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Cessation and Inaction Externe - Gertrude Stein and Marcel Ducham
Cessation and Inaction Externe - Gertrude Stein and Marcel Ducham
Cessation and Inaction Externe - Gertrude Stein and Marcel Ducham
Chapter Title: Cessation and inaction externe: Gertrude Stein and Marcel Duchamp
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access to The Labour of Laziness in Twentieth-Century American Literature
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PART II
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CHAPTER 3
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148 / The Labour of Laziness
The residual and the emergent elements may partake of the same
cultural space-time – of the same distribution of the sensible, as
Rancière would have it – but the element of the emergent will
always be quite distinct. Not as a form of ‘silence’, ‘absence’ or ‘the
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Cessation and inaction externe / 149
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150 / The Labour of Laziness
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Cessation and inaction externe / 151
Modernist Vitalocentrism
Before we get there, however, let me recap the official story.
Modernism, the standard interpretation goes, was an era of unprec-
edented, almost feverish embracing of the Bergsonian élan vital,
the galloping, creative life-force, of machinic motion, action and
velocity. Technological advancements of the late nineteenth and
early twentieth centuries, revolution in urban architecture, the rise
of photography and cinema, and the libidinal hermeneutics brought
about by the psychoanalytic theories of Sigmund Freud, to name
only the most general influences, all furnished a sublimely complex
mode of perceptivity that reiterated and amplified the Baudelairean
aesthetics of hyperpneic panting. The dominating mode of sensibil-
ity in modernism was still the Romantic mode of the restless, shock-
driven flâneur, who as Walter Benjamin reminds us, has no time for
passive contemplation and lives instead in the constant state of ‘vig-
ilant consciousness’ to an overabundance of stimuli.10 It is difficult
to deny that the sensibility of vibrant stimulation, or as Baudelaire
called it, the sense of ‘vertigo’ to the point of madness, structures
the tone as well as the logic of early modernist manifestos.11
Unstoppable motion and restless energy clearly dominate the
poetics of Filippo Marinetti’s ‘Manifesto of Futurism’ of 1909 and
his Tactilist Manifesto of 1921. Describing for the first time the
founding of Futurism to the readers of the French newspaper Le
Figaro, Marinetti pictures this vertiginous atmosphere in a way that
symptomatises the vitalocentric aspect of modernist sensibility:
And just as there is no room for rest or sleep at the first Futurist
meeting, there is no room for stasis in the style of Marinetti’s
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152 / The Labour of Laziness
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Cessation and inaction externe / 153
goes on, but my ultimate business as an artist was not with where
the car goes as it goes but with the movement inside that is of the
essence of its going’, her words express in a nutshell the vitalist
idea about life as powered by some physical-as-well-as-psychic,
materialised yet interiorised animate force.17 In that sense, pro-
gressive as Stein’s idea of an engine seems to be, it strongly draws
on philosophical vitalism, which is anything but a revolutionary
philosophical trend.
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154 / The Labour of Laziness
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Cessation and inaction externe / 155
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156 / The Labour of Laziness
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Cessation and inaction externe / 157
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158 / The Labour of Laziness
text Stein says: ‘there is something about what has been written
having been printed which makes it no longer the property of
the one who wrote it . . . one has no identity that is when one is
in the act of doing anything’.30 A creative act is thus opposed to a
deliberate action controlled by an identity. Identity is linked to the
conscious labour of actualisation in the poetic act; it is a mere put-
ting to work of a faculty that has ‘nothing to do’ with true creation.
Creation is all about identity’s withdrawal as well as the withdrawal
of labour. Contrary to the common understanding of creative pro-
cesses, the relation between ‘the act of creation’ and ‘the subject
the creator uses to create that thing’ is established via suspension
of power, as the creator withholds operative control over his piece.
Stein quotes Pablo Picasso on capturing this idea when he said he
didn’t care who or what influenced him in the act as long it was not
himself, which for Stein means that creation goes only so far as one
is able to suspend one’s control over one’s skilful hand and arrest
one’s identity. There is, then, in the artistic act a radical resistance
to the self and all of its talents and abilities, which is also a manner
of their conservation in the poetic act. And it is precisely in the act
of suspension-while-creating, the strange gesture of impotence, that
Stein locates her notion of a masterpiece.31
Arguing for the coexistence of creation and resistance within
faculty during the creation of a work of art, Agamben explains that
the link between the idea of suspending power to control the act
and resistance can be traced to the etymology of the word. From
the Latin sistere (a root that resistance shares with assistance), ‘to
resist’ means to arrest, to restrain something, as well as to stand
still. It is in this very literal sense (a sense reminiscent of Lafargue’s
Andalusian and the body elastic like a rod of steel in its indomita-
bility), Agamben argues, that resistance is built into the structure of
an artistic act. Picasso’s Les Demoiselles d’Avignon of 1907, from this
perspective, represents the suspension, an arresting of a certain way
of seeing and a certain kind of brushwork at the same time as it is
also the exposition of that vision and gesture.
In the scheme of inoperativity, it is not enough to possess the
creative ability to deliver masterpieces, because the question of
whether they will be works of mastery or mere products of labour
depends on how the artist passes through what Agamben calls ‘the
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Cessation and inaction externe / 159
It is awfully difficult, action is direct and effective but after all action is
necessary and anything that is necessary has to do with human nature
and not with the human mind. Therefore a master-piece has essentially not
to be necessary, it has to be that is it has to exist but it does not have to be
necessary it is not in response to necessity as action is because the minute it is
necessary it has in it no possibility of going on [my emphasis].33
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160 / The Labour of Laziness
It is not the way Hamlet reacts to his father’s ghost that makes the
master-piece, he might have reacted according to Shakespeare in a dozen
other ways and everybody would have been as much impressed by the
psychology of it. But there is no psychology in it, that is not probably the
way any young man would react to the ghost of his father and there is no
particular reason why they should. If it were the way a young man could
react to the ghost of his father then that would be something anybody in
any village would know they could talk about it talk about it endlessly but
that would not make a master-piece and that brings us once more back to
the subject of identity.37
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Cessation and inaction externe / 161
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162 / The Labour of Laziness
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Cessation and inaction externe / 163
In 1913 Duchamp jotted a note to himself: ‘Can one make works which
are not works of “art”?’ Can one make something that has no function,
that performs no work, that is not beholden to a purpose, even that of art?
Something not beholden to leisure either? In such a formulation, art and
play exist in an analogously tenuous realm of (im)possibility.51
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164 / The Labour of Laziness
existence, to deny the category of ‘I’, at least the form familiar to bourgeois
capitalism.52
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Cessation and inaction externe / 165
Notes
1. John Barth, The Literature of Exhaustion and the Literature of Replenishment
(Northridge, CA: Lord John Press, 1982), 64.
2. Raymond Williams, Marxism and Literature (Oxford: Oxford University Press,
1977), 122.
3. Ibid., 122.
4. Ibid., 126.
5. Ibid., 126.
6. Ibid., 122.
7. Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of Art (London:
Verso, 2013).
8. See Bertrand Russell, In Praise of Idleness and Other Essays (New York: Routledge,
2004) and Siegfried Kracauer and Thomas Y. Levin, The Mass Ornament: Weimar
Essays (Cambridge, MA: Harvard University Press, 1995).
9. F. T. Marinetti, ‘Tactilism (1921)’, in Futurism: An Anthology, ed. Lawrence
Rainey, Christine Poggi and Laura Wittman (New Haven, CT: Yale University
Press, 2009), 265.
10. Walter Benjamin, The Writer of Modern Life: Essays on Charles Baudelaire
(Cambridge, MA: Harvard University Press, 2006), 176.
11. Charles Baudelaire, ‘On the Essence of Laughter and, in General, on the Comic
in the Plastic Arts’ (1846), in The Painter of Modern Life and Other Essays, trans.
Jonathan Mayne (London: Phaidon, 1965).
12. F. T. Marinetti, ‘The Founding and Manifesto of Futurism (1909)’, in Rainey et
al. (eds), Futurism: An Anthology, 49.
13. Ibid., 52.
14. Ibid., 51.
15. Mina Loy, ‘Feminist Manifesto’, in Postmodern American Fiction: A Norton
Anthology, ed. Paula Geyh, Fred G. Leebron and Andrew Levy (New York: W.W.
Norton, 1998), 1502–5; Ezra Pound, ‘A Retrospect’ (1914), in Geyh et al. (eds),
Postmodern American Fiction: A Norton Anthology, 1506–7; Nina Colosi, ‘The
Antennae of the Race’, Leonardo 35.5 (2002), 579; Willa Cather, ‘The Novel
Démeublé’, in Not Under Forty (New York: Knopf, 1922), 43–51.
16. Juliana Chow, ‘Motion Studies: Vitalism in Gertrude Stein’s Work’, Arizona
Quarterly: A Journal of American Literature, Culture, and Theory 69.4 (2013),
77–109.
17. Ibid., 78.
18. Ibid., 78–9. Chow references here Bruno Latour’s problematisation of ani-
mateness and inanimateness in nature and technology in We Have Never Been
Modern, trans. Catherine Porter (Cambridge, MA: Harvard University Press,
1993), but another useful reference, because related to the history of techno-
logical revolution and its violation of the Aristotelian concept of anima distri-
bution, could be Bernard Stiegler’s Technics and Time: The Fault of Epimetheus,
trans. George Collins and Richard Beardsworth (Stanford: Stanford University
Press, 1998), which I discuss in the context of modernist fascination with
technology in Zuzanna Ladyga, ‘Technophobia and Technophilia in American
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166 / The Labour of Laziness
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Cessation and inaction externe / 167
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