Enter the final contributor to our symposium on Antoine’s The Eye of War (University of Minnesota Press). After the author’s opening post and pieces from Katharine Hall, Dan Öberg, and Matthew Ford, our very own Jairus Grove steps up to the plate. Jairus is Associate Professor at the Department of Political Science in the University of Hawai’i at Manoa and the Director of the Hawai’i Research Center for Futures Studies. His forthcoming book Savage Ecology: War and Geopolitics at the End of the World will be published by Duke University Press in 2019.
Leafing back through The Eye of War’s evocative images of zebra-striped naval destroyers, pigeon-powered targeting systems, and steampunk-worthy ‘binaural acoustic aircraft detectors,’ I am reminded of how vital prototypes, designs, and never deployed gadgets are to Antoine Bousquet’s story of the martial gaze. I want to spend a bit of time thinking through the status of technical things that are more than ideas and less than practical machines with a little help from one of Bousquet’s interlocutors, Gilles Deleuze. At the end of Deleuze’s book on Foucault, he queries what the exact status of the panopticon is. According to Deleuze, the panopticons of Bentham’s dreams were rarely completed, and yet Foucault saw in its schematic the ordering principle of a new historical episteme. Is the panopticon, then, a metaphor, a kind of architectural condensation of discourses in the form of a blueprint? Those who would see ideas at the heart of the matter would hope so. The panopticon in a thinly constructivist reading would be at best the outcome of a changing set of normative relations regarding enclosure, discipline, and reform.
The reactionary realist would be just as happy with this reading, as they are already prepared to dismiss Foucault as a naïve ideational thinker inured to the formative significance of things. However, Deleuze accepts neither of these positions. He instead describes Foucault’s thought as diagrammatic, that is, “a display of the relations between forces which constitute power… the panoptic mechanism is not simply a hinge, a point of exchange between a mechanism of power and a function; it is a way of making power relations function in a function, and of making a function function through these power relations.” Drawing inspiration from Gilbert Simondon, Deleuze locates Foucault as a machinic thinker investigating “the very tissue of the assemblage” and the “immanent causal” relationship between abstract machines and concrete machines. The diagram or abstract machine of the panopticon comes to inhabit and form what Deleuze calls the “human technology which exists before a material technology” with the concrete machine its execution in the form of schools, factories, prisons, open plan office spaces, ad infinitum. As Deleuze puts it succinctly, “the machines are social before being technical,” where the social is defined by Deleuze, this time drawing from Gabriel Tarde, as any assemblage or collection of relations that exceed, make up, and go beyond the sociology of humans or individuals.