Critique In Hysterical Times

This is a slightly edited version of an essay that was published in The Black Book of FYTA, ed. Athanasios Anagnostopoulos & FYTA (Athens: Nefeli, 2017), 34-40, a collection marking the fifth anniversary of the conceptual audiotextual performance duo FYTA. It was written in February 2017 and revised in April. Think of it as bits of the year gone by. Thanks to FYTA for the invitation to write this, and to Jordan Osserman for useful chats.

In their performance/situation entitled ‘nEUROlogy’, presented at Geneva’s Bâtiment d’Art Contemporain in October 2015, FYTA attempted a far-right medico-theological resuscitation of the European project. The performance was staged in a confined room that FYTA describe as ‘something between the basement of a cult and Clockwork Orange’s reform clinic’—perhaps as apt a description as any of the contemporary European Union as seen from the perspective of its more disgruntled members. In Part I of this triptych, entitled ‘Eden’, FYTA assume the role of the high priests of the European right. Dressed in the red robes of cardinals, they stand before the altar of ‘Europe’, performing the rituals and incantations on which its very sustenance seems to depend. The soundscape of the performance in this segment is revealing in the way FYTA give voice to the utterly banal sentiments of xenophobic nationalists (‘Our environment is our home, our blood is what connects us to the soil, earth is our blood; when we defend our land we defend our blood’) against a disorienting musical backdrop of what sounds like Mongolian throat singing—as if to draw attention to the naturalisation of the arbitrary that is constitutive of all nationalisms. In Part II (‘The Garden’), Europe lies prostrate on a stretcher, covered by her flag. She might be dead, although the beep of machinery suggests life support. Here FYTA appear in the garb of medics who, even as they mill around the patient to no great effect, intone ‘we must remain free’. On the wall hangs a sign that reads ‘Rester Frei!’, the unfamiliar linguistic mashup seeming to gesture at the discontents of Franco-German alliance (or maybe this is just how the Swiss speak). Who killed Europe? On this question the cardinals are unambiguous: barbarians, cultural relativism, immigrants (‘how many people can you fit in the smallest of all continents!’), Islam. On the ground lies a pile of blood spattered posters—mass-produced, as if for a large protest—that read ‘Je suis Voltaire’. Beethoven’s ‘Ode to Joy’, the Anthem of Europe, ushers in Part III (‘Hell’). One thinks of the orchestra of the Titanic playing music to calm the passengers as the ship sinks.

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The Queer Art of Whistle Blowing

What should we make of the fact that Bradley Manning has become Chelsea, that Glenn Greenwald is gay, that David Miranda loves a man enough to submit to the harassment incurred by his partner’s work, that Greenwald’s detractors sought to tarnish him by association with—of all things—a porn company? Possibly nothing generalisable, except that gender is doing work here.

There has been no shortage of voices denying a straightforward connection between sexual orientation, gender identity, and patriotism. (Part of the reason I feel compelled to write about this is that there isn’t one.) San Francisco Pride Board notoriously repudiated Manning’s election as a Grand Marshall in the 2013 Pride in that city, declaring: ‘even the hint of support for actions which placed in harms [sic] way the lives of our men and women in uniform—and countless others, military and civilian alike—will not be tolerated by the leadership of San Francisco Pride.’ That statement has not been retracted, notwithstanding its now patent inaccuracy in light of the prosecution’s inability to cite any evidence that Manning’s leaks led to any deaths and the court’s decision finding her not guilty of the charge of ‘aiding the enemy’. Kristin (formerly Chris) Beck, ex-US Navy Seal who recently announced her gender transition, has been harsher in her condemnation of Manning: ‘For this person, whether male or female to use gender identity to act “BADLY” is a slap in the face to me and everyone who does not fit the “Binary Gender Norm.” It is not an excuse for anything illegal or unjust.’ Pablo K is right to point out the dangers of the temptation, for those who see a link between sex/gender and truth-telling, to make the reverse move—’to relegate Beck to a minority report, and so to re-inscribe the hierarchy of authenticity, this time with Manning as the actual face of resistance, and Beck the mere puppet of militarism’—while pointing out, also, that the gap between these contrasting appropriations is constitutive of the space of contemporary politics. So let’s talk politics.

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