Volume 4, Number 2 (July, 2007).
Seaside Rendezvous: Engaging Swansea
Dr. Gary Genosko
Chair in Technoculture Studies and Associate Professor of Sociology, Lakehead
University, Thunder Bay, Ontario, Canada).
The latest conference on the work of Jean Baudrillard
took place over the course of three days at Swansea University in Wales (September
4-6, 2006). There were over fifty papers and three keynote addresses, a final
plenary discussion of Baudrillard’s contribution, a short paper “On Disappearance”
(read by Mike Gane) and a short animated film on Ubu Roi by Geoff Dunbar.
The parallel sessions format used by organizers Richard G. Smith David B. Clarke, Marcus A. Doel, and William Merrin was largely the result of an
economy of scale and the institutional logic of institutional services, rather
than an intellectual decision. Since as many as five sessions were running at
the same time, it was impossible to get a thorough overview – the same feeling,
incidentally, that describes the view of the sea from Swansea.
The participants spanned the scholarly generations:
the usual suspects were there (Doug Kellner, Mark Poster, Mike Gane, Rex
Butler, Andy Wernick, and Alan Cholodenko was a virtual presence)1;
the new group of scholars (Paul Hegarty, William Merrin, William Pawlett,
Richard Smith), and a wide range of emerging scholars, along with a smattering of
independents. Only two of us had been present at the Missoula, Montana
conference in 1989 – myself and Diane Rubenstein. It is fair to say that the
largely unknown emerging scholars had the greatest range of topics to deal with
and on the whole simply linked parts of Baudrillard’s writings (sometimes as
little as a single quote) to what interested them – from music recording,
literature, US politics, architecture, visuality, feminism, etc. Few if any of
these young scholars presented detailed meditations on Baudrillard’s texts. Yet
they are the most important group as far as the future of something called “Baudrillard
studies” is concerned. Unfortunately, at this point in their careers they are
the least interesting to listen to (with a few exceptions like Australian David
Teh because, after all, the idea of “emerging” covers everyone from graduate
students to post-doctoral students)! But they are the largest group – there is
strength in numbers.
The new scholars like Merrin and Hegarty, all of whom
have written at least one book or several articles on Baudrillard, were there
to try out new ideas and material and their performances were very well
received. They are the scholars keeping the flame burning brightly because they
are active here and now and are being read and reviewed, often by one another,
or by other significant clusters of readers. They are masters of Baudrillard
studies in the present tense. They are the conference organizers, the editors
(Gerry Coulter), and the translators (Chris Turner) to whom everyone looks for
the latest piece of the critical puzzle. There are some interesting crossovers
into this group by notable scholars like John Armitage, Paul Taylor and others
whose main contributions have not been on Baudrillard but whose sympathies are
usual suspects displayed all of the warts and bristles of aging academics with
reputations to defend and points to make. Doug Kellner dabbled in aesthetics
and art criticism providing a detailed overview of Baudrillard’s thoughts on art
(in three phases: depthless pop; post redemptive; transaesthetic) for the age
of bumbling magnates who poke holes in their masterpieces. Kellner also
produced a puzzle: art may be a form on the fringes of history the content of
which can only be singular events like 9/11, yet it also poses its own end for
how can there be art after such events? Mark Poster presented a very polished
Foucauldian paper on medical makeover television shows from the US within the
broad purview of care of the self in the hyperreal. Poster opened for us with
surgical precision Baudrillard’s meditations on reality television and the
implications of telemorphosis, without binding us in the Maussian mysteries of
the dictum: “reality TV
is our total social fact”.2 Gane
shared a discovery about the origin of the Baudrillard’s use of the “knife
without a blade and handle”3 from
the Utopie days and again in Fatal Strategies: the Lichtenberg
non-knife as a key to understanding Baudrillard’s sense of humour. But there
was more to it than that for in this figure one could find the key to the entire
The main attraction was Baudrillard’s paper, without
Baudrillard. This proved to be a puzzle for many conference goers. The working
assumption for many readers of Baudrillard is that a Baudrillard conference
should feature the man himself. And up to Swansea this was the core practice,
all the way from halcyon days of Missoula, to Auckland, and the rest. Swansea
proved that a Baudrillard conference could successfully take place without Baudrillard.
This will be its legacy. The conference without the man; the blade without the
handle, the smile without the cat; the seaside without the sea. This is
objective irony and the pure wit of things and events.
The usual suspects, Rex Butler, and I got together to
discuss Baudrillard’s thoughts on disappearance before those who stuck it out
to the end. A great deal of enthusiasm centered around the figure of “martial
arts” (Baudrillard as kung fu fighter), as well as a quote from Cardinal
Ratzinger (a reformed Baudrillard?). We poured over the few pages like hackers
pouring over lines of code, each with our styles of thought and fully
retractable strategies of critique.
disappearance” is beguiling for more reasons than its self-fulfilling prophetic
dimension. Laden with nuances of Guy Debord’s attempt to evade the spectacle’s
rapacious need for images, and Paul Virilio’s subtle posing of a variety of
gaps – some political, some biophysical – Baudrillard presented in several
waves human being’s self-erasure toward an art of disappearance: how to
disappear before and rather than dying. Baudrillard acknowledged that the
notion of the survival of a subject’s “narcissistic double,” not unlike the
Cheshire cat’s hovering grin, without the cat or subject, is quite terrifying.
Baudrillard’s ghost story has a hint of Roger Caillois’s subjective
detumescence in it as well, as subjectivity is pulverized and scattered
everywhere, becoming superfluous, oceanic fluff. Baudrillard sought to
revitalize the thought of disappearance as a “pleasure into which we can
retreat” rather than a loss to be lamented. The comfort of disappearance is
The Swansea conference was a typical academic event –
very safe and not very adventurous. No strong emotions were on display. The
stultifying air of solicitude. At stake was a species of nothing. When
pataphysics is the only rogue element, duly art historicized and meticulously
sterilized, you know that you are inside a contemporary university. Perhaps,
just perhaps, things are not so bleak. This is the point at which it needs to
noted that a very young Baudrillard was once energized by pataphysical
juvenilia, and later felt trapped by its bureaucratic games. The joy of Jarry
is his insouciance, and the figure of Ubu is political incorrectness incarnate
before the term even existed. Ubu is a figure of symbolic exchange far from
reason and good sense, and he bears the spiral – not to mention the toilet
brush, and his own green horn – as a mark against unidirectionality and
irreversibility. The question is this: although Baudrillard sometimes thinks
that symbolic forms have not been truly lost, and thus one should not feel
nostalgia for them, there are very few examples of radical symbolic forms upon
which to draw in our managed and surveilled societies. And once found, it is
better not to draw attention to them for to do so is to place them at risk.
Still, at the end of the day, Ubu shines in the void as an antidote to the
meanness of our times in which “we live, then we die, and that is truly the
And this, I think, is the lesson of disappearance: it confounds this meanness,
this reduction of a life to a brutish line, and simply will not accommodate
itself to it.
Gary Genosko is Canada Research Chair in Technoculture at
Lakehead University, Canada. At Swansea he gave a paper about simulation and
dairy products: “Better than butter: margarine and simulation”. He is an
editor of IJBS.
1 Alan Cholodenko’s paper “Still
Photography?” (accompanied by a digital recording of the talk as he gave it at
Swansea) will appear in Volume 5, Number 1 of the International Journal of
Baudrillard Studies in January 2008.
2 Baudrillard suggests this in his
essay “Telemorphosis” but as parody. See Jean Baudrillard. “Telemorphosis” in The
Conspiracy of Art: Manifestos, Interviews, Essays. Edited by Sylvere
Lotringer and Translated by Ames Hodges. New York: Semiotext(e), 2005:188-200.
3 “Utopia is that by which, by the
abolition of the blade and disappearance of the handle, gives the knife its
force de frappe.” See Gary Genosko (Editor). The Uncollected Baudrillard.
London: SAGE, 2001:59.
The final sentence of “Symbolic
Exchange,” in Jean Baudrillard. Passwords. New York: Verso, 2003:18.