History, Myth and the Time of Struggle

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In our times, the idea of development, of evolution, has almost completely penetrated social consciousness, only in other ways, and not through Hegelian philosophy. Still, this idea, as formulated by Marx and Engels on the basis of Hegel’s philosophy, is far more comprehensive and far richer in content than the current idea of evolution is. A development that repeats, as it were, stages that have already been passed, but repeats them in a different way, on a higher basis (“the negation of the negation”), a development, so to speak, that proceeds in spirals, not in a straight line; a development by leaps, catastrophes, and revolutions; “breaks in continuity”; the transformation of quantity into quality; inner impulses towards development, imparted by the contradiction and conflict of the various forces and tendencies acting on a given body, or within a given phenomenon, or within a given society; the interdependence and the closest and indissoluble connection between all aspects of any phenomenon (history constantly revealing ever new aspects), a connection that provides a uniform, and universal process of motion, one that follows definite laws — these are some of the features of dialectics as a doctrine of development that is richer than the conventional one. (Lenin, “The Marxist Doctrine”)

I.

In the second chapter of Difference and Repetition, Deleuze breaks the flow of his argument to deliver something of a digression. Titled ‘Note on the Three Repetitions’, the digression tracks a tripartite model of historical repetition occurring across a range of different philosophical and theoretical approaches to the phenomenon of historical development. Deleuze’s goal, which he ultimately finds to be tenuous and problematic, is to uncover a commonality in the figures, so scattered and dispersed across time and place he offers up: the medieval millenarian Joachim of Fiore, Enlightenment philosopher Giambattista Vico, and Pierre-Simon Ballanche, a largely forgotten French philosopher who managed, intriguingly enough, to settle himself in the double-pincer of both the progressive and counterrevolutionary camps in the wake of the French revolution. The primary anchor for these three figures, however, is Marx, and most specifically the Marx of the Eighteenth Brumaire of Louis Bonaparte (1852), with his formula—one that, Deleuze says, has yet to be properly understood by historians—that “all great world-historical facts and personages appear, so to speak, twice… the first time as tragedy, the second as farce”.

Also Deleuze summarizes, Marx here draws forth two forms of historical repetition that run in different directions, but are yet aligned in the sense that they appear as distinction moments in the series (or, more properly, the circuit) that composes historical evolution. The tragic moment is a tragic metamorphosis: a repeating occurs that unleashes something new into history, producing a jagged fracture between the emergent time and what came before. The farcical or comic moment, however, is a repetition that “falls short” and fails to offer any sort of “authentic creation” (D&R, 114). In Marx’s schema, itself a dynamic confrontation of Hegel’s own insights concerning historical repetition with Aristotle’s distinction between the tragic and the comic (which ultimately pivoted on whether or not the characters were a ‘higher’ or ‘lower’ type, respectively), the tragic precedes the comic, thus providing the provocative diagram of the comic as a repetition of the tragic, a repetition of the repetition, which can only ever fail…

In Deleuze’s hands, this order is reversed, and he presents the tragic as succeeding the comic in the most generalized, abstracted form of the series. In the matrix of historical production, the comic does easily follow the tragic, but in the abstract form the ultimate metamorphosis comes in the aftermath of the failure of attempted transformation. From here, we close in on Deleuze’s ultimate goal, the revelation of the third moment in the series, which is the Eternal Return, difference-in-itself, which comes clashing through the spiroform of the comic-tragic to open the very possibility of the future (understood, in the case of Vico and others, the resetting of the cycle in order for it to advance, itself a distinctly spirodynamic formulation). This curious temporal architecture, however, is not the chief concern here, though its ghost continues to hover close, just out of sight. Its mention here is only to install it in the back of the mind. Instead, it is Marx’s own treatment of the tragic-comic cycling in the context of historical evolution, as well as the commentary offered by Harold Rosenberg—American Trotskyite and art critic (known for his early commentaries on what would later be called abstract expressionism) and Deleuze’s primary interlocutor when discussing the Eighteenth Brumaire—that should be stressed at the current juncture.

As Deleuze notes, Rosenberg foregrounds the importance of myth in his discussion of the tragic-comic repetition (this discussion, incidentally, is to be found in his essay ‘The Resurrected Romans’, though it can also be found in the volume of collected writings called The Tradition of the New (highly recommended)). It is the myth that loops together the strange dynamism of historical repetition with what is perhaps the most famous insight from the Eighteenth Brumaire: “Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past”. The present, and the possibilities of the future contained in the present, are colonized by the past. Historical lock-in reigns supreme and the “tradition of all dead generations weighs like a nightmare on the brains of the living”. In the grip of possession, the revolution that is capable of creating the new—by which we mean a temporal order distinct from the present—itself “conjure[s] up the spirits of the past to their service”.

In his restaging of Marx’s argument, Rosenberg describes how “In the act of creating new social forms men had ceased to behave ‘realistically’. They lost touch with the time and place they occupied as living men—they became, more or less automatically, actors playing a part” (The Tradition of the New, 154). The revolutionaries were thrown out of joint with their time, not out individual volition or collective choice, but because of the historico-temporal wall that conditioned their range of actions—and, as a result, their very identities melted away, precisely in order to gain new ones as mythic characters. “Social reality”, wrote Rosenberg, “gave way to mimesis because history did not allow humans to pursue their own ends… It was the pressure of the past that took revolutions out of the ‘naturalistic’ prose of the everyday and gave them the form of a special kind of dramatic poetry” (The Tradition of the New, 154-155). Or, as Marx himself put it:

Luther put on the mask of the Apostle Paul, the Revolution of 1789-1814 draped itself alternately in the guise of the Roman Republic and the Roman Empire, and the Revolution of 1848 knew nothing better to do than to parody, now 1789, now the revolutionary tradition of 1793-95. In like manner, the beginner who has learned a new language always translates it back into his mother tongue, but he assimilates the spirit of the new language and expresses himself freely in it only when he moves in it without recalling the old and when he forgets his native tongue.

When we think about this conjuring up of the dead of world history, a salient difference reveals itself. Camille Desmoulins, Danton, Robespierre, St. Just, Napoleon, the heroes as well as the parties and the masses of the old French Revolution, performed the task of their time – that of unchaining and establishing modern bourgeois society – in Roman costumes and with Roman phrases. The first one destroyed the feudal foundation and cut off the feudal heads that had grown on it. The other created inside France the only conditions under which free competition could be developed, parceled-out land properly used, and the unfettered productive power of the nation employed; and beyond the French borders it swept away feudal institutions everywhere, to provide, as far as necessary, bourgeois society in France with an appropriate up-to-date environment on the European continent.

Revolution, then—and it is important that what Marx is describing here are the bourgeois revolutions, which set in motion the historical mission of capital—blows across the desert of history in the form of a mythic wind that bears within itself a complex and knotted time structure. The future is obstructed by the domination of the present by the past, but it is exactly through a return to the past, the resurrection of something in the past in the form of some weird simulation, that breaks these temporal bindings. Once these loops have been followed, the time of the myth melts away and history restabilizes; what was previously out of joint is recoded, and the dramatic character masks are discarded for those of the everyday. As for Marx, his pen betrays a sense of a restlessness in the face of this transference into the epoch of bourgeois harmony:

Once the new social formation was established, the antediluvian colossi disappeared and with them also the resurrected Romanism – the Brutuses, the Gracchi, the publicolas, the tribunes, the senators, and Caesar himself. Bourgeois society in its sober reality bred its own true interpreters and spokesmen in the Says, Cousins, Royer-Collards, Benjamin Constants, and Guizots; its real military leaders sat behind the office desk and the hog-headed Louis XVIII was its political chief. Entirely absorbed in the production of wealth and in peaceful competitive struggle, it no longer remembered that the ghosts of the Roman period had watched over its cradle.

Rosenberg suggests that because of this, the subversiveness of history, with its ruses and capacity for sudden reversals, is to be understood as ironical. One is transformed into oneself by being transformed into something else—and it is in this sense that history defeats the actors that seek to break from it. For this reason, he continues, the myth itself is denigrated: “Marx, having admitted the myth into history, refuses to concede to it the power to affect history’s direction” (The Tradition of the New, 161). It’s hard to see, however, how Roseneberg stands to make this claim, given precisely the function of the myth that he draws out from the pages of the Eighteenth Brumaire. In the case of the bourgeois revolutions the myth appears as the vital component in engendering a direction to history; primary to their enrapturing by its templex machinery, the revolutionaries were paralyzed. Men might not make history as they choose, but history proceeds immanently through their actors, perhaps precisely because of the twists, reversals, catastrophic breaks and bizarre surprises that constantly dog the smooth expectations of how events will play out. The myth, for the revolutionaries, was the fuel needed for combustion, for the cascade of cruel ironies that propel pre-history towards its conclusion.

The dissipation of the myth and the advent of the ‘new normal’ of the bourgeoisie is what sets the stage for the comic repetition. Marx saw this shambolic ghost appearing in history in his own moment, as the radical spirits attempted to recreate the events of the French Revolution during the course of the revolution of 1848. The repetition of the repetition:

From 1848 to 1851, only the ghost of the old revolution circulated – from Marrast, the républicain en gants jaunes [Republican in yellow gloves], who disguised himself as old Bailly, down to the adventurer who hides his trivial and repulsive features behind the iron death mask of Napoleon. A whole nation, which thought it had acquired an accelerated power of motion by means of a revolution, suddenly finds itself set back into a defunct epoch, and to remove any doubt about the relapse, the old dates arise again – the old chronology, the old names, the old edicts, which had long since become a subject of antiquarian scholarship, and the old minions of the law who had seemed long dead. The nation feels like the mad Englishman in Bedlam who thinks he is living in the time of the old Pharaohs and daily bewails the hard labor he must perform in the Ethiopian gold mines, immured in this subterranean prison, a pale lamp fastened to his head, the overseer of the slaves behind him with a long whip, and at the exits a confused welter of barbarian war slaves who understand neither the forced laborers nor each other, since they speak no common language. “And all this,” sighs the mad Englishman, “is expected of me, a freeborn Briton, in order to make gold for the Pharaohs.” “In order to pay the debts of the Bonaparte family,” sighs the French nation. The Englishman, so long as he was not in his right mind, could not get rid of his idée fixé of mining gold. The French, so long as they were engaged in revolution, could not get rid of the memory of Napoleon, as the election of December 10 [1848, when Louis Bonaparte was elected President of the French Republic by plebiscite.] was proved. They longed to return from the perils of revolution to the fleshpots of Egypt, and December 2, 1851 [The date of the coup d’état by Louis Bonaparte], was the answer. Now they have not only a caricature of the old Napoleon, but the old Napoleon himself, caricatured as he would have to be in the middle of the nineteenth century.

It is at this point that Deleuze’s third repetition—which he identifies not only with Nietzsche’s Eternal Return, but also (with varying degrees of asymmetry) the turning of Vico’s ricorso and Ballanche’s third age, characterized by regicide, the late-stage voyage of Oedipus and the reign of the “Man without a Name”—hovers closer. For Marx, comic repetition is doomed to failure because what is not needed is a repetition of the repetition, but something that angles beyond the historical space-time of bourgeois society: proletarian (the class without a name?) revolution, not a bourgeois one.

In Rosenberg’s reading, the proletarian revolution is viewed at this point as proceeding through a repudiation of the myth’s essential role. “The social revolution of the nineteenth century cannot take its poetry from the past but only from the future”, wrote Marx. “The former revolutions required recollections of past world history to in order to smother their own content”. To this, Rosenberg adds that “[d]eprived of the myth the proletarian revolution would have to take place without passion, or with a kind of passion altogether different from the ecstasy of the doubled time which ‘drugged’ the revolutionary middle class” (The Tradition of the New, 163). This reading, however, seems to run into two problems. In the first case, it’s not clear that myth itself vanishes from Marx’s account, as for Marx the term ‘poetry’ acts as a cipher for what Rosenberg identifies as the myth. In the Eighteenth Brumaire, the poetry which flavors the proletarian revolution—which is to say, of course, what lends it its passions—flows not from the past from the future: the future-myth. This leads us, quite naturally, to the second case, which is that the temporality of proletarian revolution is still seen by Marx as a time doubled, one that is out of joint. It’s a restaging of the incredible temporal schizzing that opens the preamble of the Communist Manifesto: “A specter is haunting Europe—the specter of communism”.

II.

Dickering over this sort of minutia in Rosenberg’s reading of Marx is ultimately immaterial, particularly when we contextualize these multi-faceted mechanisms into the present moment. When Marx described the poetry or myth of communist futurity igniting the passion of revolution in the present, comic repetition was viewed as occurring within a historical trajectory that still maintained a telic structure, albeit one that, as Etienne Balibar describes in The Philosophy of Marx, forced him back to his drawing boards and notebooks. But even as he was plunging himself into the white-hot maelstrom of churning industrialization and the delirious loops of commodity circulation, he could glimpse the ghost of the possible futures radiating backwards into the darkness of bourgeois society. It was, in fact, the maelstrom and the loops themselves that allowed this light to pierce the vale, drawing the class war towards itself…

This situation is, of course, not reflective of current postmodern conditions. Much more of this is to be said in a series of in-progress posts, but what is worth remarking on is that the present, while shut off from the radiance of the future, does not appear as being colonized by the past. Instead, past, present and future all appear as if smeared across a singular, infinite field, in turn effectively obliterating the time-structure of history by cancelling out all three. One might reach for Zizek’s handy quote about imagining the end of the world being easier than imagining the end of capitalism, but this seems radically insufficient in grappling with the endless scroll of postmodernity. Imagining isn’t enough, for it already conjures a faint outline of the necessary time-structure—one must push through from imagining to believing. It’s readily apparent that belief in the end of capitalism, despite the rapid cooling of its revolutionary flames, isn’t accessible in any meaningful sense. By the same token, it’s hard to see that people truly believe in the end of the world—at best, there is a great pretending to believe in the end of the world, which is something entirely different from believing that one believes in the end of the world, much less the end of capitalism.† If one finds exaggeration in these words, a quick assessment of the relationship between climate discourse and action is recommended (going in a somewhat but intimately related direction, see the splintering conversations unfolding here, here and here—to which some posts in the immediate future will be dedicated).

At this seemingly intractable impasse, another strange twist presents itself: the mythic loop that was unique to the bourgeois revolution, which the proletarian revolution was meant to eschew, appears as the potential ground for an exit from postmodernity (which is to say that it appears as the precondition for the proletarian revolution). After the repeat failures of the postmodern politics of the occupation and the multitude, which for Fredric Jameson entailed the replacement of the “politics of duration” with the “politics of the instant” (An American Utopia, 13), a falling backwards in time is required in order to actualize the future—and once this formula is in play, so too is the specter of the myth.

The time-structure was recognized, perhaps inadvertently, by Alex Williams and Nick Srnicek in their 2013 #Accelerate Manifesto, where they wrote of the “need to revive the argument that was traditionally made for post-capitalism: not only is capitalism an unjust and perverted system, but it is also a system that holds back progress” (it’s telling that this manifesto was penned in part as a direct reaction to the politics of the occupation and multitude). While there’s much to quibble about concerning the distinction between Williams and Srnicek’s mode of analysis and conclusions and that of Marx—and this blog certainly veers hard to the latter—this is far less important than the signal that is covertly bleeding through their words. It’s a signal that is picked up by Nick Land, who sees in their retroprogressivism a left-wing mirror-image to the temporalities of Neoreaction, which itself conforms quite well to time-tangledness captured by Marx in the Eighteenth Brumaire. Citing the same quote as above, Land points out that

it’s a revival, it’s a return to tradition, it’s an invocation of postcapitalism, it’s absolutely templex in this sense of being deeply ambiguous or schizoid in terms of its temporal structure. And I think this goes deep into their project. The project of left accelerationism as outlined in the MAP is retroprogressivist, and actually has exactly the same retroprogressivist time structure as right accelerationism in the sense that it is both kind of hyper-futurist and drawn back particularly to something like the 1920s. It’s like art deco, it’s a return to this point at which modernization was lost. Obviously from the right it’s lost because of the New Deal and the destruction of classical liberalism. From the left it’s lost by the disappointments of Soviet Communism and the betrayal from that point of view of these socialist dreams contemporary with the Bolshevik revolution.

Elsewhere we can find the instructive identification of Williams and Srnicek’s marriage of the “command of The Plan” to the “improvised order of The Network” with an abstracted view of the developmentalist moment in the evolution of modernity—and here, too, the signal holds (indeed, the sort of socialist dreams identified by Land above flood through the developmentalist imperative as much as capital itself).

Left accelerationism never elevated itself to the level capable of breaking postmodernity. Even as they actively identified their project as hyperstitional, a tool to bootstrap a future-oriented movement into existence, the escalation via self-excitation never same: its function as myth was not realized. Two reasons that bear immediately on matters here. The first of these is movement from mythopoesis to myth construction,† † which can be traced along a line running from the engagement with the time-structure to its subsequent abandoning in later iterations of the program. The second is the issue of an evolving technocratic orientation, which follows in parallel to the two previous transition. While it is indeed present in the Manifesto—developmentalism, it seems, is always shot through with technocratic impulses of varying degrees—its appearance in the guise of The Plan is mitigated by The Network. The Manifesto proposes their marriage, but perhaps a more interesting and instructive way of viewing it would be as two elements in constant tension, not unlike the Maoist dialectical formula of the Two proceeding from the One (it’s not by coincidence that the formula originates not with Mao, but in Lenin’s Philosophical Notebooks). This tension ultimately falls away, and with it dissipates the very thing that the myth is supposed to infuse itself with: the class war.

In a post on ‘left hyperstition’ Mark Fisher took up Badiou’s demand for “great fictions” capable of engendering “great politics” with the following “intensely compressed suggestions”:

The first hypothesis we might hazard is that, counter-intuitively, only fictions are capable of generating belief. ‘The final belief must be in a fiction,’ Badiou quoted Wallace Stevens as writing. The belief at stake is clearly not a propositional but an attitudinal belief; which is to say, not a belief that a particular factual state of affairs obtains but belief as a set of commitments.

Secondly, since capitalism is itself inherently fictional, it is essential that counter-capitalist fictions be produced. Fiction here would not mean an ‘imaginary’ (in a Lacanian or any other sense) alternative but an already-operative generator of possibilities.

Fiction ensures that things are not only themselves. Capital is the most effective sorcery operative on the planet at the moment because it is adept at transforming banal objects into a sublimely mysterious commodities. Trans-substantiation. The allure of the commodity arises from the non-coincidence of the object with itself. (cf Zizek’s famous analysis of the ‘nothingness’ of Coke.) Anti-capitalism needs to take the form not only of a demystifying, depressive desublimation but of the production of alternative modes of sublimation.

If class struggle is to be re-ignited—and make no mistake, this conflagration is necessary to end postmodern decadence—this line appears as a fertile zero for its emergence. And that, as we have seen, is a question of time.

____________

† After some though, it occurs to me that the distinction drawn here, between an ineffective pretending-to-believe versus an effective believing-to-believe, is in need of further elucidation and clarification, as what is common to each is unbeliefIn his discussion of the film The Skeleton Key (link above), Fisher draws out how the main character is forced into a situation in which they must act as if they believe (in this case, old hoodoo rituals), which in proper Pascalian form leads them to real belief (correspondent with the realization of a ‘truth’ wholly distinct from that offered by cool postmodern skepticism). In this case, it is indeed the pretending to believe that makes it possible believe—behavior, even if one is acting under the auspices of a fiction, allows for actualization. From this position, my distinction between the two becomes untenable. Perhaps we should look instead to an active-passive axis, as opposed to the hard distinction between pretending and faith-before-faith.

† †  Another way the distinction between mythopoeisis and myth-construction (which no doubt bears on the complicated relationship between unbelief and belief touched on above) can be worked through is by looking at the following comments by Xenogoth in his post ‘Comrades’:

As with Mark and Jodi, I don’t agree that we need to change the word “communism” at all, not least because of its past associations. To call it something else is to desire something else, as Dean pointed out. It makes sense in the most rudimentary of ways and its structure, even at the level of its etymology, is perfect for encapsulating what is desired.

This was a big deal for me during my postgraduate studies — a new awareness of the importance of the “com-” prefix to the etymology of leftist discourses. A basic and simple point perhaps but one which, through its very simplicity, was very powerful to me. It’s everywhere. Communism, community, communication, commune, comrade, complement, complete, compassion, commemoration. It means “with”, “together”, “in association” whilst likewise denoting an intensity and a fulfilment, and an awareness of this has enriched my understanding of all of these words above. So the word “communism” doesn’t need changing one bit. It is “the communist myth” that must be challenged.

What is being described here as the “communist myth”, which XG analyzes in Barthesian terms, would correspond here to myth-construction. This is because the naturalistic sense that the ‘myth of communism’ is imbued with must be assessed from a temporal view. Simply put, it is always inscribed retrospectively, a tradition cobbled together from the (un)ground of postmodernism itself. This is not unlike the diagnosis of the various fundamentalisms as postmodern projects, as offered by Hardt and Negri: “visions of a return to the past are generally based on historical illusions… It is a fictional image projected onto the past, like Main Street U.S.A. at Disneyland, constructed retrospectively through the lenses of contemporary anxieties and fears” (Empire, 148). They will, of course, ultimately affirm the postmodern condition, leading them to precisely the faulty politics outlined above—and it is exactly the dialectic of myth construction and mythopoiesis that allows us to deepen and complicate their astute analysis.

Mythopoiesis, in contrast to myth-construction, can be rendered as thus: abandoning the retroactive myth that cements the tradition as timeless block, fixed in place, a spatialized time (which itself is the very core of the postmodern condition), and a return to a living, mutable tradition, the sort that exists where space is annihilated by time. Or, more simply: not going back to find bits and pieces for recombination, but going back in order to make possible the truly new.

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Labor Between the General and the Restricted

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There’s a remarkable similarity between the two following passages, the first a remark from the Grundrisse on the equation of production with consumption and Spinoza (apparently reiterating what Pierre Macherey has argued is a misreading by Hegel of Spinoza, though I don’t have a good enough handle on the nuances of this argument to comment on it much at all), the second on the importance of the ‘production of production’ from the beginning of Anti-Oedipus:

Production is also immediately consumption. Twofold consumption, subjective and objective: the individual not only develops his abilities in production, but also expends them, uses them up in the act of production, just as natural procreation is a consumption of life forces. Secondly: consumption of the means of production, which become worn out through use, and are partly (e.g. in combustion) dissolved into their elements again. Likewise, consumption of the raw material, which loses its natural form and composition by being used up. The act of production is therefore in all its moments also an act of consumption. But the economists admit this. Production as directly identical with consumption, and consumption as directly coincident with production, is termed by them productive consumption. This identity of production and consumption amounts to Spinoza’s thesis: determinatio est negatio. But this definition of productive consumption is advanced only for the purpose of separating consumption as identical with production from consumption proper, which is conceived rather as the destructive antithesis to production. (Grundrisse90)

and

It is probable that at a certain level nature and  industry are two separate and distinct things: from one point of view, industry is the opposite of nature; from another, industry extracts its raw materials from nature; from yet another, it returns its refuse to nature; and so on. Even within society, this characteristic man-nature, industry-nature, society-nature relationship is responsible for the distinction of relatively autonomous spheres that are called production, distribution, consumption… [but] the real truth of the matter—the glaring, sober truth that resides in delirium—is that there is no such thing as relatively independent spheres or circuits: production is immediately consumption and a recording process (enregistrement), without any sort of mediation, and the recording process and consumption directly determine production, though they do so within the production process itself. Hence everything is production: production of productions, of actions and of passions; productions of recording processes, of distributions and of co-ordinates that serve as points of reference; productions of consumptions, of sensual pleasures, of anxieties, and of pain. Everything is production, since the recording processes are immediately consumed, immediately consummated, and these consumptions directly reproduced. (Anti-Oedipus4)

These two passages describe, in ever-so-slightly different ways, a pair of distinct yet fundamentally entangled positions. The first of these is a general situations; relative to the developmental pathways of human civilization at the most total level, it is what produces transhistorical conditions. The second is a more historically-bound and situated situation. The necessary inseparability of the two lies in that the historically-situated is always the expression of the transhistorical current: the latter gives rise to the former, but it is through the variations of the former are the only ways that the latter can be understood.

Bataille’s distinction between a ‘general’ and ‘restricted’ economy provided an apt vantage points to examine the two sorts of systems that characterize this split. In a footnote to the above passage, Deleuze and Guattari write that “[w]hen Georges Bataille speaks of sumptuary, nonproductive expenditure or consumption in connection with the energy of nature, these are expenditures or consumption that are not part of the supposedly independent sphere of human production, insofar as the latter is determined by ‘the useful’. They therefore have to do with what we call the production of consumption” (Anti-Oedipus, 4). The production of consumption, then, oscillates around the equation of production with consumption as it occurs within the general economy. This economy is, for Bataille, a cosmological economy, composed of immense and violent circuits of energy that are discharged as pure expenditure. The burning fury of the sun is the source of expenditure par excellence: it continually pounds the earth with pulsing solar rays, and it is this nourishing gift of radiation—which for the sun is merely waste—that is the ultimate source of terrestrial organic evolution and the synthetic things that in turn evolve from. By drawing the equivalence between waste and excess, Bataille subverts the common economic logic that situates scarcity as primacy. Not simply abundance, but overabundance reigns over all. The consequence that follows from this proposition is the flipping of the logic that governs economic organization. It’s not a mechanism for the production and distribution of scarce resources, as the bourgeois economists maintain, but a machine designed to eliminate, as much as it possibly can, a mighty and permanent wave of excess that threatens to submerge everything:

Economic science merely generalizes the isolated situation; it restricts its object to operations carried out with a view to a limited end, that of economic man. It does not take into consideration a play of energy that no particular end limits: the play of living matter in general, involved in the movement of light of which it is the result. On the surface of the globe, for living matter in general, energy is always in excess; the question is always posed in terms of extravagance. The choice is limited to how the wealth is to be squandered. It is to the particular living being, or to limited populations of living beings, that the problem of necessity presents itself. But man is not just the separate being that contends with the living world and with other men for his share of resources. The general movement of exudation (of waste) of living matter impels him, and he cannot stop it; moreover, being at the summit, his sovereignty in the living world identifies him with this movement; it destines him, in a privileged way, to that glorious operation, to useless consumption. (The Accursed Share, 23)

The logic of the ‘restricted economy’ pertains to the various ways in which this dissipation becomes organized; read historically, this means that there are a variety of different forms that the restricted economy takes at various stages of civilizational development. The capitalist mode of production, in Bataille’s account, is a unique form of the restricted economy  in that it converts this dissipation into a drive towards accumulation—and it is for this reason, as Nick Land argues in Thirst for Annihilation, that the Marxian problem of overproduction the chronic “symptomatic redundancies of labour and capital” is able to rear its head (Thirst for Annihilation, 57).

greatacceleration
Specters of  mechanical overproduction (source)

Deleuze and Guattari convert the Bataillean infrastructure into their productive ontology, thereby transforming the cosmos’ release of a cursed gift into the production of production, that is, into the movement from primary generative processes to the more narrow, yet still transhistorical, production processes (Jon Roffe has noted that when it comes to the relationship between Bataille and Deleuze and Guattari, the pair “have no  time for the entire thematic of transgression and its concomitants”, so it is telling that in this conversion process many of the transgressive elements are either forced into a new guise or discarded (Abstract Market Theory, 163, Note 15)). Nonetheless, the distinction between the general and the restricted is still constructive, and works well in thinking through not only through Deleuze and Guattari’s ultimately Marxian account of history (analyzing the historically-distinct forms of ‘restricted’ production in order to produce a baseline for developing a theory of how different productions of the subject occur), as well as returning to Marx himself .

In order to carry this out, a further distinction between a general-restrictive economy (not to be confused with the general economy) and a specific-restrictive economy must be posed, with each correlating, respectively, to transhistorical dimensions and historically-bound forms that express these dimensions. This can help navigate the problem-fraught space between Deleuze and Guattari’s elaboration of Marx and the writings of Marx himself. In a previous post on that topic, Andrew Culp raised the excellent point that “by claiming god=nature=industry at the beginning of AO, perhaps DG realize that they’ve put the labor theory of value into question. the problem is, of course, the labor theory of value defines the political dimension of marxism”. By analyzing (or, in a peevish maneuver, overcoding) the implications of their Spinozist-productivist equation with a diagram of a general economy, general-restrictive economy, and specific-restrictive economy, the question of the law of value can be properly re-injected back into their framework. This is because we are able to situate labor at a pivotal point between general and general-restricted economy, with passage between specific-restrictive economies serving to unveil variations of how this relationship unfolds in time.

All the elements to do this, of course, are present in Marx, and this simple fact threatens to overturn this perhaps overly-complicated presentation and render it redundant. But given the general state of confusion concerning the status of labor in Marx’s theory—something that inevitably leads to confusion about value), we’ll soldier onwards; this framework, after all, might also help communicate answers to those important questions.

As I discussed in my post on ecological readings of Marx, labor is positioned in the first chapter of Capital Volume I as a transhistorical force that, across time, has served as a mediating relation between humans and nature—or, between restricted and general economies. To quote the passage in full:

Men made clothes for thousands of years, under the compulsion of the need for clothing, without a single man ever becoming a tailor. But the existence of coats, of linen, of every element of material wealth not provided in advance by nature, had to be mediated through a specific productive activity appropriate to its purpose, a productive activity that assimilated particular natural materials to particular human requirements. Labour, then, as the creation of use-values, as useful labor, is a condition of human existence which is independent of all forms of society; it is an eternal natural necessity which mediates the metabolism of between man and nature, and therefore human life itself. (Capital Volume 1, Chapter 1: The Commodity, 133)

There are several comments to be had on this passage. First, labor is described here as a natural necessity, highlighting its status not only as something that mediates a particular relationship with nature, but is a characteristic of nature itself. What this further entails is that the status of the human is one who is subsumed in nature (they are continuous with it), while also being in opposition; this can be described in terms of somewhat reductive autonomist formula of being ‘within and against’, but also as a proper dialectical relation, the emergence of the opposite and their unity.

Second, relations of labor are intrinsically productive relations. The mediation of human and labor, of the general and restrictive economies, is also the link between the production of production and that ‘secondary’ production.

The third point concerns how Marx rises from this general condition to the specificity of labor relations under the capitalist mode of production. Insofar as Marx’s critics are concerned, the category of value is something that can only be grasped through narrow economic lenses, which is why they are so ready to pull the rug out from under the labor theory of value for a theory of value that operates at the level of appearance. For these bourgeois economists, value is but a measure of social valuation, itself an aggregate of individuals valuating in accordance with their personal preferences. Marx’s understanding of value cannot, however, be properly understood from the point of view of social valuation in this way, because it is intended to articulate how this society itself is produced by the economic relations. Value-theory is an analysis of the specific-restrictive economy that is the capitalist mode of production, but it follows from what Marx says above: because labor mediates a relationship between humans and nature, it also becomes the force that mediates relations between humans. Or, more properly, it imparts itself as social mediation.

It’s not just labor-time, but labor-time as well, that becomes transhistorical. In the discussion of communal production in the Grundrisse, Marx writes

On the basis of communal production, the determination of time remains, of course, essential. The less time the society requires to produce wheat, cattle etc., the more time it wins for the other production, material or mental. Just as in the case of an individual, the multiplicity of its development, its enjoyment and its activity depends on economization of time. Economy of time, to this all economy ultimately reduces itself. Society likewise has to distribute its time in a purposeful way, in order to achieve a production adequate  to its overall needs; just as the individual has to distribute his time correctly in order to satisfy the various demands on his activity.

In Time in Marx, Stavros Tombazos translates the bold passage above as the far-less unwieldy “every economy is an economy of time” (Time in Marx, 13). As he further points out, the word economy being used here shouldn’t be thought in a narrow point of view (i.e. like those given by the bourgeois economists), but should be seen first and foremost as an form of organization—a reading consistent with the above and with the Bataillean notion of a restricted economy. This means that social mediation can also be framed temporally, as distilling the economy to time itself highlights the way in which time, or the experience of time, becomes organized. If there is variation between restrictive economies, which is to say variation between the way labor-as-mediation materially manifests, then there is variation in the experience of time itself.

All of this is made abundantly clear in a short passage found in Marx’s Letters on Capital:

That this necessity of distributing social labour in definite proportions cannot be done away with by the particular form of social production, but can only change the form it assumes, is self evident. No natural laws can be done away with. What can change, in changing historical circumstances, is the form in which these laws operate. (quoted in Time in Marx, 14)

In pages of the Grundrisse these natural laws themselves seem to shake. Even if time still determines the post-capitalist economy, social mediation is transformed as the dominant logic swings from labor-time to time outside of labor (which is why Jehu is so adamant that the progressive elimination of labor-hours is the only real means of realizing “a so-called ‘post-capitalist society'”, or why Postone argues that Capital should not be understood as a “critique of capitalism from the standpoint of labor… [but] a critique of labor in capitalism” (Time, Labor, and Social Domination, 5)). What this implies is that which exists beyond the capitalist mode of production—what the capitalist mode of production is incubating within itself—must be understood as qualitatively and quantitative different from every social formation that has existed. It implies nothing less than the breakdown of the very logic of the so-called restricted economy.

Gyres

Screenshot from 2017-08-11 15-39-20

Recently I started reading Tudor Balinisteanu’s Violence, Narrative, and Myth in Joyce and Yeats: Subjective Identity and the Anarcho-Syndicalist Tradition. The first chapter proceeds with a very interesting comparison of Yeats’s gyres of creative destruction as recorded in “The Second Coming” and Sorel’s account of the Myth of the General Strike:

…, on the one hand, for Yeats, the two cones represent contrary tendencies within the self. On the other hand, as Yeats put it, ‘this figure is true also of history, for the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction’. At the moment Yeats was writing he perceived that the life gyre was sweeping outward, having almost reached its greatest expansion: ‘all our scientific, democratic, fact- accumulating heterogeneous civilisation belongs to the outward gyre and prepares not the continuance of itself, but the revelation as in a lightning flash, […] of the civilisation that must slowly take its place’ Critics have noted that Yeats’s fear of the forthcoming disintegration of human civilisation was brought ashore by ‘the blood-dimmed tide’ of historical events… Such frightening falling apart of established authority, mere anarchy loosed upon the world, inspired in Yeats the apocalyptic vision of the beast which struggles to become born in the violence of the world’s remaking. But this violence is a whirl of contrary tendencies: even though destructive it is also darkly creative. As Bakunin would have it in ‘The Reaction in Germany’ (1842), ‘the passion for destruction is a creative passion, too!’ The revolving gyres unravel the world at the same time as they weave a new one: a terrible beauty is born in which both grace and violence are manifested.

Yeats’s ‘The Second Coming’ is of course but one example, a most expressive one, of the perception of contrary tendencies within the modern consciousness, a consciousness in which grace and violence set each other in motion even as they revolve in opposite directions. Another expression of this dynamic can be found in Georges Sorel’s work… [it is] not so much the idea of disrupting the economy that matters to Sorel, as the idea of a narrative capable of accommodating those images which best represent the aspirations of social agents in a way that compels a joining of the fictional narrative subject and the subject of action. One finds that Sorel’s picture of the general strike has features in common with Yeats’s apocalyptic vision of the approaching of a new age, even though, it seems, Yeats feared what Sorel welcomed. While both visions of the future to come are seemingly steeped in violence, this is not merely the violence of force, but also the violence of recreation. Yeats fears the possibility of ‘new creation gone wrong’, but not the violence of creation. Sorel values the violent break with retrogressive patterns of social action, produced through the rejection of Utopias and consent to participate in the unanalysable unity of vision in which narrative subject and the subject of action inhabit each other, but not destructive violence or mere anarchy loosed upon the world.

Sorel’s position regarding the general strike as social myth expresses a movement toward unity at the levels of history and the self which in terms of Yeats’s figure of the gyres would correspond to the gyre’s movement to its place of greatest contraction. That would be the place of becoming the subject of a myth expressed in an imaginary picture (of the general strike) which embodies all the aspirations of a social group (the Socialists) giving precision and rigidity, or, rather, coherence and strength, to philosophical and political thought on social change. At the same time, this movement toward unity in the myth involves a movement toward disintegration in the sense that it expresses a complete break away from the tenets of the age which passes. This chasm which widens the opposition between the faithful and the faithless makes visible the contradictions of the established social world, thus fragmenting it and bringing it to a point which in Yeats’s figure would be that of a gyre’s greatest expansion.

Cue Amy Ireland, in The Poememenon:

When applied to the task of historical divination (our interest here), the waxing and waning of the gyres can be charted in twenty-eight phases along the path of an expanding and contracting meta-gyre or ‘Cycle’ which endures for roughly two millennia and is neatly divisible into twelve sub-gyres (comprising four cardinal phases and eight triads) each of which denotes a single twist in the larger, container Cycle. According to the system as it was originally relayed to George Yeats through the automatic script (an exact date does not appear in the Speculum Angelorum et Hominis or Judwali teachings), the twelfth gyre in our current—waxing—Cycle turns in 2050, when ‘society as mechanical force [shall] be complete at last’ and humanity, symbolized by the figure of The Fool, ‘is but a straw blown by the wind, with no mind but the wind and no act but a nameless drifting and turning’, before the first decade of the twenty-second century (a ‘phase of crisis’) ushers in an entirely new set of twelve gyres: the fourth Cycle and the first major historical phase shift in two thousand years.Laying Yeats’s awkward predictions (which he himself shelved for the 1937 edition of A Vision) to one side, the system provides material for the inference of several telling traits that can be combined to give a rough sketch of this imminent Cycle upon whose cusp we uneasily reside. Unlike the ‘primary’ religious era that has preceded it—marked by dogmatism, a drive towards unity, verticality, the need for transcendent regulation, and the symbol of the sun—the coming age will be lunar, secular, horizontal, multiple, and immanent: an ‘antithetical multiform influx’. The ‘rough beast’ of ‘The Second Coming’, Christ’s inverted double, sphinx-like (a creature of the threshold) with a ‘gaze blank and pitiless as the sun’, will bear the age forward into whatever twisted future the gyres have marked out for it.

In ‘Teleoplexy’, as the most recent, succinct expression of accelerationism in its Landian form (distinguished from the Left queering of the term more frequently associated with Srnicek and Williams’s ‘Manifesto for an Accelerationist Politics’), Land draws out the latent cybernetic structure of the Judwalis’ system and employs it to reach a similar catastrophic prediction, although the somewhat restrained invocation of ‘Techonomic Singularity’ dampens the rush of what has previously been designated as ‘a racing non-linear countdown to planetary switch’ in which ‘[z]aibatsus flip into sentience as the market melts to automatism, politics is cryogenized and dumped into the liquid-helium meat-store, drugs migrate onto neurosoft viruses and immunity is grated-open against jagged reefs of feral AI explosion, Kali culture, digital dance-dependency, black shamanism epidemic, and schizophrenic break-outs from the bin’. Like the Judwalis’ system, the medium of accelerationism is time, and the message here regarding temporality is consistent: not a circle or a line; not 0, not 1—but the torsional assemblage arising from their convergence, precisely what ‘breaks out from the bin[ary]’. Both systems, as maps of modernity, appear as, and are piloted by, the spiral (or ‘gyre’). As an unidentified carrier once put it, ‘the diagram comes first’