Tag Archives: Judith Butler

Performative Assembly and a Revised Ethics of Doing

I always appreciate the opportunity to read Judith Butler’s work because there is such a depth to her writing. The chapters from her recent Notes Toward a Performative Theory of Assembly that we read for the course is one that I had not read before and am glad to have. It has helped me flesh out some theoretical issues that have been at play in my own work and shaped my thinking around the role of the humanities within the larger scope of environmental action.

At the forefront of Butler’s argument is precarity, that is, existing within the system of neoliberal capitalism wherein our bodies and identities are caught up in our ability to produce some kind of economic value. This reduction makes the exigence of much academic work focused on results that generate capital, draw investors or grants, and help market the university or department where the work is done. This model is something I think we all feel on some level, some more than others. But, in the humanities, the drive toward marketability has in recent years grown louder and louder.

This is where I feel Butler’s intervention most dearly. When she writes that, “My increasing urgent sense about speaking in public, or writing for a public, is not that it should lead us straightway to a path for action; it is, rather, a chance to pause together and reflect on the conditions and directions of acting, a form of reflecting that has its own value, and not merely an instrumental one” (124). Doing for the sake of doing or rather, critical inquiry for the sake of education, something which the humanities as a discipline took as foundational for years seems under pressure to change into a more market driven approach to knowledge production. I think this formulation can be of use in thinking about the power of the humanities and its role within global disasters. The STEM programs are not the only ones with answers to these problems.

While, “just doing something” even if it doesn’t create any discernable change may seem like a futile attempt to participate, I think Butler wants us to think about this kind of action on a deeper level of what such action can evoke in those who are a part of it—that is, what can it helps us realize about ourselves and our communities? She writes, “What does it mean to at together when the conditions for acting together are devastated or falling away? Such an impasse can become the paradoxical condition of a form of social solidarity both mournful and joyful, a gathering enacted by bodies under duress or in the name of duress, where the gathering itself signifies persistence and resistance” (123).

What she calls “Vulnerability as a form of activism” is probably the most impactful idea that I learned from this course (123).  Care and vulnerability already shape a lot of my work, especially in how we think of our relationships with the nonhuman world. But also in my interest in contemporary fiction and what some are calling a turn away from post-modern irony toward a kind of “new sincerity”.  This movement is shaped by a desire to be engaged with genuine feelings without needing to create ironic distance between the self and the object of attention while at the same time not relinquishing the self-awareness and self-referential power of the post-modern. Such a discourse benefits from Butler’s notion of vulnerability as activism because it helps to inject a politics into the otherwise aesthetically focused concept of sincerity. To be vulnerable together—to care together—about the things we like and about the things we hold dear, (our political identities and our collective interests among them), is a way to embrace the precarity of our lives and find empowerment because of it. The importance of care and vulnerability, touch on nearly all of the major topics in the environmental humanities that we covered this semester. From precarity (which Butler also helps us theorize) to an openness to the agency of the material world beyond the human that Bennett asks us to embrace, there lies a push to recognize the already vulnerable nature of our existence. To think that we are not already vulnerable is delusion. The only way forward in terms of reconciling human impact on the planet and what we can do about it while entrenched in a system that complicates and perverts collective action, is through an embrace of that vulnerability.

 

 

 

Solidarity, resistance, and the will to live freely

Naše země dostala příležitost prokázat absurdnost okupánských záminek a žalob, dostala příležitost veřejně osvědčit a demonstrovat solidaritu, odolnost, a vůli žít svobodně, a uskutečňovat jen humanitní socialismus (Our country has the opportunity to show the absurdity of the occupation’s pretenses and accusations, has the opportunity to publicly establish and demonstrate solidarity, resistance, and the will to live freely, and to realize humanitarian socialism). (3:46–4:04)

Radio Free Europe / Radio Liberty Czechoslovak Broadcasting
28 August 1968

Context: the mood of restraint.

Alexander James Brown provides some helpful context for the anti-nuclear movement. He explains the “mood of restraint” in post-3/11 society, an “atmosphere” built on tragedy and spun with threads of ugly feelings: anxiety, uncertainty, failure (39). The Japanese people were “stupefied,” “overwhelmed,” and “confused,” in the words of activist Amamiya Karin, by the series of unknowns leading to and following after the triple disaster (qtd. 43). How can someone make sense of a disaster with unknown causes and unknown effects? As organizer Oda Masanori writes of the anti-war movement,

People dashed outside with this feeling of being at one’s wits end, of being unable to bear this suffocating feeling. (qtd. 46)

It’s suffocating—the static, stubborn not-knowing, the not-speaking, not-expressing, not-doing—such that a person might be compelled to “dash outside” in hopes of any change at all. And still, only silence.

As I wrote in my last blog post, without a catalyst, ugly feelings might continue without end alongside the everyday. That’s just what the mood of restraint called for, a catalyst for “emotional release,” and that’s what it found in the form of protest, according to Brown (41):

Affective protest creates space for the expression of emotions, particularly negative emotions, which otherwise may not be socially acceptable. (43)

Protest, in words and body, allows for the release of pent-up anger, frustration, and blame, and of the hopelessness that comes with inaction (64). Through the play of sound demonstrations, it can tend to “feelings of powerlessness,” or the impotence recognized and resisted by stuplimity (48). A sort of disorganization can help, too, as countering the mood of restraint didn’t have to mean defending a single argument or posing a single solution, but might instead take the nebulous shape of solidarity.

This is what we find in humanERRORa performative protest that resists the mood of restraint by giving voice to the fury, the frustration, the indignation, and most of all the silence following 3/11. It’s a protest in the name of feeling, not reasoning; of experience, not ideology. When the vocalist is seen from a low angle, framed against clear sunny skies, we see this best. In those moments, he isn’t preaching to Japan, but screaming into the skies in a visceral act. “This is no time for hair-splitting arguments” (9:14).

Context: place, time, body.

By nature of performing, speaking, even being in public, Frying Dutchman put themselves at risk. Not bodily, in the strictest sense, as would be the case in or near exclusion zones, for example, but in mind or spirit. Breaking the silence, they enter into a state of being vulnerable to the censorship upheld as much by the powers of government, corporation, and media as by society and the self. That’s the price of confronting the expectations of group conformity, as Brown describes through sociologist Shibuya Nozomu (42). Vulnerability is the price of bodily assembly, which “puts livable life at the forefront of politics” (Butler 18).

The protest of bodies assembled in the street (and let’s not forget other forms of protest: by nature, such as those in virtual space, or by necessity, as in the hunger strikes of prisoners) calls attention to what Judith Butler calls interdependencies. humanERROR embodies the feelings shared by many Japanese, especially in this historical moment, but also the basic needs of human life—safe access to public space, air, mobility, land, shelter, sustenance—which are denied to some by the nuclear power industry and threatened for all of material life in the nuclear age. Butler explains:

What I am suggesting is that it is not just that this or that body is bound up in a network of relations, but that the body, despite its clear boundaries, or perhaps precisely by virtue of those boundaries, is defined by the relations that make its own life and action possible. (130)

Frying Dutchman are working to strive in concert, as Butler would say, to demonstrate the symbiosis between one body and all other bodies, one individual and all of society. They suggest, I depend on you, and you on me. We have to work together.

Frying Dutchman invite participation from anyone who crosses their path, on the street or with a flyer, to witness in the moment or replay after the fact. They “accept a kind of unchosen dimension to our solidarity with others” (Butler 152). The vocalist, especially, moves across speech, scream, and melody, giving voice to more than one response to 3/11. He moves across space, too, directing address to three crowds: passers-by pausing along the bridge, the audience standing on the shore, and viewers watching online. And the performance moves across time as well, as people go about their way, search for more information online, tell a friend, share a video, play the audio at home or in a demonstration.

Content: evocations and other effects.

For me, what’s most effective about humanERROR is its evocative potential. The cyclical, lo-fi rhythm as backdrop to exclamatory and at times harsh vocals reminds me of a song by the Velvet Underground, The Gift.” Whereas “The Gift” privileges rhythm over speech, Frying Dutchman balance the audio with clear emphasis on vocals. Lou Reed tells the story of Waldo Jeffers, a lovesick teenager who mails himself to his college girlfriend, Marsha, only to be impaled by a sheet metal cutter, “(thud),” when Marsha’s friend opens the package. He narrates this without feeling, as if it were simply a matter of fact. The performance in humanERROR tells an equally absurd and morbid story, that of nuclear energy, with an affective tone. It’s not a comparison that works for everyone—but I can imagine endless associations for those who protest against precarity.

A more relatable example might be that of place. I’m not familiar with the specific setting of humanERROR, but, similar to the audio, the visuals resonate with personal experience. The setting reminds me of long afternoons sitting along Náplavka, the bank of the Vltava River in Prague, just below the busy street of Rašínovo nábřeží. There, on any given Saturday, you’d find local beer, live music, and food markets. Náplavka brings back a host of sensations—the sun in my eyes, a cool spring breeze—but most of all it reminds me of time, or the absence of time. It reminds me of whole days spent without a thought for time, the excitement of opening a new book, the wandering of good conversation. It’s the sort of place that makes a person appreciate the moments, and the infrastructure, that make life livable.

To conclude, “demonstrations do not need to make specific demands” (Brown 49). humanERROR may ask participants to “wake up” (like Shiriagari Kotobuki, as we read last week) to the propaganda in the media, the dishonesty of the government, and the exploitation throughout nuclear histories. It may advocate for hydroelectric and geothermal power. What it doesn’t do, though, is frame action between only two possibilities, a population targeted or protected (Butler 144). Rather, humanERROR embodies a call to act, and leaves open which specific action one might take: “Each of us must now carefully consider various information with an open mind and decide our own opinion” (humanERROR Parade).