Thursday, February 13, 2014

Analogical Bone Garden

What Will Be contains an almanac of 12 Surrealist games, one for each month of the year.

January's game is the Analogical Bone Garden, devised by the Stockholm Surrealist Group. The game was inspired by a dream by Mattias Forshage in which he visited a cemetery that was also an almanac.

We played the game according to the instructions given in the book. Each of us decided upon a concrete object that we associated with the month of January. Having told each other the objects we had decided, we all collectively discussed and figured out the abstract principle uniting all of the objects, in order to deduce the overall theme for January. In our case the process was lengthy and required a Venn diagram; the theme we discovered in this way was REANIMATION.




Over the next few weeks we all individually went away and collected further associations with this theme, primarily in the form of found objects.

We then reconvened with our objects and experiences and created a three-dimensional scene embodying the principle of REANIMATION.





  







This game was played in London by Paul Cowdell, Paul Day, Kristoffer Flammarion, Merl Fluin, Elva Jozef, Patrick Hourihan and Kirsty Woods

Monday, February 10, 2014

What Will Be: Almanac of the International Surrealist Movement


We are delighted to have contributed to What Will Be / Ce qui sera / Lo que será, an almanac of the international Surrealist movement edited by Laurens Vancrevel and Her de Vries.

The book features more than 170 contributions – images, poetic texts, theoretical reflections, polemics and enquiry responses – from 25 countries, a compendium of Surrealist games, and a chronology of the movement from 1964 to the present.

The book is available in paperback from Lulu.

Sunday, February 02, 2014

Liberty in Question: Responses to an Enquiry from the Paris Group of the Surrealist Movement


Collage: Paul Cowdell, Merl Fluin, Patrick Hourihan, Elva Jozef, Jonah Wilberg, Kirsty Woods
 
Dear friends,

We are launching an enquiry the ambition of which is to identify what the surrealist spirit might still mean in a world that appears to have integrated surrealism into its references and discourses, but in reality tramples upon its major demands.

It seems to us necessary, firstly, to clarify what the watchwords love, poetry and freedom stand for today.

We begin by challenging freedom, with three questions that you can answer with a word, a sentence or a long speech, or even criticizing the question. All contributions would be welcome.

1 - Does the word freedom still seem to you, here and now, inspiring?

This seems an oddly anxious question. It seems designed to encourage a rather unconvincingly loud ‘YES!’ in the face of difficult odds. The question’s uneasiness points to a more general anxiety in the enquiry as a whole, moreover, that loses the very point of freedom.

Idque apud imperitos humanitas vocabatur, cum pars servitutis esset

The history of oppression is littered with the oppressors claiming the language of the oppressed. They would have our labour, our lives, our loves, our dreams, and even the very words out of our mouths, but this is not a fight for a dictionary.

The word ‘freedom’ is only a shorthand summary of a world we have not yet made, not yet invented, not yet even imagined. I’m much more interested in making and inventing that world, but I’m not prepared to let go of the words. They also have a part in that future, necessary, world, and we want them too.

The attempted appropriation of such words by our enemies, those who would deny us that future, may play a rather limited role in drawing attention to the need to reclaim them. As a student under the Thatcher government I remember explicitly focusing on their use of words like ‘liberty’, ‘freedom’, ‘democracy’ etc. If I felt frustrated in their use of words that for me signified a better future yet to be made rather than their corporate shithole, I also felt that I had to find ways to change the world to make that future.

The ruling classes internationally are increasingly employing such words to justify bloody crimes. State surveillance and the curtailment of democratic rights are justified in the defence of ‘freedom’. In Britain the mantra of all sections of the ruling class for the last decade has been that ‘if you are innocent you have nothing to fear’ from escalating police intrusion. The British ruling class has already started marking the anniversary of World War I by defending its wholesale slaughter as a ‘just’ war, a ‘war for democracy’, etc.

Such lies do meet an instinctual gut opposition, suggesting that the words have not lost their force but there is still a striving towards their content.

2 - Do you think that freedom could scare some to the degree that they prefer servitude?

I find this a deeply unpleasant and self-congratulatory question. It shifts the blame for capitalism’s crimes onto its victims. The question provides a licence to dismiss those who may not yet have found ways of articulating their hostility to this most crushing of political environments by simply branding them ‘scared’. At the same time it can be used to excuse the Elect, those who are pleased with themselves for not being scared, from any political or poetic engagement to shatter this brutal world. After all, they do not ‘prefer servitude’ …

3 - In a recent review (Le Monde, 11th October 2013 - ‘Trois poètes libertaires’) we read: “... this pre- and post-war spirit of surrealism, which may seem so distant now, in its radical and desperate freedom.” Do you agree with this judgment?

The liberal press is the vehicle for all the attempts to take these words out of our mouths. In the past, when times have been good enough for liberals to be comfortable, they have been able to mouth some bland progressive platitudes. This led some to think they were a sort of ally of radical and revolutionary.

They never were, notwithstanding the former political associations of people like Edwy Plenel. It was just that they had comfort enough to feel the pangs of social conscience. Now that times are bad for them too they will become more vitriolic than ever. We have a duty to defend the real history of Surrealism, but let’s not spend all our time taking up point after point against these most insipid and crushing of hostile voices. Attempting to convince liberals is hardly a way to expend our energy – what would we get for our pains? What would constitute success in this field?

Nothing can make radical and desperate freedom seem remote more effectively than spending our time in this way. A much more fruitful response would be to get on with our investigation and transformation, not wondering what the neighbours think of us behind their net curtains. Such anxiety about what the papers say will itself facilitate the further recuperation of Surrealism. To disprove that requires more confidence in what we do and say ourselves than in the authority of the papers.

This question accepts the premise outlined in the enquiry’s introduction, that the modern world has ‘integrated’ Surrealism’s ‘references and discourses’. We’re not fighting for ‘references and discourses’, we’re fighting for Surrealism and Surrealisation. The newspapers will, in any case, carry on saying this kind of stuff. We need to continue inventing and creating and loving and dreaming the world that is necessary to break out of this hell.


Paul Cowdell

Collage: Paul Cowdell, Merl Fluin, Patrick Hourihan, Elva Jozef, Jonah Wilberg, Kirsty Woods


We are launching an enquiry the ambition of which is to identify what the surrealist spirit might still mean in a world that appears to have integrated surrealism into its references and discourses, but in reality tramples upon its major demands.

This enquiry seems to me to be largely pointless. It is from the Surrealist group in Paris, and seems to have been distributed to Surrealist groups elsewhere in the world. It is to be presumed, therefore, that both those posing the questions and those answering them are already convinced that the Surrealist spirit does indeed still have profound and urgent meaning. If we thought that the Surrealist spirit were no longer meaningful, we would simply have abandoned it, and we would therefore not be answering this enquiry. Perhaps there are some members of the Surrealist movement who enjoy repeating to themselves and each other what they already know, who find comfort in reaffirming basic principles over and over again as if they were new revelations. We all need comfort from time to time in this vile world we live in, and the recitation of platitudes can serve that purpose for some. But comfort is not progress. If Surrealism wishes to retain and even sharpen its edge – and the desire to do so seems to be what ultimately lies behind this enquiry – then we need to raise the bar of international Surrealist discourse, not content ourselves with the endless revision of Surrealism 101.

It seems to us necessary, firstly, to clarify what the watchwords love, poetry and freedom stand for today.

I do not agree that it is necessary to clarify the meaning of these words. Nor do I find the definition of keywords in any way an exciting, inspiring or, most importantly, poetic project for the development of Surrealism. Indeed, if the opening paragraph of this enquiry is correct that the world has integrated Surrealist references and discourses, one of its most successful methods for doing so has precisely been to reduce Surrealism to keywords, slogans and signifiers. Let’s proceed by actively manifesting the Surrealist spirit through acts of revolt and concrete utopianism, not by reducing that spirit to keywords.

We begin by challenging freedom, with three questions that you can answer with a word, a sentence or a long speech, or even criticizing the question. All contributions would be welcome.

1 - Does the word freedom still seem to you, here and now, inspiring?

The way this question is phrased, at a level of abstraction and generalisation that is not rooted in any historical or social context, renders it meaningless.

I’m not interested in the word ‘freedom’. I am interested in practices of freedom.

Thinking in terms of practices of freedom necessitates thinking about context, strategy and tactics. For example, this enquiry, like most international Surrealist enquiries these days, has been drafted using software from the US company Microsoft, and is being distributed by email. This means that the questions and all of the replies will be surveilled, collected and stored by the United States National Security Agency. What do we as Surrealists have to say about that? More importantly, what do we do about it? What do we say and do about freedom in relation to the resurgence of the Far Right in Europe, or the false narrative of austerity, or the recriminalisation of homosexuality, or the precarisation of the working class? Let’s have an enquiry that figures out some answers to those harder questions, and perhaps we’ll get somewhere interesting. (For me the underlying strategy for approaching all of these questions is the rejection of abstract labour. I have already written about this elsewhere, and would be very enthusiastic about discussing it in more depth with Surrealist comrades.)

On a philosophical level – the level on which this focus on keywords seems to want to operate, albeit without reaching very deeply into it – I would say that ‘freedom’ has greatest significance as one half of the dialectic between freedom and necessity. The Aufhebung of that dialectic – the vanishing point of the contradiction, to use the familiar Surrealist terminology – is one of the goals of Surrealism (but only one). That Aufhebung is something of which we all have direct, if sometimes only fleeting, experience, during acts of love, creation or poetic illumination, when freedom and necessity cease to be in contradiction and are thereby elevated to another plane of reality. 

2 - Do you think that freedom could scare some to the degree that they prefer servitude?

This question enrages me, since it so easily invites responses that treat those who are not ‘enlightened’ – i.e. anyone other than those answering the enquiry – as dupes and cowards who lack the intelligence or courage to resist their own oppression. No one in this world today is ever offered a choice between servitude and freedom. At best we are offered a choice between servitude and the struggle against servitude, a struggle that is ridiculed as futile on the one hand and repressed by brutal violence on the other. Millions of people around the world bravely engage in that struggle every day nonetheless, individually and collectively, with whatever meagre means are at their disposal. The question we should be asking is how we can join all those large and small struggles together and amplify them to the point where capitalism cracks. Surrealism has enormous potential to crack capitalism in that way, if only we can get down to the tactical questions of how to do so most effectively.

3 - In a recent review (Le Monde, 11th October 2013 - ‘Trois poètes libertaires’) we read: “... this pre- and post-war spirit of surrealism, which may seem so distant now, in its radical and desperate freedom.” Do you agree with this judgment?

I don’t give a flying fuck what gets written in Le Monde or any other liberal newspaper.


Merl Fluin

Collage: Paul Cowdell, Merl Fluin, Patrick Hourihan, Elva Jozef, Jonah Wilberg, Kirsty Woods

Dear friends,

We are launching an enquiry the ambition of which is to identify what the surrealist spirit might still mean in a world that appears to have integrated surrealism into its references and discourses, but in reality tramples upon its major demands.

It seems to us necessary, firstly, to clarify what the watchwords love, poetry and freedom stand for today.

We begin by challenging freedom, with three questions that you can answer with a word, a sentence or a long speech, or even criticizing the question. All contributions would be welcome.

1 - Does the word freedom still seem to you, here and now, inspiring?

Yes and no, or more than this, the implied gap between freedom and inspiration (or mobilisation), as if between the unfurled tricolor and its effect on the simple pistolier, being characteristic of the uninspired liberal conception of freedom – doing what one wants’ – which is left in ruins by the fact that one lacks the imagination to truly want anything, let alone that the passion of inspiration transcends the language of wanting and willing, this being the reason why Breton’s emphasis on the political importance of imaginative freedom (e.g. in Toward a Free Revolutionary Art) should be understood as being not merely about a particular kind of freedom but rather as invoking the essence of freedom – Das Freie – the authentically infinite playground of imagination in which we approximate ourselves, not only by means of  “the full development of material, intellectual and moral powers” (Bakunin’s definition) but by simultaneous exploration and creation, using strange new senses and ancient magical abilities, of alternate identities and distant realities, each eliciting new rationalities and so negating every successive rational definition of a freedom nevertheless defined implicitly in every painting or poem no matter how insane.

2 - Do you think that freedom could scare some to the degree that they prefer servitude?

Yes, this can be easily verified by means of vivisection and endoscopy.

3 - In a recent review (Le Monde, 11th October 2013 - ‘Trois poètes libertaires’) we read: “... this pre- and post-war spirit of surrealism, which may seem so distant now, in its radical and desperate freedom.” Do you agree with this judgment?

I try to steer clear of judgements, especially judgements about surrealism.


Jonah Wilberg
 
Collage: Paul Cowdell, Merl Fluin, Patrick Hourihan, Elva Jozef, Jonah Wilberg, Kirsty Woods