The pursuit of trivial men

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“Russell Brand may have started a revolution”, a headline reads. “Brand nails the political zeitgeist”, says another. Why is it that Brand’s recent interview on BBC’s Newsnight sparked so much attention? A video of his discussion with Jeremy Paxman went viral overnight, popping up all over the global infosphere. Why is it that so many who otherwise would not even think of striking up a conversation about the necessity or possibility of change, seem to get all worked up when seeing a “trivial man” like Brand call for revolution? After all, he is not saying anything we don’t already know: indeed, the world is full of dark shadows, terrible injustices, growing social and economic inequalities; yes, in the name of the crisis, all aspects of life have increasingly been submitted to the laws of the market; yes, the notion of liberal democracy is hollowed out by an excessive diet of cynicism, corruption and indifference; surely, many of us feel afflicted with a wearying syndrome of apathy, impotence and nihilism; and yes, this sense of political disappointment has been appropriated equally by right-wing and left-wing discourse, the first driven by outright rage, the latter steeped in dreary melancholy. These are not trivial matters, nor, by any means, should they be trivialized. But isn’t this just what is happening, Paxman seems to suggest, when they are being taken up by a buffoon – he who can never resist a joke, he who lacks good taste and refinement – who is really “out of place” and “out of line” when trying to voice political concerns? But perhaps what strikes us is not what the celebrity fool is “inexpertly” saying for our own amusement, but precisely the out-of-placeness of his voicing, and the condescending attitude with which it is being condemned.

Perhaps, we too, are tired of hearing how unrealistic and utterly naive it is to try to think about change without being able to put forward a well-defined alternative. Perhaps we are just affected by the proclamation that this man, however vain he may be, just doesn’t know either. And perhaps we are slightly tantalized by the thought that it is not the point of knowing where to go, as long as we dare to take a leap of faith, led us lead by what the act itself holds as possibility. For how long now have we been hearing the rhetoric of illusion and incapacity coming from the mouths of the so-called specialists? “Forgive them, for they don’t don’t know what they do” is the never ending mantra preached by those who, yesteryear, claimed to know what was needed to break with the dominant ideological illusions, and today, complain that there are no ideologies left to guide the quest for change. To take action, so the argument goes, only makes sense when there is a sense of direction. If there is no direction, there is no point in mobilizing for change. It implies that “realistic” and “democratic” politics can only be a matter of creating alliances, setting out strategies and managing common economic interests, all univocally in the name of a non-conflictual principle of community or identity. That is what the political horizon of the thinkable is today, defined by the logics of what is called capitalism and liberal democracy. Without a view on another future, we can only keep circulating, or as the police always says in case of disturbances: “move along!” It really means that change can be nothing else but moving in place.

But do we really need what Badiou has called “the existence of the inexistent” to give sense to political processes? Is framing a future not part of (political) invention itself rather than being its condition of possibility? In the words of Rancière: “if people are moving today we don’t quite know what we are moving towards, which perhaps obliges us to shift the question into the logic of what we said earlier about the fact of ‘coming after’ – namely that, perhaps now more than ever, the meaning or direction [sens] of the action is given by the potentialities of the action itself.” We have seen in recent years how sentiments that were deemed useless and senseless have led to a renewed trust in political action. What was important in these cases was not so much the attempt to unveil the illusions and laws of the system in name of a better future, but precisely the emergence of a new collective sentiment, based on a certain intolerance with the dominant order and, at the same time, of a communal trust amongst those who are searching for a way out, unsure of their orientation. Perhaps this is what is appealing in Brand’s plea for “revolution”: not the spectacle of a clown whose only concern should be to amuse others, deliriously ranting about what is obviously not his to talk about, but the recognition of a “trivial man” who speaks out about what is, more than anything else, ours to say and do. Perhaps the court’s jester is, after all, not betraying our grievances, but urging us to all play the fools at the king’s table.

The Art of Getting Lost

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“No doubt there are more and less painful ways of getting lost… But at the very least they all lead one who has left behind the categories of what can be said about society… to the point where what comes back to us from what we say is that no one can see where we’re going.”
— Jacques Rancière

“I don’t know where I’m going, but I know that you can’t get there that way”
— Glauber Rocha recalling a Portuguese saying

A tale of getting lost, letting go, setting forth without turning back. ‘A Child Kills himself’ feels like one of the most personal pieces Jacques Rancière has ever written. It does not only come across as a touching account of how his view on Roberto Rossellini’s Europa ‘51 has changed over time, but also of how his fundamental way of thinking has taken shape, much against the grain of the times. Indeed, when he describes the erratic wanderings of Irene, the character played by Ingrid Bergman, he might as well be referring to some of his own experiences. In Europa ’51, the complacent bourgeois lifestyle of Irene is violently overturned by the suicide of her young child. This traumatic event leads her astray through the outskirts of Rome, where she hopes to find some answers to the impassable questions which haunt her. This “voyage to the land of the people” is guided by her friend Andrea, who attempts to give meaning to Irene’s desperate search by situating it within the framework of Marxist thought: behind every individual agony, he suggests, we find an instance of a great social misery. What is hidden needs to be uncovered, what is unfamiliar needs to be explained, what is disordered needs to be cured. But there comes a time when the explanations given by others no longer suffice, when one needs to look elsewhere and see for oneself. That is how Irene’s progression towards (class) consciousness leads her ever further away from the trodden paths where things can supposedly be healed and revealed by the rules of knowledge, further down the shores of the river towards the barren wastelands where she starts nursing a tubercular prostitute, towards the cement factory where she takes the place of a worker and the steps of the church where she discovers a new faith. Instead of an act of “consciousness”, what takes place is a process of conversion. Irene’s own unplanned exploration turns out to be a deviation which displaces her from the system of explanations and motivations that determines what the proper rules of conduct and models of social behaviour are, the common sense that defines what is “sensible”. In letting go of all chains of causes and effects, knowledge and truth, she becomes a stranger who no longer has a valid place in the layout of paths and traces that others make up to be “reality”; a foreigner out of place and out of reason, lost in the void of uncertainty, in the niente, the nothingness that silently lingers throughout the film.

Rancière readily admits that when he first viewed the film during the 1960s, his Marxist-inspired critical expectations were frustrated by Irene’s retreat into religious idealism, which seemed to contradict the first, “realist” half of the film. This part presented itself as a perfect marriage between Marx’ historical materialism that provided the theoretical foundation of the workers’ struggle and the materialism of the relation between bodies and spaces that defines the mise-en-scène. But as the main character ventures from the world of labor and oppression to the spiritual path towards sainthood, the materialist connection is radically severed. In order to reconcile the two seemingly opposing views, “it then became necessary to say”, writes Rancière, “that the materialism of the mise- en-scène had been diverted by the personal ideology of the director.” In the same way as Marx once praised Balzac, the reactionary realist, for unwillingly revealing the truth of the capitalist world, Rancière argued that Rossellini, the Catholic idealist, showed something other than what he intended: in her inability to achieve an understanding of the social formations in which she found herself caught, Irene did not find salvation, but utter “madness”. Still not content with this interpretation, it took Rancière twenty-five years years to change his view on the film: more than two decades of digging in the archives of proletarian dreams and aesthetic experiences, where he took flight from the Althusserian science of the hidden that he had denounced so fiercely after the events of 1968. “For one who had been invited to look behind things, the break comes from looking to the side instead,” he writes. With that in mind, Irene’s conversion no longer indicates a lack of ”consciousness”, but a departing from it: it does not stem from a revelation, but from an alteration that leads her towards places where she is not supposed to be, where all certainties are put into question. A world without coordinates where nothing is identifiable as such any longer. “Irene bids farewell to this consciousness in the Socratic manner: she lets it go.” This is the Socratic atopia that characterizes Irene’s wanderings: a being out of place that originates in an act of trust. Trust in what we see, in what lays before us and the uncertain paths that we may have to walk.

It is an idea that runs through all of Rancière’s work, ever since he parted from Louis Althusser, his former teacher: the denunciation of all narratives of historical necessity and teleologies of “coming-to-consciousness”, which are always based on a certain distribution of sense: there are some who need to speak for others who know not what they do, because they know not how to see. Such is the position of Andrea, Irene’s well-intentioned guide: he is there to point out what is to be revealed, to make knowledge out of what others do not know. It is a position of basic mistrust, inherent in the Marxist critical tradition: truth can only be found behind appearances. But in the process of uncovering, the truth only gets reduced to the certainty of place, the only “right” place, the place of knowing. According to Rancière however, “the problem is not that of knowing what one does… The problem is to think about what one does, to remember oneself… ” Remembering oneself by becoming foreigner, by refusing the dominant interpretative schemas that connect sense with sense: this is the fundamental idea which underlies Rancière’s thinking. The challenge is not one of unveiling, he suggests, but of “encircling”. That is what Irene’s gaze does: an indeterminable encircling that unlocks the settled system of places excluding all forms of atopia, that undoes the certainty of social identities by exceeding everything that they are supposed to be one with. It is a matter of establishing a logic of “heterology”: one that denies given identities that pin down people to certain names, relations, times and places; one that disturbs the fabric of the sensible sustained by the dominant network of meanings, one that unsettles and undermines the system of coordinates that determines where and what we are supposed to be. It is the foreigner’s gaze that puts us in touch with the world, not the view of those who decide to stay on safe grounds, who stop looking, who cease to put their trust in what they see and sense. Irene, like Rancière, knows what to respond to all those who claim to be in the know, all those who designate what is meaningful and worthwhile and what isn’t: there is something else to be done, something that is not determined, and will perhaps never be. Something that defies the reasoning behind the choices we all have to make at one time or another, we who are painfully torn between fragile sensitivity and common sensibility, mindless longing and mindful sustaining, between knowing and unknowing, holding on and letting go.

(For B)