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Superconversations Day 84: Tom McGlynn responds to McKenzie Wark, "The Vectoralist Class"


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SUPERCONVERSATIONS DAY 84: TOM MCGLYNN RESPONDS TO MCKENZIE WARK, “THE VECTORALIST CLASS

#Actually Something Worse: History Cannot Be Imagined

Badiou’s Hand, Photograph by Tom McGlynn.

For my response to McKenzie Wark’s essay, “ The Vectoralist Class”, I decided to do a form of détournement in order to break open what I sense to be the hieratic syntactical structure of the essay a bit and reconfigure aspects of it in a not exactly random operation, keeping the perhaps more discursive voice of a distracted reader in mind. All of the text of my response is taken from Wark’s essay. Extracting information in this way from a highly constructed text, I intend to affectively comment on, yet not be deterministically alloyed to the text. A question the process might raise is: How can one conceive of addressing any imagined class that has as its radical purpose a seemingly-perpetual repositioning of lines of interest in order to most effectively capitalize on, or even “monetize” free thought?

Sometimes, Sometimes, Sometimes, Sometimes. Such, Such, such, theories abstract abstract abstract abstract abstract abstract abstract shifting landscape of people and things thrives by extracting surplus information. But as interest it claims it’s share, processed easily into complex patterns: material strata, efficiently channeled.

Labor at the processing:

Capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist capitalist powers:

Capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalism capitalist capitalism capitalism capitalism capitalism capitalism capitalism

In sum then, in many instances the key class is then constrained and channeled and gradually became essentially a set of fully private property rights: patents, copyrights and brands. The labor at the processing site becomes difficult. Under what conditions could it be said perhaps there’s more? Historical fables of the information society, this was the underside, to route flows of materials around potential blockages. It eventually undoes the the the the the the the the the historical tendency, rebranded as disruption.

The the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the
the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the
the the the the the the the the the the the the the the the the the the the the the the the the
the the the the the the the the the the the the the the the the the the the the the the the the
the the the the the the the the the the the the the the the the the the the the the the the the
the the the the the the the the the the the the the the the the the the the the the the the the

the grand historical story of as pretty much everyone is now agreed. We’re all moving parts within this same eternal machine in true theological fashion. When it was fashionable to argue with collapse, this seemed no longer the basic, unmodified of past, and so new adjectival flavors had to be conjured up to explain its strange appearances. Information wants to be free only artificially scarce. A certain quality, a PLANETARY SCALE

Capital Capital Capital capital capital capital capital.

Substrate becomes abstract

I read as a failed attempt. It rarely means owns of production anymore. I read as a failed attempt, through unequal exchanges of information. To curtail the power of a rising vector, but mostly by trying to gain access to information, them selves for to control. If firm doing processing demands too much in profits, switch to another. Even among those who have paid close attention to differences, vaporized into a new, rather more gaseous state, historical change is a matter, which is in fixed supply.


Tom McGlynn is a New York based artist, critic, and independent curator whose work is represented in MoMA and the Whitney Museum.