Monday, 26 August 2013

The Desire of Luc Ferrari



I’m currently working on couple of projects but owing to the summer break and the toings and froings that this period naturally lends itself to they’ve been slow to develop. One is a two part essay with the broad title In Defence of Political Spirituality. This is firstly a response to a fairly recent text on Michel Foucault’s writings on Iran; a series of writings which I think have great import for our times, and particularly for ongoing events in the Middle East. Secondly this piece will address some aspects of Foucault’s later writings on spirituality and its relationship with other discourses like science, theology, and philosophy. The critique the authors of the above mentioned text make of Foucault hinges on what I argue is a misunderstanding of this admittedly strange idea; it is nevertheless an idea I consider worth defending.

The second project is a reanimation of my occasional musical endeavours in the form of a piece of electronic composition. The inspiration for this was a visit last month to the little Italian border town of Ventimiglia and my love for a certain French composer; Luc Ferrari (1929-2005). Ferrari has always been my favourite of the early electronic music pioneers.  Like Iannis Xenakis and Pierre Henry, Ferrari’s first electronic works were produced under the guidance of Pierre Schaeffer the founder of the style of electronic composition called Musique Concrete, and later the composing and theoretical collective Groupe de Recherches Musicales. Ferrari’s works from this period (roughly 1958-63) exhibit the abstraction and dislocation characteristic of Schaeffer’s school, with the latter’s signature acousmatic approach to sound (the isolation and transformation of recorded sound distinct from its source to create an uncanny effect) central to their style. But it wasn’t until the technology allowed Ferrari to take his recording gear out into the environment that he really found his voice. When he did it sounded very different to that of his contemporaries. Heterozygote of 1963-64 was the turning point. Where the Musique Concrete style would take a recorded sound, say a fragment of conversation, and transform  it through tape manipulations into something a little alien; in Heterozygote Ferrari collages numerous little snippets of incidental sounds, conversations and instrumental sources leaving them untreated. The results of this comparatively long form type of composition were a prototype for what he would later call anecdotal music.


The series of composition which fully realized this new direction (and much more besides) were the Presque Rien’s (Almost nothing) the first of which, Presque Rien #1 le lever du jour au bord de la mer, is one of the classics of tape composition and a precursor for what we now call field or environmental recordings. It consists of a daylong ‘out of the window’ recording Ferrari made whilst staying in a fishing village on the Adriatic. This long recording he edited down to a twenty two minute piece of almost poetic inspiration. The village wakes amid the slow buzz of cicadas, an antiquated van clatters into life and moves off into the distance. There are birds, dogs and other wildlife, people at work, and the occasional unintelligible voice. Being devoid of any conventional musical sounds or even any overt manipulation of the source Presque Rien encourages an entirely different form of listening, one that highlights the narrative quality of everyday sounds, the suggestive poetic juxtaposition of elements within an environment, and places a far greater demand on the listener’s imagination.The link below goes to an almost full version of Presque Rien n.1. For some reason the YouTube add-on to Blogger can't find it to imbed it in the text. 


It’s often taken to be the case that this piece was Ferrari’s attempt to realize John Cage’s famous statement that music was all around us if only we had the ears to listen. But I think there’s something more going on, and besides Cage’s use of environmental and concrete sounds never approached the subject matter with the degree of sensuality that Ferrari injects into his work. He wasn’t interested in abstracting the absolute quality of sound from its source, or opening up the composition to total indeterminacy as Cage had done. The anecdotal form which Ferrari termed this style of tape composition takes Schaeffer’s original insights on the uncanny quality of everyday sound and romanticizes it. Ferrari, something of the dandy, stands in stark opposition to Xenakis’s brutal modernism or Pierre Henry’s rendering of ancient religious texts into strange minimal concrete melodramas. Ferrari’s concerns were much more with what Andre Breton called the Marvelous; that strange aspect of an object beyond its everyday qualities suggestive of other more poetic meanings.

Like Max Ernst Ferrari deployed unconventional techniques to his objects of choice, rendering them displaced, in unfamiliar circumstances, open to metaphorical readings. In the fine tradition of surrealism he doesn’t construct narratives but rather rearranges objects from everyday life, highlighting possibility, movement, and emotion. But what make me love him most is that he creates sensual, dare I say sexy tape compositions, brimming with desire. Recall that for the surrealists one important facet of the marvelous is that it’s not so much found as “encountered” by chance. In the sleeve notes to a CD of sonic “souvenirs” he writes “the cycle des souvenirs also means that all the elements are structured in cycles which when superimposed, produce chance encounters. That’s why everything is turning. In this turning of sound and image, memory is written in a distorting mirror, but one where everything is true”.  Like Breton in Nadja he takes on the role of the flaneur stalking the streets with his microphone in search of a soul in limbo. His marvelous object might be something quite small like the cicadas in the Presque Rien’s or it might be something very loud like the fireworks in Promenade Symphonique Dans Un Paysage Musical Ou Un Jour De Fete A El Oued En 1976 (1976-87). But more often than not, like a thread in the labyrinth, it is a feminine quality that draws his attention. It could be the female voices that enter into Presque Rien Avec Filles (1989), the dialogue and building eroticism between the two young women at the centre of the astonishing Danses Organique (1973), or perhaps simply the sound of his wife Brunhild, an ever present companion on Ferrari’s travels. One of my favorite compositions of his from the 1970s is Place Des Abbesses (1977), named after a square halfway up the hill of Monmartre, situated suggestively between the Sacred Heart of God and the Pigalle area of sex shops and license; Breton would no doubt have approved.


Ventimiglia, to draw the discussion full circle, was the subject for the fourth of the Presque Rien series. It involved Ferrari and his wife recording their assent into the medieval part of the town. By this point in his career Ferrari had expanded his ideas on the form of the Presque Rien and now introduced what he called the lie or perversion into the concept. This involved a greater degree of intervention on his part into the raw material of the recording, adding effects or even (as he makes clear on this occasion) entirely foreign sounds into the mix to evoke an element of fantasy and interpretation within the anecdotal form. My composition which will be formed around a thirty minute recording I made whilst descending the medieval town with my partner will also include a considerable amount of fantasy and interpretation. The thing which struck me most when listening to my raw material and Ferrari’s piece was the similarity in the natural sound world considering the twenty-three year gap between the recordings; children playing in the square in front of the church, violin practice wafting out of an open window high above us, a scooter passes by, snippets of TV, radio, conversation, and the bells from the tower of San Michele Arcangelo ringing out at noon.  Here are a few photos of the area which might suggest the sort of sound environment we encountered.

Finally this is in fact the second Ferrari ‘tribute’ piece I have attempted. The first of which I titled Presque Quelque Chose (Un Voyage à la Cathédrale Avec des Oiseaux). This was recorded in Paris in 2006 and documents life around the street where I used to stay in the 15th arrondissement and a little journey around the Ile De La Cite, including a mass at Notre Dame Cathedral! In hindsight it’s a little rudimentary and the material (crowds, cars etc) a little mundane. Though, I still rather like how I used a flock of pigeons taking flight as a “jump cut” to change locations. If anyone is interested it can be downloaded here. I’m planning for this new piece to be quite different and more complex. After a period of inactivity after his death in 2005 there has recently been several re-releases and new interpretations of his work coming out. Under the guidance of his widow Brunhild, Ferrari’s considerable oeuvre now has a website worthy of it which collects archive material and other resources well worth checking out. www.lucferrari.org.


Thursday, 11 July 2013

Chris Petit / Mordant Music – The Museum of Loneliness (Review)



Chris Petit / Mordant Music – The Museum of Loneliness
Label: Test Centre 
Year: 2013

The fledgling field of Hauntology has by now more or less petered out as a potential source from which to draw political inspiration. Derrida’s gnomic, literary gymnastics in Specters of Marx generated some interest at the time, notably the symposium involving Fred Jameson, Terry Eagleton, and Toni Negri, later published as Ghostly Demarcations. But it was several years after the fact - this time sponsored by Wire journalists Mark Fisher and Simon Reynolds, that it re-emerged as a predominantly aesthetic concept with which to appraise musical forms. A whole raft of artists subsequently found themselves being analysed in a most peculiar fashion. There was talk of ghosts of past political possibilities haunting present cultural forms, of non-nostalgic appropriation, of ontology as conjuration, and a profusion of talk on the political value of re-using public educational broadcasts from the 1970s. Artists as different as Burial, Ariel Pink’s Haunted Graffiti, and the Ghost Box label were drawn into this admittedly minority form of writing as conferences were hastily organised and papers submitted. Predictably, when mediated through the apparatus of high brow music journalism, and subsequently re-filtered through networks of distributors, label promotional materials and countless appropriations by artists and commentators the concept now appears in a somewhat confused and ragged state.

Fortunately this LP, a collaboration between novelist and film maker Chris Petit and reluctant one time hauntological renegade Mordant Music has taken the best of what became the normative description for this music and improvised the rest, producing a dizzying fifty minute trip of text and textual interpretation that breathes new life into the genre. Petit’s themes signal his intent: The Museum of Loneliness acknowledges that the primary modern relation is with the screen, the digital screen as well as the psychological screen; he intones early on the second side. The basic framework may seem familiar; the mapping of cultural memory in the present, the exploding of conventional narrative, the relativisation of accepted idioms, all that might be subsumed under that loose signifier “post-modern”. Petit’s aesthetic  however includes a psychogeographer’s concern with place and an almost obsessive approach to the ephemera of cinema. For the most part though the record revolves around Petit reading of some of the more Ballardian passages from his novels Robinson, The Hard Shoulder, and The Passenger. Mordant Music in turn provides a suitably dystopic and disorientating collage of rhythms, distorted field recordings and warped electronics.

The opening fourteen minutes of side one are perhaps the most uncanny. Petit’s narrative drawn from Robinson tells a vaguely noirish story of moral decay set amid a tattered London Soho. His nasal and slightly sneering tone is well suited to describe with clinical detachment the sordid games of Robinson in his underground video suite. Petit the psychogeographer is given free rein in the climactic fantasy where amid the flood Soho “breaks free from the rest of the city and the smoke and fire; Robinson the dirty roamer of Oxford street gone from the rupture”. This section also introduces the first of the lists that appear on the record. The context is absent, leaving tantalisingly ambiguous the sources for the images that range from William Blake walking down Poland Street (shadowed by a dog) to the only person not laughing in an audience.  Is it a series of cuts from Robinson’s film? a piece of internal cinema? or a synthesis of both, thus deliberately blurring the borders between the digital and psychological screen. Other lists appear on the second side including one musing on what a museum of loneliness might actually be: museum as attitude; the museum of loneliness as a roving parasite; it is not funded by the CIA; it is most at home in the departure lounge; the museum of loneliness believes institutional thinking no longer reads the modern world. The third list which finishes the record harks back to Petit’s former calling as film editor for Time Out magazine and is made up of incidents, items and facts from the history of cinema. The music at this point provides an almost metronomic backdrop to the words which appear as equal parts liturgy and a series of options from an automated telephone exchange; Morricone’s music, Jane Birkin looking through a keyhole, Sue Lloyd to Michael Caine “do you always wear your glasses...

Chris Petit

Here and in the other lists I recall a line from Derrida’s book: “The spectral rumour now resonates, it invades everything: the spirit of the “sublime” and the spirit of “nostalgia” cross all borders” (pg169). Amongst the infinite multiplicity of possible narratives Petit highlights the glaring dead end of hauntology as a form of thought to escape the “eternal now”. The sheer indeterminacy of cultural memory, how it is impossible to distinguish a truly political yearning for past possibilities from a nostalgic appropriation from a mere recalling of minutia from the past, undermines the claim to privileging some forms of recollection over others. One of signatures of post-modernity (or hypermodernity as Petit names it at one point) is the relativity of historical appropriation. Ghost Box records might imagine an alternative 1970s, while Burial laments the death of rave culture, and The Caretaker renders ballroom records from the 20s into creeping miasmas of sound. In each of these cases there is a technique at work much of which can be located in Pierre Schaeffer’s work on the acousmatic object in the 1950s and 60s. The idea made palpable by the advent of disk cutting lathes and soon after magnetic audio tape is that small pieces of sound, be they voices, instrumental sound, or field recordings, could be abstracted from their source and relocated in dislocated form into new compositions. These days we call it sampling. This uncanny effect of dislocation is the basic sonic logic at work in Petit and Mordant Music’s record to which they augment with the literary themes of memory aphasia.

Similarly with the image comes a necessity for intervention, for as Petit says during the excursus on the meaning of the Museum: “with the image bank exploded it behove someone to begin reassembling.” But without any normative criteria with which to appraise the images and competing narratives , with the effacing of the subject to whom this task would fall, the resultant cultural and historical word soup provides little more than the option of a higher gear for contemporary spectacle. A necessity to act, to build a narrative without any solid ground to build on; this is perhaps one way to understand what Derrida means when (quoting Hamlet) he refers to the world as being out of joint.  And so as with Robinson the only thing that matters becomes the myth one makes for oneself. Petit’s record demonstrates the still existent aesthetic possibilities behind these ideas, but crucially it is at its most prescient when taking the post-modern hauntological condition itself as the material to be worked on; there is simply no escape, nothing beyond the spectacle.

Tuesday, 18 June 2013

Intersectional Theory and Privilege Checking: On the Misuse of an Idea



1:
A specter is haunting the internet; the specter of unexamined privilege. Out there in the rarefied world of political commentary and op-ed journalism there is an increasing weight being placed on the concept of privilege. This is perhaps not surprising given our current predicament and the anger many feel at elite sections of society. But this seems to be something different from the familiar rhetoric of outrage at a time of recession and social unrest. The accusation that a speaker is privileged and especially the demand to ‘check your privilege’ isn’t just being aimed at wealthy politicians, businessmen and opinion makers but at individuals who ostensibly appear to be on the same side, debating similar issues, and coming from similar social backgrounds.  In recent months the use of the term has been particularly charged in online debates about feminism, racism, sexuality, and issues around transgendered people.

“Check your privilege!” This has become the rallying cry of the Mob when faced with a woman with whom they disagree. (...)(It’s) about playing an inverted game of Top Trumps where the real message is that it’s not who you are but how you were born that determines whether what you have to say is worth listening to”. - Sadie Smith

"Check your privilege", for example, is a profoundly stupid trope that states that only those with personal experience of something should comment, or that if a person is making an argument, they should immediately give way if their view is contradicted by somebody with a different life story. It is hard to imagine a more dishonest intellectual position than "check your privilege", yet daily I see intelligent women who should know better embracing it”.Louise Mensch

The general premise underlying the demand to check one’s privilege is that certain speakers have a disproportionate advantage in getting their voices heard and as such need to attenuate their interventions into various issues in order not to impose their perspective at the expense of others. On the face of it there doesn’t seem to be anything wrong with that, it equates to a general recognition of the need for equality between speakers and to listen to all sides and viewpoints without allowing those with the loudest voice to drown out everyone else. However the reality is more complex. The idea of privilege checking is claimed to be deployed as a part of a family of theories described as Intersectional. Laurie Penny, one of the most prominent exponents of privilege checking, here responds to Louise Mensch:
  
"Intersectionality" is another new bit of equality jargon that the stiff suits in the conservative commentariat loudly claim not to understand – despite or perhaps because of the fact that schoolchildren have been using it on the internet for years. All it means is that you cannot talk in any meaningful way about class without also talking about race, gender and sexuality, and vice versa. These things intersect – that's why we call them intersectional. (Guardian May 2013)

The claim that it’s not possible to say anything meaningful about class without taking race, gender and sexuality into account is a strong one. I’m not quite ready to throw out my Marx, and there are also plenty of good texts on race and gender which don’t accord equal weight to class, so perhaps we should break this down a bit.

2.
Roughly speaking intersectional theories are to do with the way in which agents in different social locations have differing perspectives owing to their experiences and subsequent status as knowers. Knowledge claims are as the theory goes always socially situated.  More specifically these theories build upon ideas from Marxism via feminist epistemology that agents in situations of oppression are in a position of epistemic privilege relative to others regarding the conditions of that oppression.  The standpoint of the proletariat is epistemologically advantageous on questions of capitalist exploitation compared to those of the ruling class for example. Feminist readings of this idea in the 1980s similarly emphasised its application to women’s experience of a world dominated by men. The dominated whether workers or women live in a world structured by others for their purposes – purposes that at the very least are not our own and that are in various degrees inimical to our development and even existence (Hartsock pg241).

 Intersectional social epistemology further develops this insight by incorporating how other social divisions, say on race and sexuality, intersect with those of class and gender. The implication is that social researchers must recognize how multiple axes of oppression intersect and generate variations in knowledge claims on a variety of issues and society as a whole. In particular it emphasises the value of claims made from the margins of society, by those most disenfranchised and distant from the centre of power. The activities of those at the bottom of such social hierarchies can provide starting points for thought – for everyone’s research and scholarship – from which humans’ relations with each other and the natural world can become visible. This is because the experience and lives of marginalized people, as they understand them, provide particularly significant problems to be explained or research agendas (Harding in Alcoff & Potter, eds. pg 54).

Some of the most recent scholarship in the UK has attempted to ground an ethics of testimony by developing the notion of an epistemic or testimonial injustice. This analysis homes in on how social and identarian power can affect the legitimacy and credibility of a speaker’s testimony. Broadly speaking, prejudicial dysfunction in testimonial practice can be of two kinds. Either the prejudice results in the speaker receiving more credibility than she otherwise would have – a credibility excess –or  it results in her receiving less credibility than she otherwise would have – a credibility deficit (Fricker pg17). Paradigmatic cases of this kind include rape victims’ testimony to a trial jury, and the testimony of French Muslim women on their reasons for taking up the hijab.

So interestingly in the literature the concept of privilege is most often used when talking about the epistemic privilege of those marginal groups. Far less time is spent emphasising the material/social or whatever privilege of those at the top. This isn’t surprising as the goal of standpoint theory is to focus on the value for social research and possible avenues of resistance, of the knowledge resources of those at the bottom, rather than taking pot shots at perceived opponents. We can I think immediately refute Laurie Penny’s claim about the inability to say anything about class without including race, gender and sexuality. If I make the claim “people on lower incomes suffer a greater range of health problems relative to those on higher incomes” do I need to take race, gender, and sexuality into account for this claim to be true or meaningful? Seemingly not; although Penny might object that this claim does not differentiate between the specific sorts of health problems affecting say gay and disabled people on low incomes; that alone does not invalidate the claim. Nor again does the fact that I am a person on middle income affect the truth value of my claim.

Although this is quite a general claim it is I think still meaningful, not least in the potential to highlight inequalities in health predicated on economic inequality, and to engender possible demands for extra provision of healthcare to low income families or more general calls for social justice. There is arguably an important distinction to be made between these sorts of empirical claims and those which we might call more perspectival or subjective interpretations; though this distinction itself is a point of controversy. Quite how much objectivity is mediated by subjectivity is one of the big issues that separate both feminist and social epistemologists; although our privilege checkers don’t seem to waste much time considering this important detail. 

Perhaps the point to emphasise here is ‘scope’; the more detailed your analysis the greater need you may have to differentiate between social needs and perspectives, particularly if the aim of your research might be to provide guidance for healthcare provision to a diverse community. On the face of it though there is a great deal that can be said about class and similarly about race, gender, and sexuality without qualifying one’s claims ad infinitum along intersectional lines.

3.
So now let’s look at some examples of how intersectional theory/privilege checking is deployed in recent online discussions. There are literally dozens of blogs, Twitter streams, and articles on the websites of the Guardian, New Statesman and Independent which deploy the notion of privilege in the manner under consideration. For consistency’s sake I’m going to cite four examples from the recent writing of Laurie Penny, who as I stated above does it rather a lot.

“Beauty is about class, money, power and privilege – and it always has been.(…) Even the most stereotypically thin and beautiful woman will find herself dismissed as unattractive if what comes out of her mouth happens to threaten male privilege, which is why feminists of all stripes continue to be labelled “fat and ugly”.” (NS May 2013)
 
“I count myself extremely lucky to have grown up as a political writer in the age of the internet. Suddenly, where once there were only a few privileged pundits talking to each other and expecting the proles to listen, there are writers from all walks of life producing dazzling, meaningful prose and finding their audience.(…) the age in which middle-aged white men pontificated from rarefied platforms and expected to be listened to is over”. (NS April 2013)
  
“Whatever you choose to call it, practical equal rights for women will always be a terrifying prospect for those worried about the loss of male privilege. It’s no wonder that “feminism” is still stereotyped as an aggressive movement, full of madwomen dedicated to the destruction of the male sex and who will not rest until they can breakfast on roasted testicles.”  (NS March 2013)

“Privilege is not the same as power. Nor is it a game whereby only the least privileged people will henceforth be allowed an opinion – the last time I checked, the political conversation was still dominated by rich white men and their wives. These are the people who go into spasms of outrage at the very notion that a black person, or a woman, or a working-class person might have as much right to an opinion as they do on matters that affect them. I'd like to reassure these people that taking away their monopoly on opinions is the very opposite of censorship, and furthermore that their whining is distasteful”. (Guardian May 2013)

So here we have four quotes which together bring in class, race, sex, age, and physical attractiveness, all of which hinge on the articulation of an opposition between a purportedly marginal group and a dominant one.  The last quote is particularly worthy of note as it forms part of a defence of the use Penny makes of privilege in her writing. I think it’s important to distinguish the two things which are at work here: firstly, the use of intersectional theories as an analytic tool utilizing the potential epistemic resources of the oppressed; and secondly the practical deployment of the concept of privilege as part of that strategy. These two aspects - as I think should be obvious now- are quite separate issues, although commentators such as Penny often act as if they mutually entail each other. Moreover as these quotes demonstrate the approach taken here focuses primarily on the negative side of the discourse: the calling out of an opponent’s privilege, rather than making visible the lives of marginalized people. There is a great deal that could be said about the limitations of this kind of privilege discourse; it will suffice for me to highlight three at this point.

Privilege discourse does not accommodate the notion of achieved stance. In the tradition of standpoint theory from the 1980s it was customary to view the epistemic privilege of women as an ‘achieved stance’. That is to say that social location and perspective alone were not deemed sufficient to count as having an epistemically privileged standpoint. What was thought necessary was a practical political engagement centred on testimony which elucidated the shared experience of unequal power relations to the underprivileged group. The primarily negative and elitist approach taken by the privilege checkers does not maintain that tradition. There is no shared standpoint developed amongst the community of online commentators or their peers. Nor is there an emphasis on the testimony of the oppressed. If it appears at all it does so mediated through the lens of the journalist in opinion pieces or asides on the commentators own experience of the issue at hand. This absence of genuine testimony from the margins correlates well with the practice of dismissing the speech of some while valorising others without any reference to the content of the utterances in question. This is clearly a hypocritical or at least contradictory practice for anyone like Penny who sets herself up as a spokesperson on social issues while admitting her own privileged position in comparison to those she writes about.

Privilege discourse maintains an undifferentiated approach to social oppression.  Despite all the talk of multiple social positions the last word in all these machinations on privilege tends to be the overall hegemony of the white middle aged heterosexual male. As the above quotes demonstrate this point is made repeatedly by Penny, as it often is by other commentators who deploy privilege discourse. While certainly having more than a grain of truth to it, their insistence that this be the last word does nothing to provide a roadmap for social change in any of the cases of oppression they highlight. If it is indeed the case that these social hierarchies are multifaceted and structural then the calling out of white male privilege by a minority of well educated online commentators seems somewhat inadequate as a political strategy. Furthermore it entirely misses the advantage claimed for Intersectional theory which is to move away from theorizing domination in simple oppositional terms. There is little in the writing of the privilege checkers that deals with the more nuanced aspects of this work: for example how the interests and power of wealthy sections of minority communities affects those communities ability to accurately represent themselves in the media.   

Privilege discourse does not argue for the relative importance of the different social locations it highlights. Why should the testimony of “unattractive” people be considered especially valuable? One of Intersectional theory’s own internal limitations is to question whether the identities they highlight represent epistemically relevant categories of social location. This criterion would be met only insofar as the society under consideration is structured along the lines of the category in question. Beauty for example clearly confers considerable advantages to those who are considered to meet their society’s norm for it. Despite this fact though, it is questionable as to what degree western societies are actually structured along the lines of beauty or at least how significant to overall equality and social justice such a structuring might be. Penny’s brief comments on this issue don’t provide much clarity aside from counterpoising the suggested beauty hierarchy with the overarching dominion of male privilege. This is a good example of how privilege discourse does very little aside from noting a series of phenomena associated with difference, and reiterating the hegemony of the White Male.   

4.
The practical consequences of ‘checking one’s privilege’, of shutting up rather than trying to form a consensus is encapsulated by a recent spat on Twitter. The occasion was Penny’s suggestion (a quite correct one I think) that people should not rise to a race-baiting article written by Rod Liddle in the Spectator after the murder of soldier Lee Rigby in Woolwich in May. However instead of arguing her position she fell into silence after having apparently had her privilege checked by a number of women including black comedian Ava Vidal. Ostensibly it was Penny’s ‘white privilege’ vis-à-vis someone suffering a racist attack that she was owning up to and subsequently being silenced by.

Now let’s go back to the Marxist reading on proletarian perspective to make some sense of this. Recall that the idea is that the bourgeoisie as a capital owning class have an interest in maintaining the status quo, whereas the proletarian sees more clearly the true nature of social relations as they do not share the bourgeoisies’ interests, are subject to their rule, and have direct experiential access to the reality of exploitation. The essential point here is the misalignment of interests combined with the difference in perspective potentially achieved by virtue of their experiences. It is unlikely that a CEO of a top company and a shelf stacker will have similar perspectives on economic exploitation owing to their different epistemic positions relative to the system as a whole, and their different interests in that system. As such if you wanted to know about the reality of working class life under capitalism you would go first to the shelf stacker not the CEO. I don’t think this is the situation with Penny and her Twitter row.

In her case while she may not have had direct experience of racism relative to the women she was conversing with, nevertheless it is likely they did share the same interest in combating racism. As such while the experiential difference may yield different approaches to achieving their goal there is nothing that should prevent them coming to a shared understanding of what might need to be done, or conversely they could just agree to disagree over the particulars. There was however no justification in this case for Penny to give way simply because the person disagreeing with her on a point of practice was part of a group who were more likely to have the experience in question. This form of self-censorship makes a united response to racism or any form of social oppression far less likely and may ultimately reinforce a feeling of separateness between agents who in fact share common aims.  It‘s also important to recognise that this censorship of self and others is an interventionist rather than structural approach to the problems of democratic speech. In effect what is being practiced here is a form of policing the public sphere, or at least that narrow avenue of the public sphere in which Penny and her privilege checking compatriots operate.

Let there be no mistake; there is a problem with marginal lives being suppressed or distorted by dominant discourses. One need only witness the demonization of benefit claimants and migrant workers to understand this. The question however is whether individuals like Penny who themselves are the product of and work within the framework of that dominant discourse have any legitimacy in playing the role of gatekeeper.

5.
It’s worthwhile reiterating that the discourse on privilege exemplified here doesn’t spend much time exploring the possible untapped resources of knowledge and experience offered by marginalized people. Instead, it spends much of its time weeding out the so called unexamined privilege of the purported dominant group or subgroup, and more often simply among the commentators own peers. This is done not by reference to what the speaker actually says but by appeal to the speaker’s nominal identity (being white, being male, being heterosexual, being able-bodied).  Penny as an Oxford graduate is no doubt familiar with the old Latin phrase ad hominem, which in footballing parlance is translated as playing the man and not the ball. Instead of appraising the statements of the speaker for signs of a partial or ideological perspective they simply appraise the speaker, resulting in what looks very much like a game of discursive top-trumps where the speech of some individuals is rendered invalid before it’s even heard.

To this ad hominem distortion there is I think a further fundamental problem with privilege discourse. Without adequately defining the scope and limits to the situated knowledge claims they highlight, the radicalised intersectional aspect of privilege discourse can begin to revolve in ever decreasing circles.  The idea of different perspectival and epistemic locations gets increasingly conflated with the concept of subjective identity itself, such that the multiplicity of possible identities results in a corresponding multiplicity of possible intersections which without qualification as to their specific epistemic characteristics produces a general demand to shut up about things you have not experienced yourself. Following this logic intersections thus multiply ad infinitum to the point of elevating the banal truism of ontological separation; i.e. that no two individuals can share the exact same experience. At this point radicalised intersectional theory collapses into an extreme form of scepticism where all statements are rendered invalid beyond the life-world of the individual, and thus all those claims pertaining to a shared world are foreclosed from the outset. All the world becomes bodies and opinions, the latter which of course is the domain of political commentators and op-ed writers like Laurie Penny.

The corrective is obviously that the statement itself must be heard and examined in order to make a judgement. It is not acceptable to dismiss the speaker simply on account of their position, nor is it valid to valorise the speech of the oppressed in-toto without examining the content of the statement and defining the scope of enquiry. Or, as Linda Martin Alcoff succinctly puts it: “the fact that judgement is sometimes correlated to social position does not yield relativist conclusions, because judgements from any location must still be subject to challenge and verification. (Alcoff in Sullivan & Tuana, eds. pg41)” It is precisely this properly democratic aspect of challenge and verification that is missing from the privilege checkers discourse. None of this reflective, nuanced approach is applied by Penny, or her fellow minor hacks and online commentators, who instead practice a kind of liberal interventionism within their online domain. Instead of the possibility of forming consensus between groups on issues of social domination there is just a multiplicity of incommensurate opinions, some of which require silencing, and others which can never be challenged.

Privilege checking I think is thus correctly characterised as a predominantly middle class game played by a tiny group of online activists, bloggers, and social media users, very few of whom appear to spend much time searching out the potential epistemic resources of those most underprivileged in society.  Or, at best they are happy to attempt representing them from afar. These commentators do however have a disproportionate influence on public opinion, at least that part of public opinion that wishes to align itself with “the left”. Their function as an all too visible mediating layer between full on political activism and undecided political audience is the sole reason I find their output of interest at all.

If it is the case as Penny claims in her response to Louise Mensch that schoolchildren have been using her brand of intersectional privilege checking for years, then perhaps that’s because it represents a particularly simplistic and juvenile idea of democracy. It is certainly one which I hope will be short-lived.

References:
Fricker,Miranda – Epistemic Injustice: Power & the Ethics of Knowing (Oxford University Press, 2007)
Harding, Sandra – Rethinking Standpoint Epistemology: What is Strong Objectivity, in Alcoff,Linda & Potter,Elizabeth, eds. – Feminist Epistemologies (Routledge, 1993)
Hartsock,Nancy – The Feminist Standpoint Revisited and Other Essay (Westview Press, 1998)
Alcoff, Linda – Epistemologies of Ignorance: Three Types in S. Sullivan & N Tuana, eds. – Race and Epistemologies of Ignorance (State University of New York Press , 2007)