Tropic Farming

We mustn't believe we are living the realization of some evil utopia -- we are living the realization of utopia, period. That is to say, its collapse into the real (Baudrillard, Fatal Strategies).

Instructions for the tale of our CATTt come from Rob Kovitz, Pig City Model Farm.  Kovitz exemplifies appropriation, collage composition to produce a trope.  The elements collected in the composition include documentation (text and image) of the following domains:  1) Model farming in general, and pig farming in Canada in particular.  The documents express scientific best practices for humane and efficient production of meat for market; 2) Utopian theory in general and Charles Fourier in particular:  principles for improving and perfecting human social and cultural life through regulation of all conduct; 3) Citations from a library of literature, serving as a commentary on the urge or drive for perfection and its disappointment; 4) Some autobiographical statements, alluding to employment in a meat-packing plant; 5) Citations and references to vanguard arts practices, Dali's Paranoid-Critical Activity, and Marcel Duchamp's Large Glass.

Metalepsis

Demonstrating what Deleuze called the logic of sense, Kovitz's brings two semantic domains together, two chains of signs sharing one property:  the shape of a particular architectural design used in farm buildings (the original disciplinary context for the work is architecture).  Placed roughly at  the center of  the composition, the famous image of the train entrance to Auschwitz-Birkenau triggers the turn, producing the metaleptic leap back, reconfiguring the previous documentation on model farming as commentary on national socialist ideology of perfecting the race.  Preparing pigs for market transfers to concentration camps, with the aura of butchering meat evoking human genocide.

Kovitz's structure is that of a basic figure:  pig farming is the vehicle; utopian socialism is the tenor.  The instruction is to treat documents of our accident event as the vehicle, as a trope, to exploit its aura for commentary on some tenor.  There are several candidates for tenor in our scenes, but whichever one we choose, the instruction is to enter it as documentation, juxtaposed and intercut (montage editing) with the vehicle.

Be Still

Further instructions from 'Pataphysics (Bok):  use a Surrationalist strategy, to compose from the object position.  The relay OULIPO suggests ours is an experiment in potential consulting.  Pine tar is produced by means of distillation.  It is distilled. The Superfund is still here.

Dictionary   
still 1 |stil|
adjective
not moving or making a sound : the still body of the young man.
• (of air or water) undisturbed by wind, sound, or current; calm and tranquil : her voice carried on the still air | a still autumn day.
• (of a drink such as wine) not effervescent; compare with sparkle .
noun
1 deep silence and calm; stillness : the still of the night.
2 an ordinary static photograph as opposed to a motion picture, esp. a single shot from a movie.
adverb
1 without moving : the sheriff commanded him to stand still and drop the gun.
2 up to and including the present or the time mentioned; even now (or then) as formerly : he still lives with his mother | it was still raining.
• referring to something that will or may happen in the future : we could still win.
3 nevertheless; all the same : I'm afraid he's crazy. Still, he's harmless.
4 even (used with comparatives for emphasis) : write, or better still, type, captions for the pictures | Hank, already sweltering, began to sweat still more profusely.
verb
make or become still; quieten : [ trans. ] she raised her hand, stilling Erica's protests | [ intrans. ] the din in the hall stilled.
PHRASES
still and all informal nevertheless; even so.
still small voice the voice of one's conscience (with reference to 1 Kings 19:12).
still waters run deep proverb a quiet or placid manner may conceal a more passionate nature.
DERIVATIVES
stillness noun
ORIGIN Old English stille (adjective and adverb), stillan (verb), from a base meaning ‘be fixed, stand.’
still 2
noun
an apparatus for distilling alcoholic drinks such as whiskey.
ORIGIN mid 16th cent.: from the rare verb still [extract by distillation,] shortening of distill .

Thesaurus   
still
adjective
1 the parrot lay still motionless, unmoving, not moving a muscle, stock-still, immobile, inanimate, like a statue, as if turned to stone, rooted to the spot, transfixed, static, stationary. antonym moving, active.
2 a still night quiet, silent, hushed, soundless, noiseless, undisturbed; calm, peaceful, serene, windless; literary stilly. antonym noisy.
3 the lake was still calm, flat, even, smooth, placid, tranquil, pacific, waveless, glassy, like a millpond, unruffled, stagnant. antonym rough, turbulent.
noun
the still of the night quietness, quiet, quietude, silence, stillness, hush, soundlessness; calm, tranquility, peace, serenity. antonym noise, disturbance, hubbub.
adverb
1 she's still running in circles up to this time, up to the present time, until now, even now, yet.
2 He's crazy. Still, he's good for dinner conversation nevertheless, nonetheless, regardless, all the same, just the same, anyway, anyhow, even so, yet, but, however, notwithstanding, despite that, in spite of that, for all that, be that as it may, in any event, at any rate; informal still and all, anyhoo.
verb
1 she stilled the crowd quiet, silence, hush; calm, settle, pacify, soothe, lull, allay, subdue. antonym stir up.
2 the wind stilled abate, die down, lessen, subside, ease up/off, let up, moderate, slacken, weaken. antonym get stronger.

Figuring Exception

Syzygy

Part 2 is devoted to developing the insight from Part 1:  the Accident is a sign.  Further instructions indicated that the sign is a trope, and the terms of the figure are set by the event itself.  Bok's 'Pataphysics makes the instruction more precise.  The lesson is found in the breakout of Surrationalist 'Pataphysics into three "declensions":  Anomalos (principle of variance); Syzygy (principle of alliance); Clinamen (principle of deviance).  A difficulty of heuretics is its heuristic nature:  how should we respond to this appearance of three figures in our Analogy source?  We could simply accept Bok's terms, and apply one of them as the figure with which to design the Prezi exhibit.  But then we consider the invented nature of Bok's figures.  Syzygy is borrowed from astronomy, for example, naming one or the other of two points in the orbit of a celestial body either in opposition to or conjunction with the sun.  The term is generalized to refer to any unity achieved through coordination of alignment.  Bok's creative move guides our option:  identify in the technical discourse of your event a process that may be generalized into a trope or figure of thought. 

Bok refers to Harold Bloom's Anxiety of Influence at one point, suggesting its relevance to 'Pataphysics.  This insight reinforces the above instruction, since Bloom constructed a set of six tropes to name the process belated poets perform to create a place for themselves in literary tradition, in competition with their predecessors.  Bloom clarified the practical value of the fact that Freud's vocabulary describing ego defense mechanisms is a direct appropriation of tropology from the history of rhetoric.  Bloom's first trope (move or compositional strategy) is "Clinamen" also.  Second is "Tessera" (term taken not from mosaics but ancient mystery cults, where it meant a token of recognition); third is "Kenosis" (from St. Paul, the humbling or emptying out of Jesus), and so forth.  The relay suggests the productivity of troping the terms of some knowledge discourse for use as a rhetorical figure more generally.  A worthy experiment for some future CATTt could be to compose a different tropology, to replace Bloom's Agon version of poets in competition, with an Ilynx version, of poets dancing (or some related form of spin).

Simultaneism

A relay for composing an EmerAgency egents report, to exhibit in the Museum of Accidents, is the movement of concrete and visual poetries in general, and Apollinaire in particular.  Apollinaire is one of the inventors of the poetics of the Paris vanguard, being responsible for naming and defining some of the most important inventions, thus contributing importantly to electrate image metaphysics.  The visual poem "Lettre-Ocean" (referring to a type of post, the overseas letter) prepared the way for his Calligrammes.  This use of layout, replacing textual syntax with schema and diagram, is suggestive for our experiment with Prezi figures.

Manuscript version

Commodity Taste

Pep

Retracing the path of event (return to sender), passage and coming to pass.  Why were the trading ships entering warmer waters, where they encountered teredo navalis?  Look around from this moment to notice the current, the economy:  we are in the spice trade.  Pepper plants are native to India, and pepper has been used in Indian cuisine since ancient times.  Pepper was so valuable that it was used as money.  In its decline Rome paid "protection" to the Visigoths in the form of tons of black pepper.  The "spice" trade was in fact primarily the "pepper" trade.  Competition over control of the trade pushed the Portuguese to find a water route (alternative to the sea and land routes controlled by Venice).  The story is familiar from there.

The lesson of this history for fatal strategy is to trace the accident as Nemesis, but not so much in the ancient sense of retribution, but in the more immanent sense of "tribute." We reached for spice, and got dioxin. The accident records our gesture, creating a field of action around Flesh, that is, human embodiment.  People developed a passion for the pungency of pepper.  The account of pepper as a preservative apparently is not accurate.  It was rather flavor that sent the accident, precisely:  taste.  This particular event is exemplary in part because of its association with Kant's Critique of Judgment, and the foundation of electracy on the sense of taste, the sensorium oriented by pleasure-pain.  Check your event for its bit of Flesh (Merleau-Ponty's alternative to "substance").  Here is the passage of pleasure to which wisdom devoted most of its attention.  What is the wisdom of pepper?

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.