With the recent devaluation of oil came the sudden realization that the supply of fossil fuels has surpassed its demand. Until now our acquisition and extraction of energy sources have driven irreparable ecological and socio-political interventions across the globe. Our collective “sheltering in place” reveals an opportunity to imagine modes of living within nature beyond its mere thermodynamic rationalization. At a time of imposed isolation, steadfast connections have unexpectedly persisted between and among people, animals, and things—energies which global capitalism has typically obscured. Could this new perspective on contemporary life engender alternate energetic relations in the pandemic's wake?

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Compiled by Alena J. Williams
10 Essays
At the end of 2010, I finished writing a book about the cultural collapse of the most important mythology of capitalist modernity: that of “the future” and its associated myths of energy, expansion, and growth. 1 While I was writing, I sensed a possibility that the economic crisis could be deepening. But what actually happened in the summer of 2011—the extraordinary crash of global financial capitalism and the beginning of the European insurrection that exploded in London, Athens, and Rome...
Plastic is the very idea of its infinite transformation … it is ubiquity made visible … it is less a thing than the trace of a movement. —Roland Barthes Plastic weaves itself into every facet of our contemporary reality. It does not simply surround us, it is an epistemology and the reflection of a galling political impasse. It appears elemental; we rely on it for our built environments and for all the objects we fill them with—our toys and tools, all our gifts and trash. It...
Even if we are to resign ourselves to thinking of artworks as produced by structural or economic conditions, we end up bumping into a larger problem of having a hard time locating the way structural or economic conditions actually work today. Maybe we are still inside the long historical tail of institutional critique trying to identify coercive structures when actually most of the institutions have already been defunded. Or maybe it’s a new formal regime altogether, amplifying Lippard’s...
In 1796, upon observing a vast array of elephant fossils, paleontologist George Cuvier noticed a puzzling fact: the fossilized mammoths of Europe and Siberia were different from living elephant species. None of the specimens in his collection corresponded to present-day African or Indian exemplars; they were all remains of fauna now extinct. At length, it dawned on him that another world might have preceded our own, a world whose existence had suddenly come to a halt, possibly “destroyed by...
We are all lichens. — Scott Gilbert, “We Are All Lichens Now” 1 Think we must. We must think. —Stengers and Despret, Women Who Make a Fuss 2 What happens when human exceptionalism and bounded individualism, those old saws of Western philosophy and political economics, become unthinkable in the best sciences, whether natural or social? Seriously unthinkable: not available to think with. Biological sciences have been especially potent in fermenting notions about all...

The Desert does not refer in any literal way to the ecosystem that, for lack of water, is hostile to life. The Desert is the affect that motivates the search for other instances of life in the universe and technologies for seeding planets with life; it colors the contemporary imaginary of North African oil fields; and it drives the fear that all places will soon be nothing more than the setting within a Mad Max movie. The Desert is also glimpsed in both the geological category of the fossil insofar as we consider fossils to have once been charged with life, to have lost that life, but as a form of fuel can provide the conditions for a specific form of life—contemporary, hypermodern, informationalized capital—and a new form of mass death and utter extinction; and in the calls for a capital or technological fix to anthropogenic climate change.

Subscendence affects things like nation-states, as huge and powerful as they appear. Subscendence is why you need a passport. It’s not to guarantee your identity, but to guarantee and prop up the identity of the state. Islamophobia sees Muslim terrorists as inevitably part of some larger, shadowy organization, while in the United States, white terrorists are always described as “lone wolves.” No matter how many of them shoot people in churches and outside abortion clinics and blow up government buildings, having trained in the Christian equivalent of an al-Qaeda training camp; no matter how many wolves there are, they are always seen as lone wolves, not as members of a pack. The concept that wholes are greater than the sum of their parts comes in ideologically handy because then Islamophobia can claim that Islamic terrorists are part of some emergent, shadowy whole, while white terrorists are individuals without a whole in sight.

Does climate change instantiate the “Kantian gap” between phenomenon and thing-in-itself, or rather actualize the Kantian correlation between mind and world, of which the thing-in-itself is the irrelevant remainder? As Déborah Danowski and Eduardo Viveiros de Castro have argued, “We can see the irony of our predicament as that of a catastrophic terrestrial objectivation of the correlation”—in other words, “human thought, materialized as a giant technological machine of planetary impact, effectively and destructively correlates the world.” If the productive abstractions of modern technoscience—this weaponized, transformative, operative logos—have remade the world, they have done so through the “actually existing linearity” of GDPs and CO2 levels.

While there are notable exceptions, especially in literature and the cinema, on the whole the art of the “first responders” of the late 1940s and ’50s tended to stage the postwar nuclear age as existential tragedy rather than as a political issue. In his conclusion, Newman asks and asserts: “Shall we artists make the same error as the Greek sculptors and play with an art of overrefinement, an art of quality, of sensibility, of beauty? Let us rather, like the Greek writers, tear the tragedy to shreds.” In much 1950s art, the possibility of a total and remainderless destruction of culture and of life is evoked, yet at the same time symbolically conquered through the proliferation of tattered, ravaged, or starkly simplified and thereby sublime and existential forms. In 1958, during an antinuclear conference in Tokyo, the philosopher and antinuclear activist Günther Anders visited the memorial of the nuclear bombardment in Hiroshima. Its abstract arch, which only appeared symbolic “because the non-functional always suggests symbolism,” reminded him of American abstract expressionism and its endorsement by the US, even by the War Department itself.

This animation or resuscitation of the gas network wasn’t an outlandish fantasy on the part of the filmmakers. In fact, the plot of Acceleration (1984) was loosely based on the life story of Viktor Glushkov, a pioneering computer scientist tasked with building oil pipeline networks, among other things, after his bold idea of an information network for the USSR was shelved, and his groundbreaking research on socialist artificial intelligence was put on the back burner by authorities. Glushkov was a leading figure in Soviet cybernetic science, a science that he claimed had to be applied to each and every sphere of socialist society. In 1970, top party officials downsized Glushkov’s idea for an overwhelming information-management-and-control network to a series of smaller-scale, disparate network projects. For the better part of the 1970s, he was busy computerizing the Druzhba (Friendship) oil pipeline network that carried Siberian oil into Eastern Europe.

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