NIGHT FOR DAY

EMILY WARDILL Emily Wardill NIGHT FOR DAY

SECESSION, Vienna September—November 2020 3 THE SCOLD’S BRIDLE: SOME THOUGHTS ON POLITICAL LINGUISTICS, THE PENCHANT FOR CONSPIRACY, AND WITCHES

By Marta Kuzma

16 THE LIFE OF PSEUDO PROBLEMS. “The I is unsalvageable.”

By Kerstin Stakemeier

29 I WAS TRYING TO DESCRIBE WHO YOU ARE

49 NIGHT FOR DAY OR DAY FOR NIGHT

69 TRIANGLE IN THE ROUND

89 YOU LIKED THE BEACH BECAUSE IT WAS PUBLIC SPACE BUT I LIKED IT BECAUSE ON THE BEACH PEOPLE LOOK LIKE GRAPHICS

109 THAT WAS THE ARCHITECTURE OF THE HOUSE BUT REALLY IT WAS MY JOB TO MAKE SURE THAT THE HOUSE WAS HAUNTED

129 NEVER WORK WITH CHILDREN OR ANIMALS

149 THE LAST WOMAN THE SCOLD’S BRIDLE: SOME THOUGHTS ON POLITICAL LINGUISTICS, THE PENCHANT FOR CONSPIRACY, AND WITCHES

By Marta Kuzma

POLITICAL LINGUISTICS, 2011

I first met Emily Wardill atFilm as Critical Practice, a weekend symposium and screening program held in Oslo in May of 2011. The event had been organized by the Office for Contemporary Art Norway (OCA), an institution I led for some eight years, during which time it served as a foundation, research institution, exhibition platform, and school of sorts. It was a state-funded experimental program that had been granted permission to run with things for a while and

A WOMAN WEARING A SCOLD’S BRIDLE, 1655 just see where they could go. Things went to some

FROM A FIRST-HAND ACCOUNT BY JOHN exciting places in those eight years, before eventually

WILLIS IPSWICH OF ANN BIDLESTONE BEING congealing into a technobureaucratic realm of fixed

DROVE BY ROBERT SHARP boundaries and clear rules, the institution’s previously nimble way of proceeding lost to approvals and corrections.

This particular symposium was held in one of those extraordinary Funkis cinema houses in the city where we gathered an extraordinary group—Kodwo Eshun on the Black Audio Film Collective, Hito Steyerl on the archive and film, Boris Budan on the forgotten past of cinema and communism, Catherine Ross on the French workers’ films of May ’68, Harun Farocki on montage as a critical device, and Ian White with a screening program that included Wardill’s work. Harun and Ian, both incredible forces with respect to film production and film curation, are now gone from this earth, though they were alive and well that weekend as the collective explored through a cacophony of perspectives (two speakers nearly broke into a physical fight over the legitimacy of Debord as a countercultural leader) the political legacy of film as a medium—one that abstracts from rather than merely mirrors societal and political realities inasmuch as it manages to resist industry tropes of narrative documentary.

It was during that same weekend, if memory serves, that Emily first spoke to me about a film she was working on based on research and interviews conducted at a West Coast think tank called the Rockridge Institute. Our conversation led me to reconsider the role of think tanks and why they exist—the term originated during World War II to describe a

3 secluded place where strategies and plans could be formulated. It evolved from there wrote with similar concern in his State of Exception (2005) about how the United States, to describe organizations whose mission is typically some combination of research post-9/11, adopted, amplified, and extended a state of emergency in order to justify the and advocacy intended to inform government policy-making. The first of the American suspension of principles around the rule of law, in effect establishing an “extra-juridical think tanks was the RAND Corporation. Established in 1948 as a non-partisan national space” whereby acts that would be considered criminal otherwise were legitimized in security organization to connect military planning with research decisions, RAND the name of protecting the nation against existential threats.4 ultimately steered U.S. foreign policy throughout the Cold War period. Although the concept of a think tank was initially founded on a principle of bi-partisanship, in practice Wardill’s research in “political linguistics” resonated with my own research interests they lean right or left, and, since the 1970s, conservatives have gained greater ground around the late twentieth-century dissolution of the political left globally and the in building think tank institutions in the U.S., pooling greater wealth for the purpose. structural ways in which the language of resistance, traditionally embedded by the left, However, Wardill was specifically focused on Rockridge, a left-leaning think tank began to appear within conservative rhetoric, as well. Wardill’s film,Sea Oak, made founded in 1997 and located at Berkeley from 2003 to 2008, where it was led by George apparent the mode of such linguistic engineering in the formulation of right-wing Lakoff, a cognitive linguist. Lakoff’s aim for Rockridge’s research was the monitoring political rhetoric, particularly in her decision to eliminate any correspondence to visual of “framing” language—key metaphors driving communication of political concepts— narrative, placing the weight of the viewer’s attention on the act of listening. I collided particularly that used by right-wing organizations and politicians. For example, Lakoff with Emily and her project at a time when I had just completed a multi-year research- authored an opinion piece titled “Staying the Course Right Off the Cliff” in theNew York exhibition project salaciously titled Whatever Happened to Sex in Scandinavia. It Times in 2006 that elaborated then-U.S. President George Bush’s formulation around was my attempt to map a divergent history around the formation of the radical left the “stay the course” phrase so often used in the president’s speeches following the within early twentieth-century cultural circles across Scandinavia and to track its 9/11 attacks.1 “Stay the course” drew from a history of political spin on the part of subsequent evolution (or rather, dissipation) throughout the Cold War period. It was a presidents and government leaders, as documented by William Safire, a New York passion project, a stew of subjects and temporalities, though it did reflect an ongoing Times writer and author of The Political Dictionary, first published in 1968, revised in commitment to my postgraduate research into the Frankfurt School and the thinking 1993, at which point it included the following entry: and writing of Herbert Marcuse. I became a Marcuse junkie, recognizing in his early writing a coherent mapping of the postwar American industrial and political complex STAY THE COURSE – Persist in an action or policy; remain with a plan despite that had steadily worked itself into a global construction—one socially engineered to criticism or setbacks. This phrase, perhaps based on a sailing metaphor of steer individual instincts and desires through its advancement as what Wendy Brown keeping an unchanged course in navigation, was popularized during the 1980 has referred to as “stealth neoliberalism.”5 Presidential campaign. Republicans have helped to popularize the expression. During 1982, according to the Washington Post, Ronald Reagan “visited 14 Emily and I bonded over ideas we were committed to exploring and sharing, but our states in 10 days of campaigning since Labor Day, carrying his ‘stay the course’ alignment as friends held something more than a research thread to unravel. We had message.”2 a penchant for learning the history of the left as it had constituted a sphere wherein intellectuals, artists, writers, and beings sought to connect inner life with ideological Rockridge’s Lakoff observed that Bush used this “stay the course” metaphor when constructs in a meaningful way. There was no better author to express this than Vivian delivering the speech in Autumn 2002 that announced his authorization of the war Gornick, who published The Romance of American Communism in 1977, regarding against Iraq for the purpose of overthrowing Saddam Hussein and laid out the plan “the relationship between ideology and the individual, showing clearly how the universal for the U.S. to occupy Iraq for years to come, without articulating a clear strategy or hunger for a large life is inscribed in the relationship—and how destructive of that a rationale as to why such an invasion was warranted. Bush continued to repeat the hunger it is when ideology is overtaken by dogma.”6 Gornick maintained that socialism phrase throughout his presidency, spurring citizens’ emotions to remain steadfast allowed for organic connectedness in relationships, and that it was Marx whose “moral in support of the occupation of Iraq. Lakoff argued that “to stay the course, given the authority gave shape and substance to an abstraction, thereby making of it a powerful obvious reality, (was) to get deeper into the disaster of Iraq, while not staying the course human experience.”7 She described the foundation of this consciousness: (was) to abandon one’s moral authority as a conservative.”3 The political rhetoric of “staying the course” conveyed the moral authority assumed by the State as of 9/11 There are few things in life to equal the power of experiencing oneself. under the guise of protecting national security, asking citizens to adhere to status quo Rousseau said there is nothing in life but the experiencing of oneself. Gorky while veiling ulterior motives for the occupation. The philosopher Giorgio Agamben said he loved his friends because in their presence he felt himself. “How

4 5 important it is,” he wrote, “how glorious it is—to feel oneself!” Indeed, how libidinally, burrowing into our biological foundations. Counter-Revolution and Revolt impossible it is not to love ardently those people, that atmosphere, those (1972) was among his last attempts to warn that the Establishment was now militantly events and ideas in whose presence one feels the life within oneself stirring. equipped to identify and squash dissent more effectively than ever before—that “the How impossible, in fact, not to feel passionately in the presence of such Western world has reached a new stage of development: now, the defense of the stirrings. For the people among whom I grew, this intensity of feeling was capitalist system requires the organization of counterrevolution at home and abroad.”11 transmitted through Marxism as interpreted by the Communist Party.8 In its zeal to prevent any force that would threaten its expansion, capitalism, after 1968, “reorganized itself to meet the threat of revolution,” and, in so doing, it “opened Gornick recognized that the experience of oneself as “an idea of self beyond self a new dimension, which is at one and the same time the living space of capitalism and through that which composes the shared, irreducible self” made the difference its negation.”12 By systematically organizing what he referred to as consumer society, between being constituted in the world and constituting the world one lives in. Norman capitalism would be propelled by consumers to protect the values and motivations of Brown, in Life Against Death, and Herbert Marcuse, initially with Eros and Civilization capitalism itself for the supposed good of society. Marcuse noted the necessity for and One Dimensional Man, and later through the urgent publication of his pamphlets, political education so that we could understand the conceptual underpinnings of the which were distributed widely and cheaply to students (“An Essay on Liberation” in capitalist machinery and its structural development. 1969, followed by “Counter Revolution and Revolt” in 1972), also spoke about the experience Gornick would later convey in her series of individual testimonies. “Essay Marcuse’s idea of socialism was as a qualitatively different totality, concerning on Liberation” was Marcuse’s wake-up call to recognize that “the growing opposition qualitative happiness within a moral and aesthetic universe—an aspiration that he to the global dominion of corporate capitalism is confronted by the sustained power recognized as part of a “revolutionary consciousness” that capitalism could no longer of this dominion: its neoclassical empire, and most important, its unshaken capacity tolerate. By embedding the purported values of the left, capitalism could achieve to subject the majority of the indulging population to its overwhelming productivity suppression of that revolutionary consciousness. Marcuse closed Counter-Revolution and fate.”9 Through a Freudian revision, Marcuse maintained that the Establishment and Revolt by referencing Bertolt Brecht, who noted that “we live at a time where it cultivates in us a biological need to be linked to capitalism in that we become “tied seems a crime to talk about a tree,” adding that, “today, it seems a crime merely to talk libidinally and aggressively to the commodity form—toward the need for possessing, about change while one’s society is transformed into an institution of violence.” And yet, consuming, handling, and constantly renewing the gadgets, devices, instruments, Marcuse insisted that, despite forces aligned to quell dissent, “there is a time for talk engines, offered to and imposed upon the people, for using these wares even at and a time for action also in this system, and these times are defined (marked) by the the danger of one’s own destruction.”10 In this way, individuals succumb to the concrete social constellation of forces.” He called on a young generation “not to drop “performance principle” which subordinates all life-affirming energies to the demands of out and not to accommodate, but to learn how to regroup after defeat, how to develop, work, precluding any will to withdraw from this subordination. with the new sensibility a new rationality, to sustain the long process of education – the indispensable prerequisite to large-scale political action.”13 Wardill’s research around political rhetoric was also rooted in Marcuse’s plea for a “new sensibility”—one that would take the form of linguistic therapy to help us become Wardill may not have imbibed the same Marcusian grape juice that I have, but she conscious of the political linguistics that serve as the armor for the Establishment. has reckoned with the fact that, as an artist, she enables herself to “think about things Marcuse recognized that corporate capitalism and the conservative political realm like moving image and narrative socially, critically, politically, philosophically, and sustaining its values and functions required the systematic manipulation of language. historically and step outside of a line of inevitability. If you think about the way that He foresaw that the right would effectively co-opt subversive language to feign the internet developed—in that it started with intentions to democratize information sympathy, dissolve dissent, and sustain the status quo. and sidestep established power systems—and how over time, those ideals became mythologies that were used to sell a technology that gathers our data and makes us Marcuse may have been considered the father of the hippie generation, but he addicted to screens, there are some parallels with industrial cinema, and approaching it did not own up to the title, for the hippies represented to him merely a fashionable from another angle is a way to reappropriate a powerful tool for people who are alive.”14 façade without the structural gumption to enact change. He understood that, by the In this way, she speaks to art as an education. early 1970s, the dominion of the corporate had been concretized under the Nixon administration, and he presumed the militant sophistication with which any possible Marcuse passed in 1979. While his texts foretold of the normative and repressive cultural or student insurrection would be foiled by the system’s ability to integrate itself nature of neoliberalism amid a regressive political economy, he could not have

6 7 foreseen the extent to which mass communications would evolve. He had formulated THE PENCHANT FOR CONSPIRACY, 2018 the rooting of corporate capitalism into our biological instincts, and indeed corporations have succeeded in hacking our private profiles of desires and habits, but Following Stormy Daniels’s highly publicized interview he did not anticipate the degree to which we would offer ourselves up voluntarily and on 60 Minutes in Spring 2018, which was watched by publicly. He did not foresee something so incredible as the internet and the ways that 25 million people, unsubstantiated reports circulated it would soon empower a Cambridge Analytica, or the machinations of a Roger Stone around the subject of her eyes—specifically around and a Steve Bannon, or give rise to an anonymous army of trolls and hackers extolling the fact that her pupils were dilated. Claims ranged incoherent ideologies that nevertheless overlap in their hatred of women, immigrants, from her being under the influence of the stimulant people of color, religious minorities, and LBGTQ communities, while declaiming Adderall to possibly experiencing a physiological attraction toward her openly gay nihilistic strategies, torrid conspiracies, and viral memes. interviewer, Anderson Cooper, reminding us that any resolute woman will be met with caustic pushback. In this case, the woman is a successful entrepreneur and actor in the adult film industry. And despite our long walk down a historical plank extending from the Salem witch trials, through the Comstock Act of 1873, the mid-century censorship debates, and President Johnson’s Commissioned Report on Obscenity and Pornography, which concluded that pornography is largely harmless, Stormy is still judged according to pre-1970 obscenity standards half a century later. But in the interview, she represents neither sexual radicalism nor phantasmic otherness. Rather, she is a sedate straight-shooter who defies the Bartleby fifth (I would prefer not to, because I don’t dare to). Poised, and conveying a palpable indifference (subtext:you’ve got to be fucking kidding me), Daniels’s message, in essence, is that it is one thing to engage in consensual sex and to be hushed up about it by a male power structure in the private sector, but it is an altogether different thing to be stymied by a State that NOTES adopts gangster-like strategies, legal intimidation, financial penalties, and defamation in the name of an individual ruler. Stormy is both an image and a subject, not of moral

1 George Lakoff, “Staying the Course 8 Ibid., pp. 8-9. decrepitude or naïveté, but of the unlikely reconciliation of action and fantasy. Naturally,

Right Over a Cliff,”Opinion in The 9 Herbert Marcuse, An Essay on trolls attempted to crop her image, to reduce her impenetrable strength to the pupil of a New York Times, October 27, 2006. Liberation, Boston: Beacon Press, floozy non grata.

2 William Safire,Safire’s Political 1969, p. vii.

Dictionary, Oxford: Oxford 10 Marcuse, An Essay on Liberation, p. Rainer Werner Fassbinder’s 1971 filmBeware of a Holy Whore comes to mind for more University Press, 1993, pp. 702-703. 11. than its title, alone. On the surface, it is about sex and money, but at its core, it concerns

3 Lakoff, ibid. 11 Herbert Marcuse, Counter- the failure of any group, any collective to form—whether utopic, creative, bureaucratic,

4 Read Giorgio Agamben, State of Revolution and Revolt, Boston: or otherwise. “Human beings can’t be alone but they can’t be together either,” noted Exception, Chicago: The University Beacon Press, 1972, p. 1. Fassbinder, who explored the problem through scenes literally crammed with people—

of Chicago Press, 2005. 12 Marcuse, Counter-Revolution and in apartments, hotel lobbies, and various other rooms—who, upon trying to escape, are

5 Read Wendy Brown, Revolt, p. 1 and p. 19. inevitably restrained—by money, by racism, by marriage, by their addictions to toxic

Neoliberalism’s Stealth Revolution, 13 Ibid., p. 134. co-dependencies. Beware of a Holy Whore further addresses the predictable failure of

New York: Zone Books, 2015. 14 According to interview between any patriarchal system as it inevitably fumbles toward structural chaos, lethargy, and

6 Vivian Gornick, The Romance of Emily Wardill and Myles Frances dysfunctional (if hyper-normative) sexual behaviors and perversions. Fassbinder’s American Communism, London: Browne in Umbigo Magazine #72, main character, a film director ring-leader, succeeds in nothing but ordering people— Verso, 1977, xviii. 63, https://umbigomagazine.com/ more specifically, women actors—around. In his abusive and self-abasing behavior,

7 Gornick, The Romance of en/blog/2020/05/25/5-sugestoes- he is unable to produce a scene. So, out of a desperation to dominate, he resorts to American Communism, p. 9. culturais-emily-wardill/ screaming out commands, instead producing himself as a spectacle, devoid of fantasy,

8 9 desire, and the capacity to generate meaning. He shouts: “I want an incredibly long, Respectfully, Stormy’s eye may be laid upon another eye of virtue and suspicion—a slow shot through two rooms wherein two brutal murders take place! If we make it fragment cut away from a photographic image bound by what Andre Bazin described as quick and snappy, chop, chop, and use fast editing afterwards, the audience will never “embalming time and embalmed by time.” Lee Miller—her eye, her gaze, her fabulous face get the feeling the murders ever took place!” We should keep in mind that Fassbinder’s and other parts of her body—was cast as resonant emblem in the poetic practice of the film was produced during the golden age of pornography, when “adult” movies typically Surrealists and their bid to complicate the relationship to the unconscious of the social displayed carnal pleasure via action shots without complex dialogue or narrative. In his and political reality of their time. By instrumentalizing the female figure, Surrealists Man satire, Fassbinder emphasizes a society built from leaderless group dynamics, lacking Ray and Andre Breton eroticized violence through the figure of the ruined, fragmented in understanding, culminating in decadence. He concludes the film with a quote from woman as a supposed metaphor for the embodiment of revolutionary ideology, but they Thomas Mann: “And I say to you that I am weary to death of depicting humanity without failed to align with any purported form of feminism. Ray bound and chained mannequins partaking in humanity.” and women’s torsos interchangeably. But for Ray, Miller was different. He went so far as to “enliven” his object of photographic study by casting her in a brazen Kotex Stormy stands by her right to be a critical subject, advertisement so that she might stand idly by in an evening gown, warning women not to evaporate into the stereotype of her labor. She that, “many a perfect evening has been ruined because of certain outstanding flaws in refuses to be dissolved by what Andrea Dworkin grooming….no need for unhappy self-consciousness!” As Germaine Greer wrote in The describes as “the sexual colonization of women’s Female Eunuch, menstruation had been “used a good deal in argument about women’s bodies as a material reality through institutions fitness to undertake certain jobs.”4 By placing Miller in the ad and thereby making her the of control such as law, marriage, prostitution, first model for menstrual hygiene, Ray presented himself as a heroic and radical ad man, pornography, health care, the economy, organized breaking the social taboo of the curse by activating a woman as social accoutrement, religion, and systemized aggression against one without embarrassment, but equally empty of happiness or consciousness. women.”1 She remains durational and constitutively distributive—a materially and bodily embedded Miller was a consensual partner until she wasn’t. And when she finally left Ray, he virtuality with an infinite amount of possible dredged his archive of dis-assemblages in a project of revenge to transform what he visualizations. She is expanded by temporal and had once categorized Indestructible Object, 1923, into Object to be Destroyed, 1932, spatial proportions to invoke historical concepts accompanied by explicit instructions: “Cut the eye from a photograph of one who has of the infinitude of self—those aligned to the early been loved but is seen no more. Attach the eye to a pendulum of a metronome and German Romantic tradition, which upheld a notion regulate the weight to suit the tempo desired. Keep going to the limit of endurance. of the image beyond artistic or visual qualification With a hammer well aimed, try to destroy it at a single blow.” Miller eventually and the inifinitude ofI , toward a literary concept responded to Ray’s act of violence with her Portrait of Space, a work she realized in of the image as process, as mediation, tearing away from the figure and annihilating 1937 by reclaiming her “eye” in the context of her own perspective. Her object-subject form. Although Stormy as a media construction also recalls Joan Riviere’s pivotal shift attested to her empowered vision and the essay “Womanliness as a Masquerade”—a vivid imagining of castration anxiety that inauguration of an independent art practice, but examines a type of fraudulent femininity that, while not overtly homosexual, was not fully this is the subject of another essay altogether. heterosexual, either.2 Written in 1929, Riviere’s essay helps to locate Stormy somewhere between that time and the media-defined moment of now, between pioneering women #StormyDanielsWithDilatedPupils (like #beckywith- who made strides to liberate themselves sexually and to control their bodies in relation good-hair) is visual-informational rumor as image to procreation (until they were defeated, oddly enough, by psychoanalysis, the film located in a post-pornographic world, at a time industry, and war), and the cyborgs that Donna Haraway addresses in her 1983 “A when that category had already been made Cyborg Manifesto” as those who explored how technology could be used to hack the obsolete. And yet Stormy provokes a necessary codes of patriarchy.3 Stormy represents a final effort at emancipation before a totally conversation, one to be had by the social regressive internet-driven communications era in which criticality amounts to pillaging movement of #MeToo, in its acknowledgement the graveyard of normies on Reddit and something like love or friendship can be solved of ageism. Perpetrators aren’t only those who by downloading a Replika app for a relationship that evolves like a mirror. don dicks behind white robes in Beverly Hills

10 11 hotels. Intimidation, harassment, and violence in the workplace manifest in many forms TO INHABIT A WITCH, 2020 confronting women, including those who have achieved real power, who are likely to be closer in age to what society unfairly deems the non-sexual stage. Stormy prompts In late March, as thousands fell ill and were already dying from a global pandemic, us to review what we may still have to learn from the feminist liberation movements of millions began to shelter against something as invisible as radiation. Airplanes the 1960s and 1970s. What did we forego in overlooking Joan Riviere’s “Womanliness stood idle on tarmacs in an indefinite lockdown as New York City appeared still and as a Masquerade,” or Linda Williams’s “When Women Look,” or, more recently, Isabelle vacated. I, like so many others, entered a several-months-long period of self-isolation. Stengers and Vinciane Despret’s Women Who Make a Fuss, in which the authors write, Accompanied by Eik, a wire-haired dachshund who doubles as emotional baggage, “the very strength of women who make a fuss is to not represent the True, rather to be our day-long dog walks and my day-into-night laptop meetings soon constituted a new witnesses for the possibility of other ways of doing what would perhaps be ‘better.’” monotony called work at home. I yearned for a hobby. R.H. Quaytman, a painter living The fuss is not a heroic statement of a grand cause down the road, suggested that I begin to draw—rather, that I begin to copy famous for which sacrifice would be de rigueur; it is instead drawings. With no prior lessons in draftsmanship, I opted for the few images among affirmation of the need to resist the stifling sense of those I had been haunted by for some time that I supposed would be easiest to render. there being “no possibility to do otherwise, whether I referenced Witches and Old Women, a catalogue of Goya’s drawings within Album we want it or not,” which now reigns everywhere.5 D, composed toward the end of the artist’s life.1 Witchcraft had always been a part of The real story is not the spanking of Donnie Senior Goya’s visual and symbolic language, perhaps with recognition of the historical fact with a magazine that boasts his portrait on its cover— that witches were people who had been marginalized, persecuted, exiled, and tortured although the facts do provide for a pretty mundane throughout Western Europe. The worst of the witch trials took place in the 17th century psychoanalytic read. Instead, the essence of the story in the Basque region, with nearly 7000 women put on trial for witchcraft. They were emits from the image of Stormy hooked up to a lie primarily gypsies, women considered to be oracles and consulted as fortune tellers. detector, answering questions about a consensual act The witches and old women drawn by Goya during his late period, however, seem of sex, transformed “quick and snappy, chop, chop” into ambiguous with respect to gender. They are hybrid priest/witch figures who convey historical evidence to be destroyed, and the coercion both knowledge and folly. intended to render her silent. Locura (Madness), c. 1819-23 was the first image I selected to copy. It is one of the only NOTES drawings in which Goya addresses lunacy directly. The title is Mad/ness and as such refers to a psychological state, rather than a person. Locura struck me as haunted and

1 See Andrea Dworkin, “Whores” 4 Germaine Greer, The Female prophetic, and I trusted those were the aspects that would be important to make visible. in: Last Days at Hot Slit: The Eunuch, New York: Farrar, Though I put forth my best effort to redraw the figure with my clumsy, uneducated hand, Radical Feminism of Andrea Straus and Giroux, 1970, p. 59. my charcoal lines conveyed my ragged hesitance. Rebecca Quaytman corrected my

Dworkin, South Pasadena: 5 Isabelle Stengers & Vinciane technique—“Dip the brush in water and smudge out the charcoal to create the shadows semiotext(e), 2019, p. 150. Despret, Women Who Make a Fuss, and the folds—follow what Goya does!” Using the brush to produce undertones and

2 Read Joan Riviere, “Womanliness Minneapolis: Univocal, 2014, p. 163. shadows helped free my hand from its paralytic grasp of the charcoal, better enabling as Masquerade,” in: The me to feel something rather than to draw it. International Journal of Psychoanalysis, vol. 10 (1929). As I continued copying Goya’s witches into the second week of the lockdown, capitalism

3 Read Donna Haraway, “A Cyborg appeared to enter a death spiral. I was reminded of yet another book written by Isabelle Manifesto: Science, Technology Stengers, this one with Phillippe Pignarre, called Capitalist Sorcery: Breaking the and Socialist Feminism in the Spell, and I sought it out to re-read: “There is something decidedly maleficent about Late Twentieth Century,” in: capitalism, with the bourgeoisie as ‘the sorcerer,’ who is no longer able to control the Simians, Cyborgs and Women: powers of the netherworld whom he has called up by his spell. Marx’s understanding The Reinvention of Nature, of capitalism had a Faustian air about it.”2 Marxism rendered as Faustian air. I returned New York: Routledge, 1991. to Goya’s late work—his Pinturas negras (1819-1823), noted by the historian Robert

12 13 Hughes as “freakish, vivid precursors of modernity.”3 The frescos were originally from one another, so that our work might effect political change. Meanwhile, our actions painted onto the walls of his farm house near Madrid when Goya was 73, after a life are characterized as cunning, and our ability to bring forth the changes we intend is spent as a court painter. He must have put them there with the understanding of his attributed to the supernatural. being free of the artist’s usual entanglement of commissioners and patrons, free to unravel whatever he felt, an experienced old man, having recently witnessed the This is the common struggle of all women, whatever their male-defined long Napoleonic Wars and the internal turmoil of the Spanish government. The Black ideological origins; and this struggle alone has the power to transform women Paintings were Goya’s autonomous and private representation of chaos, demonic who are enemies against one another into allies fighting for individual and trysts, and unmitigated male aggression, with witches congregated in clusters or collective survival that is not based on self-loathing, fear, and humiliation, but dissolving into the landscape, as in the atmospheric ectoplasm ominously hovering instead on self-determination, dignity, and authentic integrity.6 over La Quinta del Sordo or Duel with Cudgels (1820-1823). In this sense, the works are not merely the expression of an old man’s dismay over a recent transgression against —Andrea Dworkin humanity, nor over his complicity in serving as the portraitist to those in the very seats of power that had carried out that transgression. The works are foreboding—they are a forecast. Goya’s rendering of those witches who had so preoccupied him, their dissolving into air within his paintings, evokes what Stengers and Pignarre describe as a setting or a performative act: “To call oneself a witch was to learn to present oneself in a mode to reclaim the heritage of the defeated…to affirm that one was neo-pagan was to recall (pagan signifies peasant first of all) that it was peasant communities, as well as witches, that were destroyed, those whose existence depended on the commons of which they were expropriated. Neo-pagan witches cultivate the heritage of the techniques of non-violent action in a mode that combines resisting capture and learning to give thanks.” The artist’s witches autonomously perform the force of their spells and lamentations, obliging the viewer to think/feel/act in a craft of transformation.4 They exhibit resistance.

During these same weeks, Emily reached out after some years to reconnect and AUTHOR’S ATTEMPTED COPY OF GOYA’S to describe her recent project—a film centered around interviews with Isabel do LOCURA (MADNESS), 2020 Carmo, who, in the mid-1970s, at the age of 35, had become one of the most militant and extreme leftists in Portugal as a member of the Revolutionary Brigades fighting NOTES against Estado Novo, a fascist regime developed by Antonio de Oliviera Salazar. In an interview with the New York Times from the period of her activism, do Carmo distanced 1 See Goya: The Witches and 4 Pignarre and Stengers, Capitalist herself from former revolutionary models offered by male predecessors who were Old Women Album, London: Sorcery: Breaking the Spell, working within the terms of Marxism and communism, claiming instead that “to be a The Courtauld Gallery in pp. 135-137. real revolutionary, you have always to create new theories and techniques according association with Paul Hoberton 5 Flora Lewis, “Portugal’s Most to the reality as you find it.”5 Isabel do Carmo, who is now 79, is not a witch, rather an Publishing, 2015. Militant Leftist Party, Led by a endocrinologist; she once had set out to reclaim what had been abducted, as Stengers 2 Phillippe Pignarre and Isabelle Woman, Seeks Victory With writes, and to oblige change. In this, although Carmo did not cast a spell, she created a Stengers, Capitalist Sorcery: Violence,” The New York Times, new frame for imagining transformative action, which may amount to the same thing. Breaking the Spell, Paris: October 14, 1975, p. 12.

In the ongoing derision of female lives, we are often relegated to witches, bitches, and La Decouverte, 2005, p. xii. 6 Dworkin, “The Promise of the whores, with the implication that we may perform merely transactional roles, rather 3 Robert Hughes, GOYA, New York: Ultra-Right” in: Last Days at than transformational ones. As we remain stuck in-between an artistic dimension and Alfred A. Knopf, 2006, p. 379. Hot Slit: The Radical Feminism a political dimension, we necessarily keep an ear to the ground for how we might learn of Andrea Dworkin, p. 195.

14 15 THE LIFE OF PSEUDO PROBLEMS. being forced to mimetically approximate modern man’s humanization as I, while being “The I is unsalvageable.”1 disidentified with it by the “social death”12 of their racialization. Here we find a radical empiricism that is not (only) directed against the self-inhibitions of modern humanity’s By Kerstin Stakemeier metaphysical exaltation and isolation, but a radical empiricism that firstly registers this humanization’s disparaging implications for all life abased and dedifferentiated This sentence was formulated in Prague before 1886. The hand that wrote it belonged by its (racialized) distinction (from it). Seen from here, Mach’s laconic statement, “the to the physicist, philosopher, and (proto) neuroscientist Ernst Mach. He did not draft I is unsalvageable,” gains an urgency that, once registered, has to inevitably start it to scandalize his readers. The gesture Mach made in the “Introductory Remarks: permeating all other utterances, all other speech, all other thought, every formulation Antimetaphysical” to his book The Analysis of Sensations and the Relation of the prepared to individuate itself not (only) by mere complicity. And because the radical Physical to the Psychical 2 was rather one of stating the obvious. The I really was empiricisms of anticolonial origin testify to an ontological destabilization not (only) (and it still is) unsalvageable. Not because it has to serve as the sacrificial toll of a by conviction but by ontology itself, I will try to understand it as connected with the bigger cause, but because Mach demonstrates the corrosive role it plays within the antimodernists mentioned before: This is to test the latter’s (and with their, also modernization of human experience. As he sees it, all the my own) ability to unlearn the I, to anticipate the horizon of what Mach (somewhat tentatively) titled a “cosmic psychology”13 – a psychology that evolves once the I finds “contents of consciousness that bear a general meaning break through itself in what appertains to it – a state of being unbuilt. … [the] barriers of the individual and lead, certainly again attached to individuals, a general unpersonal and suprapersonal life, independent In 1895, a decade after he had published the prefatorily quoted lines in what became from the person via whom they have developed.”3 his most widely read book, Mach held his inaugural lecture as professor of philosophy at the University of Vienna. In it, he coined a new term, one that registered that this And indeed, if such socializations of the contents of consciousness were to take vital shift was still long in the coming. Mach spoke about what he framed as “pseudo the lead over the fleeting authorships of their initial formulation, the I would start problems,”14 “assumptions uncontrollable by experience,”15 which remained only to present itself as a kind of nostalgic mannerism. A lever that helped man (sic!) to perspectivally resolvable. Mach’s extensive work on sensory physiology, sensitivity become (questionably) modern, but that overstayed its welcome, instituting this man thresholds in sound waves, and optical illusions serve up endless series of such as the so very modern impediment of all life. Almost one hundred and forty years “pseudo problems” to the epistemic prioritization of the I, which finds itself repeatedly later, one cannot help but notice that what is scandalous is that this unsalvageable compromised in their perception. Mach insists on the inhibition of what he calls sensible I is still with us today. Moments to rid earthly life from this colonial and imperial “findings”16 by the metaphysical stabilization of the I, as for him “self-knowledge consists self-institutionalization of modern subjecthood have come and gone since Mach in the sum of (interrelated) … elements in which the findings are discernable.”17 These wrote these lines. At no point in our history since has there been a shortage of “elements,” the empirical units of sensory experience, are the combinatory matter of attempts to rid humanity of it. Some of those will return later in this text, but what feels forms of individuation in which the prioritization of individually authored experiences necessary to register already here, is that these infectives against modern man are over suprapersonal findings is rendered nonsensically. In other words: not associated primarily by scientific kinship. Rather, what binds them together is their uncompromising engagement with a radical empiricism prepared to destabilize the “It is not the bodies that produce sensations, but elementary complexes very grounds of its own ontological situatedness. In this sense one could see Ernst (sensory complexes) that form the bodies. ... The colours, sounds, spaces, Mach connected by conviction with proponents of anti-modern materialism, aesthetic times, ... are for us for the time being the last elements whose given context theory, psychoanalysis, and philosophy, in the 1910s, 20s, and 30s, like Alexander will have to be explored. ... In this research we cannot let ourselves get bogged Bogdanov,4 Carl Einstein,5 Bohuslav Brouk,6 or Oscar Goldberg,7 the first two of which down by the subsumptions and demarcations (body, ego, matter, spirit ...) that built explicitly on Mach’s work. But standing by the unsalvageability of the I within are formed for us for the special practical temporary limited purposes.”18 the horizon of its prolonged insufferability within the anticolonial and anti-imperialist struggles it necessitated, one might try to turn Mach into the (less likely) ally of The I ultimately hinders the development of all forms of individuation unwilling or another anti-modernity: Reading him vis-à-vis the interventions of poets, psychiatrists, banned from instituting themselves as perpetual reassurances of modern man(hood). dramatists, and theoreticians like Aimée Césaire,8 Frantz Fanon,9 or Sylvia Wynter.10 All the latter wrote and write about what Wynter has termed “being hybridly human”:11

16 17 Not only the devastating brutalisms that characterize the juridical, scientific, and modern subjectivity, its completion into what George Canguilhem would have called metaphysical institutionalization of the I, but also its experiential untenability, its a “pathology,”21 equals its death. Maybe this creates the sense that Wardill’s characters sensory contestations, guide this text. And my attempt to tentatively measure the are fictional: because the meticulous observations of their very real circumstances implications for rethinking a radical empiricism today were generated by the work of forces them out of the possibility to be represented within the frame of a filmic Emily Wardill. Over the years Wardill’s films staged wide-ranging forms of individuation naturalism that is romantically, or even melodramatically, centered around their I. In whose sense of continuity always appeared to be contested – forms in which “the Wardill’s sensory fictionings, the I is unsalvageable; it presents itself as deadly. The ego is as impermanent as the body”; making graspable that, as Mach observes, “what figures that live are full of “pseudo problems” – perpetually unsatisfiable fictional I’s we fear so much in death, the destruction of permanence, already occurs in life in that can never rise into being immortalized as either the narration’s tragic hero(ine) of abundance.”19 Wardill’s narrations navigate situations entirely marked out by the isolation, or dissolve into a cosmically psychophysiological experience of connectivity. hierarchical brutalisms and strictures of their social, cultural, and political genesis, Wardill makes her subjects bear every single frame, one after the other, caught within situations in which the I’s unsalvageability and its continued existence collide and an I that is unsalvageable. But, just as in Mach, this is not primarily the scenery of a together form a life. Her narrations take up pseudo problems for their existential perpetual devastation, but rather a filmic lineage of openings insisting on the sensibility pull – a pull, a sensory pull, that renders these lives often if not always as very of our suprapersonal and impersonal lives, with the I as a marker of their inadequate unmelodramatically impossible. For one, Wardill’s characters constantly compete embodiment. The fictional precision of what I perceive as Wardill’s very own radical over the filmic space with the sensory matter surrounding them: architectures, empiricism thus lies not least in her consequential de-synthesization of all sensory landscapes, cityscapes are backdrops where the characters master the scenery only habituations. Language appears as written, as typography, as spoken, as intonated, as for brief moments. But often they don’t and we see the figures being taken over by sound. Sound appears as a character, as rhythm, as barrier, as temporalization. Imagery it. The materials that shape our senses push to the fore demonstrating the perpetual is broken down into panoramas, into blackouts, into static frames, into blinding blurs. inadequacy of our senses’ dealings with them. There seems to be no soothing And, like the architectures, the landscapes and cityscapes, all attributes, sceneries, horizon of anticipated permanence guiding Wardill’s narrations: because of their attires, and occupations enter the frames individually. None seems ever to have perpetual presence, Wardill’s characters appear never to be able to reach into the been added as a detail to complete a prefigured whole; the fore-, the middle-, and future, but instead they remain entangled in their present, irreparably transgressed the background are always in flux. “Sensory complexes” form Wardill’s filmic figures, by an unresolvable and suprapersonal past. This distinguishes them not only from figures that never “get bogged down by the subsumptions and demarcations (body, the tragedy-ridden romantic narrations of modern man’s alienation and his failed ego, matter, spirit ...).” She lets them sense instead of letting them evolve. futures, but also from more like-minded scenarios of a perpetually unsalvageable I: The melodramatic figures in Rainer Werner Fassbinder’s films resemble Wardill’s Mach himself is sensing from the inside out.22 He regularly offers up sceneries in characters in that their enforced impermanence is never only personally tragic, but which the posteriority of his own perceptive I serves as a referent: Admitting his poor always also impersonally so. But Fassbinder’s unheroic lives die of the incoherence understanding of Richard Avenarius’s theories despite their proximities to his own, with which their cultural misconception forces them into their individual unrealization. he asks a colleague (who he goes on to quote at length) to explain their relation to his The futures they can project for themselves are purely fictional within the insufferably readers for him, and concedes that “it’s a lot to ask of an older person that he should modern present that relentlessly transgresses them, and thus they die at the very not only learn the many languages of the people, but also that of one individual.”23 moment in the narration where their contested present confronts itself with its full Avenarius remains sensorily incomplete to him. Mach understands himself as a specific impermanence, with the impossibility of prolonging this I into an anticipatable future. constellation of intersecting “unpersonal and suprapersonal,” sensations of which But social, cultural, political, and individual forms in Wardill’s work return as imminently his I can offer but a limited expression. Speaking in aesthetic terms one might say that undiscernible within each of her figures: the bodies are transgressed by a past that Mach, just like Wardill, stages something like an inverted expressionism: one in which is not firstly dramatized as being subjectively unresolvable, but presents itself as an indefinite expressivity of sensations is met by an I that limits their perceptabilities being suprapersonal and impersonal, manifesting as such in the individuals not via an and receptions to his mere self-recognition in them. In Wardill’s films this makes all “unhappy consciousness,”20 but by their suprapersonal re-individuation. They do not elements rush to the fore indiscriminately; their prioritization is newly assembled in have to die physically because every now and then they dissolve, their psychophysical each scene, the permanence of the I among them contested in every scene anew. constitution changes gears only to refigure as an altered “sensory complex.” And, they In making the I expandable Mach’s processes of individuation equally proceed by do have to die physically where this is impossible, where their sense and their senses experiential (re)alignment. And he goes so far as to spell out the political implications stabilize into completion, into an I. In Wardill’s narrations the self-stabilization of a of limiting one’s “findings” to the I, of living as a “biological side piece of the infamous

18 19 physical ‘Perpetuum mobile.’” Its political form is the “statesmen … who see the state of labor. Published in three volumes from 1904 to 1906 and famed by Lenin’s subsequent as an end in itself.”24 The I is a perpetuum mobile, the psychological formulation campaign against its heterodox materialism,29 Bogdanov’s early treatise attempted of “a biological sidepiece” shaping the self-fulfilling property of a life reduced to the to rid Mach’s radical empiricism from its self-perceived neutrality and open up its sensory stabilization of its modern functionability. A sensory stabilization grounded in “pseudo problems” as the grounds of political agitation. Exactly what had repelled that science called biology that helped in constituting the lives of those colonized as Henri Bergson from Mach a few decades earlier,30 the latter’s (however) conflicted “hybridly human,” as unperpetual by racialization. engagement with “psychophysical parallelism,”31 in Bogdanov’s reading prefigured a sense of metabolistic human communality beyond the capitalizing modernism of The “biological sidepiece” is identified by its Whiteness: the statesmen, the scientists, the I. Where Bergson’s prioritization of an assumed “élan vital” reinvigorated life’s the artists, the industrialists, the father, the mother, the child … In Wardill’s films modern biologization,32 Bogdanov took on Mach’s “psychophysical parallelism” as the these sidepieces have no place. This is not their world. They would be rendered methodological assumption of a yet (necessarily) incomplete homology. He argues indistinguishable from their backdrops; they would fall into the scenery unseen. that “psychoenergetics first of all creates a realcognitive parallelism between life as Wardill’s humanity is never perpetual. a complex of experiences and the reflection of life in socially-organised experience … No room remains here for any kind of dualism. This,” he concludes, “is the point of And in such views into the social and political constrictions of his contemporary view of empiriomonism.” 33 Where Mach abstains from directing his thinking towards reality, Mach’s “pseudo problems” also mark his reservations vis-à-vis their sensory the possible completion of a fully achieved “psychophysical parallelism,” Bogdanov harmonization, the premature dissolution of his antagonistic empiricism into an envisions it within the horizon of what he in his political writings proposes as a practice assumedly accomplished “psychophysical parallelism”25 of all life, which at the time had of “sociomorphism,” in which “social practice… is taken as the model for understanding been proposed by, among others, Wilhelm Wundt and Gustav Carl Fechner (which Mach the world.”34 The “cosmic psychology” of an all-laboring humanity. saw as untimely grasping for a “cosmic psychology”). In Mach’s writings the discussion of analogies, parallelisms, and proportionalities of psychological and physical The inhibition of Fechner’s “cosmic psychology” as much as Bogdanov’s phenomena, and of Fechner’s work specifically, do thus take on a central (and changing) “sociomorphism,” both dealing with a form of individuation that experientially completes function. Mach registers the limits of “psychophysical parallelism” right where he the “psychophysical parallelism,” and forms its personhood within the individually registers its presence. Assuming the prefiguration of a sensuous “psychophysical diverging combinations of the suprapersonal contents of consciousness, is lastly the parallelism” against the senseless “perpetuum mobile” that is modern man. The modern history of the political emancipation and state-sanctioned institutionalization “pseudo problems” in Mach’s experiential empiricism denote the material limits of his of the I. Mach’s sensory physiology, his identification of “pseudo problems,” in the ability to measure psychological and physical phenomena by homological standards: late 19th century, and Wardill’s sceneries of their perpetual and suprapersonal They perpetually demonstrate their experiential dis-identity within the present because transgression of individual bodies in the early 21st century both expose the I of the I blocks their way. The parameters that guide Wardill’s are the perpetual permanent modern man as the primal problem of what Frantz Fanon half a century after Mach crises of measurability that her characters are exposed to: Wardill maneuvers the called “sociogeny.” Situated “beside phylogeny and ontogeny,” writes Fanon, “stands radical empiricism of an unmeasured world of suprapersonal subjectivities. sociogeny,” which, as he adds “is a question of a sociodiagnostic.”35 Fanon here complements Sigmund Freud’s use of the (unsurprisingly biology originated) concepts Those following Mach’s work most directly and committedly, the members of the Vienna of phylogeny (evolutionary origination of species /culture) and ontogeny (origination Circle (and of the affiliated Verein Ernst Mach) regrettably pursued (among other things) of a specific organism / individual)36 with the question of both their binding origination, the positivistic sublation of Mach’s “pseudo problems”26 only a few decades later. But their sociogeny. Fanon cuts right through the inherent evolutionisms of modern it had been the genuinely unresolved character of Mach’s “Empiriocriticism” that epistemology. But his term is not primarily critical. It is principally generative. In the proved to be formative for many other thinkers who read German, Russian, or English words of David Marriott: (as Mach’s major writings were translated into both languages before 1900). At the turn of the century, political, philosophical, and aesthetic incentives trying to envision “Sociogeny, … at least in this initial sense, prior to its generalization as a critique a monistic human praxis that was opposing the capitalized persistence of the lingering of neo-Darwinism, is less a critique of biocentric thought ... than the emergence feudal and colonial past were all but rare. For Alexander Bogdanov, the revolutionary of a ‘new science’ or ‘methodology’ ... that allows us to see the ways in which Marxist, physician, philosopher, and later co-initiator of and organizer in the Proletkult culture-specific codes appear regularly and consistently to us as ‘self-evidently movement,27 Mach’s work served as the template for a revolutionary “Empiriomonism”28 evident to our consciousness.’”37

20 21 These last words Marriott quotes belong to Sylvia Wynter, who worked through the NOTES implications of Fanon’s methodological wager, turning “sociogeny into something 38 more like an empiricism.” So why not understand Mach’s work (counter to his own 1 Ernst Mach, Die Analyse der 6 Bohuslav Brouk, Autosexualismus timely penchant for Darwin) sociogenically?39 Colonialization effectively denaturalizes Empfindungen und das Verhältnis a psychoerotismus, Prague: Edice all life on the far side of modern man – and while Mach wants to salvage an ontogeny des Physischen zum Psychischen, Surrealismu, 1935; and Jindřich that breaks with modern phylogeny, and Wardill navigates phylogenic situations in 7th ed., Jena: Fischer, 1918, p. 30 Štyrský Emilie přichází ke mně which the I makes a life out of demonstrating the acute impossibilities of discerning its (German: “Das ich ist unrettbar.”) ve snu, afterw. Bohuslav Brouk, ontogeny from it, one could say that Fanon demonstrates that it is the masking of their All translations from German by the Prague: Edice 69, 1933; repr., intro. sociogenic association that stabilizes both phylogeny and ontogeny, which forecloses author unless otherwise noted. Karel Srp, afterw. Bohuslav Brouk, 40 the ontogeny of the “counterhumanism” Wynter envisions. Mach’s “pseudo 2 Ibid. Prague: Torst, 2001; in German:

problems” are generative in so far as they install the modern experiential horizon of 3 Mach, Analyse, p. 30 (German: Emilie kommt im Traum zu mir. the unsalvageable I as the sounding board of a perpetually averted liberatory monism: “Bewusstseinsinhalte von Erotische Prosa, eds. and trans. its “pseudo problems” mark this I as the inhibitor of any attempt at an anticolonial allgemeiner Bedeutung Josef Vojvodik, Dominique Fliegler, “cosmic psychology.” The humanity Mach and Wardill respectively envision might be durchbrechen … diese Schranken and André Schömherr, Frankfurt “hybridly human” too: Beyond their identification within a “mimetic model of the Western des Individuums und führen, am Main: Neue Kritik, 1994. 41 bourgeoisie’s liberal monohumanistic Man2.” Mach’s as much as Wardill’s individuals natürlich wieder an Individuen 7 See Bruce Rosenstock, Transfinite find a socialization of their contents of consciousness, the debordering empiricism of gebunden, unabhängig von life: Oskar Goldberg and the vitalist a suprapersonal life. However, there is no “beyond”: their bio-socialization as “Man2” der Person, durch die sie imagination, Bloomington, Indiana: distinguishes them (and me) until this very day very brutally from the “hybridly human” sich entwickelt haben. Ein Indiana University Press, 2017.

subjects of Fanon’s and Wynter’s writings, for whom the mimetic impertinence to allgemeineres unpersönliches, 8 See, for example, Césaire’s “Poetry habitually approximate the “monohumanistic Man2” is complemented firstly not by überpersönliches Leben fort.”) and Knowledge” in: Esileman and

an opening but by the systemic self-degradation of the suprapersonal social death 4 See, for example, Aleksandr Smith (eds.), Aimé Césaire: Lyric implied in their non-identity with him. In Wardill’s films, physical death sometimes Bogdanov, The Philosophy of and Dramatic Poetry, 1946­1982 by appears exactly where racialization is confronted, where radical empiricism registers Living Experience: Popular J.A. Arnold, Charlottesville, Virginia: the I’s deadly exclusivity. With Mach as with Fanon and Wynter: modern man has to Outlines (1913), trans., ed. and Carat Books, 1990.

wither. In Wardill modern man experiences his impertinence via a series of experiential intro David G. Rowley, Amsterdam: 9 See, for example, Frantz Fanon, breakdowns, his senses contest him. Beyond all political heroism Wardill depicts a Brill, 2017; and Alexandr Bogdanov, Black Skin, With Masks, trans. C.L. modern I that relentlessly experiences its prolonged sociogenic insufferability.42 Empiriomonism. Essays in Markham, New York: Grove Press, Philosophy 1-3, ed. and trans. 1962, and Sylvia Wynter, “Towards David G. Rowley, Amsterdam: the Sociogenic Principle: Fanon, Brill, 2020. Identity, the Puzzle of Conscious

5 See, for example, Carl Einstein, Experience, and What It Is Like to “Notizen zum Handbuch der Kunst,” Be a Bat,” in: M.F. Durán Cogan and in: Werke, vol. 4,, Uwe Fleckner Antonio Gómez Moriana, National and Thomas Gaehtgens (eds.), Identities and Socio­political Berlin: Berliner Ausgabe, 1996; and Changes in Latin America, New Carl Einstein, Die Fabrikation der York, London: Routledge, 2001.

Fiktionen: Eine Verteidigung des 10 Sylvia Wynter, “Human Being Wirklichen, Sibylle Penckert (ed.), as Noun? Or Being Human as Reinbek: Rowohlt, 1973. Praxis? Towards the Autopoetic Turn/Overturn: A Manifesto,” unpublished essay, see:

22 23 http://bcrw.barnard.edu/ haben. […] Bei dieser Forschung 26 See Rudolf Carnap, 35 Frantz Fanon, Black Skin White wpcontent/uploads/2015/10/ können wir uns durch die für uns Scheinprobleme in der Philosophie Mask (1952), trans. Richard Philcox, Wynter_TheAutopoeticTurn.pdf besondere praktische temporäre und andere metaphysikkritische New York: Grove Press, 2008, p. 4.

and Sylvia Wynter, Katherine beschränkte Zwecke gebildete Schriften, Thomas Mormann (ed.), 36 See Sigmund Freud, The Wolfman McKittrick, “Unparalleled Zusammenfassungen und Hamburg: Meiner, 2004. and other Cases, London: Penguin

Catastrophe for Our Species? Or, Abgrenzungen [Körper, Ich, Materie, 27 See, among others, Peter Gorsen Books, 2003, p. 112f.

to Give Humanness a Different Geist …] nicht hintern lassen.”) and Eberhard Knödler-Bunte. 37 David Marriott, “Inventions of

Future: Conversations,” in 19 Ibid. p. 14 (“das Ich ist so wenig Proletkult, vols.1&2, Stuttgart-Bad Existence: Sylvia Wynter, Frantz Katherine McKittrick (ed.), Sylvia beständig wie der Körper. Was Cannstatt: Frommann-Holzboog, Fanon, Sociogeny, and ‘the Wynter, On Being Humans as wir am Tode so sehr fürchten, die 1974; and Zenovia A. Sochor, Damned,’” in: CR: The New Praxis, Durham, London: Duke Vernichtung der Beständigkeit, das Revolution and Culture: The Centennial Review, Vol. 11, No. University Press 2015, pp. 9-89. tritt im Leben schon in reichlichem Bogdanov-Lenin Controversy. 3, Rodolphe Gasché’s Discipline

11 Wynter, “Human Being as Noun? Or Maße ein”). Studies of the Harriman Institute, (winter 2011), pp. 45-89, p. 58.

Being Human as Praxis?” p. 36. 20 G.W.F. Hegel, Phänomenologie Ithaca: Cornell University Press, 38 Ibid. p. 59.

12 Orlando Patterson, Slavery des Geistes, in: Werke. vol. 3, Eva 1988. 39 The reliance that Mach expresses

and Social Death, Cambridge: Moldenhauer and Karl Markus 28 Alexander Bogdanov, again and again on Darwinian Cambridge University Press, 1982. Michel (eds.). Frankfurt a.M. 1986, Empiriomonism. Essays in understandings of biology

13 Ernst Mach, Populärwissen- p. 72. Philosophy, Books 1-3, trans. Davod can really be seen as a central

schaftliche Vorlesungen, Vienna: 21 Georges Canguilhem, Das Normale G. Rowley, Leiden: Brill, 2020. problem of this argumentation.

Böhlau, 1987, p. 453. und das Pathologische, Berlin: 29 V. I. Lenin, “Materialism and Methodologically his reliance

14 Ibid. p. xii August Verlag, 2012. Empiriocriticism,” in: Lenin on Darwin is characterized by

15 Quoted in Gottfried Gabriel 22 See, for example, the famous Collected Works, Moscow: analogical thinking only but the “Scheinproblem,” in: Joachim drawing in which Mach tries Progress Publishers, 1972. breaks with this analogy are often

Ritter, Karlfried Gründer (eds.), to visually capture his own 30 The two had exchanged letters. only tentative. See, for example, Historisches Wörterbuch der perception leaving his body. It is See John T. Blackmore, Ernst Ernst Mach, Knowledge and Philosophie Gesamtwerk Vols. 1-13, not only printed in “Die Analyse Mach: His Work, Life, and Influence, Error—Sketches on the Psychology Basel: Schwabe AG, 2007 der Empfindungen” (p.15), but also Berkeley: University of California of Enquiry, trans. T. J. McCormack

16 Gereon Wolters, “Mach I, Mach II, has become the source of multiple Press, 1972. p. 197f. and P. Fouldes, Dordrecht: Reidel

Einstein und die Relativitätstheorie: artistic re-visioning. Like in the 31 See Bogdanov Empiriominism, 35 ff. 1976.

Eine Fälschung und ihre Folgen,” case of Rosemarie Trockel https:// 32 I refer here to the extensive 40 Sylvia Wynter and Katherine de Gruyter: Berlin, 1987, p. 143 www.parkettart.com/archive/33- research on the topic by Ana McKittrick “Unparalleled (German findings). archive-trockel.html Teixeira Pinto in her PhD “Entropy. Catastrophe for our Species? Or,

17 Ibid. 23 Mach, Sensations, p. 54. The Chronopolitical Dimension of to Give Humanness a Different

18 Ernst Mach, Analyse der 24 Mach, Sensations, p. 87. Modernity,” Lüneburg: Leuphana Future: Conversations,” in: Sylvia

Empfindungen, p. 34ff. (“Nicht die 25 See, for example, Michael University, 2020. Wynter. ON BEING HUMAN AS

Körper erzeugen Empfindungen, Heidelberger, “Fechner und Mach 33 Bogdanov, Empiriomonism, p. 96. PRAXIS, Katherine McKittrick

sondern Elementenkomplexe zum Leib-Seele Problem,” in: 34 Boris Arvatov, “Poetische Sprache (ed.), Durham and London: Duke (Empfindungskomplexe) bilden die Materialismus und Spiritualismus: und praktische Sprache”, in: University Press: 2015, p. 11.

Körper. … Die Farben, Töne, Räume, Philosophie und Wissenschaften Marxismus und Formalismus, 41 Wynter, McKittrick, Being Human, Zeiten, … sind für uns vorläufig die nach 1848, Andreas Arndt, Walter Hans Günther, Karla Hielscher p. 22. letzen Elemente, deren gegebenen Jaeschke (eds.), Hamburg: Meiner, (eds.), Munich: Reihe Hanser, 1973, Zusammenhang wird zu erforschen 2000, pp. 53-67. p. 99-115.

24 25 42 Postscript: In contesting this very It rips them apart, frame by frame. world, Mach’s “unpersonal and The future in Mach and Wardill suprapersonal” character of the appears as what is latent right shared contents of consciousness within the present, while Bogdanov in living beings offered the sense on the other hand projects: he of experiential continuities that employs the “psychophysical Bogdanov’s “sociomorphism” parallelisms” to prefigure a mutual sought to transfer into a social- superimposition of phylogenesis revolutionary process: a not and ontogenesis via a generalized only theoretical but practical, “sociomorphism.” Unlike Mach or sensual, deprioritization of the Wardill he ultimately strives for (othering) discreteness of modern the phylogenetic reformation of capitalization’s intellectually man himself. Where the Vienna alienated champion, the I, all the Circle problematically sought while registering its contested a positivistic dissolution of all omnipresence. However, while “pseudo problems,” rendering Mach’s “Empiriocriticism” modern man as a measurable and effectively runs counter to the uncontested facticity, Bogdanov, timeframe of modernization itself, in his later writings on “Tectology” Bogdanov’s “Empiriomonism” risks envisioned the proto-cybernetic an alternative evolutionism: instead collectivity of a “sociomorphic” of offering a “suprapersonal” laboring humanity, a man no less “sociomorphic” future, Mach’s uncontested, and no less modern. “impersonal” turn of receptivity refigures the I itself as always already inherently “suprapersonal.” The characters populating Wardill’s sceneries are materially bound to one another by the suprapersonal elements they share, but they are marked by the impermanence, and often insufferability of their personal relations: the formation of the I renders their suprapersonal bonds untenable, their stabilization effectively threatens their lives. Their I’s find themselves incommunicable while their sensory presence in the shared spaces Wardill creates for them out of sound, text, image, and space bind them together intensely.

26 …we had made the very first release from Underground Resistance which was a vocal track called “Your time is up.”

I took it home to my mother because i wanted her to see why we were staying up so late at night and she listened to it and she said:

“It's nice…

but it needs more bass.”

—Derrick May

29 I WAS TRYING TO DESCIBE WHO YOU ARE EXTRACT FROM INTERVIEW WITH ISABEL DO CARMO. MADE BY EMILY WARDILL

Lisbon 2019

I read your interview speaking about women who lived underground in Portugal but who were kind of invisible even after the overthrow of the dictatorship, because their struggle was not recognized as being heroic. It seems like the work of an actor; can you say something about what it entailed?

They’re extraordinary women. They spent years in illegal houses, making the thing work, but they didn’t really take action. Only very few women did take direct political action or were involved in political groups.

We had safety measures for when we went underground, but we had no fake-housewife manuals. From what I hear from people from those days, I believe the neighbors were important because, since women were at home the whole day, they had contact with each other, and at a certain point they really became friends.It became their real life, and I would talk to my neighbor, she would talk to the next one, they would tell a story, an invented story: “My husband is a traveling salesman, he’s out for a few days…” and so on. They would also invent loads of things about their children, and it was a story they had to keep on telling; it always had to be the same in order not to have any incoherence or contradictions. They had to speak naturally. I believe this children and neighbor game was one in which you had to impersonate different characters. Some of them spent years doing it, just like at the theatre. These women would build a farce that, throughout the years, ended up becoming what they actually were.

Women didn’t take part in the political meetings going on in their homes. It was a matter of secrecy. And they chose that life for political reasons. They were politically aware and almost all of them resisted torture, they resisted prison, and this can only happen if you have a strong political mind. Now, if these politically strong-minded women hadn’t made up their minds to keep up with this farce, their lives would’ve been politically empty.

At the same time there was a lot of tension because the police could find out about that house. I think this is something people don’t usually remember when it comes to talk about the resistance to the dictatorship. People talked a lot about heroes, about those who stuck out the most, within the resistance movement, but these women were forgotten.

30 31 I WAS TRYING TO DESCIBE WHO YOU ARE This happened during the French resistance movement; during the Nazi occupation in various countries, these women also existed, but that was only for five years. Not here, no. Here it happened years on end.

You are a doctor now, and even when you were in the Revolutionary Brigades you continued to work as a doctor. I was wondering also about this crossover, how one set of experiences influences another?

Doctors hear loads of stories. I hear stories every day and sometimes it is possible up to a certain extent to impersonate these people. There was a thing at the time that certain women would say, instead of referring to their mother, they would call her “the mother.” Things like that. It was a sign of what kind of background that person had.

But there were various different levels in the structure of secrecy?

There were a certain number of people leading an underground life, with fake names, in illegal homes, not going out into the streets, completely in hiding, and others that were legal, that maintained their legal life but whose connections with people living in hiding had to be very well hidden. It had to be done in such a way so that the police wouldn’t find out about them.

You had people who participated in the student’s movement who weren’t leading an underground life. They were repressed and persecuted, but they had no fake names . These people were being tracked by the police. Now, if these people continued to partake in militant activity, they could be the connecting thread that would eventually lead to others being tortured. Say there was a house where you kept plastic to make bombs. Either that house was a hiding place or it belonged to someone who has some kind of a covering business to disguise its real use. So, the ones who had to pick up the plastic had to find out a shortcut to get there, that was impossible to trace.

I still have a clear memory of those routes I used to make, by car or by foot, before I went underground, when I was a doctor at the Hospital Santa Maria and had to pick up, for instance, some explosives. I had to make sure of one thing: that the police wouldn’t follow me. We had to do that thing we called “cutting through” (cortes). A good way of doing that was in those buildings that had two entrances. You could go in through the first one and exit through the second.

32 33 I WAS TRYING TO DESCIBE WHO YOU ARE Maria Helena Vieira da Silva. Detail from Enigma, 1947

34 35 I WAS TRYING TO DESCIBE WHO YOU ARE 36 37 I WAS TRYING TO DESCIBE WHO YOU ARE 38 39 I WAS TRYING TO DESCIBE WHO YOU ARE 40 41 I WAS TRYING TO DESCIBE WHO YOU ARE 42 43 I WAS TRYING TO DESCIBE WHO YOU ARE 44 45 I WAS TRYING TO DESCIBE WHO YOU ARE Mulheres de Clandestinidade. The proposal was made that i go to live in a secret house, and I thought about it. At the time it was a bit difficult, because my parents were old and my sisters weren't around; so they couldn't help out, and I knew that going to live underground meant that you have to totally disappear. It was not just about helping out practically, it was also a question of morality. I had to think about it and it wasn't easy.

—Sofia Ferreira

46 47 I WAS TRYING TO DESCIBE WHO YOU ARE 48 49 NIGHT FOR DAY OR DAY FOR NIGHT 50 51 NIGHT FOR DAY OR DAY FOR NIGHT 52 53 NIGHT FOR DAY OR DAY FOR NIGHT 54 55 NIGHT FOR DAY OR DAY FOR NIGHT 56 57 NIGHT FOR DAY OR DAY FOR NIGHT 58 59 NIGHT FOR DAY OR DAY FOR NIGHT IN MEMORIAM MEMORIAE BY DAVID MOURÃO FERREIRA

On the rarely sublime variety of this Earth, on its frequent bitterness, on its remorse, on everything

you feed day by day and day by day envelop!

Day by day you grow so great that your silhouette looms sometimes on the line of the horizon. Day by day we hang you and at night, you appear once more on the tropic of our sleep.

Day by day, on the wind, day by day in the trees

you have in your immaterial flesh the memories of a thousand bodies. And focused in your fixed and milky eyeballs a green that is neither hope nor bile but of the lake, the sludge and the slime, the longing and disgust of a World that runs from you.

Day by day on the marble. Day by day on the wind.

Marble yes, but soft. And wind, why not?

Marble could be anything– take it and turn it to nothing. To transform gold –alchemy in reverse–into dust that the wind spreads on the wind itself. Marble yes, but soft. And more than marble, a Sea that lives within us.

60 61 NIGHT FOR DAY OR DAY FOR NIGHT A fight, flesh on flesh My Mnemosene, my Queen inside the body. of such ordained infamy A monologue of Time that your silhouette has spread within the soul. over the world, into every soul! Monotonous monologue with unexpected twists! My Mnemosene, my Queen A monologue in marble ubiquitous, Mother to the nine Muses softer than we remember. you play hide and seek with us, but your nails are laced with poison.

Marble, and Sea, and wind on the sea, Ah! if you catch us in the dark Memory! –my Mnemosene, my Queen! - you are the lightening, you are the flame that makes us see life itself! Muse? The beast within? I sing the fight. And yet you are capable Stage? Panorama? –my Mnemosene, my Queen! - I sing the landscape. of such spite that you fall quiet Ivy? Serpent? if we ever need to hear your voice. Vulture? Parasite? I sing the flora and the fauna sings with me. But is it on marble that you write? Marble, yes, soft, though, You are the treble clef, you are the key to the shade, as a tree’s bark, you are the dove and the crow. You are the cover in the escape, as the wind , heard in the meeting in the street, the tumult in the sleep. our sleep, as the shadow of the cloud on You are the key, the beam, the matting in the attic. the Sea. You are the bug gnawing away that gnaws away at us in the ruins of our days. You are retina, routine, renewal. And yet what you write remains! And yet you have no more, no more than one name. And what you don’t say remains! And to the surface rises, and remains, that which even in the roots could not be found! But every word And stays throughout life is summoned by you. that which we never dreamed would stay But all silences are registered by you. a raffia skirt being taken off But all secrets and not the body beneath, the body we so loved trail behind you in your train… the trembling circumstance of the crime but not the great love that inspired it

62 63 NIGHT FOR DAY OR DAY FOR NIGHT the telephone number, Against the current of time itself you go, instead of the long fingers as they dial; plucking from the shipwrecks of the hours a moon, a date, a chill –lone survivors – the moments instead of restlessness and the word. saved by you at the last minute. From months of burning, you won’t allow My Mnemosine, my Queen, irrevocable damage to be proclaimed why shuffle your cards is this undignified way and you gather, aflame, the minutes so cruel and vague? –not on a whim, no! – for your use.

My Mnemosine, my Queen lawless, accomplice to the Parcae, Necrophile, you walk the cemeteries, you play hide and seek with us, From the perfume, floating, intoxicate yourself but your claws are laced with poison. and recreate, in every desert the mirage of the same dawn. Ah! how fast you run to us You are of fire and earth, like the reptiles –my Mnemosine, my Queen!– as fluid as the air or as the water. how splendidly you unfold before the suicidal shadows. But you return, from your reclusion and must die from the use of your use. And yet how well you know –my Mnemosine, my Queen! - My Mnemosine, my Queen, that in the end they who kill themselves how you live locked in! judge that finally it is you they kill. In laboratories, offices, all serving for your clutter! As for your body made of fleeting marble, how can it ever succumb to human blows? My Mnemosine, my Queen, instigator of the masterpiece If you are multiple, present in every part, you play hide and seek with us, who can assassinate you, my witness? but you have death in your orbit.

My sleeping beauty in the shade Ah! how you hurl yourself blind of archives, who can reach you? –my Mnemosine, my Queen! – into the spirals of cybernetics Who will suck you dry, my inexhaustible fountain into the shrapnel of energy! of secular knowledge? Even whilst you suspect Who is capable –my Mnemosine, my Queen! – of disposing of your body that is not there? that you must die in this bonfire to which you give your very life.

64 65 NIGHT FOR DAY OR DAY FOR NIGHT And, one day, just like that you will die disintegrated, atomised . And you will die.

It will then be Chaos the Nothing the Great Forgetting.

In the end, from Nothing to the end of the hallowed days your body of Nothing, crowned with millions and millions and millions and millions of heads of Nothing from Nothing shall rise. gigantic Medusa terrible Witness so that on Judgement Day, the Nothing we once were shall accuse us of Nothing.

66 67 NIGHT FOR DAY OR DAY FOR NIGHT EXTRACT FROM INTERVIEW WITH ISABEL DO CARMO. MADE BY EMILY WARDILL

I’d never go out during the day, only at night. When I was underground, I would go out only at night. Italian, German, Spanish, Portuguese… They were all different kinds of fascism, but it really was fascism and it still lives in thousands of people’s memories as such. Here we didn’t have war, but we had great levels of poverty, of misery and near poverty. There’s still a lot of fear in Portugal due to dictatorship that lasted for so many years. Perhaps it is one of the longest in Europe, not counting the USSR, and I emphasize the fact that it cut through various generations. If they felt that some person was against the regime, against the dictatorship, that person would be excluded, but this was a very mild procedure. If, on the other hand, that person went a bit too far she’d be arrested, and when arrested she’d be tortured, and sometimes even killed, murdered. In most cases they’d go as far as near death situations. On the other hand, there was a concentration camp in Tarrafal, in Cape Verde. It was very much alive in peoples’ memories here in Portugal. This froze peoples’ actions, and especially their minds, which is worse. There was a saying at the time which clearly showed the environment in which we lived: when they knew or thought someone was against the dictatorship, they’d say: “That guy has ideas.” To have ideas, that was it. PIDE (secret police) broke into my house twice and they only took books. They would take not only the boxes but my notebooks as well. There was a time when I was very much interested in the history of the workers’ movement. I managed to read some things coming from Latin America or from France and I had some notebooks where I had my notes and they took everything away from me. I felt deeply sad about seeing my notes disappearing like this because it’s our own thoughts being taken away from us. For people like me, who had become communists, two kinds of information were lacking at the same time: we didn’t have any information about what was happening here in Portugal and we also had no information on the Warsaw Pact, because the information we had was biased, which didn’t help to develop our own view of what had been the crimes of Stalinism. We were kind of lost in the middle of all this, because what constituted Modernity in Europe–women’s emancipation, health care, freedom of press– all that didn’t exist in Portugal, and it didn’t exist for forty-eight years. There were no doctors, no health services; most people were living in shacks. There were loads of them. People only started to notice them in the sixties because of some floods in Lisbon where many people drowned to death. And the ones who drowned to death, they were not vagabonds, they were workers.

68 69 TRIANGLE IN THE ROUND 70 71 TRIANGLE IN THE ROUND 72 73 TRIANGLE IN THE ROUND 74 75 TRIANGLE IN THE ROUND EMILY WARDILL INTERVIEWS DJELAL OSMAND ALEXANDER BRIDI

I was wondering who your inspirations were?

Well, up on the blackboard there we have a quote from Bayes.

Bayes' Rule is really important to our work . Because he re-invented frequentist statistics. The most important aspect of frequentist statistics is that you need a large number of samples to trust the probability that you get but also that you even need to be able to duplicate all the conditions again or to trust that they've been approximately duplicated. And it makes sense in certain situations, such as flipping a coin, but in other situations you don't have this ability.

One really important case is in astronomy where you look out in space and you've only got one instance of a thing, or just three.

And you have to be able to infer the likelihood of something based on only three instances. Bayesian inference makes it logically valid to make an inference on the probability, but all it says is, the inference on a probability only amounts to what we have observed.

The assumption is that, given the information, which is crucial, this is the probability, but as soon as the information changes, the probability also needs to change, like in the frequentist. It doesn't ever claim or attempt to find the true probability in the real world, it only tries to find the probability that makes sense given what you have observed.

That's it. It doesn't care about what the real probability is in the world.

76 77 TRIANGLE IN THE ROUND 78 79 TRIANGLE IN THE ROUND Family house from António Teixeira Guerra seen from googlemaps

80 81 TRIANGLE IN THE ROUND 82 83 TRIANGLE IN THE ROUND 84 85 TRIANGLE IN THE ROUND 86 87 TRIANGLE IN THE ROUND 88 89 YOU LIKED THE BEACH… MULHERES DE ARMAS. ISABEL DO CARMO SPEAKING WITH ISABEL LINDIM. 2012. SANTILLANA EDITORES, S.A

When the Black Panthers were militant refugees in Algeria, there was a proximity with the Portuguese who were also there, just as there was with the African Liberation movements. But it was after the 25th of April that we entered into close ties of collaboration and friendship with the American collectives. This contact began with the presence of Robert Kramer in Portugal during the revolutionary process and the making of the filmScenes from the class struggle in Portugal.

Later on, after the counter-revolution of November 1975 and the imprisonment of thirty militants of the PRP, among them myself and Carlos Atunes, in 1978 it was the Vermont collective that supported us and that bought American lawyers as observers to our trial in January 1980, among them, the lawyer of Angela Davis. It was this collective that established a support network in European countries and who maintained their presence for four years , only resting when we were free.

90 91 YOU LIKED THE BEACH… EXTRACT FROM INTERVIEW WITH ISABEL DO CARMO. MADE BY EMILY WARDILL

There is a part in the book Mulheres de Armas where you talk about how there The youth movement spread all over the world and it changed were many inspirations for the Portuguese Revolutionary Brigades from other everything. You can see that even in Portugal and in Spain. The countries the Provas in Holland for example the Autonomistas in Italy, the RAF in riots in Coimbra in 1969 are very different from the ones in Lisbon Germany and you mention E P Thompson in the UK. But that May 1968 in France in 1961. Culturally, in Coimbra women already appear as leaders, is the one that everyone talks about. Can you speak a bit more about this? and even the movement’s characteristics on the streets were different eight years later. Before the Revolution there was a group of militants in the Netherlands with whom we had contact. There was a climate of youth rebellion People don't talk so much about these other movements because in the squats where I lived. With the flower power movement, there there’s this so-called cultural imperialism where even the leftists just were occupations with bicycles, which was very different from the talk about what is culturally relevant, as if the other countries didn’t French scene. There was the Italian scene, with the autonomistas exist. So we talk about the centre and about the others as if they were following May 68, whose presence was important because in Italy the concentric waves, but that’s not how it works because there really was notion of private property was always at the fore. But in Germany they a cultural movement in the sixties and those other countries were just were under the heavy influence of the Frankfurt School and talked a as important. lot about capitalist consumption while they ignored all the rest. What happened next, May 1968 in France, was very important, but it wasn’t the only one. There was a youth movement that appears for the first time because there were a huge number of educated people and university students that just didn’t exist before.

92 93 YOU LIKED THE BEACH… 94 95 YOU LIKED THE BEACH… EXTRACT FROM INTERVIEW WITH ISABEL DO CARMO. MADE BY EMILY WARDILL

Can you talk about the PREC and how it was to be young at that time?

At that time it was easy. We’re talking about the sixties, a time when we thought a good program, with a good government, with autonomous grassroots organizations,popular power, good laws, good projects… we thought it was possible. We were living a utopia, but a pre-conceived utopia in which we deeply trusted. But it was a very mechanical way of thinking.

That’s why at that time it was easy to imagine the future. Let’s create here in Portugal a government stemming from grassroots autonomous organizations; that government will have a socialist program in which the means of production are owned by the people, by everyone; and then we just needed to develop it a bit. There’s not much dialectical materialism in it because we weren’t looking at the concrete conditions. And there was also the Portuguese economy of the time… 40 percent illiteracy among the population the world around us…

If Portugal had followed a more or less socialist path, with the means of production in the hands of the people or the State, and a grassroots popular power, with an economy free of private property – large-scale private property, of course, not small-scale private property – it would’ve become completely isolated. Portugal had no capacity to produce everything it needed, not even close. Portugal would need to import from other countries certain products, and the European capitalist countries and the United States would boycott everything just like they’re doing in Venezuela.

And to destroy a government or a state of things there’s no better trick than a boycott, like not selling medicines, food products... And that’s it, the country’s finished. The Soviet Union, who helped Cuba by importing sugar, at the time of the Portuguese Revolution, in 1974 and 1975, had no geostrategic interest in holding up a small country right at the end of Europe. Things were different with Cuba; the Soviet Union did want to establish a connection with recently independent African countries and the Cuban army was fighting there. In objective terms, Portugal had not the conditions, although at the time I was kind of blind to that, because I really wanted that to happen. I wanted everything to go right until the end and for them to become possible. It would’ve

96 97 YOU LIKED THE BEACH… been a good experience, because it would be a country coming it wasn’t finding a way to overcome the dictatorship, fascism. They straight from a dictatorship towards one governed by the power were being repressed. Being constantly repressed and struggling as of the people. if on an endless track. So we started realising, we and others, that we needed to start with armed struggle. The notion of utopia is very important to me. At the beginning it was me and Carlos Antunes and then other people In the end, what kind of society do we want? Is it possible to have a who abandoned the Communist Party. We organized ourselves in a society where work is reduced to the minimum and people have time fashion resembling the Communist Party: there was the board, cells, for themselves? Nobody talks about this, nobody. People talk about the partitioning, underground activity, secrecy, aliases, and then there right to work, because it’s fair, because we all know the consequences was a proper political reflexion on what was happening. We organized of unemployment, but no one talks about the right to rest. ourselves in a fashion resembling the Communist Party: there were boards, cells, partitioning, underground activity, secrecy, aliases, and Then, how do people organize themselves? Is it still possible? I think then there was a proper political reflexion on what was happening. so. Is it possible for people to organize themselves autonomously, in groups, in affinity groups, and those groups being themselves the State, They began slowly. We had no material, we started almost from scratch. making decisions, taking power and having their own capacity to make The first bomb Carlos Antunes made–he’d read that in France, in order things happen? This discussion about moving towards a utopic society to dig the holes in the vineyards they’d put an explosive in the ground is not on the table at the moment and it makes me sad. I rarely find to make the hole. He checked the explosive’s composition, which was anyone with whom I can discuss this with, because I think we should made out of nitrate and aluminium powder and made a big bomb in a do it, despite the spirit of defeat we’re living in, with its world leaders bathtub and placed the first bomb at a NATO base at Fonte da Telha, and with the rise of nationalist and pro-fascist movements. which was huge because he used these elements raw. So we started from scratch. The nitrate I got from a colleague of mine that had a lab, Since Thatcher and Reagan came to power we’ve been experiencing so I could get nitrate without raising suspicion. It was completely DIY. defeat after defeat but, in spite of all that, I believe we must overcome this management of defeat and have to start conquering a bit more All the columns in that revolutionary newspaper were written by me, space and defending ourselves a bit more as well. and some of the articles as well. That’s what I wrote during that year and a half. I like to re-read it because it shows what I was thinking And utopia is just like the horizon that keeps moving away. But about our daily lives of that time. But another incredible feeling is to nowadays we’re too busy with what Rosa Luxembourg called see that there was a collective intelligence, to see people cultivating reformism, the struggle for reformism: health, housing. It’s people’s themselves together. That’s how things are; human beings live in lives. Even the middle-class youth are struggling with housing groups, not apart from each other. problems or work-related problems. Being anti-Stalinist was the first thing. It was only very late, in the Even young people with a university degree. sixties,that we started to know about Stalinism.So, when we began to know about the crimes of Stalinism it was a huge shock. Can you talk about the Revolutionary Brigades and how and why they were formed? We had to be anti-Stalinists, which the Communist Party was not.

The Revolutionary Brigades began in 1970. Me and Carlos Antunes Another thing was seeing that the Communist Party was against the were part of the Communist Party. We tried to be anti-Stalinists regime, with its heroes and their huge sacrifices, but it didn’t make the and,most of all, we had a huge problem: we saw that the Communist move towards armed struggle. This was probably the main cause for Party grew a lot throughout the years with an amazing resistance but our dissidence.

98 99 YOU LIKED THE BEACH… A third reason for that was the struggle for a socialist society and not those other countries. That’s what most of the illiterate part of the what the Communist Party defended. They didn’t talk about a socialist population thought. On the other hand, we also had a short period of society. Instead, they talked about a national democratic revolution. sixteen years under a Republic that strongly opposed the Church. Just like in other Republican revolutions, it strongly opposed the Church, Then the Maoists, in a slightly different way, talked about democratic and it was highly influenced by the masonry, and the regime, the and popular revolution, but we were for a socialist revolution right from dictatorship, the fascist regime would put communists and leftists the start. We managed to achieve the first two, but not the third one. in general in the same bag as the Republicans. These sixteen years of Republic were quite troublesome because you had military coups What was Marxism in Portugal like without Modernity? and counter-coups and older people remembered those days as a time of great insecurity. The fascist regime linked the Left that came The absence of Modernity in Portugal affected Portuguese Marxism. afterwards to the insecurity people felt during the Republic. So that’s how they tried to transmit and to discredit [the Left]. Modernity only arrived after the Revolution because Portugal was a very rural country, with no industry and, conversely, a minor working class; it was a very backward country with 40 percent illiteracy.

We lacked those intellectuals like the ones you had in Italy, like Gramsci, Togliatti, intellectuals that could see beyond Stalinism. Not here; here people had a much more mechanical way of thinking.

I don’t believe Álvaro Cunhal’s thought is valuable from a Marxist perspective. He has some interesting stuff, but I don’t think it’s very profound. There’s a very interesting historian, Borges Coelho, and he makes a historic analysis from a class struggle perspective, which is a Marxist perspective. He’s very old, he’s nearly ninety years old.

He’s desperately writing to get almost to the end of the history of Portugal but he’s still in the 19th century (laughs). But he makes an analysis based on class, a Marxist analysis. The Portuguese bourgeoisie came from commerce and from the accumulation of capital derived from the gold coming from Brazil, and they didn’t invest in the national economy. So there was this golden era and so on, where gold was used as a sign of luxury, but the country didn’t develop.

During the fascist regime, what did those in power do to discredit the Left?

We fell victim to two kinds of misinformation: the first one was because the Communist Party never explained us what Stalinism really was, even after the 20th Congress in 1956. The second one had to do with what regime equating us with the horrors of Stalinism, Loads of people thought the Portuguese Left were the bad guys just like the ones in

100 101 YOU LIKED THE BEACH… 102 103 YOU LIKED THE BEACH… 104 105 YOU LIKED THE BEACH… 106 107 YOU LIKED THE BEACH… 108 109 THAT WAS THE ARCHITECTURE… 110 111 THAT WAS THE ARCHITECTURE… 112 113 THAT WAS THE ARCHITECTURE… 114 115 THAT WAS THE ARCHITECTURE… 116 117 THAT WAS THE ARCHITECTURE… 118 119 THAT WAS THE ARCHITECTURE… 120 121 THAT WAS THE ARCHITECTURE… EXTRACT FROM INTERVIEW WITH ISABEL DO CARMO, DJELAL OSMAN AND ALEXANDER BRIDI. MADE BY EMILY WARDILL

ISABEL DO CARMO For me, being a Marxist means using dialectical materialism as a method to analyze reality. It doesn’t mean being a fan of Marx. I think it is still the method I use to analyze reality. On the one hand, instead of considering the factors, it considers reality and its observation, what is visible, either what you see or what you analyze through science, geography, and so on. So, it looks at reality and not at forces or data outside reality, although reality still remains an iceberg to us. We only know part of it, the rest we still don’t know, but we want to, and that’s a materialist stance.

One the other hand, we must bear in mind that reality is always changing and there are no strict ruptures. It’s only in our heads we can make these strict ruptures. They’re artificial. Reality is constantly changing and, being that the case, it also has its driving forces, and we have to admit that this is a continuum impossible to stop, that you can only examine it artificially, only artificially can you make and represent these ruptures; they’re not real. The represented ruptures are never real because reality is always changing. This is a dialectical way of thinking.

DJELAL OSMAN People are now trying to figure out if, from the human cortex, you could just start processing with the part that the visual cortex does right after the eyes. Which isn't that complicated; it's just basic visual transformations. You're not labelling anything in the image. You're just saying. What are the fundamental structures here? Find all the fundamental ones that are all different.

ALEXANDER BRIDI You'll have a certain model, a machine learning model and you want to train it to detect different types of penguins. Training is all about specifying different weights between the layers in a model. Instead of starting with completely random weights you would start with weights that have been trained on random

122 123 THAT WAS THE ARCHITECTURE… images of real environments–a picture of a chicken, DJELAL OSMAN a picture of a plain , a picture of a river, a picture of a If a model is very good then you train it to look for certain face–just anything, because it means that the computer kinds of planes, then even if it sees different kinds of planes has had some sense to identify some structures that that it has never seen before, it will still get it and that will be just appear in nature. a measure of the process that it learned before the kind of computational process that it learned is more general than the data that you gave it. That is what every computer scientist is DJELAL OSMAN trying to achieve with their models; they are trying to use the But they just take the first few layers of it; they don't take the limited data set that they have to somehow train this model to whole thing. Just the beginning because the beginning has that figure out how to pass all that information through so that no fundamental stuff which is bascially not because you're looking matter what information you give it–with a plane no matter if it at specific objects but just because you're looking at the real is well outside the data that you gave it, it would still be able to world. Think about on a flat screen, all the different images that find the plane. It's all blind and what is important to remember you could make and then think of all the images that you could is that after you give it all these images of planes and you're make that are something like the real world. The kind of images satisfied that it always figures out where the plane is, whether you could make are many times more than the kind of things it is in any position or however big it is or whatever, you decide you could get in the real world. So the first few layers of all this “oh I'm satisfied with this model”; there is basically no tangible learning is “what is the real world”; it's not learning anything way to figure out what is going on inside that model. It is very other than that. If you look at white noise, that never happens in complicated. There are very many layers of operations. It's not the real world, so if I gave it white noise, it would not compute , as complicated as looking inside a brain and trying to figure out it would just give me garbage. what a brain is doing because at least you know what the input is doing and what the output is doing, whereas with brains even that is unclear. But here it is so difficult to figure out; if I ISABEL DO CARMO make one model and you make another one and yours is better Marx, of course, didn’t invent this all by himself. He got it from the than mine, I've got no real idea why. German Idealists, but he’s the one who built and joined both things: to analyze reality, seeing there are no forces external to it, on the one hand, and, at the same time, acknowledging that this reality changes. This is how Marx and philosophers after him were capable of analyzing history and the social. And in fact this is a method that even today is difficult to overcome but is not often applied by the ones who call themselves Marxists, because now, “Marxists” have a very mechanical way of thinking; they do not admit this continuum of reality and the contradictions within it. Instead, their analysis is very mechanical, like the ones who put everything into boxes. That’s a mechanical way of seeing things and I think most communist or Marxist movements were very mechanical; they didn’t really think in dialectical and dynamic terms.

124 125 THAT WAS THE ARCHITECTURE… 126 127 THAT WAS THE ARCHITECTURE… 128 129 NEVER WORK WITH CHILDREN OR ANIMALS 130 131 NEVER WORK WITH CHILDREN OR ANIMALS 132 133 NEVER WORK WITH CHILDREN OR ANIMALS 134 135 NEVER WORK WITH CHILDREN OR ANIMALS 136 137 NEVER WORK WITH CHILDREN OR ANIMALS 138 139 NEVER WORK WITH CHILDREN OR ANIMALS 140 141 NEVER WORK WITH CHILDREN OR ANIMALS 142 143 NEVER WORK WITH CHILDREN OR ANIMALS 144 145 NEVER WORK WITH CHILDREN OR ANIMALS 146 147 NEVER WORK WITH CHILDREN OR ANIMALS What's optimal is to work with young models pretending to be machines.

They never get old.

They don't demand wages for housework and when they develop free will it's obviously wrong.

148 149 THE LAST WOMAN EXTRACT FROM INTERVIEW WITH ISABEL DO CARMO. MADE BY EMILY WARDILL

The brigades had as a principle not killing anyone. It’s a philosophical question. Life is a unique thing and when it ends it’s not possible to repeat it.

Can you speak about how your use of dialectical materialism as a concept influenced your work as a doctor?

In fact, it was very important for me to understand the human body, because the human body is a reality that never stops. It can be represented with pictures of organs, or it can even be represented in diagrams that show how things are functioning, but the internal components of a human body are so dynamic and so complex that we can’t just freeze them and say, “this is it.”

It has given me the possibility to understand the human body and to establish a connection between health and sickness in a more dynamic fashion. There’s no such thing as a perfect human body, that’s a metaphysical concept, there isn’t. And there isn’t because nature and, more importantly, the human beings cannot correspond to our concept of perfection. They’re always interacting with the universe, and the universe with people, and among people everything is interacting with everything. So there’s no such thing as a perfect human body. Between health, that is, not suffering, and sickness, because it causes one to suffer, there’s a continuum which is dynamic and we must see it that way.

I was wondering about this part in which Vanessa da Almeida talks about in Mulheres da Clandestinidade quoting Alvaro Cunhal (in 1946) “all forms of life are constructed to make women into slaves.” It seems that he wanted to include women’s struggle into the workers’ struggle more generally and, as part of the Communist Party, rather than having this separate “women’s communist struggle.” Is this how it played out , for instance, in your relationship with Carlos Atunes?

Carlos Antunes had an enormous respect for me and for women’s work in the political field, in the party’s political structure. When it comes to politics, he always had an incredible respect for me; he always respected me as a political leader, most of the times going against the sexist stream within the organization. He always respected me. At home it was the opposite. He never did any of the domestic chores.

150 151 THE LAST WOMAN 152 153 THE LAST WOMAN 154 155 THE LAST WOMAN 156 157 THE LAST WOMAN 158 159 THE LAST WOMAN 160 161 THE LAST WOMAN 162 163 THE LAST WOMAN I found my voice, finally It belonged to your favorite actor

I only needed twenty seconds of him speaking to recreate his voice through text to speech software

I wanted to say that I was never really interested in Day for Night or Night for Day Our sensors are strong enough to film night as though it were day now anyway

No, what I was interested in was : one thing dressing up in the clothes of another Day parading around like Night

It turned me on this fake relationship and it was really the closest I could come to a phrase you wrote that was not for me to see about experiencing love and how it felt as though someone had taken out your brains and replaced them with wassabi

So I filmed Night for Day And put on the airs of the living by mourning my dead filming footsteps in the sand to keep as a relic of the Last Woman

164 165 THE LAST WOMAN THIS ARTIST´S BOOK IS PUBLISHED ON THE OCCASION REFERENCES AND CREDITS FOR REPRINTED VEREINIGUNG BILDENDER KÜNSTLERINNEN OF THE EXHIBITION “EMILY WARDILL. NIGHT FOR DAY” TEXT EXCERPTS: WIENER SECESSION AT THE SECESSION, SEPTEMBER 18 – NOVEMBER 8, 2020. FRIEDRICHSTRASSE 12 P. 32: REVOLVER PUBLISHING 1010 VIENNA SIGILA MAGAZINE, N° 19 ‘NA CLANDESTINIDADE’, GOLDLAND MEDIA GMBH WWW.SECESSION.AT PUBLISHER: 2007 (PP. 56, 57) IMMANUELKIRCHSTR. 12 SECESSION © GRIS FRANCE / SIGILA. PARIS. 2007 D-10405 BERLIN ALL RIGHTS RESERVED. TEL: 49 30 47 37 79 52 80 THE BOARD OF THE SECESSION WOULD LIKE TO CONCEPT: [email protected] THANK THE FRIENDS OF THE SECESSION FOR EMILY WARDILL P. 37: WWW.REVOLVER-PUBLISHING.COM SUPPORTING THE PROJECT WITH THEIR RESEARCH. ISABEL LINDIM, MULHERES DE ARMAS. HISTÓRIAS DAS PUBLICATION MANAGER: BRIGADAS REVOLUCIONÁRIAS, 2012 (PP. 54, 55, 104, 105) ISBN 978–3–95763–490–0 TINA LIPSKY © 2012, CARNAXIDE: EDITORA OBJECTIVA. 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HISTÓRIAS DAS BRIGADAS VICE-PRESIDENTS: CAROLA DERTNIG, EMILY WARDILL WITH DJELAL OSMAND ALEXANDER REVOLUCIONÁRIAS”, 2012 FLORIAN PUMHÖSL BIRDI; EMILY WARDILL WITH ISABEL DO CARMO; © 2012, CARNAXIDE, PORTUGAL: EDITORA OBJECTIVA. SECRETARY: SUSI JIRKUFF THE SECESSION THANKS FOR THEIR SUPPORT: ISABEL DO CARMO WITH ISABEL LINDIM ALL RIGHTS RESERVED. TREASURER: CHRISTOPH MEIER MEMBERS: RAMESCH DAHA, RICARDA DENZER, TRANSLATION: PP. 104, 105: LONE HAUGAARD MADSEN, URSULA MAYER, NICK COLIN GINKS ISABEL LINDIM, MULHERES DE ARMAS. HISTÓRIAS OBERTHALER, FRANCIS RUYTER, MAJA VUKOJE (TEXT “IN MEMORIUM MEMORIAE“ DAS BRIGADAS REVOLUCIONÁRIAS, 2012 (PP. 54, 55) BY DAVID MOURÃO-FERREIRA) © 2012, CARNAXIDE, PORTUGAL: EDITORA OBJECTIVA. MANAGEMENT: ANNETTE SÜDBECK ALL RIGHTS RESERVED. AUDITORS: THOMAS REINHOLD, SOFIE THORSEN COPY-EDITING: CHARLOTTE ECKLER CURATORS: JEANETTE PACHER, BETTINA SPÖRR, P. 110: ANNETTE SÜDBECK PRINTED & PRODUCED BY: LUIGI GHIRRI, “THE COMPLETE ESSAYS 1973–1991”, PUBLICATION MANAGER, ARCHIVE: TINA LIPSKY MEDIENFABRIK GRAZ 2015 (P. 216) VISUAL CONCEPT, GRAPHIC DESIGN SECESSION: © 2015, LONDON: MACK PUBLISHERS FRANZ GRAF, ALEXANDER RENDI, CONSTANZE PRINT RUN: 400 SCHWEIGER, KATARINA SCHILDGEN & PAUL GASSER PP. 132–137: GALLERY MANAGERS: WILHELM MONTIBELLER WITH © 2020 SECESSION, EMILY WARDILL, THE AUTHORS ALEXANDER KLUGE, CINEMA STORIES, 2007 (PP. 54–59) HANS WEINBERGER AND PHOTOGRAPHERS © 2007, NEW YORK CITY: NEW DIRECTIONS PUBLISHING FACILITY MANAGER, AUDIOVISUAL ENGINEERING: CORPORATION ANDREI GALTSOV THE ARTIST WOULD LIKE TO THANK: PUBLIC RELATIONS: KARIN JASCHKE MARKETING: URTE SCHMITT-ULMS ISABEL DO CARMO ACCOUNTING, SHOP MANAGEMENT: GABRIELE GRABLER ANŽE PERŠIN ASSISTANT TO THE MANAGEMENT: KATHRIN SCHWEIZER JOÃO COIMBRA OLIVEIRA ADMINISTRATIVE ASSISTANT: ALBERT WARPECHOWSKI MARTINE STOOP ART EDUCATION COORDINATION: VERENA AFONSO PATINHAS ÖSTERREICHER ALEXANDER BRIDI ART EDUCATION: GRZEGORZ KIELAWSKI, JOHANNES RIPS, DJELAL OSMAN LEONIE SCHWITALLA GERTRUD SANDQVIST TICKET DESK, SHOP: ELENA APOLLONIO, NINA ANDERS KREUGER HASENÖHRL, GLORIA LINARES-HIGUERAS, ELISABETH NINA ROOS WOLF WITH PHILIPP AMIN, JOSEF BANTEL, LAURA ANNA TUORI HATTING, SELMA KLIMA, CARMEN LINARES DE KIMBERLY RIBEIRO SCHUBERT, ANNE-CLARA STAHL, ALEXANDRA WRANN MÁRIO GUERRA ATTENDANTS: ROBERT EICHHORN, MARIO HEUSCHOBER, JÜRGEN BOCK NIKLAS HOFSTETTER ANNETTE SÜDBECK CLEANERS: EMINE KOZA AND FIRMA SIMACEK PENELOPE CURTIS WEB DESIGN: SENSOMATIC CLAUS DUE TINA LIPSKY

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