Business As Usual After Marikana – edited volume (2018)

The mining industry has always been the backbone of the South African economy, and it still is. A healthy and sustainable mining sector should accordingly form part of the focus of our efforts to heal this country and its people. Nevertheless, the history of mining in South Africa has been and continues to be characterised by the oppression and exploitation of workers under the policy of the migratory system. The new dispensation of 1994, rule under the African National Congress, did not assist much in changing the conditions at the mines. It continues to turn a blind eye to the unjust wages and living and working conditions of miners.

Six years after the Marikana massacre we have still seen minimal change for mineworkers and mining communities. Although much has been written about the days leading up to 16 August 2012 and how little has been done, few have analysed the policies and system that make such a tragedy possible. Lonmin Platinum Mine and the events of 16 August are a microcosm of the mining sector and how things can go wrong when society leaves everything to government and “big business”.

Business as Usual after Marikana is a comprehensive analysis of mining in South Africa. Written by respected academics and practitioners in the field, it looks into the history, policies and business practices that brought us to this point. It also examines how bigger global companies like BASF were directly or indirectly responsible, and yet nothing is done to keep them accountable.

This publication, which starts by examining the long-term business relations between BASF and Lonmin, goes on to drill deeper into the hard rock of the persistent structures of inequality. By doing so we will understand that Marikana is not the tragic failure of an otherwise improving economic system but rather a calculated form of collateral damage.” – Bishop Jo Seoka, former president of the South African Council of Churches

#WeWillNeverForget

I have an essay in this book – if you’re interested, you can get hold of a copy via Jacana. The book also appears in German as Zum Beispiel BASF. Über Konzernmacht und Menschenrechte, published by Mandelbaum.

alden wood – radical intersections: the rise of atonal music and the invisible committee’s “the coming insurrection”

the-coming-insurrectionThe Coming Insurrection, a notorious 2007 ultra-left polemical tract written by a collective of French anti-state communists writing under the group-moniker The Invisible Committee, posits a conception of insurrection as the creation of new collective ontologies through acts of radical social rupture. Eschewing the orthodox Marxist line that revolution is something temporally removed from the present, towards which pro-revolutionaries must organize and work, The Invisible Committee’s use of insurrection claims it as an antagonistic challenge to late-capitalism firmly grounded in its own immediacy. Communism is therefore made immediate, and it is willed into being by insurrectionary acts of social rupture.

While much has been written on the debt that The Invisible Committee owes to French strains of ultra-left anti-state communism, Michel Foucault, Gilles Deleuze, Giorgio Agamben, Situationism, and the Italian Autonomia movement of the 1970s, their implicit nod to the sociopolitical themes of music has been largely ignored. By subtly claiming that insurrection spreads by resonance and that such proliferation “takes the shape of a music,” The Invisible Committee allows for the interpretation of its “coming insurrection” as an inherently musical act. Using a historical reading of the shift from tonality to atonality in Western art music, as exemplified by Arnold Schoenberg, Alden Wood’s interpretation of The Coming Insurrection aims at imbuing its explicitly political premises with a more thorough exploration of its implicit musical qualities.

Published in Interdisciplinary Humanities Vol. 30 pp. 57-65, 2013.

Read this essay HERE, and The Coming Insurrection HERE.

homo sacer

A really clear, simplified explanation of Giorgio Agamben‘s discussion of Homo sacer: someone forcibly reduced to bare life, cf. Simone Weil’s forcible destruction of the “I”.

Read also Achille Mbembe on people reduced to being conceived of as surplus or waste:

“Perhaps to a degree hardly achieved in the rest of the Continent, the human has consistently taken on the form of waste within the peculiar trajectory race and capitalism espoused in South Africa. Traditionally, we speak of “waste” as something produced bodily or socially by humans. In this sense, “waste” is that which is other than the human. Traditionally too, we speak of the intrinsic capacity of capitalism to waste human lives. We speak of how workers are wasted under capitalism in comparable fashion to natural resources. Marx in particular characterizes capitalist production as thoroughly wasteful with what he calls “human material” just as it is with “material resources”. It squanders “human beings, living labour”, “squandering not only flesh and blood, but nerves and brain, life and health as well”, he writes. In order to grasp the particular drama of the human in the history of South Africa, we should broaden this traditional definition of “waste” and consider the human itself as a waste product at the interface of race and capitalism. Squandering and wasting black lives has been an intrinsic part of the logic of capitalism, especially in those contexts in which race is central to the simultaneous production of wealth and of superfluous people…

… One of the most brutal effects of neo-liberalism in South Africa has been the generalization and radicalization of a condition of temporariness for the poor. For many people, the struggle to be alive has taken the form of a struggle against the constant corrosion of the present, both by change and by uncertainty.

In order to reanimate the idea of “the human” in contemporary South African politics and culture, there is therefore no escape from the need to reflect on the thoroughly political and historical character of wealth and property and the extent to which wealth and property have come to be linked with bodily life.”

And HERE is another discussion, by Richard Pithouse, which further sets out the colonial history of the discourse around people in a state of exception (in the context of shack dwellers).

foucault on sadism’s relationship to western rationality (1961)

Sadism is not a name finally given to a practice as old as Eros; it is a massive cultural fact which appeared precisely at the end of the eighteenth century, and which constitutes one of the greatest conversions of Western imagination: unreason transformed into delirium of the heart, madness of desire, the insane dialogue of love and death in the limitless presumption of appetite.

Sadism appears at the very moment that unreason, confined for over a century and reduced to silence, reappears, no longer as an image of the world, no longer as a figura, but as language and desire. And it is no accident that sadism, as an individual phenomenon bearing the name of a man, was born of confinement and, within confinement, that Sade’s entire oeuvre is dominated by the images of the Fortress, the Cell, the Cellar, the Convent, the inaccessible Island which thus form, as it were, the natural habitat of unreason.

It is no accident, either, that all the fantastic literature of madness and horror, which is contemporary with Sade’s oeuvre, takes place, preferentially, in the strongholds of confinement.

— Michel Foucault, from Madness and Civilisation

literary cats

There are cats and cats. – Denis Diderot
Patricia Highsmith with “Ripley”
 W.H. Auden with “Pangur”
“Pangur, white Pangur, How happy we are
Alone together, scholar and cat.” 
 Aldous Huxley with “Limbo”
“No man ever dared to manifest his boredom so insolently as does a Siamese tomcat when he yawns in the face of his amorously importunate wife.” – Aldous Huxley
Sylvia Plath with “Daddy”
“And I a smiling woman. 
I am only thirty. 
And like the cat I have nine times to die.”
Doris Lessing with “Black Madonna”
 Samuel Beckett with “Murphy” and “Watt”
 Mark Twain with “Huckleberry”
George Bernard Shaw with “Pygmalion”
 William Carlos Williams with “Adam and Eve”
As the cat
by William Carlos Williams
As the cat
climbed over
the top ofthe jamcloset
first the right
forefootcarefully
then the hind
stepped down
into the pit of
the empty
flowerpot
 Gore Vidal with “Caligula”
 Randall Jarrell with “Little Friend”
Edward Gorey with “Harp, Brown and Company”
 Ezra Pound with his three cats (also tried for high treason after the war)
Tame Cat
by Ezra Pound
It rests me to be among beautiful women
Why should one always lie about such matters?
I repeat:
It rests me to converse with beautiful women
Even though we talk nothing but nonsense,The purring of the invisible antennae
Is both stimulating and delightful.  
 Ernest Hemingway with “Nick”
 
Ernest Hemingway had an affinity for many things, his feline companions being one of them. The “Hemingway Cat,” or polydactyl, is a feline that, instead of the normal 18 toes, has six or more toes on the front feet and sometimes an extra toe on the rear. Hemingway had many talents and interests. He was an extreme cat-lover because he admired the spirit and independence of the species. He acquired his first feline from a ship’s captain in Key West, Florida, where he made his home for many years. Today, around 60 felines live at the Ernest Hemingway Museum and Home in Key West. They are protected by the terms left in his will.  
 
 Raymond Chandler with “Big Sleep”
 Truman Capote with “Tiffany”
“She was still hugging the cat. “Poor slob,” she said, tickling his head, “poor slob without a name. It’s a little inconvenient, his not having a name. But I haven’t any right to give him one: he’ll have to wait until he belongs to somebody. We just sort of took up by the river one day, we don’t belong to each other: he’s an independent, and so am I. I don’t want to own anything until I know I’ve found the place where me and things belong together. I’m not quite sure where that is just yet. But I know what it’s like.” She smiled, and let the cat drop to the floor. “It’s like Tiffany’s,” she said.” 
Elizabeth Bishop with “Minnow”
Lullaby for the Cat
by Elizabeth BishopMinnow go to sleep and dream,
Close your great big eyes:
Round your bed Events prepare
The pleasentest surprise.Darling Minnow, drop that frown,
Just cooperate.
Not a kitten shall be drowned
In the Marxist State.Joy and Love will both be yours,
Minnow, don’t be glum.
Happy days are coming soon –
Sleep, and let them come . . .

Churchill with “Marmelade”

While many bits of trivia might be known about Winston Churchill, his love of felines isn’t necessarily one of them. Nevertheless, he owned several cats and, during his later years, was particularly fond of Jock, who was a “ginger tom” (a “marmalade cat”). During his time as PM, his best-known cat was a grey called Nelson. During a dinner at the PM’s country residence, Chequers, American war correspondent Quentin Reynolds noted Churchill as saying: “Nelson is the bravest cat I ever knew. I once saw him chase a huge dog out of the Admiralty. I decided to adopt him and name him after our great Admiral.” During dinner, Reynolds noted, “When Mrs. Churchill was not looking, the Prime Minister sneaked pieces of salmon to Nelson.” There were even rumors that Nelson sat in with his master during Cabinet meetings, and Churchill once told a colleague that Nelson was doing more than he was for the war effort.
Allen Ginsberg with “Howl”
“I saw the best cats of my generation destroyed by madness.”
 Jack Kerouac with “Tyke”
 ”Holding up my 
purring cat to the moon 
I sighed.”
 William S. Burroughs with “Junkie”
Charles Bukowski with “Factotum”
The History Of One Tough Motherfucker
by Charles Bukowski (last verse)
I shake the cat, hold him up in 
the smoky and drunken light, he’s relaxed he knows… 
it’s then that the interviews end 
although I am proud sometimes when I see the pictures 
later and there I am and there is the cat and we are photo- 
graphed together. 
he too knows it’s bullshit but that somehow it all helps.
 Don Delillo with “Mao II”
Hermann Hesse with “Narciss”
Jorge Luis Borges with “Aleph”
Julio Cortázar with “Bestiario”
 Alberto Moravia with “Agostino”
 Jospeh Brodsky with “Urania”
Haruki Murakami with Kafka
 André Bazin with “Chaplin”
 Louis-Ferdinand Céline with “Mea Culpa”
Françoise Sagan with “Brahms”
Jean-Paul Sartre with “Nothing”
Albert Camus with “Stranger”
Jaques Derrida with “Logos”
“Logos, a living, animate creature, is thus also an organism that has been engendered. An organism: a differentiated body proper, with a center and extremities, joints, a head, and feet.”   (Jaques Derrida, Plato’s Pharmacy)
 Michel Foucault with “Insanity”
Robert Frost
The cat comes into the room.
I put the cat out.
The cat comes in again.
(Robert Frost)
The Ad-dressing of Cats
by T.S. Eliot 

You've read of several kinds of Cat,
And my opinion now is that 
You should need no interpreter 
To understand their character.
You now have learned enough to see
That Cats are much like you and me
And other people whom we find
Possessed of various types of mind.
For some are same and some are mad
And some are good and some are bad
And some are better, some are worse--
But all may be described in verse.
You've seen them both at work and games,
And learnt about their proper names,
Their habits and their habitat:
But how would you ad-dress a Cat?

So first, your memory I'll jog,
And say:  A CAT IS NOT A DOG.

And you might now and then supply
Some caviare, or Strassburg Pie,
Some potted grouse, or salmon paste--
He's sure to have his personal taste.
(I know a Cat, who makes a habit
Of eating nothing else but rabbit,
And when he's finished, licks his paws
So's not to waste the onion sauce.)
A Cat's entitled to expect
These evidences of respect.
And so in time you reach your aim,
And finally call him by his NAME.

So this is this, and that is that:
And there's how you AD-DRESS A CAT.

Jean Gaumy

Beautiful pictures from writersandkitties, entry shared from Weimarart

I feel terribly ashamed. I should rename my poor cat, who was ruined to a life of cuteness with a name like Tempura! I should rename her, or add a sassy surname, like Tempura Trenchett, to regain her literary dignity.

How will she feel if she ever had to come across Jean Paul Sartre’s ghost of a cat, “Nothing”!

I only wish I thought of the idea first.

reblogged from pennysparkle