Déjà Vu and the End of History

Paolo Virno, David Broder

• Publisher: Verso
• Year: 2015
• Print ISBN:
  9781781686126
• eBook ISBN:
  9781781687482
• Topic: Philosophy
• Subtopic: Political Philosophy

This book places two key notions up against each other to imagine a new way of conceptualizing historical time. How do the experience of d?j? vu and the idea 'End of History' relate to one another? Through thinkers like Bergson, Koj?ve and Nietzsche, Virno explores these constructs of memory and the passage of time. In showing how the experience of time becomes historical, Virno considers two fundamental concepts from Western philosophy: Power and The Act, reinterpreting these with respect to time. Through these, he elegantly constructs a radical new theory of historical temporality.

Part I

Déjà vu and the End of History

I returned there

Where I had never been

Nothing has changed from how it wasn’t

Giorgio Caproni

Premise

The initial scope of these pages is to test the waters of the relation between the theory of memory and the philosophy of history. The functioning of the mnestic faculty, its performances and pathologies, may perhaps be able to provide us with categories and a lexicon able to give account of historical experience, now that the ‘bordello of historicism’ (as Walter Benjamin put it, not too tactfully¹) has pulled up the shutters.

This theme lends itself to a number of ambiguities. We should shake off at least some of these immediately. First off, we are certainly not going to set about comparing the collective past to Proust’s Combray, or reducing the challenge of historiography to nibbling on petites madeleines. To miniaturise history, hemming it into the cassock of ‘lived experience’, is a miserable fallback solution, one that should be given a wide berth. Such a response is simply the prophylactic measure (or expedient consolation prize) of those who, whatever their recalcitrance, have proven unable to free themselves from the spell of the historicist ‘bordello’. Here, instead, we want to trace out a totally different path. Rather than constipate the res gestae and the narration of them within the limits of biographical commemoration, we need to grasp the non-psychological, supra-personal, public significance of the concepts with which we analyse the formation – as well as the deterioration – of memory.

But what do we mean, when we speak of the supra-personal meaning of mnestic processes? Here a second ambiguity comes into view, opposed to and mirroring the first. It is called ‘historical memory’. As we know, this formula is used to designate awareness of events that have taken place and of their lasting influence on actuality. But we are grappling with a misleading metaphor here: we ought instead to speak of historical culture or consciousness, rather than of memory. And yet, mind, it is precisely in order to determine the forms – but also the crisis – of such consciousness or culture (and, therefore, of this ‘historical memory’ itself) that it is perhaps necessary for us to turn back to the conceptual constellation pertaining … to memory, in the strict sense (the memory with which each person is endowed from infancy). As such, from the outset this ambiguous little formula takes for granted precisely the problem that it poses, one that is still to be answered. Memory is not ‘historical’ in virtue of the particular content (for example, the social or political content) of memories. Rather, it is historical in that it is that faculty that distinguishes individual existence. Indeed, the structure and processes of this faculty provide an access route to the historicity of experience – of any experience, of experience in general. Memory, which is always memory of the particular, however, constitutes a sort of ‘ontogenetic recapitulation’ of the various modes of being historical, as well as the formal matrix of historiographical categories. Precisely and only in this sense does it have a supra-personal value and a public character.²

I will give a few examples which are useful in terms of how we look at this problem. Psychiatrists and neurobiologists³ count among the causes of memory-loss two types of interference: the first, which they call retroactive, is the disturbance that a new piece of information introduces into the memory of a prior event; the second, proactive interference is, instead, the obstacle inherent in the currently⁴ lived situation to memorising what will follow it. It is obvious enough what significance the study of the different types of ‘interference’ could have for the philosophy of history. Similarly, looking at the arena of historiography, it is not difficult to work out the relevance of the distinction between procedural memory (the past congealed in savoir faire or habit, conserved as a technique or ethos) and semantic memory (the explicit re-evocation of signs and meanings that are inherent to long-ago experiences). And, moreover, consider how prehensile and perspicacious notions such as the following could prove: hypermnesia (increasing mnestic capacity in the event of crisis or trauma); cryptomnesia (to substitute a suddenly reflowering memory for a completely new idea); or allomnesia (to attribute to a past experience a content or context different to its real ones). Ultimately, might it not be the case that the old question raised by Augustine, of what the ‘memory of a memory’ is – and, above all, what the ‘memory of having forgotten’ is⁵ – concerns the very core of all historical thought?

We shall dedicate the following pages, however, to one mnestic phenomenon only: namely, what we call the déjà vu. We do this out of the conviction that this specific pathology of memory can cast new light on a canonical theme of historical-philosophical reflection, which is also a pervasive, overbearing state of mind characteristic of the contemporary forms of life. This philosophical theme – now also a recklessly advancing mood – is the theme of history stopping, or, more radically, the end of history.

1. Watching Themselves Live⁶

When psychiatrists refer to déjà vu, they do not mean a known event of the past playing out again, accompanied by either euphoric amazement or bored condescension. Rather, here we have an only apparent repetition, one that is entirely illusory. We believe that we have already experienced (or seen, heard, done, etc.) something that is, in fact, happening for the first time at this very moment. We mistake the current experience for the very faithful copy of an original that never really existed. We believe that we are recognising something of which we are only now cognisant. As such, we could also describe déjà vu in terms of ‘false recognition’.

Déjà vu does not entail a defect of memory, nor its qualitative alteration. Rather, it means the untrammelled extension of memory’s jurisdiction, of its dominion. Rather than limit itself to preserving traces of times past, memory also applies itself to actuality, to the evanescent ‘now’. The instantaneous present takes the form of memory, and is re-evoked even as it is taking place. But what can ‘remembering the present’ mean, except having the irresistible sensation of having already experienced it previously? Inasmuch as it is an object of memory, the ‘now’ is camouflaged as the already-been, and is thus duplicated in an imaginary ‘back then’, in a fictitious ‘other-then’. It goes without saying that between the current event, considered a mere repeat, and the phantom original prototype, there is no mere analogy, but rather the most complete identity. The present and the pseudo-past, which have the same perceptual and emotional content, are indistinguishable. The consequence is a troubling one: every act and every word that I say and do now seems destined to repeat, step by step, the course that was fixed back then, without the possibility of omitting or changing anything. As Henri Bergson put it in Le souvenir du présent et la fausse reconnaissance: ‘We feel that we choose and will, but that we are choosing what is imposed on us and willing the inevitable.’⁷

The state of mind correlated to déjà vu is that typical of those set on watching themselves live. This means apathy, fatalism, and indifference to a future that seems prescribed even down to the last detail. Since the present is dressed in the clothes of an irrevocable past, these people must renounce any influence on how the present plays out. It is impossible to change something that has taken on the appearances of memory. As such, they give up on action. Or, better, they become spectators of their own actions, almost as if these were part of an already-known and unalterable script. They are dumbfounded spectators, sometimes ironic and often inclined to cynicism. The individual at the mercy of the déjà vu is her own epigone. To her eyes, the historical scansion of events is suspended or paralysed; the distinction between ‘before’ and ‘after’, cause and effect, seems futile and even derisory.

The phenomenon of ‘false recognition’ allows us to decipher critically the fundamental idea of every philosophy of history: the end, the exhaustion or the implosion of history itself. Above all, it allows us to settle accounts with the contemporary – that is, ‘postmodern’ – version of this idea, which descends from a noble lineage and complicated family tree. According to Baudrillard and his miniature disciples, history thins out to the point of vanishing when the millenarian aspiration to wipe out the duration of time (and, with this, any irritating delays) appears to have been satisfied by the instantaneousness of information, real-time communications, and by the desire to lay ‘hold of things almost before they have taken place’.⁸ And yet the affirmation of an eternal present, a centripetal and despotic actuality, is provoked by déjà vu, namely by the form of experience in which there prevails – as Bergson put it – ‘the feeling that the future is closed, that the situation is detached from everything although I am attached to it’.⁹ In capricious, rampant years of history, Karl Mannheim prophesied: ‘It is possible … that in the future, in a world in which there is never anything new, in which all is finished and each moment a repetition of the past, there can exist a condition in which thought is utterly devoid of all ideological and utopian elements.’¹⁰ A post-historical situation, then; but also, at the same time, a condition marked by the mnestic pathology of which we have already spoken: ‘there is never anything new … each moment [is] a repetition of the past’.

Now, however, we need to interrupt this game of assonances and analogies. To understand the increasing fragility of historical experience and, at the same time, to refute the mediocre ideologies that set up camp on this terrain, it is necessary to observe more closely the actual texture of ‘false recognition’. What clay is a memory of the present made of? How is it formed? What does it reveal?

2. The Memory of the Present

It is Bergson whom we must thank for the most incisive analysis of déjà vu, perhaps the only philosophically significant analysis of this question (also not without interest, albeit too generic and rhapsodic, is Ernst Bloch’s ‘Bilder des Déjà vu’).¹¹ It is worth again running through the salient stages of Bergson’s analysis, picking out two or three concepts that can be developed further in autonomy of the others. First of all, our attention shall turn to the aforementioned essay Le souvenir du présent et la fausse reconnaissance, though this will also be read against the backdrop of Bergson’s greatest work on memory, namely Matière et mémoire. We will then go on to pay significant attention to a text that does not seem to have much to do with mnestic processes, Le possible et le réel.¹²

According to Bergson, ‘the important thing to know … is not why [déjà vu] arises in certain persons at particular moments, but why it is not being produced at every moment in everybody’.¹³ We are not grappling, then, with an anomaly or degeneration, but with an aspect of ‘normal memory’ that usually, however, remains completely hidden. It is perturbing, if not even pathological, when this habitual concealment is suddenly removed. We could say: déjà vu is a moment of truth in the functioning of memory: it makes its appearance when this functioning is shown for what it really is, pure and unadulterated.

The formation of memory, Bergson maintains, ‘is never posterior to the formation of perception; it is contemporaneous with it’.¹⁴ Far from being the blurred copy or the belated spectre of immediate experience, the mnestic trace is its inevitable correlate. If ‘between the perception and the memory there seems to be a difference of intensity or degree, but not of nature’ (if, that is, memory were the residue of perception), then that would rule out their being coextensive and simultaneous. But – and this is a point of capital importance – memory exhibits a difference of nature as compared to perception, and, at the same time, an equal intensity. It captures the same current moment as perception does, but in an essentially different manner. The fleeting present is always grasped in two distinct and concomitant aspects (which are concomitant precisely because they are distinct): ‘What is duplicating itself at each moment into perception and memory is the totality of what we are seeing, hearing and experiencing, all that we are with all that surrounds us. As we are becoming conscious of this duplication, it is the entirety of our present which must appear to us at once as perception and as memory.’¹⁵

The typical symptom of déjà vu – namely, the re-evocation of what is happening right now – is also the condition of possibility of memory in general. There would be no memory at all, if it were not, first of all, memory of the present. But, then, why is déjà vu the exception and not the rule? Why is it ‘not being produced at every moment in everybody’? Bergson responds: between the two heterogeneous forms in which we understand the hic et nunc, the impulse to action always and on each occasion privileges the perception-form to the detriment of the memory-form. Or, better: ‘attention to life’ (another name for the practical impulse oriented towards the future) does interpellate the mnestic patrimony, but only in order to extract from it that information which is of use to the impending tasks as posed by perception. And what is any less useful to an action that is underway, than the memory of the present? This has ‘nothing to teach us, bein...

Table of contents

• Cover
• Verso Futures
• Title Page
• Copyright
• Dedication
• Contents
• Part I: Déjà vu and the End of History
• Part II: Temporality of Potential, Potentiality of Time
• Part III: Historical Materialism