Tagmagic

Affect and Artificial Intelligence and The Fetish Revisited

Elizabeth A Wilson’s Affect and Artificial Intelligence traces the history and development of the field of artificial intelligence (AI) in the West, from the 1950’s to the 1990’s and early 2000’s to argue that the key thing missing from all attempts to develop machine minds is a recognition of the role that affect plays in social and individual development. She directly engages many of the creators of the field of AI within their own lived historical context and uses Bruno Latour, Freudian Psychoanalysis, Alan Turning’s AI and computational theory, gender studies,cybernetics, Silvan Tomkins’ affect theory, and tools from STS to make her point. Using historical examples of embodied robots and programs, as well as some key instances in which social interactions caused rifts in the field,Wilson argues that crucial among all missing affects is shame, which functions from the social to the individual, and vice versa.

[Cover to Elizabeth A Wilson’s Affect and Artificial Intelligence]

J.Lorand Matory’s The Fetish Revisited looks at a particular section of the history of European-Atlantic and Afro-Atlantic conceptual engagement, namely the place where Afro-Atlantic religious and spiritual practices were taken up and repackaged by white German men. Matory demonstrates that Marx and Freud took the notion of the Fetish and repurposed its meaning and intent, further arguing that this is a product of the both of the positionality of both of these men in their historical and social contexts. Both Marx and Freud, Matory says, Jewish men of potentially-indeterminate ethnicity who could have been read as “mulatto,” and whose work was designed to place them in the good graces of the white supremacist, or at least dominantly hierarchical power structure in which they lived.

Matory combines historiography,anthropology, ethnography, oral history, critical engagement Marxist and Freudian theory and, religious studies, and personal memoir to show that the Fetish is mutually a constituting category, one rendered out of the intersection of individuals, groups, places, needs, and objects. Further, he argues, by trying to use the fetish to mark out a category of “primitive savagery,” both Freud and Marx actually succeeded in making fetishes of their own theoretical frameworks, both in the original sense, and their own pejorative senses.
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Selfhood, Coloniality, African-Atlantic Religion, and Interrelational Cutlure

In Ras Michael Brown’s African-Atlantic Cultures and the South Carolina Lowcountry Brown wants to talk about the history of the cultural and spiritual practices of African descendants in the American south. To do this, he traces discusses the transport of central, western, and west-central African captives to South Carolina in the seventeenth and eighteenth centuries,finally, lightly touching on the nineteenth and twentieth centuries. Brown explores how these African peoples brought, maintained, and transmitted their understandings of spiritual relationships between the physical land of the living and the spiritual land of the dead, and from there how the notions of the African simbi spirits translated through a particular region of South Carolina.

In Kelly Oliver’s The Colonization of Psychic Space­, she constructs and argues for a new theory of subjectivity and individuation—one predicated on a radical forgiveness born of interrelationality and reconciliation between self and culture. Oliver argues that we have neglected to fully explore exactly how sublimation functions in the creation of the self,saying that oppression leads to a unique form of alienation which never fully allows the oppressed to learn to sublimate—to translate their bodily impulses into articulated modes of communication—and so they cannot become a full individual, only ever struggling against their place in society, never fully reconciling with it.

These works are very different, so obviously, to achieve their goals, Brown and Oliver lean on distinct tools,methodologies, and sources. Brown focuses on the techniques of religious studies as he examines a religious history: historiography, anthropology, sociology, and linguistic and narrative analysis. He explores the written records and first person accounts of enslaved peoples and their captors, as well as the contextualizing historical documents of Black liberation theorists who were contemporary to the time frame he discusses. Oliver’s project is one of social psychology, and she explores it through the lenses of Freudian and Lacanian psychoanalysis,social construction theory, Hegelian dialectic, and the works of Franz Fanon. She is looking to build psycho-social analysis that takes both the social and the individual into account, fundamentally asking the question “How do we belong to the social as singular?”
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Review of Nick Harkaway’s GNOMON

Last year, I was given and read Nick Harkaway’s GNOMON, and I’ve wanted to take a little time to describe to you why you should read it, if you haven’t already.

GNOMON starts with an investigator in London looking into the death of someone in the course of what should have been a routine investigation. A woman was strapped into a chair and her mind was probed with drugs and machines to learn the truth of who she was and whether she posed a threat to the city. Mielikki Neith works for The Witness—an automated algorithmic learning and surveillance system tied into a systema dn series of networked devices across London’s populace, creating and enabling the ultimate democracy. Citizens are engaged and connected to the laws, status, and operations of their country, in real time, and it is through this system that Neith is assigned to the task of investigating Diana Hunter’s death.

From there, things get very strange, very fast. As the real-time recording of Hunter’s mind under interrogation unfolds in Neith’s consciousness—a tool used by Witness service to maximize transparency and understanding—Neith finds more than just Hunter’s mind: she also the life story of another. As the story unfolds, it actually doesn’t. It refolds, mountain folds, and valley folds through time and space and placeness, and that gets, ultimately, to what I want to say to you about what Nick Harkaway has done here.


[Cover of Nick Harkaway’s GNOMON]

Here are some things that are true about GNOMON:

This book is and is about magic, machine consciousness, and communities of resistance, in the weirdest ways possible.

It is exactly 666 pages long.

This book has four or five or six main threads, and it weaves all of them around and through all of them, each enveloping and enfolding each, wrapping around the outside only to then traverse it and find that you are inside of and beneath the next layer in the line.

The entire book resonates with Borges, Hofstadter, Danielewski, Butler, and LeGuin, without imitation.

Each one of these personages appears or seems to appear, but just when you think you’re sure how they’ll be seen, they are not there, like a shark fin in the ocean that becomes and always was the wave of the sea you’re swimming in and then, again, or maybe never, churns and is the shark: No less deeply and immediately important for the reminder of what is in there with you, and quietly unsettling for upending what you think you know…

GNOMON is the kind of thing that you know is behaving as intended when one of the metaphors/similes/analogies you’ve decided to use to describe it shows up in it the day after you think of it.

It is almost impossible to spoil this book without telling you literally all of the events of this book, but I also don’t want to colour your intake, too much, other than to say that this book is important. There is mystery in it, and there’s art. It is a masterful thing, and if all you see is the surface plot of it, then you’ve missed the central conceit of the thing.

If you have not already done so, definitely get it, when you get a chance.


Nick Harkaway’s GNOMON is available from Penguin Books.

Review: THE DJINN FALLS IN LOVE & other stories

Mahvesh Murad and Jared Shurin‘s THE DJINN FALLS IN LOVE & other stories is a stunning anthology of multicultural perspectives on the various lives and natures of the creatures known alternately as Djinn, Jinn, or Genies. Each story is, in its own way, breathtaking, heart-wrenching, melancholy, and joyous; at once familiar and fundamentally alien and Other. Which is precisely as it should be for a collection about the places where the lives of these beings intersect with our own.

As Murad and Shurin note in the introduction, almost every Asian culture—as well as many North and East African cultures—has something like a Djinn. The creature that burns brightly, made of smokeless fire, or fireless smoke; that grants wishes, or resolutely does not; that knows of our desires, tastes them, feels them, and seeks to make them real; or twists them to show us our ignorance, our selfishness, our folly. The Genie of the Lamp, the Ring, the Rug; the Djinni made by God, before humans, capable of a form of salvation and divine communion that humans could never fully grasp; the Jinn, who see us and know us, but perhaps don’t quite fully understand us. And whom we don’t quite fully understand. This book opens a window onto them all.

After the introduction, the anthology opens with the eponymous poem, by Mohamed Magdy, whose pen name is “Hermes.” If you read our previous review, then you are perhaps struck by what it means for the name Hermes to appear writing in Arabic to explore the concept of the place where divinity and humanity meet, where love and compulsion and and possession and freedom are one thing. It is the title poem, for a reason.

Kamila Shamsie‘s “The Congregation” is a story about what it means to sacrifice and what it takes to shape yourself in the name of love. Love of yourself, and love of others. Family.

Kuzhali Manickavel‘s “How We Remember You” is about that place in which the cruelty of youth sits within the vault of guilty memory. About being confronted with the miraculous, the divine, the otherworldly, and needing to bleed it of that so that it might prove itself to you. About understanding that you’ll never get to understand what you broke and what you stole.

Claire North‘s “Hurrem And the Djinn” is a story about expectations regarding the type of power women wield, about a refusal to respect that power or assess those expectations, and about how that chain of events can come to spell disaster.

J.Y. Yang‘s “Glass Lights” is about desire. Want. Need. About what a creature made to sate desires, might desire for herself. About how little we understand of what it takes and means to grant a wish.

Monica Byrne‘s “Authenticity” is about desire, too, but desire as a brutal hunger. A dreamlike touch and taste, moving from once thought, one touch, one node of resonance to the next. Desire felt in the visceral urges and needs, in the juice from bitten orange, the abrasion of rough sand.

Helene Wecker‘s “Majnun” is about loss and loneliness. About seeking redemption in the whole of what you are, by paradoxically denying what you have been. About abjuring that which made you happy, and the question of whether you get to make that choice for anyone but yourself.

Maria Dahvana Headley‘s “Black Powder” is about desire twisted into regret, about time and hate and family. A story about killing what you love, and loving what you kill. About someone loving you enough to stop you, so everything can start again. It begins with a paragraph that stars “The rifle in this story is a rifle full of wishes” and ends “Maybe all rifles seem as though they might grant a person the only thing they’ve ever wanted.”

[The cover image to THE DJINN FALLS IN LOVE & other stories]

Amal El-Mohtar‘s “A Tale of Ash in Seven Birds” is about being hunted, being driven, being forced and tricked to change yourself, for the sake of another, and about what you can become when you finally learn to anticipate those tricks, and embrace that change for yourself.

James Smythe‘s “The Sand in the Glass is Right” is about thinking that if you just had a little more time you could finally get it right, and about the many ways you can be told that maybe there’s no “right” to get.

Sami Shah‘s “Reap” is about the many ways the 21st century puts the lie to the idea that we are any of us disconnected, detached, objective. About the ways in which what we put out comes back to us.

Catherina Faris King‘s “Queen of Sheba” is about dreams and legacies, about the traditions we pass down from one generation to the next, and about what’s going on in all those houses with the well-lit windows while noir detectives are out there in the dark.

E.J. Swift‘s “The Jinn Hunter’s Apprentice” is about the future of our relationship with the magical and the strange. Is about what might happen if we as a species make our way up and out only to find that some of our oldest companions came along for the ride. Or were already there, waiting.

K.J. Parker‘s “Message in a Bottle” is about duality and trust. It’s about who we think we are and know ourselves to be, and the paralyzing fear that comes with being shown that what we thought we knew—about ourselves, or about our world—is supposition and speculation at best.

Saad Z. Hossain‘s “Bring Your Own Spoon” is about building community in the face of degradation, in the face of people trying to strip every last bit of person-ness from you. It’s about the warmth and joy that come from sharing a meal with a friend, and about the hope that meal can bring, even in the face of all evidence to the contrary.

Neil Gaiman’s “Somewhere in America” is about need and power and fear and the ability to finally understand an give yourself over to what you truly want. It’s about finding your way in a new place and accepting a new role, and never, ever granting wishes.

Jamal Mahjoub‘s “Duende 2077” is about find oneself in suspicion and fear, and the place we might all find ourselves if authoritarianism took hold and stamped out all opposition. It’s about the voices that whisper of revolution and revolt, and it’s about the understanding that those voices’ interests might not be recognizable to us, on the other side of that fear.

Sophia Al-Maria‘s “The Righteous Guide of Arabsat” is about letting fear rule you, letting it twist you, letting it push you away from everything you claim you desire, and toward a cracked, desperate version of yourself. It’s about refusing to see what’s right in front of you.

Kristy Logan‘s “The Spite House” is about a world in which the social pressures of otherworldly neighbours cause humans to make blandly evil choices. It’s about being trapped in our own need and hatred, and about needing to push that off onto someone else, to make them responsible for the thing you wanted all along.

Usman T. Malik‘s “The Emperors of Jinn” is about the monstrousness of having every desire immediately sated, about the innocent and casually evil lives of spoiled children. It’s about what that lack of limitation might cause us to become, and about the forces we might unleash when we demand the same instant gratification of time and history and divinity itself.

Nnedi Okorafor‘s “History” is about celebrity and about being a part of something much larger than you could ever hope to comprehend. It’s about not needing or wanting to comprehend it, but knowing that you’ve done your part to make that thing real.

But that’s just some of what all of these stories are about, and I’ve told you nothing of the richness and lushness of the settings, the depth of the characters, the feel of these worlds. Many of these stories are masterful expressions of the short story form, in that they are finished in themselves, giving whole windows onto complete arcs, with the fullness of a world behind them. And some of these stories instead offer keyhole glimpses onto sections, snippets of lives that make you want more and more, whole books and series worth of more. Which is to say that every story in this anthology is pretty much perfect.


You can get THE DJINN FALLS IN LOVE & other stories pretty much everywhere.

Review: MAGIC IN ISLAM by Michael Muhammad Knight

On one level, Michael Muhammad Knight’s Magic in Islam is an exhortation to study Islam through psychedelic drug use, rap music, and mysticism. On another level, the whole text is an argument to reframe the ways in which we draw categorical distinctions between orthodox and heterodox/heretical practices and beliefs, altogether. Knight makes the case that even the most fundamental or orthodox positions (be they in Islam or any other belief tradition) are at least in part founded on principles that would be considered heretical, today.

Knight starts the text off working to problematize the term and category of “magic” as a whole, saying that the only things that really distinguish magic from religion are context and practitioner self-identification. This sets the stage for the book’s overarching question of “Is there any such thing as ‘Pure’ Islam?”

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An Interview With SPIRITS OF PLACE’s John Reppion

If you’ve been spending any time online in the past few weeks, then chances are good that you’ve heard about Spirits of Place,  the new book edited by John Reppion and put out into the world by Daily Grail Publishing.  It’s caught the attention of the likes of Guillermo del Toro, Boing Boing, and Blair MacKenzie Blake of ToolBand.net and we’ve even discussed it in the Technoccult Newsletter.

Here’s the synopsis:

Stories are embedded in the world around us; in metal, in brick, in concrete, and in wood. In the very earth beneath our feet. Our history surrounds us and the tales we tell, true or otherwise, are always rooted in what has gone before. The spirits of place are the echoes of people, of events, of ideas which have become imprinted upon a location, for better or for worse. They are the genii loci of classical Roman religion, the disquieting atmosphere of a former battlefield, the comfort and familiarity of a childhood home.

Twelve authors take us on a journey; a tour of places where they themselves have encountered, and consulted with, these Spirits of Place.

Contributing authors: Bryndís Björgvinsdóttir, Vajra Chandrasekera, Maria J. Pérez Cuervo, Warren Ellis, Alan Moore, Silvia Moreno-Garcia, Kristine Ong Muslim, Dr. Joanne Parker, Mark Pesce, Iain Sinclair, Gazelle Amber Valentine, and Damien Williams. Edited by John Reppion.

And the cover by illustrator Pye Parr:

It is a truly beautiful book with an awe-inspiring writing lineup, and I am honoured to be a part of it.

I got the chance to do a tarot reading for John Reppion, the mind behind both the book and the event Spirits of Place. Beneath the cut, you’ll find his extremely detailed considerations on everything from magick, to art and creativity, to family, to work/life balance, and quite a lot of thoughts about how all of those things intersect.

Enjoy:

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On Adaptable Modes of Thought

This piece originally appeared at A Future Worth Thinking About

-Human Dignity-

The other day I got a CFP for “the future of human dignity,” and it set me down a path thinking.

We’re worried about shit like mythical robots that can somehow simultaneously enslave us and steal the shitty low paying jobs we none of us want to but all of us have to have so we can pay off the debt we accrued to get the education we were told would be necessary to get those jobs, while other folks starve and die of exposure in a world that is just chock full of food and houses…

About shit like how we can better regulate the conflated monster of human trafficking and every kind of sex work, when human beings are doing the best they can to direct their own lives—to live and feed themselves and their kids on their own terms—without being enslaved and exploited…

About, fundamentally, how to make reactionary laws to “protect” the dignity of those of us whose situations the vast majority of us have not worked to fully appreciate or understand, while we all just struggle to not get: shot by those who claim to protect us, willfully misdiagnosed by those who claim to heal us, or generally oppressed by the system that’s supposed to enrich and uplift us…

…but no, we want to talk about the future of human dignity?

Louisiana’s drowning, Missouri’s on literal fire, Baltimore is almost certainly under some ancient mummy-based curse placed upon it by the angry ghost of Edgar Allan Poe, and that’s just in the One Country.

Motherfucker, human dignity ain’t got a Past or a Present, so how about let’s reckon with that before we wax poetically philosophical about its Future.

I mean, it’s great that folks at Google are finally starting to realise that making sure the composition of their teams represents a variety of lived experiences is a good thing. But now the questions are, 1) do they understand that it’s not about tokenism, but about being sure that we are truly incorporating those who were previously least likely to be incorporated, and 2) what are we going to do to not only specifically and actively work to change that, but also PUBLICIZE THAT WE NEED TO?

These are the kinds of things I mean when I say, “I’m not so much scared of/worried about AI as I am about the humans who create and teach them.”

There’s a recent opinion piece at the Washington Post, titled “Why perceived inequality leads people to resist innovation,”. I read something like that and I think… Right, but… that perception is a shared one based on real impacts of tech in the lives of many people; impacts which are (get this) drastically unequal. We’re talking about implications across communities, nations, and the world, at an intersection with a tech industry that has a really quite disgusting history of “disruptively innovating” people right out of their homes and lives without having ever asked the affected parties about what they, y’know, NEED.

So yeah. There’s a fear of inequality in the application of technological innovation… Because there’s a history of inequality in the application of technological innovation!

This isn’t some “well aren’t all the disciplines equally at fault here,” pseudo-Kumbaya false equivalence bullshit. There are neoliberal underpinnings in the tech industry that are basically there to fuck people over. “What the market will bear” is code for, “How much can we screw people before there’s backlash? Okay so screw them exactly that much.” This model has no regard for the preexisting systemic inequalities between our communities, and even less for the idea that it (the model) will both replicate and iterate upon those inequalities. That’s what needs to be addressed, here.

Check out this piece over at Killscreen. We’ve talked about this before—about how we’re constantly being sold that we’re aiming for a post-work economy, where the internet of things and self-driving cars and the sharing economy will free us all from the mundaneness of “jobs,” all while we’re simultaneously being asked to ignore that our trajectory is gonna take us straight through and possibly land us square in a post-Worker economy, first.

Never mind that we’re still gonna expect those ex-workers to (somehow) continue to pay into capitalism, all the while.

If, for instance, either Uber’s plan for a driverless fleet or the subsequent backlash from their stable—i mean “drivers” are shocking to you, then you have managed to successfully ignore this trajectory.

Completely.

Disciplines like psychology and sociology and history and philosophy? They’re already grappling with the fears of the ones most likely to suffer said inequality, and they’re quite clear on the fact that, the ones who have so often been fucked over?

Yeah, their fears are valid.

You want to use technology to disrupt the status quo in a way that actually helps people? Here’s one example of how you do it: “Creator of chatbot that beat 160,000 parking fines now tackling homelessness.”

Until then, let’s talk about constructing a world in which we address the needs of those marginalised. Let’s talk about magick and safe spaces.

-Squaring the Circle-

Speaking of CFPs, several weeks back, I got one for a special issue of Philosophy and Technology on “Logic As Technology,” and it made me realise that Analytic Philosophy somehow hasn’t yet understood and internalised that its wholly invented language is a technology

…and then that realisation made me realise that Analytic Philosophy hasn’t understood that language as a whole is a Technology.

And this is something we’ve talked about before, right? Language as a technology, but not just any technology. It’s the foundational technology. It’s the technology on which all others are based. It’s the most efficient way we have to cram thoughts into the minds of others, share concept structures, and make the world appear and behave the way we want it to. The more languages we know, right?

We can string two or more knowns together in just the right way, and create a third, fourth, fifth known. We can create new things in the world, wholecloth, as a result of new words we make up or old words we deploy in new ways. We can make each other think and feel and believe and do things, with words, tone, stance, knowing looks. And this is because Language is, at a fundamental level, the oldest magic we have.

1528_injection_splash

Scene from the INJECTION issue #3, by Warren Ellis, Declan Shalvey, and Jordie Bellaire. ©Warren Ellis & Declan Shalvey.

Lewis Carroll tells us that whatever we tell each other three times is true, and many have noted that lies travel far faster than the truth, and at the crux of these truisms—the pivot point, where the power and leverage are—is Politics.

This week, much hay is being made is being made about the University of Chicago’s letter decrying Safe Spaces and Trigger Warnings. Ignoring for the moment that every definition of “safe space” and “trigger warning” put forward by their opponents tends to be a straw man of those terms, let’s just make an attempt to understand where they come from, and how we can situate them.

Trauma counseling and trauma studies are the epitome of where safe space and trigger warnings come from, and for the latter, that definition is damn near axiomatic. Triggers are about trauma. But safe space language has far more granularity than that. Microggressions are certainly damaging, but they aren’t on the same level as acute traumas. Where acute traumas are like gun shots or bomb blasts (and may indeed be those actual things), societal micragressions are more like a slow constant siege. But we still need the language of a safe spaces to discuss them—said space is something like a bunker in which to regroup, reassess, and plan for what comes next.

Now it is important to remember that there is a very big difference between “safe” and “comfortable,” and when laying out the idea of safe spaces, every social scientist I know takes great care to outline that difference.

Education is about stretching ourselves, growing and changing, and that is discomfort almost by definition. I let my students know that they will be uncomfortable in my class, because I will be challenging every assumption they have. But discomfort does not mean I’m going to countenance racism or transphobia or any other kind of bigotry.

Because the world is not a safe space, but WE CAN MAKE IT SAFER for people who are microagressed against, marginalised, assaulted, and killed for their lived identities, by letting them know not only how to work to change it, but SHOWING them through our example.

Like we’ve said, before: No, the world’s not safe, kind, or fair, and with that attitude it never will be.

So here’s the thing, and we’ll lay it out point-by-point:

A Safe Space is any realm that is marked out for the nonjudgmental expression of thoughts and feelings, in the interest of honestly assessing and working through them.

Safe Space” can mean many things, from “Safe FROM Racist/Sexist/Homophobic/Transphobic/Fatphobic/Ableist Microagressions” to “safe FOR the thorough exploration of our biases and preconceptions.” The terms of the safe space are negotiated at the marking out of them.

The terms are mutually agreed-upon by all parties. The only imposition would be, to be open to the process of expressing and thinking through oppressive conceptual structures.

Everything else—such as whether to address those structures as they exist in ourselves (internalised oppressions), in others (aggressions, micro- or regular sized), or both and their intersection—is negotiable.

The marking out of a Safe Space performs the necessary function, at the necessary time, defined via the particular arrangement of stakeholders, mindset, and need.

And, as researcher John Flowers notes, anyone who’s ever been in a Dojo has been in a Safe Space.

From a Religious Studies perspective, defining a safe space is essentially the same process as that of marking out a RITUAL space. For students or practitioners of any form of Magic[k], think Drawing a Circle, or Calling the Corners.

Some may balk at the analogy to the occult, thinking that it cheapens something important about our discourse, but look: Here’s another way we know that magick is alive and well in our everyday lives:

If they could, a not-insignificant number of US Republicans would overturn the Affordable Care Act and rally behind a Republican-crafted replacement (RCR). However, because the ACA has done so very much good for so many, it’s likely that the only RCR that would have enough support to pass would be one that looked almost identical to the ACA. The only material difference would be that it didn’t have President Obama’s name on it—which is to say, it wouldn’t be associated with him, anymore, since his name isn’t actually on the ACA.

The only reason people think of the ACA as “Obamacare” is because US Republicans worked so hard to make that name stick, and now that it has been widely considered a triumph, they’ve been working just as hard to get his name away from it. And if they did mange to achieve that, it would only be true due to some arcane ritual bullshit. And yet…

If they managed it, it would be touted as a “Crushing defeat for President Obama’s signature legislation.” It would have lasting impacts on the world. People would be emboldened, others defeated, and new laws, social rules, and behaviours would be undertaken, all because someone’s name got removed from a thing in just the right way.

And that’s Magick.

The work we do in thinking about the future sometimes requires us to think about things from what stuffy assholes in the 19th century liked to call a “primitive” perspective. They believed in a kind of evolutionary anthropological categorization of human belief, one in which all societies move from “primitive” beliefs like magic through moderate belief in religion, all the way to sainted perfect rational science. In the contemporary Religious Studies, this evolutionary model is widely understood to be bullshit.

We still believe in magic, we just call it different things. The concept structures of sympathy and contagion are still at play, here, the ritual formulae of word and tone and emotion and gesture all still work when you call them political strategy and marketing and branding. They’re all still ritual constructions designed to make you think and behave differently. They’re all still causing spooky action at a distance. They’re still magic.

The world still moves on communicated concept structure. It still turns on the dissemination of the will. If I can make you perceive what I want you to perceive, believe what I want you to believe, move how I want you to move, then you’ll remake the world, for me, if I get it right. And I know that you want to get it right. So you have to be willing to understand that this is magic.

It’s not rationalism.

It’s not scientism.

It’s not as simple as psychology or poll numbers or fear or hatred or aspirational belief causing people to vote against their interests. It’s not that simple at all. It’s as complicated as all of them, together, each part resonating with the others to create a vastly complex whole. It’s a living, breathing thing that makes us think not just “this is a thing we think” but “this is what we are.” And if you can do that—if you can accept the tools and the principles of magic, deploy the symbolic resonance of dreamlogic and ritual—then you might be able to pull this off.

But, in the West, part of us will always balk at the idea that the Rational won’t win out. That the clearer, more logical thought doesn’t always save us. But you have to remember: Logic is a technology. Logic is a tool. Logic is the application of one specific kind of thinking, over and over again, showing a kind of result that we convinced one another we preferred to other processes. It’s not inscribed on the atoms of the universe. It is one kind of language. And it may not be the one most appropriate for the task at hand.

Put it this way: When you’re in Zimbabwe, will you default to speaking Chinese? Of course not. So why would we default to mere Rationalism, when we’re clearly in a land that speaks a different dialect?

We need spells and amulets, charms and warded spaces; we need sorcerers of the people to heal and undo the hexes being woven around us all.

-Curious Alchemy-

Ultimately, the rigidity of our thinking, and our inability to adapt has lead us to be surprised by too much that we wanted to believe could never have come to pass. We want to call all of this “unprecedented,” when the truth of the matter is, we carved this precedent out every day for hundreds of years, and the ability to think in weird paths is what will define those who thrive.

If we are going to do the work of creating a world in which we understand what’s going on, and can do the work to attend to it, then we need to think about magic.


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Video of “Under Its Spell: Magic, Machines, and Metaphors”

This video is from Theorizing the Web 2015, which was a fairly momentous weekend in the existence of Technoccult. A wide-ranging conversation about Magick, Technology, Labour, Work, Knowledge, Science, Ritual Initiation, Police Surveillance, and much more.

Starting at right around 44:30 Karen Gregory predicts the recent K-HOLE/ELLE/Vanity Fair/Capitalist Co-opting of Chaos Magick.

 

Presider: Melissa Gira Grant (@melissagira)

Hashtag Moderator: Anna Jobin (@annajobin)

Panelists:
Karen Gregory (@claudiakincaid)
Damien Williams (@wolven)
Debbie Chachra (@debcha)

Panel organized by Ingrid Burrington (@lifewinning)

On GOTHAM and Always Being Batman

A good deal of our remit, over here, is to talk about many of the themes of the fringes of things through the lens of pop culture. To that end, I’ve been having some thoughts about what they’re doing with the idea of the Joker in the show GOTHAM. If you follow me on Twitter, you may have seen this, already, or maybe sometimes your eyes just glaze over when I go on the long rants, but anyway… Spoilers. Also, one image of violence and blood.

Throughout all of season one of GOTHAM, they teased over and over again that this or that villain of the week was going to end up becoming the entity that we know as The Joker. They did this all the way until the end of the first season, when we were introduced to Jerome Valeska, who worked with the circus and killed his mother and had just the most Infectious laugh.

They brought this character into season 2, as well, and in every ep we saw more and more of the Joker’s trademarks: constant killing for no reason, jokes and storytelling while putting himself in potentially deadly situations, desire for the spotlight, and the laughs and laughs and laughs. His father, the circus psychic, even prophesies to Jerome that his legacy will be madness and chaos and death and blood and laughter, and that children will wake screaming at the very thought of him. Jerome dies at the end of episode 3 of season two, at the culmination of a televised hostage situation, during which the whole city sees that face and hears that laugh.

Jerome is stabbed in the neck and he dies with a rictus grin on his face, and his own bright red blood around his lips and pooling in the corners. In the wake of the hostage situation and Jerome’s death, the TV news predictably plays the footage over and over. Showing that smile, that face, and letting everybody hear that laugh. A laugh that spreads through the city, to men in bars and children in wealthy homes and homeless people on the streets and two thugs who kill a homeless guy, laughing the whole time, one of whom then turns on and kills the other. Who dies laughing. All while Jerome’s father’s prophecy plays, again, as voice over.

In this way, The Joker is not a person. It’s not even People. The Joker is a demon, a virus, a possessing spirit and a disease that looks for the optimal structure, the precise right moment to enter you and make you into one of its limbs.

So I’ve gotta say, unless GOTHAM‘s long-term plan is that there will never be a singular Batman, never any Individual Rogues, i am really divided on the Jerome thing. I love the literal take on Grant Morrison’s ‘The Joker Is A Virus of Super Sanity, and thus is any- and everyone who is able to be that “free,”‘ but that idea really only works if the show also goes Batman, Inc., from the BEGINNING.

That is, if the animating spirit of justice/vengeance rests on or emanates from Bruce Wayne, first (though its origins, if any, would have to go back to at least Thomas Wayne, as things stand in the show), but ultimately is such that Everyone With A Mind To Becomes some form of Batman. In this, Bruce doesn’t “train” Dick, Jason, Tim, Barbara, Stephanie, Cassandra, Terry, he resonates with them and simply shows them what they are. What they all always have been, together.

I say that  this has to be the way of things because, now, anyone other than Jerome Valeska being possessed by that spirit of Jokerness and becoming the nemesis of a Bruce Wayne Batman, in the GOTHAM universe, will just ring far less mythic than it could. It would be a single human fighting an idea, a spirit, a legend, a myth, an evil god whose source that human has SEEN and TOUCHED. When what we could have is two Archetypes battling each other, forever.

In fact, my thesis is that, in Gotham’s universe, Wayne CANNOT be the only Batman. Ultimately, he can’t even be the first one in a line of Succession. Wayne has to be Gotham’s Shaman. He has to be its instructor and instrument of combat magick, its Medicine Man (which also gives greater mythic weight to the role Dr Thompkins plays and will play). He’s a guide to this realm where we are all caught between these miasmas of despair and longings for justice and the constant desperate madness underneath it all.

Unused Rian Hughes Batman, Inc. Logo

In this shamanic take there’d be no “order” or “chaos” to battle. At least not as we usually define them. There’s a Batman who recognizes a dark kind of balance and harmony and knowing that the struggle is eternal because the struggle is all of reality pulling against and defining itself. In this version, Batman’s purpose is rendered not as dichotomy of Good Vs Evil, Law Vs Crime, Justice Vs Injustice, but as a dialectic where all these things, all of these elements of Gotham, generate each other. Wayne’s purpose is to strive for the better, but always knowing that there will be forces that seek utter imbalance and destruction. THAT’S Jerome’s Legacy. That is what the essence of the Joker IS.

So, if they can still surprise everyone and pull THAT off—Bruce-Wayne-As-Shamanic-Guide, initiating Tim, Dick, Babs, &c into Batman’s/Gotham’s Mysteries—then I’ll be satisfied.

Just some thoughts, now that I’m caught up with GOTHAM.

Shall Do What Thou Wilt Be the Whole of the Tech?

Image Copyright The Independent UK

There is nothing that is not magick, if apprehended correctly, and there is nothing that is not technology for the same reasons. We’ve mentioned, before, that the roots for both technology and magick are in “craft.” The Greek root for this is “Techne,” and you can look to Athena and Hekate and Hermes and Hephaestus and see deities of both Art and Artifice. They are goddesses and gods of skill and cunning and language and creation and weaving—stories and textiles—and theft and all of these things are bound together.

This is part of why we talk, here, about magic and technology, and what “artificial intelligence” really means when we break it down.

But the Western world’s Greek ancestors aren’t the only ones who bound their technology and their magic together. Egypt saw Thoth creating language and magic, being a god of technology and the repository of all memory and knowledge. Odin is the Master Speller and the great artificer (and thief and Cunning Man). Legba and Ellegua are spiritually tied to crossroads, thresholds, beginnings, endings, and communications, making the Lwa the obvious choice for Gibson to map onto the Internet.

And in all of this we have the root technology of language. The manipulation of words and memories and “spelling” and, again, “craft.” Kim Boekbinder reminded us, some weeks ago, that, “Songs are spells, incantations. Careful what you sing for. Songs are spells. Be mindful of what you listen to.” And we’re back around to phonomancy, again. But these are the more poetic uses of language, and their intent, as stated, is to hit you in the heart, in the viscera, in the instinct. Less prosaic (but no less powerful) uses of language than these are laws.

The law is a spell that works on you, at every moment, whether you will it or not. Laws are the codification and concretization of moral codes and systems of justice, all of which are derivations of a society’s values. They are the concentrated beliefs and essences of what people think and feel and believe are best, and their particular parsing and deployment can have long lasting, permanent effects on your life, even at great distance from you, and without your conscious knowledge. But, just like other forms of magick, the law can be learned, can be understood, and in most cultures, one can even become fully initiated into its mysteries. And when you know the law, you can use it to your own advantage.

The law is alive, and somewhat adaptable, but it’s also rigid, the pace of its change is often glacial, and its outcomes are not always Justice. The knowledge and recognition of that last fact allows for those who see antiquated and even repressive expressions of the law to do things like erecting a 9-foot-tall Baphomet Statue, and carrying it around the country to places where one religion’s views seem to be given state-sanctioned preference. Or Wiccans and Pagans working out how best to use various “Religious Freedom Restoration Acts” against the people who only ever seem to mean Christian religious freedom.

If we understand the law as a technology of social control, we can see the cruxes of influence and words of power that allow us to utilize it, and to leverage its often purposefully-occult nature. We can, as with many ritual forms, use it to transgress against itself, to subvert its grasp long enough to craft a more permanent solution.

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