2009/04/21

"Freedom of Speech" Performance de Tania Bruguera at the 10th Havanna Bienal 2009



see: http://www.youtube.com/watch?v=1h0EtvL2Pqg&feature=related


A man with his face covered: "A mim me parece que isso debia ser proibido!"

A podium, a yellow curtain.
An open microphone for people to say what they want.
A white dove on the shoulder like Fidel Castro in a 1959 speech.
Two guards behind.

I could´t access on http://www.taniabruguera.com/ (!??!)
see: http://www.youtube.com/watch?v=1h0EtvL2Pqg&feature=related
http://www.desdecuba.com/generaciony/

Performance completado

canon_y_escudo

Sin la declaración hecha por el Comité Organizador de la Décima Bienal de La Habana sobre lo ocurrido el domingo en el centro Wifredo Lam, el performance de Tania Bruguera no hubiera estado completo. Al minuto de libertad frente al micrófono le correspondía el necesario castigo. Ausente de reprimenda, la acción plástica hubiera parecido una señal de que la intolerancia ha cedido, de que es posible subir al podio y expresarse sin miedos. De ahí que deba agradecer a los que redactaron la secuencia de injurias publicada en La Jiribilla. Sin ella, todo habría quedado en el plano de lo permitido, habría sido visto como algo fabricado para dar una apariencia de apertura.

Con esos cinco párrafos cerraron –de la mejor manera posible– el performance. Nos recordaron, a los atrevidos que hicimos uso del breve tiempo de libertad, que la penalización y la reprimenda siguen siendo aquí la respuesta ante la libre opinión. El Comité Organizador ha confirmado, en su texto cargado de insultos, el por qué tantos gritos de libertad salieron desde esa tribuna. Con sus acusaciones han dejado al descubierto la razón por la que muchos no se atrevieron –esa noche– a tomar los micrófonos.

* Les anuncio que estamos trabajando en el video completo de lo ocurrido, al que le pondremos subtítulos por las deficiencias del audio. Lo publicaré en cuanto esté listo.

* Les dejo aquí el texto que leí aquella noche.

Si me dieran el micrófono… diría

Cuba es un país rodeado de mar y es también un Isla cercada por la censura. Al muro del control informativo, Internet y especialmente los blogs le han abierto algunas grietas. El fenómeno de la blogósfera alternativa ha ido creciendo y ya es conocido por una buena parte de la población cubana. Somos todavía unos pocos bloggers, pero nuestros sitios acentúan el despertar de la opinión ciudadana.

Las autoridades consideran a las nuevas tecnologías como un “potro salvaje” que hay que domesticar; pero los bloggers independientes queremos que corra libremente. Las dificultades para difundir nuestros sitios son muchas. De mano en mano y gracias a las memorias flash, los Cds y los obsoletos disquetes, el contenido de los blogs recorre la Isla.

Internet se está convirtiendo en una plaza pública de discusión, donde los cubanos escribimos nuestros criterios. La isla real ha comenzado a ser una isla virtual, más democrática y plural.

Lamentablemente, esos aires de libre opinión que recorren la red, apenas si han soplado sobre nuestra vigilada realidad. No sigamos esperando que nos autoricen a entrar a Internet, a tener un blog o a escribir una opinión. Ya es hora de saltarnos el muro del control.

from: http://vocescubanas.com/generaciony/


***


Kubas Regime fühlt sich provoziert
Kunstperformance mit Folgen
from: http://www.taz.de/1/politik/amerika/artikel/1/kunstperformance-mit-folgen/

Aktionskunst im Rahmen der Biennale in Havanna: Kubas Regime sieht in einem Aufruf zur freien Meinungsäußerung eine "Provokation". VON KNUT HENKEL, TAZ


"Integration und Widerstand im globalen Zeitalter" lautet das diesjährige Motto der 10. Biennale von Havanna. Das Motto des alle drei Jahre stattfindenden Kunstevents hat die international bekannte Performancekünstlerin Tania Bruguera wörtlich genommen. Sie lud die Zuschauer bei einer Performance am vergangenen Sonntagabend ein, ans Mikrofon zu treten und zu sagen, was sie wollten. Mit Uniformierten im Hintergrund und einer weißen Taube, die sich wahlweise auf die Schulter der Redner und aufs Pult setzte, parodierte Bruguera das bekannte Bild von der historischen Rede Fidel Castros am 8. Januar 1959, wenige Tage nach dem Sieg der Revolution.

Die eigene Meinung kundzutun ist kein alltägliches Angebot - und eine ganze Reihe von Kubanern wie ausländischen Gästen im Kunstzentrum Wifredo Lam machten Gebrauch von dieser Möglichkeit.
Bork
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Als Erste trat Kubas international bekannte Bloggerin Yoani Sánchez (www.desdecuba.com/generaciony) ans Rednerpult und informierte das Publikum, darunter viele internationale Besucher, über die wachsende Blogger-Community der Insel. "Das Internet entwickelt sich in Kuba zu einem öffentlichen Platz der Diskussion, wo die Kubaner nach ihren eigenen Kriterien die reale Insel beschreiben", erklärte Sánchez. Allerdings stehe diesem Fortschritt immer noch die "überwachte Realität" auf der Insel entgegen, die es den Bloggern schwermache, ihre Seiten zu aktualisieren.

Der 34-Jährigen folgten weitere Redner, die für die freie Meinungsäußerung in Kuba eintraten, Demokratie und Freiheit einforderten und einen Wandel auf der Insel einklagten, ohne dass die Mikrofone ausgeschaltet wurden.

Für Tania Bruguera, die mit ihren eigenwilligen Arbeiten immer wieder die kubanische Realität ins Visier genommen hat, Teil ihrer Performance. Für das offizielle Kuba hingegen ein Akt von "Personen im Dienste der propagandistischen antikubanischen Maschinerie" wie am Dienstag in einer Erklärung der Veranstalter in der kubanischen Kulturzeitung La Jiribilla zu lesen war. Von einer "professionellen Dissidentin" ist dort die Rede, "die die Performance von Tania Bruguera genutzt habe, um die kubanische Revolution zu provozieren". Gemeint ist Yoani Sánchez, der zugleich unterstellt wird, im Auftrag der spanischen Mediengruppe Prisa zu agieren, weil dazu auch die Tageszeitung El País gehört, die im vergangenen Jahr einen Literaturpreis an Sánchez vergeben hatte.

Das ist eine neue Qualität verbale Angriffe gegen die Bloggerin. Sie ähneln den Anschuldigungen, die immer wieder gegen die Opposition ins Feld geführt werden und die für eine ganze Reihe von sogenannten Dissidenten im Gefängnis endeten.

Zu denen gehört auch Jorge Luis García Pérez, auch bekannt als Antúnez, der 17 Jahre wegen "verbaler feindlicher Propaganda" inhaftiert war. Seit knapp zwei Jahren ist der Dissident wieder auf freiem Fuß und derzeit ist sein Haus in der 300 Kilometer von Havanna entfernten Kleinstadt Placetas von der Polizei abgesperrt.

Seit dem 17. Februar schon sind Antúnez, seine Frau und drei weitere Männer im Hungerstreik, und laut Informationen von Amnesty International darf sich derzeit niemand dem Haus nähern. Alle fünf sind laut einer Urgent Action von Amnesty International in großer Gefahr, weil sie die Freilassung aller politischen Gefangenen in Kuba, die Ratifizierung der internationalen Menschenrechtsverträge durch das kubanische Parlament und angemessenen Wohnraum in Kuba fordern. Öffentliche Proteste häufen sich ohnehin in Kuba in den letzten Monaten. So wurden am Mittwoch zum dritten binnen weniger Monate Aktivisten der Frauenorganisation Flamur, die für eine einheitliche Währung in Kuba eintritt, vorübergehend festgenommen.

Überaus prekär ist laut dem ehemaligen politischen Gefangenen Óscar Espinosa Chepe, einem Gewerkschaftler und Journalisten, auch die Situation in den Gefängnissen der Insel. Kuba liege bei der Zahl der Inhaftierten weltweit mit den USA und Russland an der Spitze. Für Espinosa Chepe eine Folge der Kontrollwut der Regierung. Die könnte sich nun auch gegen Kubas Blogger-Comunity richten.

see also:
http://marcmasferrer.typepad.com/uncommon_sense/2007/04/jorge_luis_garc.html
http://www.englishpen.org/writersinprison/writersinexile/oscarespinosachepe/

On the 10th edition of the Habanna Bienal:
see: http://www.bienalhabana.cult.cu/bienaldelahabana/

"The Havana Biennial, a space for confrontation and reflection of particular relevance in the international scene of the fine arts, will celebrate twenty-five years of existence with its tenth edition, which will bring together more than 200 artists from some forty countries from March 27 through April 30, 2009.

"Integration and Resistance in the Global Era" will be the central topic of reflection. Projects and works from Latin America and the Caribbean, Africa, Asia and the Middle East, and to a lesser extent from North America, Europe and Australia will handle the problems of integrating to a highly complex global world due to the peculiarities of so many societies and cultures and the way in which there is an attempt to resist the hegemonic trends that strive to homogeneize from other territories the repertoire of ideas and forms."

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2009/04/15

precarious giants of upside down- critic from Alexander Gerner on "The Giant Women Present The Greatest Show in Town"


Yesterday (14th of April 2009)at the French-Portuguese Cultural Institute in Lisbon the gruop"The Giant Women"(a collaboration between Dragana Bulut (Serbia), Gillie Kleiman (UK) and Lígia Soares (Portugal) with dramaturgy support of Ana Vujanovic) presented the precarious dicourse-antidiscourse dance performance "The greatest show in town". The spectacular title and it´s announcement shows right from the start the method of breaking expectations, as a short performative intervention against obeying audience, the emptyness of "participation", the political and ethic expectation posed to performance art, and the display of the unhelpfullness, the in vain, the empty, the unnecessary, the cynic, the brain-(and body-)fuck rethorics of creating art as a discoursive social and political engagement activity, contaminated with tons of books and concepts of contemporary theory, from Derrida to Deleuze (body without organ, hybrid monsters), Judith Butler (the body as a gender battleground), Foucault, Antonio Negri (Multitude and biopolitics). There is little "Yes we can" inside this performance and even less "good will" shown by "civil society" and its helpless helpers of ONG´s in this "giantly small" show. The "problems" of today (unemployment, the precarious situation of artists and non-artists alike (the dog-body position of economic dependency shown by Lígia Soares when indicating names to the shown body positions:"artist, waiting for funding", or and even more close to the floor "artist waiting for a scholarship", until the body breaks-down, getting naked,with what rests the body, stuck to the wall in a actmodel-like manner.But being naked at the wall or on the knees in front of the public audience, that may get a glimpse on the hope of a sweet-milk-situation-generation of artists waiting for their public money to be a service-provider of culture, and what a nice and political correct and creative story is all waiting for us when the curtain would really open? Then Dragana Bulut is asked by her co-performer (off-stage) how to confront the society "problems", what to do, how to be political, how to help, how to engage in the "right" way as a "responsible" artist, trying to change people´s life. But then certain artistic response strategies are made ridiculous, when the "only" thing left, is to invite someone home, to get "intimicy with the problem", to feel something is not right, but there is no real distance and time to think and to act without showing-off any kind of whatever attitude. The attitude that stays destroyed is clear: document the problematic and expose it in the next show: "so he can face his situation, while he is looking at himself, put on stage". Stop making sense of what makes no sense.
What does this mean, that drug-addiction is a problem, because the one´s do harm to their "health" and "don´t contribute to society"? This may hint to the more and more growing values of effectivity, we are all inside and stuck with, and that we have to serve strangely: the healty, the creative, the active, the sexy, participative, the theory incorporated, the one looking for a statal or private funding from somewhere...But actually exploiting this nightmare of values on a stage of "selling" a social or political view in a peepshow way, is this enough? Hardly. This is not at all satisfying, the giant woman didn´t come to earth to satisfy the needs of the audience. This may provoke indifference, for the performers don´t exclude themself, from the system of desires they critizise,the theory they put away, but maybe some anger stays with the irony in the end of the show, to show a better world just simply filmed upside down. Protect me from (the scholarship) what I want! Anger may be a start...
The performance starts with the three performers very slowly creeping on a white floor, in a amoebe-like fashion,unformously moving towards three apple laptops(one real Mac and two with real apples in front of the Laptop), and they took a long time to arrive to the choreography of opening and closing the computer-tool. The problem of standing straight, before that, it´s better to close oneself behind a table and a computer and stare inside facebook. But why not put heads up, why not do something with dignity? Dignity, distance, finding a place on the stage or in the audience could be one of the possible topics the Giant Woman address, if it wouldn´t stay unclear through the performance- structure of numbers following each other, hardly two situations staying and getting into confront at the same time, or is soemthing there to interrupt something? What actually here is important, or is this all just a joke? This question stays open, and that makes it worse or better,as the performers refuse to decide for the spectators.
The condition of the artists on stage is reflected by not only showing over-exposedly and stubbernly the "real" material parts of the theatre, that make a performance space work (the space, the audience, the performers, the psydo-interaction with the "instructed" or -in this case the "left alone" audience- member (that is asked to participate on stage and left there without "instruction")- all things that we already know: Nothing new in the "greatest Show in Town"!
But on the contrary the new, the creative, the inovative, the flashing is addressed,used, utilized, shortly looked at and then thrown away. This is not a garbage show, this is a show on how we make garbage out of almost everything as quickly as possible,exposing it as a "problem" or a theory or a thought or a body movement. As it may hurt and still be something to laugh about, if we had the time, the courage or the patience to look closer: But no time to loose in lives,work, art, politics, theory, economics etc, everything continues...
The anti-innovative discourse, the anti-coreography "stumbeling upon" words and texts and movements on the european year of inovation and the illustration of creativity (2009) as a capatalist (one-year yeah) concept to make people´s eyes shine, when listening to empty words like listening to the theory voice off, the "authority" voice coming from the sky, giving instructions on interpreting the theory with their bodies with still all organs inside, is one of the strongest parts. The disbelief in the progress of techno-science preachers from politicians, the official EU standpoint(years too late, and way too boring, certain people in Belgrade would say) of Florida´s creative city ideology, just fostering the gap of rich and poor (no coincidance that the first official conference of the creativity year happend in the rich and unfortunatly-not-so-interesting-anymore-city- Barcelona, that local policymakers in Lisbon see as the "one" reference city, and would like to transform Lisbon in a cosmopolitic officially creative city just "like" Barcelona (and they forget that Lisbon is already cosmopolitic, but marginal for a long time, and that the only big difference is that here in this margin of the Atlantic, there is no money, but still things that money can´t buy, but then the question why not name the good things? Why?Take your time and find it out yourself! Then there are moments of sympathetic little hatred and irony of telling something by movements or telling a touching story for example of the refugee condition of one of the serbian performers, when she narrates that she had to move from Bosnia to Belgrade etc. because of the war, all this is overlaid quickly before it starts by slimy heart-break music and the english performative style of "Forced Entertainment", telling a funny story or jokes and that´s it then, folks. All this is actually what the whole piece is all about, something is always missing, the feeling of being treated as a joke,a left alone member of audience on stage, without direction, of being in no superior position in the audience nor on stage, being "lost in translation" of theory into life or body forms into political action and vice versa. No way of representing something to change something in this lab situation of talking bodies on stage, no way to just go to Denmark and go from the airport directly to the beach to save whatever rare animal... Something cheap in all this performative and life activity is all around us, some cheap idea of change and happiness, how small we are all with the giant women, and they too get smaller and smaller, small as crumps, but then they don´t go away, they stay, the bother, disturb, ironize or simply don´t suit in the picture, but no photoshop function to whipe them off the clear stage. But how we shall deal with this condition no one tells us, somehow we have to rethink and reinvent something, that we don´t understand quite, as dancing on fake alternatives dropping them all until we want to drop something that we cannot live without. Like a magic game, let´s name it and then it will dissapear,or reappear. Name things, that get in, on and out our nerves and make them go away. But does the naming, the discourse help? Does anyone still expect help, health, creativity from above, from a stage, from arts, from politics etc.? What stays unnamed in this show until now, is a growing feeling of what happens, if we are exhausted, what may get us in a state of alert and a state that might want something else from art, from politics, from theory, from life, from economy. The giant Woman presenting "The greatest Show in Town" just give us a first feeling of the insurrection to come...or maybe exactly not a insurrection, but a misunderstanding of ourselves,our expectations on what should happen, but who is making that happen? What about our precarious relation to almost everything today, to arts, politics, work, relations, economics and the connections we habitually draw in our mind in our daily life between all this! Make a new map?
"Knock knock knck, who´s there?" A direction. Direction who?
Let´s keep it a game of football, of a show, of a moment.
But what is next? Which scholarship, which funding possibility, which state help, what?
And now for something completely different???
What the hell are we all talking about?
Alexander Gerner 15th April 2009

"The Giant Women present The Greatest Show in Town is a dance performance which promises to be entertaining, virtuosic, and sharp, through beauty, emotion, etcetera. And of course, you will obviously see the socio-political engagement and the theoretical background of the dancers. Naturally, these aspects will interact with you, provoke you, and shock you. Whilst showing you the crucial power of innovation and blindly following trends, the show achieves historical significance and promises the creation of new paradigms for the dance scene of the future.

This project is a collaboration between Dragana Bulut (Serbia), Gillie Kleiman (UK) and Lígia Soares (Portugal) with dramaturgy support of Ana Vujanovic."
"The Giant Women present The Greatest Show in Town"
14, 15 e 18 de Abril às 21h30

Tuesday, April 14, 2009 at 9:30pm
End Time:
Saturday, April 18, 2009 at 10:30pm
Location:
Instituto Franco-Português
Street:
Av. Luís Bivar, 91
City/Town:
Lisboa, Portugal

Phone:
213111400
Email:
maquinaagradavel@gmail.com

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2009/04/12

Neuro-Enhancement 1 - Modafinil




Bettina Schöne-Seifert, Davinia Talbot, Uwe Opolka Johann S. Ach (Hrsg.)
Neuro-Enhancement
Ethik von neuen Herausforderungen
2009,Mentis Verlag
"Einleitung
Worum es überhaupt geht
Unter dem inzwischen auch in Deutschland eingeführten Begriff Neuro-
Enhancement versteht man Maßnahmen zur gezielten Verbesserung geisti-
ger Fähigkeiten oder psychischer Befindlichkeiten bei Gesunden.
Dank des großen neurowissenschaftlichen Erkenntniszuwachses der
letzten Jahre sind etliche Ansätze zum Verständnis und zur Behandlung sol-
cher Befunde wie pathologischer Gedächtnisschwund, krankhafte Auf-
merksamkeitsstörungen, Depressionen oder Narkolepsie (Schlafsucht) ent-
wickelt worden. Die pharmakologischen und nicht-pharmakologischen
Interventionen, die hier wirksam Abhilfe schaffen können, eignen sich
zumindest zum Teil zugleich auch als Enhancement-Methoden – eben bei
Gesunden.
So werden bereits heute Medikamente, die zur Behandlung der Alzhei-
mer-Demenz (z.B. Aricept®), des Aufmerksamkeitsdefizitsyndroms ADS
(z.B. Ritalin®), von Depressionen (z.B. Fluxil®) oder des pathologischen
Schlafdrangs (z.B. Narkolepsie) (z.B. Modafinil®) entwickelt und zugelas-
sen sind, außerhalb ihres Indikationsbereichs (off-label) verschrieben – weil
etwa Studenten sich mit diesen Mitteln durch Examina, Manager sich durch
Stress-Zeiten oder melancholische Mitmenschen sich so durch den Winter
bringen lassen wollen. Genaue Daten über Ausmaß und Nutzergruppe die-
ses bereits praktizierten Enhancements liegen nicht vor. US-amerikanische
Experten jedenfalls gehen von Hunderttausenden von Klienten/ Patienten
aus. Dies ist jedoch erst der Anfang einer möglichen künftigen Enhance-
ment-Praxis, die von den zahlreichen zu erwartenden neuen und wirksamen
Neuro-Therapeutika Gebrauch machen könnte. Pharmakonzerne hoffen
hier möglicherweise auf einen gigantischen und außerordentlich lukrativen
Marktsektor. Und nicht nur Pharmaka, sondern auch magnetische oder
elektrische Stimulationsverfahren (TMS, Tiefenstimulation), Neuro-Chips
oder Schnittstellen zwischen Gehirnen und Computern zeichnen sich als
mögliche Enhancement-Methoden am Horizont ab. Angesichts dieser Möglichkeiten – und unter der bisher weitgehend
hypothetischen Annahme ihrer Wirksamkeit und medizinischen Unbe-
denklichkeit – stellen sich zahlreiche komplexe Fragen danach, wie Verfüg-
barkeit und Inanspruchnahme solcher Interventionen auf individueller und
sozialer Ebene zu betrachten, zu bewerten und ggf. zu reglementieren
wären. Um genau diese ›Herausforderungen‹ aus sozialer, anthropologi-
scher, rechtlicher und vor allem ethischer Sicht geht es in den Texten des
vorliegenden Bandes."

***



Simm, Michael
Neuroenhancement: Weichenstellung gefordert
THEMEN DER ZEIT
Der Leistungsdruck ist groß. Mit Methylphenidat und Modafinil versuchen gerade Studenten, ihre Leistungen zu steigern und einer Ermüdung vorzubeugen. Foto: Vario Images

Das Missbrauchpotenzial hirnleistungssteigernder Substanzen wird bisher deutlich unterschätzt. Kontrollen gibt es fast keine.

Die Einnahme leistungssteigernder Substanzen ist längst nicht mehr auf den Spitzensport beschränkt. Vor allem in den USA greifen auch Schüler und Studierende, Akademiker und Manager vermehrt auf pharmakologische Wirkstoffe zurück, um in Ausbildung und Beruf voranzukommen oder an der Spitze zu bleiben. „Wir befürchten nun, dass dieser Trend auch auf Deutschland überschwappt“, warnt Prof. Dr. med. Mathias Berger, Leiter der Abteilung für Psychiatrie und Psychotherapie am Universitätsklinikum Freiburg. Zwar habe es auch früher schon vereinzelte Fälle gegeben, bei denen Lernende sich mit Fenetyllin (Captagon) und ähnlichen Präparaten aufputschten. Heute jedoch habe der Missbrauch von mutmaßlich hirnleistungssteigernden Substanzen eine andere Größenordnung erreicht. Viele Studenten bestellten sich Methylphenidat (Ritalin) und Modafinil (Vigil) über das Internet, vorwiegend aus asiatischen Ländern.

Methylphenidat ist indiziert zur Behandlung der Aufmerksamkeitsdefizitstörung (ADS) bei Kindern und Jugendlichen. Bereits im Jahr 2005 ergab jedoch eine Befragung von mehr als 10 000 Collegebesuchern in den USA, dass zwischen vier und sieben Prozent der Studierenden ADS-Arzneien mindestens einmal eingenommen hatten, um sich auf Prüfungen vorzubereiten oder eine Nacht lang durchzuarbeiten. Dies obwohl, wie Berger betont, „kontrollierte Studien Schwierigkeiten haben, eine Verbesserung kognitiver Fähigkeiten durch Methylphenidat bei Gesunden nachzuweisen“.

Verbotenes Dopingmittel: Modafinil
Plausibler scheint der Gebrauch von Modafinil, einer Substanz, die zur Behandlung der Narkolepsie zugelassen ist und die in Deutschland dem Betäubungsmittelgesetz unterliegt. Modafinil vermindert effektiv die Schläfrigkeit auch bei Gesunden und wurde angeblich von Bomberpiloten der US-Streitkräfte während des Irakkriegs eingenommen. Auch Schichtarbeitern und Fernfahrern ist die Einnahme der Substanz in den USA erlaubt. „Ein jährlicher Umsatz von mehr als 200 Millionen US-Dollar mit Modafinil weist auf einen erheblichen Gebrauch außerhalb der zugelassenen Indikation hin“, so Berger. Erst kürzlich wurde die Substanz in die Liste der verbotenen Dopingmittel aufgenommen, nachdem einige Ausdauersportler positiv auf Modafinil getestet worden waren.

Konkrete Zahlen gibt es keine
„Es ist unfair, wenn man einen Sportler wegen Dopings bestraft, während möglicherweise ein Jurastudent unbehelligt bleibt, der sich mit der gleichen Substanz einen beruflichen Vorteil verschafft“, erläutert Berger seinen Standpunkt. Vonseiten des Bundesgesundheitsministeriums, des Bundesinstituts für Arzneimittel und Medizinprodukte wie auch des Deutschen Ethikrates registrierte der Psychiater in letzter Zeit vermehrtes Interesse an dem Thema. Konkrete Zahlen über das Ausmaß des Missbrauchs hirnleistungssteigernder Substanzen in Deutschland lägen allerdings bisher nicht vor, räumte Berger ein.

Den bislang wohl spektakulärsten Fall von „Hirndoping“ gestand kürzlich der US-amerikanische Pokerspieler Paul Phillips. Er hatte regelmäßig zwei Psychostimulanzien eingenommen, neben Modafinil das nur in den USA zur Behandlung der ADS legal verkäufliche Adderall mit dem Wirkstoff Dextroamphetamin. „Ohne Zweifel bin ich dadurch zu einem viel besseren Spieler geworden“, sagte Phillips gegenüber der „Los Angeles Times“. Die Substanzen hätten ihm geholfen, auf professionellen Pokerturnieren mehr als 2,3 Millionen Dollar zu gewinnen, so Phillips. Da er vor fünf Jahren mit ADS diagnostiziert wurde, wird Phillips seine Preisgelder voraussichtlich trotz dieses Geständnisses behalten dürfen.

Wie verbreitet der Gebrauch hirnstimulierender Substanzen inzwischen ist, offenbarte kürzlich auch das Wissenschaftsmagazin „Nature“, als es zu dem Thema einen Kommentar veröffentlichte und seine Leser befragte. Er habe täglich mit Kollegen und Studenten zu tun, die regelmäßig Methylphenidat und Modafinil einnähmen, gab der Entwicklungsbiologe Jeffrey White von der Louisiana State University in New Orleans zu Protokoll. Diese Kandidaten seien an ihrer anhaltenden Verbitterung und Gereiztheit leicht zu erkennen. Dieser Preis sei ihm aber zu hoch, schrieb White – und bekannte sich stattdessen, wie zahlreiche weitere Diskussionsteilnehmer, zu den „traditionellen“ konzentrationsfördernden Getränken Kaffee und Tee.

Auch die Neurowissenschaftlerin Shelley Batts, Doktorandin an der Universität Michigan, sieht sich umgeben von Kolleginnen, die glauben, sich mit Ritalin auf Prüfungen vorbereiten zu müssen. „Aber wo ist das Problem, wenn die Sicherheit derartiger Substanzen bei Gesunden erwiesen ist?“ Mit Nachhilfelehrern und Tutorien, Geldspenden der Eltern an die Universitäten und dem gezielten Einsatz guter Beziehungen habe man sich schließlich auch abgefunden. Da sei der Einsatz „kognitiver Verstärker“ nur der logische nächste Schritt in einer Welt, die immer mehr von Konkurrenzkampf geprägt werde, argumentiert Batts in ihrem Blog (Internetjournal) „Retrospectacle“. Von Betrug könne man auch deshalb nicht reden, weil eine Pille zwar die Konzentration verbessern, aber niemals die richtige Antwort auf eine Prüfungsfrage enthalten könne.

Mögliche Nebenwirkungen nicht absehbar
Für jedes Argument findet man im Diskussionsforum bei „Nature“ ein Gegenargument*. Der Soldat, dessen Leistung über Leben und Tod entscheide, könne ja wohl nicht ernsthaft kritisiert werden, wenn er konzentrationsfördernde Substanzen einnehme, gibt ein Leser zu bedenken. Tatsächlich laufe ja die gesamte Ausbildung in allen Berufen darauf hinaus, Techniken zu erlernen und Hilfsmittel einzusetzen, um die gestellten Aufgaben optimal zu bewältigen. Ein anderer fordert klare Verbote, um einen Dammbruch zu verhindern. Sonst würde der Gebrauch der „Neuroenhancer“ in der Gesellschaft immer weiter um sich greifen, bis wir alle zu arbeitsbesessenen Zombies mutiert seien. „Ein Trugschluss“, entgegnet der nächste Diskutant: „Wenn ich eine Pille hätte, die mich schneller und besser denken ließe, wäre ich mit der Arbeit früher fertig und hätte mehr Zeit zum Leben.“

Einig sind sich die meisten Experten darin, dass die bisher verfügbaren Substanzen allenfalls moderate Effekte auf die Merk- und Denkfähigkeit des Gehirns haben. Wirklich eindrucksvolle Erfolge wurden bisher lediglich aus Tierversuchen bekannt, beispielsweise mit Fruchtfliegen und Mäusen. Zudem sind laut Berger „die möglichen Nebenwirkungen psychopharmakologischer Eingriffe in kognitive Funktionen beim Menschen nicht im Geringsten absehbar“. Allerdings sind intensive Forschungsanstrengungen auf diesem Gebiet im Gange. „Die Firma, die die erste Gedächtnispille auf den Markt bringt, wird den Erfolg von Viagra bei Weitem in den Schatten stellen“, prophezeit der Bioethiker Paul Root Wolpe von der University of Pennsylvania. Dann aber, fürchtet Berger, könnte es für gesellschaftliche Weichenstellungen bereits zu spät sein: „Die Diskussion über das Hirndoping kommt bei uns gerade erst in Schwung.“
Michael Simm

* Englischsprachiges Forum bei „Nature“: „Would You Boost Your Brain Power?“ http://network.nature.com/forums/naturenewsandopinion/816

from:http://www.aerzteblatt.de/v4/archiv/artikel.asp?id=60201
Note:

Mattern, Margarete
Neuroenhancement: Verordnung geändert
BRIEFE
Das Missbrauchpotenzial hirnleistungssteigernder Substanzen wird bisher deutlich unterschätzt (DÄ 20/ 2008: „Weichenstellung gefordert“ von Michael Simm).
In dem Artikel heißt es, Modafinil unterliege in Deutschland dem Betäubungsmittelgesetz. Jedoch ist Modafinil auf Beschluss der Bundesregierung (21. Verordnung zur Änderung betäubungsmittelrechtlicher Vorschriften) seit Anfang März 2008 aus der BtM-Pflicht entlassen. Ich hätte mir etwas mehr Aktualität des DÄ erhofft!
Dr. Margarete Mattern, Badenwerkstraße1,
76137 Karlsruhe

****

Neuro-Enhancement
Ethische, soziale und rechtliche Aspekte
Klausurwoche im Hanse-Wissenschaftskolleg
20. bis 27. September 2005
Gefördert durch das Bundesministerium für Bildung und Forschung, findet vom 20. bis 27. September 2005 im Hanse-Wissenschaftskolleg (HWK) in Delmenhorst eine Klausurwoche zum Thema "Neuro-Enhancement" mit Vorträgen und intensiven Debatten statt. Beteiligt sind neben dem HWK das Institut für Ethik, Geschichte und Theorie der Medizin an der Universität Münster sowie das Centrum für Bioethik dieser Universität. Während in den Vereinigten Staaten die Diskussion um Neuro-Enhancement schon fest etabliert ist, steht sie in Deutschland erst in den Anfängen. Die Klausurtagung soll dazu dienen, diese Debatte auch bei uns in Gang zu bringen, indem sich Nachwuchswissenschaftler qualifizieren, auf diesem Feld kompetente interdisziplinäre Auseinandersetzungen zu führen.
Unter Neuro-Enhancement versteht man Maßnahmen zur gezielten Verbesserung geistiger Fähigkeiten oder psychischer Befindlichkeiten bei Gesunden. Dank des großen neurowissenschaftlichen Erkenntniszuwachses der letzten Jahre sind zahlreiche Ansätze zum Verständnis und zur Behandlung solch krankhafter Befunde wie Gedächtnisschwund, Aufmerksamkeitsstörungen oder Depressionen entwickelt worden. Die pharmakologischen und nicht-pharmakologischen Interventionen, die hier wirksam Abhilfe schaffen können, eignen sich zumindest zum Teil zugleich auch als Enhancement-Methoden, zur Veränderung der Gehirnzustände bei Gesunden.
So werden bereits heute Medikamente, die zur Behandlung der Alzheimer-Demenz, des Aufmerksamkeitsdefizitsyndroms (ADS), von Depressionen oder des pathologischen Schlafdrangs (Narkolepsie) entwickelt und zugelassen sind, außerhalb ihres Indikationsbereichs ("off-label") verschrieben, weil sich Studenten mit diesen Mitteln durch Examina, Manager durch Stress-Zeiten oder melancholische Mitmenschen durch Phasen der Verstimmtheit hindurchhelfen lassen wollen. Genaue Daten über Ausmaß und Zielgruppe dieses bereits praktizierten Enhancements liegen nicht vor. US-amerikanische Experten gehen jedoch von Hunderttausenden von Konsumenten bzw. Patienten aus. Dies ist aber erst der Anfang einer möglichen künftigen Enhancement-Praxis, die von den zahlreichen zu erwartenden neuen und wirksamen Neuro-Therapeutika - etwa Medikamente gegen Gedächtnisverlust - Gebrauch machen könnte. Pharmakonzerne hoffen hier auf einen gigantischen und außerordentlich lukrativen Marktsektor. Und nicht nur Pharmaka, sondern auch magnetische oder elektrische Stimulationsverfahren (TMS, Tiefenstimulation) scheinen ein beachtliches Enhancement-Potential zu besitzen.
Evident ist, dass das Neuro-Enhancement eine ganze Reihe sozialer, anthropologischer, rechtlicher, medizinischer und vor allem ethischer Fragen aufwirft, darunter Fragen nach

· der Grenze zwischen Therapie und Enhancement
und nach deren normativer Bedeutung;
· der Bewertung unterschiedlicher Mittel für ähnliche
oder identische Enhancement-Ziele;
· der Medikalisierung von Fragen, die eigentlich sozialer Natur sind;
· den sozialen Ungerechtigkeiten und Diskriminierungspotentialen, die sich
durch selektive Zugangsmöglichkeiten oder Inanspruchnahme ergeben könnten (beispielsweise durch die hohen Kosten der Enhancement-Mittel);
· den erwartbaren Spiralen kontinuierlicher Standardverschiebungen und eines wachsenden Wettbewerbs zwischen den einzelnen durch den kollektiven Bebrauch von Enhancement-Mitteln;
· der Veränderung unseres tradierten Menschenbildes durch das Enhancement.

Im Zentrum der Klausurwoche stehen die Debatten zwischen den Teilnehmern über von ihnen im Vorfeld abgefasste und verschickte zehn- bis fünfzehnseitige Papiere zu einzelnen Aspekten des Neuro-Enhancement. Flankiert werden diese Debatten durch eine Reihe von Vorträgen international ausgewiesener Experten, die ihre eigenen Positionen darlegen und zur Diskussion stellen werden. Enden wird die Klausurwoche mit einer öffentlichen Podiumsdiskussion in der Stadtwaage in Bremen.

See also:
Band 29: Intervening in the Brain. Changing Psyche and Society
R. Merkel, G. Boer, J. Fegert, T. Galert, D. Hartmann, B. Nuttin, S. Rosahl
Berlin 2007, ISBN 3-540-46476-X, Preis: 80,20 Euro

***
Modafinil:
Modafinil (Provigil/Alertec/Modavigil) is a stimulant drug manufactured by Cephalon, and is approved by the U.S. Food and Drug Administration (FDA) for the treatment of narcolepsy, shift work sleep disorder,[1] and excessive daytime sleepiness associated with obstructive sleep apnea.[2]

Modafinil, like other stimulants, increases the release of monoamines but also elevates hypothalamic histamine levels,[3] leading some researchers to consider Modafinil a "wakefulness promoting agent" rather than a classic amphetamine-like stimulant (as evidenced by the difference in c-fos distribution caused by modafinil as compared to amphetamine).[4]

Although modafinil is thought to be effective in the treatment of Attention-Deficit Hyperactivity Disorder (ADHD), in 2006 it was specifically rejected by the FDA for use by children for that purpose after Cephalon was rebuffed in its effort to introduce modafinil as a children's drug under the trade name, Sparlon. Cephalon's own label for Provigil now discourages its use by children for any purpose.[5]

Modafinil has been shown to be effective in the treatment of depression,[6] cocaine addiction,[7] Parkinson's Disease,[8] schizophrenia,[9] and disease-related fatigue.[10][11] By law, however, Cephalon is not allowed to market Modafinil in the United States for conditions other than those officially approved by the FDA.[12]

Modafinil and its chemical precursor adrafinil were developed by Lafon Laboratories, a French company acquired by Cephalon in 2001.[13] Modafinil is the primary metabolite of adrafinil, and, while their activity is similar, adrafinil requires a higher dose to achieve equipotent effects. Modafinil is a racemic mixture; the (R)-enantiomer is known as armodafinil (Nuvigil).Indications

In the United States, modafinil is approved by the U.S. Food and Drug Administration for the treatment of narcolepsy, obstructive sleep apnea/hypopnea and shift work sleep disorder. In some countries, it is also approved for idiopathic hypersomnia (all forms of excessive daytime sleepiness where causes can't be established).

[edit] Off-label use

Modafinil is widely used off-label to suppress the need for sleep. It is also used off-label in combating general fatigue unrelated to lack of sleep such as in treating ADHD and as an adjunct to antidepressants (particularly in individuals with significant residual fatigue).

There is a disagreement whether the cognitive effects modafinil showed in healthy non-sleep-deprived people are sufficient to consider it to be a cognitive enhancer.[14][15][16] The researchers agree that modafinil improves some aspects of working memory, such as digit span, digit manipulation and pattern recognition memory, but the results related to spatial memory, executive function and attention are equivocal.[14][15][16][17] Some of the positive effects of modafinil may be limited to "lower-performing"[17] individuals or to the individuals with lower IQ.[18]

There is also evidence that it has neuroprotective effects.[19]

Modafinil may be also an effective and well-tolerated treatment in patients with seasonal affective disorder/winter depression [20]

[edit] Doping agent

Modafinil has received some publicity in the past when several athletes were discovered allegedly using it as a performance-enhancing doping agent. It is not clear how widespread this practice is. Since there are no studies pertaining to this sort of use, it is unknown whether modafinil can have any impact on an athlete's performance. However, anecdotal evidence indicates that modafinil does indeed enhance physical performance. Modafinil was added to the World Anti-Doping Agency "Prohibited List" in 2004 as a prohibited stimulant.

[edit] Multiple sclerosis

Modafinil has been used to allay symptoms of the neurological fatigue reported by some with multiple sclerosis. Patients follow either the standard usage or take a single dose of 200–400 mg at the start of days self-assessed as being potentially excessively fatiguing. In 2000, Cephalon conducted a study to evaluate modafinil as a potential treatment for MS-related fatigue. A group of 72 people with MS of varying degrees of severity tested two different doses of modafinil and an inactive placebo over nine weeks. Fatigue levels were self-evaluated on standardized scales. Participants taking a lower dose of modafinil reported feeling less fatigued and there was a statistically significant difference in fatigue scores for the lower dose versus the placebo. The higher dose of modafinil was not reported to be significantly more effective.[21]

[edit] ADHD

As of February 2007, there are at least seven English-language articles on randomized clinical trials in humans in the Medline database addressing the use of modafinil for the treatment of attention deficit/hyperactivity disorder (ADHD)[citation needed]. Some studies have shown the use of modafinil in the treatment of ADHD is associated with significant improvements in primary outcome measures.[citation needed] Cognitive function in ADHD patients was also found to improve following modafinil treatment, in some studies.[citation needed] Studies for ADHD report insomnia and headache were the most common adverse effects, seen in approximately 20% of treated individuals.[citation needed] These studies were not adequate to demonstrate that the beneficial effects of modafinil are maintained with chronic administration. Additional large, long-term studies using flexible titration methods to establish safety and efficacy and head-to-head comparisons between modafinil and stimulants are needed to determine the role of modafinil in the treatment of ADHD.[22]

In December 2004, Cephalon submitted a supplemental new drug application (sNDA) to market Sparlon, a brand name of tablets containing higher doses of modafinil for the treatment of ADHD in children and adolescents ages 6 through 17. However, in March 2006, the FDA advisory committee voted 12 to 1 against approval, citing concerns about a number of reported cases of skin rash reactions in a 1000-patient trial, including one which was thought to be likely a case of Stevens-Johnson syndrome.[23][24] Final rejection occurred in August 2006, although subsequent follow-up indicated that the skin rash reaction was not Stevens-Johnson syndrome.[citation needed] Cephalon then decided to discontinue development of the Sparlon product for use in pediatric cases, though there is potential for use in treating Adult ADHD.

Modafinil is relatively contraindicated for patients with a history of cardiac events. However, one 2005 case report[25] positively describes transitioning a 78 year old with "significant cardiac comorbidity" from methylphenidate (5 mg b.i.d.) to modafinil; however, this was in the context of severe treatment resistant depression, not ADHD.

[edit] Other uses

Modafinil is also used off-label to treat sedation and fatigue in depression,[26][27], fibromyalgia, chronic fatigue syndrome, myotonic dystrophy,[28] opioid-induced sleepiness,[29] spastic cerebral palsy,[30] and Parkinson’s disease.[31] It increases subjective mood and friendliness, at least among shift workers.[32]

[edit] Experimental uses

[edit] Cocaine addiction

A single 8-week double-blind study of modafinil for cocaine dependence produced inconclusive results. The number of cocaine-positive urine samples was significantly lower in the modafinil group as compared to the placebo group in the middle of the trial, but by the end of the 8 weeks the difference stopped being significant. Even before the treatment began, the modafinil group had lower cocaine consumption further confounding the results. As compared to placebo, modafinil did not reduce cocaine craving or self-reported cocaine use, and the physicians ratings were only insignificantly better.[33] Dan Umanoff, of the National Association for the Advancement and Advocacy of Addicts, criticized the authors of the study for leaving the negative results out of the discussion part and the abstract of the article.[34][35]

[edit] Weight loss

Studies on modafinil (even those on healthy weight individuals) indicate that it has an appetite reducing/weight loss effect.[36][32][37][38][39] All studies on modafinil in the Medline database that are for one month or longer which report weight changes find that modafinil users experience weight loss compared to placebo.[40] However, the prescribing information for Provigil notes that "There were no clinically significant differences in body weight change in patients treated with PROVIGIL compared to placebo-treated patients in the placebo-controlled clinical trials." [41]

In experimental studies, the appetite reducing effect of modafinil appears to be similar to that of amphetamines, but, unlike amphetamines, the dose of modafinil that is effective at decreasing food intake does not significantly increase heart rate. Also, an article published in the Annals of Clinical Psychiatry, presented the case of a 280 pound patient (BMI=35.52) who lost 40 pounds over the course of a year on Modafinil (to 30.44 BMI). After three years, his weight stabilized at a 50 pound weight loss (29.59 BMI). The authors conclude that placebo controlled studies should be conducted on using Modafinil as a weight loss agent.[36] Conversely, a US patent (#6,455,588) on using modafinil as an appetite stimulating agent has been filed by Cephalon in 2000.

[edit] Primary biliary cirrhosis

Modafinil has been shown to improve excessive daytime somnolence and fatigue in primary biliary cirrhosis. After two months of treatment significant improvement was observed in symptoms of fatigue using the Epworth Sleepiness Scale.[42]

[edit] Post-chemotherapy cognitive impairment

Modafinil has been used off-label in trials with people with symptoms of Post-chemotherapy cognitive impairment, also known as "chemobrain".[43] A University of Rochester study of 68 subjects had significant results. "We knew from previous studies that modafinil does alleviate problems with memory and attention, and were hoping it would do the same for breast-cancer patients experiencing chemo-brain, which it did," related the study's lead author Sadhna Kohli, Ph.D, a research assistant professor at the University of Rochester's James P. Wilmot Cancer Center.[44]

[edit] Mood elevation

Modafinil used in a randomized double-blind study showed that normal healthy volunteers between the ages of 30-44 showed general improvement in alertness as well as mood. In the three-day study, counterbalanced, randomized, crossover, inpatient trial of modafinil 400 mg was administered as well as a placebo to the control group. The conclusion demonstrated that modafinil may have general mood-elevating effects in particular for the adjunctive use in treatment-resistant depression.[42]

[edit] Contraindications and warnings

Literature distributed by maker Cephalon advises that it is important to consult with your physician before using Modafinil, particularly for those with:

* Hypersensitivity to the drug or other constituents of the tablets, or
* Previous cardiovascular problems, particularly while using other stimulants, or
* Cirrhosis, or
* Cardiac conditions, particularly:
o Left ventricular hypertrophy, or
o Mitral valve prolapse.
+ Asymptomatic MVP is not uncommon, but neither is it prominently discussed in Modafinil's context.

Although it is not discussed in the literature, the standard binders used for Modafinil contain wheat gluten[citation needed], and so persons who have Coeliac Disease (Celiac Disease) should avoid the drug.

[edit] Severe adverse reactions

Modafinil may induce severe dermatologic reactions requiring hospitalization. From the date of initial marketing, December 1998, to January 30, 2007, FDA received six cases of severe cutaneous adverse reactions associated with modafinil, including erythema multiforme (EM), Stevens-Johnson syndrome (SJS), toxic epidermal necrolysis (TEN), and drug rash with eosinophilia and systemic symptoms (DRESS) involving adult and pediatric patients. The FDA issued a relevant alert. In the same alert, the FDA also noted that angioedema and multi-organ hypersensitivity reactions have also been reported in postmarketing experience. "Modafinil (marketed as Provigil): Serious Skin Reactions". FDA. Fall, 2007. http://www.fda.gov/cder/dsn/2007_fall/postmarketing.htm#modafinil.

See the ADHD section for discussion of transitions to modafinil from high dose stimulant regimens. Patients with severe anxiety should be carefully supervised, as modafinil may exacerbate their condition. It may be necessary to coadminister an anxiolytic. High blood pressure should be stabilized before initiating treatment with modafinil or any other stimulant. The patient should inform the prescribing physician of any other drugs they are currently taking, as modafinil may interact with a great number of drugs.

Relatively little is known regarding safety of modafinil during pregnancy or breastfeeding. Studies on pregnant rats and rabbits suggest that high doses of modafinil during pregnancy may increase the likelihood of birth defects. There are no adequate and well controlled trials with modafinil in pregnant women. Modafinil should only be used in pregnancy if the potential benefit for the mother justifies the potential risk to the fetus. It is not known if modafinil or its metabolites are excreted in human milk. Caution should be exercised when modafinil is administered to a nursing woman. Modafinil may reduce the effectiveness of contraceptives. While some sources recommend the avoidance of alcohol in combination with modafinil, the interaction between modafinil and alcohol has not yet been studied.[45]

[edit] Side-effects

The most common side-effects observed with modafinil, as compared to placebo, when prescribed in the recommended doses for the approved indications, are as follows:[citation needed]

* Common
o Headache (34% vs 23%)
o Nausea (11% vs 3%)
* Less common
o Nervousness (7% vs 3%)
o Insomnia (5% vs 1%)
o Anxiety (5% vs 1%)
o Dizziness (5% vs 4%)
* Infrequent
o Chest pain (3% vs 1%)
o Hypertension (3% vs 1%)
o Tachycardia (2% vs 1%)
o Vasodilatation (2% vs 0%)
o Dry mouth (4% vs 2%)
o Paresthesia (2% vs 0%)
o Pharyngitis (4% vs 2%)
o Anorexia (4% vs 1%)

In 2007, the FDA ordered Cephalon to modify the Provigil leaflet in bold-face print of several serious and potentially fatal conditions attributed to modafinil use, including TEN, DRESS syndrome, and Stevens-Johnson Syndrome (SJS).

Additionally, gastrointestinal distress, which may be alleviated by taking the drug after a meal, aggressiveness and skin irritation have been reported, but are rare. Most side-effects subside after a few weeks without reducing the dose. Only headaches and anxiety have been shown to be proportional to dose, and these may benefit from a temporary reduction or dividing the dose. A single case of premature ventricular contractions appeared causally linked to administration of modafinil.[46]

Modafinil may have an adverse effect on hormonal contraceptives, lasting for a month after cessation of dosage.[47] Modafinil toxicity levels vary widely among species. In mice and rats, the median lethal dose LD50 of modafinil is approximately or slightly greater than 1250 mg/kg. Oral LD50 values reported for rats range from 1000 mg/kg to 3400 mg/kg. Intravenous LD50 for dogs is 300 mg/kg. In clinical trials on humans, taking up to 1200 mg/day for 7 to 21 days or one-time doses up to 4500 mg did not appear to cause life-threatening effects, although a number of adverse experiences were observed, including excitation or agitation, insomnia, anxiety, irritability, aggressiveness, confusion, nervousness, tremor, palpitations, sleep disturbances, nausea, and diarrhea. As of 2004, FDA is not aware of any fatal overdoses involving modafinil alone (as opposed to multiple drugs, including modafinil).[48] Consequently, oral LD50 of modafinil in humans is not known exactly. However, it appears to be higher than oral LD50 of caffeine.

[edit] Military use

Militaries of several countries are known to have expressed interest in Modafinil as an alternative for amphetamine—the drug traditionally employed in combat situations where troops face sleep deprivation, such as during lengthy missions. The French government indicated that the Foreign Legion used modafinil during certain covert operations. The United Kingdom's Ministry of Defence has admitted conducting ongoing research into Modafinil[49] and spent £300,000 on one investigation.[50]

In the United States military, Modafinil has been approved for use on certain Air Force missions, and it is being investigated for other uses.[51]One study on helicopter pilots suggested that 600 mg of modafinil given in three doses can be used to keep pilots alert and maintain their accuracy at pre-deprivation levels for 40 hours without sleep.[52] However, significant levels of nausea and vertigo were observed. Another study of fighter pilots showed that modafinil given in three divided 100 mg doses sustained the flight control accuracy of sleep-deprived F-117 pilots to within about 27 percent of baseline levels for 37 hours, without any considerable side effects.[53] In an 88-hour sleep loss study of simulated military grounds operations, 400 mg/day doses were mildly helpful at maintaining alertness and performance of subjects compared to placebo, but the researchers concluded that this dose was not high enough to compensate for most of the effects of complete sleep loss.[54]

[edit] Pharmacology

The exact mechanism of action of Modafinil is unclear, although numerous in vitro studies have shown it to increase the levels of various monoamines, namely; dopamine in the striatum and nucleus accumbens,[55][56] noradrenaline in the hypothalamus and ventrolateral preoptic nucleus,[57][58] and serotonin in the amygdala and frontal cortex.[59] While the co-administration of a dopamine antagonist is known to decrease the stimulant effect of amphetamine, it does not negate the wakefulness-promoting actions of modafinil. Modafinil activates glutamatergic circuits while inhibiting GABAergic neurotransmission. Modafinil is thought to have less potential for abuse than other stimulants due to the absence of any significant euphoric or pleasurable effects.

The central stimulating effect of modafinil shows dose and time-related features. The effect tends to be enhanced by chlorination but reduced by methylation. Modafinil blocks the reuptake of norepinephrine by the noradrenergic terminals on sleep-promoting neurons from the ventrolateral preoptic nucleus (VLPO). Such a mechanism could be at least partially responsible for the wake-promoting effect of modafinil. Modafinil has a binding coefficient (Ki) of about 4,000 nmol/L for the dopamine reuptake transporter, and in excess of 10,000 nmol/L for the norepinephrine reuptake transporter.

A newly proposed mechanism of action involves brain peptides called orexins, also known as hypocretins. Orexin neurons are found in the hypothalamus but project to many different parts of the brain, including several areas that regulate wakefulness. Activation of these neurons increases dopamine and norepinephrine in these areas, and excite histaminergic tuberomammillary neurons increasing histamine levels there. There are two receptors for hypocretins, namely hcrt1 and hcrt2. Animal studies have shown that animals with defective orexin systems show signs and symptoms similar to narcolepsy. Modafinil seems to activate these orexin neurons thus promoting wakefulness. However, a study of genetically modified dogs lacking orexin receptors showed that modafinil still promoted wakefulness in these animals, suggesting that orexin activation is not required for the effects of modafinil.

It is possible that modafinil acts by a synergistic combination of mechanisms including direct inhibition of dopamine and norepinephrine reuptake, as well as orexin activation. It has been shown in rats that modafinil increases histamine release in the brain, and this may be a possible mechanism of action in humans.[60]

[edit] Pharmacokinetics

Modafinil induces the cytochrome P450 enzymes CYP1A2, CYP2B6 and CYP3A4, as well as inhibiting CYP2C9 and CYP2C19 in vitro. It may also induce P-glycoprotein, which may affect drugs transported by Pgp, such as digoxin. The bioavailability of Modafinil is greater than 80% of the administered dose. In vitro measurements indicate that 60% of Modafinil is bound to plasma proteins at clinical concentrations of the drug. This percentage actually changes very little when the concentration is varied.[61] Cmax occurs approximately 2–3 hours after administration. Food will slow absorption, but does not affect the total AUC. Half-life is generally in the 10–12 hour range, subject to differences in CYP genotypes, liver function and renal function. It is metabolized in the liver, and its inactive metabolite is excreted in the urine. Urinary excretion of the unchanged drug ranges from 0% to as high as 18.7%, depending on various factors. [61]

[edit] History

Modafinil originated with the late 1970s invention of a series of benzhydryl sulfinyl compounds, also including adrafinil, by scientists working with the French pharmaceutical company Lafon. Adrafinil was first offered as an experimental treatment for narcolepsy in France in 1986. Modafinil is the primary metabolite of adrafinil and has similar activity but is much more widely used. It has been prescribed in France since 1994 under the name Modiodal, and in the US since 1998 as Provigil. It was approved for use in the UK in December 2002. Modafinil is marketed in the US by Cephalon Inc., who leased the rights from Lafon. Cephalon eventually purchased Lafon in 2001. In 2005, a petition by a private individual was filed with the FDA requesting over-the-counter sale of modafinil.[62]

A U.S. Patent 4,927,855 was granted to Lafon for modafinil in 1990. The FDA granted modafinil orphan drug status in 1993. The formulation patent expired on 30 March 2006. The particle size patent was filed by Cephalon U.S. Patent 5,618,845 , covering pharmaceutical compositions of modafinil, in 1994. That patent, granted in 1997, was reissued in 2002 as RE 37,516, which provides Cephalon with patent protection for certain preparations of the drug in the United States until 2014, which is now apparently extended to April 6, 2015 after Cephalon received a six-month patent extension from the FDA.[63] However, a settlement in which Cephalon apparently paid out US$ 200 million to four generic drug manufacturers[64] may mean that generic forms of the drug will become available in April 2012 (October 2011 prior to the six month extension).

Some competing pharmaceutical manufacturers have applied to the FDA to market a generic form of modafinil in 2006. At least one withdrew their application after early opposition by Cephalon based on their new patent on particle sizes. There is some question as to whether a particle size patent is sufficient protection against the manufacture of generics. Pertinent questions include whether modafinil may be modified or manufactured to avoid the granularities specified in the new Cephalon patent, and whether patenting particle size is invalid because particles of appropriate sizes are likely to be obvious to practitioners skilled in the art. However, under United States patent law, a patent is entitled to a legal presumption of validity, meaning that in order to invalidate the patent, much more than "pertinent questions" are required. To date, no generic manufacturer has been able to invalidate Cephalon's particle size patent, and, indeed, those that attempted to do so were not successful such that the patent remains in force.

[edit] Other wakefulness promoting agents

Other modalities may be considered. However, Vanda Pharmaceuticals, Inc. began Phase II clinical trials in 2007 for VSF-173, a drug that also targets excessive sleepiness.[65]

[edit] Legal status

Modafinil is currently[update] classified as a non-narcotic Schedule IV controlled substance under United States federal law; it is illegal to import by anyone other than a DEA-registered importer without a prescription.[66] However, one may legally bring up to 50 dosage units (i.e. pills) of Modafinil to the United States in person from a foreign country, provided that he or she has a prescription for it, and the drug is properly declared at the border crossing.[67] Note that Adrafinil, a drug that is closely related to Modafinil, is currently not classified as a controlled substance, and therefore it is not as severely regulated.

The following countries do not classify Modafinil as a controlled substance:

* Canada (not listed in the Controlled Drugs and Substances Act, but it is a Schedule F prescription drug[68], so it is subject to seizure by Canada Customs)
* Mexico[69]
* United Kingdom (not listed in the Misuse of Drugs Act and is available by prescription without legal restrictions)[70]
* Australia (listed as a Schedule 4 prescription drug)
* In Germany the classification has been changed from controlled substance (BtM) to prescription drug (RP) effective since March 1, 2008.
* In India, generic retailing as Modalert is available from Sun Pharmaceuticals.

Currently, use of modafinil is controversial in the sporting world, with high profile cases attracting press coverage as prominent United States athletes have tested positive for the substance. Some athletes who were found to have used modafinil protested that the drug was not on the prohibited list at the time of their offence. However, the World Anti-Doping Agency (WADA) maintains it was related to already banned substances. The agency added modafinil to the list of prohibited substances on August 3, 2004, ten days before the start of the 2004 Summer Olympics.

[edit] In popular culture

In the science-fiction film The Invasion, an alien virus attacks humans while they sleep, so people who want to stay alive need to stay awake. The character played by actress Nicole Kidman is seen rummaging in a pharmacy for a stimulant. She grabs a bottle of Modifinil with a 1-gram dosage (the common dosages for modafinil are 100 mg and 200 mg). In the Legacy of the Aldenata series of science fiction novels, the drug is referred to by the trade name Provigil and is used by military personnel in combination with a powerful stimulant to remain alert.

In the television series CSI: Crime Scene Investigation, the season 8 episode "Cockroaches" CSI Warrick Brown, suffering from stress-related insomnia due to his divorce, is shown taking a prescription for 100-milligram Modafinil to help him stay alert at work, but a co-worker becomes concerned that he is taking the pills too often and is taking them in conjunction with a prescription for sleeping pills (which are later referred to as Zolpidem). In the television series House, the season 2 episode "Forever" ends with a scene where Dr. Foreman is testing his memory with flash cards containing dosage information for various prescription drugs. After briefly giving up in frustration, he realizes Dr. Cameron saw him and decides to continue. Upon reading the next card, he smiles in triumph: the card is turned over to reveal the drug was Modafinil. On the Law & Order: SVU episode Hothouse a 15-year old girl used Provigil to study harder and ended up killing her roommate.
from: wikipedia:
http://en.wikipedia.org/wiki/Modafinil

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2009/04/05

African Maps - mapping Africa


Tuesday, 12 November, 2002, 08:26 GMT
Africa's oldest map unveiled


By Alastair Leithead
BBC correspondent in Cape Town

The oldest map of the African continent, dating back to 1389, has gone on display in Cape Town.

It is part of an exhibition drawing attention to the history of South Africa and the way it is perceived around the world.

The Chinese map, covering more than 17 square metres, was produced in silk.

It is thought to be a copy of a map sculpted into rock 20 or 30 years earlier.

It is never been shown to the public before anywhere in the world, and the South African government was given special permission to take a full size facsimile of the delicate historical artwork.


South Africans have to find their own perspective, and accept the validity of perspectives of others

Frene Jinwala, Speaker of South African parliament

The Da Ming Hun Yi Tu, or Amalgamated Map of the Great Ming Empire, is a unique snapshot of history.

Created in China in 1389, and clearly showing the shape of Africa, more than 100 years before Western explorers and map-makers reached the continent.

Challenging stereotypes

The full-size facsimile of the silk map forms the centrepiece of an exhibition, Perspectives on and of Africa, at the South African parliament.

Up to now, only a small number of people have been allowed to see the original.

The speaker of the National Assembly, Frene Jinwala, said it was an important exhibit for South Africa.

"We're trying to illustrate perspective. There is no north or south in space," she said.

"It's a political decision that places the northern hemisphere on top of a globe and that collectively South Africans have to find their own perspective, and accept the validity of perspectives of others."

Organisers hope the exhibition challenges Western perspectives of Africa, of slavery and colonial exploitation.

It is using the Chinese map alongside South African rock art to illustrate the history of the continent before the time it was discovered by Europeans.

***

"(...)Precolonial maps

While cartography in sub-Saharan Africa is generally associated with outside perceptions and even economic and political impositions, there are indigenous traditions of representing space which pre-date colonial rule. Those most consistent with European practices are linked to Islam and Middle Eastern culture, which entered the sub-Saharan regions of the continent as early as the eighth century CE. Muhammad Bello, the highly literate ruler of the Sokoto Caliphate in the north of present-day Nigeria could thus provide early nineteenth-century European explorers with a reasonably accurate map of his domains and the major trade routes within them. However, it is not clear whether such visual representations were used for internal purposes within this state and political boundaries are not indicated with any degree of precision. In this case of formal visualization, just as in the oral statements about the spatial dimensions of African states recorded in many other instances (Wilks), power is seen as radiating out from a clearly defined center to more vague frontiers, sometimes marked by (but not necessarily identified with) natural features such as the Niger river (in the Sokoto case). This political cartography stands in strong contrast, as will be seen, to modern conceptions of statehood expressed in colonial (and postcolonial) African boundaries.

Luba lukasa

Precolonial African representations of space were not limited, however, to political and economic issues. The most developed and striking forms of cartography used landscape references to express ideas about identity, migration histories, mythology, and relationships with spiritual forces. They were definitely created for internal use rather than communication with outsiders and might take the form of elaborate artifacts such as the Luba lukasa or wall decorations, temporary drawings on the ground, body tattoos and even compass orientations inscribed on to objects which do not themselves represent space (Bassett).

These complex forms of indigenous cartography provide evidence of African ability to think systematically and graphically about space and force us to extend our own conceptions of maps (which were not always such "practical" devices in earlier European history). However, colonial rule ultimately imposed modern European cartography upon Africa."from: Ralph A. Austen (2001)."Mapping Africa: Problems of Regional Definition and Colonial/National Boundaries" retrieved from:
http://fathom.lib.uchicago.edu/1/777777122619/
see: Bassett, T.J.(1997) "African Maps and Mapmaking" in H. Selin (ed.) Encyclopedia of the History of Science, Technology, and Medicine in Non-Western Cultures, (Dordrecht, Kluwer), 554-558. in the forthcoming *Encyclopedia of the History of Science,
Technology, and Medicine in Non-Western Cultures* edited by Helaine
Selin (New York: Garland Publishing Co.)
Bassett, T.J. (1998) "Indigenous Mapmaking in Intertropical Africa" in D. Woodward and M. Lewis (eds), The History of Cartography, Vol 2, Bk 3: Cartography in the Traditonal African, American, Arctic, Australian, and Pacific Societies (Chicago, U. of Chicago Press),pp. 24-48.

The definition of a map used by *The History* is fairly generous:

"Maps are graphic representations that facilitate a spatial
understanding of the things, concepts, conditions, processes, or
events in the human world. World's mapped can be geographical,
celestial, or cosmographical, and the act of map making can range
from records of ephemeral images to conventional aspects of
material culture such as painted surfaces or carved objects"





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Herbert Achternbusch















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2009/04/04

Juventude em Marcha Pedro Costa







Segunda-feira, Fevereiro 19, 2007
Pedro Costa - "Juventude em Marcha"

Bork

"Nha cretcheu, meu amor
O nosso encontro torna a nossa vida mais bonita, pelo menos há mais de trinta anos.
Pela minha parte, torno-me mais novo e volto cheio de força.
Eu gostava de te oferecer cem mil cigarros,
uma dúzia de vestidos daqueles mais modernos,
um automóvel,
uma casinha de lava que tu tanto querias,
um ramalhete de flores de quatro tostões.
Mas antes de todas as coisas
Bebe uma garrafa de vinho do bom,
Pensa em mim.
Aqui o trabalho nunca pára.
Agora somos mais de cem.
No outro ontem, no meu aniversário
Foi altura de um longo pensamento para ti.
A carta que te levaram chegou bem.
Não tive resposta tua.
Fico à espera.
Todos os dias, todos os minutos,
Todos os dias aprendo umas palavras novas e bonitas, só para nós dois.
Mesmo assim à nossa medida, como um pijama de seda fina que tu não queres.
Só posso te chegar uma carta por mês.
Ainda sempre nada da tua mão.
Fica para a próxima.
Às vezes tenho medo de construir esta parede
Eu, com picareta e cimento
E tu, com o teu silêncio
Uma vala tão funda que te empurra para um longo esquecimento.
Até dói cá dentro ver estas coisas más que não queria ver
O teu cabelo tão lindo cai-me das mãos como as ervas secas.
Às vezes perco a força e juro que vou esquecer de mim."

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Sarah Maple












Bork
Saturday, August 11, 2007
Art Space Talk: Sarah Maple

People often think that Sarah Maple is trying to be offensive with her Islamic based art. This is a huge misconception as she is Muslim herself and would not want to offend her own faith. With her work she reveals the confusion that many young Muslims face within the context of contemporary western society. This study offers the viewer 'food for thought' and is influenced by the quest to discover and question 'Identity'.

In her work she questions if it is possible to be a 'good' Muslim in the West; especially if you are mixed race and from two contrasting cultural backgrounds like she is. Islam is indeed a way of life. But what do modern British Muslims do surrounded by both influences? Which lifestyle do they choose? Or can the two be fused?


Brian Sherwin: Sarah, can you tell our readers about your early experiences with art? When did you first realize that you wanted to pursue art? Also, where did you study art? Who are your mentors... your influences?

Sarah Maple: Well the first time I ever became interested in art was when I was about four or five years old. I pulled out the drawer from underneath my bed and found hundreds and hundreds of drawings my Mother had done of portraits. I thought 'fuck me, these are amazing' (I'm sure i didn't swear at that age, but you get what I mean!). I used to sneakily look in there all the time, I found them utterly amazing. And I think this was where my fascination with the portrait came from.

I started drawing portraits all the time. To this day I am still in love with portraits. I studied art at Kingston. Although I learnt a hell of a lot at art school I found it a difficult experience and very pleased to have left. My influence is mainly contemporary culture, like rock n roll, fashion, the news, all that jazz. I love people who are off the rails or are slightly wrong like Kate Moss. I love those people who don't care and just do what they like and take a risk. A great example of this was Rufus Wainwright at Glastonbury this year. I also love people who are genuine and speak from the heart, even if it's really depressing, that's why I love the Smiths and they are always in my work.

Identity is a huge theme to me, it's fascinating - not only in terms of who we actually are - but also in terms of how we portray ourselves - even if it's a false image - which is even more interesting.
Do you remember how when Geri Halliwell left the Spice girls she was so adamant to portray she wasn't the perceived image of 'Ginger Spice'. Like she did that documentary, started wearing suits and all that. I always found that amazing how she'd gone to great lengths to be seen in one way to make the spice girls a success, then was desperate to show her true self which unfortunately for her was much less interesting than Ginger.
Debbie Harry is my ultimate icon. I went to the hairdresser last week and said 'give me a late seventies Debbie Harry'. 'Ok!' she said. Now I look a bit silly. I will never accept a half Asian girl cannot pull off a Blondie look.


BS: In the past you were primarily a painter. However in 2007 you started to take photographs. You have stated that your ideas have flourished since picking up the camera and that photography is how you see your art progressing in the future. That must have been a big decision. Why has photography had such an impact on you? Do you plan to combine painting with photography at some point?
SM: Before starting photography this year I was doing all these painted self portraits in late 2006 (e.g 'Bananarama' ' self portrait with my mother's headscarf and the breast of Kate Moss'). Someone said to me that if I wasn't going to use the paint as a medium to express my concepts, then there was no point in painting, I may as well have just taken photographs.
This really got to me because I knew they were right. I always thought I was a painter and that was it. I reluctantly hired a camera to spend a couple of weeks doing photography. All of a sudden just having this new medium seemed to open up the flood gates and all these ideas came out. Since then it's been non-stop!



BS: Sarah, you have experienced a bit of controversy over your Islamic based art. Many do not seem to understand that you are a Muslim... and that you are attempting to reveal the distorted view that many Muslims have of their faith and culture within the context of western society. Would you like to clear the air with this interview? Go into detail about what exactly you are striving to do and why it is important for you to do it.
SM: My work with Islamic themes comes from my own experience of being mixed race. because of cultural and religious clashes I think it's very hard to mix east and west. I think many Muslims get it so confused, for example I know people who will celebrate Eid by getting pissed, it's such a contradiction! I suppose I get fed up with the judgment' I feel is put on me by other Muslims who may see me as substandard because I don't pray or cover myself. This is reflected in my work.
The best example of this is my piece 'White Girl' (which is a derogatory term I discovered is used amongst Muslims for a non-Muslim or a 'bad' Muslim) I made this after feeling angry when speaking to an old Muslim friend about my art.



BS: Your work is very focused on examining the human condition. Have you studied psychology... or do you base your work simply on your personal observations of society? If the study of psychology does play a role in your work... which psychologist have influenced you? What theories?

SM: The human condition is fascinating to me. This is what I mean by how I love people who speak from the heart. Human behavior and human passions - good and bad - are incredible. I am very interested in psychology but have never studied it.




BS: There also seems to be a feminist quality to some of your work in that they show the power that a Muslim woman can have over her own body. For example, in your self-portrait painting, Bananarama, you are dressed in traditional Muslim clothing. In your hand you hold a banana- which you are gently placing inside your mouth. This piece is obviously sexually suggestive... is this a charge for Muslim women to have the same sexual freedoms that women in western society have? Or is it simply meant to reveal desires that are sometimes hidden... or locked away by faith?

SM: The latter. More like desires or sins that are hidden. For example, when I was younger and I'd see a Muslim person wearing a headscarf I always used to think 'Wow they must be so good and religious'. But then I realized this isn't the case.
Just because you look the part doesn't mean you act the part. It doesn't make them a better Muslim than me. This is what my piece 'salat' is about. It's about the perception of Muslims and what makes a 'good' Muslim - those layers or truths that are hidden underneath.

BS: Your piece, Signs, also seems to have a feminist quality to it. The piece depicts three different versions of you: Traditional, Sexual, and Professional. These three images come together to demand questions about gender equality in the workforce and in society as a whole. You've mentioned that your work is mostly focused on the Muslim female experience. However, would you say that images like this set a universal message as to how women are seen within the context of society... and the challenges they face equally no matter what their background is? The fact that women are often held back due to their sex...

SM: Yes. When I thought up this work it was because I was thinking about how some men gain respect for just being men. Like an automatic advantage. It's like that in the Asian culture- the man is often treated like a king! But then I felt a little of this attitude was going on in art school- subconsciously.
I thought to myself 'if I want to be an artist, it would be much better if I was a man' - like this instant respect. And in this work I am acknowledging this. I know I am guilty of it too - most of my favorite people are men. It would be great to have a penis!




BS: One interesting aspect of your work is the fact that it deals with very serious issues in a humorous manner. Your conceptual ideas reveal a light-hearted and tongue-in-cheek approach that is very playful. Why do you think so many people miss the humor in your work?

SM: I think it's because they think I am taking the piss in a spiteful way, which I'm not. I just think humour is the ultimate way to make a point and that's why my work is very light hearted. But saying this I think it has to be an intelligent joke- not just prattling around for the sake of it. I like a clever joke that makes you think and that is what I aim to do.
One person wrote to me in a rage about my work and they didn't even realise I was Muslim. I have no respect for people like that because what's the point in taking the time to write to someone to insult them, but not take the time to first find out why I'm doing what I'm doing. Surely if it had offended them so much they would have clicked on my art statement to see what I had to say for myself.
That is the only case of complaint though, so far people have been so supportive of me which I really appreciate.



BS: Sarah, you are going to be exhibiting with the Saatchi Gallery, correct? I understand that you are one of 20 shortlisted students who have been invited to show work in an exhibition in London during the week of the Frieze Art Fair. Out of the 20, four winners will be selected to make a work of art in response to the theme: THE WORLD IN 25 YEARS. The show is sponsored by The Saatchi Gallery and Channel 4... it is called 4 New Sensations. Can you tell our readers how you found out that you had been selected as one of the 20? Also, if you end up being a finalist... what do you plan to do for the 'THE WORLD IN 25 YEARS' piece? Have you been mapping out what you will do... or are you just letting things ride for now, so to speak?

SM: Well I am very excited to tell you that I am one of the final four. I haven't been able to tell any local press etc yet because of various arrangements Saatchi have. But it's extremely exciting indeed.
My work is going to be a poster campaign - four posters in total. But I can't reveal anything until the work is done or it'll ruin the fun!


BS: Have you sought gallery representation yet?

SM: Not exactly. I'm talking to people but nothing has materialised just yet. It's very early on in my career and I want to agree on the right arrangement for me at this point.

BS: Finally, is there anything else you would like to say about your art or the artworld?

SM: It's all very 'mwah mwah lovely darling' isn't it! It's a shame I can't take advantage of all the free wine at private views!
Bork
Bork
I hope that you have enjoyed my interview with Sarah Maple. You can view more of Sarah's art by visiting her website: www.sarahmaple.com
Take care, Stay true,
Brian Sherwin





see also: This artist blows
http://www.redpepper.org.uk/This-artist-blows

Gallery attacked over 'insulting' artworks

By Arifa Akbar, Arts Correspondent

Thursday, 30 October 2008


A gallery showing inflammatory images of veiled Muslims, including a bare-breasted woman partially clad in a burqa, is under police surveillance after being attacked earlier this week.

Windows and doors at the SaLon Gallery in west London were smashed after a series of abusive, anonymous phone calls and angry protests about the images from Muslims. The gallery has complained to police.

The solo exhibition of paintings by Sarah Maple includes a veiled woman holding a pig, which is interpreted as a flagrant disregard of the Islamic ban on eating pork. The show – entitled "This Artist Blows" – also includes two self-portraits: one of Maple wearing a headscarf has an image of Kate Moss's naked breast attached to it; another shows Maple in a T-shirt bearing the slogan "I love jihad". In another, a veiled Muslim woman wears a badge that says "I love orgasms".

Last night, Maple, a 23-year-old of Kenyan and British parentage, defended her work, saying she had not meant to cause offence but to explore her Britishness and her Muslim faith. She voiced concern about her safety and said she hoped the exhibition of 39 pictures, which opened this month, would not be taken down before its official closing date of 23 November.

"I do think some people have just reacted to my work without thinking about the concepts behind it," she said. "I'm a practising Muslim and initially, when I started making the work, it was really personal, about my background with my father being British and my mother who is a Muslim and how I felt growing up. I was exploring the question of fusing those two together and whether it could be done."

Maple, from Sussex, has upset the Islamic world before. An exhibition by her earlier this year showed Muslim women in provocative poses, including one suggestively sucking on a banana. She won the Saatchi Prize last year for her self-portraits, some of which showed her in a headscarf smoking a cigarette. "People interpreted it as being related to sex, and that it was a post-sex light up," she said.

A spokeswoman for SaLon said the gallery in Bayswater, a part of London with a large Muslim population, was receiving about 12 abusive phone calls a day and emails condemning the show. Staff had to call police last week after an angry woman came in to complain. "She was in a full burqa and was irate and upset. Her behaviour was quite threatening," added the spokeswoman.

While some of Maple's paintings can be seen through the gallery's front window, the more controversial works are behind a curtain downstairs.

Mokhtar Badri, the vice-president of the Muslim Association of Britain, said that while he thought the exhibition provocative, he defended freedom of expression and condemned any violence inspired by the display. "I urged the gallery and the artist to respect the community in the area, but if Muslims see the work and dislike it, it is completely wrong to use any violent expression of that," he added.

Inayat Bunglawala, of the Muslim Council of Britain, agreed: "People may well have strong views on the use of Islamic imagery in Sarah Maple's exhibition. However, there can be no justification whatsoever for hooliganism of this sort or issuing threats."
http://www.independent.co.uk/arts-entertainment/art/news/gallery-attacked-over-insulting-artworks-978554.html

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Wilkins Ice Shelf under threat




Wilkins Ice Shelf under threat

Rifts on the Wilkins Ice Shelf


28 November 2008
New rifts have developed on the Wilkins Ice Shelf that could lead to the opening of the ice bridge that has been preventing the ice shelf from disintegrating and breaking away from the Antarctic Peninsula.

The ice bridge connects the Wilkins Ice Shelf to two islands, Charcot and Latady. As seen in the Envisat image above acquired on 26 November 2008, new rifts (denoted by colourful lines and dates of the events) have formed to the east of Latady Island and appear to be moving in a northerly direction.

Dr Angelika Humbert from the Institute of Geophysics, Münster University, and Dr Matthias Braun from the Center for Remote Sensing, University of Bonn, spotted the newly formed rifts during their daily monitoring activities of the ice sheet via Envisat Advanced Synthetic Aperture Radar (ASAR) acquisitions.

"These new rifts, which have joined previously existing rifts on the ice shelf (blue dotted line), threaten to break up the chunk of ice located beneath the 21 July date, which would cause the bridge to lose its stabilisation and collapse," Humbert explained. "These recent changes are happening slower and more continuously than the events we saw earlier this year."


Wilkins Ice Shelf

Wilkins Ice Shelf - 20-26 November
In February 2008 an area of about 400 km² broke off from the ice shelf, narrowing the ice bridge down to a 6 km strip. At the end of May 2008 an area of about 160 km² broke off, reducing the ice bridge to just 2.7 km. Between 30 May and 9 July 2008, the ice shelf experienced further disintegration and lost about 1 350 km².

The Wilkins Ice Shelf, a broad plate of floating ice south of South America on the Antarctic Peninsula, had been stable for most of the last century before it began retreating in the 1990s. The peninsula has been experiencing extraordinary warming in the past 50 years of 2.5°C.

If the ice shelf breaks away from the peninsula, it will not cause a rise in sea level since it is already floating. However, ice shelves on the Antarctic Peninsula are sandwiched by extraordinarily raising surface air temperatures and a warming ocean, making them important indicators for on-going climate change.

Long-term satellite monitoring over Antarctica is important because it provides authoritative evidence of trends and allows scientists to make predictions. Over the last 17 years, ESA’s ERS and Envisat satellite missions have been the main vehicles for testing and demonstrating the use of Earth Observation data in Polar Regions.


Break-ups of Larsen-B and Wilkins ice shelves



In the past 20 years, seven ice shelves along the Antarctic Peninsula have retreated or disintegrated, including the most spectacular break-up of the Larsen B Ice Shelf in 2002, which Envisat captured within days of its launch.

Envisat’s ASAR instrument is particularly suited to acquire images over Antarctica during the local winter period because it is able to produce high-quality images through bad weather and darkness, conditions often found in the area.

Daily ASAR images of Antarctica are easily accessible to scientists. ESA will publish an update about the status of the Wilkins Ice Shelf in the event of a break-up.

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2009/04/03



Type
Still Image
Title
Diagram Showing System of Finger Counting ca. 8th Century AD
Identifying Numbers
other number P4456
Dimensions
10 x 8 in.
Description
Black and white. Series of drawing showing hands (top section) and persons demonstrating finger counting. Image is dark and grainy. Verso: label with caption reads: "Title: Diagram showing system of finger counting." "Artist: anonymous" "Date: 8th Century AD' "Lent by: The Computer Museum, Boston, MA" "From the exhibition: Computers In Your Pocket: The History of Hand Held Calculators" "Photo credit: the Computer Museum, Boston, MA"
Category
Other: See Description
Subject
Calculators--History; Computer industry--History; Computers--History
Accession Number
102630685

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ARCTIC PERSPECTIVE INITIATIVE -Deadline:1st of July 2009





Call for proposals: Open Architecture Competition

ARCTIC PERSPECTIVE INITIATIVE
More Information:

http://www.artscatalyst.org/projects/global/arcticperspectives.html

(March 2009) HMKV (Germany), Projekt Atol (Slovenia), The Arts Catalyst (UK), LORNA (Iceland) and CTASC (Canada) announce a call for proposals for a Mobile Media-Centric Habitation and Work Unit, to be sited in the Arctic region. Proposals are invited from architects, designers, engineers, artists, students, and engineering teams. 9000 Euro in prize money available.

Deadline: 1 July 2009

DOWNLOAD OPEN ARCHITECTURE COMPETITION DETAILS HERE ...


Background

The cooperative project Arctic Perspective Initiative directs attention to the global cultural and ecological significance of the polar regions.

These are zones of contemporary geopolitical conflict and at the same time potential spaces for transnational and intercultural cooperation and collaboration. In view of the effects of climate change, the economic exploitation of untapped reservoirs of energy and natural resources in the polar regions is beginning to seem increasingly feasible.

By contrast, the cooperative project Arctic Perspective – Third Culture 2008-2010 emphasizes that the significance of the polar regions is not exclusively economic. Rather, the (inhabited) Arctic and the (uninhabited) Antarctic, as well as the radical cultural and ecological changes taking place at the North and South poles, are central to a critical understanding of the complex planetary system that involves a dynamic relationship between culture, economy, geopolitics, and ecology.

The partner organizations from five different countries – HMKV (Dortmund, Germany), The Arts Catalyst (London, Great Britain), Projekt Atol (Ljubljana, Slovenia), Lorna (Reykjavik, Iceland) und C-TASC (Montréal, Canada) – are working jointly on enhancing public awareness of the cultural and ecological significance of the Arctic. The project aims to bring closer to a wide audience the urgency of the problems emerging in the Arctic with particular clarity: the changing cultural landscape of the region, the potential for new intercultural dialogue, conflicting economic and territorial interests, ecological problems, climate change, and the effects of ecological changes on the life of the Inuit.

With the means of (media) art and interdisciplinary artistic research (“third culture”) the project examines the complex global cultural and ecological interrelations in the Arctic, develops concepts for the construction of sustainable tactical communication systems and infrastructure and sustainable art/science research stations aimed at the furthering of interdisciplinary and intercultural dialogue and cooperation. The jointly obtained results will be presented in the framework of European Capital of Culture RUHR.2010 as well as the international media-art conference ISEA 2010 RUHR.

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Alain Badiou - The Communist Hypothesis

ALAIN BADIOU
THE COMMUNIST HYPOTHESIS

http://www.newleftreview.org/?view=2705

There was a tangible sense of depression in the air in France in the aftermath of Sarkozy’s victory. [1] It is often said that unexpected blows are the worst, but expected ones sometimes prove debilitating in a different way. It can be oddly dispiriting when an election is won by the candidate who has led in the opinion polls from the start, just as when the favourite horse wins the race; anyone with the slightest feeling for a wager, a risk, an exception or a rupture would rather see an outsider upset the odds. Yet it could hardly have been the bare fact of Nicolas Sarkozy as President that seemed to come as such a disorientating blow to the French left in the aftermath of May 2007. Something else was at stake—some complex of factors for which ‘Sarkozy’ is merely a name. How should it be understood?

An initial factor was the way in which the outcome affirmed the manifest powerlessness of any genuinely emancipatory programme within the electoral system: preferences are duly recorded, in the passive manner of a seismograph, but the process is one that by its nature excludes any embodiments of dissenting political will. A second component of the left’s depressive disorientation after May 2007 was an overwhelming bout of historical nostalgia. The political order that emerged from World War Two in France—with its unambiguous referents of ‘left’ and ‘right’, and its consensus, shared by Gaullists and Communists alike, on the balance-sheet of the Occupation, Resistance and Liberation—has now collapsed. This is one reason for Sarkozy’s ostentatious dinners, yachting holidays and so on—a way of saying that the left no longer frightens anyone: Vivent les riches, and to hell with the poor. Understandably, this may fill the sincere souls of the left with nostalgia for the good old days—Mitterrand, De Gaulle, Marchais, even Chirac, Gaullism’s Brezhnev, who knew that to do nothing was the easiest way to let the system die.

Sarkozy has now finally finished off the cadaverous form of Gaullism over which Chirac presided. The Socialists’ collapse had already been anticipated in the rout of Jospin in the presidential elections of 2002 (and still more by the disastrous decision to embrace Chirac in the second round). The present decomposition of the Socialist Party, however, is not just a matter of its political poverty, apparent now for many years, nor of the actual size of the vote—47 per cent is not much worse than its other recent scores. Rather, the election of Sarkozy appears to have struck a blow to the entire symbolic structuring of French political life: the system of orientation itself has suffered a defeat. An important symptom of the resulting disorientation is the number of former Socialist placemen rushing to take up appointments under Sarkozy, the centre-left opinion-makers singing his praises; the rats have fled the sinking ship in impressive numbers. The underlying rationale is, of course, that of the single party: since all accept the logic of the existing capitalist order, market economy and so forth, why maintain the fiction of opposing parties?

A third component of the contemporary disorientation arose from the outcome of the electoral conflict itself. I have characterized the 2007 presidential elections—pitting Sarkozy against Royal—as the clash of two types of fear. The first is the fear felt by the privileged, alarmed that their position may be assailable. In France this manifests itself as fear of foreigners, workers, youth from the banlieue, Muslims, black Africans. Essentially conservative, it creates a longing for a protective master, even one who oppresses and impoverishes you further. The current embodiment of this figure is, of course, the over-stimulated police chief: Sarkozy. In electoral terms, this is contested not by a resounding affirmation of self-determining heterogeneity, but by the fear of this fear: a fear, too, of the cop figure, whom the petit-bourgeois socialist voter neither knows nor likes. This ‘fear of the fear’ is a secondary, derivative emotion, whose content—beyond the sentiment itself—is barely detectable; the Royal camp had no concept of any alliance with the excluded or oppressed; the most it could envisage was to reap the dubious benefits of fear. For both sides, a total consensus reigned on Palestine, Iran, Afghanistan (where French forces are fighting), Lebanon (ditto), Africa (swarming with French military ‘administrators’). Public discussion of alternatives on these issues was on neither party’s agenda.

The conflict between the primary fear and the ‘fear of the fear’ was settled in favour of the former. There was a visceral reflex in play here, very apparent in the faces of those partying over Sarkozy’s victory. For those in the grip of the ‘fear of the fear’ there was a corresponding negative reflex, flinching from the result: this was the third component of 2007’s depressive disorientation. We should not underestimate the role of what Althusser called the ‘ideological state apparatus’—increasingly through the media, with the press now playing a more sophisticated part than tv and radio—in formulating and mobilizing such collective sentiments. Within the electoral process there has, it seems, been a weakening of the real; a process even further advanced with regard to the secondary ‘fear of the fear’ than with the primitive, reactionary one. We react, after all, to a real situation, whereas the ‘fear of the fear’ merely takes fright at the scale of that reaction, and is thus at a still further remove from reality. The vacuity of this position manifested itself perfectly in the empty exaltations of Ségolène Royal.
Electoralism and the state

If we posit a definition of politics as ‘collective action, organized by certain principles, that aims to unfold the consequences of a new possibility which is currently repressed by the dominant order’, then we would have to conclude that the electoral mechanism is an essentially apolitical procedure. This can be seen in the gulf between the massive formal imperative to vote and the free-floating, if not non-existent nature of political or ideological convictions. It is good to vote, to give a form to my fears; but it is hard to believe that what I am voting for is a good thing in itself. This is not to say that the electoral-democratic system is repressive per se; rather, that the electoral process is incorporated into a state form, that of capitalo-parliamentarianism, appropriate for the maintenance of the established order, and consequently serves a conservative function. This creates a further feeling of powerlessness: if ordinary citizens have no handle on state decision-making save the vote, it is hard to see what way forward there could be for an emancipatory politics.

If the electoral mechanism is not a political but a state procedure, what does it achieve? Drawing on the lessons of 2007, one effect is to incorporate both the fear and the ‘fear of the fear’ into the state—to invest the state with these mass-subjective elements, the better to legitimate it as an object of fear in its own right, equipped for terror and coercion. For the world horizon of democracy is increasingly defined by war. The West is engaged on an expanding number of fronts: the maintenance of the existing order with its gigantic disparities has an irreducible military component; the duality of the worlds of rich and poor can only be sustained by force. This creates a particular dialectic of war and fear. Our governments explain that they are waging war abroad in order to protect us from it at home. If Western troops do not hunt down the terrorists in Afghanistan or Chechnya, they will come over here to organize the resentful rabble outcasts.
Strategic neo-Pétainism

In France, this alliance of fear and war has classically gone by the name of Pétainism. The mass ideology of Pétainism—responsible for its widespread success between 1940 and 1944—rested in part on the fear generated by the First World War: Marshal Pétain would protect France from the disastrous effects of the Second, by keeping well out of it. In the Marshal’s own words, it was necessary to be more afraid of war than of defeat. The vast majority of the French accepted the relative tranquillity of a consensual defeat and most got off fairly lightly during the War, compared to the Russians or even the English. The analogous project today is based on the belief that the French need simply to accept the laws of the us-led world model and all will be well: France will be protected from the disastrous effects of war and global disparity. This form of neo-Pétainism as a mass ideology is effectively on offer from both parties today. In what follows, I will argue that it is a key analytical element in understanding the disorientation that goes by the name of ‘Sarkozy’; to grasp the latter in its overall dimension, its historicity and intelligibility, requires us to go back to what I will call its Pétainist ‘transcendental’. [2]

I am not saying, of course, that circumstances today resemble the defeat of 1940, or that Sarkozy resembles Pétain. The point is a more formal one: that the unconscious national-historical roots of that which goes by the name of Sarkozy are to be found in this Pétainist configuration, in which the disorientation itself is solemnly enacted from the summit of the state, and presented as a historical turning-point. This matrix has been a recurring pattern in French history. It goes back to the Restoration of 1815 when a post-Revolutionary government, eagerly supported by émigrés and opportunists, was brought back in the foreigners’ baggage-train and declared, with the consent of a worn-out population, that it would restore public morality and order. In 1940, military defeat once again served as the context for the disorientating reversal of the real content of state action: the Vichy government spoke incessantly of the ‘nation’, yet was installed by the German Occupation; the most corrupt of oligarchs were to lead the country out of moral crisis; Pétain himself, an ageing general in the service of property, would be the embodiment of national rebirth.

Numerous aspects of this neo-Pétainist tradition are in evidence today. Typically, capitulation and servility are presented as invention and regeneration. These were central themes of Sarkozy’s campaign: the Mayor of Neuilly would transform the French economy and put the country back to work. The real content, of course, is a politics of continuous obedience to the demands of high finance, in the name of national renewal. A second characteristic is that of decline and ‘moral crisis’, which justifies the repressive measures taken in the name of regeneration. Morality is invoked, as so often, in place of politics and against any popular mobilization. Appeal is made instead to the virtues of hard work, discipline, the family: ‘merit should be rewarded’. This typical displacement of politics by morality has been prepared, from the 1970s ‘new philosophers’ onwards, by all who have laboured to ‘moralize’ historical judgement. The object is in reality political: to maintain that national decline has nothing to do with the high servants of capital but is the fault of certain ill-intentioned elements of the population—currently, foreign workers and young people from the banlieue.

A third characteristic of neo-Pétainism is the paradigmatic function of foreign experience. The example of correction always comes from abroad, from countries that have long overcome their moral crises. For Pétain, the shining examples were Mussolini’s Italy, Hitler’s Germany and Franco’s Spain: leaders who had put their countries back on their feet. The political aesthetic is that of imitation: like Plato’s demiurge, the state must shape society with its eyes fixed on foreign models. Today, of course, the examples are Bush’s America and Blair’s Britain.

A fourth characteristic is the notion that the source of the current crisis lies in a disastrous past event. For the proto-Pétainism of the 1815 Restoration, this was of course the Revolution and the beheading of the King. For Pétain himself in 1940 it was the Popular Front, the Blum government and above all the great strikes and factory occupations of 1936. The possessing classes far preferred the German Occupation to the fear which these disorders had provoked. For Sarkozy, the evils of May 68—forty years ago—have been constantly invoked as the cause of the current ‘crisis of values’. Neo-Pétainism provides a usefully simplified reading of history that links a negative event, generally with a working-class or popular structure, and a positive one, with a military or state structure, as a solution to the first. The arc between 1968 and 2007 can thus be offered as a source of legitimacy for the Sarkozy government, as the historic actor that will finally embark on the correction needed in the wake of the inaugural damaging event. Finally, there is the element of racism. Under Pétain this was brutally explicit: getting rid of the Jews. Today it is voiced in a more insinuating fashion: ‘we are not an inferior race’—the implication being, ‘unlike others’; ‘the true French need not doubt the legitimacy of their country’s actions’—in Algeria and elsewhere. In the light of these criteria, we can therefore point: the disorientation that goes by the name of ‘Sarkozy’ may be analysed as the latest manifestation of the Pétainist transcendental.
The spectre

At first sight there may seem something strange about the new President’s insistence that the solution to the country’s moral crisis, the goal of his ‘renewal’ process, was ‘to do away with May 68, once and for all’. Most of us were under the impression that it was long gone anyway. What is haunting the regime, under the name of May 68? We can only assume that it is the ‘spectre of communism’, in one of its last real manifestations. He would say (to give a Sarkozian prosopopoeia): ‘We refuse to be haunted by anything at all. It is not enough that empirical communism has disappeared. We want all possible forms of it banished. Even the hypothesis of communism—generic name of our defeat—must become unmentionable.’

What is the communist hypothesis? In its generic sense, given in its canonic Manifesto, ‘communist’ means, first, that the logic of class—the fundamental subordination of labour to a dominant class, the arrangement that has persisted since Antiquity—is not inevitable; it can be overcome. The communist hypothesis is that a different collective organization is practicable, one that will eliminate the inequality of wealth and even the division of labour. The private appropriation of massive fortunes and their transmission by inheritance will disappear. The existence of a coercive state, separate from civil society, will no longer appear a necessity: a long process of reorganization based on a free association of producers will see it withering away.

‘Communism’ as such denotes only this very general set of intellectual representations. It is what Kant called an Idea, with a regulatory function, rather than a programme. It is foolish to call such communist principles utopian; in the sense that I have defined them here they are intellectual patterns, always actualized in a different fashion. As a pure Idea of equality, the communist hypothesis has no doubt existed since the beginnings of the state. As soon as mass action opposes state coercion in the name of egalitarian justice, rudiments or fragments of the hypothesis start to appear. Popular revolts—the slaves led by Spartacus, the peasants led by Müntzer—might be identified as practical examples of this ‘communist invariant’. With the French Revolution, the communist hypothesis then inaugurates the epoch of political modernity.

What remains is to determine the point at which we now find ourselves in the history of the communist hypothesis. A fresco of the modern period would show two great sequences in its development, with a forty-year gap between them. The first is that of the setting in place of the communist hypothesis; the second, of preliminary attempts at its realization. The first sequence runs from the French Revolution to the Paris Commune; let us say, 1792 to 1871. It links the popular mass movement to the seizure of power, through the insurrectional overthrow of the existing order; this revolution will abolish the old forms of society and install ‘the community of equals’. In the course of the century, the formless popular movement made up of townsfolk, artisans and students came increasingly under the leadership of the working class. The sequence culminated in the striking novelty—and radical defeat—of the Paris Commune. For the Commune demonstrated both the extraordinary energy of this combination of popular movement, working-class leadership and armed insurrection, and its limits: the communards could neither establish the revolution on a national footing nor defend it against the foreign-backed forces of the counter-revolution.

The second sequence of the communist hypothesis runs from 1917 to 1976: from the Bolshevik Revolution to the end of the Cultural Revolution and the militant upsurge throughout the world during the years 1966–75. It was dominated by the question: how to win? How to hold out—unlike the Paris Commune—against the armed reaction of the possessing classes; how to organize the new power so as to protect it against the onslaught of its enemies? It was no longer a question of formulating and testing the communist hypothesis, but of realizing it: what the 19th century had dreamt, the 20th would accomplish. The obsession with victory, centred around questions of organization, found its principal expression in the ‘iron discipline’ of the communist party—the characteristic construction of the second sequence of the hypothesis. The party effectively solved the question inherited from the first sequence: the revolution prevailed, either through insurrection or prolonged popular war, in Russia, China, Czechoslovakia, Korea, Vietnam, Cuba, and succeeded in establishing a new order.

But the second sequence in turn created a further problem, which it could not solve using the methods it had developed in response to the problems of the first. The party had been an appropriate tool for the overthrow of weakened reactionary regimes, but it proved ill-adapted for the construction of the ‘dictatorship of the proletariat’ in the sense that Marx had intended—that is, a temporary state, organizing the transition to the non-state: its dialectical ‘withering away’. Instead, the party-state developed into a new form of authoritarianism. Some of these regimes made real strides in education, public health, the valorization of labour, and so on; and they provided an international constraint on the arrogance of the imperialist powers. However, the statist principle in itself proved corrupt and, in the long run, ineffective. Police coercion could not save the ‘socialist’ state from internal bureaucratic inertia; and within fifty years it was clear that it would never prevail in the ferocious competition imposed by its capitalist adversaries. The last great convulsions of the second sequence—the Cultural Revolution and May 68, in its broadest sense—can be understood as attempts to deal with the inadequacy of the party.
Interludes

Between the end of the first sequence and the beginning of the second there was a forty-year interval during which the communist hypothesis was declared to be untenable: the decades from 1871 to 1914 saw imperialism triumphant across the globe. Since the second sequence came to an end in the 1970s we have been in another such interval, with the adversary in the ascendant once more. What is at stake in these circumstances is the eventual opening of a new sequence of the communist hypothesis. But it is clear that this will not be—cannot be—the continuation of the second one. Marxism, the workers’ movement, mass democracy, Leninism, the party of the proletariat, the socialist state—all the inventions of the 20th century—are not really useful to us any more. At the theoretical level they certainly deserve further study and consideration; but at the level of practical politics they have become unworkable. The second sequence is over and it is pointless to try to restore it.

At this point, during an interval dominated by the enemy, when new experiments are tightly circumscribed, it is not possible to say with certainty what the character of the third sequence will be. But the general direction seems discernible: it will involve a new relation between the political movement and the level of the ideological—one that was prefigured in the expression ‘cultural revolution’ or in the May 68 notion of a ‘revolution of the mind’. We will still retain the theoretical and historical lessons that issued from the first sequence, and the centrality of victory that issued from the second. But the solution will be neither the formless, or multi-form, popular movement inspired by the intelligence of the multitude—as Negri and the alter-globalists believe—nor the renewed and democratized mass communist party, as some of the Trotskyists and Maoists hope. The (19th-century) movement and the (20th-century) party were specific modes of the communist hypothesis; it is no longer possible to return to them. Instead, after the negative experiences of the ‘socialist’ states and the ambiguous lessons of the Cultural Revolution and May 68, our task is to bring the communist hypothesis into existence in another mode, to help it emerge within new forms of political experience. This is why our work is so complicated, so experimental. We must focus on its conditions of existence, rather than just improving its methods. We need to re-install the communist hypothesis—the proposition that the subordination of labour to the dominant class is not inevitable—within the ideological sphere.

What might this involve? Experimentally, we might conceive of finding a point that would stand outside the temporality of the dominant order and what Lacan once called ‘the service of wealth’. Any point, so long as it is in formal opposition to such service, and offers the discipline of a universal truth. One such might be the declaration: ‘There is only one world’. What would this imply? Contemporary capitalism boasts, of course, that it has created a global order; its opponents too speak of ‘alter-globalization’. Essentially, they propose a definition of politics as a practical means of moving from the world as it is to the world as we would wish it to be. But does a single world of human subjects exist? The ‘one world’ of globalization is solely one of things—objects for sale—and monetary signs: the world market as foreseen by Marx. The overwhelming majority of the population have at best restricted access to this world. They are locked out, often literally so.

The fall of the Berlin Wall was supposed to signal the advent of the single world of freedom and democracy. Twenty years later, it is clear that the world’s wall has simply shifted: instead of separating East and West it now divides the rich capitalist North from the poor and devastated South. New walls are being constructed all over the world: between Palestinians and Israelis, between Mexico and the United States, between Africa and the Spanish enclaves, between the pleasures of wealth and the desires of the poor, whether they be peasants in villages or urban dwellers in favelas, banlieues, estates, hostels, squats and shantytowns. The price of the supposedly unified world of capital is the brutal division of human existence into regions separated by police dogs, bureaucratic controls, naval patrols, barbed wire and expulsions. The ‘problem of immigration’ is, in reality, the fact that the conditions faced by workers from other countries provide living proof that—in human terms—the ‘unified world’ of globalization is a sham.
A performative unity

The political problem, then, has to be reversed. We cannot start from an analytic agreement on the existence of the world and proceed to normative action with regard to its characteristics. The disagreement is not over qualities but over existence. Confronted with the artificial and murderous division of the world into two—a disjunction named by the very term, ‘the West’—we must affirm the existence of the single world right from the start, as axiom and principle. The simple phrase, ‘there is only one world’, is not an objective conclusion. It is performative: we are deciding that this is how it is for us. Faithful to this point, it is then a question of elucidating the consequences that follow from this simple declaration.

A first consequence is the recognition that all belong to the same world as myself: the African worker I see in the restaurant kitchen, the Moroccan I see digging a hole in the road, the veiled woman looking after children in a park. That is where we reverse the dominant idea of the world united by objects and signs, to make a unity in terms of living, acting beings, here and now. These people, different from me in terms of language, clothes, religion, food, education, exist exactly as I do myself; since they exist like me, I can discuss with them—and, as with anyone else, we can agree and disagree about things. But on the precondition that they and I exist in the same world.

At this point, the objection about cultural difference will be raised: ‘our’ world is made up of those who accept ‘our’ values—democracy, respect for women, human rights. Those whose culture is contrary to this are not really part of the same world; if they want to join it they have to share our values, to ‘integrate’. As Sarkozy put it: ‘If foreigners want to remain in France, they have to love France; otherwise, they should leave.’ But to place conditions is already to have abandoned the principle, ‘there is only one world of living men and women’. It may be said that we need to take the laws of each country into account. Indeed; but a law does not set a precondition for belonging to the world. It is simply a provisional rule that exists in a particular region of the single world. And no one is asked to love a law, simply to obey it. The single world of living women and men may well have laws; what it cannot have is subjective or ‘cultural’ preconditions for existence within it—to demand that you have to be like everyone else. The single world is precisely the place where an unlimited set of differences exist. Philosophically, far from casting doubt on the unity of the world, these differences are its principle of existence.

The question then arises whether anything governs these unlimited differences. There may well be only one world, but does that mean that being French, or a Moroccan living in France, or Muslim in a country of Christian traditions, is nothing? Or should we see the persistence of such identities as an obstacle? The simplest definition of ‘identity’ is the series of characteristics and properties by which an individual or a group recognizes itself as its ‘self’. But what is this ‘self’? It is that which, across all the characteristic properties of identity, remains more or less invariant. It is possible, then, to say that an identity is the ensemble of properties that support an invariance. For example, the identity of an artist is that by which the invariance of his or her style can be recognized; homosexual identity is composed of everything bound up with the invariance of the possible object of desire; the identity of a foreign community in a country is that by which membership of this community can be recognized: language, gestures, dress, dietary habits, etc.

Defined in this way, by invariants, identity is doubly related to difference: on the one hand, identity is that which is different from the rest; on the other, it is that which does not become different, which is invariant. The affirmation of identity has two further aspects. The first form is negative. It consists of desperately maintaining that I am not the other. This is often indispensable, in the face of authoritarian demands for integration, for example. The Moroccan worker will forcefully affirm that his traditions and customs are not those of the petty-bourgeois European; he will even reinforce the characteristics of his religious or customary identity. The second involves the immanent development of identity within a new situation—rather like Nietzsche’s famous maxim, ‘become what you are’. The Moroccan worker does not abandon that which constitutes his individual identity, whether socially or in the family; but he will gradually adapt all this, in a creative fashion, to the place in which he finds himself. He will thus invent what he is—a Moroccan worker in Paris—not through any internal rupture, but by an expansion of identity.

The political consequences of the axiom, ‘there is only one world’, will work to consolidate what is universal in identities. An example—a local experiment—would be a meeting held recently in Paris, where undocumented workers and French nationals came together to demand the abolition of persecutory laws, police raids and expulsions; to demand that foreign workers be recognized simply in terms of their presence: that no one is illegal; all demands that are very natural for people who are basically in the same existential situation—people of the same world.
Time and courage

‘In such great misfortune, what remains to you?’ Corneille’s Medea is asked by her confidante. ‘Myself! Myself, I say, and it is enough’, comes the reply. What Medea retains is the courage to decide her own fate; and courage, I would suggest, is the principal virtue in face of the disorientation of our own times. Lacan also raises the issue in discussing the analytical cure for depressive debility: should this not end in grand dialectical discussions on courage and justice, on the model of Plato’s dialogues? In the famous ‘Dialogue on Courage’, General Laches, questioned by Socrates, replies: ‘Courage is when I see the enemy and run towards him to engage him in a fight.’ Socrates is not particularly satisfied with this, of course, and gently takes the General to task: ‘It’s a good example of courage, but an example is not a definition.’ Running the same risks as General Laches, I will give my definition.

First, I would retain the status of courage as a virtue—that is, not an innate disposition, but something that constructs itself, and which one constructs, in practice. Courage, then, is the virtue which manifests itself through endurance in the impossible. This is not simply a matter of a momentary encounter with the impossible: that would be heroism, not courage. Heroism has always been represented not as a virtue but as a posture: as the moment when one turns to meet the impossible face to face. The virtue of courage constructs itself through endurance within the impossible; time is its raw material. What takes courage is to operate in terms of a different durée to that imposed by the law of the world. The point we are seeking must be one that can connect to another order of time. Those imprisoned within the temporality assigned us by the dominant order will always be prone to exclaim, as so many Socialist Party henchmen have done, ‘Twelve years of Chirac, and now we have to wait for another round of elections. Seventeen years; perhaps twenty-two; a whole lifetime!’ At best, they will become depressed and disorientated; at worst, rats.

In many respects we are closer today to the questions of the 19th century than to the revolutionary history of the 20th. A wide variety of 19th-century phenomena are reappearing: vast zones of poverty, widening inequalities, politics dissolved into the ‘service of wealth’, the nihilism of large sections of the young, the servility of much of the intelligentsia; the cramped, besieged experimentalism of a few groups seeking ways to express the communist hypothesis . . . Which is no doubt why, as in the 19th century, it is not the victory of the hypothesis which is at stake today, but the conditions of its existence. This is our task, during the reactionary interlude that now prevails: through the combination of thought processes—always global, or universal, in character—and political experience, always local or singular, yet transmissible, to renew the existence of the communist hypothesis, in our consciousness and on the ground.


[1] This is an edited extract from De quoi Sarkozy est-il le nom?, Circonstances, 4, Nouvelles Editions Lignes, Paris 2007; to be published in English by Verso as What Do We Mean When We Say ‘Sarkozy’? in 2008.

[2] See my Logiques des mondes, Paris 2006 for a full development of the concept of ‘transcendentals’ and their function, which is to govern the order of appearance of multiplicities within a world.

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2009/04/02

A Return to Communism?

G20 protests London 2009




A Return to Communism?
Mark Fisher

Events

Towards the beginning of his paper at last weekend’s ‘On the Idea of Communism’ conference at the Birkbeck Institute for the Humanities, self-described ‘anomalous sociologist’ Alberto Toscano cited the Observer’s recent review of The Meaning Of Sarkozy (2009) by Alain Badiou: ‘[W]hen he quotes Mao approvingly, and equivocates over the rights and wrongs of the Cultural Revolution,’ the review went, ‘it is hard not to feel a certain pride in workaday Anglo-Saxon empiricism, which inoculates us against the tyranny of pure political abstraction.’ Perhaps the inoculation isn’t as powerful as the reviewer hoped; the article goes on to admit that Badiou’s book is ‘strangely compelling’. In any case, it is an odd time to take a pride in ‘Anglo-Saxon empiricism’, since it is the unreflective, plain-speaking commonsense on which the British commentariat pride themselves that has led to the UK falling prey to the tyranny of another kind of abstraction, that of finance capital.

As you would expect, the current financial crisis was a subject that kept recurring at the three-day conference, and indeed may have partly accounted for the immense popularity of the event, which had to be changed to a larger venue because the level of interest was so high. But more than one speaker warned that it will take more than the crisis to undermine capitalism. As Slavoj Žižek rightly insisted, the dominant narrative of the crisis – whereby the excesses of particular capitalists are blamed, rather than the capitalist system itself – will only enable people to continue to sleep in the guise of waking up. Is it time for a return to communism? And, if so, to which idea of communism must we turn?

‘On the Idea of Communism’ was about Alain Badiou’s idea of communism. Badiou doggedly kept faith with the concept of communism at a time, after 1989, when it was both pronounced dead and criminalized , identified with the totalitarianism that a triumphalist liberal capitalism defined itself against. The key reference points for Badiou’s anti-statist version of communism are Jean-Jacques Rousseau, the Jacobins and the Chinese Cultural Revolution. The most obvious absence from this list is Karl Marx, and Badiou’s interjection in the closing discussion (see clip below) confirmed that he rejects the idea – fundamental to Marx – that the economic and the political are indivisible. For Badiou, the political must always hold itself at a principled distance from the economic. But is ‘communism’ the best name for Badiou’s egalitarian and emancipatory philosophy? And does the word ‘communism’ have any further political viability?


The two speakers who most emphatically answered ‘no’ to this second question were sociology professor Alessandro Russo and writer Judith Balso. Russo argued that the collapse of the Soviet bloc at the end of the ‘80s had its roots in the Cultural Revolution of the ‘60s – a revolution that had might have had its epicentre in China, but which actually was manifested worldwide. The problem is that the co-ordinates of this discussion – party-state versus political organization – were set long ago and seem to have little relevance to the current situation. Balso’s model of the ‘state’ was so exorbitant – it included ‘opinion’ – as to encompass anything of which she disapproves. Certainly, Balso is right to highlight the way in which, far from retreating in late capitalism, the state is becoming increasingly authoritarian, with repressive measures against immigrants a particularly nasty expression of this tendency; after the bank bail-outs, though, it is surely clearer than ever that the state is at the whims of global capital.


Terry Eagleton was the only British-born speaker at the conference, and he prefaced his embarrassingly lightweight musings with a sarcastic reference to the fact that, as ‘a mere Anglo-Saxon’, he was honoured to be among such company. Hopelessly out of his depth on a panel with Badiou and Jacques Rancière, Eagleton’s smug presentation, which used familiar Shakespeare references to make the hackneyed point that true communism would be about aristrocratic languor rather than worker-toil, suggested that the UK’s university system is as decadent as its broadsheet media. Shamelessly playing to the middlebrow gallery, offering theory-sceptics an emollient antidote to theoretical abstraction, the implicit message of Eagleton’s presentation was clear: no need to think, no need to bother your heads with all this difficult French stuff.

The difference between Eagleton and the likes of Badiou, Rancière and Antonio Negri was evident in body language and mode of delivery as much as in the content of what they said. In their different ways, Negri and Žižek had the gestural animation of the militant intellectual rather than the complacent posturings of the career academic.


Žižek’s presentation at the conference eclipsed that of Badiou, his ostensible master. It was necessary to begin again, Žižek said – echoing Badiou’s call to rediscover ‘the communist hypothesis’ as if for the first time. Badiou remains a scalding and bracing critic of the present managerialist restoration of power and privilege, but it is difficult to be confident that he is orientated towards thinking the future. By contrast, Žižek’s focus, like that of Negri and Michael Hardt, was very much on how current (apocalyptic) conditions – ecological catastrophe, the crisis of private property brought about by digitization, the impact on human identity of neuroscience and genetic engineering – may lead to new possibilities. Žižek is ready to affirm the emancipatory potentials brought by science-fictional capital’s liquidation of territories and identities. If what most of the conference speakers still wanted to call ‘communism’ is to be achieved, it will require nothing less than the construction of a new type of human being. (Something that this conference, with its punitively long sessions, also seemed to demand: maintaining concentration through three 45-minute papers in a row exceeds the tolerances of the human organism.) As Toscano and Hardt made clear, concepts such as equality and the abolition of property only appear to be self-evident; in fact they are at the moment only dimly thinkable. Theory, in its destruction of the very ‘workaday Anglo Saxon empiricism’ which treats private property and commodities as natural and transparent concepts, must play a role in the construction of this new collective subject.

Mark Fisher

Mark Fisher is a writer based in Kent. His blog can be found at http://k-punk.abstractdynamics.org/, and his book, Capitalist Realism, will be published by Zer0 later this year.

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