matter (exceptionally) out of place
disaster and opportunity, exception and the exceptional. how do we conceive of catastrophes and crisis? milton friedman believed that political and economical disasters could open possibilities for market deregulation. the father of neoliberalism conceived of economy and politics as separate spheres. pointing to the interdependence of the realm of the mind, of the social, and the ecological, on the contrary felix guattari contended that catastrophe opens a space from which, through drama and absurdity, a new politics or economy of desire can emerge. giorgio agamben calls the state of exception the normal functioning of the state. if normality is a fiction, and exception the rule, if we live a life always and already in a state of metamorphosis, how do we understand the exceptional, abnormal, freakish, the phenomenal, the out-of-place? through observations, examples, speculations, intuitions and imaginative propositions, this presentation tries to approximate the exceptional state and from there, speak with the voice of matter out of place.
the image as a catastrophe: on the management of the future
catastrophe is both the personification of this linear concept of time, but also a particular (messianic) way of governing this future, that is, through the management of future or even just thinkable disasters. giorgio agamben's confirmation of the world as being in a continuous state of exception is seen as an interpretation of modern catastrophology. catastrophology constitutes the modern way of colonising both the imaginary and affective powers of society. while maurizio lazzarato asks us to leave behind the logocentrism that still informs so many critical theories, he also identifies the production of subjectivity as the primary and perhaps most important work of capitalism. as catastrophology is mainly deployed through images (understood as the ultimate semiotic operators) images are perceived as dispositvs of subjectification. are there any options of upsetting or inverting (ana-strephein) this fatal state of things? images should be reinvented as ‘poietic’ dispositivs, that is, apparatuses of a probabilistic ‘now’, mechanisms that go against the accumulation, coagulation, and sedimentation of semiopower allowing for a new horizon of potentialities to emerge, beyond the catastrophic now.
the other sensation
„nous sommes dans l’exposition à une catastrophe du sens“, writes jean-luc nancy. not only that the forms of production of sense broke und there aren't any new ones to replace them, sense itself has become catastrophic. but what does it mean that we are exposed to the catastrophe, or, as walter benjamin wrote directly before world war ii, that the real catastrophe is that „it continues“? what does it mean that the construction of time and narration that coined the modern time has become empty? that the events and sensations expose us to another time? a time that we fail to narrate although we are actively involved in it? isn’t catastrophe exactly the trope we try to articulate this experience? this being the frame of my argument i will try to focus on the pictures, sounds and narrative fragments of claudia bosse’s performance catastrophic paradise.