Filed under: reviews, war-machine | Tags: civil war, communism, empire, french, introduction to civil war, journal, on war, other means, sass, sassy, thought, tiqqun, war
From the IEF blog:
“Introduction to Civil War is an alternative origin myth. Introduction to Civil War is the vademecum when you show up to fight club, or any strange twelve-stepesque community of friends. Introduction to Civil War is the book to keep out of the hands of children who are ready to subtract themselves and all of their classmates and teachers from production. Introduction to Civil War is a molecule of a war machine.
The text was originally published in Tiqqun 2, a short-lived French journal of radical thought. Emerging out of the fervent struggles of the European anti-capitalist movement, Tiqqun located itself within a nexus of radical feminist thought, Foucault’s studies on biopolitics, Italian Autonomia, situationist-inspired theory, and Benjaminian approaches to history. The editors intentionally practiced a desubectivizing operation of anonymity, and the texts themselves, a feminist/Deleuzian operation of multiplicity. Where there are many links between the journal’s thought and the editors’ participation in the struggles of the late ’90s and early ’00s, it would be difficult to claim Tiqqun as specifically “anarcho-autonomous,” “ultra-left,” or whatever else Sarkozy and Glenn Beck claim to be the ideological bogeyman behind the French editors, who are now being accused of this or that terrorist enterprise (see: Nov. 9 ‘09 Tarnac Arrests). Tiqqun was a journal that examined the exceptional situation of everyday concentration camps, and theorized from that point, highly influenced by Giorgio Agamben. Today, Tiqqun’s contributions are becoming available to English speaking worlds, and their final concept “civil war” emerges as visible and viable.
Civil war: the continuation of communism by other means. History will decide whether or not civil war replaces Foucault’s concept of contesting the meaning of the social (social war), but one thing is clear from Tiqqun’s contributions: if the social has dissolved, and governance is now only techniques of managing its collapse, then civil war becomes the necessary condition of this existence. And if this is the case, then the last bit of poetry found at the end of Introduction to Civil War, “How is it to be Done?,” may be accurate in exclaiming the only way for us, within this condition of global civil war, to touch on our humanity again will be in a collective negation, namely, an unlimited human strike.
Civil war presupposes the state. Even by advocates of the state’s own admission, the state serves as a preventative measure. Tiqqun locates the elementary human unity not in the body, which quickly becomes subject, but in form-of-life (16). Since all thought is strategic (20) they begin here because the state is the consequence of a certain metaphysics that governs each form-of-life at play in the self—an attenuation of difference through subjectivity. Tiqqun proposes that another metaphysics, a negative one, can be made present, within which forms-of-life might be left to play. This free play of forms-of-life, this “principle of their coexistence” (32), is nothing other than the condition of civil war that the modern state was developed in order to suppress.
This logic reveals a hidden fact regarding the formation of the modern state. If forms-of-life take place through bodies, animating bodies with taste and inclinations to lose themselves and to pass into another’s spheres, then the development of the state, the borders and executions it visited upon worlds, were also visited upon selves. When the state is the suppression of the self, civil war is not only inevitable but already omnipresent. From the absolutist state to the welfare state to the liberal state, the state serves as merely a parenthesis in civil war, first as an attempt to exclude bare life from a territory, then from a population, then from the singular body. From classical politics to biopolitics, the state sets out on a steady course of encountering its own impossibility. This steady course is civil war.
With and against Marx’s dictum that the history of human societies is a history of class struggle; Tiqqun reads the history of forms-of-life as the history of civil war. The story of the state, namely “status,” is the story of an attempt made to freeze this free play of forms-of-life. Again and again, it fails, and out of each successive failure develops a new form of governance and new techniques to suppress civil war. The present conditions of “Empire” are nothing more than an outgrowth of these failures. The modern state is nothing more than a complex set of governing and neutralizing apparatuses that continue the political suppression of civil war by other Clausewitzian means.
But what does sovereign power do that classical politics doesn’t? Drawing on Hobbes and Schmitt, Tiqqun argues that the modern state is a theater of operations in which the intensity of ethical difference is neutralized and every image of difference is pulled to the center for a endless photo-op. Classical politics, through a holistic and despotic state, arranged an order of moral codes via absolute force in order to come to some higher meaning. Classical politics put religion and the sphere of ethics into the theater of the political by including kings as the living heirs to God and individuals as the loyal disciples of God’s moral order. In contrast to the rituals of redemption offered through the bloody play of forces contesting territory under the reign of classical politics, sovereign power can point its population to nothing. The modern state is quite literally the management of life, devoid of transcendental authority. The modern state governs, but learns not to govern too much. Moreover, the modern state applies the classical maxim cuius regio, eius religio, and contends and defeats all opposing religions in order to continue as the hand of god on an earth without God.
The paradox of law, which is the founding thesis of the norm, is as follows: law is in force only in its imposition; law appears only in the act of law. If law is fungible or malleable, this is because it has no justification other than its logic. “It is my pleasure” says the modern sovereign. The norm develops from this essential lacuna of law, but things are as they are not simply because they are, but because of material practices, because of how they are. Norm as nomos emerges from specific means deployed through apparatuses of control.
Enter the reign of the economy. There could never be an economic subject without a political subject. Tiqqun reads Foucault’s study of biopolitics not as a story of power outmaneuvered by the deployment counter-subjectivities, but instead as processes of subjectivization by a vast number of apparatuses. Such massive, overdetermined subjectivization mitigates vital and substantive opposition. Capitalism could not have spread across the globe without first the physical neutralization of hostile populations and practices—which is to say, the condition of war had to be neutralized, in order for “peace” to become the normal condition.
Through Tiqqun’s matrix of civil war, we learn that the development of capitalism, primitive accumulation, and war are not mere periods of tragedy that human society had to endure as the necessary, teleological process of the modern state. Instead, they are the originary operations, the operations that are repeated in order to maintain the status of the so-called peace of citizen-subjects. The Hobbesian operation of exclusion/inclusion is looped on an endless repeat. With the advancements of liberal techniques of government, the operations no longer take the form of a visible exposition of disciplinary force aimed at beating a hostis out of a population, (viz., an external military affair). Rather, these neutralizing operations take form in self-managed policing (viz., an internal police). Foucault explains the process of how the “delinquent” was made into an enemy of society; Tiqqun clarifies that the criminal practices had to be excluded and named “anti-social” in order for there to ever be a formal workers’ movement that could be associated with a public social (albeit, illegal) justice.
Introduction to Civil War exposes the modern uneasiness with “violence.” Violence must be excluded not because it threatens to turn the earth into a pit of corpses (capital has no qualms with such a process), but because it threatens to break the imaginary boundaries of subjects, and release forms-of-life to their free play. Hobbes remains the originary political theorist, in that we can already see the beginnings of self-managed subjects through the threat of exclusion. What must be excluded from a living being in order to include it in the caring arms of the state (and thus give it political-subjectivity) is precisely what attaches it to worlds and what gives it the capacity to encounter others. The exclusion of bare life produces docile bodies. The forced retreat into the self typifying the modern subject must be understood not merely as the process which the western individual was founded, but specifically as the process that generated economic “man” whose stupid (literally: stupefied) concept of freedom ends where all else begins.
Thus, what Tiqqun calls “the black magic of the economy” is deployed at all levels to integrate all human life into “society” first as living beings (zoe) then to continue functioning as legal subjects (bios). But this process can never generate today’s citizen-subject as a perfect artifice of legal behavior. On the contrary, by forcing the political-economy, the process makes society—the massive circulation of legal practices of freedom—indistinguishable from the state. Through the proliferation of the police, the dark memory of the state’s violent origin exposes each terrified citizen to the paradox of its existence.
The liberal state and the welfare state, or liberal democratic and social democratic institutions, are not distinct modes of government but rather two poles of the modern state. Tiqqun argues that the management of a certain social definition of happiness was all it took for the liberal state to control its population (118). With police and with publicity, the liberal state could cynically keep order, but the police and publicity developed in a way that served and exceeded the institution of the nation-state. With the collapse of liberal and social hypothesis, the police and publicity were able to shed their institutional justification and become exposed as mere apparatuses of sovereign power. Through this collapse, this folding up of the liberal state, police and publicity gain a new important role; they are exalted as the super-institutional poles of Empire. Techniques of policing transform into Biopower and techniques of publicity transform into Spectacle. The state itself does not disappear just yet, but it is demoted, and Spectacle and Biopower begin the reign of Empire (118).
It is in the planned-environment of Empire that Tiqqun calls on us to take a partisan position: to intensify the play of forms-of-life beyond their attenuation; to loosen the nooses of subjectivity that Empire places around our necks (176). Civil war is where forms-of-life can freely play. An armed joy of bank expropriations, strikes, bombings, occupations, pirate radio stations, riots, and experimental forms-of-life (such as those in 1977 Italy) rises to a new metaphysical plane in the history of the citizen-subject. Civil war can never be routed. Each hyphen between a citizen-subject contains an intense flow of inclinations. What Tiqqun makes abundantly clear is that these intense inclinations are themselves the many protagonists of history. Civil war, not the state; the form-of-life not the subject, takes us, gives us meaning, and exposes us to a new plane of experience. The Imaginary Party—Tiqqun says “we,” (174)—can be understood as the party for civil war. It is a fragmented plane of consistency where each practice that prefers not to conjure away forms-of-life calls home. Unlike other discourses that rely on a single revolutionary-subjectivity, Tiqqun’s Imaginary Party is nothing but a multiplicity, but unlike Negriist dreams of global civil society, the Imaginary Party does not shy away from the global civil war.
Tiqqun’s concept of communism by other means performs of a particularly interesting operation from this point. Moving beyond the false consciousness of the Left, Tiqqun concludes “There is no visible outside anymore […] Madness, crime or the hungry proletariat no longer inhabit a defined or recognized space, they no longer form a world unto themselves, their own ghetto with or without walls” (131). If there is no longer any pure outside but rather exteriority present at every inch of the biopolitical tissue, then the Imaginary Party is not a political party that contends for power, nor a class that wishes to overthrow another class, nor a multitude that sees its desire reflected back at it through its representations of power. The Imaginary Party is the party of the political only insofar that through its presence it exposes each citizen-subject to the intensity of what it means to act politically.
Despite Tiqqun’s insistence on the need to reclaim violence (34), we learn this need is not in order to simply pose a greater technology of violence against their state’s violence, but rather for each body to become at home with its capacity for force. So-called “terrorism” today exposes citizens of Empire to the conditions they have placed on forms-of-life. What Tiqqun advances in terms of civil war, is in actuality a perverse war-machine. The Imaginary Party is full of precisely the content you might imagine. In a queer gesture, Tiqqun explains that “Empire is not the enemy with which we have to contend, and other tendencies within the Imaginary Party are not, for us, so many hostis to be eliminated, the opposite is, in fact, the case” (182). This means that the capacity for force, that inaugurates an element of the Imaginary Party, is specifically a force directed inward. Through the release of forms-of-life to their free play, Empire’s meaninglessness and its lack of substance are totally revealed. The warlike penchants of forms-of-life form a war-machine only insofar that these penchants conjugate “friends” and “enemies” whose ethical distinctions are far more intense then any banal promise of security that Empire can articulate.
Introduction to Civil War ends exactly where you might expect: at the question of “how?” Like Debord’s Society of the Spectacle, Introduction to Civil War, is not (despite the Library of Congress) an essay of critical theory, but rather a text at home with Clausewitz and Blanqui. Although their insistence on Heidegger’s “the they” and all this Schmittian talk of “friends and enemies” situates Tiqqun in a framework of armed struggle, the anonymous editors break free in their concluding piece. What Tiqqun theorizes and what Tiqqun strategizes operations within are two different disciplines. Perhaps this is one of the most difficult positions for Tiqqun to articulate: What it might mean to live communism, and what it might mean to spread anarchy? History (or perhaps the messiah if we go by Benjamin), will have the final say, but what is irreducible in Introduction to Civil War is the feeling of meaninglessness that is the alibi of daily reproduction and the fact that whatever new struggles are emerging do not fit into the normative nor formal leftist conception of revolution or revolutionary subjectivity. Perhaps forms-of-life will animate bodies and advance what the religious wars in Europe only dreamed of. Perhaps everything will be in common, especially our fragile bodies. Or perhaps Tiqqun has misread something of our times and the coming community will have no allegiance to flesh and sinew, nor even thought. Either way, whether it is through the phantom of terror itself gaining substance (Baudrillard) or the inauguration and multiplication of collectivities whose ethical tissue is robust and whose thought is strategic, Tiqqun concludes that the time of the now is decisive. Empire or civil war?”
Filed under: reviews, update | Tags: anarchy, critical reviews, culture, journal, print, the anvil
Both the Burnt Bookmobile and the CCC should be getting a lot of copies of this soon.
“The Anvil Review is a paper comprised of review essays about popular cultural, literature, and radical material. It is comprised of a print edition distributed through a DIY network throughout North America. It is also a website where discussion about Anvil essays happens.
Issue One includes reviews essays on : John Prine, Crass, The Sons of Anarchy, The Coming Insurrection, World War Z, Up in the Air, The Theory of Bloom and much more. The website has been radically transformed and new essays on the site include The Game that Instructs, How to Survive in Graduate School, and Destroy What You Love.
1. For the price of shipping“