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
the degree that
intelligence is increasingly incorporated into machines, so
the unity between mental and manual aspects of labouring is
broken. Workers are deprived of mental challenges or
creative possibilities. They become mere machine operators,
appendages of the machines rather than masters of their
fates and fortunes. 35
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
EU foreign policy (Bickerton 2010 ; Missiroli 2001 ; Hofmann 2011, 2009 ) with an assessment of the conditions under which the institutions constrain political behaviour, and the conditions under which they themselves rather become the object of political contestation.
There are 27 EU member states with the power and possibilities to shape the European institutions by virtue of either their decision-making power or their willingness to engage in policy entrepreneurship. Actors may use the institutional setting in creative ways in order to
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