Mikkel Bindslev

MIKKEL BINDSLEV 1831

1832

MIKKEL BINDSLEV ?M SVW_ \PI\ Q\ Q[ VW\ OQ^MV \W ][ \W WJ[MZ^M W]Z IOM _Q\P \PM MaM[ WN IV IZKPIMWTWOQ[\°<PMZMQ[IU]T\Q\]LMWN\MUXWZITQ\QM[_PW[MZPa\PUW[KQTTI\M[ TQSM\PMXMVL]T]U[_QVOWNQVV]UMZIJTMKTWKS[MIKPITWVO[QLM\PMW\PMZ Ernst Jünger <PM [WKITTML QUUWZ\IT _WZS[ WN IZ\ R][\ ÆI[P JZQMÆa \PZW]OP M^MZa XZM[MV\\QUM ?IT\MZ*MVRIUQV 5MUWZaQ[VW\IVQV[\Z]UMV\NWZM`XTWZQVO\PMXI[\J]\ZI\PMZIUMLQ]U 1\Q[\PMUMLQ]UWN\PI\_PQKPQ[M`XMZQMVKMLR][\I[\PMMIZ\PQ[\PMUMLQ]U QV_PQKPIVKQMV\KQ\QM[TQMJ]ZQML/MV]QVMUMUWZaU][\\PMZMNWZMaQMTLIV QUIOMWN\PMXMZ[WV_PWZMUMUJMZ[QV\PM[IUM_IaIOWWLIZKPIMWTWOQKIT ZMXWZ\VW\WVTaQVNWZU[][IJW]\\PM[\ZI\INZWU_PQKPQ\[ÅVLQVO[WZQOQVI\M J]\IT[WOQ^M[IVIKKW]V\WN\PM[\ZI\I_PQKPÅZ[\PIL\WJMJZWSMV\PZW]OP ?IT\MZ*MVRIUQV ?MPI^MZMIKPML\PMMVLWN\PM6MWTQ\PQKXMZQWL)N\MZ\PMMVLWN\PM6MWTQ\PQK_MPI^MKWUM\W\PMMZIWN\PM[aV\PM\QK6WWVM_QTTSVW__PI\I [\WVMQ[IVaUWZMVWWVM_QTTSVW__PI\I\ZMMQ[VWWVM_QTTSVW__PI\ IÆW_MZQ[VWWVM_QTTSVW_\PMUI\PMUI\QKIT[aUJWTNWZQVÅVQ\a*]\ _Pa[PW]TL_MKIZM' Giacinto Scelsi )LaQVOJWLaLWM[V¼\\PQVSIJW]\\PMN]\]ZM Eugenia P. Butler 1833

ŠUM #13 A SERIES OF BELLS EXH I B ITI O N HALLS Shortly after arriving in Shanghai my attention is caught by a remark in a newspaper: ‘The events in our lives are like a series of bells being [\Z]KS IVL \PM ^QJZI\QWV[ [XZMIL W]\_IZL[ I‫ٺ‬MK\QVO M^MZa\PQVO W]Z XZM[MV\IVLW]ZN]\]ZM[WNKW]Z[MJ]\W]ZXI[\I[_MTT-^MZa\PQVOQ[ changing and vibrating.’ The image still resonates a day or two later in the cool darkness of the exhibition halls of the Shanghai Museum. In a UWUMV\WNLQbbQVM[[XZWJIJTaKI][MLJa\PM[XW\TQOP\[LQZMK\MLI\\PM IZKPIMWTWOQKITÅVL[\PMIVKQMV\JZWVbMJMTT[IVL^M[[MT[ZMUQVLUMWN UWLMT[WNIN]\]ZMIZKPQ\MK\]ZMIVIZKPQ\MK\]ZMIVLN]\]ZMKWV[\IV\Ta IPMIL WN ][ Q\ [MMU[ )\ TMI[\ Q\ Q[ IV IZKPQ\MK\]ZM LQ‫ٺ‬MZMV\NZWU IVL more alien than the buildings of Shanghai waiting for me in the bright []VTQOP\W]\[QLM\PMU][M]UM^MV\PW]OP\PM\WXWN\PMU][M]UIKKWZLQVO\WILM[KZQX\QWVQ[»[PIXMLTQSMIVIVKQMV\KWWSQVOXW\¼ D I S PLAY CAS E ;\WXXQVO]XLIbbTML\W[\]La\PMJMTT[\PMQZ[QUQTIZQ\a\WUWLMT[QVI UQVQI\]ZMÅTU[M\ZMUQVL[UMWNM^MVNMMT[U]KPKTW[MZ\W\PMWZQOQVIT shock of being exposed to the outlandish panorama of *TILM:]VVMZ than the sunlit Shanghai buildings. Yet my sense of disorientation is hardly an experience of the historical process brought to a standstill by a striking 1834

MIKKEL BINDSLEV IVL[]ZXZQ[QVOKWV[\MTTI\QWVWNLQ‫ٺ‬MZMV\PQ[\WZQKITNIK\[1\Q[VW\M^MVIV instant of historical recognition in which the ‘then and there’ is legible QV\PM»PMZMIVLVW_¼1VNIK\Q\Q[[]LLMVTaLQ‫ٻ‬K]T\ITUW[\QUXW[[QJTM \W]VLMZ[\IVLPW_IVaWVMKIVLMÅVM\PMPQOPM[\LMOZMMWNUI\MZQITQ[U QVPQ[\WZQKITIVITa[Q[I[IVQUIOMWZIKWV[\MTTI\QWVNWZUQVOIVQUIOM _PQKPXMZLMÅVQ\QWVTIKS[ITTKPIZIK\MZQ[\QK[\aXQKITWNUI\\MZ1\Q[IK]rious materialism that seeks nothing but the transformation of matter QV\WQUIOMIK]ZQW][IVITa[Q[QV_PQKPITTUMI[]ZIJTMMTMUMV\[[]KP I[[KQMV\QÅKY]IV\Q\QM[MY]ITPQ[\WZQKITVW\PQVOVM[[,WK]T\]ZITUIVQNM[\I\QWV[[]KPI[\PMQ\MU[QVIU][M]UIT[WMY]ITVW\PQVO'<PMV\PM JI[Q[WNPQ[\WZa_W]TLJMIVMUIVI\QWVNZWUVW\PQVOIVMUIVI\QWVWN light from nothing. S POTLI G HT <PMTQOP\Q[ÆQKSMZQVOIVLUISQVOUMLQbba_Q\P\PW]OP\1\Q[VW\R][\ \PM[WKITTMLQUUWZ\IT_WZS[WNIZ\\PI\JZQMÆaÆI[P\PZW]OPM^MZaXZM[MV\\QUM\PMNI[\M[\WVM[JMQVO\PMPIZLM[\\WOZI[X#Q\[MMU[\WUM\PI\ IVa K]T\]ZIT UIVQNM[\I\QWV _PM\PMZ Q\ Q[ QV \PM NWZU WN IZ\ IZKPQ\MK\]ZMLM[QOVU][QKXMZNWZUIVKMWZXWM\ZaUIVQX]TI\M[\PMLQUMV[QWV WN\QUMI[_MTTI[\PMÅO]ZITNWZKM[WN\PM[XI\QITLQUMV[QWV[IVLLQ[Z]X\[\PMMV\ZWXaWN\QUM)XPW\WOZIXPNWZQV[\IVKMLWM[VW\[PW_I[ Q[\PMKWUUWVI[[]UX\QWVIUWUMV\NZWbMVQV\QUMJ]\OQ^M[IKKM[[ to a moment moving at such great speed that it always keeps up with the [XMMLWN\PMXZM[MV\1V\PM[IUM_Ia\PM\PW][IVL[WNaMIZ[WTLJZWVbM JMTT[IZMTWKSMLQV[XIKMJ]\UW^MQV\QUMIT_Ia[IPMILWN][<PMaIZM \PMXZWUQ[MWNIN]\]ZM_M[\QTTLWVW\SVW_PW_\WUMM\IVLI[[]KPI more distant future than the future city of Shanghai under construction. 1835

1836

MIKKEL BINDSLEV TUNING, TURNING R E SO NAN C E The crowded metro train shoots through tunnels lit by screens displayQVO IL[ 1V I OPW[\Ta UQZZWZ M‫ٺ‬MK\ \PM QUIOM[ UW^M ITWVO QV XIZITTMT with the immobile passengers. They keep at the same speed as the train. In their light it does not seem a particular farfetched idea to unlock difNMZMV\ N]\]ZM[ PQLLMV QV IZKPIMWTWOQKIT ÅVL[ <_W M`\ZMUM \MUXWZIT models for dynamic development already invite to develop this thought into a critical approach: invasions from the future rebuilding the presMV\ QV \PMQZ W_V QUIOM IVL OMW\ZI]UI \PM [XMMLQVO ]X WN OMWTWOQKIT XZWKM[[M[\WZM^MIT\PM[KZMIUWN\PMMIZ\PIVL\PM_W]VLQVÆQK\MLWV KW[UQKQVLQ‫ٺ‬MZMVKMJa\PMMUMZOMVKMWN\MZZM[\ZQITTQNM*W\PQLMI[ZM[WVI\MQVIZKPIMWTWOa\PW]OPI\ILQ‫ٺ‬MZMV\[KITM"NZWU\PMXWQV\WN^QM_ WN\PMXI[\JMQVOQV^M[\QOI\MLIZKPIMWTWOQKITM`KI^I\QWV[IZMQV^I[QWV[ NZWU\PMN]\]ZM<PMM`KI^I\QWVQ\[MTNI[INWZUWNKZMI\Q^MLM[\Z]K\QWV KIV[MMU\WJMITWKITMIZ\PTa\ZI]UI<PMWVTaLQ‫ٺ‬MZMVKMQ[\PI\UW[\ _ZQ\QVO[WVOMW\ZI]UI\PMUW[\M`\ZMUMM`IUXTMJMQVO\PM_ZQ\QVO[ WN\PM+KZ]XWZ\ZIa\PMXI[\_Q\PVW[XMKQITZMOIZLNWZUIVUILMUI\MZQITZMITQ\a_PQKPQ[\PM\ZILQ\QWVITWJRMK\WNIZKPIMWTWOQKITZM[MIZKP .]Z\PMZUWZMQVI^MZaTQ\MZIT[MV[MIZKPIMWTWOQKITM`KI^I\QWV[IZMM`XMZQMVKM[WNIVLM`XMZQUMV\[_Q\P[\ZI\QÅKI\QWVIVLLM[\ZI\QÅKI\QWV two important components of the ferocious assault on the rigid traditions and traditionalists of humanistic thought from which the ideas of QV^I[QWV[ NZWU \PM N]\]ZM IVL OMW\ZI]UI [\MU \PW]OP QV XPQTW[WXPa [\ZI\QÅKI\QWVIVLLM[\ZI\QÅKI\QWVIZMUW[\Ta][MLQVIX]ZMTaIJ[\ZIK\ 1837

ŠUM #13 sense as terms for the dynamics and standstills of thought. In archaeolWOa[\ZI\QÅKI\QWVIVLLM[\ZI\QÅKI\QWV[PW_\PMKWWZLQVI\ML\PW]OP\WN MIZ\PIVLUI\MZQITK]T\]ZMMIKP\ZaQVO\W[QTMVKM\PMW\PMZ  )[IZKPIMWTWOaQ[ILQ[KQXTQVM[WTMTaKWUUQ\\ML\W\PMXI[\Ua own exploration is obviously going to be both an argument for a new engagement with the practice and theory of archaeology and an argument NWZIZKPIMWTWOa\W[MMSW]\W\PMZLQ[KQXTQVM[\W_QLMVQ\[KZQ\QKIT[KWXM# I\JM[\\PMXZWKM[[_QTTNWTTW_\_WXI\P[[QU]T\IVMW][Ta"WVM\W_IZL[ an understanding of the mechanics of an inhuman thought both vulnerable to invasions and traumatic encounters and extremely alert to alien NWZU[WNQV\MTTQOMVKM]T\QUI\MTa\WX][P\PQ[\PW]OP\QV\WIZKPIMWTWOQKIT \MZZQ\WZaIVLWVM\W_IZL[IVM`XIVLMLÅMTLWNIZKPIMWTWOQKIT\PW]OP\ IVLXZIK\QKM]T\QUI\MTa\WX][PQ\QV\WIVQVP]UIV\MZZQ\WZaWN\PW]OP\ If my pure intuition of a goal is a fertile hybridization of disciXTQVM[UM\PWL[IVLQLMI[XMZQWL[IVL\QUMTQVM[IKPQM^MLJa[\ZMVO\Pening the resonances between archaeology and a vocabulary of philo[WXPQKIT QLMI[ \PMQZ QV\MTTMK\]IT PQ[\WZa IVL \PM [M\\QVO QV _PQKP \PM KWVKMX\[ WN OMW\ZI]UI IVL QV^I[Q^M N]\]ZM[ _MZM LM^MTWXML \PM ÅZ[\ task must be to reconcile abstract thought with the concrete practice and experience of archaeology. Reviewing the role and place of the past in writings touching on geotrauma and invasions from the future in combination with an evaluation of examples of abstract thought develWXMLNZWUIUI\MZQITJI[Q[_QTT[MZ^MI[\PMÅZ[\[\MX+WV[QLMZI\QWV[WN \PMUM\PWLWTWOQKITMVOIOMUMV\_Q\PIVaKPW[MVUI\MZQITQV\PMNWZU WN\PMXWQV\WN^QM_ILWX\MLQVWZLMZ\W\PQVS_Q\PWZITWVO\PMTQVM[WNI [XMKQÅKUI\\MZZI\PMZ\PIV\WUMZMTa\PQVSIVL_ZQ\MIJW]\Q\_QTT[MZ^M as the second step. To add to the discussion of what it means to think IVL_ZQ\MIJW]\[WUM\PQVO\PM\PQZL[\MX_QTTZMXZM[MV\IKI[MIOIQV[\ XWM\QK[1V\PQ[KWV\M`\\PM\MZUXWM\QK[LMVW\M[\PM[KQMVKMWNJZQVOQVO QV\WJMQVO[WUM\PQVO_PQKPPI[VWXZQWZM`Q[\MVKMXZQUIZQTaQV_ZQ\QVO <PMNW]Z\P[\MX_QTTQV^WT^MVI^QOI\QWVUIVQX]TI\QWVWNÅO]ZITNWZKM[ IVLNZIOUMV\I\QWV.QVITTa\PMY]M[\QWVWNVQPQTQ[U_QTTPI^M\WJMKWVNZWV\MLW\PMZ_Q[M]VKWV\M[\MLWTL^IT]M[_QTTKZMI\MWJ[\IKTM[8WM\QK[ NWZQV[\IVKMPI[IUI[[Q^MQV\MTTMK\]ITIVLK]T\]ZIT^IT]MJMKI][MWNQ\[ KTW[MVM[[\WXWM\Za1\TMI^M[TQ\\TMZWWUNWZLQ^MZOMVKM+WV[MY]MV\Ta it is best to consider the association of poetry with poetics as a horizon \WKZW[[)TTWN\PQ[Q[KQZK]U[KZQJMLJa\PMY]M[\QWVWN_ZQ\QVOVW\I[I UWLMTJ]\I[I\WWTIVQV[\Z]UMV\IXWZ\ITNWZ\PMUI\MZQITI[_MTTI[ immaterial forces at work. The steps do not follow from each other in a TQVMIZNI[PQWV#ZI\PMZMIKP[\MX_QTTI\[WUMXWQV\\]ZVJIKS\W_IZL[I XZQWZXW[Q\QWVIVLZM^QM_IVLZMVM_Q\[XI\PNWZ_IZL[NZWU\PMZMTQSM the footsteps of a ballerina dance routine. 1838

MIKKEL BINDSLEV D I S SO NAN C E Reza Negarestani’s +aKTWVWXMLQI has already shown how the legacy of geotrauma and invasions from the future can be used on the distant human past and be mediated through writing as a method as well as a Y]M[\QWV WN QVY]QZa AM\ \PM ]VLMZ[\IVLQVO WN IZKPIMWTWOa I[ »PQLLMV writing’ seems problematic. Not only is it at odds with the tendency of Ccru to probe the non-discursive spheres of digital codes and numeral TWOQK5WZMITIZUQVOTaQ\^MMZ[LIVOMZW][TaKTW[M\WIK]ZQW][UI\MZQalism that seeks nothing but the transformation of matter into the mad game of writing. Rather than strengthening elemental aspects of a base UI\MZQITQ[U_PQKP\WUMI\TMI[\Q[\PMUW[\I\\ZIK\Q^MIVLXZWUQ[QVO XIZ\WNIZKPIMWTWOa+aKTWVWXMLQI reinforces philosophy’s longstanding debasement of archaeology. The debasement of archaeology has its roots in Freud’s use of IZKPIMWTWOaI[IUM\IXPWZNWZQV\IVOQJTMPQLLMVIVLZMXZM[[MLUMUW ZQM[\PI\TQSMMIZ\PY]ISM[IVLTIVL[TQLM[[PWWS\PMPa[\MZQK¼[JWLaIVL _I[ÅVITTaKWV[WTQLI\ML_PMV.W]KI]T\JMV\\PM\MZUIZKPIMWTWOa\WÅ\ PQ[W_VIZKPQ^ITZM[MIZKPNIZNZWU\PML][\IVLJWVM[WN\PMXI[\<PM details are of minor importance here. The important thing is the need to push past all archaeologies of the intangible and once again soil thought _Q\PL][\IVLJWVM[U]LIVLKTIa1V\PI\KWV\M`\\PMIXXTQKI\QWVWN\PM concept of ‘hidden writing’ to archaeology is probably no more than a UQVWZÆI_WZLQ[[WVIVKMQV6MOIZM[\IVQ¼[_WZS The minor dissonance in +aKTWVWXMLQI does not reduce the OZMI\MZZMTM^IVKMWN\PMUIXXQVOWNITT\PM_Ia[\PW]OP\Q[KWMZKMLJa M^MVZWW\MLQVPQLLMVQVP]UIVNWZKM[LMUWVQKMV\Q\QM[IVL[]JTM^MT QV\MV[Q\QM[6W\PW]OP\Q[M^MZNZMM\W][MQ\\ISM[M‫ٺ‬WZ\IVLKWUXTQIVKa WN[\ZIVOMITTQIVKM[\WNWTTW_Q\[\ZIRMK\WZa1VIZKPIMWTWOa\WWZMI[WVQVOIVLLM^MTWXUMV\WNIZO]UMV\IZMKWV[\ZIQVMLZMO]TI\MLIVLKPIVnelled from one point in time to another by material forces and remains. Archaeologists constantly re-evaluate the alliances between geological processes and cultural dynamism.  0I^QVO VW\ML \PQ[ \PM XWQV\ WJ^QW][Ta Q[ VW\ _PI\ X[aKPWIVITa[\[PQ[\WZQIV[WNQLMI[WZXPQTW[WXPMZ[PI^M_ZQ\\MVWVIZKPIMWTWOa J]\\W][MIZKPIMWTWOaWVIX[aKPWIVITa\QKPQ[\WZQKITIVLXPQTW[WXPQKIT TMOIKaIVL\]ZVQ\QV[QLMW]\IVL\W][MTM[[WV[NZWUIX[aKPWIVITa\QK historical and philosophical legacy on archaeology to turn archaeology QV[QLMW]\[W\PI\IXWQV\KIVJMZMIKPML_PMZM\PMXZIK\QKMWNIZKPIMWlogical excavation and archaeological theory contest the drive towards IJ[\ZIK\QWV QV XPQTW[WXPQM[ WN LM[\ZI\QÅKI\QWV WZ I\ TMI[\ \W I LQ‫ٺ‬MZent degree revel in the sheer physicality of archaeological practice and \PMUI\MZQITJI[Q[WNIZKPIMWTWOQKITKWVKMX\[I\\PM[IUM\QUMI[\PM IZKPIMWTWOQKIT NWK][ WV UIVUILM UI\MZQIT ZMITQ\a Q[ I[[I]T\ML ZQXXML apart and opened towards an understanding of prehistoric societies I[XI[\QV\MTTQOMV\UIKPQVMZa<PMZM[]T\QVO_W]VL[_QTTI‫ٺ‬MK\PW__M 1839

ŠUM #13 understand our own position in the modern era and the fragile outer MLOM[WNUWLMZVQ\aJWZLMZQVOWV\PMLQ[\IV\XI[\I[_MTTI[\PMVMIZN]\]ZM TE M PO RALIT Y <_WXIZ\QK]TIZQV[\IVKM[WNIZMKPIZOML+KZ]TMOIKa)VVI/ZMMV[XIV¼[ IVL 6QKS 4IVL¼[ _ZQ\QVO[ NZWU +PQVI JMOQVVQVO _Q\P \PM =ZJIVI\WUa O]QLMJWWS[ QV \PM TI\M [ [WWV NWTTW_ML Ja \PM =ZJIV .]\]ZM JTWO writing and Greenspan’s book Shanghai Future ITZMILa XMZNWZU I [\ZIVOMTa UWLMZI\M XMZPIX[ UWL]TI\ML WXMZI\QWV WV \PM \PW]OP\ WN IVQV^I[Q^MN]\]ZMNWTLQVOQ\JIKSWVQ\[MTNÆI\\MVQVOQ\W]\WVIXTIVM ZMIKPQVO NZWU \PM XI[\ \W \PM XZM[MV\ NZWU \PM XZM[MV\ \W \PM N]\]ZM NZWU \PM N]\]ZM \W \PM XI[\ IVL [M\\QVO ITT QV UW\QWV <PM ZM[]T\ Q[ I VM_\MUXWZITUWLMT"\PM\QUM[XQZITQVVW^I\Q^MXZWL]K\QWVKWUJQVML _Q\P ZMKWTTMK\QWV I »ZMXM\Q\QWV WN \PM N]\]ZM \PZW]OP \PM QV^WKI\QWV WN the past’.  ;PIVOPIQ )Z\ ,MKW WZVIUMV\I\QWV [MMU[ \W JM \PM TWKIT OMWgraphically and physically limited basis for the model of the time spiral. )[IVM`IUXTMWNIJ[\ZIK\\PW]OP\LM^MTWXMLNZWUIKWVKZM\MUI\MZQIT UWLMT [M\ QV I [XMKQÅK XTIKM \PW]OP [MMUQVOTa VW\ QV I [XMKQÅK \QUM it is not dissimilar to Negarestani’s approach to the Iranian past and the spirals whirling their way into +aKTWVWXMLQI. Even with its seemingTa ]VQ^MZ[IT IJ[\ZIK\ IXXTQKI\QWV \PM \QUM [XQZIT I\ Q\[ JI[Q[ Q[ JW]VL \W I [XMKQÅK TWKI\QWV IVL [MZ^M[ \W ZMUQVL \PI\ Q\ U][\ JM XW[[QJTM \W LM^MTWXW\PMZR][\I[IJ[\ZIK\\PMWZM\QKITUWLMT[NZWUW\PMZUI\MZQIT examples. In discussions of the time spiral it is often mentioned how the Chinese understanding of time as descending is modelled on the water KTWKS\PW]OP\PMZMQ[IT[W\PMKW]V\MZVW\QWVWN\QUMI[[KMV\JI[MLWV \PM+PQVM[MQVKMV[MKTWKS)[[]KP\PM\QUM[XQZITQ[IXZWUQ[QVO_Ia to approach the past for anyone who wants to drive the base materialism of archaeology towards higher planes of philosophical and theoretQKIT ZMÆMK\QWV IVL [QU]T\IVMW][Ta LZI_ \PM PQOPMZ I[XQZI\QWV[ WN NZMM thought downwards to a new engagement with the material ground and the contingencies of earthly life.  1V\PQ[KWV\M`\\PMUWLMTWN\PM\QUM[XQZITQ[VW\]VTQSMI\]VQVOKWQT_PQKP\]VM[QV\W\PMNZMY]MVKQM[IVL_I^MTMVO\P[WN\PMN]\]ZM turning static noise into recognizable sounds and announcements of \PQVO[\WKWUM1VILLQ\QWV\PMUWLMTWN\PM\QUM[XQZIT[]U[]XM^MV \MUXWZIZQTa N]TÅT[ \PM XZWUQ[M WN \PM LM^MTWXUMV\ WN IT\MZVI\Q^M[ \W \PMTQVMIZ\MUXWZITUWLMT[WNUWLMZVQ\a5WLMZVQ\a\PM th-cen\]Za ?M[\MZV ^MZ[QWV <PM PQ[\WZa WN \PM th century has shown that 5WLMZVQ\aQ[MQ\PMZVW\PQVOJ]\Q\[W_V»VW_ZQOP\VW_¼IXZM[MV\ KWV\QV]W][TaWV\PMUW^MWZQ[NWZM^MZUQ[[QVOI»VW_¼\WXI[[\PZW]OP \WN]TÅTQ\[XZWUQ[MWNIKPIVOM\WKWUM#QVPQVL[QOP\\PMIL^MV\WN\PM modern can appear as the announcement of a turning point that is still 1840

MIKKEL BINDSLEV before us. The philosophy of invasions from the future was already a KWV\M[\I\QWVWN\PMTQVMIZ\MUXWZITUWLMT[WN5WLMZVQ\a)[QUQTIZ ZMN][ITIXXMIZ[\WPI^MUW\Q^I\ML\PM4W^MKZIN\QIVQVP]UIVLMUWVQK forces in Ccru writings on the deep past and its continued impact on \PM XZM[MV\ [\I\M WN \PM _WZTL *]\ _Q\P \PM \QUM [XQZIT UWZM LM\IQT[ KWUMQV\W^QM_UWZMZMTI\QWV[JM\_MMV\PMXI[\XZM[MV\IVLN]\]ZMIZM LZI_V QV\W KWV[QLMZI\QWV IVL UIVUILM UI\MZQIT ZMITQ\a \ISM[ WV I new importance. PAN O RAMA *IKS I\ \PM PW\MT \PM K]Z\IQV[ QV Ua ZWWU PI^M JMMV LZI_V KTW[QVO W‫\ٺ‬PMXIVWZIUQK^QM_WN\PMKQ\aNZWU\PMthÆWWZI[QN\PMLZIUI WN \PM KQ\a Q[ _IQ\QVO NWZ UM \W \ISM Ua [MI\ I\ \PM _QVLW_ ?PMV \PM K]Z\IQV[IZMLZI_VIXIZ\IVL\PM_QVLW_WXMVMLM^MZa\PQVOKPIVOM[" the sounds of the city come closer. The sounds accompany my reading. 1V\PMPQ[[QVOVWQ[M[ZQ[QVONZWU\PM[\ZMM\[Q\[]LLMVTa[\IVL[W]\\W me how frequently archaeology is mentioned to explain the model of the \QUM[XQZITIVLQVIUWZMOMVMZITUIVVMZPW_IZKPIMWTWOaQ[][MLI[ I_QVLW_\W\PMXI[\IXI[\UWZMNWZMQOV\PIVQ\WVKM[MMUML»I[\PM XZM[MV\LMUWV[\ZI\M[¼IVLIXZM[MV\UWZMNWZMQOV\PIVQ\UQOP\[MMU »I[ \PM XI[\ I\\M[\[¼ 1V \PM ÅZ[\ TQVM[ WN \PM PQ[\WZQKIT [MK\QWV QV \PM =ZJIVI\WUa O]QLMJWWS \W ;PIVOPIQ IZKPIMWTWOa Q[ ][ML Y]Q\M KWV^MV\QWVITTa \W LI\M \PM ÅZ[\ [M\\TMUMV\[ QV \PM TI\MZ KQ\a IZMI IVL \PM state sponsored writings in @QVRQIV0WZQbWV[ faithfully summarize de\IQT[NZWUIZKPIMWTWOQKITÅVL[IVLOMVM\QKZM[MIZKPIVL\PMZM^MITQVO insights into the mixed ethnicities of ancient populations. The Urban .]\]ZM _ZQ\QVO[ IT[W [PW_ I OMVMZIT ZMVM_ML MUXPI[Q[ WV \PM XI[\# while the introduction to the blog promises to ‘head straight into \WUWZZW_¼\PMVM`\XW[\[\I\M[\PI\N]\]ZWTWOaU][\ZMTa]XWVPQ[\WZical patterns and is followed by posts on the history of urbanization and civilization. Then there is the great example of the irony of Chinese IZKPIMWTWOa"\PMMIZTQM[\SVW_V_ZQ\QVO[QV+PQVI\PMNIUW][»WZIKTM JWVM[¼C.QOE\MTTWN\PMN]\]ZM[W»QV+PQVI\QUMQ[TWWXMLNZWU\PM [\IZ\¼IVLWVMKW]TLILLKZIKSML\WQ\[I[PMVKWZM 1841

ŠUM #13 F i g. 1. C h i n e s e O r a c l e B o n e s . 1842

MIKKEL BINDSLEV SHAKE THIS LAND H O R I ZO N It is easy to get perplexed by the variation and richness in terms of style and approach to philosophical and political topics in Nick Land’s writings. Lately the coldness informing his politics has caused discomfort. 8MZ[WVITTa VMQ\PMZ \PM KWTLVM[[ WN \PM XWTQ\QK[ VWZ \PM IVITa[Q[ WN \PM fraying edges of present-day modernity alarm me. My interest is mainly IM[\PM\QK.WZUM\PMIM[\PM\QK[WN\PM[M_ZQ\QVO[WNKW]Z[MVW\]VLMZ[\WWLI[I[KQMVKMWN\PMPIZUWVQW][IVLJMI]\QN]TJ]\I[\PMZMTI\QWV[PQXJM\_MMVM`XMZQMVKMIVL[MV[I\QWVQ[\PMSMa\WI_WZS_PQKP_I[ XQKSML]XIVLIUXTQÅMLJa+KZ]WVTa\WJMW^MZKPIZOMLLQ[QV\MOZI\ML then reassembled and recharged in Shanghai.  7J^QW][Ta 4IVL PI[ VM^MZ JMMV XIZ\QK]TIZTa KWVKMZVML _Q\P _PI\IXXMIZ[\W\PM[MV[M[[W\PMZMI[WV\W\PQVSWNIM[\PM\QK[I[\PM key to his work is best explained by a detour.  1VIKWV^MZ[I\QWV\PM)UMZQKIVKIZ\WWVQ[\+PZQ[?IZMVW\M[PW_ UMUWZQM[IZMIT_Ia[QVI[\I\MWNÆ]`[PQN\QVOIVL[TQLQVOW^MZ\PM[]ZNIKM WNZMKWTTMK\QWV]V\QTITT\PI\Q[TMN\Q[\PMKZ]UJTQVOUWZ\IZ\PI\WZQOQVITTa JW]VLQ\\WOM\PMZ<PQ[PM[Ia[Q[\PMIXXMITWNÅK\QWV_ZQ\QVO"TQSMU][QK Q\PIZUWVQbM[_Q\P\PMQV\IVOQJTMXZWKM[[WNUMUWZaW‫ٺ‬MZQVO][UMTWLQM[ to sing in our mind through which we may construct the fables of our own TQ^M[ZM[WVIV\_Q\PNMIZ[LM[QZM[IVLTW^M[<P][Q\[PW]TLJMWJ^QW][\PI\ \QUMI\TMI[\\PMM`XMZQMVKMWN\QUMQ[VW\I^MK\WZ1\Q[I[PIXMIVLQ\Q[\PM writer’s aesthetic duty to be sensitive to that shape and sculpt it carefully. 1843

ŠUM #13 Though Land is no less concerned with memories than with [MV[I\QWV\PMU][QKITQVÆ]MVKM[WV\PM_ZQ\QVO[NZWU\PM!![\W\PM MIZTa[UIZS\PM[M\M`\[I[IK]\MTaI_IZMWNIVL[MV[Q\Q^M\W\QUM \MUXW ZPa\PU IVL \PM Æ]K\]I\QWV[ IKZW[[ \PM []ZNIKM[ WN \PM SQVL WN IZ\QÅKQIT QV\MTTQOMVKM \PI\ Q[ J]QTLQVO Q\[MTN QV XPQTW[WXPQKIT \M`\[ L]ZQVO\PMXZWKM[[WN_ZQ\QVOIVLIT[WIK]\MTaI_IZMWN\PMXWQV\WN^QM_ of writing itself. The same can be said for the Ccru writings. In this manner they introduce a problematic into philosophy that is related to \PMXZWJTMU[VW^MTQ[\[NIKMLaMIZ[IOW"PW_\W\ISM\PMVW^MTNZWU [\WZa\MTTQVO QV\W _ZQ\QVO \PM UIRWZ LQ[\QVK\QWV JMQVO \PI\ \PM NWZUMZ OQ^M[WVM\PMNIK\[_PQTM\PMTI\\MZ\ZQM[\WZMKZMI\M\PM[MV[I\QWV[IVL KWUXTM`Q\QM[WNTQNM_Q\PQV\PMÆ]QLQ\aWNKWV[KQW][VM[[IVLM`XMZQMVKM <PW]OPUWZMQV[XQZMLIVLNWZUMLJaLM^MTWXUMV\[QVMTMK\ZWVQKU][QK [KQÅVIZZI\Q^M[IVLUW^QM[\PIVJa\PMOZMI\VW^MTQ[\QKZM^WT]\QWVWN\PM 19thIVL thKMV\]ZQM[\PM+KZ]_ZQ\QVO[UIZSIKWUXIZIJTMIVLR][\ I[LQ[\QVK\[PQN\NZWU\PMKTMIZ[a[\MUI\QKKWUU]VQKI\QWVWNIVITa[Q[ IZO]UMV\[\PW]OP\[QLMI[IVLKWVKT][QWV[\WI_ZQ\QVO\PI\LQ^M[QV\W \]ZJ]TMV\ []ZNIKM[ Æ]QLQ\a IVL KWUXTM`Q\QM[ WN XPQTW[WXPa¼[ NWZU WN IZ\QÅKQIT QV\MTTQOMVKM IVL Q\[ [aV\PM\QK ZMKWTTMK\QWV WN Q\[ W_V XI[\ TQNM and forms.  6W_ \ISM VW\M WN +PZQ[ ?IZM¼[ ZM^MTI\QWV WN PW_ \QUM ]VNWTL[ before our eyes and observe how the future’s invasion of the present is already at play in vision: 1ZMKITT[Q\\QVOQVI[KQMVKMKTI[[IVLPI^QVOI_MQZLMXQXPIVa"VIUMTa realizing that the time it takes for visual information to reach our brains added to the time it takes for light to travel into our eyes XZW^ML\WUM\PI\_MLQLV¼\TQ^MQV\PMXZM[MV\#M^MZa\PQVO\PI\_M experience as happening ‘now’ has actually happened a split-second IOWJ]\W]ZUQVL[PI^MÅO]ZMLW]\I_Ia\WZM^MZ[MMVOQVMMZ\PQ[ sensation so we experience it as what we call ‘the present’. And _PQTM_MM`XMZQMVKM\PI\\PMN]\]ZMQ[ITZMILaWKK]ZZQVO <ISMV\WOM\PMZ\PM[MWJ[MZ^I\QWV[[]OOM[\\PI\INWZKMN]TNIK\WZQV\PM[M _ZQ\QVO[Q[WZI\TMI[\KIVJM]VLMZ[\WWLI[IJTW_]XWNIM[\PM\QKKWVKMZV[JMaWVL\PMZMITUWN\PM[MV[M["IM[\PM\QK[\PMIM[\PM\QKLQUMV[QWVQ[\PMÅVMTQVMWZPWZQbWV_PMZM_PI\Q[WXMV\WXMZKMX\QWV[TQLM[ into what is either too large or too small to be perceived.  <PQ[ PWZQbWV Q[ XMZPIX[ JM[\ \MZUML I [aV\PM\QK IM[\PM\QK[ and the writings are then to be regarded a synesthetic writing in a new [MV[M"\PMXZQUIZaKWVKMZVQ[VW\PW_\WKZMI\M[WUM\PQVOQV_ZQ\QVO J]\ \W KPIVOM \PM [MV[I\QWVIT XMZKMX\]IT IVL QV\MTTMK\]IT IXXIZI\][ IVLPMQOP\MV\PMI_IZMVM[[WN\PMIZ\QÅKQITKWUXWVMV\[WNIXIZ\QK]TIZ philosophical outlook to the point where even the machinic components WN\PW]OP\ZMIK\\WMIKPW\PMZ1\Q[VW\IXWM\QK[J]\IVIM[\PM\QK[_PMZM QV\MV[Q\a \ISM[ \PM ZWTM WN QVP]UIV WZ LMP]UIVQbML [MV[I\QWV IVL \MKPVWTWOQKIT KPIVOM[ ZMÆMK\ I KPIVOM WN KWV[KQW][VM[[ <M`\[ WXMVTa 1844

MIKKEL BINDSLEV declared to be machines for intensity rewire intelligence and connect Q\ \W Y]M[\QWV[ W]\[QLM \PM TQUQ\[ WN \PM P]UIV VMZ^M [a[\MU 8WM\QK[ QV\PQ[ZMOIZLQ[ISQVLWNJTQVLITTMaILM\W]Z,M[XQ\MI[PIZMLKWUmitment to a modernist poetic project involving a rearrangement of the [MV[M[ \PMZM Q[ VW KWUUQ\UMV\ \W WVM XIZ\QK]TIZ XZIK\QKM WN _ZQ\QVO and no sense in reading these writings as poetry. The texts do not reach W]\\W_IZL[\PMLWUIQV[WNXWM\ZaJ]\\W\PMLWUIQVWNQV\MTTQOMVKMWN [MV\QMV\M`Q[\MVKMW]\[QLMWNXWM\Za<PMXZWL]K\QWVWN_ZQ\QVO[[MZ^ML I[IXI\P_Ia\W\PQ[LWUIQVJ]\WVTa\WIKMZ\IQVLMOZMM  .WZ \PI\ X]ZXW[M \PM PMI^a ZMTQIVKM WV QV\MV[Q\a \PM ZMKW]Z[M \WUI`QV\MV[Q\aXZM[]UIJTaXZW^ML\WJMILMILMVLI[Q\Q[UMZMTaIV inhuman variation on one of the problematic aspects of utilitarianism: QN_PI\Q[OWWLMQ\PMZQVTQNMWZ\PW]OP\Q[\PMOZMI\M[\XW[[QJTMIUW]V\ WN[\I\M[WNPIXXQVM[[XTMI[]ZMWZI[PMZMQV\MV[Q\a\PMJM[\TQNM\PM JM[\\PW]OP\_W]TLJMWVM[QUXTaTQ^MLI[WZI\\IKPML\WIXTMI[]ZMWZ intensity-producing machine. There is obviously more to life and \PW]OP\<PMM`KT]LML[]ZXT][M^MVQV\PW]OP\KZI^M[NWZI\\MV\QWV\PM reduction of everything to a question of intensity risks getting caught in an all too human state. A dismissal of a line of thought principally focused on productions of intensity would help to explain why Ccru’s implosion lead Land to a further reduction to coldness and a reliance on KWTLVM[[I[IO]QLM;\QTTM^MV\PMIVIM[\PM\QK[WN\PM\]ZVNZWUW^MZheated intensity to the intensity of extreme coldness can be said to be in \PMLWUIQVWNIM[\PM\QK[R][\ZML]KML\W\PMLWUIQVWNbMZWPMI\ PARAS ITI S M .ZWU IV IM[\PM\QK XWQV\ WN ^QM_ _Q\P I UQVQUIT KWVKMZV NWZ \PM ÅVMZ XPQTW[WXPQKIT LM\IQT[ ^IZQI\QWV[ WV \PM [IUM UW\Q^I\QWV IVL UM\PWL KIV JM NW]VL QV ITT WN 4IVL¼[ _ZQ\QVO[ VIUMTa \PM IJ[WT]\M UWLMZV I\\Q\]LM NZWU *I]LMTIQZM IVL :QUJI]L IXXTQML \W [XPMZM[ IVL ÅMTL[ W]\[QLM XWM\Za" ^WaIOM[ QV\W \PM ]VSVW_V \W ÅVL \PM VM_ <PM VM_ always implies a changed conception of time: to be modern is to depart WV^WaIOM[QV\W»ZQ[S\PI\[\QU]TI\M[KITK]TI\QWVNWZUITQbM[IOMVKaIVL restructures time’.  7N KW]Z[M \PM[M ^WaIOM[ KIV JM []JLQ^QLML QV ^IZQW][ _Ia[" there is the voyage to the endpoint of nihilism where Bataille and Kant IZM OVI[PQVO \MM\P# \PMZM IZM \PM ^WaIOM[ QV KWVKMX\]IT QV\MV[Q\QM[ QV _ZQ\QVO[\PI\N]VK\QWVI[UIKPQVM[NWZQV\MV[Q\a#\PMZMIZM\PM^WaIOM[ into non-semantic meaning and inhuman dynamics by the numeral unTWKSQVO WN WKK]T\ NWZKM[# \PMZM Q[ \PM IKKMTMZI\QWV QV\W IV ]ZJIV N]\]ZM [PQUUMZQVOWV\PMPWZQbWVVW\W]\WN^QM_J]\[\QTTW]\WNZMIKP#\PMZM are the voyages into inhuman territory by writing from the perspective WN\MZUQVITKIXQ\ITQ[UWZ»\PMZMIT[]J[]UX\QWVWN[WKQM\aQV\W\PMZQ[S MKWVWUa _PMZM Q\ Q[ LQ‫ٻ‬K]T\ \W QLMV\QNa I TIK]VI QV\W _PQKP IV MVOQVMMZMLNZQMVLTQVM[[UQOP\JMQV[MZ\ML¼#\PMZMIZM\PM^WaIOM[QV\W 1845

ŠUM #13 XWTQ\QKIT]VSVW_VZMOQWV[WN\PMWVOWQVONZIOUMV\I\QWVWN\PM?M[\#IVL \PMZMIZM\PM^WaIOM[QV\WW\PMZ_WZTLTa[XMK]TI\QWVQV[KQÅVIZZI\Q^M[ and abstract horror.  <PM OMVMZIT UM\PWL IT_Ia[ WXMVML Ja I [aVM[\PM\QK PWZQbWV [MMU[\WJM\W_ZQ\MNZWU]VLMZ\PM[SQVWNIVW\PMZMV\Q\a_PM\PMZQ\Q[ [WUMWVMMT[M¼[\PW]OP\I[QTQKWVKPQXWZWVMWN\PM_WZTL¼[UMOIKQ\QM[ KWVKMQ^MLI[I[MV\QMV\JMQVOAM\I[»\PM[]JRMK\Q[VW\\PMW_VMZWNQ\[ W_V [SQV¼ J]\ R][\ \PM QV\MV[Q\QM[ \ZI^MZ[QVO \PM [SQV \PMZM KIV JM VW \ZILQ\QWVITKZQ\QKITXW[Q\QWVWNILM\IKPMLLQ[\IV\WJ[MZ^I\QWVWZ_ZQ\QVO[ NZWU[WUM[MKZM\XTIKMWV\PMQV[QLMJ]ZQMLLMMXLW_V]VLMZ\PM[SQV <PM[M_ZQ\QVO[IZMNZWU\PM[IUMJWLQTaXTIVMI[\PM[SQV_PQKPIXXMIZ[ to be the only position to write from.  <PMLQ‫ٺ‬MZMV\[SQV[WN\PMKPW[MV[]JRMK\M`XTIQV\PMLQ‫ٺ‬MZMVKM[ QV[\aTM<PM[\aTMIVL\PMKWV\M`\KPIVOMIKKWZLQVO\W\PMK]ZZMV\[SQV K]ZZMV\ QV\MZM[\[ J]\ \PM [IUM SQVL WN [\I\MUMV\[ IZM NW]VL KWV[Q[\ently throughout the early writings to the latest twitter posts: capitalism I[ I \MVLMVKa ZI\PMZ \PIV I \W\IT [a[\MU \PM NIQT]ZM WN \ZILQ\QWVIT TMN\ _QVO\PW]OP\\WW‫ٺ‬MZ[]J[\IV\QITKZQ\QY]MIVL^QIJTMIT\MZVI\Q^M[WV\PI\ OZW]VL[ \PM NIQT]ZM \W ]VLMZ[\IVL \PI\ KIXQ\ITQ[U PI[ VW []J[\IV\QIT [WKQWK]T\]ZIT KWV[Q[\MVKa M\K .WZ \PM [IUM ZMI[WV \PM QUXTW[QWV WN Ccru was followed less by the developments of Kantian or Hegelian sys\MU[ \PIV Ja IV M`XIV[QWV WN \PM ÅMTL[ M`XTWZML \PM LQ‫ٺ‬MZMV\ »[SQV[¼ TQ^MLQVIVLJa\PM][]IT[WT]\QWVWNMVOIOQVOQVKWTTMK\Q^MM`XMZQUMV\[WN _ZQ\QVONWZQV[\IVKMQV\PM=ZJIVI\WUaO]QLMJWWS[_PQKP\ZMI\\PMKQ\a of Shanghai as a sentient being and in an almost parasitic sense are writ\MVNZWU\PMQV[QLMWN\PMKQ\aILIX\QVO\W\PMXMZ[XMK\Q^M[WNQ\[U]T\QXTM sense organs and the neural system of its diverse infrastructures. Rather than omit the human past in general for the deep time of OMWTWOa\PM[M_ZQ\QVO[JZQVO\PMY]M[\QWVWN\PMP]UIVXI[\QV\WXTIa _Q\P\PM\QUM[XQZITIVL\PM\QUM[XQZITQVL]KMLQ\[MTNJa\PMKWTTMK\Q^M experience of writing the Urbanatomy guidebooks. Despite its minor [\I\][\ZI^MT_ZQ\QVO\]ZV[W]\\WJMIVM[[MV\QITJIKSLWWZ\WIZMVM_ML approach to a multipolar world. Aesthetics is the key to the forces at play QVITTWN4IVL¼[_ZQ\QVO[J]\\ZI^MT_ZQ\QVOVW\PWZZWZVW\[KQÅQ[\PM backdoor insofar as it is the contested model for any writing of voyages into unknown territories and also forcefully tests all attempts to move beyond the subjective. S KI N J O B <WUMXMZ[WVITTaITT\ZI^MT[IZM\ZI^MT[QV]VKWUNWZ\IJTM\Z]\P[IJW]\ Ua[MTN \W \PM XWQV\ WN VW TWVOMZ NMMTQVO QV\QUI\M _Q\P Ua W_V [SQV :I\PMZI[\WVQOP\Q\NMMT[MTMK\ZQKITTaKPIZOML_Q\P\PM[]ZZW]VLQVO[ 1846

MIKKEL BINDSLEV PASSAGES R E M I N I SC E N C E S F RO M A J O U R N EY TO MAF RAQ Through the open window a subtle change in temperature and dampness Q[ NMT\ ) ÅVM ZIQV LIZSMV[ \PM ;PIVOPIQ [SaTQVM IVL U]‫ټ‬M[ \PM VQOP\ [W]VL[WN\PMKQ\a4WWSQVOW]\I\\PMUQ[\aTQOP\[I[MZQM[WNY]M[\QWV[ IZQ[M["?PI\Q[\PMZM\WILL\W\PMTMOIKaWNOMW\ZI]UIQV^I[QWV[NZWU \PMN]\]ZMIVLQVP]UIV[]J\MZZIVMIVNWZKM['1V_PI\_Ia[KIVQ\JMLMveloped into new land which would take the past into consideration in I UWZM LQZMK\ _Ia' 1N UWLMZVQ\a [PW]TL VW\ JM KWUXZMPMVLML KPZWVWTWOQKITTaI[IUWUMV\MI[QTaXTW\\MLQV\QUMQNUWLMZVQ\aQ[\PMÆWI\QVO XWQV\WNI»VW_¼WV\PMK][XWNMZI[]ZM_Q\P\PMN]\]ZMJTMMLQVOQV\W\PM XZM[MV\ Q\[MTN ITZMILa MVO]TNML Ja \PM XI[\ PW_ KIV IVa JMOQVVQVO WN UWLMZVQ\aJMLMÅVMLI\ITT'0W_LWM[IÆWI\QVO\QUMTQVMNWZ\PMWV[M\ WNUWLMZVQ\aI‫ٺ‬MK\NWZQV[\IVKMW]Z]VLMZ[\IVLQVOWNXZMPQ[\WZQK[WKQM\QM['+IV\PMQLMIWNÆWI\QVO\QUMTQVM[JMIXXTQML\W\PMXI[\'1[I[QUQTIZ WZQMV\I\QWV\W_IZL[\PMN]\]ZMNW]VLQV\PMXI[\NWZQV[\IVKMQV\PMMIZTQM[\IOZQK]T\]ZIT[WKQM\QM[WN\PM4M^IV\IVL-I[\)[QI' Did Negarestani ever write about the early agricultural societies in the Levant and how the development of writing took place in agricul\]ZIT[WKQM\QM[\PI\PILZMIKPMLIKMZ\IQV[QbMIKMZ\IQVTM^MTWNQV\MV[Q\a both in terms of population size and the geographical range of their trade VM\_WZS['5aKWXaWN+aKTWVWXMLQIPMI^QTaZMILL]ZQVO[WRW]ZV[QV\PM 1847

ŠUM #13 JTIKS JI[IT\ LM[MZ\ IZMI[ WN 5INZIY 2WZLIV OW\ TW[\ L]ZQVO Ua ÆQOP\ \W;PIVOPIQUaWVTaZM[W]ZKM[IZMINM_ZMILQVOVW\M[IVL\PM^IO]M memory of an apocryphal blog post about early state management of LMI\PQV+I\ITPa†S\PMTIZOM[\SVW_V6MWTQ\PQKKQ\aQV)VI\WTQI;\QTT as the questions of management of death and the management of other XMWXTM¼[_ZQ\QVO[ÅO]ZMXZMLWUQVIV\TaQV+aKTWVWXMLQI\PMZMQ[IUXTM ZMI[WV\W\PQVSWN\PM\PMWZaÅK\QWVWN6MOIZM[\IVQ¼[VW^MTI[IXWM\QK[ M^MV`MVWXWM\QK[WNK]T\]ZITWV\WTWOa\PI\W‫ٺ‬MZ[IZMVM_ML\W]KP_Q\P the distant human past through writing.  +aKTWVWXMLQI is of course a far cry from any kind of hermeneutics or linguistic turn in philosophy and cultural theory. Even language [MMU[\WJM\_Q[\MLJa\PMLIZS\MZZWZQV6MOIZM[\IVQ¼[\PMWZaÅK\QWV 1V\PQ[KIXIKQ\a\PMUWLMTWNPQLLMV_ZQ\QVOJZQTTQIV\Ta[M^MZ[\PM_ZQ\\MV \M`\¼[ I]\PWZQ\a NZWU I]\PWZQIT W_VMZ[PQX ]VLWM[ IVa I\\MUX\ \W lock the written text and the author into a shared position and resonates _QLMTa_Q\P\PMVWQ[MOMVMZI\MLJa\PMLQ‫ٺ‬MZMV\UMLQIXTI\NWZU[][ML to publish early versions of the writings that went into +aKTWVWXMLQI. Yet TQVSQVOIZKPIMWTWOa\WIUWLMTWNPQLLMV_ZQ\QVO[MMU[QV[]‫ٻ‬KQMV\\W separate the thought of +aKTWVWXMLQI from the misunderstanding that the archaeological past is a kind of writing and therefore something \W ZMIL ?PQTM \PM ZWTM XTIaML Ja PQLLMV _ZQ\QVO Q[ XMZNMK\Ta ]VLMZ standable in the context of +aKTWVWXMLQI¼[ ÅK\QWV IVL \PMWZM\QKIT Z]UQVI\QWV[\PMI[[WKQI\QWVWN[WQTMIZ\PTaOZW]VLK]T\]ZIT\ZIKM[IVL \PMXZIK\QKMIVLXZWKM[[M[WN_ZQ\QVO[MMUY]M[\QWVIJTMM^MV_PMV\PW[M XZWKM[[M[KW]V\MZITWOQKWN\M`\]IT[\ZI\QÅKI\QWV_Q\PIZMILQVO\PZW]OP PWTM[IVLQVKWV[Q[\MVKQM[1\Q[QTTÅ\\MLNWZIJI[MUI\MZQITQ[U_Q\PVW WZ WVTa I UQVWZ QV[\Z]UMV\IT XTIKM NWZ LQ[K]Z[Q^M ZMNMZMV\[ I\ Q\[ KMV\ZMWZI\Q\[TIKSWNIKMV\ZM<PMUWZMZM_IZLQVOIXXZWIKP_W]TLJM\W wrest any association of writing and cultural traces from each other and LQZMK\ K]T\]ZM JIKS QV\W \PM VI\]ZIT OZW]VL _Q\PW]\ IVa ZMKW]Z[M \W I KWVKMX\WZUWLMTJI[MLWV_ZQ\QVO\M`\]ITTWOQKWZVIZZI\QWVIVLQV\PQ[ way enforce a move from poetics to an earthly or inhuman aesthetics. Negarestani’s later concept of navigation also seems more rewarding. ?PQTMPQLLMV_ZQ\QVOQ[KWVVMK\ML\WIKWVKMX\WNIJ[\ZIK\[XIKM\PMLQmensional aspect is not clear to me. Navigation on the other hand clearly takes place in several dimensions. It implies a more plural approach to landscapes formed by cultural and natural forces.  ?ZQ\QVOWN\PMXI[\ZMILQVO\PMXI[\Ja\ZMI\QVOQ\I[I\M`\\W ^QM_IZKPIMWTWOQKITWJRMK\[I[[QOV[\PI\IZMLMÅVMLJa\PMQZKWV\M`\ and readable and decodable from it: it is hard to see that the concept WN IZKPIMWTWOa I[ PQLLMV _ZQ\QVO W‫ٺ‬MZ[ UWZM \PIV I ^IZQI\QWV IV ILR][\UMV\ ÅVM\]VQVO WZ UQVWZ LQ[\WZ\QWV WN []KP TQVM[ WN ZMI[WVQVO that have already led archaeological theorists to pose archaeology as poiesis and archaeologists as the self-crowned poets of the Neolithic or _PI\M^MZ XMZQWL WN QV\MZM[\ <PMZM Q[ UWZM \W IZKPIMWTWOa IVL IT[W I UWZMXZWL]K\Q^MIXXZWIKP\PIVIZMR]^MVI\QWVWN\PM[MKTQKPu[NZWU\PM IZKPIMWTWOQKIT\PMWZaLMJI\M[WN\PM! [IVL!![1\Q[QV[]‫ٻ‬KQMV\\W 1848

MIKKEL BINDSLEV \_Q[\\PMKTQKPu[JaZM^MZ[QVO\PMLZQ^M\W_IZL[PMZUMVM]\QKITM`XTIVI\QWVIVLNWK][WVWJ[K]ZM]VKWV\ZWTTIJTMKW]V\MZXZWKM[[M[LQ[[WT^QVO KTMIZTaLMÅVMLKWV\M`\[IVLJWZLMZ[_PQKP]T\QUI\MTaZM[]T\[QVPMZUMVM]\QKITJTQVLVM[[7NKW]Z[MM^MZaIZKPIMWTWOQKIT[\ZI\]UQ[KWUXIZIJTM\WIXIOM7VMPI[\WZMILQ\MQ\PMZ_Q\PMaM[_QLMWXMVWZ[MV[QJTM ÅVOMZ\QX[\WSVW__PMV\W\]ZV\PMXIOMIVLLQON]Z\PMZLW_V;\QTTQ\ should be known by now that there is more one can do with strata than ZMIL\PMUZMOIZLTM[[WNWVM¼[QV\MV\QWV\WMQ\PMZMVTQOP\MVQTT]UQVI\M WZZMXTIKMIJTQVLMaM_Q\P\PMÅZUOZIJWNPIVL[IVLÅVOMZ[QVLQZ\IVL dust. R E D I STR I B UTI O N O F TH E S E N S I B LE 1V IV QV\MZ^QM_ +PZQ[ ?IZM LMÅVM[ KWUQK[ I[ [MXIZI\M NZWU _ZQ\QVO or visual art because they are simultaneously read and viewed: if the reader ^QM_[ rather than merely ZMIL[ \PM XIOM[ WN I KWUQK PM Q[ OWQVO\WXIaUWZMI\\MV\QWV1VI_IaKWUQK[\ZQX[IZMTQSMU][QKVW\M[ WV XIXMZ" _PMV aW] ZMIL \PMU aW] PMIZ \PQVO[ QV aW]Z UQVL ^Q[]IT rhythms and other sensations are vaguely called up by the drawings. .]Z\PMZUWZM Ja LZI_QVO NZWU ZMIT TQNM \PM KIZ\WWVQ[\ _QTT ÅVL \QUM [TW_[ LW_V QV I XMK]TQIZ UIVVMZ )KKWZLQVO \W ?IZM LZI_QVO[ JW\P \PMIK\WNLZI_QVOIVL\PMIK\WN[\]LaQVOLZI_QVO[IZMI_IaWNUISing people stop and see things ‘that we simply aren’t built to do because we’re language-based animals’. This distinction between ZMILQVO and ^QM_QVO Q[ QTT]UQVI\QVO because it shows how a change of perception follows from a minor redistribution of the sensible. It is not that archaeological strata are more KWUXIZIJTM\W\PMXIOM[WNIKWUQK\PIV\W_ZQ\QVOM^MV\PW]OPQ\Q[IV inherent part of archaeological excavations to draw plans of the site. It is just that no extension or expansion of the concept of writing is needed. )[ ?IZM IT[W [\I\M[" »<PM N]VLIUMV\IT UQTM[\WVM QV W]Z TQ^M[ Q[ _PMV _MTMIZVPW_\W[XMISIVLZMIL#\PI\¼[_PI\\ZIV[NWZU[W]ZUQVL[IVL makes us into adults. But drawing from life made me realize a comXTM\MTaLQ‫ٺ‬MZMV\UMV\ITXZWKM[[¼6WZMNMZMVKM\W_ZQ\QVOI[IUWLMTNWZ ]VLMZ[\IVLQVO_QTTM^MZJMI[WT]\QWV:I\PMZZMNMZMVKM[\W_ZQ\QVOI[I UWLMTXWQV\\W_IZL[IXZWJTMUI\QK[IPWZQbWV\WKZW[[_Q\PKWV[QLMZIJTMM‫ٺ‬WZ\I[Q[\PMKI[M_Q\PM^MZa\PQVO\PI\OWM[IOIQV[\IVIVQUITQ[\QK basis. 1849

ŠUM #13 F RO M E RAS U R E TO D E STR U CTI O N Looking at the tradition of art and literature in the 19thIVLth cen\]ZQM[ Q\ Q[ ZMUIZSIJTM PW_ LQ[UQ[[Q^M IZ\ IVL XWM\Za KIV JM WN \PMQZ W_V[\I\][AM\K]T\]ZIT\PMWZQ[\[NZMY]MV\TaXZWUW\M\PMWTLNI[PQWVML K]T\]ZIT[\I\][WNIZ\IVLXWM\ZaI[\PMPQOPM[\^IT]M[\W[\ZQ^MNWZIVL it seems that this will to art has impregnated almost all f ields of K]T\]ZIT \PMWZa )ZKPIMWTWOa Q[ VW M`KMX\QWV ?M IZM TMN\ _Q\P MVLTM[[ variations on philosophy’s attempt to resolve the ancient conf lict between philosophers and poets. Yet declaring philosophy a genre of TQ\MZI\]ZMVM^MZ[WT^MLIVa\PQVOQ\UMZMTaQOVWZM[\PM^QJZIV\I[XMK\WN the tension between writing and thought. The better option is to change \PM[KITM[WN^IT]M\WTMI^M\PMXZMLWUQVIVKMWN_ZQ\QVOJMPQVLJa\]ZVQVO\W_IZL[I_QLMZMVOIOMUMV\_Q\P\PM[MV[M[IVL\PMVXI[[\PZW]OP the reorganization of the sensible and turn the passage and subsequent MZI[]ZM WN IVa M[\IJTQ[PML XW[Q\QWV QV\W I KZQ\QKIT UM\PWL QV Q\[MTN [W I[\WÅVITTa^QM_\PMIZKPIMWTWOQKITXI[\VW\QV\MZU[WN poiesisJ]\I[ what destroys any attempt to turn man-made material reality into exIUXTM[WNXWM\ZaQV[\IVKM[WNIZ\<WUaUQVL\PMZMQ[VWW\PMZ^QIJTM radical alternative to hidden writing than the reorientation enforced by erasing any traces of writing and then appreciate archaeology as an WXMVQVO WN UIVUILM UI\MZQIT ZMITQ\a \W I _QLMZ ÅMTL WN QV\QUIKQM[ ]VLMZ[\WWLI[M`XMZQMVKM[WNIVLM`XMZQUMV\[_Q\P\PMW]\[QLM_Q\PVW hitherto known or acknowledged value.  <PMIZKPIMWTWOQKITXI[\Q[[QUXTaVW\I\M`\\WJMZMILVW\M^MVI NIK[QUQTM;QVKMIZKPIMWTWOQKITWJRMK\[IZMVW\XZQUIZQTa[QOV[LMÅVML Ja IVL ZMILIJTM NZWU \PMQZ KWV\M`\ VW XMZ^MZ[QWV WN _ZQ\QVO Q[ M^MZ []‫ٻ‬KQMV\)ZKPIMWTWOQKITWJRMK\[IZMVW\M^MVUMZMTaW]\TQVM[\W^QM_ <PMaPI^MLMX\PIVL^WT]UM<PW]OPXIZ\TaWZLMZMLQVMIZ\PTaTIaMZ[ \PMaIZMNWZMUW[\\PZMMLQUMV[QWVITWJRMK\[\PI\UMLQI\MÅO]ZITNWZKM[ IVL _W]VL ITT I\\MUX\[ I\ ZMILQVO ITT I\\MUX\[ I\ I PMZUMVM]\QK M`XTIVI\QWVIVLM`XW[Q\QWVITTI\\MUX\[I\QV\MZXZM\I\Q^MWJRMK\QÅKI\QWV ;WUMIZKPIMWTWOQKITIZ\MNIK\[[]KPI[PMI^QTaWZVIUMV\MLWJRMK\[IVL [aUJWTQKQV[\ITTI\QWV[UQOP\[MMU\WJMMV[PZW]LMLQV\PMQZW_VWJ[K]ZMWZLIbbTQVO[QOV[IVL_Q\PLZI_NZWULQZMK\KWV\IK\J]\\PM\I[S WNIZKPIMWTWOQ[\[Q[VW\\WPWTLWV\W\PM[QOVQ\Q[\WJZMIS\PZW]OP\PM []ZNIKMWN\PM[QOVIVLZMTMI[M\PMWJRMK\¼[ÅO]ZITNWZKM[QV\PM[IUM_Ia an archaeological team breaks through the surface soil to reach ancient strata. To encounter the past in this way is to be confronted with an QUUMV[M\ZI]UIIVLWN\MVM^MVQV\QUI\MTaI‫ټ‬QK\MLJaQ\<PW]OPVW\ OMW\ZI]UIQ\Q[[\QTTI\ZI]UIIVL[PW]TLJMIKSVW_TMLOMLI[[]KP 1850

MIKKEL BINDSLEV INTERSECTIONS EXC LUS I O N 4I\MZ_PQTMZMILQVO-ZV[\2†VOMZQ\WKK]Z[\WUM\PI\4IVL¼[^QWTMV\ly nihilistic version of accelerationism and Amy Ireland’s xenopoetics JW\P[XTQ\W‫ٺ‬NZWU6QM\b[KPM¼[IVITa[Q[WNVQPQTQ[UJ]\NWTTW_LQ^MZOMV\ \ZIRMK\WZQM[*W\PÅVL\PMQZ[W]ZKMQV\PMIVITa[Q[WNIKWUXTM\MNWZUWN nihilism that rejects the transcendental realm of values as a measure NWZ MIZ\PTa M`Q[\MVKM :I\PMZ I[ Q[ SVW_V NZWU 6QM\b[KPM ^IT]M[ IZM estimated by life itself: life’s valuation estimates values that are able to XZWUW\MTQNMXW_MZMVPIVKMUMV\IVLOZW_\P#_Q\P\PQ[TQNM[PW_[Q\[ W_VLM[QZMWZ_QTT\WJMKWUM[\ZWVOMZIVLUWZMXW_MZN]T»\PM_QTT\W XW_MZ¼.ZWUPMZMWVMXI\PNWZ_IZLQ[\WM^IT]I\M6QM\b[KPM¼[»LM^IT]I\QWVWN\PMPQOPM[\^IT]M[¼IVLJMVLQ\[TQOP\TaNZWUIVM[\QUI\QWVWN\PM XZWL]K\QWVWNTQNM\W\PMXZWL]K\QWVWNQV\MTTQOMVKM1V\MTTQOMVKMVW\TQNM _W]TLPMVKMNWZ\PJMXW[Q\QWVMLI[\PMPQOPM[\^IT]MI[\PMUMI[]ZMWN M`Q[\MVKM\W\PMXWQV\WNM`KT][QWVWNP]UIVQ\a Xenopoetics seems to follow a later part of the same analysis. Here the will to power is divided into the will to truth and the will to art. According to Nietzsche we risk being destroyed by the will to truth JMKI][MQ\[MMS[\W[\IJQTQbMI_WZTLQVKWV[\IV\KPIVOM<PM_QTT\WIZ\ WV\PMW\PMZPIVLKZMI\M[WXXWZ\]VQ\QM[QV_PQKPVI[KMV\TQNMKIV\ZIVscend itself into a new necessary order. Because the will to power as art Q[\PMM[[MVKMWNTQNM\PMKZMI\QWVWN_WZS[WNIZ\Q[WVTaI[XMKQITKI[MWN \PM_QTT\WXW_MZI[IZ\_PQKPQ[QVPMZMV\QVM^MZaM^MV\<PQ[Q[\_Q[\ML PW_M^MZ[TQOP\TaJa`MVWXWM\QK["\PM_QTT\WIZ\Q[\]ZVMLQV\W\PM_QTT to poetry inherent in technology and a total commitment to this poetry. 1851

ŠUM #13 Techne and poiesis\MKPVWTWOQKITXZWL]K\QWVIVL\PM[KQMVKMWNJZQVOQVO [WUM\PQVO_Q\PVWXZQWZM`Q[\MVKMQV\WJMQVOXZQUIZQTaQV\PMNWZUWN _ZQ\QVOIZMVWTWVOMZWXXW[ML<PMaIZMNWZKML\WOM\PMZ\W\PMXWQV\WN JMQVOQVLQ[\QVO]Q[PIJTM)Z\QV\PMNWZUWNXWM\ZaWN\MKPVWTWOQKITXZWL]K\QWVQ[PMVKMNWZ\PXW[Q\QWVMLI[\PMPQOPM[\IM[\PM\QK^IT]M\W\PM point of exclusion of humanity. VI O LE N C E ?PQTMXZMXIZQVOUa[MTNNWZIKWV^MZ[I\QWV_Q\P)Ua1ZMTIVLQ\JMKWUM[ QVKZMI[QVOTaLQ‫ٻ‬K]T\\WQOVWZMPMZJW]Y]M\WN,XZQV\MLXWMU[C.QOE <PMJW]Y]M\[PW_[\PI\`MVWXWM\QK[KIVJMÅO]ZIT+WV[MY]MV\Ta`MVW XWM\QK[ U][\ JM \ZI]UI\QK \WW \W TQ\MZI\]ZM \W [MUIV\QK IVL LQ[K]Z[Q^M KWVKMZV[IVLIT[W\W\PM_ZQ\QVOIVLKZQ\QY]MW‫ٺ‬MZMLPMZM8MZPIX[IZKPIMWTWOQKITWJRMK\[IZMXIZ\TaISQVLWN_ZQ\QVOIN\MZITTQNPQLLMV_ZQ\QVO is understood as hiding the _ZQ\QVOXIZ\\PI\ZMLMÅVM[\PMZMUIQV[WNUIV UILMUI\MZQITZMITQ\aI[ÅO]ZITNWZKM[IVLQ[\P][[QUQTIZ\W`MVWXWMU['  )\ÅZ[\[QOP\1ZMTIVL¼[,XWMU[ZMUQVLUMWN\PM6IPIT5Q[PUIZ PWIZL" I ]VQY]M KWTTMK\QWV WN [M^MZIT P]VLZML WJRMK\[ UW[\Ta QV KWXXMZ LMXW[Q\MLQVIKI^MVMIZ\PM:ML;MI·aMIZ[IOWL]ZQVO\PMTI[\ [\IOM[WN\PM6MWTQ\PQKIVL\PMÅZ[\[TW_J]ZVQVOXPI[MWN\PMKWUQVOUM\allurgic revolution. Several objects are like nothing seen elsewhere [Fig. 3]. The ZW]VL SVWJ[ IZM ][]ITTa LM[KZQJML I[ UIKM PMIL[ W\PMZ[ IZM KITTML [KMX\ZM[ J]\ \PMZM Q[ VW M^QLMVKM WN \PMQZ IK\]IT ][M <PM W\PMZ WJRMK\[ IZM M^MV UWZM MT][Q^M ?PQTM [WUM IZM XIZ\Ta ÅO]ZI\Q^M \PMQZ [PIXM[NWZ\PMUW[\XIZ\LWVW\TMIL\WIVa\PQVO\PI\KIVJMLMÅVMLQVI PQ[\WZQK_Ia<PMaIXXMIZI[X]ZMWJRMK\[#\PM^QWTMVKMWNÅO]ZITNWZKM[ PI[ZMIKPMLIPQ\PMZ\W]VSVW_VTM^MTIVLQV\PMPMI\WNM`\ZIK\QVONWZU NZWU[MV[QJTMUI\\MZUQUM[Q[LQ[[WT^M[  7VM [PW]TL VW\M PMZM \PI\ \W UIVa IZKPIMWTWOQ[\[ \PM 6MWlithic transition marks the beginning of modernity: after a remarkIJTMJTW[[WUQVOWNÅO]ZI\Q^MIZ\ZMTQOQW][WJRMK\[IVLK]T\QKQV[\ITlations during the Epipalaeolithic came the invention of agriculture IXXZW`QUI\MTaaMIZ[IOWIVL_Q\PIOZQK]T\]ZM\PMJQZ\PWNI society oriented towards the future. These archaeologists consider modernity to be the result of passing thresholds of intensity in terms WNXWX]TI\QWV[QbM[M\\TMUMV\[QbM\PMUI\MZQITK]T\]ZMIVLK]T\]ZITXZIK\QKM[ZMTI\ML\WPIZ^M[\QVO[\WZQVOIVLXZWKM[[QVOLZa[MML[ and a reorientation of societal and economic organisation to handle \PMZM[]T\QVOKPIVOM[<WLIa\PM[XQZITWNUWLMZVQ\aPI[\]ZVMLN]TT circle. The Neolithic agrologistics have been pushed to the limits of MV^QZWVUMV\IT [][\IQVIJQTQ\a IVL \PM NZIaQVO MLOM[ WN UWLMZVQ\a PI^MJMO]V\W[PW_?Q\P\PMNZIaQVOWN\PMMLOM[WNUWLMZVQ\a`MVWpoetics appears. 1852

MIKKEL BINDSLEV F i g. 2 . A m y I r e l a n d , 3 D Po e m s . 1853

ŠUM #13 In my view xenopoetics is one particular forceful practice that \ISM[XIZ\QVI_QLMZZMKWVÅO]ZI\QWVWN_ZQ\QVOI[ÅO]ZITNWZKM[1\Q[ primarily seen in advanced contemporary literatures that integrate cul\]ZITIVLUI\MZQITKWV\M`\[I[XIZ\WN\PMTQ\MZIZa_WZSWN\PMXWM\QKIT oeuvre?PQTM\PMZMQ[IOMVMZITUITIQ[MQVTQ\MZIZaKQZKTM[IVQUXI\QMVKM with the traditional form of the book or perhaps a feeling of exhaustion IVL TQ\MZIZa QV[]‫ٻ‬KQMVKa _PQKP ZM[]T\[ QV JWWS[ \PI\ I\\MUX\ \W WXMV up the formal aspect of the book towards more experimental possibili\QM[UW[\WN\PW[MI\\MUX\[[\QTT_WZS_Q\PQVIPQMZIZKPaWN_WZL[W^MZ UI\\MZ"\PM_MTTKPW[MV_WZLIVL\PM_MTT\]ZVMLXPZI[MPI^MXZQWZQ\a ZMILQVOIVLQV\MZXZM\I\QWVÆW_NZWUWVMKMV\ZITIVLZMUIZSIJTM[MV\MVKM\WIVW\PMZMVKW]ZIOQVOITQ\MZIZaKZQ\QKQ[U\PI\Q[ZML]KML\WTQ\\TM UWZM\PIVIVMKPWKPIUJMZ<PMKZ]KQITLQ‫ٺ‬MZMVKMQ[\PMIJQTQ\a\WXMZform a break with the hierarchy of words and sentences over matter and \WQV\MOZI\M\PM\MKPVWUI\MZQITLQUMV[QWVQVIUW^MQV\WNWZQV[\IVKM XMZNWZUIVKMÅTUQV[\ITTI\QWVLQOQ\ITIVLXPa[QKITWJRMK\[I[MTMUMV\[ WNMY]IT_MQOP\MY]ITQUXWZ\IVKM"`MVWXWM\QK[IVLZMTI\MLI\\MUX\[\W bring the techno-material dimension of the media into literary form are all drastically set apart from the common lot of desperately playful formalistic experiments by their combination of the expansion of writQVO\WIÅMTLJMaWVL\PMJW]VLIZQM[WN\PMXIOM\PMQZ[MV[QJQTQ\aNWZI VM_LaVIUQK[I\NWZKMJM\_MMVLQ‫ٺ‬MZMV\\aXM[WNXZQV\IVLLQ[\ZQJ]\QWV \MKPVWTWOQM[IVL\PMQZZMITQbI\QWV\PI\ITZMILa\PMJZMI\PWN\PMXWMU UW^M[QV[XIKMIVLI‫ٺ‬MK\[[]ZZW]VLQVOWJRMK\[·QVNIK\IXWMUKW]TL be nothing but traces left on an object.  ?Q\P `MVWXWM\QK[ IVL W\PMZ TQ\MZIZa WJRMK\[ \PI\ UW^M NZMMTa JM\_MMV XMZNWZUIVKM IVL LQ‫ٺ‬MZMV\ UMLQI XTI\NWZU[ IVL QV \PQ[ _Ia QV^Q\M\WIVMVOIOMUMV\_Q\PI\PZMMLQUMV[QWVITQNVW\NW]ZLQUMV[QWVIT [XIKMQ\[MMU[WJ^QW][\PI\UWLMZVTQ\MZI\]ZMJMOIVJMNWZM\PMIL^MV\ WNTQ\MZI\]ZM<PW]OP\PM\MKPVWTWOQM[LQ‫ٺ‬MZ`MVWXWM\QK[Q[PIZ^M[\QVO NZWU [QUQTIZ K]T\]ZIT ÅMTL[ I[ \PM -XQXITIMWTQ\PQK IVL -IZTa 6MW lithic societies of the Levant. The violence of Early Neolithic iconography shows figural forces brought to ref lect on themselves and their own ^QWTMVKM"\PMQUIOM[PI^M[PIZX\MM\P[PW_\PMQZNIVO[IZM[KZI\KPQVO \PMU[MT^M[ QV\W [\WVM _Q\P \ITWV[ IVL KTI_[ IVL KZW_V \PMU[MT^M[ _Q\PPWZV[C.QOE?Q\P1ZMTIVL¼[,XZQV\MLXWMU[IVL`MVWXWM\QK[I[ extreme examples of ‘mutant tactics’ and alternatives to the tradition of KTW[MZMILQVOTQ\MZI\]ZMTMI^M[JMPQVL\PMIZKPQ^M[WNQUIOQVIZaM^MV\[ IVLZM\]ZV[\WIVMVKW]V\MZ_Q\PÅO]ZITNWZKM[IZM\]ZV\PI\KWUJQVM[ recollection of the ancient technicians of the sacred with front-line technological innovation.  )[TQ\MZI\]ZMQ[VWTWVOMZKZMI\ML[WTMTaI[aM\UWZM\M`\[\WÅTT ]X \PM IZKPQ^M[ WN \PM QUIOQVIZa Q\ PI[ ÅVITTa OIQVML IUXTM [XMML \W KI\KP]X_Q\P\PM-XQXITIMWTQ\PQKIVL-IZTa6MWTQ\PQKPIVLTQVOWNÅO]ZITNWZKM[?Q\PQ\[[XMKQÅK^IZQI\QWV[WV\PMPIVLTQVOWNÅO]ZITNWZKM[ literature has in fact always been an archaeological object of a time out WNZMIKPVMQ\PMZWN\PMXI[\VWZ\PMXZM[MV\IVLQ\[[\I\][I[IVIZKPIM1854

MIKKEL BINDSLEV F i g. 3 . F r o m t he N a h a l M i s h m a r H o a r d . 1855

ŠUM #13 WTWOQKIT WJRMK\ Q[ WN M^MV UWZM _MQOP\ \PIV Q\[ [\I\][ I[ _ZQ\QVO I[ I TQ\MZI\]ZM\WZMILI[\PM[XMKQÅKIVLPQOPTa^IT]MLK]T\]ZMWNKZMI\QWV termed poiesis\PMY]QV\M[[MV\QITUWLMTWN_PQKPQ[[\QTT\PMKWUXW[Q\QWVWNTQVM[QVIXWMU[MV\MVKM[WN^IZaQVOTMVO\P[XZMILW]\QVWZLMZTa NI[PQWVWVI\_WLQUMV[QWVITXTIVMMIKPWVMWZOIVQbMLUMI[]ZMLIVL broken according to human breath and vision. POSTM O D E R N IT Y, PAST M O D E R N ITY 1NUWLMZVQ\aJMOIV_Q\P\PM6MWTQ\PQK\PMV_PMVLQLXW[\UWLMZVQ\aJMOQV'  ?Pa VW\ [QUXTa LMKTIZM \PI\ XW[\UWLMZVQ\a JMOIV QV \PM -XQXITIMWTQ\PQK WN \PM 4M^IV\' )TT \PM QUXWZ\IV\ \ZIQ\[ IVL KZQ\QKIT [\IVKM[WNXW[\UWLMZVQ[U_MZMXZM[MV\\PMVQV\PM6I\]ÅIVK]T\]ZM IXXZW`QUI\MTa\WaMIZ[IOWTMILQVOUWZMWZTM[[LQZMK\Ta to the onset of the Neolithic. There is no better reason to declare that we have never been truly modern. The temporal forces have folded back on themselves already at that time. The question is not what happened in \PMthKMV\]ZaJ]\_PI\[XQZIT_I[[M\QVUW\QWVKMV\]ZQM[IOWIVL only recently reached a point of recollection and innovation. An intriguing aspect of the folding of temporal forces is that postUWLMZVQ\a_QTTWVTaTM\Q\[MTNJMLMÅVMLIN\MZ\PMNIK\[WNUWLMZVQ\aPI^M JMMVM[\IJTQ[PML\PW]OPQ\Q[QVNIK\I\\PM^MZa[W]ZKMWNUWLMZVQ\a<PM common understanding of the postmodern as the period that follows modernism is no less a misunderstanding for being common sense. Two WN \PM MIZTQM[\ th KMV\]Za \PMWZQ[\[ WN \PM XW[\UWLMZV 2MIV.ZIVKWQ[ 4aW\IZL IVL +PIZTM[ 7T[WV JW\P IL^WKI\ML []KP I VWVTQVMIZ VWV KPZWVWTWOQKIT ]VLMZ[\IVLQVO WN \PM XW[\UWLMZV <W 4aW\IZL \PM XW[\modern was a critical stance that to some sense conditioned the advent WN\PMUWLMZV1VI[QUQTIZ_Ia+PIZTM[7T[WVLMÅVMLIXW[\UWLMZV attitude some twenty years before Lyotard’s diagnosis of the postmodern KWVLQ\QWV )[ [PW_V Ja 7T[WV¼[ KWZZM[XWVLMVKM _Q\P :WJMZ\ +ZMMTMa especially a series of letters written during an archaeological excava\QWV QV \PM TI\M ![ 7T[WV LMÅVML \PM MUMZOMV\ XW[\UWLMZVQ[U QV American poetry by making a division between feeling alienated from \PMXI[\IVL\PMZMNWZMKZMI\QVONZWUIKTMIV[TI\MUWLMZVQ[UIVLNMMTing no alienation or antagonism towards the past and therefore creating NZWUIUQ`MLUWZMKWVN][ML[\I\MXW[\UWLMZVQ[U  <PQ[ IUWVO[\ W\PMZ \PQVO[ Q[ _PI\ KIV JM [MMV QV \PM 4M^IV\ L]ZQVO \PM \ZIV[Q\QWV NZWU \PM -XQXITIMWTQ\PQK 6I\]ÅIV K]T\]ZM \W \PM MIZTa 6MWTQ\PQK [WKQM\QM[ ?PMZMI[ \PM MIZTQM[\ XPI[M WN \PM 6I\]ÅIV _I[ []ZXZQ[QVOTa XZWOZM[[Q^M IVL UWLMZV QV \MZU[ WN QV\MV[QÅKI\QWV[ WNIXTIV\JI[ML[]J[Q[\MVKMMKWVWUaI[MLMV\IZaTQNM[\aTMIVL[M\\TMUMV\[QbM\PMTI\MZXPI[MOZIL]ITTaZM\]ZVML\W\PM\ZILQ\QWVWNIUWZM nomadic lifestyle and small-scale communities. In comparison the 1856

MIKKEL BINDSLEV F i g. 4 . G ö b e k l i Te p e . 1857

ŠUM #13 earliest Neolithic societies gradually erased the traces of past tradi\QWV[]V\QT\PMaPILIKTMIVXTI\MWV_PQKP\WJ]QTLIVM_[WKQM\a\PM UI\MZQITI[XMK\WN_PQKP_MZMÅMTL[KW^MZMLQVI[PNZWU\PMJ]ZVQVOWN NWZM[\[J][PIVLJZ][P_WWL  6W_Q\UQOP\JMJM[\\W\ITSIJW]\\PM[M\_WQV[\IVKM[WNIZKPIQK modernity and archaic postmodernity as the undersides of modernity IVL XW[\UWLMZVQ\a \PI\ WVTa U]KP TI\MZ IVL \PMV VW\ MV\QZMTa [QU]T\IVMW][Ta JZWSM \PZW]OP \PM []ZNIKM [WQT _PQKP \PMV QV \PM TI\M  th KMV\]ZaJZ]\ITTaKWTTIX[MLIVLTMN\\PMMLOM[WNUWLMZVQ\aNZIaML<PM important thing in this context is that the collapse brings with it a new KTIZQ\aQV_PQKP\WZMIL7T[WV¼[KWZZM[XWVLMVKM_Q\P+ZMMTMaXZQUIZQTa as a call to review the dual nature of the postmodern as it reveals itself in American poetry and French philosophy before the arrival of the international carnival of Laissez-faire Postmodernism Inc. in art and architecture. BO R D E R LI N E AE STH ETI CS Olson’s furious and enthusiastic letter writing suggests one way of IXXZWIKPQVO\PMLI_VWNIVM_KTIZQ\a"\WKWVNZWV\XPQTW[WXPaTQ\MZIZa \PMWZa IVL XWM\QK[ _Q\P \PM P]UIV XI[\ I[ ]VMIZ\PML Ja IZKPIMWTWOa and to challenge the existing practices of writing during and after an IZKPIMWTWOQKITM`KI^I\QWVVW\R][\\WWXMV]XIVM_[XIKMNWZ_ZQ\QVOJ]\ also to explore and experiment with other ways of reacting to an excava\QWV[Q\MI[IXTIKMLMÅVMLJa\PMKZW[[QVOTQVM[WNLQ‫ٺ‬MZMV\IM[\PM\QK K]T\]ZIT[WKQM\ITIVLUI\MZQITNWZKM[IVLI[IUWLMTNWZIVa[XIKM\PI\ Q[LMÅVMLQV[]KP\MZU[  )[ IV IT\MZVI\Q^M \W ZMILQVO IZKPIMWTWOQKIT SVW_TMLOM KIV JM described as navigation in the spatial layers of a cultural landscape. In I[QUQTIZUIVVMZIM[\PM\QKSVW_TMLOMKIVJMLM[KZQJMLI[VI^QOI\QWV QV QUIOQVIZa [XIKM[ WN QUIOM[ KWTW]Z[ NWZU[ ^WT]UM[ [W]VL[ IVL theoretical knowledge as a system of navigation in a conceptual space. The narrative of a traditional archaeological analysis and interpreta\QWV_W]TL\PMVLMÅVMITQVMWNVI^QOI\QWVQVI[XMKQÅKIZKPIMWTWOQKIT UI\MZQITQ\[[\ZI\IIVLQ\[KWV\M`\R][\I[\PMVIZZI\Q^M[WN\PMPQ[\WZa WNIZ\_W]TLLMÅVMTQVM[WNVI^QOI\QWV\PZW]OPLQ‫ٺ‬MZMV\M`IUXTM[WNIZ\ 1V[\MILWNSMMXQVO\PM[MTQVM[IXIZ\7T[WVKIVJM][MLI[IO]QLMNWZIV MVKW]V\MZ_Q\P\PMLQ‫ٺ‬MZMV\TQVM[WNVI^QOI\QWVIVM`XMZQUMV\_Q\PIVL an examination of the possibilities of writing archaeology as a narrative \PI\\QM[\WOM\PMZLQ‫ٺ‬MZMV\TQVM[WNIZKPIMWTWOQKITIM[\PM\QKIVL\PMWZM\ical knowledge.  *aMVOIOQVO_Q\PZM^QM_QVOIVL\ZIKQVOPW_\PMXIZ\QKQXIV\[QV an excavation navigate in the restricted space of the excavation site and then navigate _Q\P\PM\WWT[IVL\MKPVQY]M[WN\PMQZZM[XMK\Q^M\ZILM[\PM end product of the experiment would be a new sense of writing in archaeWTWOaIVLIVM_IM[\PM\QK[WNIZKPIMWTWOaI[N]VLIUMV\ITZM[MIZKP 1858

MIKKEL BINDSLEV F i g. 5 . I n f a n t s k e l e t o n , S hu b a y q a . 1859

ŠUM #13  ?PI\Q[UMIV\JaN]VLIUMV\ITZM[MIZKPQ[IVQVY]QZa\PI\Q[[Q\uated at the limits of the media that belong to the domains that hold its KWVKMZV1V\PQ[_Ia_MIZMTML\WZMM`IUQVM\PMUMIVQVOWNVW\QWV[ and borderlines that are fundamental to the respective disciplines of \PM P]UIVQ\QM[ IVL NZMY]MV\Ta K]\ IKZW[[ W\PMZ[ \PM VI\]ZM WN IZ\ Q\[ XTIKMQV[WKQM\a\PMUMIVQVOWNPQ[\WZQKITNIK\[\PMQV[\Q\]\QWVWNTI_ \PMOZW]VL[WNUMIVQVOM\KIVL]VQ^MZ[ITVW\QWV[JMIZQVOWV\PMVI\]ZMWNJMQVOP]UIVJQZ\PLMI\PNZMMLWULM[QZMKWUU]VQ\aM\K All archaeological sites where these lines intersect present a ]VQY]M WXXWZ\]VQ\a \W LM^MTWX I LQITWO]M JM\_MMV OMVMZIT \PMWZM\QK NZIUM_WZS[\PM[XMKQÅKUI\MZQITK]T\]ZM\PM[MV[]ITY]ITQ\QM[WN\PM UI\MZQITK]T\]ZMIVL\PMJZWILMZ[WKQWMKWVWUQKXWTQ\QKITIVLZMTQOQW][ KWV\M`\ WN IV IZMI 1V \PM[M QV\MZ[MK\QWV[ MVKW]V\MZ[ _Q\P XI[\ QV\MTTQgence take place. Though they do not lead to the radical unsettling of human thought and self-conception promised by the encounter with a N]\]ZM)1WZITQMVTQNMNWZU[MVKW]V\MZ[_Q\PXI[\QV\MTTQOMVKM]VMIZ\P what is radically human and how to comprehend intelligence outside known references [Fig. 5].  1V \PQ[ KWV\M`\ ZMKW]Z[M[ \W I I\ ZWW\ ZIKQ[\ IV\PZWXWTWOQKIT ^WKIJ]TIZaWN\W\MU[[\I\][[aUJWTQ[UIVLNM\Q[PQ[U_PQKPQVQ\[MTN UISM[\W\MU[[aUJWT[IVLNM\Q[PM[NZWUIZKPIMWTWOQKITÅVL[Ja\ZMI\ing them as objects that primarily count as emblems of social groups in \PMXI[\IVLO]IZIV\MM[\PMWZOIVQK]VQ\aWN\PM[MOZW]X[KIVJMMTQUQVI\MLWZI\TMI[\JM[]JWZLQVI\ML\WI[MKWVLIZaXW[Q\QWVJaIXXTaQVO \PMVW\QWVWNKQ\QM[I[QV\MTTQOMV\[MV\QMV\MV\Q\QM[<PMVW\QWVWNKQ\QM[I[ [MV\QMV\JMQVO[_PW[MTQNMKaKTM[NWTTW_LQ‫ٺ‬MZMV\IVLTIZOMZ\QUM[KITM[ than nations and individuals is directly applicable on archaeological sites where intelligence emerges as the sum of unfamiliar codes and unfamiliar structural and material patterns and changes detected in a long-term perspective. F RAG M E NTARY LE S SO N S The archaeological experience as outlined above borders on a critical XZWJTMUVIUMTaPW_\W\]ZV\PMM`KI^I\QWVWNIZKPIMWTWOQKITÅVL[IVL WJRMK\[\PI\PI^MVWZMTI\QWV\W_ZQ\QVOVW\M^MVI[IVITWOaQV\WIVMVOIOMUMV\_Q\P\PMÅVL[IVLWJRMK\[QVINWZUWN_ZQ\QVO\PI\PI[VW\PQVO \WLW_Q\P_ZQ\QVO. At the core of this absurdity lies the following unsettling question: does archaeological experience have to be translated into IKWUU]VQKIJTMIVLZMKWOVQ[IJTMTIVO]IOM'  ?PMZMI[TQ\MZIZa[\]LQM[PI^MLZI_VIZILQKITTM[[WVNZWU\PM QVVW^I\Q^M][MWNNZIOUMV\I\QWVLQ[Z]X\QWVLQ[R]VK\QWVIOZIUUI\QKIT [aV\I`IVLVWVTQVMIZVIZZI\Q^MQV\PM th-century traditions of modMZVQ[\IVLI^IV\OIZLMTQ\MZI\]ZM·VIUMTa\PI\KWV\MUXWZIZaTQ\MZIZa culture needs to recognize other forms of writing as critical and grant \PMU[WUMUMI[]ZMWNI]\PWZQ\aQVIKILMUQKQV[\Q\]\QWV[·IZKPIMWTWOQKIT 1860

MIKKEL BINDSLEV writing generally fails to engage with the question of fragmentation. 1V NIK\ \PMZM IZM WVTa I NM_ QUXWZ\IV\ M`IUXTM[ WN IXXZWIKPM[ \W archaeological and anthropological writings inspired by lessons from modern aesthetics. Since archaeology actively deals with fragmentation QVQ\[ZMKWV[\Z]K\QWVWNXI[\M^MV\[Q\[MMU[WNKZQ\QKITQUXWZ\IVKMNWZ IZKPIMWTWOa\WZMM`IUQVMQ\[W_V_Ia[WN_ZQ\QVO\PMVIZZI\Q^M[\Z]K\]ZM[Q\ZMTQM[WV\PMQLMITWNZMKWV[\Z]K\QWVQ\NZMY]MV\TaILPMZM[\WIVL how to incorporate the experience of other disciplines into an ongoing LQITWO]MJM\_MMVOMVMZITIVL[XMKQÅKXZWJTMUI\QK[JM\_MMVIJ[\ZIK\ \PW]OP\IVLKWVKZM\MUI\MZQITXZIK\QKM Hopefully the dialogue will make it possible to re-enter a greater ÅMTLWNQV\QUIKQM[_Q\P\PMQV\MTTQOMV\UIKPQVMZaQVPMZMV\QVXI[\WZOIVizations of society. At least it is not the archaeological past understood as a kind of hidden writing with several authors working on the same UI\MZQITWVLQ‫ٺ‬MZMV\\QUMXTIVM[)OWWLLM[KZQX\QWVLWM[VW\[]‫ٻ‬KM \PW]OP :I\PMZ VI^QOI\QWV NZIOUMV\I\QWV IVL LQITWO]M _QTT X][P \PM _ZQ\QVO[ WN IZKPIMWTWOQ[\[ \W_IZL[ _ZQ\QVO \PI\ OWM[ IOIQV[\ _ZQ\QVO IZMLQ[\ZQJ]\QWVWN\PM[MV[QJTM\PI\\MIZ[Q\[MTNI_IaNZWUXWM\ZaNZWU the dispositions and values of poetry: creation through destruction. The trowel stuck into the ground already engages archaeologists in a crea\Q^MLM[\Z]K\QWV\PMXTIVVMLLM[\Z]K\QWVWN\PMIZKPIMWTWOQKIT[Q\M\PI\ JZQVO[\WTQOP\\PMNZIOQTMNZIOUMV\[L][\IVLJWVM[WN\PMXI[\[WWN\MV dismissed by a philosophy deeply concerned with the archive of human SVW_TMLOMJ]\_Q\PTQ\\TMKWVKMZVNWZP]UIV_Ia[WNTQ^QVOIVLLaQVO  )[ Q[ WN\MV [IQL IZKPIMWTWOQKIT QV\MZXZM\I\QWV JMOQV[ I\ \PM \ZW_MT¼[MLOM*a\PMQZW_VXZIK\QKMIZKPIMWTWOQ[\[IZMNWZKML\WZMÆMK\ on their role in what is simultaneously a destruction and a reconstruction of the past unfolding in the present. It is as if the blade of the trowel _MZMIUQZZWZZMÆMK\QVO\PMIZKPIMWTWOQ[\¼[W]\TWWS)\\PM[IUM\QUM\PM trowel emits sounds when it scrapes away dirt or hits upon something PIZL J]ZQML QV [WN\MZ [WQT [W]VL[ \W _PQKP \PM IZKPIMWTWOQ[\ U][\ XIa I\\MV\QWV:I\PMZ\PIVIUQZZWZ\PMUM\ITJTILMQ[IK\]ITTaI\]VQVOQV[\Z]ment that brings to life dead voices and the tones of subterranean bells. 1861

1862

MIKKEL BINDSLEV AS ALIEN AS BIRD SONG PRO G RAM 7VUa_Ia\WUMM\)Ua1ZMTIVL\PMN]VLIUMV\IT[WN`MVWXWM\QK[Z]V through my head. Xenopoetics developed in parallel with or as a divergence from xenofeminism. Xenofeminism is a technomaterialism that seeks to foreground the material elements of interaction in contemporary culture. It draws upon engagements with the digital that foreground the brute physicality of digital culture over its supposedly more ethereal Y]ITQ\QM[1VW\PMZ_WZL[`MVWNMUQVQ[ULWM[VW\KWV[QLMZQVNWZUI\QWV UWZMM[[MV\QITN]VLIUMV\ITWZQUXWZ\IV\\PIVUI\MZQITQ\a7V\PMKWV\ZIZa UI\MZQIT IVL QUUI\MZQIT KWUXWVMV\[ IZM QV\MZLMXMVLMV\" \PM QVNZI[\Z]K\]ZM[ QV _PQKP \MKPVWTWOa IVL UMLQI MUMZOM \PMQZ LM[QOV histories and social contexts all place limits upon technology’s transformational implications. One example of xenofeministic practice is hormonal self-medication understood as an act of autoexperimentation without preconceived goals or ideal outcomes.  .ZWU \PQ[ KWUUWV JI[Q[ `MVWXWM\QK[ \ISM[ W‫ ٺ‬I[ IV M`XMZQment in moving beyond the internal limits of imagination imposed by the human nervous system and the external limits imposed by technology and media. To pursue experiences that elude human grasp and KWUXZMPMV[QWV`MVWXWM\QK[K]T\Q^I\M[I_QLMIZ[MVITWN\MKPVWTWOQKIT V]UMZWTWOQKITUIOQKIT[PIUIVQ[\QKIVLWKK]T\XZWOZIUUM[\PI\X]\ XZM[[]ZMWVP]UIVXMZKMX\]ITIVLKWOVQ\Q^MMY]QXUMV\)[[]KPQ\PI[ VWXTIKMWZKWVKMZVNWZ\PMQVLQ^QL]IT[]JRMK\NWZTaZQKITM`XZM[[QWVNWZ a personal narrative: the ablation of judgement is ‘the poetic equivalent 1863

ŠUM #13 WNZMUW^QVOI\]UW]Z¼\PMTaZQKITQ[»\PMMVMUa¼IVLVIZZI\Q^MQ[R][\ another word for ‘a control program’. REMEDIES If xenopoetics is an experiment in moving beyond the internal limits of QUIOQVI\QWV_PI\IZM\PMTQUQ\[WN`MVWXWM\QK[\PMQV\MZVITTQUQ\[IVL \PMM`\MZVITTQUQ\[\PMXZWL]K\Q^MIVL\PMKW]V\MZXZWL]K\Q^MTQUQ\['  »?PI\ KITT[ UM QV\W Y]M[\QWV UW[\ ZILQKITTa' 6W\ Ua ZMTI\QWV \WUa[MTNI[ÅVQ\MWZI[\PMKWV[KQW][VM[[WNJMQVOJMNWZMLMI\PWZNWZ LMI\PJ]\UaXZM[MVKMNWZIVW\PMZ_PWIJ[MV\[PMZ[MTNJaLaQVO¼<PM[M _WZL[KWUM\WUQVLIVL\PW]OPQ\NMMT[TQSMINWZJQLLMV\MZZQ\WZaILQrection the vocabulary of xenopoetics is heavily discouraging me from NWTTW_QVO\PM_WZL[MVKW]ZIOMUM\WX]\\PMJI[QK[WN`MVWXWM\QK[\W the test and contrast them with the banality of life on technological life []XXWZ\\PMVMIZLMI\PM`XMZQMVKMWNIKIVKMZXI\QMV\I[ZM^MITMLJaI personal horror story.  )aMIZIOWUaaW]VOMZ[Q[\MZ_MV\\PZW]OP[M^MZM[]ZOMZa[M^MZIT\QUM[JW\PXTIVVMLIVLMUMZOMVKaXZWKML]ZM[)[IXMZ[WV_Q\P [XMKQITVMML[[PMPI[ZMTQMLWV[XMKQIT[]XXWZ\ITTPMZTQNM<PW]OPVW\ LQIOVW[MLI[[]KP[PMQ[XZWJIJTaQV\PM[XMK\Z]UWNPQOPN]VK\QWVQVO )[XMZOMZ¼[?PI\[PMPI[JMMVLQIOVW[ML_Q\PJ]\WVTaIZW]VLPMZTI\M [ MIZTa [ Q[ ),, \PM XI[[Q^M QVI\\MV\Q^M NWZU WN \PM UWZM KWUUWVTa SVW_V ),0, )[ I ZM[]T\ [PM PI[ TQ^ML UW[\ WN PMZ TQNM I[ IV ITQMVQVPMZW_VJWLa<PMVQVPMZTI\M[[PM_I[LQIOVW[ML_Q\PKIVKMZ?PI\[\WWLW]\UW[\^QWTMV\TaNZWUPMZM`XMZQMVKMWNPW[XQ\ITTQNM was the harm to her bodily integrity: after almost forty years with her JZIQV_WZSQVOIOIQV[\PMZVW_PMZKMTT[_MZM_WZSQVOIOIQV[\PMZ\WW :I\PMZ\PIV\PM[\I\MWNQV\MOZQ\aXZIQ[MLJa?M[\MZV[WKQM\a[PMTQ^ML QVI[\I\MWNIKKMTMZI\MLQV\MZQWZLQ[QV\MOZI\QWV)N\MZ\PMÅZ[\WXMZI\QWV IVL \PMV [M^MZIT MUMZOMVKa WXMZI\QWV[ · \W _PQKP [PM XZW\M[\ML J]\ _I[OQ^MVVWZMITKPWQKMI[[PM_I[QVQUUQVMV\LIVOMZWNLaQVONZWU WZOIVNIQT]ZM·[PM_I[X]\QVUMLQKITTaQVL]KMLKWUINWZ[M^MZITLIa[ ?PMV[PM_WSM]X[PM_I[VWTWVOMZPMZ[MTNQV\PM[MV[M\PI\[WUMthing was taken away from her that she will have to live without for the rest of her life. Not only was she completely drained of any remaining [\ZMVO\P[PMIT[WPIL\WIKKMX\INWZMQOVWJRMK\QV\WPMZJWLaZMXTIKQVO \PMWZOIVQK\Q[[]MK]\W]\WNPMZIVL\PMM`\ZIXMZ[WVITKIZMZMY]QZML JaQ\1VILLQ\QWV\PMZM_MZM\PM[\IVLIZLUMLQKITZMUMLQM[IVL\]JM[ IVL\PMM`XMZQMVKMWNV]Z[M[NWZKQVO\PMU[MT^M[WVPMZ\WLW\PMQZRWJ [PMPMZ[MTNJMQVO_Q\PW]\\PMUMIV[\WXZW\M[\[PMKW]TLWVTaKZaW]\QV despair.  ,WM[\PMXZM[[]ZMWN[]KPM`XMZQMVKM·\WJM\PI\KTW[M\WLMI\P PWWSML]XWVUIKPQVMZa\PI\SMMX[aW]ITQ^M·X][PWVM\W_IZL[`MVWXWM\Za\WW\PW]OP_Q\PW]\IVaXWM\Za\WQ\_Q\PW]\IVa\PQVO\WI‫ٻ‬ZU 1864

MIKKEL BINDSLEV WZKMTMJZI\M'<PQ[[\I\MTMN\PMZ_Q\PVW\PQVOJ]\\PM_Q[P\WKTQVOWV\W TQNMQV\PM[QUXTM[\UW[\JIVIT[MV[MIVL[TW_Ta[TW_Ta[TQLMJIKSQV\W comprehensible experience. Is there a challenge to the philosophical VQPQTQ[U QVPMZMV\ QV `MVWXWM\QK[ QV PMZ M`XMZQMVKM' 7Z Q[ \PMZM [WUMthing to be channelled from her experiences of hospital life to the experimental laboratory of xenopoetics and from xenopoetics to hospi\ITTQNM',W\PMaI‫ٺ‬MK\MIKPW\PMZ'0W_'  <PMZMQ[WNKW]Z[MIP]OMLQ‫ٺ‬MZMVKMJM\_MMV_PI\Q[NWZKMLWV aW]IVL_PI\aW]NWZKMWVaW]Z[MTN`MVWXWM\QK[XZM[]UIJTaJMQVOKTW[MZ \W\PMTI\\MZI\TMI[\\W\PMM`\MV\\PI\Q\K]T\Q^I\M[[\ZI\MOQM[NWZM`XMZQMVKM;\QTTQ[\PI\LQ‫ٺ‬MZMVKM\PMQ[[]MPMZM' CO NTRAST AG E NT @MVWXWM\QK[Q[VW\KWVKMZVML_Q\P»V]IVKM[JM\_MMVLQ‫ٺ‬MZMV\UWLM[WN MOW LQ[[WT]\QWV¼ Q\ ^IT]M[ »M`XMZQUMV\I\QWV W^MZ P]UIV XZM[MZ^I\QWV¼ and ‘takes pleasure in watching us die’. Xenopoetics boldly declares: XZMXIZM\WJM»LM^W]ZMLJa\PMM`XMZQUMV\¼\WJM»IPW[\NWZXIZI[Q\M[¼ \WJM»WXMVMLJaW]\[QLMNWZKM[ZI\PMZ\PIVJMQVOWXMV\W\PMU¼LWV¼\[Pa away from ‘the ecstasy of the digital scroll’s meltdown of the mind’s caXIKQ\a\WZMÆMK\WZNWK][KWUXIZIJTMWVTa\W\PM]VQUIOQVIJTMZIX\]ZM of experiencing the body being cut into pieces whilst still functioning’ …  ?PQTM Q\ Q[ LQ‫ٻ‬K]T\ \W IJ[\ZIK\ NZWU \PM LIZS ZWUIV\QKQ[U QV \PM[M NWZU]TIQK M`XZM[[QWV[ VMQ\PMZ \PMQZ KWTLVM[[ LIZSVM[[ VWZ ZWmantic overtones are acceptable reasons to be in any way dismissive of `MVWXWM\QK[7V\PMKWV\ZIZa\PM`MVWXWM\QKXZIK\QKMWNLQZMK\KWVNZWVtation with technology and new conceptions of reality is extremely imXWZ\IV\<WUaSVW_TMLOM\PMZMQ[VWJM\\MZKWV\ZI[\\W\PM_QLM[XZMIL novelistic literature which leaves no doubt that the authors study the VM_[KTW[MTaIVL_ZQ\M\PMQZJWWS[\WÅTT\PMKWV\MUXWZIZaIZKPQ^M[WN QUIOQVIZaM^MV\[;QUQTIZTaQ\Q[PIZLTaLQ‫ٻ‬K]T\\WIKKMX\\PI\IKWV\ZWT XZWOZIUKIVJMNW]VLQVM^MZaXMZ[WVITPWZZWZ[\WZa;\QTT\PMKWV\ZWT program of my personal horror story steers me in a direction where the QVKIXIKQ\a \W LQ‫ٺ‬MZMV\QI\M []‫ٻ‬KQMV\Ta JM\_MMV IJ[\ZIK\ IVL KWVKZM\M XTIVM[WNUMIVQVOJM\_MMV\PMZPM\WZQKIT][MWNUM\IXPWZ[IVL\PMTQ\MZIT[MV[MWNI[MV\MVKMUISM[WNUM\PMMY]Q^ITMV\\WIKWV\ZI[\IOMV\ injected into a foreign body. Does the physicality of the xenopoetic theoretQKIT^WKIJ]TIZaO]IZIV\MMIOIQV[\QLMITQ[UIVLZWUIV\QKQ[UQN\PW]OP\ KWOVQ\QWV XMZKMX\QWV QLMI[ WN [MTN IVL IOMVKa IZM ITT U]KP UWZM I‫ٺ‬MK\ML\PIVTQNMWV\PMTM^MTWN\PMJWLa'.WZITT\PM\ITSIJW]\LQ[MVchantment with the separation of thought and practice in the academic UQTQM] Q\ [MMU[ XWM\QK M`XMZQUMV\[ I XWM\QKIT TIJWZI\WZa TQNM IVL IV WVTaXIZ\TaI‫ٺ‬MK\MLTQNMWN\PMJWLaW]\[QLM\PMTIJWZI\WZa[\QTTM`Q[\<W [\ZQX\PMXTIVMWNQ\[W_VUM\IXPWZ[Q[\PMJWLaIJIZZQMZ`MVWXWM\QK[ PI[\WJZMISLW_V\WW' 1865

ŠUM #13 I N H U MAN I S M AS I N C LU S IVE H U MAN I S M )KKWZLQVO \W 0MTMV 0M[\MZ `MVWNMUQVQ[U [\ZQ^M[ \W NW[\MZ I NWZU WN U]\I\QWVITXWTQ\QK[WVM\PI\KIVJMWZQMV\ML\W_IZL[IZILQKITXZIK\QKM of hospitality. That just leaves me with more questions:  )ZM `MVWNMUQVQ[U IVL `MVWXWM\QK[ IK\]ITTa QVKWUXI\QJTM' 1N xenofeminism positions its own sense of inhumanism as a radically inclusive humanism that seeks to reintegrate into the collective experience the one who has been radically changed because of some sense of `MVWM`XMZQMVKM_PI\SQVLWNIKWTTMK\Q^MM`XMZQMVKMWZKWUU]VQ\aQ[Q\' 7VMITZMILaOQ^MVIVLWVTaXIZ\QITTaI‫ٺ‬MK\MLJa`MVWM`XMZQMVKM'  )[ XZWKM[[M[ WN \ZIV[NWZUI\QWV ]VNWTL QV \QUM \PMa KIV \W I KMZ\IQVXWQV\OWJW\P_Ia["JIKS\W_IZL[P]UIVQV\MOZQ\aWZNWZ_IZL[ to inhuman assimilation. There must be a point in time from which a retreat to human experience and an unmutilated body and mind is [\QTT XW[[QJTM IVL IVW\PMZ TI\MZ XWQV\ WN VW ZM\]ZV W\PMZ_Q[M JW\P xenofeminism and xenopoetics would be calls for self-mutilation. ?W]TL`MVWXWM\QKQ[U[PMMZI_IaNZWU[MTNU]\QTI\QWVI[IXZWL]K\Q^M UMI[]ZM' @MVWNMUQVQ[U¼[ U]\I\QWVIT XWTQ\QK[ IVL `MVWPW[XQ\ITQ\a [MMU\WJMTWVO\WI\QUMIN\MZ\PMXWQV\WNVWZM\]ZVQ[ZMIKPMLIN\MZWVM ]VLMZOWM[ I `MVWM`XMZQMVKM Ja QV\MV\QWV WZ Ja IKKQLMV\ IN\MZ _PQKP \PMa KIZMN]TTa \ISM W^MZ @MVWXWM\QK[ WV \PM W\PMZ PIVL KW]TL MI[QTa be placed before the point of no return but lacks the resources to change the direction of its own trajectory. It seems to me that in its pursuit of MOW LQ[[WT]\QWV `MVWXWM\QK[ U][\ I\ TMI[\ LQ[ZMOIZL \PM QV[\IVKM[ WN empathy or hospitality and claim a kind of a community into which there KIV JM VW ZMQV\MOZI\QWV I KWUU]VQ\a _PMZM \PMZM Q[ VW ZQ[S WN JMQVO M`KT]LMLNZWUIVLTI\MZZMQV\MOZI\MLQV\WQ\VIUMTaIKWUU]VQ\aWVTa XZWL]KMLJa`MVWM`XMZQMVKMIKWUU]VQ\aI\\PMUWUMV\WNLQ[QV\MOZI\QWV B I R D SO N G ?PMV )Ua 1ZMTIVL \]ZV[ \W_IZL[ UM WV \PM KWZVMZ WN /]IVO`Q 4Q TT \PM[MY]M[\QWV[IVLUQ[KWVKMX\QWV[IZMITT[_IZUQVOQVUaPMIL#_PQTM _MKQZKTM\PMXMZQUM\MZWN\PM8MWXTM¼[8IZSQVKWV^MZ[I\QWV\PMaOZIL]ITTaNILMI_Ia<PMVI[_M[IaOWWLJaMI[TQOP\[MV[WZQITLQ[\]ZJIVKM [MMU[\WZQ[MIVLÆW_QV\PMIQZ1\Q[WVTaU]KPTI\MZ\PI\\PMLQ[\]ZJIVKMUISM[Q\[MTNNMT\I[\PM[MV[MWN[WUM\PQVOOWVM_ZWVOXMZPIX[ WVTaQV\PMTI[\_WZL[WNINIZM_MTT?Q\PM^MZaI\\MUX\\WZMKZMI\M\PM [KMVM QV UMUWZa Q\ TQOP\[ ]X I[ I JTQVLQVO _PQ\M [XW\ 7\PMZ[ UQOP\ \PQVSWN\PM_PQ\M[XW\I[IUM\IXPWZ\WUMQ\Q[ZMIT1\Q[Ua[MKZM\Ua W_VQV\MZVITTQUQ\IVLI[PIZML\ZIQ\_Q\PUa[Q[\MZIVLW]ZSQV1VILMleted scene from *TILM:]VVMZ\PMZMXTQKIV\:WaUQ[\ISM[\PMZMKWZLML voice in a lift for his mother’s voice and desperately clings to the speaker 1866

MIKKEL BINDSLEV IVL\PMTQ\KWV\ZWTXIVMT<PI\Q[PW_Q\Q[NWZ[WUMWN][?MIZMJTQVLML Ja\PMTQOP\MUIVI\QVONZWUW\PMZXMWXTM?MIZM\PMNILMLWVM[<W][ the sound of other people’s conversation is as alien as bird song. 1867