Serres & Nakamoto: Organic Economics
Connections between both Michel Serres’ ‘theorization’ of organisms as a series of interlocking boxes and Satoshi Nakamoto’s vision of a decentralized blockchain-based economy (Bitcoin)
It is not a unique black box, but a series of interlocking boxes; and this series is the organism, the body. Each level of information functions as an unconscious for the global level bordering it…What remains unknown and unconscious is, at the chain’s furthermost limit, the din of energy transformations: this must be so, for the din is by definition stripped of all meaning, like a set of pure signals or aleatory movements. – Michel Serres, The Origin of Language
The solution we propose [To the double-spending problem] begins with a timestamp server. A timestamp server works by taking a hash of a block of items to be timestamped and widely publishing the hash, such as in a newspaper or Usenet post [2-5]. The timestamp proves that the data must have existed at the time, obviously, in order to get into the hash. Each timestamp includes the previous timestamp inits hash, forming a chain, with each additional timestamp reinforcing the ones before it. – Nakamoto, Bitcoin: A Peer-to-Peer Electronic Cash System
Serres here writing in 1982 – 26 years prior to Nakamoto’s publication – notices the inherent capabilities and integration of a ‘blockchain’ (or in Serres’ example interlocking boxes) system within consciousness and notably communication. If we are to very roughly fuse both visions, that a single ‘block’ from Nakamoto’s economic system, makes as much sense as a single box from Serres’ series, both are pieces of information disconnected from the whole which makes sense of them. Much alike Serres’ series wherein that which remains at the chain’s furthermost limit is unknown and unconscious, what remains at the furthermost limit of Nakamoto’s blockchain is the distant memory of a proven transaction.
What is there Serres’ conception of an organism e.g. a system, from the blockchain: A globalized, ever-growing, decentralized ledger. Both systematically receiving, exchanging and storing information. However, here’s the part that really interests me:
Serres’ organism as systems retrieve information, but ultimately decipher the signal from the noise (as noted with ‘tiny perceptions’), that is, organisms actively deduce from the chaos of the interlocking boxes that which they need, yet at all times all those boxes and links are needed. I don’t need to feel the weight of my arm, texture and temperature of the can before and whilst I take a sip, yet they are there and always will be. “Organization, per se, as system and homeorhesis, functions precisely as a converter of time.” So it is from this “bouquet of times” we pick our signals.
So what of Nakamoto’s system, which in the same way as Serres’ is related to time, that is as Nick Land states:
“…the claim being made, but the claim being made here is that the blockchain is Post-Spacetime and that means that we are not Post-Kantian. We are not Post-Kantian because the Kantian Transcendental Aesthetic is not disrupted by Einstein spacetime, instead, it is the draft it is the blueprint, it is the precursor for the spacetime of the blockchain which has now been instantiated by the Bitcoin technology. So we have now artificial absolute time for the first time ever in human history.”
A goliath claim to be sure, yet what of its possibility. For if artificial absolute time is a reality and any form of Post-Kantian time is now impossible, this means that Serres’ “bouquet of times” or ‘bouquet of succession’ or successive experiences etc. become locked in, they become interlocked truths which cannot be altered, but can be looked back upon, in and of. One could (when the technology gets to this stage…it’s close) travel down the infinitesimal succession of times and perceptions they previously missed. So Serres’ unconscious is entirely deconstructed, his system of “mobile material points distributed in space and governed by a law” becomes a horrific, or emancipatory (in terms of economics) reality, and that “law” is cryptographically locked moments in time, cryptographic truths decentralized and available to all.
So in short: The utilization of the ‘blockchain’ (Bitcoin protocol/blockchain technology) as an extension of the ‘natural’ organic system, itself a series of interlocking boxes; either an abstract connection between the organic and mechanic via capital, or a material connection via acknowledgment/perception of ‘purchase/consuming’.
Note: The fact they both immensely dislike centralization was the thing that caused me to notice their connection.
HÄXAN (1922), I could write about this film for a little too long to be quite honest, in fact a re-watch to analyize any single aspect of the film wouldn’t go a miss. This film is the epitome of ‘ahead of its time’. So much so, one wonders whether or not Haxan is some strange found object, as if film was transported back in time and is used in place of a skull during a satanic ritual.
This film embodies superstition, the documentary format is throw into scripture…ancient, forgotten, esoteric, myth comes alive and takes no human prisoners, rooms and lives are awash with literal, viral madness. Nunneries follow insanity, and the Nuns the devil. ‘The Devil Takes Many Forms’ in a general motto to hold onto throughout the film, whether it be gold pieces strewn over the floor, demonic pigs on their hind legs, witch-trials, torture, hate, suspicion, paranoia and more enters into a hellish stew of burning theo-historical documentary madness…from 1922. On a practical note, the cinematography isn’t necessarily sublime, but it is merticulous, everything framed, the costume design and ‘special effects’ (for what those words are worth in 1922) are all on par with that one would see 50 even 60 years later, it feels as if the film is both a debt and sacrifice to an unknown ancient being.
Keaton’s Our Hospitality (1923) isn’t my humour, I mean the 21st century’s cynicism and rorny have ruined my innocence for slapstick comedy, thus a lot of Keaton’s antics seem simply immature now.
Keaton’s Sherlock Jr (1924) is fantastic, the running length helps I must admit, 40 minutes of cut-to-the-chase humour works well, his control of flow is superb and I get this feeling that in comparison to Chaplin he’s not as artsy fartsy…the stunts also are grand.
Listen, I’m not some Rotten Tomatoes rate-everything-pre-1950-highly schmuck, thus, Chaplin’s A Woman of Paris is dull, I mean really dull, at no point did I give a shit about any high society antics, which seemed to exist in a feedback loop, perhaps that was the point, I don’t know, I’m none the wiser.
I can’t find a good enough version of Greed (1924). Also want to read McTeague prior to viewing.
Strike (1925), my first Eisenstein, and boy was I blown away. It’s blindingly obvious to me now which techniques filmmakers owe Eisenstein for. Precisely for the fact his use of montage and quick cuts are/is so well done it becomes near impossible to believe anyone else except this director could have invented such a technique. It’s glaring how this could very easily effect a down-and-out worker, or group of workers, how such a viral and infectious strain of perfectly paced cinema could crawl into the heart of a group and grow outwards, the fuel of utopian dreams. Eisenstein clearly marks the movement from objective reality, towards the forece of the subjective vision, Eisenstein’s utilization or proto-utilization/invention of montage as a means to sway how the viewer views the film is a technique heavily debated (André Bazin), yet without these early political subjective perspectives would Lynch exist, would a film be able to dig its claws as deep. Without Eisenstein’s political montage Lynch’s maggots would cease to exist.