Lines of flight: Deleuze and nomadic creativity

In the 60s cult-TV series, The Prisoner, a British spy (played by Patrick McGoohan) is held captive in an Orwellian Village on an island controlled by a faceless authority. The prisoner, who we know only as Number 6, has resigned from the secret service. This appears to be his crime. In the opening sequence for the show, we see him burst into his spy chief’s office and passionately submit his resignation; he is subsequently drugged, kidnapped, and whisked off to the Village. We never find out why he quit. The authorities are perplexed. The prisoner is told that he will remain interned on the island until he has explained his actions to Number 1. But the prisoner refuses to do so. Instead, he seeks to escape. Insistently. The prisoner’s whole tenure on the island (the entirely of two seasons of the show) consists of attempts to elude his captors and flee to the distant mainland.

After being captured by the eerie bouncing balls that guard the island, the prisoner is hauled before Number 2 and issued a sardonic dressing down. ‘In a society, one must learn to conform’, Number 2 tells him. ‘I am not a number – I am a free man!’ replies the prisoner.

The moment that he is alone, he is preparing to escape again.

We can see The Prisoner as a metaphor for the sixties counterculture. According to the French philosopher Gilles Deleuze (1925-1995), the counterculture was defined by the myriad ways that groups and individuals sought to escape the society of normalisation and control that their parents had helped create. The driving impulse behind the counterculture was not so much to oppose the status quo as to get free of it – to head for the horizon with bloodshot eyes on experimental lines of flight (fuite - this can mean leaking, fleeing, or escaping). Lines of flight are bolts of pent-up energy that break through the cracks in a system of control and shoot off on the diagonal. By the light of their passage, they reveal the open spaces beyond the limits of what exists. In a series of books written with the militant psychotherapist Felix Guattari (1930-1992), Deleuze linked human creativity to flight. It is our desire to escape the status quo that leads us to innovate. Like the prisoner, we dream of being anywhere but here. We coordinate, form alignments, combine our powers and innovate. We remake the world on creative lines of flight.

Social media as gift culture: the prismatic self

This is the third post in a series on social media gift cultures. The series draws on indigenous gift cultures to examine the psychological and motivational dynamics of social sharing online. The first post in the series, The reputation game, looks at the North American Potlatch to reflect on the enticements and rewards of sharing online. Social sharing, I argue, involves a reputation game. The aim of the game is to win the favour of your tribe by presenting them with exorbitant gifts.

The second post in the series, Sharing circles and tribes, considers how tribes are formed online. Tribes emerge when participants share with select users, who return the favour by sharing with them. These sharing circles are typically based in common values and interests – hence, so are tribes. I indicate the unstable nature of sharing circles and how an affirmative attitude towards gifting helps sustain them. Imbued with the ‘spirit of the gift’, the gift becomes a token of gratitude for the sharing circle and the tribe it maintains. The more that we cultivate this spirit in our online exchanges, the more robust and fulfilling they become.

This post considers the challenges of sharing across multiple systems online. Active users of social media are often engaged across multiple sites, groups, and activities in real time. Multi-tasking online can be a source of signficant consternation. While missteps (below the threshhold of the screaming faux pas) are mostly overlooked, this doesn’t reduce the anxiety that users (particularly new users) feel when tasked with sharing across multiple channels in real time. It is easy to lose track of how one is expected to behave in different contexts.

When tech journalist Paul Miller returned to the internet after a year off, he was surprised to find how stressful it was to multi-task across services. ‘I had, like, three tabs open and I just didn’t know what was going on’, Miller complains. This is a familiar experience for users of social media, who struggle to keep up with the flow of information on multiple channels.

The solution is to find your tribe. Sharing across multiple channels is easier when we share with our tribes in mind. A thriving tribe gives back more than we contribute to it. Tribes are a living reservoir of cognitive capital and an infinite human resource.

‘I want to practice things like patience’: Paul Miller’s year of exile from the internet

Paul Miller is back online. Senior editor for the tech website The Verge, Miller took a year off the internet between 2012 and 2013 to see how it would impact his experience. As we might expect, Miller reports that being offline in 21st century society is rather inconvenient. No email. Miller had to deliver his submissions to The Verge by flashdrive. No social media. Miller was out of the loop on all sorts of things. He couldn’t check Facebook to see what his friends were up to. Neither could he jump on Google to browse the open web. No YouTube. No Netflix. Life offline, Miller discovered, can be extremely boring. He admits: ‘I did have a lot of free time, but a lot of it was loneliness and boredom in ways that I hadn’t really experienced before’.

Being disconnected was also empowering in a way. Miller wasn’t subject to constant interruptions and requests, and so he was at liberty to decide what to do with his day. He could get things done. He started working on the book that he envisaged coming out of the experiment. He was able to engage with lengthy reading projects, and spend quality time with himself and others. Unfortunately, the initial burst of productivity only lasted so long. Miller disconnected from the internet in the hope of re-engaging creative touchstones and overcoming blocks to his productivity. In the end, he discovered that his productively problems ‘didn’t have a lot to do with the Internet’. The same problems ‘manifested differently on and offline’.

Positive insights that Miller gleaned from his experiment include the importance of having good habits and the value of mindfulness and presence in life. ‘I want to practice things like patience’, Miller claims in an interview with CNN. ‘Just being present with people and not having so much noise in my head’. Miller found that without a connection to the internet, it was easier for him to be present in the moment. Yet, presence is something we have to work at. In the context of smartphones, laptops, and wearable computers, it is more important than ever that we practice the virtue of disconnecting our minds from the internet so that we can genuinely connect with a real person before us. Miller pledges: ‘Now that I’m back on the Internet I really want to be the shining example of what it’s like to actually pay attention to somebody and put away your devices’.

There is a lesson here for us all. Sometimes we need to disconnect from our devices in order to discover what real connection is about.

2045 United Federation Report on the Great Transition: The Culture of Transition

The following passages are taken from the 2045 United Federation report on the Great Transition. This report, released on the eve of the East-West Realignment and founding of the United Federation in December 2045, was the first comprehensive account of the shift in social and economic relations that swept the world between 2015 and 2040, a period known as the Great Transition. The paragraphs are taken from Part 3 of the report, which deals with the role of sharing and social innovation in the Great Transition. For the complete report, see Realignment Mandate 12337 (released by authority of UF Secretary-General Tirrab Hassan 04/04/75).

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2045 United Federation Report on the Great Transition

Part 3: The Culture of Transition

Parts 1 and 2 of this report have outlined the policy and strategic planning work that underlay the Great Transition. We have described the vision shifts in energy and carbon policy that enabled the rapid development and roll out of carbon negative infrastructure, and the social policy associated with the transition to a Totally Mobilized Agenda, including the adoption of civil agency and ‘zero unemployment’ schemes, massive federal and state investment in sustainable cities, and the expansion of the social enterprise sector as a viable hub for commercial investment. We have seen how these policy and planning shifts contributed, between 2015 and 2040, to the re-engineering of the international economy and the creation of a global carbon negative environment.

Part 3 of the report looks at the social and cultural changes associated with the Great Transition. We leave aside the oppositional and countervailing views expressed in parts of the online and corporate media in this period. These views, and the reasons why they lost purchase on the public imagination through the 20-teens, are discussed in Part 4 of the report (see also Appendix 2: Dangerous Liaisons: Big Oil Inside the Beltway). Part 3 seeks to explain the widespread and well-documented shifts in social and creative culture that gathered steam in the 20-teens and fuelled the forces of Transition. We are particularly concerned to understand the role of ‘open source culture’ in this period and how it contributed to new historical framings and existential orientations.

Social media as gift culture: sharing circles and tribes

This is the second post in a series on social media gift cultures. I am interested in how indigenous gift cultures can help us understand the psychological and motivational dynamics of online social sharing. The first post in the series, Social media as gift culture: the reputation game, used the Potlatch ceremony of native North Americans to reflect on the enticements and rewards of sharing online. Social sharing, I argued, involves a reputation game – a ‘virtuous competition’ premised on the free exchange of gifts. As in the Potlatch, social media prosumers seek to create value for their followers through ‘gifts’ in the form of posts, tweets, pins, shares, comments, vouches, etc. The more value they create, the more reputation they earn and the more support they stand to gain from their communities.

In sharing content online, we are playing a reputation game. The object of the game is not to beat other players but to challenge them to greater expressions of generosity. It is a battle of abundant spirits that contributes to the common good.

This post shifts geographical focus from North America to the Western Pacific. I want to look at the Kula ring of the Kiriwina Islands to reflect on the nature and origins of social media tribes. Your tribes are comprised of people with whom you commonly chat and share online. Sometimes they are based in offline friendships, but not always. Shared values and interests are ultimately all that are required to hold a tribe together. If you are wondering who among your followers count as members of your tribe, make a list of the people who commonly like, favourite, share or RT the things you put online. Make another list of the people whose content you like, favourite, share and RT. Look for names that appear on both lists. These are the members of your tribe.

Nietzsche’s way of the creator: my north star

Friedrich Nietzsche (1844-1900) is my deepest philosophical inspiration. I have spent years defending Nietzsche’s concept of will to power and explaining why it has nothing to do with domination and control. Nietzsche is a philosopher of creativity and spiritual health. If he occasionally comes across like a rabid dog, barking furiously at the world, it was because he dreamed passionately of a better world – a world of free spirits, risk takers and creators, people who selfishly seek to cultivate their powers so that they can unleash them on the world in dynamic ways.

Do we live in a Nietzschean world today? In many respects we do. Yet, creators walk a lonely path, for they engage in a disruptive activity, and they ruffle as many feathers as they release birds into flight. I dedicate the following passage from Nietzsche’s book Thus Spoke Zarathustra to the passionate dreamers of the world – the pathmakers, philosophers, and radical entrepreneurs. It is titled ‘The Way of the Creator’. It has helped me to find my way. I hope it helps you find yours.

Would you go into solitude, my brother? Would you seek the way to yourself? Then wait a moment and listen to me.

“He who seeks may easily get lost himself. All solitude is wrong”: so say the herd. And long did you belong to the herd.

The voice of the herd will still echo in you. And when you say, “I no longer have a conscience in common with you,” then it will be a grief and a pain.

Lo, that same conscience created that pain; and the last gleam of that conscience still glows on your affliction.

But you would go the way of your affliction, which is the way to yourself? Then show me your right and your strength to do so!

Are you a new strength and a new right? A first motion? A self-rolling wheel? Can you even compel the stars to revolve around you?

Alas! there is so much lusting for loftiness! There are so many convulsions of the ambitious! Show me that you are not a lusting and ambitious one!

Swarms and norms: refiguring the multitude

Some years ago, I published an essay in the journal Radical Philosophy. It was called, ‘Refiguring the multitude: from exodus to the production of norms’ (2005). It was about swarms, though I didn’t know it at the time. The publication was a coup for me. I was a struggling contract academic, vying for attention. Radical Philosophy was an ‘up there’ journal in political philosophy circles, edgy but respectable. Crucially, it was one of the first published responses to Multitude (2004), Michael Hardt and Toni Negri’s sequel to their best-selling, Empire (1999).

The essay was a bit of dog’s breakfast. But the crux of the argument resonates today. I have pasted some paragraphs below. If you are into Deleuze and social movements, this one is for you.

Re-reading ‘Refiguring the multitude’ for the first time in years, I am struck by how much of this material has become part of my mental DNA. I didn’t realise at the time, but ‘Refiguring the multitude’ was crucial to my intellectual development. Multitude certainly resonates with the high-tech world of 2013. Empire and Multitude are books you should have on your shelf, whatever part of the political spectrum you inhabit. They are books about globalization. Hardt and Negri are essentially right. Of course, they are wrong in important respects too.

The paragraphs from ‘Refiguring the multitude’ that I’ve pasted below are the crux of a line of thought that I started developing in 2002 or 2003. It was a response to the failure of the anti-globalization movement that got started in the 1990s. I was looking for a theoretical trajectory that would enable me to continue on the line of flight that I’d experienced at the height of this movement (’99-01), this time reflecting on how swarms and social movements could contribute to creating something, in the first case, a new set of norms.

In retrospect, it is easy to see how I stepped from this argument to write Coalition of the Willing.

You got to give to get back: Amanda Palmer, crowdfunding, and the theatre of gifts

The talk began without a word. Alt-rock icon Amanda Palmer sauntered onto stage at TED Long Beach, a flower and hat in her hands, nudging a plastic crate along the floor before her. At centre stage, she upturned the crate and positioned the hat in front of it. Stepping up on the crate, she raised her arms to shoulder height and froze.

It was Palmer’s way of introducing the topic of her talk: ‘The Art of Asking’. Prior to finding success with the punk-cabaret outfit, The Dresden Dolls, Palmer had earned a living busking as human statue, the ‘Eight Foot Bride’. She claims in her talk that this provided her with the perfect education for the music business. Becoming a human statue was certainly a great way to capture the audience’s interest. Holding the pose, Palmer held the audience’s attention. She looked left, looked right. Not a word. The TEDsters shivered with anticipation.

Palmer’s talk has generated a great deal of discussion and debate online since TED uploaded the video in February. Two things have captured people’s interest: the fact that Palmer advocates crowdfunded file-sharing as a business model for musicians and artists (she claims: “I firmly believe in music being as free as possible. Unlocked. Shared and spread. In order for artists to survive and create, their audiences need to step up and directly support them”), and the fact that she has been so phenomenally successful at doing this herself. Last year, Palmer raised $1.2 million dollars through Kickstarter to fund ‘Theatre is Evil’, the first album by her band, The Grand Theft Orchestra. In the hit and miss world of crowdfunding, this makes her a guru. No doubt there were a smattering of dark cabaret fans in the audience at TED Long Beach that night. But the majority of people in the audience were there to learn how Palmer worked her money magic.

What they got was a human statue. For a moment. There was magic in that moment – and an important lesson for crowdfunders, too.

Be human: Heidegger and online authenticity

This is the second post in a series on online authenticity. The first post, Beyond ‘brand you’: reflections on social authenticity, outlines a challenge for anyone who seeks to ‘brand’ themselves on social media. It is easy to fall into the trap of defining oneself through shares and retweets. This sets up a shiny wall of themes and memes surrounding your brand, but it can make it impossible for friends and followers to access the real you. To define an authentic presence on social media, you need to tap into the unique person that you are offline. An authentic presence requires that you creatively represent the best version of who you are.

What do you have to give to the world? Take the best version of who you are and give it to the crowd. I call this: creative self-affirmation. Creative self-affirmation is authentic self-expression.

US management guru Tom Peters has an uncompromising view of creative self-affirmation. The key to self-branding online, Peters claims, is to become ‘extraordinarily/noticeably good at something of use/significance’ in the real world and brand that. This is easy enough for a management guru to do – but what about the rest of us? This post dips into the philosophy of Martin Heidegger to define a reflective approach to personal authenticity online that is both easier and more natural than the path Peters suggests.

Authenticity shouldn’t be a chore. Being authentic is simply being human.

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What does it mean to be you – the real you – online? Is it possible or desirable to express your real thoughts and feelings if you are developing a commercial image, or brand? Many people argue that, when it comes to online branding, commercial imperatives trump authenticity every time. The watchword of social media PR is caution: stay on message, avoid equivocal turns of phrase, keep the brand strategy in mind at all times. The upshot is that branded social media content often lacks a human voice. Like manikins in a store front window, branded content strikes a pose that reminds us of authenticity, but is incapable of offering up the real thing.

What about self-branding online? If cultivating a personal brand is subject to the same market imperatives as corporate PR, we should expect social media to be full of plastic people robotically spouting on point messaging. Some commentators argue that this is the way that things are headed. Geoff Livingstone, for instance, argues that ‘[t]he commercialization of the social web has reduced most communications to simply corporate or marketing initiatives’. Perhaps genuine authenticity is an outmoded virtue, as quaint as chivalry and just as absurd.

I don’t buy it. Every brand benefits from a human touch, no matter what product it’s selling. My thesis is that the best branded content online speaks of human values and experiences. It speaks of a human world, or set of worlds, and it makes us want to inhabit them.

Nietzsche’s demon: the eternal return

Arc De Triomphe @ FineArtAmerica

Alexis was in love with life. Fresh out of art school in Fremantle, Australia, she’d picked up a scholarship to study photography under a famous Parisian photographer. Her mother had urged caution but Alexis persisted – and thank goodness! The course – and Paris itself – was everything that she’d dreamed. Her French sponsor found her an apartment in the Latin Quarter, just a stone’s throw from the Place Saint-Michel. Alexis would stroll along the Seine in the evening, up the Champs Elysées to take pictures of the Arc de Triomphe in the flurry of lights.

After two months documenting daily life on the streets of Paris, she had enough material for an exhibition. Alexis felt like she was at the heart of life. Things could go anywhere from here.

One night Alexis was speaking to a friend in Australia. They were reminiscing about their student days, which her friend dearly missed.

‘Do you remember Nietzsche’s idea of the eternal return?’ the friend asked. ‘If I had to choose one time of my life to live out again and again forever, it would be art school’.

Alexis, for her part, was ambivalent about the ‘good old days’. She realized then that if there were a time in her life that she would have again and again, it would be her time in Paris, not Fremantle. The more that she reflected on this, the more her life seemed to come into focus. Looking out the window at the bustling streets, Alexis imagined Nietzsche’s demon coming into her room and making her the offer of Eternal Return. Alexis could hear herself reply, like Nietzsche:

‘Yes. You are a god and I have never heard anything more divine’.

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This post is excerpted from Chapter 3 of Life Changing: A Philosophical Guide