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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Serie: Theory Redux
- Sprache: Englisch
- Veröffentlichungsjahr: 2020
What if the most joyful act was not to transgress a norm but to erect it? What if creativity consisted in enunciating a law under the pretext of violating it? And what if it turned out that you, who claim to prefer exceptions, only talk about them because they allow you to imagine the rules? This book proposes a provocative interpretation of the dynamic relationship between the normative and the transgressive. Combining sociology, biopolitics and satire, it offers a surprising theory of normative imagination as a cognitive mode characteristic of the era of emotional capitalism. Gender, fashion, artistic creation and surveillance are analyzed from the perspective of a regulatory drive, a continuously renovated and imperative push for normalcy that no longer comes from factual powers but from citizens themselves. These, united in a spontaneous popular court, armed with smartphones and driven by juridical compulsion, become the axis of societies of control. In this way the affective ways of constructing subjectivity are replaced by the distinctive pathology of our times, the name of the globalized game: normopathy for all.
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Contents
Cover
Series Page
Title Page
Copyright
Translator’s Note
Notes
Grey Alert, Blue Pill
Notes
The Nomographic Imagination
Creativity and Liberalism
What’s Done Is Law
Enjoy!
On the Tempered Passions
Do It Yourself: Taxonomy and Hierarchy
Notes
Why Do They Call It “Sex” When They Mean “the Ethical Dimension of the Doctrine of Relation”?
Nomography and Personal Relations
Are You Sure I’m Normal?
The Postcoital Selfie and the End of History
The Potentials of the Flesh
Be Courteous, Please, or I’ll Smash Your Face In
Notes
No One’s Style
On Cowardice
The Arbiter of Elegance and the Video Assistant Referee
Notes
Desigual, or Difference
Notes
On the Norm Considered as One of the Fine Arts
Exodus 34:29: The Cheerleader Patriarch
What is an Artist, and Why Does the Artist Always Seem to Ask for the Slaps Not Received in Childhood?
What Is a “Provocation”?
The Museum and the National Bureau of Norms
There Is No Institution But You
I Am Myself and My Prohibitions
On the Norm Considered as One of the Applied Arts, or The Adventures of a Gastronaut and an Epicurean
Don’t Fuck. Eat Well.
Notes
End User License Agreement
List of Illustrations
No One’s Style
Cristóbal Fortúnez,
Fauna mongola
, 2010.
Amina Bouajila, Illustration for
Elephant
, nº35, Summer 2018 ...
On the Norm Considered as One of the Fine Arts
Alice Framis,
The Room of Forbidden Books
, 2004 (© Blueproject ...
Guide
Cover
Table of Contents
Series Page
Title Page
Copyright
Translator’s Note
Begin Reading
End User License Agreement
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Theory Redux series
Series editor: Laurent de Sutter
Published Titles
Mark Alizart, Cryptocommunism
Armen Avanessian, Future Metaphysics
Franco Berardi, The Second Coming
Alfie Bown, The Playstation Dreamworld
Laurent de Sutter, Narcocapitalism
Roberto Esposito, Persons and Things
Graham Harman, Immaterialism
Helen Hester, Xenofeminism
Srećko Horvat, The Radicality of Love
Dominic Pettman, Infinite Distraction
Eloy Fernández Porta, Nomography
Nick Srnicek, Platform Capitalism
Nomography
On the Invention of Norms Considered as One of the Fine Arts
Eloy Fernández Porta
Translated by Ramsey McGlazer
polity
Copyright © Eloy Fernández Porta, 2021
This English edition © Polity Press, 2021
Polity Press65 Bridge StreetCambridge CB2 1UR, UK
Polity Press101 Station LandingSuite 300Medford, MA 02155, USA
All rights reserved. Except for the quotation of short passages for the purpose of criticism and review, no part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher.
ISBN-13: 978-1-5095-4396-0
A catalogue record for this book is available from the British Library.
The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate.
Every effort has been made to trace all copyright holders, but if any have been overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition.
For further information on Polity, visit our website: politybooks.com
Translator’s Note
Throughout this book, Eloy Fernández Porta uses words and phrases in English. These are often taken from the lexicons of corporate culture or the internet; at other times, they point to Porta’s engagement with Anglophone media or index his fluency in the lingua franca of the global art market or the fashion industry. So the reader of the Spanish original comes across references to “infotainment,” the “smartphone,” the “foodie,” and the “fanbase,” to “outsider” art, the “mainstream,” “normcore,” “chaos magic,” and the “unwearable.” This reader is likewise told, in English, to “Enjoy!,” to “Eat well,” to “Do it yourself,” and even, when the author briefly becomes a “cheerleader,” to “Give me an L! Give me an A! Give me a W!,” to spell, “(All together!) LAAAW!”
As that last example indicates, Porta’s English is often parodic, playful, ironic, or absurd. Anglicisms comically interrupt his sinuous Spanish sentences, or they grate jarringly against the words in their immediate vicinity, to ludic effect. They are like bits of ad copy introduced into an otherwise elegant critical discourse, or Doritos served in a dish made by a chef who specializes in haute cuisine.
The effects of Porta’s use of other foreign languages – French to signal sophistication, Latin to send us all to mass or to court – can be captured or at least closely approximated in translation. But there is unfortunately no way to do justice to the author’s use of English in a rendering of his text in English. “There is no remedy to which translation could have recourse here,” Jacques Derrida writes of the “foreign effect” of foreign words used in another context: “No one is to blame; moreover, there is nothing to bring before the bar of translation.”1
Something could have been brought before the bar, of course: the italicization of words and phrases that appeared in English in the original, for instance. But this would have risked confusion, since throughout the text Porta uses italics to other ends. I have therefore left these words and phrases unmarked, although this means domesticating Porta’s prose, depriving it of some of its multilingual richness and polyphonic playfulness. All references to brand names, fashion designers, films, television programs, musicians, and YouTube sensations have also been retained, even when these might not be familiar to readers of the English. I trust that this will not prevent these readers from complying with Porta’s injunction to “Enjoy!”
Notes
1.
Jacques Derrida, “Shibboleth: For Paul Celan,” trans. Joshua Wilner and Thomas Dutoit, in
Sovereignties in Question: The Poetics of Paul Celan
, ed. Thomas Dutoit and Outi Pasanen, New York: Fordham University Press, 2005, 30.
Grey Alert, Blue Pill
What if the truly enjoyable act were not transgressing a norm but inventing it? What if creativity consisted in pronouncing a law, under the pretext of violating it? What if it turned out that you, who say you prefer the exceptions, only spoke of these because they allow you to imagine the rules?
In these pages, we will explore these disquieting possibilities. Let us see where their convulsions lead us.
Nomography: A collective act in which a regulating principle is generated in spontaneous, unforeseen ways, in and through the gestures of a reactive imagination. // A procedure distinctive to an age in which public and private normativity is directly produced by the digital citizenry, while institutions lose their power, become a mere executive branch, or abstain from these deliberations. // A global psychological plague in which the condition known as normotic is depathologized and becomes a part of mental health. // A result of the combined actions of aesthetic, juridical, and popular forces. // A form of possession. A perverse desire that organizes personal temperaments, implements forms of order, and creates a common pressure to take distance from heterodoxy. // A form of fanaticism in which the community takes shape as a horde and affirms its collective identity as a norm-horde. // A metamorphosis of the social body in which it becomes a regulating force.
“Am I normal?” At a central moment in Masters of Sex, the television series, patients of all ages, shot in a sequence of close-ups, look at the camera with varying degrees of discomfort, repeating this question. With each repetition, the spectator feels more interpellated, more like he or she is being given the third degree, more like a culprit. Are you normal?
There are some who have responded to this question – which we could also call The Question – with resigned good humor. “I’m just a regular everyday normal guy / Nothin’ special ’bout me, motherfucker / … If you wanna mess with me, I think you probably can / Because I’m not confident, and I’m weak for a man … / And I don’t have many friends that would back me up. / My friend Steve would, but he doesn’t look very tough.” “Everyday Normal Guy” (2009), a song by the Canadian rapper and comedian Jon Lajoie that meticulously parodies the self-celebration proper to hip-hop lyrics, has received more than thirty-nine million views on YouTube. This is more than many songs recorded by full-fledged hip-hop stars, including those who declare in rhyme that they are something special. And if you mess with them …
In the fashion show for Balenciaga’s Fall–Winter 2017 line, the designer Demna Gvasalia dressed the models in simple navy blue t-shirts – very simple t-shirts, with just one detail added: the brand’s name printed in red, white, and blue, resembling the logos used in North American electoral campaigns. It was not this political connotation that interested Gvasalia, though. It was instead the appropriation of a garment that, defying the rules of the brand, was common, even cheap, and cut across divisions of class. Rather than granting distinction to its wearers, the t-shirt unified them. The brand that practically invented glamor thus filled the runway with bodies that, each in its own modest t-shirt, seemed not to belong to fashion world professionals, but rather to be the bodies of humble, naive, dedicated voters. This was a fall from high fashion to plain old voting.
A long shot shows a heavily trafficked street. Cars, pedestrians coming and going, a busy routine. Everything’s uneventful. The spectator sees all of this, waiting in vain for some incident, an accident, a cut in the digital programming, or an emergence of the Lacanian real. No such thing happens. The use of security footage in exhibition spaces, pioneered by Michael Snow, who is also Canadian, has become so widespread in video art that it is now a recurring trope in galleries and museums: the unedited, unaltered record of the ordinary.
Live show! Come see the commonplace! It’s happening right now!
Super normal. What a strange oxymoron…. And yet it has done well lately. We find it in a book-length essay about interior design that celebrates that tranquil beauty of Italian coffee machines and rubber boots. It is also the name of a refined design studio. The phrase glows, in red neon, on the façade of a Japanese restaurant in Melbourne. Meanwhile, another phrase, Kid Normal, provides the title of a celebrated series of children’s books whose protagonist is made special precisely by his lack of superpowers, or rather by his gradual discovery, during the course of many adventures, that the greatest gift, the real gift from the gods, is … being, unlike other superheroes in pajamas, just another kid. One of many.
“No International Norm Regulates This Type of Gestation.” This headline in El País, Spain’s most widely read newspaper, confronts the reader with the apocalyptic threat of a complete lack of organizing principles. “Sixteen Unwritten Rules That All Peoples Respect.” A story in the paper’s travel section lists dos and don’ts for “rural Spain” – a fictional realm conjured up by a metropolitan, centralist mindset. Chaotic deregulation and customary normativity thus constitute two guiding frameworks, two ways of negotiating two different territories: the global jungle and the local landscape. Globalizing processes turn the planet back into a terra incognita, rocked by the fluctuations of financial markets and the witchcraft of Bitcoin. Here we are in need of a new breed of adventurers, discoverers equipped with dried meats and bearing constitutions, ready to raise the flag of Law in lawless lands. By contrast, in provincial spaces, where customs are hypercodified, familiarity is defined by the ability to learn autochthonous customs and local colors. Hence the emergence of a sort of globalized regionalism.
The biggest music festivals advertise themselves using the hashtag #TheNewNormal, and even surprise parties are supposed to be organized according to sets of rules. A National Consortium of Unification, made up of the apostles of normativité, establishes rules for coexistence, in tumultuous meetings where the recounting of rapid-fire fables is the order of the day. This absurdist fiction, imagined by Boris Vian, has become the stuff of our times.1
Now books of poetry begin this way:
I have a friend who tells me that she onlywants to be a normal girl, but she often changes
her mind and keeps acting strangely, which I like and admire.
(Specifically when it comes to indecision and the refusal to compromise.)2
Biopolitical struggles become disputes over the identification of gender’s unwritten rules and efforts to lay claim to the exceptions:
Are you asking me, Ma’am, whether it is normal to be heterosexual? Of course! Just as it is normal to be homosexual!3
… but this incorrect perception – this deliberately incorrect perception – of a new relational order in which the traditional order would be inverted is in fact refuted in various spaces within the queer community, where this dichotomy is reinscribed in the disjunction between assimilation and singularization, between the dissolution of singularity and its preservation.4
