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New Translation of Living Currency Is Now Available

To my great excitement, Jordan Levinson has just posted an independent translation of Pierre Klossowski’s Living Currency (La Monnaie Vivante) on his website, available for perusal and download.

To those who have not read my recent (p)review of the text, Living Currency has been praised by Foucault as “the greatest book of our times” and is purported to provide the missing link from Bataille to Baudrillard and from Lacan to Foucault and Deleuze. It also played a key rôle in Lyotard’s Libidinal Economy, and doubtless (though less explicitly) in Deleuze & Guattari’s Anti-Oedipus.

If anyone is interested but finds Klossowski’s style of writing too abstruse, I intend to engage in a close reading of the text, delineating Klossowski’s thought in more accessible language, in addition to tying it in with other theoretical accounts of political economy (such as those of the authors mentioned above, plus the more contemporary For a New Critique of Political Economy by Bernard Stiegler). Optimally, I hope to figure out the text’s implications for the way we think about the economy & economics in general, and to incorporate these into my honors thesis on the work of Piero Sraffa (which you’ll hear more about in the near future).

(For the record, Levinson’s translation is unaffiliated with the translation by Reena Spaulings which I mention in my review.)

Trying to Get Immanence Out of a (Philosopher’s) Stone: Archetypes, Sociobiology, Harry Potter, and the UK Riots

Click the picture for a more detailed explanation of the notion of signifier/signified.

[To make the parallel of Harry Potter & the Tottenham riots seem less farfetched, see here.]

There are a number of popular (i.e. non-academic) intellectual movements whose objective is to find an immanent basis for the meaning of signifiers. One such example is Jungian archetypes, which states that various symbols are innate in the human mind, and thus that symbols are “universally recognizable.” As well, the sociobiology of Desmond Morris seeks to ground social phenomena in biological instinct (once again, innate), e.g. he ascribes the tradition of women coloring their lips red to the fact that when a woman becomes aroused, her lips become engorged with blood, appearing fuller and redder; thus lipstick is a display of availability for mating, just as is the peacock displaying its feathers. A third, more contemporary instance of this tendency can be found in the Harry Potter series. In Hogwarts, students of witchcraft & wizardry are taught combinations of signifiers (e.g. a “swish & flick” of one’s wand combined with the words “Wingardium Leviosa” pronounced in a specific way) which are somehow inherently connected to their magical function. There is no talk of ‘inventing’ spells; presumably experimental wizards merely spout out Latin-sounding words in hopes that they’ll bring a result connected to their etymology. This essay will outline the three views described above; show how meaning is in fact not immanent, but for the most part purely arbitrary; and show how this immanent treatment of signifiers resonates within the UK riots, perhaps to the point of precluding any significant cultural change.

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My Nervous Illness’s Memoirs: Schreber’s Beautiful Insanity

Above all I want to mention that the rays (nerves) of the upper God, when they are thrust down in consequence of my nerves’ power of attraction, often appear in my head in the image of a human shape. I am by coincidence in the fortunate position to be able to point to a really existing picture instead of having to describe these things in words; this picture is surprisingly like the picture I often see in my head. It is the painting “Liebesreigen” by Pradilla contained in the 5th volume of Modern Art (Berlin, published by Richard Bong); in the left hand upper corner of this picture a woman is seen, descending with arms stretched before her and folded hands. One has only to translate her into a male person to get a fairly accurate picture of what appears in my head when the nerves of the upper God come down. Head, chest and arms were distinct; the arms swung to one side, almost as if these nerves were trying to overcome an obstacle to their descent―the nerves of Flechsig’s soul crowding the heavenly vault… The rays of the lower God (Ariman) also quite frequently create in my head the picture of a human face which (as soon as soul-voluptuousness is present) starts to smack its tongue, like human beings when eating something they like, or in other words, if they have the impression of sensual enjoyment.

~Schreber, Memoirs of My Nervous Illness, pg. 228

The woman who Schreber describes is in the upper left corner, the second person from the cupids.


A closer look at this section, though unfortunately the woman described by Schreber is decapitated

Another section of the picture (lower right)


Daniel Paul Schreber

The Schreber case seems to me a striking example of how language (i.e. in this case, reading the Memoirs as a book) is inadequate for depicting the real. The following are links to artworks inspired by Schreber, which help to capture the experience of his madness. Lacan hypothesizes that the fear provoked by horror movies is because they somehow express the inchoate, incomprehensible Real; it is far too easy to ignore the eeriness of Schreber by categorizing his book as ‘literature’, even when reading him for psychoanalytic reasons, and I feel that the following, particularly the films, capture nuances which allow for fuller comprehension of Schreber’s affliction. All of these works serve to underscore the one crucial fact that this actually happened, even if by no other method than creating ontologies (put more formally, diegeses; put less formally, fictional ‘worlds’) on lower planes of ‘reality’ than that of Schreber’s book, and hence make the Memoirs seem more real by comparison.

As Freud states in The Uncanny (1925):

[A]n uncanny effect is often and easily produced when the distinction between imagination and reality is effaced, as when something that we have hitherto regarded as imaginary appears before us in reality, or when a symbol takes over the full functions of the thing it symbolizes, and so on. It is this factor which contributes not a little to the uncanny effect attaching to magical practices.

It is not difficult to leave Schreber within the imaginary.  This, however, is to miss the point.

Habe die Sonne nicht zu lieb und nicht die Sterne.     [Do not love the sun too much and not the stars.]
Komm’, folge mir ins dunkle Reich hinab.                [Come, follow me to the darker realm below.]
~Goethe, Iphigenie auf Tauris

Introjection and Science: Beyond Subjectivity & Objectivity

In the documentary Fractals: The Colors of Infinity, Benoît Mandelbrot describes how after discovering the eponymous ‘Mandelbrot set’ and working with it for two or three days, he noticed that the strange new object he was dealing with had begun to seem uncannily familiar, as if he had known it all his life. From there the documentary segues into a brief introduction to Jungian archetypes and how patterns similar to fractals often appear in ancient art, then goes on to explain how fractals are ubiquitous throughout nature, from crystals to cauliflower to the prices of cotton throughout a century. It is somewhat disturbing to observe such otherwise rigorous scientists descending into groundless speculations about fractals as archetypes, but they are not completely to blame for this, since the connection between a transcendental mathematical shape and a transcendental archetype seems too obvious for them to resist. I will argue, however, that Mandelbrot’s uncanny feeling is better explained by the psychoanalytical phenomenon of introjection, and that this relation to objects provides new insight into the relation of scientists to their work, perhaps even allowing for something close to objectivity.

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