Hooked on a feeling
Although I remain confused and mystified by The Community Community and Means without Ends, one of my favorite ideas from these books is the spectacle's return to us of our linguistic nature in an inverted fashion.
The spectacle contains and captures the possibility of a common good. We could even say its production of a common is its good or that the power of spectacle is its production of the common as a feeling, necessarily shared. Its form is inseparable from its affect. A spectacle is affective form and this is its common good.
Yet this common good is so fungible, so commodifiable, that we feel its force most often as lost. Zizek would emphasize stolen. We might also call this feeling of lost common good a sense of corruption or distorted. The common, the we, appears or is manifest only through distortions, inversions, and corruptions, via theft, commodification, and capture. We feel the common, our commonality or a commonness, by feeling also and at the same time its corruption or capture. Conceptually it's possible to separate the common good from the spectacle that inverts and returns it to us, but only conceptually, not actually.
Actually we encounter our hope for change channeled and manipulated into mainstream political parties and candidates, into commodities and ads and packaged experiences that promise to be different, this time, to be spectacular. We encounter or experience our own feeling pushed and distorted into too simple packages of for and against, optimist and pessimist. Where one argues that the pessimists are cynics demeaning one's authentic political longing, another views the optimists as kool-aid drinking compromisers. In either case, the common good as intensity of being and belonging together impresses itself upon us with and as the intensity of our sense that another is trying to take or distort, capture or coopt it.
If optimism is felt as a threat, then, this is not primarily a fear of feeling or an inability to risk hoping again after being disappointed. Yes, it is felt as a threat when one feels pressured to like-feeling, to identifying with the group spirit or identifying group spirit as the common good: having grown up Southern Baptist, I know this feeling well, this pressure to feel the Holy Spirit, to feel Jesus in the room. Did others feel It, Him? Or is what they felt the pressure to feel? And did they name this pressure God, the big Other? (My son says his friends are incredulous that he is an atheist, "Dude, but God is like awesome!"). In this example, it isn't the specificity of optimism that's the problem. It's the compulsion to feel like everyone else, on their time. If there is a sense of threat, and there may not be, this sense comes first and it itself part of the inverted return of common good. This sense is the carrier, the impulse we invest with our hopes and fears, our optimism and pessimism, our faith in the future or defense of lost causes.
Rather than optimism as what is at risk, hope as a desire too fragile to sustain, optimism and pessimism are two aspects of the same distorted common feeling, what the inverted spectacle returns to us. The spectacle may be political (it always has political effects), commercial, religious, sexual, even natural (understood as unavoidably mediated). Spectacle is a form for imagining, projecting, experiencing, believing in the movement of others, we are moved because they are.
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