Walking in the (Electra)City: A Fevered and Frivolous Spectacle
Justin Hodgson
Abstract
"What is no longer archived in the same way is no longer lived in the same way"
-- Jacques Derrida, Archive Fever, 1995.
In 1984, Michel de Certeau, writing about the practices of everyday life, exposed us to a different way of thinking about our movements through (and our relationships with) the city as the center of cultural activity. While governments, institutions, and other structures of power designed the city according to particular strategies, for de Certeau it was the "tactical" movements of "passers by" that gave meaning to spaces and places of the city: that is, the walkers, wanderers, and window-shoppers created new paths through and new uses for the cityscape. They defined and redefined the city, and, in so doing, transformed (if not transcended) the strategic imposition.
Move forward nearly 30 years. The center of cultural activity now resides in the digital ether, the electra-city (here offered as a metonym for electrate culture); and it is ferried to you (rather than you to it) by tele-technologies, mediascapes, mobile devices, social networks, and so on. Given this shift, how might we need to rethink or even reconstitute de Certeau's position in light of the 21st century? For not only are the ways we move through space itself notably altered (morphed by the cellular and computation prosthetics that aid in our daily activities), but the very notions of walking and city have also been transmogrified.
This project, then, is an attempt to engage these considerations and to allow something of their essential qualities to emerge through the production.
First, this work situates us in the summoning or calling forth (Heidegger, 1977) qualities of what traveling means in the electrate age. In the electra-city, the traveler and the hermit are one in the same: representations of the world brought to us at the speed of light (rather than our going to it) and done so in multiple streams. We cannot help but feel the weightedness of the layered and juxtaposed, palimpsestual, simultaneous hyper-saturation of media that guides our everyday electrate travels.
Second, this project focuses on the electra-city's fevered and frivolous qualities (as Jacques Derrida explored them in 1973). Which is to say, this project attempts to situate us in the frivolity that makes the expansiveness of the electra-city possible. And it does so via a kind of hyper-fevered practice: the "fevered" condition of which Derrida spoke might be seen as evolving into what I'd call an archive delirium in the electrate age because the spatial constraints that contributed to the archon's desire (and need) to sort, to sift, and to exclude in his/her collecting has given way to the seemingly infinity of digital storage. E-archons have the (memory/storage) capability of recording, storing, and ordering every utterance, and this shifts not only how we archive and what we archive, but the ways in which we produce (and live and experience) the archivable. Now, everyone can become archontic—contributing to an emerging culture of hoarders. As these drives, desires, and fevers infect us completely, we can't help but feel the effects of (if not become) the emerging delirium.
This project, then, is an attempt to not only demonstrate some key ideas in association with these changes, but to make viewers feel the pleasures and tensions and demands of living (in) this hyper-saturated, delirium-induced state. The project includes five steps in the (electra)city; that is, it includes five short videos, each no longer than two minutes, and a references section (a different kind of step).
Transcript
0:00:13.355,0:00:20.859:
[Music begins (plays throughout)]
0:00:21.355,0:00:23.499:
Male narrator 1:
Movement in the electra-city
0:00:23.499,0:00:24.669
Wandering.
0:00:24.669,0:00:25.869
Drifting.
0:00:25.869,0:00:27.679
With feet. With fingers.
0:00:27.679,0:00:29.140
Walking: a techne of tourism.
0:00:29.140,0:00:31.900
Or theoria. Like Solon.
0:00:31.900,0:00:33.060
Typing and clicking:
0:00:33.060,0:00:35.070
a techne of electric culture.
0:00:35.070,0:00:37.890
Or producer-consumers. You. Me. The
others.
0:00:37.890,0:00:39.710
The always present others.
0:00:39.710,0:00:41.480
And in this e-othered world
0:00:41.480,0:00:44.880
time and space have been compressed to such a
degree as to render the speed of light
0:00:44.880,0:00:46.210
the standard,
0:00:46.210,0:00:48.240
the expectation.
0:00:48.240,0:00:49.400
Always there,
0:00:49.400,0:00:50.710
always available,
0:00:50.710,0:00:52.930
instantaneously.
0:00:52.930,0:00:55.810
In this new "mediascape," as
Paul Virilio has argued,
0:00:55.810,0:00:58.800
the visual horizon of Alberti's
window to the world
0:00:58.800,0:01:03.840
has given way to the "square horizon" of Gates'
and Jobs' "windows" to the world (wide web)
0:01:03.840,0:01:07.630
The phatic spaces where our fears and
fantasies become topoi,
0:01:07.630,0:01:13.060
where frivolous activities become fevered
and frenzied tropes. Become hyper-fetish.
0:01:13.060,0:01:14.330
Become featured spectacle.
0:01:14.330,0:01:17.310
We become cultural topoi.
0:01:17.310,0:01:19.630
Exposed. Naked.
Awash in media.
0:01:19.630,0:01:24.410
Cleaning the non-digital spittle from our
avatared flesh…from our digital face.
0:01:24.410,0:01:27.210
Is there a dermatologist who treats
Facebook acne?
0:01:27.210,0:01:31.520
One who treats the pimples and pustules
that proliferate our electronic and
0:01:31.520,0:01:32.640
avatared lives...
0:01:32.640,0:01:36.470
lives ordered and orchestrated by
Zuckerbergian principles.
0:01:36.470,0:01:38.330
Maybe it's Dr. Google,
0:01:38.330,0:01:40.110
the electra-city's therapist.
0:01:40.110,0:01:43.380
Using his Google analytics,
or his Google psychoanalytics,
0:01:43.380,0:01:45.690
he helps treat many of our conditions.
0:01:45.690,0:01:49.150
Dr. Google grants us access
to our e-subconscious:
0:01:49.150,0:01:52.590
that is, to the vast,
individualized-yet-shared
0:01:52.590,0:01:55.670
cultural memories brought to us by
the society of the spectacle.
0:01:55.670,0:01:58.830
Repressed and suppressed by corporate
copyright trama.
0:01:58.830,0:02:02.950
Also known as Disney Psychosis
0:02:14.950,0:02:14.950
[Music fades out]
0:02:22.639,0:02:24.919
[Music fades in]
0:02:24.919,0:02:26.680
Male Narrator 1:
As Blanchot has told us,
0:02:26.680,0:02:31.250
The human movement, human movement, hu,
human movement is the one that goes right
to the the the limit, the li, the limit.
0:02:31.250,0:02:37.270
And at the end of thought, the limits we seek,
is only another, is only another, only another thought, thought, thought
0:02:37.270,0:02:38.229
another page
0:02:38.229,0:02:43.510
another device, another path, which
we create, another device, which we create
0:02:43.510,0:02:45.189
another path, which we create.
0:02:45.189,0:02:50.389
For all we have in the spectacle is f-fl-flow, flow, flow.
For all we have in the spectacle is the human movement.
0:02:50.389,0:02:53.339
Debord has told us that.
[Jacques Derrida, faintly in background, in French,
responds to prompt of defining deconstruction]
0:02:53.339,0:02:58.179
Human electrate movement. Ele-ele-electrate
movement. Electrate, electrate movement.
0:02:58.179,0:03:05.100
twitching, if not tweeting, tweeting, tweeting.
twitching, gestures that call forth the electrate world.
0:03:05.109,0:03:08.859
Gestures, gestures that call, call, call forth
the electrate world.
0:03:08.859,0:03:16.279
Bringing the limit of movement to us, to us, to us,
bringing the limit, the limit of movement, of movement
to us, rather than us to it.
0:03:16.279,0:03:20.019
And when we reach that edge,
that limit, that end,
0:03:20.019,0:03:25.969
Blanchot says we simply change, we simply change,
we simply change to another thought, thought, thought.
0:03:25.969,0:03:28.659
This is the only way it is possible to go to
the end of thought:
0:03:28.659,0:03:34.109
to get on or invent another path, invent another path,
invent another path, invent another path
0:03:34.119,0:03:36.599
Finding/Making our way.
0:03:36.599,0:03:37.499
It is pathwork.
0:03:37.499,0:03:39.149
It is ergodic.
0:03:44.349,0:03:45.599
Human electrate movement.
0:03:45.599,0:03:49.199
Ele-ele-electrate movement.
Electrate, electrate movement.
0:03:49.199,0:03:50.299
which we create.
0:03:50.299,0:03:53.599
another device, another path, which we create.
0:03:53.599,0:03:54.899
another device, which we create.
0:03:54.899,0:03:56.399
another path, which we create.
0:03:56.399,0:03:56.999
Electrate movement.
0:03:56.999,0:04:04.999
And at the end of thought, the limits
we seek is only another device,
device, device [repeats and fades out].
0:04:04:099,0:04:05:199
[Music fades out]
0:04:12:799,0:04:14:299
[Music fades in]
0:04:19.470,0:04:27.039
Male Narrator 1: If, as Gregory Ulmer claims,
that "chora replaces topos as the concept of
place in electrate memory"
0:04:27.039,0:04:30.699
then what we are dealing with are not phatic
topoi as de Certeau would have it,
0:04:30.699,0:04:32.089
but rather phatic choralities.
0:04:32.089,0:04:37.049
Where chance and necessity cross and reveal
social common places for a group subjectivity.
0:04:37.049,0:04:42.879
How else can we explain the Honey Badger, the Occupy
movement, Ryan Seacrest, and Two Girls One Cup?
0:04:42.879,0:04:43.970
Phatic chora.
0:04:43.970,0:04:45.530
Perhaps, Phanatic Choragraphies,
0:04:45.530,0:04:47.030
only discernible indirectly.
0:04:47.030,0:04:48.569
indirectly.
0:04:53.469,0:04:54.669
[Music fades out]
0:05:07.460,0:05:11.600
[Music begins: piano only]
Male Narrator 2: This is what we believe
0:05:11.600,0:05:14.299
technology alone is not enough.
0:05:14.299,0:05:18.099
But when technology gets out of the way,
0:05:18.099,0:05:23.299
that's when you end up with something like this...
0:05:23.299,0:05:24.799
[piano fades out as new music fades in]
0:05:24.799,0:05:29.099
Male Narrator 1:
Walking. Electrically. Digitally. Walking.
0:05:29.099,0:05:32.270
The fevered activity of following and
making one's path.
0:05:32.270,0:05:36.759
The frivolous logic of pathways.
Pathways of frivolous logic.
0:05:36.759,0:05:38.860
Creating, as de Certeau would have it,
0:05:38.860,0:05:41.399
a mobile organicity in the environment.
0:05:41.399,0:05:45.099
Created, as de Certeau would have it,
a sequence of phatic topoi.
0:05:45.099,0:05:46.800
Social common places.
0:05:46.800,0:05:49.540
Cultural started spaces.
0:05:49.540,0:05:51.259
Temporal, fleeting,
0:05:51.259,0:05:52.909
flowing beginnings.
0:05:52.909,0:05:56.919
Beginnings brought to you by mobile
organisms, fevered and frivolous techno-
0:05:56.919,0:06:02.039
organisms, i-phatic organisms,
attempting to reconcile co-present, fever
0:06:02.039,0:06:05.979
inducing infections: the dual drives
to catalogue/consume
0:06:05.979,0:06:07.720
and to create/contribute.
0:06:07.720,0:06:12.050
The heroin-like itch for going out--that is,
going out of oneself (an extimacy)--and
0:06:12.050,0:06:15.529
the auto-erotic compulsion for coming in--
that is, coming with oneself
0:06:15.529,0:06:18.110
(the supreme intimacy). Which is to say,
0:06:18.110,0:06:19.779
as consumer-producers
0:06:19.779,0:06:24.029
we are ripe with competing, fevering drives:
one, to publish one's self--that is,
0:06:24.029,0:06:27.609
to publicly (and indecently) expose oneself;
0:06:27.609,0:06:31.469
and two, desiring to bring the public
inside--to privatize, individualize, and
0:06:31.469,0:06:33.860
internalize de Certeau's phatic topoi: that is,
0:06:33.860,0:06:38.120
we fetishize hyper-phatic tropes
as we bookmark, tag, and retweet
0:06:38.120,0:06:45.120
the electra-city (and our electrate selves)
into existence.
0:06:47.029,0:06:52:0.290
[Music interrupted by LP record scratch.
Sound of LP record static continues and fades out]
0:07:06.099,0:07:07.099
[Music begins]
0:07:15.720,0:07:23.720
To walk, electrately or otherwise, is to move across
landscapes and mediascapes of improper-proper names.
0:07:25.520,0:07:32.520
The names mark the world. They give us measurability,
give us access to "man as the measure of all things."
0:07:32.589,0:07:35.699
M1 (right): How far is it from Aristotle to Menlo Park?
M1 (left): A necessity in electrate-wandering.
0:07:35.699,0:07:37.200
M1 (right): From Nietzsche to the iPhone?
M1 (left): We carry our idols with us.
0:07:37.200,0:07:38.700
M1 (right): The real American Idol.
M1 (left): The real American Idol.
0:07:38.700,0:07:42.700
M1 (right): And we carry our idols with us--a necessity
M1 (left): for we not only visit the name of the world
0:07:42.700,0:07:44.400
M1 (right): in electrate wandering. Where we
M1 (left): but the names visit us.
0:07:44.400,0:07:46.700
M1 (right): not only visit the names of the world, but
where the names visit us.
0:07:47.030,0:07:52.280
Coming to us in half-dream states. Phantams augmenting
the world. Ferried by hyperlinks,
0:07:52.280,0:07:54.289
QR codes, and search engines.
0:07:54.289,0:08:00.289
A digital architecture, brought to you by googled
relevance, not cartography.
0:08:12.179,0:08:16.679
We now use apps instead of maps. Be we travel in
the way of the reporter, not the witness;
0:08:16.679,0:08:23.369
we have become broadcasters, and use our media
for cultural participation rather than individual memory.
0:08:24.369,0:08:30.469
To this extent, we actively work to reduce the
experiences of our lives to transmittable bits and bytes.
0:08:30.469,0:08:33.860
140 character blasts. Shared (and tagged) image albums.
0:08:33.860,0:08:38.560
The world sped up and reduced to far
less than 12 frames per second.
0:08:38.560,0:08:42.830
But when you have a trillion cameras, that
low frame rate is radically offset.
0:08:42.830,0:08:46.990
And the data comes in diasporatically
rather than sequentially.
0:08:46.990,0:08:53.990
And in this hyper-saturated state, filled with
radical multiplicities, we feed the great cultural
0:08:53.990,0:08:57.990
archives all the frivolity our auto-enthographic
lives can produce.
0:09:02.000,0:09:03.000
[Music fades out]
0:09:03.500,0:09:04.500
[Music fades in]
0:12:25.820,0:12:28.820
[Music fades out]
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