things i’ve been gnawing at (repeatedly) for this project

—>Giving an Account of Oneself// by Judy Butts

—> A Shock to Thought: Expression After Deleuze and Guattari // edited by Brian Massumi

—> The Affect Theory Reader

—>Queer Phenomenologyby Sara Ahmed

—> some of the weird connectivities in Murakami’s1Q84

—>Ethics of Luxuryby Jeanne Randolph

—> sporadic parts of Jane Bennett’sVibrant Matter

—> Contemporary Chinese Stories, translated by Chi Chen Wang

—> “Using People” by Barabara Johnson (from Persons and Things)

thinking embarrassment towards exovation

“EMBARRASSMENT PARTY”

The installation embraces one large room, split up into smaller sections with the purpose of creating nooks and lonely walls. There should be a play between the intimate and the jovially public in the space, a constant flow between porous sites of schmoozing and quiet one-on-one engagements with pieces. The space should be welcoming and pleasant, but with subtle constructions that foster awkward or indiscrete conglomerations or literal run-ins. There should be 20-35 people in the space at any given time—strictly no fewer than 20 and no more than 35. If folks have to wait outside the room until others leave, even better. Lighting is geared towards interpretations of ‘swanky’ and ‘ambient.’

 

Each user/viewer/participant of the installation comes into the space knowing that they are there for a bubbly celebration of a famous friend’s (only partially) comical mishap. I haven’t yet decided if this celebrity should be real or not, but I think it’s important that they identify as a woman. At this point I’m leaning towards her being caught stealing a ton of ice cream and slim jims and things from a gas station after she’s dumped by her more (legitimately) famous partner. It is assumed that she did not have money of her own.

 

She is not invulnerable, and her embarrassment and its consequences are real. But there’s something so universally melodramatic in the form of her embarrassment, something so easy to interpolate into while still remaining uncanny and outrageous and spontaneous, that it comes to resemble a form of a hospitality. This hospitality is not pure or utopian or entirely safe. But I do think certain types and conditions of embarrassment can ‘break the ice’ and ‘level the field’ in a really beautiful or at least generative sense— especially when celebrated in a familial ‘chops-busting’ kind of way that doesn’t rationalize the embarrassed one into the embarrassing act. This type of embarrassment requires an openness of others to be responsive to the embarrassing act and the embarrassed one, rather than just making her responsible for the embarrassment. Responsibility as a process has an objective of rendering an indiscretion discrete through attribution (and judgment and punishment).

 

Responsiveness is open in the sense that it requires various responses from various people. The embarrassing act is not made discrete within the embarrassed one (the one who ‘did it’), but rather ties folks together in various degrees to their queasiness and their guards being partially unraveled in spontaneity. And while the embarrassment remains more open and rambling in this way, it still remains real as well— and likely contested or volatile on some levels. (Here I’m drawing from Judith Butler’s Giving an Account of Oneself, especially in her discussions of judgment and responsibility, and fissuring in contact with (an)Other.)

 

To get back to the installation, though, every participant would come under the guise of such a celebration. The embarrassed woman is not present, but this is not necessarily noted. There are tables lining one wall with trays of ice cream and slim jims and orange soda— all the things she’d stolen. Participants are encouraged to eat and drink outrageous amounts of these things while swapping (entirely improvised) memories of/with the embarrassed one, and/or ambiguously real embarrassing memories of their own.

 

Meanwhile, the installation goes on, with an assortment of pieces to be looked at during lulls in conversation. Some pieces are large projections of the embarrassed one doing variously outrageous things. Some pieces are just sounds— like sneezing or snort laughing or audio clips of Alec Baldwin in the corners. Some pieces are videos in tiny niches in the wall, where viewers must peek in tentatively to see found footage loops from television, for example young girls in Disney channel shows eating gallons of ice cream, or Justin Bieber Proactiv commercials, or Snooki falling down. Most of the pieces are explicitly gendered, but not all of them are.

Bloody Money

You are here, surrounded by blood. This is not a Horror Movie Set, you think. This is Real.

What do you do? What are your first instincts? Run? Clean up? Call 911? You soak it all in.

Your heart feels like it is about to explode. You are very queasy. You take a risk & look around.

There are no monsters in sight, which, you remind yourself, does not mean there are no monsters.

You count to ten. You pray. You have to improvise. You have to be clever now. You have to win.

Should you make a giant-sponge contraption? Get out your Powervac? Is any of this your blood?

The blood staining your skin looks so…good. God, is that weird? To think that? Does “weird” matter?

How are you going to get out of this Real place of Horror? How are you going to stop hyperventilating?

How are you going to get out of this Desert of blood? Why are you in this Desert of blood?

Do you deserve to be here? Do you deserve any of this blood? 

ON INNOVATION, EXOVATION, and GASES of IMAGINING


//* A PREFACE OR A START *//

INNOVATION is a dangerous thing. It takes all of the negative/negating practices of exclusion, apathy, over-consumption, exploitation, surveillance and policing, and hides them in pretty neutrals i.e. beiges, silicons, and 5% proceeds. Innovation often looks like goodness, like progress, and like a new and young and white HelpingHand. It acts like logic, which is not to say it acts logically. It is the newly encoded face of superficial care and superficial duty. It is a monolith and a momentum, a heterogeneous series of pseudo-humanistic drives that pass by largely unchecked, exhausting space and time and attention and funding and dreams in its wake.

It is misguided and misguiding, a vacation to nowhere with no vacancy for you.


BY ‘innovation’, I am invoking the managerial religion championed by Steve Jobs, the multimedia extravaganza of bullshit charity complexes, the data-surveillance nexus of government-business-social media, and the silent privileging of clean design over messy thought and care. And by invoking them here I look to call them out—as aggressors, as problems, and more generally as obstacles for any ethics or ethically-instantiated lifestyle that I would want for myself, for my loved ones, and for all of those people and things out there that I might come to love or trust one day.


BUT a dichotomy or moral truism of badness/goodness in terms of complicity/rejection of innovation as such can neither be adequate nor even helpful here. I am calling out aggregate problems and abstract aggressors, but I do not wish to attribute the same disgust I have for these ills to the folks who use the products, services, social cleansing agents, and tokens that I do not appreciate, and certainly not in one sweepingly platitudinous wag of a finger. 

I do not want to introduce a new orthodoxy. I want us to cultivate a new hospitality.


IN other words, shaming folks for interpolating their bodies and embodied functions into neoliberal systems of innovative orthodoxy is not something I affectively look to do. Nor do I look to invalidate experiences within such systems that have given folks real pleasure and understanding, help and thought, or even just a site for such positivities to form. I do not want to raise my nose at folks who have (had) fewer privileges and fewer choices in terms of these systems, or folks who have (had) real eagerness in their hearts that happens to problematically conflict with what I want to see forming. I do not want to be lazily hierarchical or self-righteous.

I do not want to disdainfully reject or dismiss or invalidate anyone who saves up excitedly for an iPhone, or who buys a t-shirt advertising their aesthetic concern for a natural disaster, or who patents a $20 egg beater that looks like Gandhi. But nor do I like these things or the systems that have brought them about and/or profited from them. In fact, I am vehemently against appropriative quirk, commodified creativity and concern, and closed coding. I am sick of racism and sexism and classism and ableism and the of all the unnecessary blaming and shaming that has been naturalized in and by so many of things that I purchase, use, see, vote for, and— often times— still enjoy somehow. I am embarrassed and stifled by complicity, but I am also disillusioned with any attempt to impose my own binaries and exclusions and lazy denunciations. Rather than being self-indulgently embarrassed for others and distancing myself from confronting my own complicities, I want (us) to dig up the residual good still nesting and surviving in our confused little ethical skirmishes with the world around us. I want to become more open and decompressed and thoughtful, while also remaining fiercely critical of innovative orthodoxies (see part 1).


WHAT I am suggesting, then, is an injection into innovation rather than a futile, inaccessible, or self-righteous dismissal of it. This is not to say others’ insurrectionary mode(l)s are invalid. However, considering my own privileges and roles in enclaves of luxury, I believe that any rhetorical denial of my orientations as such would be quite farcical and bogus, not to mention stagnant and stifling.

An injection works from within rather than from outside or above; so too does my tainted yet-eager frame of thought.


I have taken to the name ‘Exovation’ to describe this injection, particularly because I enjoy how such a word is manufactured as a mutant tool against innovation, and not naturalized in its own right. It is not utopian or complete or an end phase, and its name recognizes this. As a linguistic term, Exovation also evokes an exteriorizing, expressive force that comes in direct opposition to the inwardly centralized processes of innovation, which privilege the privacy and productivity of certain makers and certain things over the generatively hospitable flows of open sourcing and open expression.


I like to ally ‘inconsequentiality’ and ‘decompression’ alongside this notion of “exovation” because of the ways in which ‘inconsequence’ is necessarily dissenting from the use, ease, and causal directionality of innovation and ‘decompression’ is necessarily concerned with the partial (non-cathartic) openings, releases, bursts, and unhingings of an ostensibly contained substance. This injection is in many ways like a vaporous vaccine, in that it may resemble a denatured or uncanny form of innovation, and may serve to render innovation less potent, absolutizing, stealthy, effective, efficient, clean, authoritative, legitimate, convincing &etc. My reasoning here is as follows: if we cannot extricate innovation as a toxic yet discrete organ from our social body, then perhaps we can inject some of its more problematic veins with ‘exovation’ and, in so doing, prompt innovation to release (through forces of decompression) some of the positive potentialities of hospitality that it has territorialized and rendered stagnant and/or harmful.

{In metaphor, then: ‘exovation’ is a playful and thoughtful injection for the purpose of deterritorializing some of the codes of living/lifestyle in the ludicrous pseudo-luxury of innovative impositions.}

{In practice: ‘exovation’ is an ever-emergent poetics of openness and dissent, leaks and embarrassments, spontaneity and hospitality; in other words, these six terms provide points of entry into a poetics of ‘ethical-inconsequentiality’.


AS I see it, ‘exovation’ is meant to be applied, cultivated, or accidentally found festering. It is a conceptual re/framing for the accumulated accidents, responses, and care somehow still hiding and surviving in the protocols of production and policing. It is a privileged rambling of data and a thoughtful fissuring of efficiency and cleanliness. It is the opening of narrative and the queering of causality and production. It is a dissenting decompression of design’s privileging of the functional and fiscal engineerings of ‘how’ over the imaginative and imprecise ethics of ‘why’ and ‘for whom’.

it is a shaking and sporadic start towards an ethically inclusive sprawl.

carpe-bm:

image

it seems that:

a palace of platitude /seeds/ normative novelty;

an axiom of apathy /seeds/ horrors half-covered in chrome glitter;

a petty parasite of tokens /seeds/ wet-blanket aesthetics;

a sweeping sass at complicity /seeds/ excitable hands with nothing to do;

it follows that:

self-righteous scoffing /seeds/ self-righteous scoffing;

& other neohierarchical grodiness grobiness


- josh groban