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Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) Noise, neoliberalism and Iain Sinclair Martin, N. Publication date 2012 Document Version Final published version Link to publication Citation for published version (APA): Martin, N. (2012). Noise, neoliberalism and Iain Sinclair. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Noise, Neoliberalism and Iain Sinclair Niall Martin Noise, Neoliberalism and Iain Sinclair ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op vrijdag 9 maart 2012, te 10.00 uur door Niall Martin geboren te Banbury, Verenigd Koninkrijk Promotor: prof. dr. M.D. Rosello. Overige leden: dr. S.M. Dasgupta. prof. dr. E. Jansen prof. dr. C.P. Lindner dr. E. Peeren. Faculteit: der Geesteswetenschappen For Mum, Dad, Lien, Lindsay and Jan iii Acknowledgements This project was made possible through the financial and intellectual generosity of the Amsterdam School of Cultural Analysis (ASCA), and I would like to express my gratitude to the School’s directors past and present, Mieke Bal, Wanda Strauven and Christoph Lindner and to the guardians of its spirit and keepers of the keys, Eloe Kingma and Jantine van Gogh. Special thanks are also due to the staff of the Bungehuis Library for their friendliness, expertise and the provision of a welcoming place to work. The members of the ASCA Postgraduate Theory seminar provided both the intellectual stimulation and companionship that nurtured the project’s growth from thesis proposal to final draft, and I would like to thank in particular for their contributions to many memorable Friday afternoons, Alex Brown, Anik Fournier, Amanda Wyers, Asli Ozgen-Tuncer, Birkan Tas, Blandine Joret, Ella Hafsteinsdóttir, Erin La Cour, Erinc Salor, Gal Kirn, Jeffrey Pijpers, Johan Schimanski, Levent Yilmazok, Margaret Tali, Marjan Nijborg, Michaela Frischherz, Nur Ozgenalp, Papagena Robbins, Pedram Dibuzar, Pepita Hesselberth and the seminar’s co-coordinator, Sudeep Dasgupta. Hugh McDonnell, Johanna Morand, Liesbeth Vries and Dan Hartley may not have attended the seminar but were generally there for the aftermath. Special thanks are due to Aylin Kuryel, Adam Chambers and Irina Souch who proved that conference organization can be a pleasurable experience, and to my office-mates, past and present, who performed the same trick for the task of writing a Ph.D. Thankyou Seda Ali Yalcin, Carolyn Birdsall, Mel Schneider, Esra Almas, Thijs van den Berg, Tim Yaczo, Marie Beauchamps and Lisa Appiano. Beyond the office door I have also enjoyed the help and collegiality of Rudolph Glitz, Dan Hassler-Forrest and Joyce Goggin from the Universiteit van Amsterdam’s Department of English and that of my former teachers and colleagues in the Department of Algemene Literatuurwetenschap: Astrid Weyenberg, Anneleen Masschelien, Boris Noordenbos, Doro Wiese, Esther Peeren, Jan Hein Hoogstad, Joost de Bloois, Murat Aydemir, Noa Roei and the irreplaceable Ania Daleki. Early incarnations of this project were shaped by long conversations with Rob Allen and Ciara Griffin on the Research MA in Literary Studies at the Universiteit van Amsterdam. Penny Wilson has been a tireless companion on explorations of the edgelands of London and Amsterdam. My interest in noise and Iain Sinclair reflect the influence of friends and teachers at the Universities of Edinburgh and Edge Hill including, from Edinburgh, Alison Lumsden, Wayne Price, Helga Einasdóttir, Jane Goldman, Gus McLean and, in particular, Lee Spinks who first introduced me to Sinclair’s work. From my time at Edge Hill I remain forever grateful to Chris Baldick, Saleel Nurbhai, Jeannie Peters, John Sears, Steve Peet and my surrogate family, Anita and Bob Rigby. iv For putting up with the trials and tribulations of this project on a more or less daily basis from its inception to its conclusion and beyond, I’d like to give special thanks to Lara Mazurski, Hanneke Stuit, Paul Caplan and Mireille Rosello. Their patience was exceeded only by that of my family: Lien, Lindsay and Jan. To them I owe the signal: the noise is all my own. v Table of Contents Acknowledgements iii Table of Contents v Introduction: noises off 01 Chapter 1: Noise story: from noise theory to theory’s noise 13 Four precepts for noisy reading 21 The return of the unselected 23 “Systems work because they do not work”: the politics of noise 31 A message can only arrive if it could have gone astray: the ethics of noise 35 The locative effect of noise: the space of noise 40 Rudimentariness and the locative effect of noise 43 Chapter 2: The Northwest Passage: psychogeography and the production of urban space 49 Genealogies 52 De Quincey’s mighty labyrinths 63 De Quincey and the noise of liberal economics 67 Sinclair and the matter of London 73 Reforgetting 87 Chapter 3: Parasitic poetics: Lud Heat and the noise of genre 97 Background noise: Lud Heat and its contexts 98 The “charting instinct”: long poems, big cities 102 “These facts fade. The big traffic slams by”: art in absolute and abstract space 111 “[I]n there for the duration”: poetry as workplace 116 Chapter 4: The Vessels of Wrath: noise and form in Downriver 127 Introduction: the empty vessel 127 “[N]o female sound”: noise and narrativity in Downriver 133 The Locked Room 138 “[N]o sides to take”: the fiction of disorientation 148 Opposition in a world without sides 153 The “vessels of wrath”: satire and cynicism 161 Chapter 5: Roadworks: Orbiting the Orison 167 The politics of bus stops 169 The Road as Parasite 175 An unpeopled country: misrecognition and reforgetting on the Great North Road. 188 Conclusion: Calling Time on the Grand Project 207 Works Cited 216 vi 1 Introduction: noises off It is said, that when living in Amsterdam, the French philosopher René Descartes, cherished his ignorance of the Dutch language because it meant that his meditations would not be disturbed by the prattle of his fellow citizens. Although probably apocryphal, it is an anecdote which speaks directly to the relationship between noise, 1 urban space and the construction of subjectivity explored in this thesis. In refusing to learn the language of his neighbours, the anecdote suggests, Descartes created the space for philosophy: by turning up the noise of the world he found the silence necessary for reflection. And, if this anecdote has legs, it is because that gesture so precisely mimics the dynamics of Descartes’ most enduring philosophical creation: res cogitans, a subject that knows that it exists because, even if all else is error and confusion, it cannot doubt the evidence of its own thought. This Cartesian cogito whose self-assurance can be achieved only through the reduction of the world to noise functions as a kind of necessary double to the subject which is central to this project - a subject which is articulated through, rather than against, the demon to which communication theory gives the term noise. Where Descartes’ demon produces a self- certain subject through a totalizing gesture which gains all by apparently ceding all, the “demon” or “prosopopeia of noise” (Serres, Hermes 67, 126) gives rise to a subject constantly formed and re-formed in the recognition of noise as a source of difference and non-identity. In this thesis I will locate the operation of this subject within the work of Iain Sinclair, a British writer and film-maker, who has, in the past forty years, established himself as both a critical commentator on the transformation of London from a post-imperial metropolis to a node within a neoliberal global economy, and, more generally on the paradoxical place of the city within the late capitalist-world as simultaneously as site 1 The anecdote closely echoes the sentiments expressed in Descartes’ letter to “Balzac” dated 5 May 1631: “You must also excuse my enthusiasm if I invite you to choose Amsterdam as your retreat . I take a walk each day among the bustle of the crowd with as much freedom and repose as you could obtain in your leafy groves, and I pay no more attention to the people that I meet than I would to the trees in your woods or the animals that browse there. The bustle of the city no more disturbs my daydreams than does the ripple of a stream” (Descartes Writings 31). 2 of aggregation and dissolution, attraction and repulsion. Sinclair’s work I will argue, illustrates and explores a contradiction within classical liberal thought on the constitution of the subject which can be productively formulated in terms suggested by the concept of noise as it emerges from communication theory. Just as the Cartesian subject gains all by apparently ceding all, its political incarnation in the autonomous individual of liberal theory exists in a doubled relationship to the demon of noise.
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