The Last Man

They have something of which they are proud. What do they call it, that which makes them proud? Culture, they call it; it distinguishes them from the goatherds.

-Friedrich Nietzsche: Thus Spoke Zarathustra

Nietzsche once envisioned the end point of progressive politics: the last man. The lives of the last men are pacifist and comfortable. There is no longer a distinction between ruler and ruled, strong over weak, or supreme over the mediocre. Social conflict and challenges are minimized. Every individual lives equally and in “superficial” harmony. There are no original or flourishing social trends and ideas. Individuality and creativity are suppressed. Outwardly it appears to the alien as a perfect world, a utopian enclave where the populace is taken care of, secure, and happy.

A world without disease, conflict, war, poverty, mental aberrations – a world without creativity. In such a world the men and women no longer need education in the sense of the old political horizons, because the world is itself a fulfilled and progressive society. Enlightenment, the sciences, and the socio-cultural regulators who oversee this civilization are not men and women of power, but rather volunteers in a world of non-power. The impersonal laws and pyscho-social apparatus that enforces the stability, security, and regulatory mechanisms of this utopian world are themselves regulated by the ultra-egalitarian value systems that keep even their own mental systems in check.

At the center of this society will be the AGI systems that make all the decisions regulating the complex interactions across the fold of this world populace. These systems will act as oracles for the vast majority of educated and uneducated believers who will become only the beneficiaries of this new impersonal machinism. We could say the AGI’s will handle the intricate and complex relations of jurisprudence that will arbitrate every aspect of this societies intrinsic and extrinsic relations. Welcome to the algorithmic society of the future.

At the heart of this system of egalitarian social relations is the psycho-pharmaceutical Neuromantic Nomos – the Order of Neural Law. Such a society is well versed in the convergence of nanotech, biogenetic, telemantic, and neuroscientific pharma: the fusion of nano-tech and pharmaceutical regulatory agents that will focus their powerful socio-medicinal systems on bringing peace and happiness to the citizens of this brave new world. The growth of regulative platforms of sustainability and resource regulation will have brought to bare the full systems of law to regulate every aspect of life on earth. Yet, to work out these regulatory positings is no longer in the hands of humans but of powerful machinic intelligences which will supply both the legal and socio-medical techniques needed to enforce this system. Humans will be free, but only within a very well defined system of reasons and regulations. Their lives regulated by nanobiotech machinic intelligences that carefully regulate metabolic and neural systems according to the new Nomos.

After the chaotic downturn in the Age of Risk during the so called post-Enlightenment age of unregulated Laissez-faire and beyond into the late financial capitalisms of the Oligarchic and Plutocratic worlds of Neurocapitalism, when humans were coerced into Security Regimes through the use and abuse of the vast new technologies of neuralpharmakon: the time of non-time, presentism, held sway.  The end of certain forms of violence and revolutionary thought brought to an abrupt end the age-old defiance of the masses against oppression. With the advent of neuraltech pharmakon, the street drugs of the new dispensation, along with the cult like prophets dispersing this new religious melioration unto the downcast and forgotten became the way to reign in the dissident elements of the Great Failure. Now that this socio-cultural world was hooked on peace and love, on unity and diversity of psycho-sexual integration the diverse and angry world of poverty and dissidence vanished. The production of dreams and fantasy became the new watchword, a world of satisfied gamers of reality.

With a new Universal Base Income (UBI) in place there was only the need to discover something worthwhile to do and be in this new world. With the end of the age-old monetization systems of capital came the only coin left: human creativity. Yet, as in most regulated systems creativity would be segmented off from the vast majority of players. The creative class would become the enhanced and unregulated systems of experimental social relations, beings set apart in special zones to live and work in the Great Experiment. These beings would become the focus of a well orchestrated Reality TV series in which the uncreative classes would dream of their heroes from afar. (more on this in a future post!)

So that it was just that much easier to incorporate less and less risk management, and off-load more and more of human security and risk onto the newly developed AGI’s. The very systems of profit and plunder that once brought the .01% their dreamworlds, was turned against them to awaken a living dream for all. In the end humans developed a society that elided the very concept of competition and aggression from the human genome. The new biogenetics would slowly but methodically develop personality types according to the function and algorithmic needs of the society itself. One was not so much free to do what one wanted, but to do what one was programed to want. For humans were no longer bound by the illusion of Free Will, but regulated by the impersonal will of their neuraltech systems far below the surface of awareness and consciousness.

 “The event itself is far too great, too distant, too remote from the multitude’s capacity for comprehension even for the tidings of it to be thought of as having arrived as yet.”

-Friedrich Nietzsche


Anti-Fascism = “de-familiarizing, de-oedipalizing, de-castrating; undoing theater, dream, and fantasy; decoding, de-territorializing – a terrible curettage, a malevolent activity.” (Anti-Oedipus: Deleuze & Guattari)

To one half of humanity this will appear dystopia completed, to the other half a strange progress indeed. Maybe it’s more of a fable of “Be careful what you wish for, you might get it in unexpected ways and means.” If you haven’t noticed this is a sort of ongoing world building scenario for a dystopian trilogy in the offing… I’ve often wondered “What if…” we pushed the current trends in progressive thought and politics to the ultra conclusion? What would such a egalitarian world of social justice really look like? Would it push the techno-commercial to the point of a total reformist society based on impersonal regulation by decisioning systems like AGI’s or not? With our investment in the convergence technologies will humans divide into creative and uncreative social relations? How will we have both happy satisfied workers and creativity, too? As so many have suggested, creativity is itself a vehicle that brings violence to the world in which it breaks through. So will the creative class become a separate world, segmented off from the great mass of uncreative talents?

Arthur Kroker: Hyperstitional Gazer of Futurity

“Post-history has been ‘driftworks,’ an indeterminate and increasingly violent series of technological experiments on the horizon of existence itself: the acceleration of space under the sign of digital culture until space itself has been reduced to a ‘specious present,’ and the social engineering of time into a micro-managed prism of empy granulartities.”

– Arthur Kroker

As an maverick educator Arthur Kroker is a nexus of hybrid thought, a convergence of other scholars and philosophers, scientists and performativity thinkers and artists, yet he is able to take their thought and derive from it a glossalia of our hypercapitalist nihilism and hyperstitional memes, amplifying and simplifying them it into intelligible soundbytes for the hungry masses yearning for a meaning that has no meaning. In that he is typical of those singular drifters on the edge of our present apocalypse or ‘revealing’ moment, who jut ahead like vagrant poets of temporal dreams, his antennae always in the netwaves gathering the electronic thoughts from the hypervalent wires of futurity.

Arthur and Marilouise Kroker are writers and lecturers in the areas of technology and contemporary culture. Together they edit the electronic journal CTheory, where they’ve served up articles from a broad range of scholars, thinkers, scientists, innovators, etc. on technology and culture.

His latest work Exits to the Posthuman Future brings his base vision of driftculture into another phase. As he asks,

What if we were to think media theory as itself an artistic practice, that is, as a form of aesthetic imagination that seeks to directly enter the world of data nerves, network skin, and increasingly algorithmic minds with the intention of capturing the dominant mood of these posthuman times – drift culture – in a form of thought that dwells in complicated intersections and complex borderlands? In its essence, thinking with and against the larger technopoesis of accelerate, drift, and crash that holds us in its sway requires a form of media reflection that is itself an exit to the posthuman future.1

As I once said in Utopia or Hell: The Future as Posthuman Game Strategy Kroker will admonish that we seem to be on the cusp of a strange transition, situated at the crossroads of humanity, and the future presents itself now as a gigantic simulacrum of the recycled remnants of all that which was left unfinished by the coming-to-be of the technological dynamo – unfinished religious wars, unfinished ethnic struggles, unfinished class warfare, unfinished sacrificial violence and spasms of brutal power, often motivated by a psychology of anger on the part of the most privileged members of the so-called global village. The apocalypse seems to be coming our way like a specter on the horizon, not a grand epiphany of events but by one lonely text message at a time. (Kroker, 193)

My friend Edmund Berger of  Deterritorial Investigation Unit would add a little history to this saying “the Situationists had configured the drift as the derive, a “technique of rapid passage through varied ambiances.” This psycheogeographical voyage was to be implemented in the terrain of the urban landscape, the setting for strolls – often aided by intoxicating substances – through region reconditioned by the demands of capitalism modernization. The drift was to be an act of reclamation: the city would become a place of adventure, liberated from its overcoding as a site of so-called cultural production through the ritualistic act of consumption and other forms of exchange. Guy Debord’s onetime comrade in the days of Socialism ou Barbarie, Jean-Francois Lyotard, injected this method of drift into the odysseys of intellectual life. For Lyotard it is an act of not only grand subversion, but also one of excess and decadence; drifting amidst the dissolving grand narratives of modernity is a concern of both wanton destruction and gleeful creation.” (The Posthuman and Information Guerilla)

Bruce Sterling in his book The Epic Struggle of the Internet of Things says late capitalism is in process of laying the infrastructure for tyranny and control on a global scale through the use of such optimistic drift culture:

Digital commerce and governance is moving, as fast and hard as it possibly can, into a full-spectrum dominance over whatever used to be analogue. In practice, the Internet of Things means an epic transformation: all-purpose electronic automation through digital surveillance by wireless broadband.

Yet, against this decadent scenario as Kroker suggests what if the counter were true, and the shadow artists of the future or even now beginning to enter the world of data nerves, network skin, and increasingly algorithmic minds with the intention of capturing the dominant mood of these posthuman times – drift culture – in a form of thought that dwells in complicated intersections and complex borderlands? He envisions instead an new emergent order of rebels, a global gathering of new media artists, remix musicians, pirate gamers, AI graffiti artists, anonymous witnesses, and code rebels, an emerging order of figural aesthetics revealing a new order, a brilliantly hallucinatory order, based on an art of impossible questions and a perceptual language as precise as it is evocative. Here, the aesthetic imagination dwells solely on questions of incommensurability : What is the vision of the clone? What is the affect of the code? What is the hauntology of the avatar? What is most excluded, prohibited, by the android? What is the perception of the drone? What are the aesthetics of the fold? What, in short, is the meaning of aesthetics in the age of drift culture?(Kroker, 195-196)

As Edmund reiterates Kroker’s response, the drift culture, takes place on a global level, as Hickman surmises: it is a “new emergent order of rebels, a global gathering of new media artists, remix musicians, pirate gamers, AI graffiti artists, anonymous witnesses, and code rebels, an emerging order of figural aesthetics revealing a new order, a brilliantly hallucinatory order, based on an art of impossible questions and a perceptual language as precise as it is evocative.” He seems to be invoking, then, the weirdness of the internet itself when the world first went wired, as the subcultures of the globe clashed and produced the mutated offspring that today is retrospectively referred to a “tactical media.” This transnational roster includes Kroker’s own CTheory, Nettime, The Thing, Laibach, the Neoists, I/O/D, Adilkno, the VNS Matrix, Afrika G.R.U.P.P.E, the Critical Art Ensemble, the unknown legions of Karen Eliots and Luther Blissetts – and later Wu Mings -, so on and so forth. Through each of these the newfound possibilities of communication exchange and interconnection collided with the compulsion to theorize wildy, conduct absurdist interventions, increase solidarity and even overt support with political struggles, and constantly interrogate the barriers and the intersections of the political with the aesthetics.

Kroker will add that now that the posthuman condition has revealed decadence – incredulous, excessive decadence – as the basic ontology of late capitalism, the point of a figural art that would “harden, worsen, accelerate decadence” would be precisely the reverse, that is to say, it would draw into a greater visibility those intangible, but very real, impulses to social solidarity and ethical probity that haunt the order of the real. (198) So Kroker is moving toward an affirmation of an accelerationist aesthetic that would unloosen the tendencies within the social not to further the capitalist agendas, but rather to disturb it and force its hand into other paths through collective and ethical change and transformation.


  1. Kroker, Arthur (2014-03-12). Exits to the Posthuman Future (p. 195). Wiley. Kindle Edition.

 

The Future of BioGen Protection: Information, DNA, and 3D Printing

Real-f-3d-faces-03

In the future bio-policing will datascan for trace evidence (i.e., hair, semen, etc.)  that can then be developed into 3D recreations of your physical form and profile. Such information could be used by governmental or underground organizations for nefarious purposes: cloning, robotic mimicry, etc. Clones or overlays could replace individuals for specific targeted infiltration into governments, corporations, etc. for assassination, corporate espionage, etc. …story ideas like paranoid pop-up dolls trickle through the mindwires…

Heather Dewey-Hagborg an artist and programmer at the School of the Art Institute of Chicago recently said that the “very things that make us human — our bodies and cells — become a liability”. She decided to perform an experiment and began collecting forensic samples in public spaces, monitoring the streets and bathrooms of New York. She then took that grab bag of human leftovers to Genspace, a community biology lab in New York City. After analyzing the DNA for identifiable traits, she used a computer model to predict the faces of the people who left them and used 3D printing to recreate those faces. The resulting series of masks were part of a 2013 show she called “Stranger Visions.” Of course there’s no way to know how closely the faces match those of the people who left the errant pieces of debris, but the art reveals the wealth of personal information that could hide in seemingly anonymous pieces of trash. Dewey-Hagborg argues that this genetic information needs to be protected.

As she told the interviewer, “You wouldn’t leave your medical records on a subway for just anyone to read,” she said. ” It should be a choice.”

“If we’re entering this era of mass biological surveillance, we need instruments of counter-surveillance to protect our privacy,” she said. To counter such policing abilities a new trend is to develop products that would erase or efface one’s genetic traces ubiquitously during the day. Biononymous.me is gathering data and knowledge for such eventualities. As they tell it:

Biological surveillance is the means by which biological science is used to track, monitor, analyze, and turn bodies into data. It is the extraction of DNA and microbes from our skin, nails, hair and body fluids. It is the analysis of identifying body parts like faces, fingerprints and irises. It is the tracking of life itself by body heat, pulse, perspiration, and involuntary movement. It is the vulnerability we each face every day by the very situation of being human, by simply having a body.

She said alternative products are already being developed. The two-part product, called Invisible, consists of two chemical solutions. The first, called Erase, removes 99.5 percent of genetic information. The second solution, called Replace, essentially scrambles the genetic signal by cloaking it with a kind of DNA noise. In an increasingly surveillance-saturated world, ordinary citizens who want to protect their privacy may wind up “doing things that might even border on illegal, but might be the same kinds of things that police or corporations might be doing less publicly,” Dewey-Hagborg said.

(from Tia Ghose: Bio-Art: 3D-Printed Faces Reconstructed from Stray DNA)