A great new post series is in the works by Xenogoth, pushing out from the reflections on state decay to The Gothic Secession of Yorkshire. Reprising the fallout of early posts on the topic, they write:
Following my previous post on patchwork, ‘State Decay’, which tentatively introduced the idea and explored why it is something that the Left should take more seriously, I was repeatedly challenged over the legitimacy of patchwork being anything more than “science fiction”.
The difficulty in addressing this is, of course, that theories of patchwork are inherently speculative, but if we are to jettison the use of our imaginations when addressing the future, what point is there to thinking (about it) at all?
To me, this line of criticism felt like a blatant instantiation of the Left’s consistent inability to dig itself out of the “capitalist realist” fallacy that Mark Fisher so famously described in his book of (roughly) the same name.
This is a really cool way of thinking about it, and raises interesting questions with regard to certain retroprogressive elements in leftism, i.e. because there appears to be no alternative, and in response the Left only looks backwards. There’s always tools and forgotten histories and whatnot in the past to be found that can be resurrected, but if this comes at the expense of thinking-through future-oriented trendlines then the backwards face only serves to reinforce the initial condition of capitalist realism.
Either way, this made me think about the brief appearance of capitalist realism in Flatline Constructs, which is still occupying a major spot of my headspace. It occurs in a lengthy conversation about Freud on the double and Baudrillard’s response in Symbolic Exchange and Death (maybe the connection is further enforced in my mind by the fact that this conversation takes place to unpack the Uncanny, and which Xenogoth sees as something active in the concept of patchwork itself – “Patchwork is, in this way, for me, an eerie politic.”):
The destruction of the double goes hand in hand with the production of the (Christian) soul (the ultimate achievement of the “spiritualist” project), the rise of “psychological and psychoanalytic interpretation” as the authorized forms of capitalist realism bring an end to “the primitive double”. “Shadow, specter, reflection, image”, the primitive double haunts post-monotheistic, psychoanalytic culture, which appropriates it as a “crude prefiguration of the soul”. Yet “soul and consciousness have everything to do with a principle of the subject’s unification, and nothing to do with the primitive double. On the contrary, the historical advent of the ‘soul’ puts an end to the proliferating exchange with spirits and doubles which, as a direct consequence, gives rise to another figure of the double, wending its way beneath the surfaces of western reason.” This – modern, western – double is inextricably connected with alienation; it is the double as lost part of the self, “a fantastic ectoplasm, an archaic resurgence issuing from guilt and the depths of the unconscious.”
These reflections, addressing psychoanalytic consolidation of the unitary self and matters of spirit and soul, might seem to be at an immense distance from the conversations concerning patchwork – which is, ostensibly, a theory of metapolitics, belonging to a different set of scales. But is Fisher not right in saying that, as fantastical as it seems, this line of inquiry plunges us into the depths of capitalist realism’s functions? In the destruction of the primitive double, the wild chains of proliferating difference are cut off; one no longer enters into transit and trade with figures on the outside, but turns inwards to operate under the sway of predetermined sets of options that are each flush with a particular unifying logic. The double begins in multiplicity and ends unified and coded.
Baudrillard, like Deleuze, was a shrewd reader of Klossowski, and the influence radiates through the conversation about the double. Klossowski approached the concept through the simulacrum, which for Klossowski appears in European culture under the figure of the demon so feared by those of the Church. Baudrillard, by way of Fisher: Freud’s psychological flattening of the double “is what kills off the proliferation of doubles and spirits, consigning them once to the spectral, embryonic corridors of unconscious folklore, like the ancient gods that Christianity vertefeult, that is, transformed into demons.” For Klossowski, the Church had killed the ancient gods, but only to resurrect them as the demonic pantheon that their own holy order was tasked with holding at bay – a swarming apocalypse warded off by the Katechon. This, however, had unintended consequences: the demons did not annihilate the tracings of paganistic delirium, of mad communion with spirits, contagion and possession – the very presence of the demon was a portal between the unitary, sanctified world and the repressed Outside.
If Baudrillard finds Freud and the Church carrying out the same function, it’s because what is being repressed in this cycle (destruction of the old gods → their resurrection as demons → warding off the demonic) are impulses, which correspond precisely to what Nietzsche called the “vast confusion of contradictory drives” that are contained within ourselves. For Klossowski, they are primordial and noncommunicable intensities, just as in Deleuze’s own philosophy. The impulses ‘flicker’ through differential sequences, giving rise to to the phantasm – the self produced through synthesis and that is blind to the impulses that uphold it. Insofar as we can describe capitalist realism through these terms, it is a mode of suppressing the interplay of impulses in order to stabilize a particular phantasm in place – what Klossowski would describe as the production of series of stereotypes.
(A brief detour: it is perhaps here, in secular institutions repeating repression and molding of impulses, that we reach a perhaps more constructive vision of what neoreaction has designated the Cathedral. With CCRU’s writings in mind, we can think of the demonic impulses in relation to the Lemurian insurgency that the Architectonic Order of the Eschaton, the Human Security System, wages war with across time – and as Land writes in Dark Techno-Commercialism, “the Cathedral culminates in the Human Security System, outmatched and defeated from the Outside”. To put the concepts of the Cathedral and capitalist realism together might produce some interesting offspring.)
Deleuze writes in The Logic of Sense:
The order of God includes the following elements: the identity of God as the ultimate foundation; the identity of the world as the ambient environment; the identity of the person as a well-founded agency; the identity of bodies as the base; and finally, the identity of language as the power of denoting everything else. But this order of God is constructed against another order, and this order subsists in God and weakens him little by little.
This weakening of God reaches critical mass in Klossowski’s novel The Baphoment, which depicts the Templar Order tending to, under the guidance of God, the spirits of the dead. Released from their bodies in death, these spirits must be prevented from slipping into obscene mixtures in preparation for the eventual Resurrection – but a rebellion against the divine order takes place, heralded by Saint Theresa. The eventuality of divine Resurrection is shattered as spirits escape more and more, entering into strange arrangements, multiple spirits in one body, free to engage in acts deemed profane and perverse by the holy order.
This marks, Deleuze writes, “the death of God, the destruction of the world, the dissolution of the person, the disintegration of bodies, and the shifting function of language now only expressed in intensities.” A point-by-point opposition to the order of God: the order of the Anti-Christ, analogous exactly to the warded-off demonic world and the zone of the repressed primitive double. Or, to bring it back up to the top, something beyond capitalist realism.
What does this have to do with patchwork?
In The Logic of Sense and Anti-Oedipus, Klossowski’s counterposing of the order of God and the order of the Anti-Christ informs a transformation of Kant’s arguments on the disjunctive syllogism. Kant takes the syllogism to its limit: at the ceiling of the ideal, this is the function of God, as the very ground of the ability to reason. The judgment of God that Artaud wished to have done with: the logic of either/or, this not that, not A therefore B, etc. “God is here, at least provisionally”, says Deleuze in the Logic of Sense, “deprived of his traditional claims.” He now “has a humble task, namely, to enact disjunctions”. God is thus weaker in the Kantian schema, but in the end becomes the determining factor by serving as the master of the disjunctive syllogism.
Deleuze sounds the trumpets for Klossowski and his demonic army of impulses, spirits and intensities: “it is not God but rather the Antichrist who is the master of the disjunctive syllogism. This is because the anti-God determines the passage of each thing through all of its possible predicates. God, as the Being of beings, is replaced by the Baphomet, the ‘prince of all modifications,’ and himself modification of all modifications.” Or, to put it in the more understandable (!!) language of Anti-Oedipus: the disjunctive is a synthesis of which there are two uses, a positive use and a negative use. The negative use of the disjunctive synthesis is the order of God, based on a limitation and exclusion. You are either this or that, lest catastrophe befall you. Oedipal coding, to which is opposed the positive use, reigned over by the Antichrist, a “schizophrenic God [who] has so little to do with the god of religion, even though they are related to the same syllogism”. There is no longer simply “either/or”; it has passed to “either… or… or… or…”, potentially ad infinitum.
If we situate ourselves on a transcendent sofa in the anarchic outside and peek in it becomes apparent that this follows the perverse logic of patchwork: capitalist realism, the Human Security System, what have you, manifests the negative use of the disjunctive synthesis, while patchwork – stripped down to its most basic core, which is a meta-systemic multiplication of systems through fragmentation and division, exhibits the attributes of the positive use. This system, or this system, or… or… or… or… The commonalities are reinforced by the identification of the disjunctive synthesis operating upon the socius, that is, the body without organs relative to macroscale historico-political systems. The negative use of the disjunctive organizes a unitary body atop the socius, enforcing a judgment of God – but the positive use would entail a break-up of this unitary body, the slippage of the organs into different arrangements and mutant hybrids.
Things get even more uncanny when we consider the Marxist core to Anti-Oedipus: that capital is the force that goes to work on the socius, breaking apart the negative use of the disjunctive imposed by the despotic state and pushing things towards cosmic schizophrenia – the instantiation of the positive use in the form of an immense, frightening singularity.
Short of theology and fascism, brain core capitalism is already virtually extinct. Crippled Archangel of Meat Cull Europa withers into grey dust on Terra Nova. Insect swarms arrive like fate – nth dimension intrusion across the spinal thresholds of the socius – passing memeplexed revolution sequences through the germ plasm of evolutionary vehicles. Becoming metallic. Becoming swarm. Unnatural participation as elan vital bootstrapping imperceptible colonization of Nu-Earth into virtual operativity.