“Mercer Union presented ‘What Can Art Do for Post-capitalism’ with Fixing the Future co-organizer Suhail Malik and political theorist Nick Srnicek as a part of their fORUM critical conversation series: “Left Accelerationism proposes that a viable and socially-just succession to capitalism can be established by repurposing the advanced social and technical processes of today’s capitalist development. It argues that the task is more specific than regular claims to find routes out of or against capitalism, usually by turning to small-scale, furtive, or retrogressive alternatives to capitalist domination (organized through discourses of ‘resistance,’ for example), all of which are common enough in today’s ‘critical’ art. The task of Left Accelerationism is, rather, to advance post-capitalism. In their talk Malik and Srnicek will address whether and how art can contribute to making a post-capitalist future. In particular, what demands does Left Accelerationism make on art (or should it make on art), and why is the currently prevalent mode of contemporary art not even capable of contributing to the construction of post-capitalism?” Fixing the Future presents this video of the talk courtesy of Mercer Union”
papers finish around 47:00. Intro to “cognitive mapping”, how artists increase consciousness. Suhail and Nick have thusfar only considered the kind of visual art you see in galleries.
“A critical review of Hermann Hesse’s idea of a glass bead game is presented in light of recent developments in mathematics, music theory, and theoretical physics. The common denominator of these new dynamics is the shift from Wittgenstein’s world of rigid facts to an ocean of elastic gestures. In such a soft architecture of knowledge production, the ultimate principle of uniqueness as conceived in the idea of a singular universe breaks down to a multiverse—a multiplicity of worlds that terminates the historical breakdowns of uniqueness principles from geocentricity (Copernicus), to anthropocentricity (Darwin), chronocentricity (Einstein), and ratiocentricity (computers). We discuss contributions from eminent mathematicians Alexander Grothendieck and Yuri Manin, theoretical physicist Edward Witten, music theorist David Lewin, and philosophers Tommaso Campanella, Paul Valéry, Gilles Châtelet, Jean Cavaillès, Charles Alunni, and Maurice Merleau-Ponty. We complement their positions with our own contributions to topos-theoretical concept architectures and theories in gestural music theory. We offer realizations, both by means of gestural composition software and with examples from contemporary free jazz. The talk concludes with a reconsideration of the game concept as a synthesis of artistic and scientific activity in the light of gestural fluidity.”
MY NOTES. The ensemble is the “Large Hadron Collider for thought experiments”. Mazzola’s hypothesis that gesture is the missing link between the homunculus and a robust model of cognition is a clear demand for interdisciplinarity. “Indeed, Gilles Châtelet and Giuseppe Longo have even contended that the historical roots of mathematics, and its uncanny ability to track the real even in anticipation of empirical knowledge, is grounded in its gestural origins, and specific in the eye-tracking geometric trajectories used by predators to trace the movement of prey.” (collapse8 p492)
“Unless you know quite a lot about aviation, reading this transcript probably did not help you much in deciding what the pilots are doing and whether or not they are doing it well. Of course, in a very important sense, the question of interest to you as a passenger should not be whether a particular pilot is performing well, but whether or not the system that is composed of the pilots and the technology of the cockpit environment is performing well. It is the performance of that system, not the skills of any individual pilot, that determines whether you live or die. In order to understand the performance of the cockpit as a system we need, of course, to refer to the cognitive properties of the individual pilots, but we also need a new, larger, unit of cognitive analysis. This unit of analysis must permit us to describe and explain the cognitive properties of the cockpit system that is composed of the pilots and their informational environment.”
ACKNOWLEDGMENTS & FURTHER READING:
- BETWEEN THE ARKESTRA AND THE ENTERPRISE