theory and corresponding innovation in computer software and hardware, intelligence is abstracted from the human population as generalised representations that are retained and communicated back to individuals in a commodified form. This feedback loop is understood as a ‘system’ and later as a naturalised ‘network’ which, drawing on the 19th century thermodynamic law of entropy, is at continual risk of degradation and must therefore be reinforced by the development of cybernetics itself.

Section three ends with a useful summary of its own:

The Internet simultaneously permits one to know consumer preferences and to condition them with advertising. On another level, all information regarding the behaviour of economic agents circulates in the form of headings managed by financial markets. Each actor in capitalist valorization is a real-time back-up of quasi-permanent feedback loops. On the real markets, as on the virtual markets, each transaction now gives rise to a circulation of information concerning the subjects and objects of the exchange that goes beyond simply fixing the price, which has become a secondary aspect. On the one hand, people have realized the importance of information as a factor in production distinct from labour and capital and playing a decisive role in “growth” in the form of knowledge, technical innovation, and distributed capacities. On the other, the sector specializing in the production of information has not ceased to increase in size. In light of its reciprocal reinforcement of these two tendencies, today’s capitalism should be called the information economy. Information has become wealth to be extracted and accumulated, transforming capitalism into a simple auxiliary of cybernetics. The relationship between capitalism and cybernetics has inverted over the course of the century: whereas after the 1929 crisis, PEOPLE built a system of information concerning economic activity in order to serve the needs of regulation – this was the objective of all planning – for the economy after the 1973 crisis, the social self-regulation process came to be based on the valorization of information.

Section four focuses on the role of information to both terrorise and control people. The sphere of circulation of commodities/information is increasingly seen as a source of profit and as this circulation accelerated with the development of mass transportation and communication, so the risk of disruption to the flow of commodities/information became more of a threat. In cybernetics, total transparency is seen as a means of control yet because the removal of risk is never absolutely possible, citizens are understood as both presenting a risk to the system and a means to regulate that risk through self-control. Control is therefore socialised and now defines the real-time information society. An awareness of risk brings with it an awareness of the vulnerability of a system that is dependent on an accelerated circulation/flow of information. Time/duration is a weakness and disruption to time is signalled as an opportunity to halt the flow and therefore the project of cybernetic capitalism.

Section five is a critique of socialism and the ecology movement proposing how these two movements have been subsumed by cybernetic capitalism. The popular forms of protest over the last 30 years have only strengthened the cybernetic objectives of social interdependence, transparency and management. This marked the second period of cybernetics which has sought to devolve the responsibility of regulation through surveillance through the affirmation of ‘citizenship’ and ‘democracy’.

Section six offers a critique of the Marxist response to cybernetic capitalism and finds it contaminated and complicit in its economism, humanism and totalising view of the world.

Section seven offers a brief critique of critical theory and finds it to be an ineffectual performance cloistered in the mythology of the Word and secretly fascinated by the cybernetic hypothesis. The section introduces insinuation as a mode of interference and tactic for overcoming the controlled circulation of communication. The author(s) indicate that the remaining sections of The Cybernetic Hypothesis are an attempt to undo the world that cybernetics constructs.

Section eight discusses panic, noise, invisibility and desire as categories of revolutionary force against the cybernetic framework. Panic is irrational behaviour that represents absolute risk to the system; noise is a distortion of behaviour in the system, neither desired behaviour nor the anticipated real behaviour. These invisible discrepancies are small variations (‘non-conforming acts’) that take place within the system and are amplified and intensified by desire. An individual acting alone has no influence, but their desire can produce an ecstatic politics which is made visible in a lifestyle which is, quite literally, attractive, with the potential to produce whole territories of revolt.

Section nine elaborates on invisibility as the preferred mode of diffuse guerilla action. A method of small selective strikes on the lines of communication followed by strategic withdrawal are preferred over large blows to institutions. Despite the distributed nature of the Internet, territorial interests have produced a conceivably vulnerable network reliant on a relatively small number of main trunks. Both individual spontaneity and the organisational abilities of institutions are valued but both should remain distant from cybernetic power and adopt a wandering course of unpredictability.

Section ten develops the author(s) tactics for countering cybernetic capitalism, through the application of slowness, disruptive rhythms, and the possibilities that arise from encounters with others. The cybernetic system is a politics of rhythm which thrives on speed for stability (as was discussed in section four) and a range of predictability. The guerilla strategy is therefore one of dissonant tempos, improvisation and ‘wobbly’ rhythmic action.

Section eleven is a final attempt to define the key categories of struggle against the domination of cybernetic capitalism. These can be summarily listed as slowness, invisibility, fog, haze, interference, encounters, zones of opacity, noise, panic, rhythm/reverberation/amplification/momentum and finally, autonomy. Combined, these constitute an offensive practice against the requirement and expectation of cybernetics for transparency/clarity, predictability, and speed in terms of the information communicated and regulation of its feedbacks. The author(s) do not reject the cybernetic system outright but rather see the possibility for autonomous zones of opacity from which the invisible revolt can reverberate outwards and lead to a collapse of the cybernetic hypothesis and the rise of communism.

Originally published in French in Tiqqun II (2001). http://www.archive.org/details/Tiqqun2 Translated into English 2010 http://cybernet.jottit.com/

The student as producer: reinventing the student experience in higher education

With Mike Neary

In this chapter, we set out to provide an overview of recent critical responses to the corporatisation of higher education and the configuration of the student as consumer. We also discuss the relationship between the core activities of teaching and research and reflect on both nineteenth century discourse and more recent efforts to re-establish the university as a liberal humanist institution, where teaching and research are equal and fundamental aspects of academic life. While recognizing recent efforts which acknowledge and go some way to addressing the need for enquiry-based learning and constructivist models of student participation, we argue that a more critical approach is necessary to promote change at an institutional level. This critical approach looks at the wider social, political and economic context beyond the institution and introduces the work of Benjamin and other Marxist writers who have argued that a critique of the social relations of capitalist production is central to understanding and remodelling the role of the university and the relationship between academic and student. The idea of student as producer encourages the development of collaborative relations between student and academic for the production of knowledge. However, if this idea is to connect to the project of refashioning in fundamental ways the nature of the university, then further attention needs to be paid to the framework by which the student as producer contributes towards mass intellectuality. This requires academics and students to do more than simply redesign their curricula, but go further and redesign the organizing principle, (i.e. private property and wage labour), through which academic knowledge is currently being produced. An exemplar alternative organizing principle is already proliferating in universities in the form of open, networked collaborative initiatives which are not intrinsically anti-capital but, fundamentally, ensure the free and creative use of research materials. Initiatives such as Science Commons, Open Knowledge and Open Access, are attempts by academics and others to lever the Internet to ensure that research output is free to use, re-use and distribute without legal, social or technological restriction (www.opendefinition.org). Through these efforts, the organizing principle is being redressed creating a teaching, learning and research environment which promotes the values of openness and creativity, engenders equity among academics and students and thereby offers an opportunity to reconstruct the student as producer and academic as collaborator. In an environment where knowledge is free, the roles of the educator and the institution necessarily change. The educator is no longer a delivery vehicle and the institution becomes a landscape for the production and construction of a mass intellect in commons.

Published in The Future of Higher Education: Policy, Pedagogy and the Student Experience

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An Ecology of Images (2002)

A short film about memory, history and the role of archives. I made this for my MA in Film Archiving at the University of East Anglia (UK) using 16mm and 8mm footage I shot during a trip across the USA (2000) and living in Japan (1998-2001). I was heavily influenced by the narrative style of Chris Marker’s film, ‘Sans Soleil’. More recently, I prefer the film silent, with the script read as a separate essay before or after viewing.

An Ecology of Images (script for a film)

He wrote that he had spent years travelling so that he might forget.

In America, he told me he had shot over 4000 images across 5000 miles of the United States. He joked that everything there existed in order to end up in a photograph. He said he felt like the world was more available to him than it really was and he wanted to blame someone for such deceit.

Once, when I asked him why he made movies, he said that it was to show that this world is not the best of all possible worlds.  But in America, he felt like a tourist in other people’s reality and then eventually in his own.

He was now in Asia where he was writing from within a world of appearances: fragile, fleeting, revocable. He said he was recording the present and therefore inventing the past.

He wrote me that he was capturing images with his camera knowing he would never project them. After all, his entire world had become a projection of images.

He said that his photographs were not a record of the world but an evaluation of it.

He sent me images of landscapes, cities and a festival, asking what I understood from his experience.

He wrote that he had looked at the sea, and then, when walking away, he saw the memory of the sea. Later, he wrote how he wanted to distinguish between the memories he had taken from images and those memories whose only functions was to leave behind memories. He said that images of events years ago now seemed important only because they existed as images. Experience had been transformed into nostalgia, all of history was being leveled.

He wrote that he was becoming anesthetized by images. Moments he had never experienced seemed real after knowing them through photographs. But after repeated exposure to these images, experience became less real.

He thought the world had ceased to remember what reality once was. As our representations became increasingly banal, history was being re-written. Now, all that concerned him was to save certain images from their endless consumption.

He wrote that for him, forgetting was nothing more than a consumption of images. The new had replaced what was once unique, and memories were to him as history had become for others: an impossibility. In this world of appearances, he was certain that we do not remember, but rather we rewrite our memory much as we do history.

He had travelled there in order to lose remembering, but instead had lost forgetting. Left with an uncatalogued archive of images he called memories. Or were they memories he called images?

Walking the streets, he would note down the things he knew from direct experience and that which was independent of experience.

In New York, two planes had flown into the World Trade Centre and the television news announcer described the atrocity as seeming just like a movie. Rather than suggest that images possess qualities of reality, reality was now being attributed the qualities of images.

He knew that his images were pieces of evidence in an ongoing biography or history and each image implied that there would be others. Being in that world of appearances was never boring because photographing each event gave it importance.

In his last letter he argued that capitalism could only thrive on an irreverence of the present and a forgetting of the past. A proliferation of images served this task perfectly. The production and consumption of images was nothing less than a purchase of the world.

Now he realised he was living in a world where history was not the unfolding of events but rather the dumping of occurrences. History was nothing more than the past consumed; the present was nothing more than a banal representation. History was being turned into a tautology by images that acknowledge rather than explain. His only distinction between the real world and the world of appearances was that in the real world something is always happening and he did not know what was going to happen. On the other hand, the world of appearances had always happened and it will forever happen in that way.

Images were his only environment and he knew that a renewed history in which we are free to act is only possible if those images were conserved. This would mean an ecology, where images were recycled and put to new uses and new meanings found. With this new ecology the injuries of class, race and sex would be condemned. Social change would soon mean more than merely a change in images. Freedom would no longer be equated with the freedom to consume a plurality of images and goods. The reality of discrimination, violence, exploitation and ignorance would itself be consumed by rediscovered images and from them, new meanings found, a history rewritten, and each and every individual would understand for themselves.

“A people which is cut off from its past is far less free to choose and to act as a people or class than one that has been able to situate itself in history. This is why – and this is the only reason why – the entire art of the past has now become a political issue. [John Berger]”

Narrated by Jennifer Romero

Images by Joss Winn and Joanna Chung

Written by Joss Winn

Music by John Cage

The script for Ecology of Images contains quotations from the following sources:

Sans Soleil, Chris Marker, 1982

Ways of Seeing, John Berger, 1972

On Photography, Susan Sontag, 1977

Copyleft Joss Winn 2002.

Video, Film and Performance 1998-2000

Thinking and Bathing, VHS, Sound, 9 minutes, 1998. About the impossibility of knowing another person. 

Heat and Noise, VHS, Sound, 13 minutes, 1998. A day with the KKK. 

WAKATTA, VHS, Sound, 4 minutes, 1998. WAKATTA is about the impossibility of knowing. 

D.I.Y, Super 8mm, Sound, 10 minutes, 1999. I wanted to make a home movie, or rather, I wanted to make a ‘home’. D.I.Y. is a ‘home movie’ in the literal sense too. It was shot, processed and edited in and around my house. Most of the shots are external and the brief time I went inside resulted in a confused, almost violent scene of domesticity. 

Worn Out, Super 8mm, Silent, 3 minutes, 1999. A performance/portrait of myself left to chance. 

Jo Likes to Sleep but Joss Likes To Listen to Music in The Morning, Super 8mm, Silent, 3 minutes, 1999. 

Jo Likes to Eat Slowly but Joss Likes to Eat Quickly, Super 8mm, Silent, 3 minutes, 1999. 

Sadness : A song of the Sea in a minor key, Super 8mm, Silent, 3 minutes, 1999. 

These Are the Views I Can Recall, Super 8mm, Silent, 10 minutes, 1999. 

Mum and Dad Use A Window, Super 8mm, Silent, 3 minutes, 1999. 

For Dad: Movements That We Missed, Super 8mm, Silent, 8 minutes, 2000. 

If You Go To Okinawa, Head North, 16mm, Silent, 6 minutes, 2000.

WAKATTA (1998)

Wakarimashita (わかりました), or the less formal, wakatta (わかった) is Japanese for ‘I understand’ or ‘I get it’ or ‘I see’, and this is a short, playful film where I go between two languages, and use the static camera and separate soundtrack to disaggregate understanding and seeing.

WAKATTA is about the impossibility of knowing. 

Betacam, 4 minutes, Japan.

Heat & Noise (1998)

Super 8/VHS, 13 minutes, USA. Jonathan Crow and Joss Winn.

Saturday May 9, 1998, the Ku Klux Klan held a rally in Ann Arbor, Michigan. Two years previous, their visit resulted in a riot. This year, flyers were posted around town again encouraging people to “Smash the KKK” by any means necessary. The flyers also railed against the police. In 1996, Anti-Klan groups clashed violently with the Law. There was still resentment over the incident on both sides. The Peace Team was organized by local religious groups to serve as a buffer between the police and the Anti-Klan groups. In the course of the day, the Klan appeared for less than an hour and their speech ignored by most people. What dominated that hot afternoon was tension between the police and political groups from outside Ann Arbor.