Between the Madness and the Wisdom of Crowds
The (Micro)Politics of Social Choreography
J.G. Ballard’s self-declared ‘Immodest Proposal’ for a global war-alliance to exact the destruction of America demonstrates the provocatory zeal of his last fiction plans, as well as their enduring prescience.
J.G. Ballard’s self-declared ‘Immodest Proposal’ for a global war-alliance to exact the destruction of America demonstrates the provocatory zeal of his last fiction plans, as well as their enduring prescience. As Ballard emphasises several times in the World Versus America notebooks, he is utterly serious in his concerns and visions.
Although the Ballard estate declined permission for any images of pages from the World Versus America archival notebooks to accompany this essay, any member of the general public interested to do so can readily visit the British Library and view the notebooks in their entirety in the freely-accessible manuscripts collection there.
With Bely, a continuum is continuously produced between visceral organic states, political states of society and meteorological states of the world.
In his photographs and texts, Calcutta-based Soham Gupta forces the tension that arises between fiction and real-life conditions in as yet unseen ways.
I said “Would you like a rope? You know that haul you have is not secured properly.”
“No,” he said, “but I see you have string!”
“If this comes into motion—” I said, “you should use a rope.”
“Any poison ivy on that? ” he asked me, and I told him my rope had been in the barn peacefully for years.
He took a length of it to the bedside table. He had no concept for what wood could endure.
“Table must have broken when I lashed it onto the truck,” he said.
And, when he was moving the sewing machine, he let the cast iron wheels—bang, bang on the stair.
I had settled down to pack up the ﬂamingo cookie jar, the cutlery, and the cookware, but stopped brieﬂy, for how many times do you catch sudden sight of something heartfelt?
I saw our milk cows in their slow...
Now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself…
Now the dead will no longer be buried, now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself, now human bodies will expectorate fury and envision their own transformation or negation, now infinite and untold catastrophes are imminently on their way —ready to cross the bridge over the river Aire and engulf us all — in this winter of discontent, just beginning at this dead-of-night instant before midnight, North-Sea ice-particles already crackling in the air and the last summer long-over, the final moment of my seventeenth birthday, so we have to go, the devil is at our heels… And now we’re running at full-tilt through the centre of the city, across the square beneath the Purbeck-marble edifice of the Queen’s Hotel, down towards the dark arches under the railway tracks, the illuminated sky shaking, the air fissured with beating cacophony,...
Pretending one more time that the world can still be saved and asking whether art contains an emancipatory potential can be a meaningful endeavour only if illegitimate attempts at appropriating this emancipatory potential are thwarted. Its usurpation, which amounts to its abolition, must be prevented. Critique that deserves its name must first and foremost struggle against false pretenders, not against those who do not even claim to be pretenders. The efficiency of critique’s propaedeutic character should be sought in this struggle against false pretenders. If one fears that its negativity may entail a dangerous impotence and if for this reason one wishes to supplement it with a justifying and constructive “affirmationism”, mindful of the fact that it was once meant to prepare the outline of a metaphysics purged of precritical dogmatism, then one risks forgetting that critique ceases to hurt and can no longer trigger an impulse the instant that...