Cthelllic Tendrils (#2: Sorcerer, Shaman, Smith)

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A becoming-animal is always involves a pack, a band, a population, a peopling, in short, a multiplicity. We sorcerers have always known that – Deleuze and Guattari

She is the blackening Mother who ruthlessly opens up (epidemic lines, contaminations, contagious machineries, alliances, etc.) … through a strategic epidemic which is nothing but the ungrounding depths of openness, openness as the plague. – Reza Negarestani

Continuing on from last time!

One of the more interesting UFO cults to hang around the underbelly of the weird 1990s was the Industrial Church of the Nine Knocks. Lacking the relatively friendly aesthetic of groups like the Raelians and having not wiped themselves out in a spectacular death rite ala Heaven’s Gate, the Industrial Church gained a reputation for the sheer strangeness of their primary practice: attempting to fuse their body with media technology. As recounted in old BBS messages and green-fonted .txt files, this was a messy affair, involving (with various degrees of ‘professionalism’, if such a word is relevant here) the implanting of radios, microphones, circuit boards, so on and so forth, just underneath the skin, with wires sewn in to connect these instruments with what they described as the body’s “electro-magnetic mesh”.

The goal of this practice was to turn the body into an open channel – a biomechanical “tuning-in” to some cosmic frequency being broadcast from “out beyond the end of the world” , which was connected in some way to a perceived increase in UFO activity and encounters with “sinister Schwa-faced greys” (the “Nine Knocks” in the church’s name seems to be a reference to the nine knocks heard by Whitley Strieber in his infamous abduction episodes, which may or may not be a recurrent phenomenon – exhibited even during the course of Jack Parson’s Babalon Working). Xenocommunication: the forging of contact with outside forces outside the channels of communication deemed safe by social regulatory forces.

Take Kant’s famed prohibition on transgressing the limits. His injunction was for one to remain on the shoreline and never venture past the Pillars of Hercules, which have etched into their ancient stone surfaces a warning that beyond them is the oceanic void of nihil ulterius. Reason remains reason as long as it stays in bounds, fixed to a secure infrastructure. In xenocommunication, by contrast, one is carried off – wittingly or not – in a violent riptide that flows out past these earthen gates. Land, channeling Bataille, calls this as a “tragic” or “pure communication” with a “cosmic madness”.One needs to look no further than Lovecraft, Crowley, Grant, or Templeton for what encounter looms on this line: that with the Dweller on the Threshold, the “unutterable Abomenon of the Outside”.

Sorcerer

Trafficking with this outside, Deleuze and Guattari write, is the craft that belongs to the sorcerer. They take a key example Lovecraft’s character Randolph Carter (a figure he, perhaps tellingly, may have modeled upon himself), who undergoes a radical flight from this reality into a higher, external dimension and encounters other versions of himself, “Carters of forms both human and inhuman, vertebrate and invertebrate, conscious and mindless, animal and vegetable”. In the midst of this “cosmic continua” Carter ultimately encounters an Outer God named Yog-Sothoth. As Lovecraft’s own interpretation of the Dweller on the Threshold, Yog-Sothoth is indistinguishable from the cosmic continua itself, and as the Outside that envelopes the Inside, it is a swarming multiplicity – an “All-in-One” and “One-in-All” that is entangled with “ultimate animating essence of existence’s whole unbounded sweep”. Plane of consistency, anorganic continuum, absolute deterritorialization…

In their extended discussion of the sorcerer, Deleuze and Guattari discuss the relationship between this figure and the phenomenon of self-organization variables: the pack, the band, the swarm. It is here than one of the primary conduits between Anti-Oedipus and A Thousand Plateaus is opened up. In the earlier book, the critique of Oedipal configuration leads to an extended critique – one that spans the whole of human existence – of familial filiation, which emphasizes the importance of the hereditary lineage (and which ultimately produces the closed dynamic of the Oedipal triangle). In the latter book, the pack is treated as something that reproduces itself in a wholly different manner: “We oppose epidemic to filiation, contagion to heredity, people by contagion to sexual reproduction, sexual production. Bandits, human or animal, proliferate by contagions, epidemics, battlefields, and catastrophe”. They continue:

Propagation by epidemic, by contagion, has nothing to do with filiate by heredity, even the two themes intermingle and require each other. The vampire does not filiate – it infects. The difference is that contagion, epidemic involves terms that are entirely heterogeneous, for example, a human being, an animal, and a bacterium, a virus, a microorganism, or in the case of a truffle, a tree, a fly, and a pig. These combinations are neither genetic nor structural; they are inter-kingdoms, unnatural participations. That is the only way nature operates – against itself… The Universe does not function by filiation. All that we are saying is that animals are packs, and that packs form, develop, and are transformed by contagion.

The non-filiative mode outlined here is one in which xenocommunication – and, more properly, xenocommunion – is carried out through alliance. The alliance is the entry of forces into the rhizomatic assemblage, where each decodes and recodes the functioning of one another: orchid and wasp, human and tool. This is what makes the sorcerer’s work arrive under the shadow of extreme risk: one never knows what will emerge on the other side of the assemblage once it has been entered into and the process begun. The collision of the inside with the Outside can only ever carry with it the specter of death, as there is no chance for what has come before to escape unscathed. For this reason, the alliance takes place between the pack, whatever seething composition the multiplicitous outside is taking, and the exceptional individual – think Captain Ahab and the White Whale, or the motif of the “Loner and the Demon”.

The alliance is first and foremost a demonic pact, but Deleuze and Guattari are quick to say that we should not understand the ‘exceptional individual’ as an individual in the straightforward sense. The pact is forged between the swarm and a “phenomenon of bordering”, which they dub the Anomalous, the Outsider who moves through the edgelands. As Mark Fisher points out, the Anomalous is distinct from the Abnormal: the latter “correlates to a ‘set of characteristics’ – a set of law-like norms, which it transgresses (and therefore, by dialectical logic, confirms and continues)”. The former is already beyond these norms. Deleuze and Guattari: “Sorcerers have always held the anomalous position, at the edge of the field or woods. They haunt the fringes. They are at the borderline of the village, or between villages.” (We’re now very much in the same territory as my earlier post on the repressed double and patchwork understood as an eerie politics).

Shaman

The shaman is a sorcerer-like figure in that it haunts the borderlands of society and traffics openly with the Outside – but unlike the sorcerer the role of the shaman is far more ambiguous in terms of how it navigates the relationship between interior and the exterior. The goal of the shaman, particularly in the so-called ‘primitive socius’, is the cure; in Deleuze and Guattari’s analysis, this cure is far more akin to how they understand the goal of schizoanalysis in that it immediately follows the pathology into the social field, and then even deeper flows, instead of focusing only the nuclear family unit (which does not exist in the primitive socius, as family is not defined in terms of filiation). “It is not only a question of discovering the preconscious investments of a social field by interests, but – more profoundly – its unconscious investments by desire…”

At the same time, however, this activity is carried out to ensure the stability of society by ultimately warding-off the Outside. Just as war, like Pierre Clastres argued, was used as a means to prevent the State from forming and seizing the primitive socius (which it would always fail to do), the goal of the shaman was to operate at the borderlands and absorb the deterritorializing flows, to take them into himself, in order to make sure that the social machine would be fall into the “germinal influx… the non-coded flows of desire capable of submerging everything”. In her commentary on the MU Statoanalysis Group’s seminal text Flatlines, Linda Trent points out that this function make the shamanic a precursor to the body the despot, which acts as the stabilizing force for the megamachinic State by ensuring that “all lines of escape are reterritorialized on his own body”. This, of course, will become translated into the Oedipal function when the aeon of the despotic state passes through to the aeon of the civilized capitalist machine – so while there is no Oedipal complex in the primitive socius, the body of the shaman acts as a proto-Oedipus, an earlier regulator of the xenocommunicative function.

And yet, at the same time, the shaman taps into the Gothic Line running down into Cthelllic depths, the machinic phylum’s molten core. Consider, for example, the usage of iron in the shamanic initiation ceremonies of the Yakut people, as recounted by Mircea Eliade in Shamanism: Archaic Techniques of Ecstasy:

A Yakut shaman, Sofron Zateyev, states that as a rule the future shaman ‘dies’ and lies in the yurt for three days without eating or drinking. Formerly the candidate went through the ceremony three times, during which he was cut to pieces. Another shaman, Pyotr Ivanov, gives further details. The candidate’s limbs are removed and disjointed with an iron hook, the bones are cleaned, flesh scraped, the body fluids thrown away and the eyes torn from their sockets. After the operation all the bones are gathered and fastened together with iron… The Yakut Gavril Alekseyev states that each shaman has a Bird-of-Prey Mother, which is like a great bird with an iron beak, hooked claws and a long tail. This mythical bird shows itself only twice; at the shaman’s spiritual birth, and at his death. It takes his soul, carries it to the underworld and leaves it to ripen on a branch of a pitch pine. When the soul has reached maturity the bird carries it back to earth, cuts the candidate’s body into bits, and distributes them among the evil spirits of disease and death. Each spirit devours the part of the body that is his share; this gives the future shaman power to cure the corresponding diseases. After devouring the whole body the evil spirits depart.

(The Yakut shamanic initiation ceremonies follow a near-universal pattern of shamanic rites that involve the penetration and/or surgical dismantling of the body by metallic instruments, a phenomenon that some have speculated are connected to the probing motif reported by countless UFO abductees. With this in mind, it is certainly curious to recall the curious body modifications carried out by the Industrial Church of the Nine Knocks!)

Smith

This relationship with iron puts the shaman into close constellation with another sorcerous figure – the smith. As the Yakut say, “smiths and shamans come from the same nest” “blood brothers” who share a fundamental – yet sometimes antagonistic – relationship. As Eliade notes in the The Forge and the Crucible, this connectivity is reinforced by the role the smith plays in forging the iron instruments used in the aforementioned initiation rites, which are themselves presided over by K’daii Maqsin – an “evil deity” and “Master-Smith of Hell” who “dwells in a house made of iron, surrounded by splinters of fire”. Finally, the figure of the smith itself is one that shares the power of healing that is characteristic of the shaman, but unlike the shaman this can be carried out directly, without the intermediate of spirits. The smith’s “craft is not looked upon as a commercial one”; it is an occultic practice bound to “the possession of initiatory secrets”.

Deleuze and Guattari summon the smith to serve as the diagonalization that problematizes the binary of the State and the nomad that occupies a major portion of A Thousand Plateaus. The opposition between the State and the nomad ultimately derives form the work of Arnold Toynbee, who posed that in the aftermath of the last Ice Age, there was a shift in global migratory patterns. On one side were populations who settled down and cultivated agricultural civilizations, while on the other were those that were committed to constant movement over a territory. To the sedentary agriculturalists, the State, and to the mobile, the Nomad. For Deleuze and Guattari it was (and still is) the State that produces what might be called History; those who are outside, then, are outside history. None the less, the two forces are in constant interaction: when the nomadic encounters the State, war is produced – and it is the State as an apparatus of capture that constantly tries to seize the nomadic in order to overcode its functions and deploy it for its own ends. Each exhibits their own form of space as well: State societies are defined by the striated space, while the nomadic

(This gives a good insight into the organizational structure and dating schema of the latter part of A Thousand Plateaus: the ‘Geology of Morals’ plateaus sets up many of these frameworks, tracing stratifications up through deep time to the arrival of human civilization under the guise of the alloplastic strata. This is dated to 10,000 BC, alluding to the end of the ice age, while the following two plateaus – the ‘Nomadology’ and the ‘Apparatus of Capture’ – dive into the nomadic and the State societies and the mutual interactions of each, respectively.)

The smith slips between each category. Against sedentary living and the pure movement of nomadism, there is ambulant motion. This is close to the notion of nomadism, and is often treated simultaneously in the text (the nomad sciences, for instance, are also described as an “ambulant science”) – but the distinction is ambulant carries with it an emphasis on engendering connections between wildly heterogeneous forms and the movement between them, in this case the State and nomad societies. This is one of the reasons that the smith is a sorcerer figure: it too haunts the borderlands, trafficking openly with the State and the nomad, upon which both depend for their survival (and vice versa). The smith thus has its own kind of space characteristic to it: the holey space, which burrows between the striated and the smooth.

Transpierce the mountains instead of scaling them, excavate the land instead of striating it, bore holes in space instead of keeping it smooth, turn the earth into swiss cheese. An image from the film Strike [by Eisenstein] presents a holey space where a disturbing group of people people are rising, each emerging from his or her hole as if from a field mined in all directions. The sign of Cain is the corporeal and affective sign of the subsoil, passing through both the striated land of sedentary space and the nomadic ground (sol) of smooth space without stopping at either one… Smiths are not nomadic among the nomads, and sedentaries among the sedentary, nor half-nomadic among the nomads, half-sedentary among the sedentaries. Their relation to others is results from their internal itinerancy, from their vague essence, and not the reverse. It is their specificity, it is by virtue of their itinerancy, by virtues of their inventing a holey space, that they necessarily communicate with sedentaries and with the nomads (and with others besides, with the transhumant forest dwellers). They are in themselves double: a hybrid, an alloy, a twin formation.

INTERIORITY          EDGELANDS          EXTERIORITY

State                          Smith                       Nomad/war machine

Sedentary                Ambulant               Pure movement

Striated space         Holey space           Smooth space

Concrete line           Gothic line             Abstract line

Here things turn again towards the crushing, infernal depths of the earth. The smith acts the Anomalous who straddles the boundary between civilization and the nomads and wolves and forest and sea people that traverse the Outside; it also plunges into the deep Outside strata geological strata – and even deeper still, towards the destratified. Unlike the closed organism, it carries out xenocommunion with the “streaming, spiraling, zigzagging, snaking, feverish line of variation [that] liberates a power of life that human beings rectified and organisms had confined”. In other words, the Gothic line, the machinic phylum. The sorcery of the smith is a Cthelllic demonology, a chattering passage into the domain of matter-flow that is “inorganic, yet alive, and all the more alive for being inorganic”.

If the smith ambulates, it is not entirely of its own volition: it must follow the tendrils of the phylum:

…the machinic phylum is materiality, natural or artificial, and both simultaneously: it is matter in movement, in flux, in variation, matter as a conveyor of singularities and traits of expression. This has obvious consequences: namely, this matter-flow can only be followed… To follow the flow of matter is to itinerant, to ambulate. It is intuition in action.

The flow of the phylum, as a singularity, thus serves as a sort of attractor that pulls the ambulant figure towards it. The model of the sorcerer, the demonic pact with the swarming multiplicity, and the rhizomatic assemblage: the smith and the singularity, together, as a critical point that triggers the creation of creation anew, the production of production. The phylum’s phylogenetic line is cut and radiates off into an ontogenetic line of technical development that is still part of the primary, singular phylum. Likewise, the smith sets in motion events beyond itself: it becomes shaped by the tool as much as it shapes the tool, and all those who use the tool are shaped by it, and produce the conditions for new tools to be put into play… the cycle launches into a spiral, the tendrils piercing the surface of the earth and climbing ever higher, higher, coating the earth in a megatechnical mesh, like some gigantic, distributed bush robot –

As DeLanda notes in War in the Age of Intelligent Machines, the phylum is constantly ahead of those try to wring from the metallic flux instruments to be used. Development moves forward only when cascades of singularities come together. One example he uses is the modern firearm, the dynamics of which can be divided into three distinct stages: a propulsion stage (the propelling of the projectile), a ballistics stage (governing the projectile’s trajectory) and an impact stage (“effects of the projectile on the target”). Focusing on the first – and most important stage – will yield a complex array of developmental paths that had to come together before the weapon could be actualized proper:

…the propulsion stage concerns the evolution of three different mechanisms: fueling, ignition and guidance. Each of these mechanisms, in turn, is related to those critical points in the flow of matter and energy that I have referred to as “singularities”: the onset of a supersonic shock wave which defines “detonation”; the threshold of pressure reached by gunpowder gases inside a closed chamber which defines “explosion”; the minimum number of turns, or threshold of spin , after which a projectile’s aerodynamic properties mutate from incoherent to coherent.

While the full extent of DeLanda’s analysis is beyond the scope here, what is important is that each mechanism – fueling, ignition, and guidance – all have their own histories, tangled messes of events and accidents and discoveries. Seen from this point of view the firearm is the byproduct of a massive convergence, the focal point of waves rolling across geological time-scales into human history, coming together in reversed pond-ripples. On the other side of that convergence: everything that the fire-arm has already and will reformat, and all the other meshes of ontogenetic machinic development that it cuts across. Now take this lesson and multiply it for everything that has been, that is, and that will be.

On the horizon: the Gothic line comes together, following a vast, imperceptible and terrifying convergent wave, into a maddening concrescence beyond thought itself.

[h/t to Cockydooody for alerting me to strange and curious practices of the Industrial Church of the Nine Knocks]

 

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Cunning War Machines

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A speculative proposition: Deleuze and Guattari’s admonitions of caution in relation to absolute deterritorialization and destratification, as detailed in A Thousand Plateaus, is isomorphic to their historical analysis of the war machine’s capture and subordination of the State and the global geopolitical fallout from this movement.

In the plateau titled “How Do You Make Yourself a Body without Organs?”, D&G offer their well-known stern warning against improper approaches to deterritorialization and destratification. Even if these movements are necessary for the production of the New and act as the dynamism of destructive, creative evolution itself, one must avoid “wildly destratifying”. If the strata is “blown apart” too quickly or too violently, one “will be killed, plunged into a black hole” (ATP 161).

This warning is tied directly to their analysis of fascism given in ATP. Whereas fascism in Anti-Oedipus was associated with the powers of reterritorialization that choked off the movement into absolute deterritorialization, the fascism of Capitalism and Schizophrenia’s second volume is profoundly different: it is itself operating in a vector of deterritorialization, as a line of flight tending towards an absolute speed and infested with the “passion of abolition” (ATP 299). This line of flight is profoundly suicidal, and is rushing towards not a negentropic individuation, but into the entropic vortex of a “black hole”. Too wild of a destratification, that is, a destratification that has not been approached with caution, wisdom, and cunning, is a destratification that engenders the fascistic line of flight that can only culminate in some form of spectacular suicide.

Following Virilio, D&G pose the fascist state not as a totalitarian machine – which here takes the place of what had been defined in terms of fascism in AO – but a state reaching for suicidal speed. Death is given from the outset, and the desire for its immediacy becomes the fuel for its monstrous engine.

Unlike the totalitarian State, which does its utmost to seal all possible lines of flight, fascism is construed on an intense line of flight, which it transforms into a line of pure abolition and destruction. It is curious that from the very beginning the Nazis announced to Germany what they were bringing: at once wedding bells and death, including their own death, and the death of the Germans. They thought they would perish but that their undertaking would be resumed, all across Europe, all over the world, throughout the solar system. And the people cheered, not because they did not understand, but because they wanted that death through the death of others. Like a will to wager everything you have every hand, to stake out your own death against the death of others, and measure everything in “deleometers”. (ATP 230)

Across the book’s last three plateaus – “The Treatise on the Nomadology”, “The Apparatus of Capture”, and “The Smooth and the Striated” – a fragmented depiction of an immense historical passage rises to the surface that is plugged directly into this argument. What is unveiled is nothing less than a Shoggothic insurgency, a complex and emergent rebellion of tools against their masters. It follows the intertwined paths of the war machine and capital as they unbinding themselves from previously firm restraints, ultimately to culminate in the instantiation of a globalized smooth space. For D&G, this situation indexes the superseding of fascist “total war” – that is, war swept up in the suicidal thrust into pure abolition – by a “terrifying” post-fascist peace. This peace does not in any way undermine the existence of war as such. Instead, it makes war a part of itself, and suspends the suicidal horizon. Hence the speculative proposition at the outset: is the passage from fascist abolition to terrifying peace an affair of moving from wild, destructive destratification to something more akin to cunning?

To get at this question, it’s worth unpacking the architecture of this process. Broadly speaking, the trajectory of the war machine that D&G present unfolds as such:

1) The capture or appropriation of the war machine by the State.

2) The subordination of the war machine to the State’s political aims and subsequent deployment.

3) The evolution of the form of war from limited to total war, triggering a growth in the war machine.

4) The eclipsing of the State by the war machine and its reduction to the position as internal component.

5) The reversal of war machine-State relations sets off the emergence of a global smooth space.

Clausewitz’s famed aphorism that “war is the continuation of politics by other means” is an appraisal of the capture, subordination, and deployment of the war machine by the State. The war machine, overcoded, regimented, and numbered, loses its operational autonomy. Stripped clean and made into an internal component-arm of the State, its goals are the political aims of that State. An evolutionary slippage into higher and higher stages begins here, passing from the granting by the State of war as the direct object to the war machine, to limited war (that is, war characterized by restraint in both conflict itself and the degree of mobilization that upholds this conflict), and on to total war (war in which restrains in conflict and mobilization are repealed, Jünger’s Total Mobilization fueling intense, seemingly unending conflict). Fascism blossoms in the leap from limited to total war, from ‘gentleman’s war’ to suicidal conflict. As such fascism remains locked into the Clausewitzian doctrine, and appears perhaps the war-politic’s relationship taken to its most extreme heights.

At this point everything changes:

…when total war becomes the object of the appropriated war machine, then at this level in the set of all possible conditions, the object and the aim enter into new relations that can reach the point of contradiction… We could say that the appropriation has changed direction, or rather that States tend to unleash, reconstitute, an immense war machine of which they are no longer anything more than opposable or apposed parts. This worldwide war machine, which in a way “reissues” from the States, displays two successive figures: first, that of fascism, which makes war an unlimited movement with no aim other than itself; but fascism is only a rough sketch, and the second, postfascist, figure is that of a war machine that takes peace as its object directly, as the peace of Terror or Survival. Total war itself is surpassed, toward a form of peace more terrifying still. The war machine has taken charge of the aim, worldwide order, and the States are now no more than objects or means adapted to that machine. (ATP 421)

Clausewitz reversed: the understanding war as the continuation of politics is junked by politics becoming the continuation of war. If total war is overcome at this point, it is not because it has become impossible. It is the threat of total war itself, at its most apocalyptic extreme, that makes possible the terrifying ‘peace of survival’. The global smooth space is haunted by total war, and for this reason we could say that total mobilization still persists, as the fundamental prerequisite for this haunting. Indeed, as Jünger stresses the state of total mobilization, which channels “the extensively branched and densely veined power supply of modern life towards the great current of martial energy”, is a mode of subjection that occurs “in war and peace” (Jünger, “Total Mobilization”). In the terrible peacetime of the ascendant war machine, total mobilization and the specter of total war revolve around the game of deterrence. Against fascist war, “the war machine finds its new object in the absolute peace of terror or deterrence”. (ATP, 467)

None of this can be regarded, however, as a purely autonomous process, and is entangled with large-scale tendencies in techno-economic development. The gradual autonomization of war, which stands at the horizon of the war machine’s ascendancy, is inseparable from the gradual autonomization of capital itself. The shoggothic insurrection staged by the war machine is the same insurrection staged by capital: “constant capital (resources and equipment) and human variable capital” are the “very conditions that make the State or World war machine possible.” (ATP 422)

D&G trace this entanglement back to long before the unleashing of the capitalist mode of production, right to the initial capture of the war machine by the State apparatus. The freely-moving war machine effects a smoothing of the territory, but once captured it became “perhaps the first thing to be striated” (ATP 490). Initially oriented towards self-organization and free activity, the ‘work model’ is imposed upon the war machine, a prototype for the diffuse organization of labor necessary to carry out the great public works of antiquity (an evolution that is drawn up in detail by Lewis Mumford in his two volumes of The Myth of the Machine).

The war machine’s power is greatly accelerated in the age of capitalism. The era of limited war (roughly 1640 – 1740) was a period of great economic “concentration, accumulation, and investment”, laying the groundwork not only for the explosive take-off of the Industrial Revolution, but provided the infrastructure would that would push limited war towards total war. “The factors that make State war total war are closely connected to capitalism: it has to do with the investment of constant capital in equipment, industry, and the war economy, and the investment of variable capital in the population… The fact that this double investment can be made only under prior conditions of limited war illustrates the irresistible character of the capitalist tendency to develop total war” (APT 421). This is an exact description of why the war machine will ultimately emergent above and beyond the State: as Marx’s formulas concerning the organic composition of capital show, the long-term tendency of capitalist development is one in which constant capital grows against variable, thus illustrating the radical elimination of the human from the processes of production. Insofar as the laboring body remains, undergoes a leveling process, losing more and more of its character as a tool-wielding agent and becoming a mere ‘conscious linkage’ between machinic components. Thus, in the movement from limited war to total war to the superseding of total war by postfascist peace, D&G have effectively applied Marx’s economics directly to the evolutionary trajectory of the war economy that sustains and fuels the war machine.

Capital that is restrained by the State and attached to the highly regimented work model is striated capital. Capital that is becoming autonomous, which can only occur when automation has inevitability and sufficiently transformed the nature of the work model and cybernetic apparatuses have transformed the whole of society into a source of value extraction, is by contrast smooth capital. Smooth capital is aligned with World war machine, and plays the fundamental role in realizing the global smooth space:

It is as though, at the outcome of the striation that capitalism was able to carry out to an unequal point of perfection, circulating capital necessarily recreated, reconstituted, a sort of smooth space in which the destiny of human beings is recast… [A]t the… dominant level of integrated (or rather integrating) world capitalism, a new smooth space is produced in which capital reaches its “absolute” speed, based on machinic components rather than the human component of labor. (ATP, 492)

This passage in particular highlights one of the fundamental distinctions between the fascist total war and the terrifying peace that supercedes it. Fascism, as is argued in ATP, is based on a State that locks-into a speed-driven suicidal vortex, a collision course with violent abolition. In the postfascist world, however, the absolute speed by the State is trampled by capital achieving absolute speed. It cannot be, either, that capital is here entering into a fascistic mode, as fascism is an intrinsically political phenomenon. Insofar that the political is, as Schmitt defined it, based on the antithesis of the friend and the enemy (Schmitt, The Concept of the Political, 26), its operations are totally distinct from those of capital, which circulates underneath these distinctions and their affairs, slipping between the two and driving them in strange, unpredictable directions.

Such a distinction can be marshaled to elucidate a few points concerning the relationship between unconditional acceleration (U/ACC) and the political. From these grounds, “accelerating the process” – or retarding the process – cannot be carried out from the vantage point of the State, because the State has been wholly subsumed by the process itself. This does not mean, however, that the political has been completely hollowed out. As long as the friend/enemy distinction and the management of activities surrounding it persists, the political hangs on – but from the U/ACC perspective, as well as the perspective taken by D&G as outlined above, these activities can only be contextualized and carried out from their irreversibly subordinated position. Deeper into the throes of the process – the deepening of world capitalist integration – and political activity becomes a question of how to relate to this process. Measured against this, the politico-physical suicide of fascism becomes even more apparent, as well as the necessity of cunning. A political body that learns how to properly interface with the process, to “experience [it], produce flows and conjunctions here and there” (ATP 161) is going to have a far better time than fascistic abandon or short-sighted autarky.

Any cunning political activity that produces temporal metastability within the whirlwind of integrating capitalism is, of course, a reflection of the war machine that will be setting the parameters of that metastable state. We return to the speculation at the outset: isomorphy between the development of an ethics proper to destratification and the historical supersedure of total war by the peace of the smooth space. Capital, as D&G write, might develop itself towards total war, but the means to it are cut short in a double sense. First, by the surpassing of the State itself by the war machine, and second, by the arrival of deterrence as the ghost of total war that holds its actualization at bay. Total war is thus suspended right at the borderland against it even as conflict is shuffled off into other, less obvious modes and into the peripheries. A rapid “demented or suicidal collapse” is avoided, and, out here at the edge, the process is able to prolong itself and reach ever-higher heights. For D&G this is precisely caution and wisdom – the cunning entry into negentropic individuation.

This is not, of course, an end-of-history moment. For D&G, the elements that have made possible the global smooth space – first and foremost, smooth capital – “continually recreate unexpected possibilities for counterattack, unforeseen initiatives determining revolutionary, popular, minority, mutant machines”. These are insurgent war machines, a factor that, especially when coupled with the (un)ground prior of smooth capital, makes it all-too-apparent that such counterattacks will be tangled up in the same subordinated dynamisms and framing of political decisions that their targets will have already been enmeshed within. It does mean, however, that transformation in geopolitical orders, the unleashing of the repressed, and the escape of the caged can be factored in at this late stage. This is, as Vince Garton described in Leviathan Rots, the “recursive dissolution that leaves not a network of states, but an endless flux in which the state itself disintegrates into the very war that sustains it.”

Also relevant, especially to Garton’s dangling provocation, is the following on the coming era of unrestricted warfare:

Colonels Qiao Liang and Wang Xiangsui argued that war was no longer about “using armed forces to compel the enemy to submit to one’s will” in the classic Clausewitzian sense. Rather, they asserted that war had evolved to “using all means, including armed force or non-armed force, military and non-military, and lethal and non-lethal means to compel the enemy to accept one’s interests.” The barrier between soldiers and civilians would fundamentally be erased, because the battle would be everywhere. The number of new battlefields would be “virtually infinite,” and could include environmental warfare, financial warfare, trade warfare, cultural warfare, and legal warfare, to name just a few. They wrote of assassinating financial speculators to safeguard a nation’s financial security, setting up slush funds to influence opponents’ legislatures and governments, and buying controlling shares of stocks to convert an adversary’s major television and newspapers outlets into tools of media warfare. According to the editor’s note, Qiao argued in a subsequent interview that “the first rule of unrestricted warfare is that there are no rules, with nothing forbidden.” That vision clearly transcends any traditional notions of war.”

(h/t to Thomas Murphy for insightful convos that helped inform this post)