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<ITEXT CH=" II.2 "/>
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<ITEXT CH="City Frontiers "/>
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<ITEXT CH="and their Disappearance"/>
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<ITEXT CH="The disappearance of the frontier plays a vital role in our culture. Modernity was characterised by the systematic demolition of strongholds and the increasing dysfunctionality of fortresses, city walls and gates. (Figure II.2.1) (Figure II.2.2) (Figure II.2.3) This tendency was stopped for a moment by the desperate undertaking of the Atlantic Wall during World War II and the erection of the Berlin Wall in the 1960s, but now, with the most recent developments in Eastern Europe, this late relic of the Middle Ages has fallen, too. The demolition of the wall is not an incident but an integral part of the great accident that has affected the territorial frontier since the Renaissance."/>
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<ITEXT CH="From the Renaissance on, the temptations of distance and the journey (trade, contact, communication) have gained the upper hand over the medieval stabilitas loci – the inert fixation to a place – and objects whose material presence confirms some former territorial difference have gradually become obsolete. The disappearance of the city, and later the national frontier, is not an autonomous phenomenon. Around the frontier, we can distinguish two orders: that of place, characterised by a stability of form (Figure II.2.4) and that of speed, characterised by the fading of form. (Figure II.2.5) Within the great historical play of these two orders, the disappearance of the Berlin Wall is merely a manifestation of the disappearance of the frontier on all fronts."/>
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<ITEXT CH="Disappearance? Is it right to speak about a uniform disappearance, or is something reappearing, too? Does the frontier return where we do not expect it, dressed in another cloak? Would it be possible to see the disappearance of the frontier as part of a metamorphosis or perhaps even a reversal of the city form that occurs to the annoyed delight of an immortal God? And of what would this metamorphosis consist, or where and how would this reversal manifest itself?"/>
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<ITEXT CH="Certainly, the theme of the disappearance of the city frontier is not new. From its emergence in the early nineteenth century, the discipline of urban planning has been founded on the disappearance of the urban frontier, that is, on the gradual effacement of the self-evident and uncontested city form for which the ‘gestalt’ of the looming, fortified city was the model. From the civil attempts in the eighteenth century to control the city (a city that had become licentious) by means of cartographic and cadastral measurements to the actual drafting of regional, master and city plans, urban planning has legitimised its existence with the promising search for the lost form. Urbanism is the discipline of the lost frontier, which is both its obsession and its motive."/>
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<ITEXT CH="But let us leave this lamentation about the loss of form and identity. It causes too much panic and makes us too engaged. By looking at the disappearance of the frontier from a somewhat greater distance than is habitual for most architects, we can snatch ourselves away from the negative passion that is the effect of the disappearance, and so also from the unremitting desire for a fixed form (which is, after all, an arbitrary and historically determined desire). And I want to ask again, where does the border reappear after it vanishes from its familiar places? To investigate this, we need to determine the principles that inform and in-form the border, the boundary, the limit itself. To inform not only means to provide information, but also has a meaning derived directly from the Latin word informare: to mould, to make, to shape. We have to understand ‘to inform’ simultaneously as providing information and shaping forms. "/>
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<ITEXT CH="Since Aristotle, Western thinking about borders and their limits has been prescribed by the so-called hylomorphic scheme, or the form-matter model. This model has been particularly important in characterising the process of individuation – the becoming of ‘something’ and the ‘being there’ of ‘something’. But where Aristotle, in his famous example of the manufacture of a brick, saw the clay as the matter and the wooden mould (that is, the border) as the form, modern information theory says that both the clay and the mould are engaged with matter and form. Information theory now describes the clay as a metastable state that possesses potential energy – unevenly distributed energy capable of effecting a metamorphosis. This quality of the clay is the source of its form. The mould places a limit on the expanding form of the molecular organisation of the clay as it fills the mould. The mould does not form the clay passively, but communicates a resonating action throughout the clay that alters the clay’s molecular organisation. This individuation of the brick – the process whereby the clay assumes a specific stable form – should be described as follows: the malleable clay, initially in a preindividual metastable state possessed of potential energy and capable of assuming any number of stable shapes, interacts with an external milieu (the border, the mould), which sets up an internal resonance within the clay and allows the clay’s uneven distribution of energy to assume an even distribution, a stable shape. The form, then, is the effect of the limit: or the limit in-forms a substance in a metastable state, which subsequently assumes a stable form. "/>
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<ITEXT CH="According to Gilles Deleuze in Difference and Repetition, this metastable state of the clay can be generalised towards a principle of reality from which emanate all acts of individuation, all appearances that are the manifestations of a process of becoming (that is metastable and preindividual). Metastability, for Deleuze, is difference in itself, and individuation is the process in which difference differentiates and explicates itself."/>
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<ITEXT CH="In relation to the city, we can, according to Paul Virilio, recognise this metastable substance in the original state of nomadic culture, which wandered without direction or goal, guided by the time limit of the day and the seasons – the transmigration of ancient times. "/>
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<ITEXT CH="An interpretation commonly advanced to mark the first difference in the endless field of nomadic transmigration is based on the anthropological conception of territory and the humanistic myth. The thinking is that the conception of defensible space began to form from the first crystallisations of tumuli and sanctuaries leading up through the storage of grain. Such spaces would then be differentiated from their surroundings by means of a palisade. The crystallisation of the place is understood here in a geographical terminology that defines it as a pure spatial differentiation within a mathematically undifferentiated field. This place, then, would be the elevation and exaltation of the field – topos erectus – and the palisade would be the expression of its jealous character. Such elevations into higher orders of place and the jealousies induced would subsequently have perverted transmigrational culture into the excluded and the dangerous. Finally, the fortified place is considered to be the explanation and unfolding of treasure and the will to conservation – defensive and conservative principles that produce a kind of fixism inspired by fear."/>
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<ITEXT CH="In contrast to the humanistic and anthropological interpretations of the origins of place and territory, which underpin the morphological illusion that cities and urban communities are essentially determined by their form, is the military interpretation. According to that vision, represented by Virilio in Speed and Politics and maintained throughout his oeuvre, even before the conception of territory changed the character of nomadic culture, there existed the differentiation of speed. Between 2000 BC and 1700 BC the war chariot was invented in the steppes of Central Asia. (Figure II.2.6) This event dissocialised military elite of speed from the nomadic tribes, who were restricted in their movements by the tempo of the cows and the sheep. Driven along by the liberated speed of their horses, this new elite managed to conquer the river cultures in India, Iraq and Egypt in the subsequent ages. (Figure II.2.7)"/>
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<ITEXT CH="The first city-states, then, came into existence behind well-equipped fortress walls that were erected as emblems of treasure and territorial conquest based on the initial differentiation of culture according to speed. (Figure II.2.8) If we look more closely at a few cities of antiquity, we see how in a city such as Nineveh, the palaces of the kings Sennacherib and Ashurbanipal were situated at the northern end of the city, halfway inside and outside the city walls. (Figure II.2.9) The map of the Cyclopean city Tiryns also reveals an eccentric placement of the palace and sanctuaries. (Figure II.2.10) The entrances to the city and palaces in this Mycenaean hill fort were cleverly designed so that visitors had to pass through dozens of checkpoints before they could enter the city or palace spaces. From these examples we can deduce that what the rulers controlled was not so much territory as borders. In both cases, the palace and sanctuary complexes are border posts, having evolved from their original function as repositories in which the military speed elites of yore stored their spoils. As repositories of treasure/checkpoints, they form the origins of the city, and because the repository/border checkpoint is the product of the original speed elite, the first city was ultimately informed by a border that depended on the fundamental speed differentiation. "/>
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<ITEXT CH="In its origins, then, the city is a paradoxical form. City ground plans seem to take their shape and meaning from the distinctive oppositions between city and land or centre and periphery. But this difference is secondary and misleading. Primarily, the city is formed and informed by heterogeneous speeds – by the difference between inertia and traffic. The form of the city is thus, ultimately, an unstable effect, a morphological illusion."/>
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<ITEXT CH="The city exists, then, through traffic in all its forms, which includes the flows of trade, but also the threatening flows of vagabonds, pilgrims, soldiers and diseased and expelled persons. The city is a qualitative difference within an endless flow of traffic. This observation does not mean that the anthropological thesis of differentiation according to defensible territory is untrue, but it underlines its incompleteness. The primacy of traffic and speed makes it very unlikely that the territory was ever an autonomous space receiving its quality from its inhabitants. The first heterogeneity that occurred in the original space of nomadism was not the erection of an anthropological site, but the production of a frontier that originated from the first heterogeneity of speed – that of the herd and the horse. This first heterogeneity of speed produced the city frontier as the outcome of a politics of vectorisation. Vector politics organise speed into a dromocracy, the aim of which is to gain the power to attack. This is true up to this day."/>
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<ITEXT CH="Heterogeneity of speed also produces a distinction in the psychology of different social classes. The class bound to the inertia of residence is undetermined and weak, to which the whole theology of the repressed bears witness. The military class, on the other hand, is powerful. Its moveability and speed, its refinement of economy and its organisation of the field of perception allow this class to keep its power and will out of sight (as attested to by the hero mythology and warriors of India and Egypt). The dromomane, the warrior with his chariot and, later, every power based on speed, is ‘strong’ because of his powers of evasion and elusiveness. Meanwhile, the resident is ‘weak’ because of his restriction to place."/>
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<ITEXT CH="The dromocratic military class rules over the city frontier. Castles, palaces and temples are mostly located on hills at the edges of cities (Nineveh, Tiryns). The city in ancient and medieval times, and the fortified city prior to the eighteenth century, functioned not as a ‘site’ appropriated by a group (it was not a ‘territory’), but as a machine of regulation and calculation where an oligarchy or aristocracy had authority over the right and obligation to stay or be expelled. This power to control the entrance is everything in a universe in which the opposition between outside (wandering and deprived of reason) and inside (safe dwelling, in possession of reason) has become essential."/>
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<ITEXT CH="Subsequent populations did not, at first, get their class power from trade and industry, but from strategic settlements that inaugurated the phenomenon of the domicilium fixe, the fixed domicile and home (land). Following that, land speculation became possible and the first urban principle of capitalisation was born. The right to dwell behind the fortified walls of the city became capitalisable, that is the right to security in the middle of the fields, woods and roads occupied by wanderers, troops and expelled persons (the perverted forms of the original transmigration). The military fortress that protected the domicilium fixe behind its massive walls endlessly delayed battle with the assistance of its architecture, a battle which in the free field would undoubtedly have led to a solution. The forms of the castles and fortified cities demonstrate very precisely the secret presence of the quasi-permanent state of siege by which the city frontier was determined."/>
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<ITEXT CH="In addition to the difference produced by speed, and the repressed state of siege, the location of the city also contributed to its interplay with the flows and the expelled. It is at the strategic knots in the endless flow of traffic – in mountain passes, at the openings of valleys, alongside rivers or estuaries – that the important cities are found. Location, city wall and gate are the result not of mythic but of military thinking, which aims to control the flow of people, money and goods. This is why the concepts which date from the Middle Ages such as stabilitas loci, the inert fixation to a place, and domicilium fixe, the permanent domicile and home (land) are delusive. Throughout history, the power of the city has been tantamount to its authority over traffic. The city has never been more than an interrupter, a singular point in an endless trajectory, a division, a dividing line in itself, a bank that abstracts welfare and stability from an economy of passage and stoppage – to which the innumerable tollbooths, barriers, frontier gates, city gates and enclosed harbours built before the nineteenth century testify. The term polis should not be understood, then, as relating to place, but as police: traffic control. After all, a city is nothing other than an inhabitable circulation. "/>
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<ITEXT CH="Looking at the border areas in several seventeenth century Dutch cities – Vianen, Gorcum, Tiel and Zaltbommel, for example – one notices immediately that their logic is not purely geometrical. At that time, the location and function of cities in the Netherlands was dictated by water traffic. (Figure II.2.11) The city of Vianen was built in the late Middle Ages around a thoroughfare linking the so-called land side at the southern end of the city with the water side on the northern end. The portion of this street located between the northern and southern city gates served as both a transit route and a market. The city hall, situated in the middle of the city along this route/marketplace, included a bay that allowed the magistrates to oversee the entire market passageway from gate to gate. The north end, on the water side, that is, was also where the citadel of the counts of Holland was located, straddling the city walls. Vianen is the perfect example of a spatial arrangement developed for the express purpose of controlling traffic and amassing goods and passers-by in a stopover space. "/>
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<ITEXT CH="(Figure II.2.12) An illustration by Pieter Sluyter from 1533 shows how the shape of the city of Gorcum is dictated by the need to exercise control over the mouth of the river Linge where it feeds into the larger river Waal, as well as the shipping traffic that passes the city on the Waal. (Figure II.2.13) Willem Janszoon Bleau’s later map from 1610 shows that in the interim a military-industrial complex has formed at the southern end of the city, on either side of the mouth of the Linge into the Waal, which includes a shipyard and citadel, both separated by walls from the rest of the city. (Figure II.2.14) To the west of the mouth of the Linge, there is a roadstead, or outer anchorage in the Waal, protected by cannons mounted on the citadel walls. (Figure II.2.15) The situation in the city of Tiel was similar; the tollhouse is the count’s property, and it is separated from the city, along with the attendant roadstead by walls. There are countless other examples, all of which serve to prove that city boundaries must not be construed as abstract lines of demarcation that simply articulate the distinction between here and there. The city frontiers are material elements with a very specific appearance, spatial extensions that undergo a transformation of form over time."/>
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<ITEXT CH="(Figure II.2.16) My proposition, at this point, then, is to define the city frontier, as it existed during the historical apogee of 1700 BC through AD 1800, as part of a machinic arrangement. This concept was first introduced by Deleuze and Felix Guattari in Kafka: Toward a Minor Literature, where it was used to describe writing in which collections of heterogeneous elements work together in whatever form. They further expand on the concept in A Thousand Plateaus: Capitalism and Schizophrenia, applying it to social phenomena. In fact, we encounter the concept in various forms throughout Deleuze’s oeuvre. In Dialogues, he explains about machinic arrangement: ‘Machine, mechanism, “machinic”: this does not mean either mechanical or organic. Mechanics is a system of closer and closer connections between dependent terms. The machine by contrast is a “proximity” grouping between independent and heterogeneous terms (topological proximity is itself independent of distance or contiguity). […] The machine is a proximity grouping of man-tool-animal-thing. It is primary in relation to them since it is the abstract line which crosses them and makes them work together.’"/>
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<ITEXT CH="A machinic arrangement is a certain relation between a sociotechnological machine and a collective semiotic machine. The main constituent of the collection of interrelated elements that forms the technological machinic arrangement is a system of relations between people, tools and things. Taking the case of the city gate, one notices the doors as regulators of entry and departure, the walls as an obstruction of passage and the towers as possibilities for view and prospect, as well as surveillance points. At the city gate, taxes and tolls have to be paid, and there is a constant milling about of people, such as gatekeepers, innumerable ‘marginals’, prostitutes, merchants and hawkers. Near the gate, uncertainty reigns. Around the abstract principle of ‘selective passage’, for example, circulate the interrelations of power, welfare, visibility, identity, seduction, cunning and destruction."/>
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<ITEXT CH="The technological machinic arrangement of the frontier is a regulator of power and the producer of qualifiable quantities. Here the second component of the machinic arrangement enters the game, namely, the semiotic machine, or the regime of signs. I do not mean by this only the placards and documents that are placed near the city gates or the heralds who read the laws and proclamations. More generally, I mean every sign that signifies the quanta distinguished by the machine and which produces effects in consciousness and behaviour – the quanta of bodies, for example, that every evening at the gate were divided into citizens and non-citizens, ‘strangers’ being excluded from the city by the lash of the whip; or the tortured criminals displayed at the city gate to affirm a territory of justice; or the lunatics exposed to the curiosity of saunterers (flâneurs) to establish the reign of reason. The regime of signs gives the border the quality of a social, cultural and linguistic frontier. Thus the city edge is also a boundary of signification, sense and identity."/>
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<ITEXT CH="The sociotechnological machine and the regime of signs together constitute the machinic arrangement, which criss-crosses different strata, assembling, dividing and qualifying people, goods, animals, plants, words, money and images into more or less functional circuits that connect man with nature, the mechanical with the non-mechanical, the organic and the inorganic within a single sphere of interaction."/>
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<ITEXT CH="Just as the city frontier is a machine, the city itself is also a machinic arrangement that emanates from the city frontier. The city does not radiate from the centre, but is formed from the boundary. The limit is not the end of the city, but its beginning, in space, as well as in time. The border is not passive but active. As a machine/sign, it is nothing more nor less than the active articulation of the original heterogeneity of speed. The whole of the machinic arrangement regulates the exchanges between the inertia of place and the ‘perverted’ transmigration, which represent a secondary difference. Without this regulated exchange of bodies and signs, a fusion/confusion would occur and, with it, the possibility for identifiable distinction would be lost. "/>
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<ITEXT CH="In more than a metaphorical sense, the authority and control of exchange between place and transmigration constitute the history of the wall, the gate and the form of place. The limitless exchange is written by the history of traffic and speed. The two histories pursue different goals and imply a different handling of value and capital. The history of the wall, gate and place aims at maintaining the frontier and with it the power of distinction based on foundational values and transcendental difference. This is the jealous culture of the maintenance of the form. From the border, forms and meanings, as well as bodies and signs, resonate and constitute the conditions for the possibility of identity. This double figure in which the body/form (the city) corresponds with its sign (the word ‘city’) – this signified form that constitutes the here and the there, restricted place and infinity, order and chaos, something and nothing, I and you – is constitutive of the panic relation to the other, to the excluded."/>
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<ITEXT CH="The history of traffic and speed, on the other hand, is that of instability and the intangible/elusive. Its features are capture, power, heroics and delocalisations. "/>
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<ITEXT CH="The form of the city distinguishes itself from what it excludes (through the history of the wall), but it also has a deep affinity for that which is excluded, since without the excluded, it would not exist. Castles and cities were necessarily surrounded by the perverted and/or vectorised form of transmigrational energy. (Figure II.2.17) (Figure II.2.18) (Figure II.2.19) Their defensive forms were the explication/expression of their relationship to that which differs. In terms of energy, they were the mirror of the vector, a solidified force of attack. The force of the defence and the force of exclusion were, and are, reciprocal to the force of the threat/danger. As a machine, the solidified city frontier marks the principle of a cautious insurance or security of the treasure – including the treasure of meaning and sense disguised as continuity and the accumulation of wealth. Because of a decisive accident of defensive security and accumulation of wealth, the city frontier rapidly disappeared in the nineteenth century."/>
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<ITEXT CH="The increasing fire power of cannons, the introduction of military and civil logistics and innumerable other inventions made defensive safety impossible to guarantee through the inert and silent assistance of the fortress machine. Henceforth, attack became the best defence. Attack was no longer about the solidity of the wall and the regulating powers of the gate – no longer about the reliable frontier – but about the ability to collect, streamline and direct confused forces in order to vectorise them. As a result of this the frontier was no longer circular and surrounding, but conductive and shifting. Within a vectorised and logistical system, the frontier amounts to an orbital and continuously shifting front; the frontier shifts with the column of attack, later the column of the train. The mobile war and the rise of logistics render the territorial frontier obsolete."/>
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<ITEXT CH="Urban wealth was founded on an economy of delay/stoppage and the city gate was the symbol of it. The urban and military elite skimmed their wealth off the traffic through tolls, taxes, dues for passage and bonding, entrance fees, staple duties and other charges. In later periods gates transformed in toll bars as is shown by the metamorphosis of the toll gate at the Scheveningseweg in The Hague (Figure II.2.20) (Figure II.2.21) (Figure II.2.22) and at the Rijswijkseplein in the same city. (Figure II.2.23) (Figure II.2.24) The places to skim were at the margins of the city, since the markets were usually located just inside or outside the city wall, near the city gate. This margin was the home base of exaltation, lawlessness, exchange and mingling, all under the gaze of control. With the rise of the political economy, the economy of stoppage came to an end. Political economy was not only the ideology of the liberation of the production forces, but also an ideology of communication. Following the thinking of Saint Simon, strategies attempted to liberate the flux of goods, people and information in order to bring everything into contact with everything else."/>
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<ITEXT CH="In the nineteenth century, at the same moment that war forces could be mobilised, traffic (and the ‘contact’ implied by traffic) became part of a new messianism of peace, pursuing its aims through the railway network. The ‘being- outside’ of the railway network is represented in the space of the city by the station and its facade. (Figure II.2.25) (Figure II.2.26) (Also see my essay De ervaring van de treinreis/ the Experience of the Railway Journey 2014: http://www.spoorbeeld.nl/inspiratie/de-ervaring-van-de-treinreis) The loss of the economy of delay/stoppage in favour of a system that accelerated circulation by eliminating distance and other obstructions made the territorial frontier as a principle of wealth and security obsolete. Instead, it reinstalled the territorial frontier in time. Today we witness the capitalisation of time rather than space. The ‘regime’ of decision, anticipation and action, information power and speed is a regime of time."/>
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<ITEXT CH="The machinic arrangement of the city frontier that I previously described has been dismantled and delocalised by this development. In 1800 the city frontier in Paris was already beginning to run wild. Repeated mapping and installing fixed beacons to visualize the otherwise unnoticed changes in the built environment were ways of attempting to put a check, to some extent, to the chaotic usury of building practices in the suburbs. After several decades of experimentation, the idea of a fixed, delimited city form was abandoned, commencing an era of land registration (the cadastre), alignments, building regulations and, finally, plans for urban extensions and urban renewal. The plan’s of Haussmann for the restructuring of Paris mid nineteenth century are a powerful example of these new inventions. They were copied in many European city. (Figure II.2.27) (Figure II.2.28) (Figure II.2.29) In these cases the city, then, was no longer seen as an uncontested and inert form, but as an unstable and mobile whole that changes over time and, in principle, develops itself endlessly. The city becomes a metastable body that must be guided in order to maintain fragments of form. City planners seize at the inner circulation; the street becomes the place where the once-eminent frontier now becomes immanent. The front door becomes the gate and the urban public space holds traces of the endless field that once surrounded the city, the glacis, the empty space of control and shooting. The street is limited by facades and building lines and becomes the space of the traffic vector and the police.(Figure II.2.30) (Figure II.2.31) "/>
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<ITEXT CH="(Figure II.2.32) This metamorphosis was at work, for example, in the so-called Coolpolderplan developed in 1858 for Rotterdam. The city was growing gradually outside its walls because land prices were no longer dictated by safety, but by use value, which depended on accessibility. Because of this the city tended to transform into a linear structure alongside the river. The city form was in danger of being seduced and restructured by its antagonistic principle: traffic. The Coolpolderplan attempted to synthesise the desire to preserve the classical city form and the powers causing its disappearance. By means of canal harbours, water traffic was brought inland, and the threatening linearity of the quaysides along the river was spatialised with a meandering layout. The final instrument to force the growing, metastable city into a form was the immanent, and conducting, border of the alignment."/>
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<ITEXT CH="The disappearance of the city frontier, as I have already suggested, paves the way for the rule of the dromocracy to become absolute. Dromocracy is the order that controls the road and mobility; it produces and controls vectors. Thus the quality of dromocratic society is mobilisation. Everything is mobilised: bodies, earth, fields of perception. Under mobilisation, the human body becomes material (a tool) and it fuses with the machinery of speed. Telegraph and telephone, roads, canals, harbours, railway stations and airfields mobilise the earth itself by integrating it into logistics vital for the mobilisation of contemporary war. All these constructions also retain some traces of the original machinic arrangement of the city frontier in the peculiar experiences of passing, transition and the broadening of the mind that are part of our daily life in the twenty-first century. While the travellers of the nineteenth century may have only experienced the threshold quality in stations, where the excitement, danger, contamination, exchange and representation of the far-off all mixed together into the unsurprising quality of the marginal, in the dromocratic society we are exposed to this experience everywhere and yet no longer feel it anywhere. (Figure II.2.33)"/>
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<ITEXT CH="Dromocracy has fragmented the city frontier into an endless series and dissipated it over the surface of the earth. It turned it inside out, brought it into our living rooms, installed it between people and at the entrances of warehouses and airfields. This proliferation and delocalisation of the frontier, the new machinic arrangement of the diffused frontier, shapes the city into a global object where everything is always inside, with no outside. The global object is the urban. I use the adjective on purpose, because I want to denote a pure quality, derived from form, without a perceptible city. Finally, the dromocratic society mobilises and transforms the traditional field of overview. This transformation has been so influential that I want to elaborate it a bit more here. (Figure II.2.34) The classical society occupied and cleared territory around the fortress to observe enemy movements. This field of perception is called a ‘glacis’. The glacis is a bare field, an empty space of vision, confined by walls and towers. It anticipates the prospect of military control. In many Dutch cities, the water has a similar function. (Figure II.2.35)"/>
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<ITEXT CH="The first well-known transformation of the glacis in the Netherlands was the introduction of land surveys, registration, statistics and mapping concerning the state of the so called National Territory of the Batavian Republic, around 1800. (Figure II.2.36) (Figure II.2.37) These projects allowed the state to observe and control movements and changes at a national level. Subsequently, the establishment of the Department of Public Works (Rijkswaterstaat) was related to the rise of dromocracy. The conquest and unification of inland waterways through mapping and the establishment of a monopoly over surveying and maintenance were undoubtedly motivated by concerns about security. But the underlying goal was the organisation of visibility – visibility with respect to the water traffic and the movements of the water and riverbeds themselves; visibility with respect to the delinquent, the ‘illegal’ builder, dyke-shifter, gravel-digger and polder creator, who causes these movements. "/>
<para PARENT="texte"/>
<ITEXT CH="(Figure II.2.38) In its metamorphosis into a field of vision, of which the schemes of perspective drawing are the pure abstraction and the perspectivistic city facade the best known appearance, the glacis does not deny its military provenance. In modern warfare, technology is less concerned with material conquest than with the increase of authority over an immaterial and empty field of perception. The metamorphosis of the machines of perception, then, is a kind of technological warfare. From the empty field to the perspective field, from the map to statistics, from perspective to photography, film, television and video, we observe the many guises of the metastable being of the glacis. This war technique aims at a visual machine that implicates, as well as the creation of the glacis as the occupation of the senses. In this respect, film and, later, television are visual weapons in which the screen is the metamorphosis of the glacis and the images are weapons to occupy the senses. Just like the looming warrior with his impressive armour, the images are weapons because they attempt to divert the eye and establish a traumatic fascination, that is, a pathological state in the spectator."/>
<para PARENT="texte"/>
<ITEXT CH="(Figure II.2.39) (Figure II.2.40) (Figure II.2.41) Since the First World War, the spatial continuum of the perspectivist eye has proliferated by means of cameras in military aircraft and intensive aerial photography. The evidence of photographs and films became more trustworthy than ocular sight on the spot. Once there was a unified field of natural vision, now photography and film have exploded ‘natural sight’ into the heterogeneity of their respective fields of perception ; hence the importance of the metaphor of explosion in the avant-gardes of the twentieth century. (Figure II.2.42) (Figure II.2.43) The dynamic glacis of film is paralleled in the futuristic experiments in painting. (Figure II.2.44) (Figure II.2.45) (Figure II.2.46) Film is qualitatively the last metamorphosis of the glacis, but it conditions all other qualities of the machinic arrangements of the border. Film affects the true world of the forms in space and time and establishes its illusions according to two principles. Firstly, the technique of cutting and montage, together with the moving camera, eliminates the unity of place and replaces it with an artificial unity of time – a shortened time shaped by the logic of chronology and trick interruptions. Secondly, film falsifies and manipulates dimensions. The moving camera changes the spatial depth of the perspectival world into the time span, or time depth, of the camera movement. Film evolves into television, which gives us a cinematic and global view on the world. Before our eyes, this pan-movie creates the chaos of images that in bygone days was hidden in nature, war and transmigration. (Figure II.2.47)"/>
<para PARENT="texte"/>
<ITEXT CH="The heterogeneity of the glacis and the chaos of the image-truth confront us with a world that has lost its materiality and dimension and has been ‘de-realised’. In his book Storm of Steel Ernst Jünger talks about his derealisation experience in the First World War, the war that was more about keeping space under fire then people. Jünger: ‘I had a very impartial feeling, as if I were able to view myself through binoculars. For the first time in the entire war, I heard the hissing of individual of individual bullets, as if they were whistling past some target. The landscape was utterly pellucid.’ This experience of an absolute transparency, which includes the subject and the object, actually the whole environment, clarifies what the disruption of perception means. "/>
<para PARENT="texte"/>
<ITEXT CH="The metamorphosis of the glacis and the revolution of the instruments of perception – the connection of plane/car/rockets/satellites and camera – have revolutionised the space-time of seeing. The truth of perspective has become the simulation of appearance. Again Jünger: ‘The ability to think logically and the feeling of gravity (cursive by the author), both seemed removed.’ This lack of gravity, this light-footedness, this elimination of normal experiences points to the daily effects that the progressive mingling of direct visible reality and its mediated representations have on us. (Figure II.2.48)"/>
<para PARENT="texte"/>
<ITEXT CH="The dissipated and immanent frontier that in-forms the ‘urban’ together with the fusion-confusion of reality and nonreality in perception signify the rise of a new world frontier, namely the interface. Corresponding to the rise of the interface is the rise of the global object, which integrates the real city into its vagueness. (Figure II.2.49) The optical experience of someone travelling by car or train who, in looking out the window, sees his own reflection (or someone else’s) montaged over the passing landscape at high speed is the experience of the world as it appears in the artificial light of the interface. This is the super-exposure of speed that burdens us with unlimited seeing. The panic we experience in the face of this light comes from the apparent solidity of words and concepts, from the fixism of the regime of signs. This panic inspires us to understand and explicate everything."/>
<para PARENT="texte"/>
<ITEXT CH="Old words and images maintain our status as re-cognisers and re-viewers. If we want to escape from the panic of the global object and the interface, if we want to escape from their unbearable lightness, we must think about the possibility of a new kind of gravity, or machines of gravity, that understands the relativity of the moment of perception – a moment of seeing that is phantasmal, obsessional and creative."/>
<trail PARENT="texte"/>
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<ITEXT CH="Figure II.2.1 Berlin Wall (Kreuzberg)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Photograph by Piet Rook in De Muur (The Wall), D. Van Dansik, J. De Graaf, W. Nijenhuis (Rotterdam: 010 Publishers, 1984) p. 4"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.2 Berlin Wall (Kreuzberg)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Photograph by Piet Rook in De Muur (The Wall), D. Van Dansik, J. De Graaf, W. Nijenhuis (Rotterdam: 010 Publishers 1984) p. 34"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.3 Berlin Wall (Kreuzberg)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Photograph by Piet Rook in De Muur (The Wall), D. Van Dansik, J. De Graaf, W. Nijenhuis (Rotterdam: 010 Publishers 1984) p. 16"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.4 Turin, 1802"/>
<para PARENT="legende photos"/>
<ITEXT CH="Giacomo Pregliaso, ‘Plan demonstratif de la commune de Turin divisé en quatres sections selon …’ (1802) in Le Città Imaginate [XVII Triennale di Milano 1987] (Milan: Electa, 1987) p. 244"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.5 Speed"/>
<para PARENT="legende photos"/>
<ITEXT CH="Photograph by Piet Rook, 1984"/>
<para PARENT="legende photos"/>
<ITEXT CH=" "/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.6 War chariot"/>
<para PARENT="legende photos"/>
<ITEXT CH="Graffiti on rock in the Sinai Desert, 1500-1200 BC in Bruno Borchert, Mystiek, Geschiedenis en Uitdaging (Mysticism, History and Challenge) (Bloemendaal: J.H. Gottmer/ H.J.W. Becht, 1989) p. 64"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.7 Balawat gates"/>
<para PARENT="legende photos"/>
<ITEXT CH="Seton Lloyd, The Archaeology of Mesopotamia from the Old Stone Age to the Persian Conquest, rev. ed. (New York: Thames and Hudson, 1984) "/>
<para PARENT="legende photos"/>
<ITEXT CH="Detail showing an episode in Shalmaneser III’s campaign of 858 BC on the Levant Coast. The king is seen in his chariot moving on to other conquests; his camp (bottom left) is left empty."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.8 Plan of Nineveh"/>
<para PARENT="legende photos"/>
<ITEXT CH="‘Plan of the City of Nineveh with the palace complex of Assurbanipal and Sennacherib inside the northern city wall,’ in Mario Morini, Atlante di Storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.92, p. 20"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.9 City of Tiryns, Plan of the Acropolis"/>
<para PARENT="legende photos"/>
<ITEXT CH="Mario Morini, Atlante di Storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.118, p. 32"/>
<para PARENT="legende photos"/>
<ITEXT CH="The acropolis of Tiryns is one of the oldest examples of control of the population by the military elite, under a relationship based on the link between controlling access and offering of protection. The citadel was located on a hill in the plains, four kilometres from the coast and eighteen metres above sea level. It consisted of two terraces with different elevations and surface areas. The northern terrace was the flattest and lowest. It was sealed off on all sides and could only be entered from the south-east through a gate situated along a north-south corridor. The inner terrace was one large empty space, meant to serve as a refuge for people from the surrounding area in the event of an invasion. The southern terrace, situated 4 to 5 metres higher than the northern one, from which it was separated by a system of interior walls, was where the king’s quarters were located."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.10 City of Tiryns, Detail of the king’s palaces"/>
<para PARENT="legende photos"/>
<ITEXT CH="Mario Morini, Atlante di Storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.117, p. 32"/>
<para PARENT="legende photos"/>
<ITEXT CH="With the nature of its defences, placement of buildings and sophisticated entrance layout, Tiryns actually provides a better example of Mycenaean architecture than Mycenae itself. People ascended to the orthogonal palaces and adjacent site of refuge by climbing up the hill along a path six metres wide. The path led to a gate that provided entrance to a corridor running north to south, situated between the citadel’s exterior wall and an interior wall encircling the residences. The entrance to the site of refuge in the interior terrace was to the north, accessible only by passing an obstructing wall. Toward the south, people had to first pass through a gate (c), whereupon they entered the propylaea (g) which gave them access to the inner courtyard (f). The propylaea could be guarded from a passageway to the east with casements."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.11 Vianen, ca. 1560"/>
<para PARENT="legende photos"/>
<ITEXT CH="Jacob van Deventer, De stad Vianen (City of Vianen, plan and location), ca. 1560 Gemeentearchief Vianen (Municipal Archives, Vianen), Atlas no. 1847"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.12 Gorcum, 1533"/>
<para PARENT="legende photos"/>
<ITEXT CH="Pieter Sluyter, De stad Gorcum (vogelvluchtperspectief) (The City of Gorcum (bird’s-eye view)), 1533 Gemeentearchief Gorcum (Municipal Archives, Gorcum), Cat. no. 364 D 152"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.13 Gorcum, 1610"/>
<para PARENT="legende photos"/>
<ITEXT CH="Willem Blaeu, Plattegrond van de stad Gorcum (Map of the City of Gorcum), ca. 1610 Gemeentearchief Gorcum (Municipal Archives, Gorcum), Cat. no. 382 A 7"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.14 Gorcum, 1787"/>
<para PARENT="legende photos"/>
<ITEXT CH="Cornelis de Jonker, Zicht op Gorcum vanuit het zuiden op 17 september 1787 (View of the City of Gorcum from the south on the 17th of September, 1787) Gouache made in 1790 Gemeentearchief Gorcum (Municipal Archives, Gorcum), Cat. no. 364 D 103"/>
<para PARENT="legende photos"/>
<ITEXT CH="We see the Prussian troops entering the Dalem Gate from the river side. On the river Merwede, we see ships carrying patriots on the run."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.15 Tiel, 17th Century"/>
<para PARENT="legende photos"/>
<ITEXT CH="W. F. Leemans, ‘Plattegrond van de stad Tiel met vermelding van de Tolhuisstraat, 17e eeuw’ (Tiel city map showing Toll House Street, 17th century), in De grote Gelderse Tollen en de tollenaars in de 18e en begin 19e eeuw, bijdrage tot de Rijnhandel (The great Gelderland Tolls and the toll collectors in the 18th and early 19th century, contributing to the Rhine trade) (Zutphen: Walburg Pers, 1981)"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.16 Sébastien Le Prestre de Vauban, City Walls"/>
<para PARENT="legende photos"/>
<ITEXT CH="Vauban, ‘Planche I, Plan des ancien Murs avec la différente disposition des Tours et quarrées’ (Plate I, Plan of ancient walls with the different arrangement of towers and squares), in Architecture Militaire ou l’Art de Fortifier (Military Architecture or the Art of Fortifying) (The Hague: Jean Neaulne et Adrien Moetjens, 1751) pp. 6-7 Treasure of the Library of the Delft University of Technology "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.17 Siege of Maastricht by Sébastien Le Prestre de Vauban, 1673"/>
<para PARENT="legende photos"/>
<ITEXT CH="Pierre Ubachs and Ingrid Evers, Tweeduizend jaar Maastricht. Een stadsgeschiedenis (Maastricht, two thousand years: History of a city) (Zutphen: Walburg Pers, 2006) p.141 "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.18 Plan of attack on a fortress, 1764"/>
<para PARENT="legende photos"/>
<ITEXT CH="Charles-René de Fourcroy, ‘Plan des attaques de la forteresse de gravelines’ (Plan of attack on the fortress at Gravelines), 1764, in Bruno Fortier, La Métropole Imaginaire (The imaginary metropolis) (Liège: Mardaga, 1989) p. 25"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.19 Bastion, 1687"/>
<para PARENT="legende photos"/>
<ITEXT CH="Claude Masse, ‘Étude de parement d’un bastion, 1687’ (Study of the faces of a bastion), in Bruno Fortier, La Métropole Imaginaire (The imaginary metropolis) (Liège: Mardaga, 1989) p. 27"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.20 Toll gate at Scheveningseweg in the 17th century (bird’s-eye view)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Gemeentearchief Den Haag (Municipal Archives, The Hague)"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.21 Toll gate at Scheveningseweg, 1860 (map)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Gemeentearchief Den Haag (Municipal Archives, The Hague)"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.22 Toll gate at Scheveningseweg, 1890 (view)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Gemeentearchief Den Haag (Municipal Archives, The Hague)"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.23 City customs on Rijswijkseplein in The Hague, 1820 (map)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Gemeentearchief Den Haag (Municipal Archives, The Hague)"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.24 City customs on Rijswijkseplein in The Hague, 1820 (view of the building and its location)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Gemeentearchief Den Haag (Municipal Archives, The Hague)"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.25 Doric arch at Euston Station, 1839-1963"/>
<para PARENT="legende photos"/>
<ITEXT CH="https://upload.wikimedia.org/wikipedia/commons/c/c1/Entrance_to_Euston_Station_on_the_London_and_Birmingham_railway.jpg"/>
<para PARENT="legende photos"/>
<ITEXT CH="This terminus for the London and Birmingham Railway was designed by Philip Hardwick (1792-1870). Architectural historians point to the arch as a pioneering attempt to create a new visual vocabulary for railways and railway stations. "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.26 Gare du Nord (Facade)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Les Portes de la Ville (The gates of the city) (Paris: CCI, 1983) p. 57"/>
<para PARENT="legende photos"/>
<ITEXT CH="The facade of the station is seen as a gateway to the abstract world of the railway system."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.27 Haussman, Plan of Paris, 1853-1869"/>
<para PARENT="legende photos"/>
<ITEXT CH="Mario Morini, Atlante di storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.1329, p. 346"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.28 Plan for the Boulevard Sébastopol at Paris"/>
<para PARENT="legende photos"/>
<ITEXT CH="Mario Morini, Atlante di storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.1329, p. 346"/>
<para PARENT="legende photos"/>
<ITEXT CH="The projection of the road is like an orthopaedic correction of the surrounding facades aligned according to the building line, a new correctional tool for the urban designer."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.29 Plan for the restructuring of the area around the Piazza Del Mercato Vecchio in Florence (19th century)"/>
<para PARENT="legende photos"/>
<ITEXT CH="Mario Morini, Atlante di storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.1355, p. 356"/>
<para PARENT="legende photos"/>
<ITEXT CH="The street pattern is changed by straightening the facades along straight building lines. "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.30 Sorio y Mata’s Ciudad Lineal, 1882"/>
<para PARENT="legende photos"/>
<ITEXT CH="Plan for a linear city around Madrid, 1882, in Mario Morini, Atlante di storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.1387, p. 360"/>
<para PARENT="legende photos"/>
<ITEXT CH="According to the criteria formulated by Sorio y Mata in his study, the linear city would need to surround Madrid almost entirely at a distance of 7 kilometres to be an effective design for the conglomeration. The proposed form for the urbanisation would weave together the emerging suburbs into a linear city, thus combatting an excessive concentration in the historic inner city and allowing people to live in nature. "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.31 Sorio y Mata’s Ciudad Lineal, 1882"/>
<para PARENT="legende photos"/>
<ITEXT CH="Detail of the plan for a linear city around Madrid, 1882, in Mario Morini, Atlante di storia dell’urbanistica (della preistorica all’inizio del secolo XX) (Milan: Hoepli, 1963/1983) Figure II.2.1389, p. 360"/>
<para PARENT="legende photos"/>
<ITEXT CH="The plots linked together on either side of the tramline are a concrete expression of the desire people had for suburban living, while still being in a position to reach the city centre and other suburbs easily by tram."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.32.W.N. Rose, Coolpolderplan, Rotterdam, 1858"/>
<para PARENT="legende photos"/>
<ITEXT CH="Gemeentearchief Rotterdam (Municipal Archives, Rotterdam)"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH=" Figure II.2.33 Entrance to the Ter Meulen shopping centre on the Lijnbaan in Rotterdam (view looking outside from inside), 1990"/>
<para PARENT="legende photos"/>
<ITEXT CH="Photograph by Piet Rook, 1990"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.34 Study of elevation and relief in the surrounding terrain in connection with sightlines and field of fire from a fortress, 1751"/>
<para PARENT="legende photos"/>
<ITEXT CH="Vauban, ‘Planche 38’ (Plate 38), in Architecture Militaire ou l’Art de Fortifier (Military Architecture or the Art of Fortifying) (The Hague: Jean Neaulne et Adrien Moetjens, 1751) pp. 54-55"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.35 View of the glacis and river from the Dalem Gate (riverside gate) in Gorcum, 1990"/>
<para PARENT="legende photos"/>
<ITEXT CH="Photograph by Piet Rook, 1990"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.36 Baron C.R.T. Kraayenhoff, Triangulation of the Netherlands, 1802-1811"/>
<para PARENT="legende photos"/>
<ITEXT CH="The National Archives, The Hague"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.37 Baron C.R.T. Kraayenhoff, Map of the Netherlands, 1802-1811"/>
<para PARENT="legende photos"/>
<ITEXT CH="The National Archives, The Hague"/>
<para PARENT="legende photos"/>
<ITEXT CH="This map was more precise than previous ones because it was constructed based on the triangulation."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.38 Perspectief (Perspective), 1604"/>
<para PARENT="legende photos"/>
<ITEXT CH="Jan Vredeman de Vries, ‘Perspectief (Perspective) 1604’, in Oase 19, Delft, p. 45"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.39 Camera mounted on a machine gun emplacement, 1918"/>
<para PARENT="legende photos"/>
<ITEXT CH="United States Army, Published in Paul Virilio, War and Cinema: The Logistics of Perception, transl. Patrick Camillier (New York: Verso, 1989) "/>
<para PARENT="legende photos"/>
<ITEXT CH="Recording and gun fire were synchronized with the rotation speed of the plane propeller. The trigger of the gun is under the camera. Lower image: Movable equipment for aerial photography in the field."/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.40 Photo analysis of an air raid on Weimar Buchenwald on 24 August 1944"/>
<para PARENT="legende photos"/>
<ITEXT CH="United States Army, Published in Paul Virilio, War and Cinema: The Logistics of Perception, transl. Patrick Camillier (New York: Verso, 1989) "/>
<para PARENT="legende photos"/>
<ITEXT CH="The dark-shaded buildings were thought to be severely damaged; the concentration camp (upper right) was not hit. "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.41 Photomontage of successive shots showing the gradual destruction of a farm during World War I"/>
<para PARENT="legende photos"/>
<ITEXT CH="United States Army, Published in Paul Virilio, War and Cinema: The Logistics of Perception, transl. Patrick Camillier (New York: Verso, 1989) "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.42 Otto Dix, Der Krieg (The War), 1914"/>
<para PARENT="legende photos"/>
<ITEXT CH="Kunstmuseum, Düsseldorf, in Pontus Hulten, Futurismo, Futurismi (Milan: Bompiani, 1986) p. 288"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.43 Georges Braque, Man with Guitar, 1911"/>
<para PARENT="legende photos"/>
<ITEXT CH="John B. Knipping, Kunstschatten van alle tijden (Timeless art treasures) (Amsterdam: Amsterdam Boek, 1967) p. 262"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.44 Umberto Boccioni, La Città che sale (The City Rises), 1910-1911"/>
<para PARENT="legende photos"/>
<ITEXT CH="Oil on Linen, 199.3 x 301 cm, Simon Guggenheim Fund, The Museum of Modern Art, New York, 1951, in Pontus Hulten, Futurismo, Futurismi (Milan: Bompiani, 1986) p. 119"/>
<para PARENT="legende photos"/>
<ITEXT CH="The work was painted in one year, between 1910 and 1911. It was originally called ‘Il lavoro’ (Work). It was first shown on 30 April 1911 in Milan at the Mostra di Arte Libera as one of five large paintings by five artists exhibiting their work for the first time as futurists. "/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.45 Giacomo Balla, Velicità astratta (Abstract Speed), 1913"/>
<para PARENT="legende photos"/>
<ITEXT CH="Oil on Canvas, 332 x 260 cm, Private collection, Futur-ism Associazione Culturale, Rome"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.46 Giuseppe Pelliza da Volpedo, L’automobile al Passo del Penice (Car on the Penispass), 1904"/>
<para PARENT="legende photos"/>
<ITEXT CH="Oil on Cardboard, 35 x 50 cm, Collection of Italo Pietra, in Pontus Hulten, Futurismo, Futurismi (Milan: Bompiani, 1986) p. 52"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.47 Umberto Boccioni, States of Mind I: The Farewells, 1911"/>
<para PARENT="legende photos"/>
<ITEXT CH="Oil on Canvas, 70.5 x 96.2 cm, Museum of Modern Art, New York, USA, Donation by Nelson A. Rockefeller, 1979 Digital image, The Museum of Modern Art, New York/Scala, Florence 47a, http://www.wikiart.org/"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.48 Gianetto Bisi, Fotodinamica di Umberto Boccioni, ca. 1913"/>
<para PARENT="legende photos"/>
<ITEXT CH="http://www.futur-ism.it/images/AF/AF80G.JPG/"/>
<para PARENT="legende photos"/>
<para PARENT="legende photos"/>
<ITEXT CH="Figure II.2.49 Fading out, 1987"/>
<para PARENT="legende photos"/>
<ITEXT CH="Photograph by Diana Blok and Marlo Broekmans, in ‘Theatres de la Memoire’, Traverses 40 (Paris: CCI, 1987) p. 103"/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Can We Still Be Responsible?"/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="‘The fact that the human can have the “I” in his representations raises him infinitely above all other living beings on earth. Because of this he is a person’ (Kant 1798: p. 15). This is one of Immanuel Kants central assertions in Anthropology. In the introduction of the same work he states: ‘But the most important object in the world to which he can apply [(his) acquired knowledge and skill] is the human being: because the human being is his own final end. — Therefore to know the human being according to his species as an earthly being endowed with reason especially deserves to be called knowledge of the world, even though he constitutes only one part of the creatures on earth’ (Kant 1798: p. 3). Finally, in Anthropology we read, ‘Physiological knowledge of the human being concerns the investigation of what nature makes of the human being, pragmatic, the investigation of what he as a free-acting being makes of himself, or can and should make of himself’ (Kant 1798: p. 3). The capacity for self-awareness Kant identifies here, this capacity to relate to himself, the fact that he is both subject and object of his knowledge and actions, forms the basis of his proposed ethical practice. Thanks to this capacity for self-awareness, we can analyse ourselves and study the factors that shape our behaviour, before taking control of our own lives and accepting responsibility for our behaviour. That is how we assert ourselves as moral subjects. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="According to Kant, the human species possesses the capacity for distancing itself from the factors – more or less anchored in nature – that shape man’s behaviour, so that man can bring his actions into line with freely chosen norms and targets. The moral subject, called the ‘person’ by Kant, can, as far as Kant is concerned, be governed by ethical principles. Although the person is shaped by a thousand and one factors, Kant believes there is enough freedom left on which to base a sense of responsibility. This ample freedom forms the foundation for man’s ethics. Next, he formulates an ethical task: the person, whom he sees as an autonomous, rational and accountable subject, must constantly critique his own actions and evaluate them against the Law of Reason."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="‘Nature has willed that man should produce entirely by his own initiative everything which goes beyond the mechanical ordering of his animal existence’ (‘Idea for a Universal History …’Kant 1784 (1991): p. 43). When man does everything by his own efforts, we shall see, according to Kant, how in the long term even the seemingly most random processes will become regular and constant. This leads to the reassuring thought that people, precisely when they choose to follow their own as opposed to another’s path, are inadvertently guided by nature. They then unintentionally support something that, if they were aware of it, they would care little for. With this Kant confirms that people can harm one another when they embody their subjective freedom, but at the same time they will be called upon to discipline themselves right across the natural order of contradictions and various forms of selfish self-involvement. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="For Kant good has its origins in evil. For this reason, evil can be accepted and defended, and this constitutes the core of the profane theodicy Kant develops in his text. He assumes there is an unintentional, unplanned component embedded in human action. On that, he believes, we can base the hope that there is a secret mechanism at work in nature that will lead to a balance in human society. Despite the many detours resulting from the civil rights of freedom and equality, there will be a ‘regular process of improvement’, which Kant believed was confirmed by the French Revolution (‘The Contest of Faculties’, 1798 (Kant 1798 (1991): p. 176 ff.). It is thus that Kant reconciles, in the form of ‘conjectures based on reason’ or ‘prophecies of human beings’ destiny’, the manifest randomness of human affairs with a justification by nature. He believes the meaning of his historical proposition lies in the moral effects of the promise that in the future freedom and the victory of good over evil will go hand in hand. The historical framework thus helps him ground human responsibility in the freedom of subjectivity. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Kant developed this philosophy because he wants to see the state of nature and the law of the jungle make way for reasonable order and the Law of Reason. The latter are the opposite of a nature that Kant no longer regards as a reasonable ordering, as was the case in Antiquity, the Middle Ages and the preceding classical era. The state of nature is to Kant what the ‘world’ was to theological thought, that is, a place of violence, wastefulness and the blind subjugation of all things to the laws of necessity. His new reasonable order begins when the ‘person’ comes into being and succeeds in turning away from the state of nature. Kant then deems the ‘person’ free enough to establish an order that is not based on everybody fighting everybody else, but on an ethos of mutual respect. Beyond the will to power and the will to use the other – the universe of utility – Kant envisages the possibility of man concluding a pact with the other and mustering the willingness to accept the resulting limitations. According to Kant’s ethics, the free, historical subject is capable of developing motives for renouncing instant gratification and the exercise of power. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Kant also argues that the Law of Reason must be interpreted not only as a tactical gesture to secure one’s survival, but as a categorical imperative, an unconditional moral law, which imposes itself on us as the ‘voice of consciousness’, whether it is in our own interest or not. It is the historical subject’s reasonableness that compels him to act in accordance with the Law of Reason. Ultimately, the bottom line of Kant’s ethics is that the other should be seen not just as a means to achieving one’s own ends, but also as an end in itself, to be approached with acceptance, acknowledgement and respect (Cf. Zwart 1995: pp. 25, 26 and 32). This combination of historical representation, concept of man and ethics holds a promise that serves to get people to accept their duty to an ‘inner morality’. His idea that this innate quality, the good in man, is governed by a ‘Divine Spark of God’, which given its depth and nature is essentially beyond the reach of evil, betrays Kant’s anarcho-apocalyptic and gnostic inspiration (See Taubes’ comments on Kant’s gnostic inspirations in Taubes 2009: pp. 145-146). "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Critical thinkers in our day and age doubt whether this historical and moral subjectivity has any bearing on our condition at the start of the third millennium. Hub Zwart, Dutch medical ethicist and Foucault expert, is of the opinion that Kant’s thought has no relevance for the discontent experienced in today’s technocracy. In terms of speaking and writing, Kant’s thinking encourages reasoning and setting out one’s position. It effectively prohibits skirting around the arena of rational dialogue, which has become common practice in, for instance, the media and advertising. On the other hand, being typical attributes of moral subjectivity, reasoning and setting out one’s position have become elements of an instrumental-normative, academic way of thinking aimed at steering people’s behaviour. This type of thinking thereby codifies a practice, which, in most cases, is nothing other than a practice of maintaining a fine balance between desire and interdiction, and it is doubtful whether these forms of address are still effective in our postmodern media society. Against this, George Bataille and later Michel Foucault pitted a philosophy that marginalises reasonableness and that can be summed up with the concepts ascesis and fire. The first imperative of this renewed appreciation of Kantian ethics is: "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Think against the prevailing regime of reason! "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="In the introduction of the conference report Das Böse, Jenseits von Absichten und Tätern, oder: Ist der Teufel ins System eingewandert? (Evil, Beyond Intentions and Perpetrators, or: Has the Devil Slipped into the System?, Rötzer 1995), participants of the conference like Wenzel Jacob, Bernd Busch, Dietmar Kamper, Florian Rötzer, Peter Weibel and Christoph Wulf a.o., wonder whether, in our day and age, we can still believe in Kant’s moral subject or whether we are being suffocated by a sense of responsibility that seems to be getting more and more absurd. We need to become more aware of the way modern systems work and develop a systems theory, so they suggest, in which the responsible subject is decentred and marginalised. We ought to create the possibility to think in terms of a system that operates autonomously and of which the subject is only one (passive) element. This system would be so complex and work in such a way that moral man, compelled by his freedom to fulfil his duty, would become more and more of a fiction in it. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="‘Autonomous, self-responsible man – who was the goal of humanism – has long since perished in our integrated, and highly structuralised, organisations.’ (1995: p. 17) Psychotechnology and rational management increasingly banish matters such as responsibility and competence to whatever narrow margins remain. This means that the evil consequences of such systems no longer originate in the malicious intent of a particular subject; such an explanation has, in any event, become completely inadequate. We must assume that the complex, high level of organisation in such systems means that even well-meaning actions can have harmful consequences and that some actions can have consequences that cannot be known at all. Thanks to these systems there could well be such a thing as unintentional evil."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="This unintentional evil could be described as the outcome of the extremely complex structures through which society has organised both nature and people’s lives. Unintentional evil is a figure of thought characterised by the renunciation of all the hope (in a Kantian sense) that our society has invested in the humanisation of nature and the naturalisation of man over the past two hundred years. Such a systematic evil takes centre stage when the first and second natures have, to a large extent, merged. Unintentional evil thrives on a nature that can barely be distinguished from the societies that engineer and control it and that have increasingly incorporated it into their processes for ensuring survival. The occurrence of an unintentional system evil could then be something like the late revenge of a nature that has lost its status of otherness and now imposes its laws and order on society as a whole. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Good creates and evil destroys. Can this thesis be reversed or challenged? Yes, since nowadays we have modern emergent theories that view the traditional elements of evil, such as chance, accident and error, as generative forces. These theories accept that chance, accident and error are the manifestations of the creative power of matter. For that reason complex systems, whose effects and forms can be interpreted with the help of chaotic processes, catastrophes and emergencies, are incompatible with Kant’s ethics and teleology. When we realise the important role that chance – for scientific metaphysics the most important category of evil – now plays in modern biology and physics, then it does not make sense to confine evil to its connection with man’s actions and intentions. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="We cannot prevent evil by doing good. Chance, accident and error cannot be solely interpreted as corruptio, as signs of moral decay or of the decline of something good, as was posited in the eighteenth century; chance is a feature coming from the beyond and fatally crosses all conceptual forms that seek to impose order on chaos and the cosmos. For that reason alone, it has always been seen as a principle of evil. Because of the way chance functions in our network society, in our complex, connective and heavily integrated systems (the organisation of labour, professional networks, computer networks, mobile phones, the media, etc.), the subject has little or no control over the effects of his own actions. This fact renders responsibility meaningless, while at the same time burdening us, incontrovertibly, with a society that has become effectively ungovernable – perhaps precisely because of this excessive integration. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="What interests us about this way of thinking are the theses it generates about the birth of the metropolis and the role of urbanism. Could the ungovernability of the modern metropolis and its wild mutation into today’s monstrosity be the result of the deployment of technologies, or better still, the side effects of technologies, that were meant to ‘save’ the city? The most pronounced ‘fatal’ rescue operation for doing so has probably been the introduction of motorised traffic. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Having reflected on system error and chance, the participants of the conference Das Böse (The Evil) plead for a postmodern strategy. They plead for ethical indifference. They plead for a domain beyond good and evil, where one can activate something beyond all intention, beyond all planning, beyond any legitimation. We can indeed generate something new here on earth. And this does not require the rejection of Kant’s ethical dualism, since all of our actions, all of our thinking, designing, writing and realising is ‘irresponsible‘ by definition, because we cannot avoid being ‘submerged’ in the information flows. As postmodern cosmopolitans we are hyper-informed, but those very same flows that inform us are also the flows that make it impossible for us to transcend and obtain an overview of the world. This is why the proposed ethical indifference seeks not to incite us to neo-Nietzschean heroics, but rather to alert us to the tragic realisation that we are doomed to irresponsibility and condemned to the last passivity that pervades all of post-modernity: Whatever we do, our actions are always shadowed by the unintentional; everything is always different than anticipated. Wherever something unforeseen arises, wherever something happens, wherever an emergence occurs, the system itself is at work, the system itself is the actor, and we… we experience it, watch it and… feed it."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH=" Kant, I., ‘Idea for a Universal History with a Cosmopolitan Purpose’ (1784) and, ‘The Contest of the Faculties’ (1798), in: Kant: Political Writings, edited by E.S. Reis, translated by H.S. Nisbet. Cambridge: Cambridge University Press, (1970) 1991."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH=" Kant, I., Anthropology from a Pragmatic Point of View (1798), translated and edited by Robert B. Louden, with an introduction by Manfred Kuehn. Cambridge, UK/ New York: Cambridge University Press, 2006."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Rötzer, F. (Ed.), Das Böse: jenseits von Absichten und Tätern, oder: ist der Teufel ins System eingewandert? (Evil, Beyond Intentions and Perpetrators, or: Has the Devil Slipped into the System?), Göttingen: Steidl, 1995."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH=" Taubes, J., Occidental Eschatology. Palo Alto, CA: Stanford University Press, 2009."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Zwart, H., Technocratie en onbehagen: de plaats van de ethiek in het werk van Michel Foucault (Technocracy and its discontents: the place of ethics in the work of Michel Foucault), Nijmegen: SUN 1995."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="III. Appendix 4 "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Can We Still Be Responsible?"/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="‘The fact that the human can have the “I” in his representations raises him infinitely above all other living beings on earth. Because of this he is a person’ (Kant 1798: p. 15). This is one of Immanuel Kants central assertions in Anthropology. In the introduction of the same work he states: ‘But the most important object in the world to which he can apply [(his) acquired knowledge and skill] is the human being: because the human being is his own final end. — Therefore to know the human being according to his species as an earthly being endowed with reason especially deserves to be called knowledge of the world, even though he constitutes only one part of the creatures on earth’ (Kant 1798: p. 3). Finally, in Anthropology we read, ‘Physiological knowledge of the human being concerns the investigation of what nature makes of the human being, pragmatic, the investigation of what he as a free-acting being makes of himself, or can and should make of himself’ (Kant 1798: p. 3). The capacity for self-awareness Kant identifies here, this capacity to relate to himself, the fact that he is both subject and object of his knowledge and actions, forms the basis of his proposed ethical practice. Thanks to this capacity for self-awareness, we can analyse ourselves and study the factors that shape our behaviour, before taking control of our own lives and accepting responsibility for our behaviour. That is how we assert ourselves as moral subjects. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="According to Kant, the human species possesses the capacity for distancing itself from the factors – more or less anchored in nature – that shape man’s behaviour, so that man can bring his actions into line with freely chosen norms and targets. The moral subject, called the ‘person’ by Kant, can, as far as Kant is concerned, be governed by ethical principles. Although the person is shaped by a thousand and one factors, Kant believes there is enough freedom left on which to base a sense of responsibility. This ample freedom forms the foundation for man’s ethics. Next, he formulates an ethical task: the person, whom he sees as an autonomous, rational and accountable subject, must constantly critique his own actions and evaluate them against the Law of Reason."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="‘Nature has willed that man should produce entirely by his own initiative everything which goes beyond the mechanical ordering of his animal existence’ (‘Idea for a Universal History …’Kant 1784 (1991): p. 43). When man does everything by his own efforts, we shall see, according to Kant, how in the long term even the seemingly most random processes will become regular and constant. This leads to the reassuring thought that people, precisely when they choose to follow their own as opposed to another’s path, are inadvertently guided by nature. They then unintentionally support something that, if they were aware of it, they would care little for. With this Kant confirms that people can harm one another when they embody their subjective freedom, but at the same time they will be called upon to discipline themselves right across the natural order of contradictions and various forms of selfish self-involvement. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="For Kant good has its origins in evil. For this reason, evil can be accepted and defended, and this constitutes the core of the profane theodicy Kant develops in his text. He assumes there is an unintentional, unplanned component embedded in human action. On that, he believes, we can base the hope that there is a secret mechanism at work in nature that will lead to a balance in human society. Despite the many detours resulting from the civil rights of freedom and equality, there will be a ‘regular process of improvement’, which Kant believed was confirmed by the French Revolution (‘The Contest of Faculties’, 1798 (Kant 1798 (1991): p. 176 ff.). It is thus that Kant reconciles, in the form of ‘conjectures based on reason’ or ‘prophecies of human beings’ destiny’, the manifest randomness of human affairs with a justification by nature. He believes the meaning of his historical proposition lies in the moral effects of the promise that in the future freedom and the victory of good over evil will go hand in hand. The historical framework thus helps him ground human responsibility in the freedom of subjectivity. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Kant developed this philosophy because he wants to see the state of nature and the law of the jungle make way for reasonable order and the Law of Reason. The latter are the opposite of a nature that Kant no longer regards as a reasonable ordering, as was the case in Antiquity, the Middle Ages and the preceding classical era. The state of nature is to Kant what the ‘world’ was to theological thought, that is, a place of violence, wastefulness and the blind subjugation of all things to the laws of necessity. His new reasonable order begins when the ‘person’ comes into being and succeeds in turning away from the state of nature. Kant then deems the ‘person’ free enough to establish an order that is not based on everybody fighting everybody else, but on an ethos of mutual respect. Beyond the will to power and the will to use the other – the universe of utility – Kant envisages the possibility of man concluding a pact with the other and mustering the willingness to accept the resulting limitations. According to Kant’s ethics, the free, historical subject is capable of developing motives for renouncing instant gratification and the exercise of power. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Kant also argues that the Law of Reason must be interpreted not only as a tactical gesture to secure one’s survival, but as a categorical imperative, an unconditional moral law, which imposes itself on us as the ‘voice of consciousness’, whether it is in our own interest or not. It is the historical subject’s reasonableness that compels him to act in accordance with the Law of Reason. Ultimately, the bottom line of Kant’s ethics is that the other should be seen not just as a means to achieving one’s own ends, but also as an end in itself, to be approached with acceptance, acknowledgement and respect (Cf. Zwart 1995: pp. 25, 26 and 32). This combination of historical representation, concept of man and ethics holds a promise that serves to get people to accept their duty to an ‘inner morality’. His idea that this innate quality, the good in man, is governed by a ‘Divine Spark of God’, which given its depth and nature is essentially beyond the reach of evil, betrays Kant’s anarcho-apocalyptic and gnostic inspiration (See Taubes’ comments on Kant’s gnostic inspirations in Taubes 2009: pp. 145-146). "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Critical thinkers in our day and age doubt whether this historical and moral subjectivity has any bearing on our condition at the start of the third millennium. Hub Zwart, Dutch medical ethicist and Foucault expert, is of the opinion that Kant’s thought has no relevance for the discontent experienced in today’s technocracy. In terms of speaking and writing, Kant’s thinking encourages reasoning and setting out one’s position. It effectively prohibits skirting around the arena of rational dialogue, which has become common practice in, for instance, the media and advertising. On the other hand, being typical attributes of moral subjectivity, reasoning and setting out one’s position have become elements of an instrumental-normative, academic way of thinking aimed at steering people’s behaviour. This type of thinking thereby codifies a practice, which, in most cases, is nothing other than a practice of maintaining a fine balance between desire and interdiction, and it is doubtful whether these forms of address are still effective in our postmodern media society. Against this, George Bataille and later Michel Foucault pitted a philosophy that marginalises reasonableness and that can be summed up with the concepts ascesis and fire. The first imperative of this renewed appreciation of Kantian ethics is: "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Think against the prevailing regime of reason! "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="In the introduction of the conference report Das Böse, Jenseits von Absichten und Tätern, oder: Ist der Teufel ins System eingewandert? (Evil, Beyond Intentions and Perpetrators, or: Has the Devil Slipped into the System?, Rötzer 1995), participants of the conference like Wenzel Jacob, Bernd Busch, Dietmar Kamper, Florian Rötzer, Peter Weibel and Christoph Wulf a.o., wonder whether, in our day and age, we can still believe in Kant’s moral subject or whether we are being suffocated by a sense of responsibility that seems to be getting more and more absurd. We need to become more aware of the way modern systems work and develop a systems theory, so they suggest, in which the responsible subject is decentred and marginalised. We ought to create the possibility to think in terms of a system that operates autonomously and of which the subject is only one (passive) element. This system would be so complex and work in such a way that moral man, compelled by his freedom to fulfil his duty, would become more and more of a fiction in it. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="‘Autonomous, self-responsible man – who was the goal of humanism – has long since perished in our integrated, and highly structuralised, organisations.’ (1995: p. 17) Psychotechnology and rational management increasingly banish matters such as responsibility and competence to whatever narrow margins remain. This means that the evil consequences of such systems no longer originate in the malicious intent of a particular subject; such an explanation has, in any event, become completely inadequate. We must assume that the complex, high level of organisation in such systems means that even well-meaning actions can have harmful consequences and that some actions can have consequences that cannot be known at all. Thanks to these systems there could well be such a thing as unintentional evil."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="This unintentional evil could be described as the outcome of the extremely complex structures through which society has organised both nature and people’s lives. Unintentional evil is a figure of thought characterised by the renunciation of all the hope (in a Kantian sense) that our society has invested in the humanisation of nature and the naturalisation of man over the past two hundred years. Such a systematic evil takes centre stage when the first and second natures have, to a large extent, merged. Unintentional evil thrives on a nature that can barely be distinguished from the societies that engineer and control it and that have increasingly incorporated it into their processes for ensuring survival. The occurrence of an unintentional system evil could then be something like the late revenge of a nature that has lost its status of otherness and now imposes its laws and order on society as a whole. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Good creates and evil destroys. Can this thesis be reversed or challenged? Yes, since nowadays we have modern emergent theories that view the traditional elements of evil, such as chance, accident and error, as generative forces. These theories accept that chance, accident and error are the manifestations of the creative power of matter. For that reason complex systems, whose effects and forms can be interpreted with the help of chaotic processes, catastrophes and emergencies, are incompatible with Kant’s ethics and teleology. When we realise the important role that chance – for scientific metaphysics the most important category of evil – now plays in modern biology and physics, then it does not make sense to confine evil to its connection with man’s actions and intentions. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="We cannot prevent evil by doing good. Chance, accident and error cannot be solely interpreted as corruptio, as signs of moral decay or of the decline of something good, as was posited in the eighteenth century; chance is a feature coming from the beyond and fatally crosses all conceptual forms that seek to impose order on chaos and the cosmos. For that reason alone, it has always been seen as a principle of evil. Because of the way chance functions in our network society, in our complex, connective and heavily integrated systems (the organisation of labour, professional networks, computer networks, mobile phones, the media, etc.), the subject has little or no control over the effects of his own actions. This fact renders responsibility meaningless, while at the same time burdening us, incontrovertibly, with a society that has become effectively ungovernable – perhaps precisely because of this excessive integration. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="What interests us about this way of thinking are the theses it generates about the birth of the metropolis and the role of urbanism. Could the ungovernability of the modern metropolis and its wild mutation into today’s monstrosity be the result of the deployment of technologies, or better still, the side effects of technologies, that were meant to ‘save’ the city? The most pronounced ‘fatal’ rescue operation for doing so has probably been the introduction of motorised traffic. "/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Having reflected on system error and chance, the participants of the conference Das Böse (The Evil) plead for a postmodern strategy. They plead for ethical indifference. They plead for a domain beyond good and evil, where one can activate something beyond all intention, beyond all planning, beyond any legitimation. We can indeed generate something new here on earth. And this does not require the rejection of Kant’s ethical dualism, since all of our actions, all of our thinking, designing, writing and realising is ‘irresponsible‘ by definition, because we cannot avoid being ‘submerged’ in the information flows. As postmodern cosmopolitans we are hyper-informed, but those very same flows that inform us are also the flows that make it impossible for us to transcend and obtain an overview of the world. This is why the proposed ethical indifference seeks not to incite us to neo-Nietzschean heroics, but rather to alert us to the tragic realisation that we are doomed to irresponsibility and condemned to the last passivity that pervades all of post-modernity: Whatever we do, our actions are always shadowed by the unintentional; everything is always different than anticipated. Wherever something unforeseen arises, wherever something happens, wherever an emergence occurs, the system itself is at work, the system itself is the actor, and we… we experience it, watch it and… feed it."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH=" Kant, I., ‘Idea for a Universal History with a Cosmopolitan Purpose’ (1784) and, ‘The Contest of the Faculties’ (1798), in: Kant: Political Writings, edited by E.S. Reis, translated by H.S. Nisbet. Cambridge: Cambridge University Press, (1970) 1991."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH=" Kant, I., Anthropology from a Pragmatic Point of View (1798), translated and edited by Robert B. Louden, with an introduction by Manfred Kuehn. Cambridge, UK/ New York: Cambridge University Press, 2006."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Rötzer, F. (Ed.), Das Böse: jenseits von Absichten und Tätern, oder: ist der Teufel ins System eingewandert? (Evil, Beyond Intentions and Perpetrators, or: Has the Devil Slipped into the System?), Göttingen: Steidl, 1995."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH=" Taubes, J., Occidental Eschatology. Palo Alto, CA: Stanford University Press, 2009."/>
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<ITEXT FONT="Selectric Mono" FONTSIZE="11" CH="Zwart, H., Technocratie en onbehagen: de plaats van de ethiek in het werk van Michel Foucault (Technocracy and its discontents: the place of ethics in the work of Michel Foucault), Nijmegen: SUN 1995."/>
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