Chronotope

Daumier's Gargantua

Bakhtin in his famous study of Rabelais did the most to clarify the larger, metaphysical implications of the return of Rabelais in Bohemian Paris. Bakhtin argues that Rabelais is the exemplar of a folkloric, popular attitude that he names the laugh. The chronotope or time-space figure anchoring this world view and serving as its measure is the material, even grotesque, human body, the body in all of its corporeal vulgarity of copulation, defecation, the processes of living and dying. This time-space image is profoundly affirming in its embracing of the organic cycle of life, from birth to death and around again. “The extraordinary force of laughter in Rabelais, its radicalism, is explained predominantly by its deep-rooted folkloric base, by its link with the elements of the ancient complex – with death, the birth of new life, fertility and growth. This is real world-embracing laughter, one that can play with all the things of this world – from the most insignificant to the greatest, from distant things to those close at hand. This connection on the one hand with fundamental realities of life, and on the other with the most radical destruction of all false, verbal and ideological shells that had distorted and kept separate these realities, is what so sharply distinguishes Rabelaisian laughter from the laughter of other practitioners of the grotesque, humor, satire and irony” (Bakhtin, The Dialogic Imagination).

Julia Kristeva, who was one of the earliest and closest readers of Bakhtin, took her cue from this metaphysical laugh to characterize the French avant-garde writers (Lautreamont and Mallarme in particular) as accomplishing this transformation of laughter as device and method into a logic and ontology. “The practice of the text is a kind of laughter whose only explosions are those of language. The pleasures obtained from the lifting of inhibitions is immediately invested in the production of the new. Every practice that produces something new (a new device) is a practice of laughter: it obeys laughter’s logic and provides the subject with laughter’s advantages. When practice is not laughter, there is nothing new” (Kristeva, Revolution in Poetic Language).

Bureaucracy of the Imagination

Predication

There is an arresting statement deep within the 9/11 Commission Report, that makes explicit an organizing theme, suggesting an opening for attitude adjustment.  It is therefore crucial to find a way of routinizing, even bureaucratizing the exercise of imagination (p. 344).  The immediate context is concern that security experts had not foreseen the scenario of the hijack attacks, despite many contextual signals. The comment is made in a chapter entitled "Foresight -- And Hindsight," in which imagination is listed, along with the categories of policy, capabilities, and management, as the four categories of failure demonstrated by the surprise attack.  We may be witnessing the creation of an addition to the list of oxymoron jokes:  military intelligence, jumbo shrimp, bureaucratic imagination.  The wording in the Report suggests a misunderstanding about imagination, as if it were a way to eliminate surprise, when the reality is just the opposite. The desired effect might be the same, which is to say that there is strategic value in imagination.  To admit this truth is already a proposal for a transformation in American education.  Our project is to take this sentiment at face value, and take up the challenge of constructing a concept of Routine that includes a capacity (an ability, a virtue, a power, a faculty) of auto-surprise:  surprisability.

Transformations

The principle of "version" is central to concept creation.  Philosophical concepts are dynamic, enabling an orientation on the plane of immanence, in relation to the problem (the disaster) that motivated the concept design.  Orientation refers to direction, directedness, and more fundamentally to attitude of the conceptual persona (of the one who thinks).  This principle has its corollary in graphic design, especially in architecture, in the practice of "transformation" of an open-ended image during the design process.  The most common transformations are topological, ornamental, reversal, and distortion.  The grammar of ornament has been studied in these terms, describing the basic manipulations of a geometric unit used to generate a pattern:  translation, rotation, reflection, and inversion.  The rhetoric of Routine includes image as well as text versions.

Conceptual Personae

Here is an essay by D. N. Rodowick on Deleuze and Gauttari's "conceptual personae," a figure that is central to the "concept" that we are inventing.

The indispensable condition for constructing conceptual personae in philosophy or film would thus be the following: to make a power of the false pass as an irrational interval between the author and the aesthetic figures he or she composes. Now it could be that the author constructs a first person discourse in relation to the camera. (But in fact this form is always already doubled since seeing and speaking, image and sound, are constituted a priori as separate acts.) But to express a power of the false, this discourse must pass through an intercessor that transforms it into the discourse of an other. Since they are divided from within by the differential relations of the irrational cut, the conceptual personae of the time-image can be neither individualized nor individualizing, for they do not 'represent.' The are neither figures of representation nor representative figures. At most they can be expressed across two points of enunciation, always displaced in relation to one another by the interstice that divides them as a power of the false (D. N. Rodowick).

Smoke Without Mirrors

Sapeck's "Mona Lisa with a Pipe" (1887) is emblematic of the attitude that is the "Spirit of Montmartre."  The attitude is fumisme, used to name the mocking humor that characterized the cabaret scene of bohemian Paris.  The anchoring term is the verb fumer (to smoke), but with a usage in agriculture, "to manure."  A fumiste is chimney sweep, with slang extension to name a joker, crackpot, fraud.  A "wit" is different from a fumiste, a distinction used to clarify the intent of Sapeck's illustrations.

Whereas the former made fun of idiots in terms that they were not always able to understand, the fumiste accepts the ideas of the idiot and expresses their quintessence. . . . The fumiste avoids discussions of ideas, he does not set up a specific target, he adopts a posture of withdrawal that makes all distinctions hazy, and he internalizes Universal Stupidity by postulating the illusory nature of values and of the Beautiful, whence his denial of the established order and of official hierarchies.  From this point of view, which is that of the sage, the dandy, the observer, and the skeptic, everything has the same value, everything is one and the same thing (Daniel Grojnowski, in The Spirit of Montmartre:  Cabarets, Humor, and the Avant-Garde, 1875-1905).

 This particular image helps specify the context of Routine as a concept formed to function within the apparatus of electracy.  Our argument is that Paris is to electracy what Athens was to literacy (in general).  The cabaret is the "Academy" of electracy, and this analogy between cabaret and academy may be developed extensively to define a template for an image metaphysics (the analogy guiding this project).  Cabaret entertainment institutionalizes and provides material support in the new conditions of "Street" for the invention of a new seat (see) of culture.  The equivalent for literacy is the attitude of questioning, of materialist mathematics, that evolved into the scientific method and the whole Gestell of utilitarian techno-science over the historical life of literacy.

An immediate point of interest is the background that Sapeck's Mona Lisa provides for Duchamp's more famous readymade (the mustachioed Mona Lisa), composed much later.  The curious might wonder about the choice of iconic image to profane, and one latent connection is indexed in the term fumisme.  The hazy smoke associated with this attitude resonates with one of the important terms used to identify Leonardo's style:  sfumato.

Sfumato is a term coined by Leonardo da Vinci to refer to a painting technique which overlays translucent layers of color to create perceptions of depth, volume and form. In particular, it refers to the blending of colors or tones, so subtly that there is no perceptible transition. In Italian sfumato means "blended" with connotations of "smoky" and is derived from the Italian word fumo meaning 'smoke'. Leonardo described sfumato as 'without lines or borders, in the manner of smoke'.One of the best examples of a sfumato painting is the Mona Lisa

Some other associations to be developed further:  That the emergence of cabaret arts in late-nineteenth-century Paris was done explicitly in opposition to the official "Academy" of art.  A question:  is the fumiste pose a dramatization intended to bury the Cartesian version of selfhood and subject, whose conceptual persona is the idiot (as D&G explain)?

Version Logic

Routine as a mode of inference (working conduction) engages version (-vert) as trace.  The stakes and opportunities of version (the directionality of attitude), the potentiality of turning in relation to problem on the plane of immanence, may be appreciated relative to the historical developments in the several practices and disciplines that exploit this register.  One example is the inference procedures systematized by categorical propositions.  Any textbook of logic covers the manipulations of the logical square (Aristotle), including conversion, obversion, and contraposition.

The converse of any categorical proposition is the new categorical proposition that results from putting the predicate term of the original proposition in the subject place of the new proposition and the subject term of the original in the predicate place of the new. Thus, for example, the converse of "No dogs are felines" is "No felines are dogs," and the converse of "Some snakes are poisonous animals" is "Some poisonous animals are snakes."

In order to form the obverse of a categorical proposition, we replace the predicate term of the proposition with its complement and reverse the quality of the proposition, either from affirmative to negative or from negative to affirmative. Thus, for example, the obverse of "All ants are insects" is "No ants are non-insects"

The contrapositive of any categorical proposition is the new categorical proposition that results from putting the complement of the predicate term of the original proposition in the subject place of the new proposition and the complement of the subject term of the original in the predicate place of the new. Thus, for example, the contrapositive of "All crows are birds" is "All non-birds are non-crows,"

 [Interactive Demo]

Interpellation

A familiar example of a vital anecdote associated with a concept is the scene of hailing offered by Louis Althusser.  The anecdote is relevant for us in showing another case of turning (-vert).

I shall then suggest that ideology "acts" or "functions" in such a way that it "recruits" subjects among the individuals (it recruits them al), or "transforms" the individuals into subjects by that very precise operation which I have called interpellation or hailing, and which can be imagined along the lines of the most commonplace everyday police (or other) hailing:  "Hey, you there!"  Assuming that the theoretical scene I have imagined takes place in the street, the hailed individual will turn around.  By this mere one-hundred-and-eighty-degree physical conversion, he becomes a subject.  Why? Because he has recognized that the hail was "really" addressed to him, and that "it was really him who was hailed" (and not someone else) [Althusser, "Ideology and Ideological State Apparatuses"].

Routine concerns the trace of turn, meaning not this or that version, but turning as such, the direction and directedness of attitude, and a temporal movement that includes at some point or site a pivot or switch, enabling or generating the experience of peripety and anagnorisis.