TWENTY SEVENTEEN: IN REVIEW


Preface.  Various factors this year have necessitated a leaner Annual Review.  There follows excerpts from books I have read this year that have influenced my philosophical enquiry, a digest of my favourite songs that have come out in twenty seventeen, and the sections in italics are musings cribbed directly from my notebook for the year, here and there slightly edited, elsewhere slightly embellished.  Caveat:  Do not be drawn in by the dozen sections.  I employed neither linear chronology nor hierarchy in the construction of this review.  Rather, I attempted a spontaneous and holistic approach to writing and compiling.

Adam John Miller, 20th December 2017.


 

Like all genuine questions, the question about identity will never die. Such questions do not have answers, in the sense of a single definitive statement that eliminates the need to ask the question again. Yet that does not mean that talking about such questions is an endless and meaningless game, merely going back and forth over the same positions, more cleverly expressed. Instead, at crucial moments in this long conversation, something emerges that reveals a new truth, perhaps implicit in what has gone before but only now expressed. Because of that insight, everything appears in a new light. Such questions and conversations are living things; they are fascinating because, at any moment, something so compelling may emerge that nothing will be the same again.

Peter Pesic, Seeing Double: Shared Identities in Physics, Philosophy, and Literature

 

Vagabon, The Embers

 


I saw it happen as it was happening to me.  Non-participation an idle fantasy, ultimately impossible.  The bottomless depths and unfathomable heights are signposts, as natural as night and day.  Content provision.  Flicking through the dream diary I catch myself and wince at the opulent naivety: Please wake up now, it says, stopping short.  Perplexed, unsubstantiated.  An elaboration of protocol and rule.  Olive branches, javelins.  The metaphors of mind are the world it perceives.  Downsize your expectations.  An open invitation to the vinegar tasting goes unanswered.  This nearly didn’t happen at all, but the field is more inviting than the stands whilst we wait for the whistle.  Keep it succinct.


Continue reading “TWENTY SEVENTEEN: IN REVIEW”

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GIFTS

To be more specific, there are three primary ways in which modern artists have resolved the problem of their livelihood: they have taken second jobs, they have found patrons to support them, or they have managed to place the work itself on the market and pay the rent with fees and royalties. The underlying structure that is common to all of these—a double economy and the conversion of market wealth to gift wealth—may be easiest to see in the case of the artist who has taken a secondary job, some work more or less unrelated to his art—night watchman, merchant seaman, Berlitz teacher, doctor, or insurance executive … The second job frees his art from the burden of financial responsibility so that when he is creating the work he may turn from questions of market value and labor in the protected gift-sphere. He earns a wage in the marketplace and gives it to his art.

The case of patronage (or nowadays, grants) is a little more subtle. The artist who takes a second job becomes, in a sense, his own patron: he decides his work is worthy of support, just as the patron does, but then he himself must go out and raise the cash. The artist who manages to attract an actual patron may seem to be less involved with the market. The patron’s support is not a wage or a fee for service but a gift given in recognition of the artist’s own. With patronage, the artist’s livelihood seems to lie wholly within the gift-sphere in which the work is made. Continue reading “GIFTS”

THE GIFT COMMUNITY

Life is somehow diminished by the codification of contract and debt. The opposition has been not only to those codified debts that secure the position of class, but to any codification that encourages the separation of thing and spirit by abandoning total social phenomena to a supposedly primitive past and thereby enervating felt contract. The burning of written debt instruments is a move to preserve the ambiguity and inexactness that make gift exchange social. Seen in this way, their destruction is not an antisocial act. It is a move to free gratitude as a spiritual feeling and social binder. If gratitude is, as Georg Simmel once put it, “the moral memory of mankind,” then it is a move to refreshen that memory which grows dull whenever our debts are transformed into obligations and servitudes, whenever the palpable and embodied unions of the heart— entered into out of desire, preserved in gratitude, and quit at will—are replaced by an invisible government of merely statutory connections.

By the time that anarchism emerged as a political philosophy, the idea of contract had been significantly enlarged. In the seventeenth and eighteenth centuries, theorists of “social contract” had extrapolated from the atomic unit of individual bond to that urcontract in which individuals join together to form the state. In Thomas Hobbes’s version—to take the most striking example and the strongest opposite pole to anarchist theory—before there was “society” there was a “state of nature” in which separate persons knocked about like flies in a hot room—only worse, as they tended to kill one another. In Hobbes’s natural history, man was driven by egocentric desires (chiefly, ambition, avarice, pride, and the fear of death—any apparent altruism being quickly traced back to selfinterest). Luckily, these disparate individuals found a shared value in their fear of death, and reason led them away from the state of nature toward the securities of social life. Unluckily, reason was not as strong as human passion, and because the passions were antisocial, the social life that reason suggested had to include an absolute authority with sufficient power to keep men “in awe.” Hobbes set his state on these four legs: selfishness and the fear of death, reason and the awe inspired by authority.

A recurrent feature of social contract theory was an imagined gap between the primitive and the civilized man. Hobbes’s primitive isn’t someone you’d want to live with. Dominated by brutish aggression and the “perpetual and restless desire of Power after power,” he lives in a condition of constant war, knowing no orderly social life and neither shared nor private property, only theft. He is different in kind from the civilized man, and that difference leaves a mark on Hobbes’s politics because it simultaneously requires contract to join men together and dictates the form of that contract. Hobbes begins his politics with a fantasy about history in which a chaotic aboriginal past is replaced by civilization, the shift being marked by an imaginary moment in which men agree to give up their right to exercise private force in favor of instituting public power. Through this essential clause, social contract brings man out of nature and into civilization. But note that the contract is required precisely because man cannot be trusted to behave without it. So there is always, at least in Hobbes, this mixture of distrust and law which leads, as Marshall Sahlins has pointed out, to a paradoxical politics in which “the laws of nature cannot succeed outside the frame of contrived organization … Natural law is established only by artificial Power, and Reason enfranchised only by Authority.”

It is this double conceit—first, that passion will undo social life and, second, that coercion will preserve it—that anarchist theory and the traditions of gift exchange call into question. The former imagines and the latter stand witness to a social life motivated by feeling and nonetheless marked by structure, durability, and cohesion. There are many connections between anarchist theory and gift exchange as an economy— both assume that man is generous, or at least cooperative, “in nature”; both shun centralized power; both are best fitted to small groups and loose federations; both rely on contracts of the heart over codified contract, and so on. But, above all, it seems correct to speak of the gift as anarchist property because both anarchism and gift exchange share the assumption that it is not when a part of the self is inhibited and restrained, but when a part of the self is given away, that community appears.

Lewis Hyde, The Gift: How the Creative Spirit Transforms the World.

THE BONES OF THE DEAD

In the present century the opposition between negative and positive reciprocity has taken the form of debate between ‘capitalist’ and ‘communist,’ ‘individualist’ and ‘socialist’; but the conflict is much older than that, because it is an essential polarity between the part and the whole, the one and the many.  Every age must find its balance between the two, and in every age the domination of either one will bring with it the call for its opposite.  For where, on the one hand, there is no way to assert identity against the mass, and no opportunity for private gain, we lose the well-advertised benefits of a market society – and its particular freedoms, its particular kind of innovation, its individual and material variety, and so on.  But where, on the other hand, the market alone rules, and particularly where its benefits derive from the conversion of gift property to commodities, the fruits of gift exchange are lost.  At that point commerce becomes correctly associated with the fragmentation of community and the suppression of liveliness, fertility, and the social feeling.  For where we maintain no institutions of positive reciprocity, we find ourselves unable to participate in those ‘wider spirits’ – unable to enter gracefully into nature, unable to contribute toward, and pass along the collective treasures we refer to as culture and tradition.  Only when the increase of gifts moves with the gift may the accumulated wealth of our spirit continue to grow among us, so that each of us may enter, and be revived by, a vitality beyond his or her solitary powers.

Lewis Hyde, The Gift: How the Creative Spirit Transforms the World.