Cornerstones of
Collaborative Philosophy
1
Learning Processes, Deadly
Outcomes: For a Practical Theory
of Critical Intelligence
Knowledge, Lost in Space
The interwoven ideas unfurled before you in this book almost all find a point of reference in a little science fiction story about the end of the world. Were you to read this Cold War story, you would not be wrong to think of it as an allegory befitting of the new millennium. It goes something like this:
On January 15, 2011, Earth was destroyed in the Black War, a terrestrial battle between communist China and a supra-capitalist United States of America. Lasting little more than eight hours, the war was responsible not only for catastrophic loss of life, but planet Earth was obliterated, too. Induced by an unprecedented use of weapons of mass destruction, tidal waves enveloped Asia. Rivers and oceans boiled and evaporated almost entirely. Rifts in the Earthâs mantle opened, spewing forth fountains of magma. Brownish-green clouds full of nuclear contamination shrouded the planet, ensuring that any remaining life, human or otherwise, was extinguished. A day after the apocalyptic events on Earth, the tragedy assumed intergalactic proportions. The planetâs crust collapsed. The heavenly body home to Homo sapiens for hundreds of thousands of years then broke into several asteroid-like bodies held together by the former planetâs gravitational field. What was once Earth became a seemingly uninhabitable ring of intergalactic rubble.
Human life was, however, not extinguished altogether. Well before the outbreak of the Black War, the West successfully colonized portions of Mars as well as planets and moons within and beyond the solar system; Western bureaucratic lifeâwith all its governmental outposts, legal bodies and military academies, scientific and medical centers and, above all, private industriesâcontinued to flourish in an outer space without Earth. Signs of human life on what remained of Earth vanished from view from the vantage point of these interstellar colonies, home to humankind that managed to harbor survivors of the Black War. However, burrowed in caves and bunkers reaching down sixty kilometers below the Earthâs surface, great masses of Chinese Marxists weathered the planetâs terrestrial ruination. In a few brief years, they managed to reconstitute the entire ecosystem of one chunk of Earth into a veritable paradise of public parks, irrigated gardens, and forests.
As the story goes, for over ninety years, the Chinese restitution of Earth remained a mystery to extraterrestrials, until a flotilla of Chinese space explorers, presumably in search of new sources of human labor power, came in accidental contact with their old enemies. By the year 2103, the plutocratic descendants of Americaâs Mars administration, in search of precious natural resources, laid waste to a string of star systems reaching all the way back to the solar system. Workers eventually resisted their virtual enslavement. Rebels mutinied. Thieves murdered and pillaged. In an effort to quell the mayhem, intergalactic corporations like the Suez Canal Company ordered the massacre of its entire workforce. In total disgust and disbelief, the heroes of the story, four surviving officers of Americaâs intelligence avant-garde, escaped harm by commandeering spaceships and traveling into uncharted intergalactic territory, what they christen the âDawn Sector.â
Central in Alexander Klugeâs dystopian science fiction story from 1973 entitled Learning Processes with a Deadly Outcome are the actions and commentary of one Franz Zwicki, one of the four intelligence officers lost in deep space at the storyâs conclusion. Zwicki, we are told, was once an officer in the German Wehrmacht, who (along with colleagues Stefan Boltzmann, First Lieutenant von Ungern-Sternberg, and A. Dorfmann) escaped the deadly Battle of Stalingrad in 1943 by furtively traversing eastward over the Volga riverâs ice flows. After internment and enslavement in China between 1943 and 1949, the four escaped to the United States of America where, thanks to their prior experience gathering sensitive information in Asia and Europe, they swiftly worked their way into the Central Intelligence Agency. By the time of the outbreak of the Black War in 2011, Zwicki advanced to the position of chief physicist in the Agency, thus ensuring him and his companions unfettered access to spaceships stationed near Frankfurt am Main (codenamed âIdaho Bunkerâ) with which they escaped the grim fate of terrestrial humankind. In outer space, Zwicki retained his position as intelligence expert and, thanks to modern medical scienceâs triumphs over human nature, continued his work well beyond his 180th birthday.
Of the four former Nazi soldiers in space, Zwicki stands out, for in spite of his nominal status as a space pioneer and scientist (not to mention his obvious connection to the actual astrophysicist Franz Zwicky often credited with discovering dark matter), he speaks far more like a philosopher. And, of all the great questions modern philosophy asks, it is Immanuel Kantâs first of four fundamental philosophical questionsââWhat can I know?ââthat preoccupies him most.1 Yet Zwicki wishes not to turn to metaphysics, as Kant prescribes, but rather to what he calls still relatively early on in his saga âmaterialist epistemologyâ: âThe understanding of reality ⊠and its expression of life,â he explains to friend and scholar Eilers in 1972, âmay consist of thousands of self-deceptions ⊠but it rests upon an unconquerable longing.â2 This hermeneutic of longingâthe will to survive and the concomitant will to eternal lifeâis anchored, so he claims, in each and every personâs human body. Even though this material eludes all scientific elucidation, Zwicki retains his resolve. His colleagues are, however, doubtful of his curious materialismâs validity. Dorfmann, for example, insists that âhuman beings are far more intrigued metaphysicians than they commonly admit today.â3 Zwicki nevertheless follows his dismissal of these doubting Thomases by faithfully calling into question their unreflective reliance on the empire of the mind. âHow do you know all this exactly?â Zwicki asks Dorfmann, dubious of his detailed account of the final hours of life on Earth.4 Again and again he dismisses othersâ propositions as improbable, doubtful, unbelievable, uncertain, incomprehensible, and inadequate. Similarly, he regularly compromises his own assertions as well as those of others by stating simply âI canât believe thatâ or âWe donât know,â flagging a contradiction, pointing out the inherent inadequacies of empirical description, calling attention to obscure details, or emphasizing the faultiness of memory.5 While thoroughly dismissive of matters of the mind, Zwickiâs theory of embodied knowledge, the feeling of âunconquerable longing,â and the concomitant understanding of reality and life require no proof, for they are the stuff of Zwickiâs fantastic story of survivalâtheir uncanny ability to cheat catastrophe and human natureâthat accompanies his and his colleagues into the twenty-second century.
In spite of his firm rejections of othersâ idealist claims to knowledge, Zwickiâs own presumably materialist epistemology, first mentioned in the year 1972, quickly takes a backseat to seemingly more existential matters in the shadow of Earthâs demise. The flipside of human âunconquerable longing,â a metaphysical feeling about human transience, the insignificance of planet Earth in the unending universe, and the absurdity of existenceâDorfmann calls it a âvague attendant feelingââwaxes the farther away he and his three companions are from the remains of mother Earth.6 Zwicki retrospectively recounts from the year 2103 those grim years following the Black War of 2011 as being full of âridged concentration on the chances for survival of the self.â7 Increasingly aware of their deprivation of terrestrial sensory perception due to the loss of earthly time and space, Zwicki openly wonders whether it is at all possible to retain a sense of self in space. With the place of their history and language gone, the self is both unstable and fragmented. Whereas he and his colleagues were always assigned new stable identities as clandestine operatives for the CIA, their âlanguage, appearance, the contexts of [their] lives, future tasks,â all this had to be re-invented anew in space.8 And, because any and every choice they make cannot claim an earthly referent, such decisions are as meaningless as they are arbitrary. Stranded on a solar platform lost in deep space, Zwicki, sick and despairing, twists RenĂ© Descartes famous maxim cogito ergo sum so as to insist on the futility of cognition in outer space. âI think, therefore I am. I think, because I can disregard the fact that I am. Precisely because I am not, I think. Therefore, I am not. But who thinks then? Certainly not me. For this reason no one thinks.â9 Although Zwickiâs logic is marred by jumps and inconsistencies, his twin conclusionsâthe self ceases to be in outer space and so, too, does thoughtânevertheless suggest for a moment that in the shadow of âvague attendant feeling[s]â his materialist epistemology was nothing more than a terrestrial luxury.
What saves the apparent viability of Zwickiâs original theory of knowledge or reality and life, as well as the comrades from carrying out their suicidal thoughts, is their pleasure found in surveying the planets orbiting around a red gassy star they egotistically christen âFranz Zwicki.â Light years away from crisis and catastrophe, they discover from their space platform a sylvan planet. Using leftover chemical weapons, they
âcarveâ the image of the âHymn of the Dawn Sectorâ into the forests. Boltzmann and Zwickiâs blasted-out forest clearings were between six and eight kilometers wide. This sign of intelligent life would stand out to any intelligent beings flying by and entice them into landing. The owners called the forested planet âDorfmannâ and its moon âvon Ungern-Sternberg.â ⊠If Zwicki looks out ⊠he can read âThe Dawn,â a sign of intelligent life that delights him.10
The sign of intelligent life Zwicki sees through his telescope is what we might think of as a bombastic example of land art: the first page of a French translation of Franz Schubertâs song âMemnonâ (written with poet Johann Mayrhofer in 1817) burnt into the darkness of the planetâs surface (fig. 1.1). This double signâa sign of the astronautsâ stubborn will to keep on living as well as a complex sign system of art from a lost worldâis what apparently transforms Zwickiâs despair into hope, hope that others would eventually reach their solar system and âallow themselves to be milked dryâ working under the direction of the four space pioneers.11 It would seem then that, in spite of the increasingly hopeless dematerialization of the self engendered by exile in space, Zwickiâs materialist epistemology finds its clearest manifestation in the creation of signs of not just life, but intelligent human life. Intelligent life is, however, a euphemism of sorts, for the terror Zwicki et al. escaped is precisely what they wish to lure with their sign. The deadly outcome in the title of Klugeâs story is therewith deferred into an untold yet presumably certain disastrous future beyond the frame of the narrative.
Figure 1.1. A âsign of intelligent lifeâ: a negative of Adornoâs manuscript of Franz Schubertâs song from 1817, âMemnon,â D. 541, Op. 6, No. 1 (Kluge, Learning Processes with a Deadly Outcome, p. 106). © Alexander Kluge.
Allegories of Intelligence
Scholarly readers have approached Klugeâs story far less in terms of science fictionâs propensity for inciting âcognitive estrangementâ than allegoryâs invitation to âexegetical activity.â12 Indeed, there is plenty of fodder to read Learning Processes with a Deadly Outcome when we think of allegory as a conventional relationship between an âillustrative imageâ and a corresponding âabstract meaning.â13 To date, the story has fostered insightful readings about text-relevant themes like self-destruction, capitalism, futurity, and even the Frankfurt School, for example.14 Sticking closer to the telos of the storyâs titleâlearning processes and their outcomesâlet us instead continue our journey in outer space by first burrowing downward with Walter Benjamin into the baroque allegory as Benjamin saw it, namely as a literary form intent on unlocking a ârealm of hidden knowledge.â15 Only when we begin to see Klugeâs allusions to and departures from this baroque formâs techniques for disclosing the catastrophic consequences of modern knowledge can we begin to link up his and Negtâs investment in learning processes as a special kind of cognitive estrangement. A culmination, in part, of earlier essays intent on refuting the âscientistic prejudicesâ of Kantâs epistemology, Benjaminâs 1928 habilitation The Origin of the German Tragic Drama wrestles at its outset with the problem of profane knowledge and the constitution of modern experience.16 As explicated in its âEpistemo-Critical Prologue,â the system-seeking philosophies and the method-obsessed sciences of the nineteenth century exemplified for Benjamin the acme of profane knowledge resulting from manâs fall from grace. Whereas the essential unity of manâs prelapsarian existence anchored in divine truth (Wahrheit) knew nothing of knowledge (Erkenntnis), let alone words or communication, the original sinâeating from the forbidden tree of knowledgeâdelivered man into a creaturely worldâa world of natural historyâwhere the unity of word and thing crumbled. Profane knowledge is thus an inherently fragmented knowledge, phenomenal in nature and reliant on the limited reach and arbitrary biases of empirical perception. Atomized into âvarious disciplines,â profane knowledge, Benjamin adds, is a function of disparate methodologies devised to buttress the illusions of âsystematic completenessâ and the presumed prowess of transcendental subjects who take âpossessionâ of knowledge.17
Against this backdrop, Benjamin casts his account of baroque allegorical Trauerspiel as a disruptive literary form of the seventeenth century beholden neither to the pretensions of profane knowledge nor its illusions of wholeness. Distinguished by its penchant for amassing âheap[s] of ruinsââearthly things ripped out of their profane contextsâearly modern allegorical literature invites the phil...