shoulda put a ring on it, shoulda signed a contract, shoulda just kept your head down and worked, etc.
May 23, 2015 § 1 Comment
I had an idea of turning this blog around, as it were, come 2015 — it would be the diary of the angry Tamil spinster, or something. Her eternal disquiet. 2015 came and I spent a lot of time of twitter, faving tweets, retweeting tweets, wondering why bother to write anything. Thus far, I’m still wondering: why bother to write? And have not yet found an answer that is sufficient to make it worthwhile (not for myself, but for others.) Related: why should others read me, or how does my writing contribute to anything, if at all? More important than “why bother to write”.
I’ve started to identify so much as “spinster” in my head, first as a joke, but now as reality, because I think back to how we were made to be afraid of being the unmarried 30-something woman taking care of her elderly mother when were in our teens, and thus encouraged to study hard and look pretty to avert this fate, and how I have arrived at this fate not through conscious choice but a series of decisions based on facts of my life that were beyond my immediate control. Is this what they call agency? Surely the spinster, being in the position she is, should be the most anti-capitalist of them all.
I read Kate Bolick’s Spinster expecting to feel some kinship with it, moments where the writer stares into the abyss of utter aloneness and I stare along with her. Instead, it’s about a pretty woman who is plenty sought-after by men and attends lots of literary parties and can never walk down the street without seeming like she winds up on a date. (This woman is Bolick, to be clear.) There are bits in-between about women from her past who have acted as her awakeners; all of them white, most of them pretty and sought-after by men in the same way, and in a creepy way, all very pale-skinned and eroticised because of this white skin (her descriptions of how Edna St. Vincent Millay was desired by men, for example, works in this creepy way … creepy because desire-for-white-women is always taken for granted.)
This book, as Jessa Crispin writes, also vexed me. At one point, when tracing the life of one of her awakeners, Maeve Brennan, and noting that she did actually end up living the spinster nightmare — that of a “bag lady” — Bolick wonders, “What did it mean that this was the woman I’d aspired to be?” Maybe some spinsters end up as “bag ladies” because of their position in society, alienated, precarious, and unwanted — how are they to thrive under the brutal conditions of capitalism? But in case the cover of Spinster wasn’t already a clue, Bolick’s book is for the shiny and striving. In identifying with Brennan but cringing at the bag lady, Bolick can’t see what she won’t see. All you need to do is awaken the neoliberal soul and be productively employed. Bonus: if you’re pretty and can get a lot of dates, you can only worry about your strange desire to be alone without actually living the alienation that aloneness prescribes in a capitalist society.
The face of the new spinster movement or whatever, as determined by the Publishing World (i.e. New York), is pretty and white, so the rest of us will have to gather under a different banner, I guess. Hag? Bag lady? Take your pick. Like wage labour, the ability to make a choice between being undesirable and unproductive, or being desirable and productive, is a sign of agency. The choice is yours ladies! Will you work to improve your look, lean in, and make an effort? If you do, you deserve to exist.
August 12, 2013 § Leave a comment
This is a review of Arlie Russell Hochschild’s The Outsourced Self: What Happens When We Pay Others to Live Our Lives for Us that first appeared in Pop Matters. If you expect The Managed Heart-type analysis and insight, you’ll be sorely disappointed. Barring any structural analysis, it appears as though Hochschild just wants to let us know that life is pretty shitty these days–and for all of us equally, at that.
Arlie Russell Hochschild is a sociologist who published an influential book about emotional labour and gender in late capitalism, The Managed Heart: The Commercialization of Human Feeling, in the early ‘80s. For that book, she studied two types of workers for major US airlines and companies, flight attendants and bill collectors, to explicate how the discipline and management of feeling became embedded in service work in ways that both shaped and produced gender norms. In her description, emotional labour is “the management of feeling to create a publicly observable facial and bodily display” that is meant, of course, to produce the “proper state of mind in others”. The “others” in this case are the consumers of a particular service, a service which is either increased or diminished in value by the emotional labour of the workers performing it.
Twenty years later Hochschild’s latest book, The Outsourced Self: What Happens When We Pay Others to Live Our Lives for Us, delves deeper into privatised emotional labour, exploring how the free market logic has spread its tentacles into the sacred haven of the home. While The Managed Heart was informed by Marx’s theory of the alienation of labour—“If we can become alienated from goods in a goods-producing society, we can become alienated from service in a service-producing society”, Hochschild wrote—The Outsourced Self is less interested in providing an analysis or, indeed, a workable solution or alternative to the market-driven logic. Rather, it tells stories of the people who are caught between its contradictory demands and impulses.
If The Managed Heart was about how emotional labour was becoming a fundamental job requirement among white-collar or “pink-collar” service jobs undertaken by largely middle-class white American women, then The Outsourced Self is about how middle and upper class white American families are made to cope with the disconnection of late capitalism by having to outsource the most private, emotional aspects of the self.
Hochschild emerges as a dogged and determined sociologist and storyteller, and the examples she cites are numerous. They run the gamut from love coaches and surrogate mothers to nannies and wedding and party planners and care work for the elderly, with companies offering personalised services for the disposing of the ashes of the a deceased love one as well as services for grave and headstone maintenance. Hochschild interviews both the people employing these services and the people who perform them, the latter being overwhelmingly female.
If being an efficient worker under capitalism means making enough money to have a comfortable life, having the means to acquire that comfortable life means not having the time to participate in the personal and social relationships that make it comfortable. When the bride is too busy working, it’s the wedding planner who has to figure out “how to coax the groom to get more involved”. When the private equity fund manager-father with a strong “faith in the global free market” is too busy to have mastered the art of party organising for kids, it’s the children’s party planner who comes up with the perfectly productive party that keeps the children occupied from start to finish.
If capitalism requires a productive, efficient worker to be available around-the-clock, then the increasingly inconvenient business of being human has to be outsourced—ideally for a negotiable fee.
Part of the business of being a productive worker is to project the image of how productive one is, to crow about one’s lack of sleep and inability to stay away from email as a form of accomplishment that justifies having a job and a salary. It’s a particular class of people who get to boast of this busyness and be admired for it. And it’s this class of people that can afford to outsource the undesirable or scary or unpleasant or unproductive aspects of their emotional lives to others and set the terms of the contract.
The reason why some of Hochschild’s critical analysis is blunted, one suspects, is because underlying these examples is Hochschild’s own story detailing her struggle to find an adequate care provider for her aging and increasingly frail Aunt Elizabeth. The stories of others are refracted through a personalised lens, and while this serves a particular motive—showing how people’s lived reality is often at odds with their intentions, for one thing—it doesn’t attempt to contextualise these forms of late-capitalist living for the reader, preferring instead to merely conclude that the logic of neoliberalism has penetrated into the most intimate aspects of our lives.
Hochschild’s sociological framework doesn’t render her oblivious to the ways in which capital works through race relations to create a class of precarious American emotional labourers who are largely working class black and Latino Americans and migrant women from Central and South America, South and Southeast Asia, and Eastern Europe. In this book she travels to India to speak to surrogate mothers and notes how the Americans using the services of these women seem to consider this situation through the lens of free-market democracy.
Talking to an American couple who used the services of an Indian surrogate agency, Hochschild notes how some aspects of guilt at the nature of the transaction and the imbalance of the power between the employer and the employee are justified through contradictory rationalisations by the couple doing the choosing. They attempt to reach out to the women they hire, to convey their gratitude for the monumental service that is provided, but at bottom they remind themselves that, as one woman named Lili did, that “this girl is poor and she’s just doing it for the money”. Her husband, referring to the surrogate’s reticence and lack of amiability—she had asked the American couple no questions while they had “reached out” and asked her about herself—says, “I’m sure for them it’s a pure business transaction. Payment for surrogacy could equal ten years’ of salary in India. Still, if she’d been more cheerful, maybe we could have talked more.”
In another example, while relating the story of a relatively well-off American family and their Filipino nanny, Maricel, Hochschild writes:
“In the eyes of their employers, the actual stories of the Maricels of the world are often replaced by mythic ones. In the global South, people live more authentic and relaxed lives, Alice Taylor felt … Other versions of the “happy peasant” fantasy held by other well-meaning employers draw a similar curtain over the fractured lives of the many Maricels around the globe.”
There’s a lot packed into that phrase “well-meaning employer”, obscuring the ways in which people simply choose not to see what’s right in front of them. But of course, they don’t have the time. The imbalance of power between the people who do the outsourcing for emotional and care work and those who actually do the work is simply that the former consider themselves important enough; their needs and desires and lifestyles trump those of their employees even if they’re not aware enough to recognise it, or choose to misrecognise what they see. It’s enough to have their nanny’s authentic Filipino self present to care their child, but who cares for Maricel’s child back in the Philippines?
A curious contradiction emerges among the affluent professional class who can afford to outsource whole chunks of the self: they don’t have a “choice” to do otherwise, but their employees seem to have freely chosen this particular type of work. As such, at the end of the day, it’s just a perfectly legitimate and necessary pure business transaction. The privileged can afford to lack self-awareness at the expense of hiring someone from a poorer background from another country. Having internalised the logic of the market, they imagine they’re helping to ease the poverty “over there”. As for the other details, such as who cares for their family while they care for yours—well, it’s a working relationship and it might be unprofessional to pry.
This is how people are encouraged to think, as Leopoldina Fortunati pointed out in 1981 in her seminal autonomist feminist text, The Arcane of Reproduction: Housework, Prostitution, Labor and Capital, because it’s how they are meant to live. As Fortunati says,” It is not by chance that under capitalism, while at the formal level there appear to be many opportunities for individual relationships, in reality there exists a high level of isolation between individuals, who are obliged to produce surplus-value even in the moment in which they reproduce themselves.” She’s referring to the family nucleus, which she says provides a “sufficient nucleus in the sense that this time, these relations, and these exchanges must suffice for labor power to reproduce itself”. Anything more than that is a waste. The more time you have, the less time you have—and that suits capitalism just fine.
Lacking more of an analytical framework, Hochschild’s book seems to posit historical problems with capitalism as new and novel issues. Because of this she is sometimes left asking us questions to which answers seem glaringly obvious, and have been, for awhile. “Can it be that we are no longer confident to identify even our most ordinary desires without a professional to guide us?” Well, perhaps. Part of the genius—or insidiousness—of capitalism is how it sells you a solution to a real or imagined fear, then sells you the uncertainty of an incorrectly or inadequately applied solution, thus creating an endless cycle of zero confidence—which it can sell back to you. (Dove’s Real Beauty campaign, for example.)
More interesting are the unasked questions, like how life coaches help their clients “redefine their desire”—redefined according to what standards and why? What’s shaping these new desires? These aspects of the production of disciplined subjects are factors that Hochschild does not examine. The book is also is burdened by Hochschild’s hazy nostalgia, based on her own memories, for a time before urbanisation when agrarian village living held out the best possible alternative to atomised neoliberal societies, offering emotionally-connected communities where people showed up unannounced at each other’s doorsteps with pie. While it may not have been her intention, Hochschild’s reminiscences seem to imply that the dangers of capitalist living began right on the dot when Hochschild started to take notice.
Hochschild’s work in The Managed Heart has been particularly useful for feminism in showing how emotional labour and care work are gendered and how subjects who perform these forms of emotional work are transformed, and social relations altered, when the practice of “deep acting” and emotional performance are exploited for the purposes of capital. Therefore, her tendency to frame the situations in The Outsourced Self as specifically new and novel problems under neoliberalism rather than as symptoms of capitalism seems particularly ingenuous, since her arguments in The Managed Heart could have predicted this outcome. It also allows her to sidestep how emotional labour was always required of women and the working classes performing domestic service in the past, or the ways in which emotional labour was required of labouring colonial subjects—both men and women.
While the aim of The Outsourced Self is not to present in detail the varied histories of forms of emotional labour, its tendency to skip from story to story with minimal analysis renders it essentially unremarkable, especially coming from a scholar and sociologist like Hochschild who has offered challenging and useful arguments for the field of labour theory in the past. The Outsourced Self is essentially pop-sociology light reading, a collection of anecdotes interspersed with brief (mostly personal) reflections. Hochschild is good at pointing out the general ambivalence and contradictions that underlie “intimate life in market times”, but the reader is not left with much more than a general sense of how troubling and inescapable it all is.
April 14, 2013 § 6 Comments
And also a month late–my review of Ben Kafka’s The Demon of Writing: Power and Failures of Paperwork. This book was frustrating. I wanted to like it a lot more than I did. What I got out of it: 1) Paperwork makes assholes out of us; 2) Paperwork may facilitate, but mostly gets in the way, of people power. I don’t like those conclusions, or rather, I’m not sure why Kafka didn’t take them further. It’s a thoroughly engaging and well-researched book, though, but not much to wrangle with beyond the historical facts and some Freudian speculations. Maybe the sheer amount of paperwork involved in the research overwhelmed Kafka in the end, too.
The key feature of all the “paperless” offices that I have worked in was the abundance of paper. While doing temp jobs that came with various spine-tingling designations like “data entry assistant” or “clerical assistant”, I only knew that my job was to make all that was solid—paper—melt into air—data. But certainly, you don’t have to work with paper to know how paperwork gets in the way of everything: a marriage or a driver’s license, a new passport, citizenship.
Paperwork makes you wait. Paperwork disappears, sometimes never to return; or to return much later, with the vengeance of the repressed. Paperwork obstructs. Paperwork keeps you in limbo. Paperwork means what you don’t know will hurt you, or eventually bite you in the ass when it turns out that all that stands between you and your goal is, “I’m sorry, it’s just that there’s a file missing.“
Ben Kafka, media theorist and professor at New York University, understands this. That’s why he’s titled his book The Demon of Writing: Powers and Failures of Paperwork—the ghosts of paperwork haunt every missed opportunity and unforeseen error in the attempt to fashion a structured, disciplined, and well-documented life. At the heart of Kafka’s book on paperwork is the rerouting of Marx’s theory of paperwork—what he called the “bureaucratic medium”—by way of Freud’s theory of parapraxis. Paperwork has its pleasures, and more important—its powers—but it is fundamentally unstable.
Kafka begins his inquiry with a chapter called “The Disciplined State”, in which the story of an 18th-century French clerk who loses his job—and his failure to recover it—is what Kafka calls “the story of the French Revolution’s success”, or how the bureaucracy became an essential component of the state. This bureaucracy, however, was a double-edged sword: “The disciplinary state, which relied on documents and details to keep track of its subjects, would also have to be a disciplined state, aware that those same documents and details could be used to keep track of it.”
Morizot, the clerk who found his appeals and attempts to recover his job thwarted at every level by the power of paperwork—“What he needed was the right signature on the proper letterhead”—wrote frantic pamphlets to bring his case of bureaucratic misery to public light. As Kafka writes, “The French, Morizot asserted, were living ‘among the debris of a ruined monarchy, now converted into a bourgeois aristocracy’” and, as such, “a world of privilege was becoming a world of rights; the personal state was becoming the personnel state.”
While paperwork was designed to produce a more equitable form of society, where accountability for each citizen was recognized as an “inalienable, individual right”, the “foundation of representative government”, it also proved to wield power in inequitable ways. Kafka recounts the story of Labussière, an employee in the Committee of Public Safety’s Prisoners Bureau, who in the aftermath of the French Revolution, during the Reign of Terror, destroyed the files of the prisoners before the Revolutionary Tribunal could get its hands on it, thereby destroying significant information about the prisoners and rendering punishment impossible or eternally deferred, subsequently saving lives. Perhaps Labussière, whom Kafka depicts as a kind of trickster figure, practiced a form of radical clerking—paperwork for the people, as it were. But the significant point, as Kafka points out over and over, is that paperwork makes paperwork fail, because the “proliferation of documents and details presented opportunities for resistance as well as for compliance.”
Kafka’s theory of paperwork loops around the same premise—paperwork can consolidate power as well as unsettle it and render it futile—and is determined to remain in history without the slightest detour into the present. One wonders about his theory of paperwork and shifting powers in relation to Wikileaks while Bradley Manning is held within state power. “The duplicitous simplicity of the trickster”, as Kafka writes of Labussière, clearly doesn’t apply in Manning’s case, and if bureaucracy has the potential to beat state power at its own game, it’s difficult to think of a way out of situations where the state’s malpractices, corruption, violence, and excesses are laid bare—made transparent to all with access to the internet, even—while its powers remain firmly lodged in place.
In The Demon of Writing, Kafka circles around the same premise: “It is the story of how paperwork, even when it works, fails us. We never get what we want.” As such, a psychoanalytic theory of paperwork by way of Freud’s theory of parapraxis, or “the Freudian slip”, much like the political theory by way of Marx that leaves Kafka unconvinced, also leaves us wanting:
“Like the symptom or dream, the slip represents an attempt by the unconscious to get its message across—an attempt that is made difficult by repression, the primary processes, and any number of measures taken by the ego to prevent embarrassment or worse. The question to ask is: What was being communicated? And the answer is: We don’t know. We will never know. We can’t know.”
The Demon of Writing is witty and entertaining, and Kafka seems both charmed and inspired by writers and thinkers who disliked paperwork, like Rousseau, or who found both paperwork and its pushers to be quite contemptible, like Balzac, who writes of the clerks in Les employés: “It is difficult to decide whether these plumed mammals were getting stupider because of their careers, or whether they had these careers because they were born stupid. Perhaps it is equal parts Nature and Government.” On the other end of the spectrum is Barthes, who predictably experienced jouissance while “dramatizing paperwork”.
But as a theory of paperwork The Demon of Writing, in its impact and potential uses, is slight. How to explain, for instance, the parapraxis of paperwork—the “powers and failures of paperwork”, as it were, to a “paperless” immigrant? To most, even while paperwork delays and obstructs and fails—or precisely because of this—the powers of paperwork and the administrative apparatus that supports it remain entrenched. If our stories about bureaucracy and its horrors are a means to thinking about the state, then this book shows that “we” don’t always get what we want; instead, paperwork provides “us” with the opportunity to “fulfill fantasies of power and powerlessness, revenge and love”. That leaves too much to chance and individual temperament, and material circumstances—economic and political systems—are able to remain very much unchanged despite these fantasies of power and revenge.
In his closing chapter, for example, Kafka talks about the short film The Paperwork Explosion that IBM commissioned in 1967 to promote its word-processor (see video, below). “Machines should work, people should think” was the message of the film, and Kafka wonders if the film could be read as a warning “against its own techno-utopianism”. Perhaps, but the present shows us that IBM is a corporate giant, and in the age of smartphones and gadgets, people, more than ever, are being put to work for machines. Maybe corporations want you to think, but it’s usually because they want you to think what they think.
Fantasies of revenge are compelling to consider, but if the powers of paperwork—in other words, the powers of the capitalist state—are unstable and diffuse, then it seems like Kafka’s argument merely boils down to how the unconscious life of paperwork can often exceed or limit individual or collective expectations. This leaves no room for an alternative to paperwork. And as long as we have our fantasies and narratives of revenge, nothing really has to change.
April 12, 2013 § Leave a comment
In yet another instance of Shameful Neglect of the Blog, I share with you a review of Sonic Multiplicities: Hong Kong Pop and the Global Circulation of Sound and Image by Yiu Fai Chow and Jeroen de Kloet that came out in Pop Matters a month ago. A whole month!
Why have I been slacking off on self-promotion? I don’t know. I’ve been away, travelling in Sri Lanka, writing fragments in my notebook, fragments in Microsoft Word (do MS Word users still publicly admit to using MS Word?) and staring into my dogs’ eyes in an attempt to find the answer(s) to various hard questions. No answers are forthcoming, but one of my dogs does like to nibble on my chin and nose–perhaps that should be enough for now.
I’m going to do a revolutionary new thing and post the entire review here, below.
When did Hong Kong popular music die? Theories abound as to the death of Hong Kong pop songs delivered in the local language of Cantonese, or Cantopop. Some say it died when Hong Kong was handed over by the British to the Beijing authorities in 1997. Others say that it died along with its two international superstars, Leslie Cheung and Anita Mui, in 2003.
Either way, facts and especially figures are marshalled up in defence of this death, with decreasing record sales being the primary means of assessing the pop music’s industry ill-health. If the industry isn’t making money, or as much money as it used to, then it’s clear that something is ailing the Hong Kong pop music industry. The industry cannot imagine that Cantopop continues to live on in various different forms and places: as karaoke, for one, or on the internet, for another.
Sonic Multiplicities: Hong Kong Pop and the Global Circulation of Sound and Image enters into the discussion as a sort of corrective. Jointly authored by Yiu Fai Chow, assistant professor in Hong Kong Baptist University’s department of Humanities and Creative writing and songwriter of Chinese pop songs, and Jeroen de Kloet, a professor in globalisation studies at the University of Amsterdam and author of China with a Cut, Sonic Multiplicities is deeply immersed in theories and techniques of cultural studies as it sets out to look at (and listen to) the multiple ways in which Cantopop has proliferated into new and different forms in late capitalism.
The issues of Chineseness and Chinese national identity is the spectre that haunts Hong Kong pop culture, and Chow and de Kloet are interested in troubling or resisting conventional “rise of China” narratives that present a stable and uniform history and Chinese subject. With Hong Kong’s colonial legacy as the geopolitical starting point, the first chapter of Sonic Multiplicities is a combination of theory and autobiography that sees Chow speak on a political and personal level about the “politics of Chineseness” through articulations on nationalistic songs, or folk ballads known as minzu gequ.
The autobiographical “I” in this chapter is refreshing in an academic book, and Chow’s struggle with notions of Chineseness growing up as a young boy Hong Kong, and later while living in the Netherlands, is reflected through the changing political and social mores of the ‘90s when, as Chow explains, “the Chinese Communist Party replaced its legitimizing ideology from communism to a market-driven nationalism”. Chow’s analysis of how Chineseness is performed in nationalist songs is undercut by his own ambivalence in having written songs meant to serve as nationalist propaganda and his attempts, within that particular framework, to subvert and discreetly undermine accepted, conventional narratives with his lyrics. How are newly (re)nationalised subjects allowed to dream of a nation, or a better nation?
“For the Hong Kongers at the time of imminent changes, we willed ourselves to be brave, to be Chinese, to become one with tens of thousands of those who at least looked like us. But it is not easy… It necessitates a logic of empowerment by conjuring up an enemy, the other… It also necessitates a submission of the part of us alien to the whole, the part of the city alien to the nation, the part of the future alien to the past.”
To be of a nation but not of it is a theme that resounds over and over again throughout the book, and in their sensitive and generous assessment of the politics and cultures of fandom, the authors aim to show readers how “the fans” exercise their agency in their consumption of pop music and their engagement with, and celebration of, celebrities. In this sense, by focusing on two “local” celebrities from the Netherlands and Hong Kong, Marco Borsato and Leon Lai, Chow and de Kloet shift the pop cultural focus away from the US and onto what is truly a global sphere, although they recognise the hegemony that operates within “global pop culture”, where North American pop stars are often claimed as “international stars” while Asian pop stars are rarely so—even when they are truly international, as was the case with Anita Mui and Leslie Cheung. In this sense, “whose international” seems to the concern here—whose cultural production is centred and considered “global”?
One of the more intriguing chapters focuses on sex and morality in Hong Kong and Chinese pop culture by way of the Edison Chen scandal. Far from adopting simple and reductive positions that sees the scandal as either bad (yet another spectacle!) or good (sex is healthy and we should enjoy it!), the authors interrogate the questions of morality that were mirrored in the media coverage of the scandal, particularly in how the subjects involved in the scandal immediately sought to control their reputation and image along conventional binaries of proper male and female behaviour.
Edison Chen, the sole male actor, sought refuge in cringe-worthy pleas and what the authors term “extreme moralism”, even announcing at one point that he will need to “step away from the Hong Kong entertainment industry… to heal myself, and search my soul”, in addition to performing the role of the moral, law-abiding citizen by publicly promising to assist the police in ongoing investigations. As the authors point out, the mediatised nature of the public spectacle demands the so-called salacious or transgressive act for collective consumption and, following Rene Girard, also demands a public scapegoat.
Meanwhile, with the women involved automatically framed as victims, the female stars in Chen’s videos had to take another, culturally proscribed route: that of repentance with a feminine/maternal slant, as in the case of Cecilia Cheung, who said “I have to stand up for the sake of my son.” The authors ensuing discussion of spectacle and conspicuous consumption—as evidenced by Edison Chen “bouncing back” from this scandal by throwing himself into his fashion business, and by co-opting the scandal for an art show—and its connection to “mediatized moral panics”, which, by way of Stuart Hall’s arguments in Policing the Crisis, act as “vehicles for the transmission of dominant ideologies.” The more scandalised we are, it would appear, the more things stay the same.
If there is a problem in Sonic Multiplicities, it’s that its ethnographic approach produces a rather shaky foundation on which the authors juggle multiple concepts and theories, going as they do from Rey Chow to Theodor Adorno, back to Guy Debord, then to Fredric Jameson. While discussions are deep-rooted and show an inclination to resist pat conclusions and easy assumptions, Sonic Multiplicities suffers from a less-than-rigorous consideration of political economy, as in the chapter on Beijing’s Olympic ceremony and the production and interpellation of national subjects in spectacles of global sporting events.
In discussing Soviet and Chinese authoritarian communism, the authors rightfully resist dominant narratives in liberal democracies that tend to depict “the masses” in these countries as totally docile and utterly subject to control—being away from the local particularities and nuances, these narratives often miss out, or simply can’t see, the necessarily discreet or prudent forms of resistance. But while they discuss the performative aspects of nationalist songs and speeches, the authors neglect to tease out the implications of a kind of performative Communism as espoused by China’s main party, even while market reforms put into place by Deng Xiaoping since the late ‘70s have had everything to do with capitalism. In this sense, the authors missed out on an opportunity to interrogate China’s official communist position against its increasingly capitalist reforms. While the authors state that “performative contestations” of the spectacle is not something unique to China, they neglect to draw connections between performativity and late capitalism and continued Western political and cultural hegemony in the global pop culture marketplace.
However, Sonic Multiplicities is an intriguing study of pop culture that doesn’t take North America as its starting point and yet does not avoid analysis of political or cultural forms of dominance that affect and, indeed, produce these forms of “globalised” pop commodities. The authors are particularly attentive to the formation and production of both the national and diasporic subject, consistently grounding these subjects in temporal and spatial circumstances, especially or even when these circumstances are stable, shifting, or ambivalent. It manages to trouble notions of a radical or emancipatory potential in pop culture without demeaning either the cultural workers or the consumers—indeed, recognising that subjects and producers of popular culture using the internet as a platform are most often both.
Hong Kong pop is not dead, but it has transformed, mutated, and altered, and the authors want to encourage people to see, listen, and think in new and altered ways.
August 12, 2012 § Leave a comment
Genet has been messing with my life lately. In a good way, I think. It’s just that I haven’t had much time for reading lately, and I’ve been reading quite a bit of nonfiction, and after coming out of my Genet fever I had to read an astoundingly mediocre book for a future review. After Genet, the mediocre seems offensive.
My review of Sartre’s Saint Genet: Actor and Martyr is up on Pop Matters. I talked about it a bit in a previous post. I have to say that I dislike the Pop Matters rating system because I’m not sure that a rating system is helpful to anyone. Quantifying the qualitative seems doomed from the start. I gave Saint Genet a 6/10 rating, which is wholly inadequate (because neither a higher nor lower number would have been more adequate) and doesn’t much describe how I felt about the book. In any case, I’m meant to rate all the books I review, but it really hit me when I was trying to assign a number to Saint Genet. It’s hard to evaluate in terms of rating. It’s a book that infuriates, and for that I think I love it. Saint Genet is provocative and chaotic and smart and silly and essential; I disagreed very strongly with HUGE CHUNKS (and there are a lot of chunks), but assigning it a number just feels wrong because it’s not about whether it’s “average” or “good”. And as I continue to read Genet I will no doubt continue to dip in and out Saint Genet and have long conversations with the text that begins with, “Sartre, you turd… ” (said in total affection and dislike, of course.)
I can’t help but turn to Susan Sontag’s words in Against Interpretation and Other Essays, where she begins an assessment of the same book with these words: “Saint Genet is a cancer of a book, grotesquely verbose, its cargo of brilliant ideas borne aloft by a tone of viscous solemnity and ghastly repetitiveness.” Grotesque and ghastly—Sartre’s work is a monster that will devour the reader’s presence of mind, to be sure. It seems perfectly appropriate, then, that I began readingSaint Genet while Kanye West’s “Monster” played in the background: much like Nicki Minaj’s persona in the song, Sartre’s implicit announcement to his future reader seems to be “First things first, I’ll eat your brains.”
Read the entire review. (If you like.)
June 10, 2012 § Leave a comment
This blog is not dead! It is merely in a state of extreme rest. In a state of hyperrest. (Hyperrest is characterised by placidity or inactivity on the surface, bordering on comatose, as the wheels of the mind’s engine churn and churn in a journey towards who-the-fuck-knows-where.)
My review of Katrien Jacobs’s People’s Pornography: Sex and Surveillance on the Chinese Internet is up at PopMatters. I enjoyed reading it; Jacobs is an enthusiastic and engaged/engaging writer, but I was troubled a bit by the premise, which seemed to imply that DIY pornography and digital culture are necessarily subversive and/or emancipatory:
Although much of the material Jacobs explores follows the familiar trajectory of pornography that finds men as its main consumers and women as its primary labourers, Jacobs includes plenty of first-person accounts that provides a glimpse into how women negotiate the spaces of propriety and proper “female behaviour”. One blogger who goes by the name Hairong Tian Tian collected and posted pictures of men’s limp penises because she wanted to explore “the root of Chinese masculinity” by showing the “cock in its most mundane state”. Another blogger named Lost Sparrow attempted to compile an encyclopedia of lovemaking sounds “based on the premise that they would sound different in different parts of China”.
These are attempts to remake pornography, but whether or not they succeed in presenting pornography as something more worthwhile than a convenient commodity is hard to tell. For example, the DIY sex videos that Jacobs describes as popular among younger Chinese citizens certainly reify sexual pleasure and emotions and it leaves one to wonder about the emancipatory possibilities of the endless click-and-choose of online porn viewing. As Jacobs research shows, pornography has entered new spaces and is presented and enjoyed within new(er) forms of technology, but the patriarchal structures of society remain unyielding and resistant in the face of all this sexual and technological creativity.
But I also wondered if my own knee-jerk cynicism got in the way of a full appreciation of what was and is taking place. I do recommend Jacobs’s book, even if I had trouble reading it in public because my inner convent-school-educated prudishness kicked in. EXPLICIT PICTURES! CLOSE-UPS OF NIPPLES! IN PUBLIC! OH DEAR! So it was a read-at-home book, but no less interesting because of it.
(I was also reading the Feminism and Pornography anthology while reading Jacobs’s book and Wendy Brown’s “The Mirror of Pornography” was one of the most clear-minded, kick-ass essays in it; it’s essentially a response to Catherine MacKinnon, and I posted a quote from it on my Tumblr. Anyone who’s read even just a tiny bit of MacKinnon might sense the difficulty of countering the force of her totalising arguments against porn. Brown does a sublime job of it while demonstrating how MacKinnon’s style borrows a lot from porn, and reading Brown after reading MacKinnon is like being thrown a lifeline while attempting to swim in choppy moral waters. Sorry, melodramatic analogy, and also vaguely deceptive, because I can’t swim and will technically drown in all waters, but still. Also, this technically doesn’t have much to do with Jacobs’s book but throwing it in here because ♥ WENDY BROWN ♥.)
March 6, 2012 § Leave a comment
A moment of textual serendipity, when, in the midst of reading Sonia Shah’s The Fever: How Malaria Has Ruled Humankind for 500,000 Years for a Pop Matters review, I decided to begin Timothy Mitchell’s Rule of Experts: Egypt, Techno-Politics, Modernity and discovered that the first chapter is titled “Can The Mosquito Speak?”
I’m still not sure if it spoke, but through Mitchell (and throughout Shah’s book), the mosquito drops clues. Shah’s book sets out on a terrain that Mitchell articulates early on in his book: “Disease often moves with the changing movements of people, and modern war causes large numbers to find routes outside existing networks of trade and migration.” The interesting thing about Shah’s The Fever, to me, was how she consistently mapped out the changing face of malaria in relation to the changing face of empire, and the subsequent merging of modern warfare and modern disease treatment, or what in Mitchell’s words boils down to “physical elimination of the enemy species” where malaria is concerned.
Mitchell’s central project is to acknowledge, examine, and uncover the ways in which “human agency, like capital, is a technical body, something made” – which is something that became brilliantly clear as I made my way through Shah’s book. Shah’s book, I think, undertakes a similar mission even though it’s marketed as popular nonfiction instead of an academic text. Mitchell’s interrogation into the concept of human agency is his attempt to destabilise and dissolve the binary order that social science and its attendant disciplines are determined to (re)create. A binary order in service of agency and expertise (versus nature and the material world), which in turn acts in service of technopolitics and imperial ambitions. As Mitchell explains, in the Egypt situation there were specific factors at play:
The connections between a war, an epidemic, and a famine depended upon connections between rivers, dams, fertilizers, food webs, and, as we will see, several additional links and interactions. What seems remarkable is the way the properties of these various elements interacted. They were not just separate historical events affecting one another at the social level. The linkages among them were hydraulic, chemical, military, political, etiological, and mechanical. No one writing about Egypt in this period describes this interaction. There are studies of military tactics, irrigation methods, Anglo-Egyptian relations, hydraulic engineering, parasites, the sugar industry, and peasants. But there are no accounts that take seriously how these elements interact. It is as if the elements are somehow incommensurable. They seem to involve very different forces, agents, elements, spatial scales, and temporalities. They shape one another, yet their heterogeneity offers a resistance to explanation.
I’m blathering about Mitchell’s book, which is fascinating, although I’m only about a quarter of a way in. But this post is supposed to lead you to my review of Shah’s The Fever, a book that, truth be told, I thought was going to be sheer drudgery. It turned to be lively, sharp, and engaging – largely because, I suspect, Shah never wrote like she was dumbing down the facts and research for a bleary-eyed audience, and also because I felt her project mirrored Mitchell’s – consciously or not – determined as it was to complicate easy, pat conclusions about the nature of human agency vis-à-vis “mother nature” or the material world.