Cute Accelerationism - Amy Ireland & Maya B. Kronic (Part 2) (see description)

Summary

This transcript explores the intersection of schizoanalytic theory, accelerationism, and kawaii (cute) culture, drawing on figures like Deleuze, Guattari, Nick Land, and Franco 'Bifo' Berardi. It discusses how cuteness and modern internet culture, including memes and catboys, relate to broader philosophical ideas like machinic assemblages, the body without organs, and technological hyperconnectivity. The script also delves into the distinctions between schizoanalysis and accelerationism, highlighting the role of cuteness as an outside force driving transformation and becoming. It's a playful, insightful exploration of philosophy, culture, and technology.

Takeaways

• 📚 The script discusses the relationship between accelerationism, schizoanalytics, and cultural phenomena like kawaii culture, emphasizing the difference between productivity in schizoanalytics versus land-based theories of Thanatos.
• 🧠 The concept of 'empty body without organs' versus 'full body without organs' from Deleuze and Guattari's philosophy is explored, with emphasis on the productive nature of the 'full body.'
• 🌐 The script notes the increasing connectivity in the postmodern world, where desire is satiated through technology and repetitive activities like gaming.
• 🎥 A key point of contrast is made between figures like Guattari, who would likely side with Franco Berardi, and Nick Land, whose accelerationist views differ from schizoanalytics.
• 💻 The post-internet world, hyperconnectivity, and the shift towards infantile forms of capitalism are discussed as central to contemporary culture.
• 🐱 The metaphor of 'catboys' and their association with multiplicities, quantum states, and the postmodern condition is highlighted.
• 🐺 Schizoanalysis is linked to embracing outsider or deviant desires, as opposed to repressing them in psychoanalytic frameworks, likened to becoming 'other' like werewolves or through the concept of lycanthropy.
• 📖 The work critiques mainstream narratives and celebrates the fragmented, rhizomatic nature of postmodernism, using examples like Miyazaki's films and manga.
• 🎨 Cuteness and kawaii culture are examined as subversive forces, often seen as a rejection of traditional organization, aligning with the idea of the 'body without organs' and a resistance to codified identity.
• 🔄 The recurring theme of transformation, both personal and societal, is framed as a central concept, where the future is unpredictable and constantly evolving through machinic assemblages and becoming.

Q & A

What is the distinction between 'Tokyo the Proud' and 'capitalism's infantilism'?

'Tokyo the Proud' represents the assertive or mature cultural pride of Tokyo, whereas 'capitalism's infantilism' refers to the dominance of 'kawaii' (cute) culture, which Guan argues is a form of cultural pollution, prioritizing superficial, childlike aesthetics over deeper substance.

How does the 'empty body without organs' in Amy Ireland's model differ from Deleuze and Guattari’s concept?

In Amy Ireland’s model, the 'empty body without organs' represents a state associated with artificial death or zero intensity, tied to Thanatos rather than life (Eros), contrasting with Deleuze and Guattari’s 'full body without organs,' which is perpetually productive, generating new concepts and ideas.

What does Gary Ganoso mean by 'hyperconnectivity' in the modern world?

Gary Ganoso describes 'hyperconnectivity' as the phenomenon where individuals are increasingly connected through technology and repetitive activities, which simultaneously creates a sensation of fulfillment and a potential sense of overstimulation or superficial satisfaction that ultimately distances us from authentic experiences.

Why might Guattari be more aligned with Franco Berardi than with Nick Land?

Guattari would likely align more with Berardi due to their shared focus on critical engagement with capitalism and societal impacts, contrasting with Nick Land's accelerationist and nihilistic tendencies, which focus on embracing technological and capitalistic forces without critique.

What is 'cute accelerationism,' and how does it relate to the traditional accelerationist movement?

Cute accelerationism undermines traditional accelerationism’s severity by embracing kawaii or 'cute' aesthetics, adding a layer of passivity and playfulness that challenges the traditionally intense, dystopian drive associated with accelerationism. This adaptation aims to deconstruct serious, ideological structures rather than pushing an active political agenda.

How does the concept of 'cuteness' in Amy Ireland's work relate to the body without organs?

In Ireland's framework, 'cuteness' represents an anti-organizational force, similar to the body without organs. It embodies a passive, inarticulate, almost infantile quality that resists structure and challenges language and identity, aligning with schizoanalysis by promoting endless transformation and avoidance of codified forms.

How does 'Schrödinger’s cat' relate to the idea of multiplicities in Amy Ireland’s work?

Schrödinger’s cat exemplifies the concept of multiplicities by embodying simultaneous states of being (alive and dead) until observed. This duality aligns with Ireland's themes of multiple realities and states within accelerationism, where identity and state are fluid rather than singular or defined.

What role does Miyazaki’s work play in the concept of 'cute accelerationism'?

Miyazaki’s films are referenced to illustrate a dreamlike escape from modernity, where cute, childlike wonder opens paths to potential post-technological worlds. This resonates with cute accelerationism’s challenge to linear, organized ideologies, suggesting the potential to move beyond capitalist narratives.

What does the 'eldritch egg' symbolize in the context of cute accelerationism?

The 'eldritch egg' symbolizes a rebirth process, where the body without organs, linked to Lovecraftian and supernatural themes, hatches a version of Cthulhu that is soft and plushy. This reflects how cute accelerationism blends monstrous or profound elements with passive cuteness, creating a hybrid of cosmic horror and kawaii.

Why does Ireland emphasize 'smoothness' and 'flatness' in the aesthetics of cuteness?

Ireland links 'smoothness' and 'flatness' to cute aesthetics to convey the lack of depth and complexity typically associated with order and organized meaning. These features suggest a surface-level engagement that resists structural depth, aligning with Deleuzian 'smooth spaces' as zones of pure potential and transformation without predefined structure.