Teredo Navalis

Boring

The soil in and around the Koppers Superfund site in Gainesville, Florida, is contaminated with dioxin, a byproduct of the wood treatment process performed here beginning in 1911.  The contamination is an accident, not deliberate (not a decision, not a deliberation), an unforeseen consequence following from an historical series of happenings.  It is fatal in the sense of predestined, a gift/poison out of the past, monumental, archival, and also in the sense of lethal, deadly, undermining well-being, assuming that its natural movement down into the acquifer is irreversible.   It so happens that the fetish detail of this event (Ereignis) emerges within the documentary television series, Connections, by James Burke, a series that anticipates and contributes to the discussion of technics.

It was this concern for ships' hulls that was to  lead, within a hundred years, to an invention that is present in almost every modern home.  As the ships sailed more often into tropical waters, their wooden hulls were attacked by a tiny mollusc called teredo navalis, which lived in those waters, and which bored into the hulls with devastating results.  The only protection against the mollusc was a thick layer of a mixture of tar and pitch smeared over the bottom of the ship.  At the beginning of the eighteenth century most of this material came from Scandinavia and the Baltic, from the unit of Sweden and Finland joined under the Swedish crown.  Over the previous two hundred years most of Europe had become increasingly dependent on northern timber, as the forests of England, France, Spain and Portugal had become more and more depleted.  The timber was used to build ships and to produce the tar and pitch.  The best kind of wood for making tar and pitch was pine, which was cooked slowly in pits until the tarry substance ran out of the charring wood, to be collected and distilled and then shipped in barrels. In 1700 the Russians, whose northern ports froze over in winter, decided they needed a warm-water port on the Baltic, and moved against Sweden-Finland.  The war that followed totally disrupted supplies. Fortunately for the English, there was one other source of supply--which  they owned--in the new American colonies (James Burke, Connections).

 Here is a candidate for the fetish detail (in my case) from our Theory instructions, since it was the encounter of wooden ships with the mollusc that caused the swerve (clinamen), the turn (-vert, trope), sending the manufacture of pine tar and pitch to America, and ultimately to Florida.

Seduced's Epiphany

Jeanne Duval

Our game is not "Prisoner's Dilemma," but "Seduced's Epiphany." To receive the accident we occupy the position of object, within the field of event.  The relay comes from Modernism in general, Baudelaire in particular, and his strategy of becoming commodity (see Walter Benjamin's reading).  As alternative to the calculation of Game Theory, with its grid of all rational options, fatal strategy "feels lucky" in recognizing that what seduces is the fetish (the object cause of desire).  In place of expanding into a narrative scenario, the consultation locates the sender of event.

No longer to explain things and to set their value in objective criteria and in an unbounded system of references, but, on the contrary, to implicate the whole world in a single one of its details, an entire event in a single one of its features, all the energy of nature in a single one of its objects, dead or alive--to find the esoteric ellipsis, the perfect shortcut toward the pure object, the one which is not involved in the division of meaning, and which shares its secret and power with no other (FS, 146).

Strategy learned from the poets in Paris, adapting to the shocks of industrial cities.  The trauma of alienation, of objectification, separates from the experience of agency.  Agency in any case moves elsewhere, outside, neither spirit nor self, but into the collective order, as operant subject.  It returns (the uncanny) in the form of event, accident, and this effect is what fascinates, since the accident is us (Problems B Us, slogan of the EmerAgency).  The extimacy of communication requires poetic method:  Baudelaire's correspondences first of all, followed by all the variations (Eliot's objective correlative, Rilke's Weltinnenraum, Joyce's epiphany, Benjamin's dialectical image, Freud's Unheimlich).  The allegory has become immanent, the commodity is anagogical.  The lyrical image registers the shock in the microcosm of the disaster in the macrocosm.  Baudrillard learns from Baudelaire how to receive the intimations of the real, by treating phenomena of public policy as miniaturizations (mise-en-abyme).  Our pain poses the question of Befindlichkeit (Heidegger, how do things stand, for me, for my situation in the world?).  The disaster answers:  obesity, cancer, terror.  These are the mirrors that fascinate.

CATTtable

A tactic for tracking the emerging poetics of the CATTt is to put into table form the relationships between (in this case) Contrast and Theory.  The table categories itemize the topics shared by the sources, and the generative procedure is to name the contraries of the contrast.  The list is provisional and subject to revision.  The table is not intended to be self-explanatory, but it should make sense in the context of the readings.

The list is expandable.  For example:
                      Deception:          Bluff                                                        Promise

The Accident Replies

Gift Economy

Target instruction is to receive the Accident as a sign.  Theory now refines this instruction.  These specs begin with one of the primary moments of Theory's response to Target's call:

This liquidation of metaphor, this precipitation of the sign into brute, senseless matter, is a thing of murderous efficacy.  It is of the same order as the meaningless event, the catastrophe, which is also a blind reply, without metaphor, of the world as object to man as subject.  It's always like this that destiny becomes specific:  at a given moment, at a given point, signs become objects, impossible to turn into metaphors, cruel, without appeal.They cut short any decipherment, become confused with things (which is why fate is a dreamer, with the unintelligible instantaneity signs and words have in dreams).  The strategy of the object, like that of the woman in the story [she sent her suitor one of the eyeballs he claimed to admire], is to be confused with the thing desired (FS, 153).

Some terminology is clarified in this statement.  "Fatal" as adjective in French means "predestined" before it means "lethal." A "fatal strategy" is one that maps this default trajectory, this entropy, this passage of the world.  Hypertely is our version of "entelechy".  The other point is to note the challenge posed to electracy by the dromosphere or dimension collapse.  The reason why "scene" disappears is because media (information) and event have merged:  information and world coincide.  What the Greek language singing Homeric epics was to literacy, the ubiquitous broadcasting of pop entertainment (including all journalism, databases and the like) is to electracy.  Philosophy (literate metaphysics) was created out of written Greek culture (mythos into logos).  Electrate metaphysics must be created out of the signifying materials of pop information.

Baudrillard's qualification of the catastrophe as "pure" (p. 36) alludes to his instruction for us, to be found in his discussion of Baudelaire and the inception of "pure art" in Bohemian Paris (about which more later).  Meanwhile, the blind reply in the Real is the end of literate metaphysics (the excrescence overrunning all literate categories), not the end of signification.  It is the point of transfer into electracy (in progress).  We need to apprehend the attributes of the accident-sign, in order to outline the language which emerges with it as a whole, even if existing in our moment only synchronically, with its diachrony coming from the future.

If the waves of meaning, if the waves of memory and historical time are receding, if the waves of causality around the effect are fading (and the event today comes at us like a wave; it doesn't travel only "over the waves" -- it is a wave indecipherable in terms of language and meaning, decipherable only and instantly in terms of color, tactility, ambiance, in terms of sensory effects), it is because light is slowing down, because somewhere a gravitational effect is forcing the light from the event, the light which carries the event's meaning beyond itself bearing messages, to slow to a standstill, and the same is true of political and historical light, which we no longer perceive but feebly, and for the light from bodies of which we receive only faint simulacra (FS, 36-7).

Part of the implication concerns the apparatus:  that cinematography (the optical unconscious) is required to make these effects of the dromosphere (so far in excess of human faculties) legible.  The Museum of the Accident as tale requested an exhibitable event, and we agreed that the graphics of abstract art afforded appropriate means to register the forces manifested in the material break-up.  The instruction is: learn to read and write "accident."