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Factories of Knowledge, Industries of Creativity PDF

168 Pages·2013·0.866 MB·English
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RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 1 RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 2 SEMIOTEXT(E) INTERVENTION SERIES © 2013 by Gerald Raunig All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means, elec- tronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. Published by Semiotext(e) 2007 Wilshire Blvd., Suite 427, Los Angeles, CA 90057 www.semiotexte.com Thanks to John Ebert, Marc Lowenthal and Noura Weddell. Design: Hedi El Kholti ISBN: 978-1-58435-116-0 Distributed by The MIT Press, Cambridge, Mass. and London, England Printed in the United States of America RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 3 Gerald Raunig Translated by Aileen Derieg semiotext(e) intervention series 15 RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 4 RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 5 Contents Factories of Knowledge: Streaking and Smoothing Space 1. Josephine, or Streaking the Territory 9 2. The University-Factory as a Site of Reterritorialization 17 3. Twenty-Eight Tendencies of the Modulating University 29 4. In Modulation Mode: Factories of Knowledge 40 5. The School of the Missing Teacher 53 6. Inventing the Transversal Intellect 62 7. “Occupy Everything, Demand Nothing!” 69 Industries of Creativity: Streaking and Smoothing Time 1. Industrious Mice, or Streaking Time 83 2. Smooth Times, Striated Times 91 3. Seventeen Tendencies of the Modulation of Creativity 105 4. The Industrial Turn 111 5. Island Industry 123 6. Art Strike for All! 137 7. For a Molecular Activism 148 Afterword by Antonio Negri 161 References 166 Acknowledgements 168 RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 6 RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 7 I. Factories of Knowledge Streaking and Smoothing Space RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 8 RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 9 1 JOSEPHINE, OR STREAKING THE TERRITORY Josephine is one of many, a singularity that can only emerge in the multitude, and in the end, she will “happily lose herself in the numberless throng of the heroes of our people.” Josephine is a singer, and the multitude out of which she sings is the mouse folk. Josephine is not a folk singer, she does not sing of the mouse folk, she does not sing about the folk, and she does not sing forthe folk either. From out of the mul- titude, she constitutes an exception. She represents nothing and no one, and nowhere do we find out more about the content or the motives of her singing. Kafka’s “Josephine the Singer, or The Mouse Folk” isnot a tale in the conventional sense. The text, writ- ten in March 1924 as Kafka’s final work, is free from any continuous narrative. It is not a fable and has no linear plot. Instead, it is a treatise on the relation between multitude and singularity, on the form in which singularity emerges from the multitude and how it falls back into the multitude again. This rela- tion is one that goes beyond that of mice, of animals, indeed of any living creatures at all. Josephine is the 9 RAUNIG-FACTORY-FINAL1_VIOLENCE-NEW-MIT 12/29/12 1:14 PM Page 10 instituent machine, in whose singing the collective production of desire for reterritorializing, for gently striating, for streaking space emerges. This is not a reterritorialization that invokes an originary commu- nity of protection, not a return to a territory long since constituted—but nor is it a reterritorialization that draws strictly segmented furrows, forms a com- pletely striated space, generates a state apparatus. Instead, it is a gentle streaking of the territory, in the course of which the mouse folk becomes an abstract machine, fabricating singularities, events, machinic relations, and gaining its form from this streaking at the same time. Kafka explicitly poses the problem of Josephine’s singing and the desire for it that extends across all the mouse folk, even to those who oppose Josephine: “What drives the people to make such exertions for Josephine’s sake?” There is a strange relationship between the mouse folk in its multitude and the sin- gularity of Josephine, between the lack of musical understanding of the many and her singular virtuosity. Wholly unmusical, the mouse folk cannot under- stand Josephine’s singing in its uncommonness; indeed, they cannot even perceive it. In fact, they cannot even distinguish between the mouse folk’s common skill of piping and Josephine’s patently extraordinary singing. Piping is the acoustic expression of mouse folk normality. No one would call it art. The mouse folk pipe away without attaching importance to it, often 10/ Factories of Knowledge, Industries of Creativity

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