Halloween Special: Michel de Montaigne’s Cat

In part one of our Halloween Special on Cats, Kim talks with John Guilliory about Montaigne’s essay “An Apology for Raymond Sebond.” Montaigne asks us: “When I play with my cat, how do I know that she is not passing time with me rather than I with her?”

John Guillory is a professor of English at New York University. He is a scholar of Renaissance literature, who is known for his work on why we read what we read, in Cultural Capital: The Problem of Literary Canon Formation (University of Chicago Press: 1993).

Image: “Lyra is half-seductress, half-glutton, all puss.”

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Hoarding

Kim talks to Rebecca Falkoff about hoarding.

Her book on hoarding, Possessed, will be coming out with Cornell University press in April of 2021.

In the episode, she references Giorgio Agamben’s Stanze: La parola e il fantasma nella cutltura occidentale, translated into English as Stanzas: Words and Phantasm in Western Culture. by Ronald L. Martinez (University of Minnesota Press, 1993). And Arjun Appadurai’s essay, “Mediants, Materiality, Normativity.” Public Culture 27 no. 2 (2015) doi: 10.1215/08992363-2841832

Rebecca is an assistant professor of Italian studies at NYU.

She also has a blog on hoarding that you might want to check out: https://ifiwereahoarder.com/

The image is the future cover of Possessed. Painting by Carey Lin, Untitled (Screen shot 2009-10-19 at 1.20.48), 2011, Oil on canvas, 15 x 22 in. from the series Hardly nothing to do without

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JVN

Angelina Eimannsberger talks to Saronik about cultural phenomenon Jonathan Van Ness, and movements in queer femininity that they represent.

They touch briefly on Edith Wharton’s The House of Mirth, Jean Genet’s Notre Dame des Fleurs, Audre Lorde’s Sister Outsider, Janet Mock’s Redefining Realness, and the hashtag #transisbeautiful inaugurated by Laverne Cox. They also talk about Michel Foucault’s interview “Friendship as a Way of Life“.

Angelina and Saronik had a post-recording conversation about the activistic work that JVN does. On that note, here is a list of organizations they support, and that you can support too:

Planned Parenthood, RAINN, Phoenix House, The Trevor Project, National Coalition of Anti Violence Programs, Advocates for Youth, GLSEN, Peer Health Exchange, ASPCA.

The image for this episode is a frame titled “Flowering Tree” by the fin de siècle English artist Aubrey Beardsley.

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Commodity Fetishism B-Side

An excerpt from Kim’s conversation with Elaine Freedgood on commodity fetishism that didn’t make it into the original episode.

Elaine references Louis Althusser and Slavoj Žižek on ideology;
Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act. Cornell UP: 1981;
and Claude Levi Strauss’s work on Caduveo body painting (which seems to have been published in the surrealist magazine VVV in 1942 and is very hard to find on the internet — see Luciana Martins ‘Resemblances to archaeological finds’: Guido Boggiani, Claude Lévi-Strauss and Caduveo body painting” Journal of Latin American Cultural Studies, 2014. DOI:10.1080/13569325.2017.1309317.)

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Commodity Fetishism

Kim talks with Elaine Freedgood about Karl Marx’s concept of commodity fetishism.

The concept comes from:
Karl Marx, Capital Vol. 1, translated by Samuel Moore and Edward Aveling, edited by Frederick Engels, 1887, available on marxists.org

Other texts mentioned:
Peter Stallybrass, “Marx’s Coat” in Border Fetishisms: Material Objects in Unstable Spaces, edited by Patricia Spyer, Routledge, 1998.
Rosalind Morris and Daniel Leonard, The Returns of Fetishism: Charles de Brosses and the Afterlives of an Idea. University of Chicago Press, 2017.
In the longer version of our conversation we talked about:
Tamara Ketabgian, The Lives of Machines: The Industrial Imaginary in Victorian Literature and Culture. University of Michigan Press, 2011.
Frederick Engels, The Condition of the Working-Class in England in 1844. Translated by Florence Kelley Wischnewetzky. London: George Allen and Unwin Ltd., 1852. Internet Archive.
And Elaine’s book, The Ideas in Things: Fugitive Meaning in the Victorian Novel. University of Chicago Press, 2006.

Elaine is super cool. She studies Victorian Literature and teaches in the English Department at NYU.

Image borrowed from archive.org. If this image is under copyright, please inform us and we will remove it promptly.

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Debt

Huzaifa Omair Siddiqi talks about the idea of debt, mainly with respect to the book by David Graeber on its history. This episode is dedicated to his memory.

Huzaifa is a doctoral candidate at the Department of English, Jawaharlal Nehru University, working on speculative materialism. He has written on several subjects including Graeber’s work.

The image is that of the Cone of Urukagina, which has the first recorded instance of the word ‘freedom’ (‘amargi’). In his book, Graeber talks about this record as one of several issued periodically by Sumerian kings to “declare all outstanding consumer debt null and void…, return all land to its original owners, and allow all debt-peons to return to their families”.

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Intertextuality

In this episode Kim and Chad talk about Julia Kristeva’s theory of “intertextuality.”

Chad references Chapter 3 of Kristeva’s book Desire in Language: A Semiotic Approach to Literature and Art, Translated by Thomas Gora, Alice Jardine, and Leon S. Roudiez, (Columbia UP 1980).

The last quote (the permanent revolt one) is from Chapter 15, “Europhilia-Europhobia,” of Kristeva’s Intimate Revolt: The Powers and Limits of Psychoanalysis, Translated by Jeanie Herman, (Columbia UP, 2002).

Chad Hegelmeyer is a postdoc in English at NYU. He wrote a dissertation about fact checking! The Capybara still stands, proudly, in place of Chad.

Capybara Chad

TRANSCRIPT

SUMMARY KEYWORDS

texts, literature, reading, writer, language, interpretation, poetry, word, work, podcast, meaning, allusion, totally, modernist, interpreting, writing, subject, notes, wasteland

Kim

So today we are here to talk about intertextuality. Hi, Chad. 

Chad

Hi Kim!

Kim

Do you want to introduce yourself?

Chad

Sure, yeah. My name is Chad Hegelmeyer. I’m a postdoctoral fellow at NYU in the English Department, where I was formally–just a few minutes–ago a PhD candidate there with Kim. I study 20th-century contemporary American literature, a lot about narrative, and I wrote a dissertation about fact-checking and literature.

Kim

Excellent. So Chad, what the heck is intertextuality?

Chad 

Okay, so intertextuality refers to just the way that a text meaning is shaped by other texts. And sometimes the way that this gets talked about is, you know, the intertextuality refers to influences or just the sources of a literary work, but actually, it’s much more radical than that. So one way of thinking about intertextuality–and actually, this is a way that Julia Kristeva herself, the person who coined this term encouraged us to think about it–is to picture a text as a 3D space. So, think about a situation in which words are not just floating out there by themselves totally independent, meaning things. They are never quite fully detached from the texts or contexts in which they are used. So they have all these strings attached to them that connect them to all the places in which they’re used, and they drag those other texts into the text that we are currently reading. So every word, certain phrases or sentences, will not just evoke but, like, have these deep connections to other texts. What this means is that a text’s meaning is not in it: it’s between it and all the other texts that it’s related to. So reading kind of plunges us into a network of relations rather than a text. And we read, or we interpret, by tracing those relations.

Kim

Cool. And so you said that Kristeva coined this term, which is not a thing I knew before you said it.

Chad

Yeah, isn’t that wild? Yeah, she coined it. So if you don’t know Julia Kristeva, she is a Bulgarian literary theorist who spent, I think, most or all of her life in Paris. The field of literary theory that Kristeva was sort of thrust into in Paris is called Structuralism. And it’s really devoted to seeing literature and language as this edifice or this structure that we can take apart and find out how it works. And she’s really bothered by how static that is. For her things are not static; they’re not these unchanging structures. They are moving and changing in time. That’s why intertextuality is not an unmoving connection of texts. It’s this, like, constantly changing network.

Kim

Okay, nice because I was gonna ask you how intertextuality is different from modernist references. I don’t think what Kristeva means and what we often now mean by intertextuality is something like “The Wasteland” with all its footnotes, and all of it sort of like reaching back into a grand literary past.

Chad

Yeah. I mean, I actually think it’s sort of similar in a way, like, so, the school of literary theory that sort of comes before Structuralism in some way is called New Criticism, as you know, and even though a lot of new critics were kind of champions of Modernist literature, there were some things about Modernist literature that at least in my view, they were very uncomfortable about. Yeah, so some new critics like Wimsatt and Beardsley and the verbal icon are actually deeply uncomfortable with like, the referentiality and the citation and the illusion that’s really heavy in modernist poetry. They’ll put up with all of the allusions to other texts in “The Wasteland,” but they hate the notes that explain them. And their solution is to say that even if the notes were fake, even if all the allusions were to made-up texts, like totally fictional texts, that they would still work. And actually, they want you to read the notes that way. So they want you to read the things in the notes as if they are just, like, the same thing as the lines of the poetry in the poem. They’re just a creation of the poet. They don’t actually reference anything outside of the poetry or into the world.

Kim

Right because they can’t handle texts that are not complete unto themselves

Chad

Totally–they want, they want that. They want the text–the poetic text–to be this work of art that has its own separate ontological existence. That’s, like, totally independent, right? So they hate it when you know, to understand a text you have to like put it down for a second and go pick up another book on the bookshelf, right? They don’t want that at all.

Kim

Okay, so this seems like the exact right moment to ask how do I use intertextuality?

Chad

Yeah, so what Kristeva is saying is like, you actually can’t do that–that’s completely impossible. That’s not how texts mean. You don’t necessarily have to get up, pick up that other book. But just by reading and interpreting a text, you’re already sort of doing that in your brain, you’re already drawing on the other texts in which you’ve encountered these words or phrases, right? And for her, it’s even more radical than just allusion or citation. Every word. So here’s a direct quote from Kristeva: “Each word (text) is an intersection of word (texts, plural) or at least one other word (text) can be read.” So let me reread that in two different ways. So you can read it first as, “each word is an intersection of Word, or at least one other word can be read.” Or we can read it, “each text is an intersection of texts where at least one other text can be read,” right? So there’s never we’re never only reading just one text or we’re reading a text we’re reading other texts as well. And we’re using those other texts to read the texts that we’re reading.

Kim

Okay, so for her intertextuality is like a basic function of language?

Chad

Kind of, I mean, so she does a lot of complex theoretical stuff that comes out of semiotics and linguistic traditions about, like, denotative meeting and other types of meaning. And she also has this really weird insistence that I don’t totally understand where she says that there’s some logic, there’s some extra-linguistic logic at work here. It’s not just, like, the logic of language itself–there’s some other kinds of logic at work. According to Kristeva, and also according to Barthes here a bit, too, Roland Barthes, we’re already doing–or using–intertextuality and we’re doing it in two ways as writers and readers. When we’re writing, we’re actually performing a kind of reading, right? As a writer–so they really want to get rid of this notion of the writing subjects that, like, think of the Romantic poet and like the poetry just comes from inside of him, right? No, that’s not how we do that. As a writer, you’re just sort of like a language processor. You’re taking in all this language from other places in your life and then you’re processing it into this new thing, this new text, right? Kristeva actually calls this a writing, hyphen, reading process or “writing-reading process.” So that’s the writing side. As a reader, you’re not just receiving a message or a signal from the writer through the text–you’re actually decoding a highly complex network, a network of relationships to produce an interpretation. So reading itself is a kind of writing, right? You’re, you’re producing the text insofar as you are reading it in this particular way using this particular web of associations. So this kind of goes into, like, you can, maybe, if you know anything about Roland Barthes, you kind of start to see where something like “The Death of the Author” comes from.

Kim

And if you are a listener of this podcast, you might have heard our episode on “The Death of the Author.”

Chad

Excellent. We’re already an intertext!

Kim

But I see what you’re getting, I mean, I see where you might go to get something that is a little bit beyond just the basic functions of language, because it’s not just meaning that’s at stake here, but interpretation, which is a little bit bigger.

Chad

Yeah, absolutely. And interpretation isn’t trying to recover the web of associations that the author had in mind when they wrote it. It’s using the ones that you are, you’re in contact with as a reader.

Kim

Cool. Okay, then. Here’s the big dramatic question. How will intertextuality save the world?

Chad

Yeah, so, I’m obviously very attracted to the idea of intertextuality and I think it’s extremely important for interpreting texts like I, you know, a lot of my work starts here. At the same time, there’s something lost in Kristeva, in Barthes, and in a lot of these post structuralist thinkers for me, they’re very cold and like the human subject kind of drops out of them, you know, or is like something we have to dismantle even. I don’t like that. I think that human beings are not just, like, little notes, connecting webs of text together. I mean, that’s not exactly what they would say either. But I think there’s something interesting going on there that is kind of lost here. What Kristeva thinks is good about this is that there’s something revolutionary–there’s a revolutionary possibility in language and literature. So here’s another quote from her: “by showing how much of the inside of the text is indebted to its outside, interpretation reveals the inauthenticity of the writing subject. The writer is a subject in process, a carnival, a polyphony without possible reconciliation, a permanent revolt.”

Kim

Chad, that was so beautiful, you’re gonna read it again.

Chad

Okay, here we go. “By showing how much of the inside of the text is indebted to its outside, interpretation reveals the inauthenticity of the writing subject. The writer is a subject in process, a carnival, a polyphony without possible reconciliation, a permanent revolt.” So we lose the writer subject, but we get process, we get time, we get carnival, we get permanent in revolt and the possibility of, like, things actually changing, you know, we can have the possibility of revolution and not just this static structure that we have to dismantle, then put back together like it’s a machine or something.

Kim

Yeah. Awesome. All right. We should say goodbye to our listeners, farewell. Thank you for listening.

Chad

Goodbye. And yeah, thanks for listening to me talk about Julia Kristeva intertextuality for a little bit.

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Death of the Author

In this episode, Kim and Saronik discuss Roland Barthes’ essay “The Death of the Author” printed in Image Music Text, translated by Stephen Heath, New York: Hill and Wang, 1977.

The image for this week is plate three from Jules Morel, Manuel d’Anatomie Artistique. Paris: Grand, 1877. Medical Heritage Library Collections on Internet Archive.

TRANSCRIPT

SUMMARY KEYWORDS

author, bart, intentionality, individual, reader, text, imagined, authorial, intention, idea, fact, discourse, podcast, god, nietzschean, responsibility, thinking, essay, high, language

Saronik  

Brilliant. In this episode I, Saronik, talk with Kim about “The Death of the Author.” So Kim, what the heck is the death of the author?

Kim

“The Death of the Author” is the title of an essay written by Roland Barthes.

Saronik 

Let me just stop you right there: is that the way we pronounce his name because I always get confused. Well, I sometimes get confused…

Kim

Let us try, in order, pronouncing all of the possibilities okay. “The Death of the Author,” by Roland Bart, Barthe, Barthes…

Saronik

I mean, so my French pronunciation is atrocious. We can move ahead with the podcast, please. 

Kim

No, I like this plan. 

Saronik

Well, I thought it was, like, “Row-lahnd.” Isn’t it?

Kim

[pronounces Roland Barthes in more and more chaotic sounds]

Saronik 

I really hope you don’t speak French and listen to this. Anyway, so, this was… listen to… essay written by some… [more chaotic French pronunciation and laughter from Kim].

Kim

BARTHESES. Okay, so the death of the author is this idea by our friend Roland Barthes, however we want to say it, that the intention of the author matters not. The author, very simply, as the title says, is dead. We don’t need the author anymore. We don’t need criticism to try to discover the intentions of the author and thereby explain the work itself. It’s against the idea of intentionality; that authorial intention doesn’t exist and what does he substitute instead? The reader. So I’ll read you the famous last line of the text: “The birth of the reader must be at the cost of the death of the author.” 

Saronik  

Oh god, that sounds oedipal.

Kim

Yes, it is. In fact, the Father is, the author is a father figure. The author is thought to nourish the book, which is to say that he exists before it, thinks sufferers, lives for it, in the same relation of antecedents to his work as a father is to his child.

Saronik  

That is creepy, but also interesting because it’s sort of like a deistic conception of God, a God who recedes from creation after creating.

Kim

Yeah, but it is much more Nietzschean. It’s like okay, God is dead, because there’s a bit of violence to it. So it’s not just that the author has made the thing and now we should let the author recede from view. But in fact, Barthes wants to argue that in order to privilege the reader, you have to kill off the author, you have to imagine the text is born with the reading, rather than the writing.

Saronik  

How do you think we can use this idea? Like I mean, I mean this question semi-seriously, because I can’t remember the last time that I’ve used Barthes in my own work, to return to the question, how can we use it?

Kim

I think there’s two ways of answering that question. And one is just to say that we already are using Barthes without thinking about it, like, this idea has crept into our ordinary engagement with texts. And we don’t even think about it anymore. The way that we are willing to privilege our own interpretations of the text over any sort of imagined authorial intention, which I think is really common in order to do any sort of really good close reading, in a way. What you’re looking for when you look at all those details is, you’re not looking for an omniscient author who is incredibly good at putting all the details in, you’re not looking for a realist, but you’re looking for the ways in which language acts through the author that the author is not aware of.

Saronik  

How do you make the distinction between say, chasing authorial intentionality in the text and, like, the cult of the author? What I’m saying is, like, in some cases, the biographical details of the author are quite substantially important in the way that we read the text. We could always say that those are also part of the reading. It doesn’t matter who the author is, but…

Kim

OK, let’s hold the cult of the author on the side because I actually find that really fun. It’s, like, one of the reasons I enjoy writing about Gertrude Stein.

Saronik  

She was quite a person.

Kim

Quite a life. But the other thing that I think is worth noting that might sort of help answer this question in a roundabout way, and it gets back to your “how do I use this” question. Is, maybe even how do you use it in a way that is not about reading literature, in a way that is not in our ordinary grad student lives, which is the idea of doubting individual intentionality in general. The idea that language and culture and the world acts through us much more than we act through it. That all of the words that are coming out of my mouth right now are not so much words that originated in some sort of romantic interiority of my sort of creative essence, but are in fact words that came into my head from outside it that like language is speaking through me, that I got this idea from Barthes and I got the language to articulate it from Barthes and I also got it from my, you know, I don’t know my MA Professor Ellen Rooney, and a bunch of other people and stuff I read online and like all like there’s not there’s like less of what you think is you in your head, and more of what you think is, like, consciousness is made up of the world around you as much as it is made up of you and the inside of your head.

Saronik  

Yeah, I mean, like, I think you use the word “world” which is so great. My next question what I was gonna say is like, the moment we deprioritize interiority and intentionality and try to think of the world as this sort of, very, very intricately enmeshed manner, like we are all, everything is socialized to a degree that we couldn’t have imagined before. I think there will come, or there comes a point, where it becomes a little difficult, or let’s say challenging, to sort of define interpersonal relationships. They all sort of begin with two really opaque points of interiority: this it’s me and you, me with a capital “M” and you with a capital “Y.” So do you see a bridge here somewhere?

Kim

Yeah, I do. But actually, that’s not what I was thinking. So when you started talking about this, like, amazing intermeshed network of the, like, society is that much more socialized than we imagined, I thought, the sort of image of the networked world–so you were thinking about individual subjectivities and interpersonal relations, and I was thinking about the sort of individual versus society, the way that we imagined ourselves acting as individuals in terms of, like, the social contract and individual agents. And maybe if we didn’t think of ourselves so much as individuals to begin with, we wouldn’t be so worried about maximizing our individual interests.

Saronik 

Yeah, I mean, it sort of totally reorients the idea of responsibility. Which is definitely something that we need in the world.

Kim

I think the responsibility of the reader is actually a really important thing to think about now in the world that we live in. Like, if we can’t expect responsibility from the writers of our public discourse, if we can’t expect responsibility from our political figures, then we can perhaps try to shift responsibility onto the readers, or by necessity, the responsibility has been shifted on to the readers, right?

Saronik 

Right. So like in this scenario, the readers are the public and the author is the person spouting discourse.

Kim

Yes.

Saronik

Like, not spouting discourse, that was a terrible phrase, but like, saying things?

Kim

Can you imagine what the discourse fountain looks like? 

Saronik

I will have nightmares tonight about that.

Kim

How about I read you the best line of the text as the ending? And so maybe this is in fact the answer to how the death of the author will save the world. “In precisely this way, literature–it would be better from now on to say writing–by refusing to assign a secret and ultimate meaning to the text and to the world as text, liberates what may be called an anti-theological activity. An activity that is truly revolutionary, since to refuse to fix meaning is in the end, to refuse God and His hypotheses: reason, science, law.”

Saronik  

Oh dear God. And we’ll end on that note for listening.

Kim

Farewell, my farewell listeners.

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Ecosphere

John Linstrom talks about the ecosphere, a way of understanding the world deriving principally from the work of ecologist and philosopher Stan Rowe. We also refer briefly to James Lovelock’s Gaia hypothesis, crown shyness in trees, Aldo Leopold’s idea of a ‘land community’, Wendell Berry’s The Way of Ignorance and knowledge humility.

John Linstrom is a 7th year Ph.D. Candidate at the Department of English, New York University., and series editor of The Liberty Hyde Bailey Library for the Comstock Publishing Associates imprint of Cornell University Press.

The image for this episode is that of red-blue-and-green sea anemones.

TRANSCRIPT

SUMMARY KEYWORDS

ecosphere, organisms, life, humility, ecologist, called, talking, earth, people, john, question, humans, idea, properties, ecosystems, thinking, knowledge, bailey, policy, book

Saronik 

So today we are talking to John Lindstrom about ecosphere. And John is one of my oldest friends here in New York, so it’s great to have you John on the show. as is our custom, I’m going to first ask you to introduce yourself and your work.

John

I’m John and famous friends with Sharonik Bosu. And I’m in my seventh year of the PhD at NYU in English and American Literature and becoming a Museum Education Fellow at the Museum of the City of New York and I study a number of American authors during the Progressive Era and think about questions of environment and land work.

Saronik  

Not very recently, but recently, you have a book out, so please talk to us about the book.

John

True. So one of my authors who I’m really interested in and have been for a while, is Liberty Hyde Bailey, and a friend and I recently co-edited an anthology of Bailey’s garden writings called the Liberty Hyde Bailey gardeners companion, which I highly recommend to everyone.

Saronik 

Yes, so you’re listening to the show, please go buy John’s book. And also, I mean, as a direct manifestation of the studies that he has done for the book, John has been growing beans and other sundry crops in his apartment.

John

Oh, man. Yeah, the bean babies… They were not super successful. But we’ve had much better success, surprisingly, with tomatoes, Rutgers tomatoes, which are big beefsteak guys, and we’ve growing them in our living room window. So it’s possible. We’ve got some basil and trying to grow some hot peppers, but they’re being quite shy. But yeah, Bailey’s writings really kind of inspired a lot of that activity, I think.

Saronik  

Today we are talking about really, really big questions. John will tell us what the meaning of life is, if I’m understanding it correctly. John, what the heck is an ecosphere? The Ecosphere?

John

Yeah, well, so my understanding of it is that we probably say “the ecosphere” just because we don’t know any others. And I’ll, I’ll get to that. But yeah, so what the heck is the ecosphere? I guess it’s this term, and it hasn’t been widely picked up, although there’s interesting work that’s being done right now. It’s really lovely little article called “ecospheric care work” by a friend of mine, Aubrey Straightkrug was published this past year. So it’s starting to get picked up, particularly by some quirky agrarian folks out at the Land Institute in Kansas, which is where I learned about it. People like West Jackson. But the idea, as I understand it, was really developed by an ecologist named Stan Rowe, who was a Canadian ecologist in the 90s, early 2000s. Stan’s no longer living. If you have a library account, you can look up some really cool videos that he made in the 90s that are the environmental version of Cosmos by Sagan, Carl Sagan. Anyway, he’s kind of a lovely thinker. He’s an ecologist and philosopher. He’s concerned about representations of the earth and people’s place in the earth, and how we kind of go through our lives as parts of this planet, who are also responsible for anthropogenic climate change and the most recent mass extinction event of the planet. And the ecosphere is helpful in terms of understanding the earth in terms of life and what our place within life is. So one of the most clarifying moments for me is when he actually quotes this ecologist named Rapport and buddies et. al., I’m not sure who they all are, they’re talking about ecosystems and what they’re getting at, the thing here is low form, quote unquote, lower forms of life, we often think–and I’m talking like below the organismic level–we can think of as alive based on the context in which they exist, right? So DNA, or like, the organ of an animal, so like your liver, for instance, enjoying a bit of fine whiskey right now, so thinking about my liver, myy liver is alive to the extent that it’s part of the organism that is me, right? But for some, we equate life with organisms. He described this as a metaphor, where life equals organism, and so we think of it as something that organisms possess. In fact, we know that’s not really how it works, right? Like we wouldn’t be able, like an organism, anywhere outside of our planet, is not alive, unless you carry a little bubble of earth with you, right, like an astronaut in your spacesuit. So he quotes this guy, this essay by Rapport et. al., where they say–this is a 1991 essay–where they say, “Ecosystems are to be sure a Supra-organismic level of organizations, but are not super organisms, since each level in the hierarchy has both unique properties found only at that level and parallel properties with other levels. Accordingly, ecosystems are not organisms, but there are analogous properties that may or may not function in the same manner at the two levels.”

Saronik  

Is this like an anti-Gaia hypothesis?

John

So that’s where this is going. So the idea is, we actually don’t live outside of the ecosystems in which we live. So you can describe life as actually a property of ecosystems. Similarly, you can describe ecosystems as a property of what Rowe calls the ecosphere. And that’s partly because ecosystems need the larger ecospheric context in order to live. And he even says, you know, well, you can even go further like, you need sunlight, which, you know, comes from outside of the ecosphere–It’s not like this is a self contained whole in itself. But yeah, so the quote that I was just giving is sort of recognizing not only that perhaps life can be a quality higher up than the organismal level. His issue with the Gaia hypothesis that, which is Lovelock’s idea that it is a super-organism is problematic because there are basic properties of the ecosphere that are not possessed by organisms like climate, right? The jet stream, these are emergent properties that exist only at the level of the ecosphere, that are part of life. And part of what he’s doing is he’s saying, so things that we think of as not alive, like, you know, molecules in the air that are part of planetary climate, perhaps those are part of a larger thing that actually does possess life. So it breaks down like the biotic-abiotic boundary. Yeah. And so the ecosphere is just supposed to help us understand ourselves as part of a larger living thing. 

Saronik  

Let me ask you my second question, which is, how do we use the ecosphere?

John

When we’re talking about how we fit in this kind of embedded context we can just use words like earth or nature, right, and Rowe says that at some point. What he’s identifying is a problem, though, in how we think about life itself. And so the goal is that ecosphere, kind of, because it’s available, right, because it’s weird sounding, it can open up space for thinking about a larger living entity. And he’ll go so far in some of his writing to talk about, you know, what’s ecospheric creativity? If we think of life at a planetary level, is creativity a property of life? Meaning the ecosphere, you could argue by its makeup created a bunch of different organisms, maybe humans aren’t the only creative force? And you see this even in like, the science of plant communication, right? Where people want to talk about how forests think–there’s that great book, how forests think–or how they communicate. And some people bristle at that because they say like, well, they don’t communicate the way humans communicate. But the argument is well known humans aren’t don’t have the only valid means of communication, right? And we can stand to humble ourselves a little bit.

Saronik 

I really like this sort of capacious way of understanding creativity. I was reading this article about crown shiners, which is, you know, tall trees when the canopy over, they don’t touch each other. So that sort of light shines through and the undergrowth benefits. It’s like a way of sharing resources. What I really like is that this idea, because, you know, I was thinking of parallel ways of thinking of the world comprehensively, and when we decided that we would do this episode on ecosphere, I was also thinking about Spivak’s idea of planetarity, which is, you know, it is kind of it’s very capacious, but it’s also a cultural idea, a cultural metaphor of comprehensiveness, and I think that these two ideas could also be like, companion ideas and they work really well. But I guess, before I jump on to the next question, I want to ask you, like, you know, let’s say, how do you see–speculatively speaking–this idea of benefiting, let’s say, policy geared towards climate change?

John

What Rowe would say is that when you question a policy, especially policy that’s going to impact a large swath of what Leopold called the land community, right? Not just people, but who knows what all, the question is, how will this affect the health of the ecosphere or the flourishing of the ecosphere before you know, how will this affect the flourishing of whatever venture capitalist company is trying to make a lot of money or something. One of the really important things to me is that we kind of move past you know, Rowe’s definition and our use of this idea, and because I think he’s really situating this within the history of ecology, but I think you can look at lots of cultural traditions from around the world, both within and outside of, sort of, quote unquote Western tradition, that have a conception of embeddedness within what we could describe as an ecosphere. Like they have, like, an ecosphereism to their cosmology, or their outlook. There’re interesting cases, these really interesting legal questions now that are still very fluid about how do you sue a corporation or a government on behalf of the earth?  So the ecosphere could be leveraged in the policy arena, in that way. You know, we’re trying to protect life here, because we as humans value life inherently, even if we’re being selfish. But our life is so deeply contingent on larger ecospheric life that we’re a part of, that it’s just really stupid to be doing things that are highly destructive of that life and ignoring most of it because the life of this small group of oligarchs is flourishing, or whatever.

Saronik 

This is a good place to ask you my next question, which I think you’ve already begun to speak on, which is how will the ecosphere save the world?

John

Yes, how will it save itself. I think part of the challenge of climate change is coming to grips with the fact that we’ve been doing it wrong for–some people say since the Industrial Revolution, some people say since the advent of agriculture–in terms of the way that we lift calories from the earth to sustain ourselves in increasingly cheap ways, fossil fuels being the cheapest form of burning calories, but also one that has some of the most waste and most deleterious effects to life on Earth. So, what I find really fun about what Rowe does the ecosphere is that he plays with the word, he talks about ecospherism, or thinking ecospherically; so what what would it mean to think ecospherically. And he talks about art, too, artistic production, the ecospheric artist is sort of observing the creativity that surrounds them in the ecosphere and is trying to make it special. I think something that he says at one point, which like Rowe not a literary scholar, he’s not an art critic, you know, he’s an ecologist, but I kind of love that idea of like, making special because, I mean, you know, it seems like we really need a worldview transition in order to move ourselves into thinking creatively about how to get out of our dependence on fossil fuels. And there’s actually a really great article that was just published earlier this year by a group of scientists that calls for what they call “knowledge humility”

Saronik  

Oh, that’s a lovely phrase, I really like it.

John

Yeah, i’ts a group of climate scientists asking for knowledge humility, another, you know–Wendell Berry wrote a book called The Way of ignorance which is sort of provocatively calling for something similar where when you think about our intelligence as being a very small part of a much larger intelligence, which is sort of something that most of the great world religions do themselves, but you know, we’re living in an increasingly secular society so maybe the ecosphere is a way to think about this. Our intelligence is a small part within a much larger intelligence that it’s like, ecospheric creativity and a knowledge and information. Maybe that can help us practice knowledge humility as we move forward with our solutions to climate change so that we don’t fall into the trap of sort of technocratic fantasy that all we need to do is shoot a bunch of mirrors into outerspace to deflect sunlight and could not possibly be anything that would go wrong with that, or the idea that we can keep consuming fossil energy at the rate that we currently are. We can keep consuming energy at the rate we currently are just by switching to renewables or something. The same group of scientists is saying that seems like a very optimistic perspective, given the data. So by practicing a little knowledge humility, we might have to force ourselves to say we, we can’t do all of this. We have to do less and we have to somehow scale back consumption at the same time that we recognize there are people on this earth who don’t have access to adequate resources to just live on this earth, right? So it’s tricky as soon as you start talking about austerity, it’s like, well, but there are enough resources for people not to be hungry and starving and in poverty. So how do you address those crises at the same time that you sort of try as a society to practice some restraint? I don’t know. It’s like a huge fucking challenge. 

Saronik 

It’s also like, like the one word has been hovering in the offing in this episode, and we haven’t mentioned it yet is anthropocene. I was thinking about this, and I also coordinate this other reading on the postcolonial anthropocene, and we were talking about this today. It’s a Galilean decentering, right? It’s, you move the human away from the center. At least, you cannot move the human away from the center in, in actuality, but you do it in thought so that your biases, your intentions, your intentions, your intentions of thought possibly change and that’s why I really like the term knowledge humility, and I’m gonna look this up. Just everything that John mentioned will be linked in our show notes. But I really like this phrase knowledge humility, because it is a kind of decentering and it is kind of something that we do not tend to do often in academia, which is to say that knowledge itself is a way of admitting the lack of knowledge.

John

Yes. Well, what you were just saying made me think the Enlightenment was really good for decentering the the idea that we were special and in the center of the universe, but at the same time, it kind of created a new sense of special, like a recentering of the human in terms of being supreme intelligence, you know? Which is, you know, I’ve never thought about it that way before but the way you just kind of brought those things together.

Saronik  

I mean, decenters the human, but then everything that became visible in that process of decentering became the object of our study. And by that we, you know, gained and, really, I mean, European continental philosophy.

John

Something about the ecosphere does feel a little medieval to me, you know, like, it’s almost reclaiming something of this sense of mystery. That’s what knowledge humility kind of does that in my mind, you know, it’s not saying that we can’t know things and it’s not saying science won’t reveal truths, if I can use that word. But it is reinforcing another, we’re talking about policy, there’s this concept called the precautionary principle, which also works really well. I mean, it’s talked about in environmental study circles sometimes. I think it fits really well with the idea of the ecosphere because the whole idea is that in policy if  you operate by the precautionary principle, you never do the maximum that you think you can get away with, right. It’s maximum, quote, unquote, sustainable extraction. It’s about let’s take the precautions of extracting less than that, right? Whatever we think is sustainable, let’s shoot lower than that, actually, you know, keep it in the ground.

Saronik 

Yes, I think we end on that both generative and cautionary note. I want to thank you so much, John, for coming on our show and talking to us about ecosphere. Thank you so much for listening.

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Autonomous Work of Art

Kim talks with Pardis about Theodor Adorno’s concept of the autonomous work of art, as articulated in his Aesthetic Theory, and The Dialectic of Enlightenment (with help from Max Horkheimer).

Pardis Dabashi is an assistant professor of English at the University of Nevada, Reno, where she specializes in 20th-Century literature and Film studies. Starbucks Christmas Blend is one of her many guilty pleasures. Adorno would be upset.

Image source: Witches dancing in forest, in the Compedium Maleficarum of Francesco Mario Guazzo, published in 1608. Available on Wikimedia Commons.

TRANSCRIPT

SUMMARY KEYWORDS

autonomous, adorno, work, art, hand, conditions, capitalist ideology, high, meditations, pollock painting, fantasy, kim, political, capital, nightmarish, podcast, theory, temporary autonomous zone, academic, rejects

Kim

This week I am talking with Pardis Dabashi about the autonomous work of art. So I’m gonna start by asking Pardis to introduce herself. 

Pardis

Hi everybody. And Kim, thanks so much for having me on your awesome podcast. My name is Pardis Dabashi. I’m an Assistant Professor at the University of Nevada in Reno and I teach in the English Department. I specialize in home studies in 19th and 20th-century American, European and more recently, some Persian literature. 

Kim

Okay, what the heck is the autonomous work of art? 

Pardis

What the heck is the autonomous work of art? Before I talked about what the autonomous work of art is, I was wondering if I could just, like, make sure that everybody knows that I’m actually not high and the reason is because my experience with drugs has been nightmarish. Like I don’t enjoy it at all. And so, I’m not high, but in another sense, like, I wish I were high. So if I, like–when I inevitably make mistakes about what the autonomous work of art is I can blame it on the fact that I am, like, completely sober. Soberly making mistakes. Okay, all right. So now that I’ve gotten that out of the way.

Kim

Alright, so now you’re ready to answer the questions.

Pardis

I’m ready to answer the question. Okay. What the heck is the autonomous work of art? My suggestion is that the autonomous work of art actually does not exist, okay. But it is a concept, or a placeholder, let’s say that Adorno–Theodor Adorno–uses to try to think about the way that we could imagine an alternative reality than the one that we’re in. So for Adorno the basic condition of human beings under capitalism is that we are subject to or subject others to suffering by way of domination basically, then what the autonomous work of art does is attempt to imagine a reality outside of these relations, outside the conditions of capital. But the catch is that the very idea of generating a realm outside the conditions of capital is itself like a re-inscription of capital. Yes, on the one hand, there is something about going and dancing naked in the woods that rejects, ostensibly rejects, the power dynamics of capitalism that like force our bodies into doing certain things on a regular basis. Yes. But on the other hand, there is a kind of fantasy of transcendence going on there that Adorno is really skeptical of. The idea that we can make a work of art that transcends the condition of capital or the idea that one could transcend the conditions of capital at all–that fantasy is just as bourgeoisie as, like, the bourgeois guy sitting in his apartment, like smoking a cigar and flipping through magazines. So when I say that the autonomous work of art doesn’t exist what I mean is that I don’t actually think, like, while on the one hand, we could say yes, okay, like a Pollock painting is an autonomous work of art.

Kim

So I was thinking when you said people want to go dance naked in the woods is thinking, oh, Burning Man, Burning Man is the greatest example right?

Pardis

Perfect example where it’s like, oh, yeah, let’s go be in the desert in this temporary autonomous zone where anything goes, but let’s also pay $4,000 per ticket. Adorno would be, I mean, Adorno hated everything, Adorno hated jazz. He did. I was just joking with a friend that, like, Adorno is the most profound killjoy. Like there’s, like he doesn’t like anything. He’d be like the idea of enjoyment is, like, wrapped up in capitalist ideology. He’s not wrong, but it’s sometimes, like, it’s just, like, dude, just let me zone out for a minute. 

Kim

Yeah, so maybe this is a good point to ask the next question. Since it’s, you know, it’s such a contradictory and maybe non-existent thing, how do I use the autonomous work of art? 

Pardis

Like, how does one use the autonomous work of art? I would say, for Adorno, the question would be like, how does one use the idea of the autonomous work of art? And I think the short answer is, one tries to think the autonomous work of art and by virtue of thinking the autonomous work of art one becomes a different kind of political subject. One who is less susceptible to engaging in the objectification of the other.

Kim

Okay, so like art shifts directly into politics there, right?

Pardis

For me, as far as I’m concerned, his meditations on the autonomous work of art are meditations on a different kind of political subjectivity. Even though to my knowledge, he doesn’t come out and never really exactly says that. That’s how that’s how I read it. For sure.

Kim

Okay. So then as a political theory, how will the autonomous work of art save the world?

Pardis

The autonomous work of art can’t save the world right now. And it can’t save the world two years from now. But, what it can do is contribute to the creation of a critical community. And when I say critical I don’t I obviously don’t mean academic, what I mean is, like, contribute to the growth of a kind of, like, community of people who think critically about, like, what is in front of them.

Kim 

Can I actually ask you, I know this is kind of a crazy question. But like, what is art for Adorno?

Pardis

I thought you were, like, just going to ask what is art and I was like holy shit.

Kim

If you have an answer to that please, please give it to me! But, like, for Adorno specifically, if you’ve got that.

Pardis

For Adorno art is… can I use really deep words like “monadologically.” Okay, so the monad: the monad is like a thing of a term that Adorno borrows from Spinoza. And it’s, like, the monad is like a thing that recreates in miniature, the terms or the form of, like, the totality. So, what in the way, the reason why he uses that term to talk about the autonomous work of art is that the autonomous work of art recreates through forms. Like the autonomous work of art isn’t like a painting, like a Diego Rivera mural, for example, that shows like working bodies, Adorno will be like, this is not the autonomous work of art. It’s not about thematizing labor as content, for him that’s just as part of the bourgeois fantasy of transcending capital as like anything else. So for him, the reason why I use the Jackson Pollock example is that that’s something that is really formally fragmented, that in its form of fragmentation, sort of recreates in miniature the fragmentation and internal contradictions of capitalist modernity. So this is why he’s drawn more toward modernist aesthetics.

Kim

Okay, so what defines art as such is form and then what’s powerful and maybe like the saving grace–if we’re gonna go back to that, like, how will it save the world question–involves the viewers interaction, or the the listeners interaction with the work?

Pardis

Totally, totally and what’s interesting about Adorno is he doesn’t really talk about reception all that much, except for this relatively brief moment in the aesthetic theory where he talks about what he calls the shutter. The shutter ideally is the thing that I as a person, like, let’s say looking at a painting, let’s say at a Pollock painting, experience. When I look at the Pollock painting, I experience what Adorno calls a shutter, which is a kind of like a breaking down of my subjectivity, like a recognition of the fact that my subjectivity is wholly dependent on that which is outside of me. Ideally what the autonomous work of art would do is like, generate in me a shutter. I suppose that’s what could save the world. But again, it’s like, like, that doesn’t happen. You don’t like I don’t, you know?

Kim

It’s not what I feel when I go to art museums.

Pardis

Certainly not!

Kim

I feel very hailed as a bourgeois subject. I don’t…

Pardis

Me too, I go there, I’m like, oh, I should think that this is beautiful. Therefore I will sit…

Kim

I should be proper and observed the beauty…

Pardis

Meanwhile, to myself, I’m thinking I really want a hot dog. 

Kim

That’s a really excellent note to end on.

Pardis

I think by the way, like somewhere spoken poorly upon dogs.

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