Creative survival as subversion
Solidarities and creative tactics against ‘conditions of death’1
n the DRC, the exercise and consolidation of state authority does not necessarily imply social transformation or a real commitment of the state to
impose itself but, rather, the management of state absences and state presences through a plurality of authorities. Still, the patterns of coercion and
extraction that have followed from the 20 years of conflict, with the different
state-making and peacebuilding processes, determine the conditions for the
‘perform[s] subjects in creative, vital terms’ ( Brassett, 2016 : 171). Like the examples discussed in these pieces, Foucault’s laugh produces and makes legible a new subjective orientation. Yet it also reveals something about the instability and indeterminacy of his broader epistemological and relational terrain – terrain whose terms of belonging help to determine what kind of being is able to claim the status of ‘subject’ in the first place. Laughter is for Foucault a way into the problem of order, a way to acknowledge the boundary line separating the subjective realm
the technology, and they started doing tests in the studio. The finished works were dye sub printed onto the textile at 300 dpi (standard printing resolution) and fitted onto light boxes, illuminated from behind.’ M. Kuo, ‘Creative suite’, in B. Ruf and A. Hochdörfer (eds), Seth Price: Social Synthetic (Cologne: Walther König, 2017) , 362.
27 E. Halter, ‘Seth Price: A new suite of works from the “Uncanny Valley”’, 4 Columns (8 June, 2018) , http://4columns.org/halter-ed/seth-price (accessed 8 December, 2019).
28 Didactic on the occasion of the
across borders even as they prioritise people’s immediate and specific needs. 2 The aim is not to oppose market-led globalisation by doubling down on existing local or national identities, but rather by creatively enacting new alliances and associations both locally and across borders, in ways that elude the disciplinary demands of capital.
In pursuing these goals, many within the movement have looked beyond traditional methods of mass protest in favour of a playful aestheticism and theatricality: what the Trapese Collective call ‘cultural activism’ ( 2007 ; cf
( 1984 : 29–30)
The parasite’s appeals to humour cannot therefore ‘tabulate’ a space, or ‘impose’ form and order. As ‘play’, as interference, as ‘noise’, they merely excite the system, and introduce a creative indeterminacy and contingency into its circuitry. In so doing, however, they demand (and perform) a reconsideration of what ‘international relations’ are, where they are to be found and who participates in them.
Second, humour’s status as a tactical ‘way of operating’ – as a practice that discloses information about people’s identities; their positions in
AI systems are limited as to what they can infer from particular
data-sets because of the relatively few higher-level mathematical concepts on which
computational-learning theory is derived. David Deutsch, “Creative Blocks,”
Aeon , October 3, 2012, https://aeon.co/essays/how-close-are-we-to-creating-artificial-intelligence (accessed
December 10, 2019).
Domingos, “A Few Useful Things to Know About Machine
Learning,” pp. 78–88.
properly political speech is impossible; a way of acting when meaningful agency is otherwise denied.
In ancient poetry and drama, this function is embodied by the parasite. The parasite stages an encounter across the boundary between subject and abject, troubling the processes through which both categories are defined, circumscribed and secured. She thus offers a lens through which to think about how humour might ‘operate’ productively, creatively and transversally, opening up insights into the everyday politics of exclusion and struggle that underpin a number of
of AI for national security and for
strategic stability between great military powers (see chapter
US analysts and policy-makers have suggested a range of possible responses
to these emerging security threats to preserve US technological leadership, which harnesses
US natural advantages to push back against the rising great military powers in the
multipolar order. 21 First, the DoD
should fund and lead AI-simulated war games and red-teaming creative thinking exercises, to
’s ability to autonomously
detect and cue precision missile munitions, especially in cluttered and complex
environments. This weakness is caused partly by the poorly understood
nature of AI’s ability to mimic human vision and cognition. David Deutsch,
“Creative Blocks,” Aeon October 3, 2012, https://aeon.co/essays/how-close-are-we-to-creating-artificial-intelligence (accessed
September 10, 2019).
Long and Green, “Stalking the Secure Second Strike:
deliberate, not unintentional on the part of the initiator (State A).
For analysis on this point, see Martin Libicki, “A hacker way
of warfare,” in Nicholas D. Wright (ed.), AI, China, Russia, and the Global
Order: Technological, Political, Global, and Creative Perspectives , Strategic
Multilayer Assessment Periodic Publication (Washington, DC: Department of Defense, December
2018), pp. 128–132.
AI experts have proven that even when data appears accurate