Journal articles on the topic 'Deitch Projects'

Media Lab Asia (MLA) has been incepted in 2001 with the collaboration of MIT Media Lab and Department of Electronics & Information Technology (DEITY), Government of India. It is working on the paradigm of collaborative research from the lab to land in developing and operationalizing technologies to bridge the gap through educating, equipping and empowering common man. MLA is working in four sectors: livelihood, healthcare, empowerment of the disabled and education. MLA is successful in collaborating with Research & Development (R&D) organizations, institutions in Government, Non-Governmental Organizations (NGOs), academia and industry. A long list of collaborators of MLA includes 59 partner agencies. MLA role, however, had confined to provide funding to the partner agencies. The collaborative organization develops product, tests and launches the projects. The reach of the project touches major states in India. eGalla, Chic, mDhanwanthari, and Sehat-Saathi are some of the projects developed by MLA and collaborators. eGalla is a retail management software, and Chic is developed to simplify the traditional craft for livelihood generation. mDhanwanthari and Sehat-Saathi are based on healthcare to rural communities. MLA has developed 75 projects since its inception. The projects have reached the beneficiary but lack in scale and commercialization. The parameter of success for MLA includes the potential for commercialization of the products or projects and self-sustaining mechanism of the impact of these products and projects. There are not many obligations for commercial success being a Section 25 company; however, a self-sustaining mechanism was critical. DEITY, the parent organization, has sought external support to develop a new business model to overcome the limitation.

In this article, Sona Hoisington focuses on the evolution of the project for the Palace of Soviets and its metamorphoses during the four stages of the competition (1931-33) and after. Rather than interpreting the project as the repudiation of modernist architecture, as many scholars have done, Hoisington argues that the design evolved from the modern and functional to the eclectic and monumental. Drawing on archival materials, she demonstrates that this change came about gradually and in a contradictory fashion. Hoisington shows how the Palace of Soviets acquired mythic significance, becoming a symbol of Soviet might and determination to overtake America and a temple to the revolution and its deity, Vladimir Lenin. In conclusion, she argues that the evolution of the Palace of Soviets encapsulates the changing models in the Soviet Union of the 1930s.

This paper examines two cases of Zhuang religious revival involving multiple actors. It shows how consideration of “superstition” ([Formula: see text], mixin) places some religious practice outside the institutional framework when discussing the modern concept of religion in China. In this paper, I particularly focus on two main dimensions of religious revival among the Zhuang people. The first is a grassroots dimension that involves the revival of a so-called “superstitious” cult in which Zhuang people along the Sino-Vietnamese border carry out shamanic rituals to make offerings to a powerful chief-turned-deity, Nong Zhigao, and his wife. The second dimension is a top-down dynamic and involves a series of projects conducted by Zhuang officials, scholars and business persons, which aim to standardize a Zhuang religion, known as Mo religion. These two cases of religious revival demonstrate the varied strategies utilized by different actors in response to government policies regarding religion in China.

Jewell Parker Rhodes’s Bayou Magic (2015), written in the wake of the 2010 BP oil spill, deliberates the special problem of talking to children about oil. How does one tackle the subject of oil when addressing young people? How are children enabled to participate in discourses on petroleum? The novel also reveals a dilemma: the resource that we associate with comfort and progress actually contaminates, wounds, and lays waste to natural and human ecosystems. Caught in the mucky conundrum of oil, Bayou Magic reveals the challenges of talking to children about oil and oil catastrophes. In striving to meet the expectation that children’s fiction should offer a hopeful, if not happy, ending, Bayou Magic resorts to a resolution that “contains” the oil spill but sidesteps the problem of our persisting dependence on oil. But the novel’s allusion to the African deity Mami Wata is significant, as the figure connects the oppression of Black peoples to the exploitation of natural resources. As such, the novel uses fantastical elements not to imply that only something magical or divine can save us from disaster; rather, it signals that projects of environmental justice require openness to and embrace of radically imaginative solutions.

The acts of even the godsHave ends beyond their intent.John Rawls stands in a small pantheon of writers whose ideas have shaped the vocabularies of their age. Like a classical deity, his work has been invoked by disciple and dissenter alike as the essential totem of the modern liberal state. But his Promethean creation has grown independent from its original design, attaining significance not only for its initial merits but also for the competition it offers to the plan of its creator. So from the stage of Rawlsian liberal neutrality stalks the idea of legal perfectionism.Legal perfectionism is the doctrine according to which officials may adopt and enforce laws according to the officials’ understanding of a good life, with the intended practical effect that people governed by such laws will lead better lives. In other words, legal perfectionism broadly enshrines the notion, sometime unpopular among Western theorists, that the government has, or should have, the power to reflect ideas of good and evil—the content of the good life or of good projects or of excellence—in framing the laws. While related both to older ideas of human perfection and perfectibility and to perennial concepts of virtue and morality, legal perfectionism has developed a distinct, modern meaning.

Abstract How can visual texts, closed books, and painted images work together in Buddhist temples to reinforce one another and act upon viewers? The fourteenth-century murals at the Tibetan temple of Shalu integrate pictures with long passages of Tibetan texts and select inscriptions that explain the powers of seeing paintings. The murals combine and mix media—books, paintings, cloth—into expressive wholes that ultimately argue that walls are in fact much more than walls. The paintings find ways to make the temple's book collections more accessible. Here we find a public art effort that weaves together a compelling argument for why religious texts and religious art both “work” for and on their audiences. Shalu was a grandly expanded temple showing off its resources and its connections in a broader cosmopolitan sphere of production and exchange. Its walls were designed to weave media together, finding ways to celebrate and explain larger and newer corporate productions (book projects, larger monasteries). An intentional play of materiality (clay, cloth, book) emphasized by the inscriptions and performed in the pictorial compositions assists in the imaginative act of directly seeing deities, while also playing with the awareness that acts of imagination entail the play of just-like/seeing-as. Since neither clay nor cloth nor word on their own are adequate vessels for representing an enlightened being, here they collaborate with each other and with viewers in the imaginative act, promising that the deity, like the teachings, can be directly experienced.

This article argues that the Qur'ān seeks to place its modality of revelation within the oracle of Arabia and recognizes it as a valid “form” of revelation. It inducts its medium of revelation within the familiar apparatus of the pagan divination institution by tapping into the realm of supra-rationality while, simultaneously, making a radical shift at the doctrinal level. The Qur'ānic oracle speaks for one universal God as opposed to a tribal deity, pantheon of gods, or an anthropomorphized divinity that partakes of humanity. The article seeks to work with the core Islamic concept of revelation in dialogue with the notion of the Word of God in a semantic slash historical context. The inquiry glances at the historical presentation of what Islam warrants as a rationale of revelation by maintaining a propositional and qualitative distinction from the pagan oracle. It projects the dialectics of quality versus quantity and principle versus form rather than undertaking a complete break with the existing metaphysical and epistemological cosmos. Such a claim of external guidance, from the above, as laid by all three Semitic religions is, inherently, based upon, and rooted within the source of a higher realm attributed to the divinity. Islam’s hierarchy of being and non-being revolves around an essential Being, the one true God, as a theological necessity, whereas all contingency, the creation including mankind, is granted existence in the sanctuary of the divine will that takes place through God’s grace. The will of God, Logos, defines the relationship between the necessity and the contingency in the self-consciousness of the Qur'ān.

Scholars of Yorùbá literary criticism have not done much in the area of disability studies; therefore, there is a paucity of critical works on the representation of people with disability in Yorùbá novels. This study intended to fill the gap. The objectives of the study, therefore, were to examine the representation of fictional characters with disabilities in Oͅládèͅjoͅ Òkédìjí’s crime novels particularly Bínú ti rí and Àgbàlagbà Akàn; assess the message of the novelist, and the implications of those representations for the society within the social and charity models of disability theory. The findings of the study showed that Òkédìjí represents the blind and cognitively impaired persons in a positive manner through his modes of projected characterization. He identifies with the plights of a person with a disability, they are mostly victims of poverty, hunger, and crimes in the Post-colonial Nigerian society; and treats all the fictional characters with dignity and honor in line with Yorùbá thoughts and beliefs. Òkédìjí rejects through his characterization technique and use of proverbs, the insidious kind of social categorization and stigmatization that carry with it a ‘devalued status’ for disabled people prevalent in the modern time as against the Yorùbá culture which regards those living with disability as ‘Eͅni-Òrìsà’ (offspring of the deity). The paper concluded that the message of the novelist about people with disabilities is that disability is not an element of inability; there is ability in disability if society projects a positive image of people with disabilities.

The article reconstructs the cultural conditions of the possibility of theology as a specific intellectual practice. The author proceeds from the understanding of the divine as non-anthropic, that is, beyond the control of man, but at the same time exerting an irresistible influence on him. In this context, the divine appears as unintelligible, which casts doubt on the project of theology as a form of cognition of the divine. However, despite this, in the ancient Greek Poleis, the divine becomes the subject of theology as a contemplative practice; it is the contemplative attitude to the deity that allows making the divine an object of cognition. A contemplative attitude to the divine has accompanied theology throughout its history. However, it is supplemented by a practical (liturgical) attitude. The secularization of Western European culture led to the separation of theology from religious practice. In modern times, there is a specific form of theology (crypto-theology) that allows thinking about the divine and its attributes, regardless of the experience of communion with God. Besides, extra-institutional theology is being formed, free from dogmatic restrictions and even a kind of amateurish theology, whose representatives did not have special, "school" training. All these transformations eventually led to the crisis of theology and the decline of its influence. At the same time, at the beginning of the XIX century, there were conditions for the emergence of a "modern theology" that responds to the challenges of secularism. In the second half of the twentieth century, the topic and problems of modern theology were also influenced by the programs of "overcoming metaphysics" (M. Heidegger) and "deconstruction" (J. Derrida). Modern theology basically positions itself as post-metaphysical and generates more or less radical projects of phenomenological theology (J.-L. Marion, J. Manoussakis) and negative theology (J. Derrida).

Digital India is the result of numerous advancements and innovative headways. These change the lives of individuals from numerous points of view and will engage the general public in a superior way. The 'Digital India' program, an activity of respectable Prime Minister Mr. Narendra Modi, will emerge new movements in each part and creates inventive attempts for geNext. The thought process behind the idea is to construct participative, straightforward and responsive framework. The Digital India drive is a fantasy undertaking of the Indian Government to redesign India into a learned economy and carefully engaged society, with great administration for nationals by bringing synchronization also, co-appointment out in the open responsibility, carefully interfacing and conveying the government projects and administrations to activate the ability of data innovation crosswise over government divisions. Today, every country needs to be completely digitalized and this program endeavours to give rise to profit to the client and specialist co-op. Henceforth, an endeavour has been made in this paper to comprehend Digital India – as a crusade where advancements and network will meet up to have an effect on all parts of administration and enhance the personal satisfaction of nationals. Digital India is a program to convert India in to a digitally empowered society ,and knowledge economy. It is an ambitious program of Government of India projected Rs. 1, 13000 crores. This project is delivering good governance to people and coordinated with both State and Central Government. All government services are available to the people electronically. This program will be implemented with the help of electronics and information technology department (DeitY).All States and Territories will get the benefits. Digital India infrastructure will provide high speed secure internet, Governance and services on demand. All the services are available through online, so it increases the speed of work and reduces the time. It will provide digital literacy to all people in India and availability of resources and services in Indian languages. The implementation of digital India from 2015-2018.

The history of environmental protection begins with human civilization. Many measures are being taken to protect the environment in India since ancient times. Sun, the source of energy, was considered a deity and life-giving rivers were considered goddesses. Trees, plants and animals are worshiped in Indian culture. All these combined activities emphasize environmental protection. The pace of economic development, however, harmed the environment. Currency was invented. Banks developed gradually. There was a change in the form of banks. Along with public banks, private banks also started working in the economy. Commercial banks accept deposits and provide loans. When commercial banks provide money to schemes for the protection of green projects, it is believed that commercial banks are also performing the sacred task of environmental protection. The role of commercial banks in environmental protection has increased in the present times. Abstract in Hindi Language: पर्यावरण संरक्षण का इतिहास मानव सभ्यता से शुरू होता है। भारत में प्राचीन काल से ही पर्यावरण की रक्षा के लिये अनेक उपाय किए जा रहे है। ऊर्जा के श्रोत सूर्य को देवता तथा जीवनदायिनी नदियों को देवी माना गया। भारतीय संस्कृति में पेड़ पौधे व पशुओं की पूजा की जाती है। ये सभी सम्मिलित क्रिया कलाप पर्यावरण संरक्षण को बल देते है। आर्थिक विकास की गति ने यद्यपि पर्यावरण को हानि पहुचाई। मुद्रा का अविष्कार हुआ। धीरे-धीरे बैंको का विकास हुआ। बैंको के स्वरूप मंे परिवर्तन हुआ। सार्वजनिक बैंको के साथ-साथ अर्थव्यवस्था में निजी बैंके भी कार्य करने लगी। वाणिज्य बैंके जमा स्वीकार करती है और ऋण प्रदान करती है। जब वाणिज्य बैंके हरित परियोजनाआंे के संरक्षण वाली योजनाओं को मुद्रा प्रदान करती है तो यह माना जाता है कि वाणिज्य बैंके भी पर्यावरण संरक्षण के पवित्र कार्य को सम्पादित कर रही है। पर्यावरण संरक्षण में वाणिज्यक बैंको की भूमिका वर्तमान समय में बढ़ गयी है। Keywords: वाणिज्य बैंक, पर्यावरण संरक्षण, हरित परियोजनाएं, ग्रीन बैंकिंग।

The Old Testament projects not only a Deity that created the world and human beings but also one that is violent and male. The debate on the depiction of the God of Israel that is violent and male is far from being exhausted in Old Testament studies. Thus, the main question posed in this article is: If re-read as ‘Humans created God in their image’, would Genesis 1:27 account for the portrayal of a Deity that is male and violent? Feuerbach’s idea of anthropomorphic projectionism and Guthrie’s view of religion as anthropomorphism come to mind here. This article therefore examines, firstly, human conceptualisation of a divine being within the framework of the theory of anthropomorphic projectionism. Because many a theologian and philosopher would deny that God is a being at all, we further investigate whether the God of Israel was a theological and social construction during the history of ancient Israel. In the end, we conclude, based on the theory of anthropomorphic projectionism, that the idea that the God of Israel was a theological and social construct accounts for the depiction of a Deity that is male and violent in the Old Testament.

Abstract A meta-theology makes claims about the structure of theological claims: it identifies a single, fundamental claim about God, and shows how other theological claims are derivable from the fundamental claim. In his book Depicting Deity and other articles, Jon Kvanvig has identified three distinct meta-theologies: Creator Theology, Perfect Being Theology, and Worship-worthiness Theology. In this article, we argue that the medieval Islamic philosopher Avicenna's views about God have the structure of a meta-theology, and that it is distinct from the three projects Kvanvig identifies. This view is Necessary Existent Theology.

In my investigation, I analyse aspects of Mary Wollstonecraft’s thought regarding the traditional education of women, her programme of education, the question of women’s rights, and the condition of women. I moreover investigate Mary Wollstonecraft’s proposal of new theological foundations for religious belief. Mary Wollstonecraft aims to propose a revolution in female manners. Her revolution is a revolution of minds: she aims to reach a complete reform in the education and the formation of individuals, in general, and of women, in particular. Mary Wollstonecraft’s revolution is a revolution for the spiritual independence of individuals. To reach the condition of independence, traditional education ought to be criticised and refused since traditional education is the system through which women are transformed into dependent entities. Power over oneself, liberation from passions, and autonomy of judgment are the main targets of Mary Wollstonecraft’s programme of education. The correct foundation of the individual ought to be reason. Mary Wollstonecraft proves to be a deeply religious thinker: she steadily connects the promotion of the dignity of mankind to a new way of worship of Deity. The centrality of reason profoundly influences her theological assumptions: Mary Wollstonecraft refuses all forms of reverence based on blind submission to God. The main texts of my inquiry are A Vindication of the Rights of Woman and A Vindication of the Rights of Men.

Resumo: A efetivação da Constituição subscreve-se como um dever paulatino a cargo de todos os leitores e agentes do Estado Democrático de Direito. Do Poder Público, em especial, o dever de efetivação, mais do que um compromisso assumido no passado, é a garantia da leitura democrática. Noutras palavras, o projeto constitucional se entrelaça com o próprio projeto democrático. Uma das garantias do implemento democrático é justamente a garantia de que o projeto constitucional se mostrará eficaz. Desta forma, ultrapassada a vertente meramente aplicadora da lei, típica da concepção liberal, quando o Judiciário emerge como criador do Direito, em um aspecto interpretacionista, o faz em nome da democracia e em nome de uma Constituição que se inscreveu no tempo, mas que requer uma constante releitura. Mais do que isso: uma releitura que marque o equilíbrio entre o momento instituinte e suas pedras angulares e a promessa de um futuro dinâmico. Neste momento, surge a discussão acerca dos limites da interpretação, ou, melhor dizendo, acerca do liame que separa a interpretação criadora da criação interpretativa, assim como o modo técnico-racional utilizado pelo Judiciário para realizar o princípio democrático. Quais os pontos de partida e chegada para que a leitura constitucional não seja nem tão presa a um estado imutável pretérito e nem tão acentuada a ponto de alterar totalmente a promessa realizada? O presente artigo deita-se no propósito de discutir essa relação entre o tempo, a democracia e o projeto constitucional a partir da leitura que deles fazemos e das lições de François Ost. Em termos metodológicos, trata-se de pesquisa eminentemente bibliográfica e jurisprudencial. Abstract: The implementation of the Constitution subscribes as a gradual duty on behalf of all readers and agents of the Democratic State of Law. Of the Public Power, in particular, the duty of effectiveness, more than a commitment assumed reading. In other words, the constitutional project intertwines with the democratic project itself. The guarantee of democratic implementation is precisely the guarantee that the constitutional project will prove effective. In this way, when the judicial branch emerges as the creator of law, in an interpretational aspect, it does so in the name of democracy and in the name of a constitution that has been inscribed in time, but requires constant re-eading. More than that: a re-reading that marks the balance between the instituting moment and its cornerstones and the promise of a dynamic future. At this point, the discussion about the limits of interpretation, or, rather, about the line that separates interpretative creation and creative interpretation as well as the technical-rational way used by the Judiciary to fulfill the democratic principle. What are the points of departure and arrival so that the constitutional reading is not so much attached to an unchanging past and not so accentuated as to totally change the promise made? The present article has the purpose of discussing this relationship among time, democracy and the constitutional project through our reading we of them and the lessons of François Ost. In methodological terms, this is an eminently bibliographical and jurisprudential research.

Creators and Creation Creation is a troubling word today, because it suggests an impossible act, indeed a miracle: the formation of something out of nothing. Today we no longer believe in miracles, yet we see all around us myriad acts which we routinely define as creative. Here, I am not referring to the artistic performances and works of gifted individuals, which have their own genealogy of creativity in the lineages of Western art. Rather, I am referring to the small, personal events that we see within the mediated spaces of the everyday (on the television screen, in magazines and newspapers) where lives are suddenly changed for the better through the consumption of products designed to fulfil our personal desires. In this paper, I want to explore the implications of thinking about everyday creativity as a modern cultural form. I want to suggest that not only is such an impossible possibility possible, but that its meaning has been at the centre of the desire to name, to gain status from, and to market the products of modern industrialisation. Furthermore I want to suggest that beyond any question of marketing rhetoric, we need to attend to this desire as the ghost of a certain kind of immanence which has haunted modernity and its projects from the very beginning, linking the great thoughts of modern philosophy with the lowliest products of modern life. Immanence, Purity and the Cogito In Descartes' famous Discourse on Method, the author-narrator (let's call him Descartes) recounts how he came about the idea of the thinking self or cogito, as the foundation of worldly knowledge: And so because sometimes our senses deceive us, I made up my mind to suppose that they always did. . . . I resolved to pretend that everything that had ever entered my mind was as false as the figments of my dreams. But then as I strove to think of everything false, I realized that, in the very act of thinking everything false, I was aware of myself as something real. (60-61) These well known lines are, of course, the beginnings of a remarkable philosophical enterprise, reaching forward to Husserl and beyond, in which the external world is bracketed, all the better to know it in the name of reason. Through an act of pretence ("I resolved to pretend"), Descartes disavows the external world as the source of certain knowledge, and, turning to the only thing left: the thought of himself—"I was aware of myself as something real"—makes his famous declaration, "I think therefore I am". But what precisely characterises this thinking being, destined to become the cogito of all modernity? Is it purely this act of self-reflection?: Then, from reflecting on the fact that I had doubts, and that consequently my existence was not wholly perfect, it occurred to me to enquire how I learned to think of something more perfect than myself, and it became evident to me that it must be through some nature which was in fact more perfect. (62) Descartes has another thought that "occurred to me" almost at the same moment that he becomes aware of his own thinking self. This second thought makes him aware that the cogito is not complete, requiring yet a further thought, that of a perfection drawn from something "more perfect than myself". The creation of the cogito does not occur, as we might have first surmised, within its own space of self-reflection, but becomes lodged within what might be called, following Deleuze and Guattari, a "plane of immanence" coming from the outside: "The plane of immanence is . . . an outside more distant than any external world because it is an inside deeper than any internal world: it is immanence" (59). Here we are left with a puzzling question: what of this immanence that made him aware of his own imperfection at the very moment of the cogito's inception? Can this immanence be explained away by Descartes' appeal to God as a state of perfection? Or is it the very material upon which the cogito is brought into existence, shaping it towards perfection? We are forced to admit that, irrespective of the source of this perfection, the cogito requires something from the outside which, paradoxically, is already on the inside, in order to create itself as a pure form. Following the contours of Descartes' own writing, we cannot account for modernity purely in terms of self-reflection, if, in the very act of its self-creation, the modern subject is shot through with immanence that comes from the outside. Rather what we must do is describe the various forms this immanence takes. Although there is no necessary link between immanence and perfection (that is, one does not logically depend on the other as its necessary cause) their articulation nevertheless produces something (the cogito for instance). Furthermore, this something is always characterised as a creation. In its modern form, creation is a form of immanence within materiality—a virtualisation of material actuality, that produces idealised states, such as God, freedom, reason, uniqueness, originality, love and perfection. As Bruno Latour has argued, the "modern critical stance" creates unique, pure objects, by purging the material "networks" from which they are formed, of their impurities (11-12). Immanence is characterised by a process of sifting and purification which brings modern objects into existence: "the plane of immanence . . . acts like a sieve" (Deleuze and Guattari 42). The nation, the state, the family, the autonomous subject, and the work of art—all of these are modern when their 'material' is purged of impurities by an immanence that 'comes from the outside' yet is somehow intrinsic to the material itself. As Zygmunt Bauman points out, the modern nation exists by virtue of a capacity to convert strangers into citizens; by purging itself of impurities inhabiting it from within but coming from the outside (63). The modern work of art is created by purging itself of the vulgarities and impurities of everyday life (Berman 30); by reducing its contingent and coincidental elements to a geometrical, punctual or serialised form. The modern nuclear family is created by converting the community-based connections between relatives and friends into a single, internally consistent self-reproducing organism. All of these examples require us to think of creativity as an act which brings something new into existence from within a material base that must be purged and disavowed, but which, simultaneously, must also be retained as its point of departure that it never really leaves. Immanence should not be equated with essence, if by essence we mean a substratum of materiality inherent in things; a quality or quiddity to which all things can be reduced. Rather, immanence is the process whereby things appear as they are to others, thereby forming themselves into 'objects' with certain identifiable characteristics. Immanence draws the 'I' and the 'we' into relations of subjectivity to the objects thus produced. Immanence is not in things; it is the thing's condition of objectivity in a material, spatial and temporal sense; its 'becoming object' before it can be 'perceived' by a subject. As Merleau-Ponty has beautifully argued, seeing as a bodily effect necessarily comes before perception as an inner ownership (Merleau-Ponty 3-14). Since immanence always comes from elsewhere, no intensive scrutiny of the object in itself will bring it to light. But since immanence is already inside the object from the moment of its inception, no amount of examination of its contextual conditions—the social, cultural, economic, institutional and authorial conditions under which the object was created—will bring us any closer to it. Rather, immanence can only be 'seen' (if this is the right word) in terms of the objects it creates. We should stop seeking immanence as a characteristic of objects considered in themselves, and rather see it in terms of a virtual field or plane, in which objects appear, positioned in a transversally related way. This field does not exist transcendentally to the objects, like some overarching principle of order, but as a radically exteriorised stratum of 'immaterial materiality' with a specific image-content, capable of linking objects together as a series of creations, all with the stamp of their own originality, individuality and uniqueness, yet all bound together by a common set of image relations (Deleuze 34-35). If, as Foucault argues, modern objects emerge in a "field of exteriority"—a complex web of discursive interrelations, with contingent rather than necessary connections to one another (Foucault 45)—then it should be possible to map the connections between these objects in terms of the "schema of correspondence" (74) detected in the multiplicities thrown up by the regularities of modern production and consumption. Commodities and Created Objects We can extend the idea of creation to include not only aesthetic acts and their objects, but also the commodity-products of modern industrialisation. Let's begin by plunging straight into the archive, where we might find traces of these small modern miracles. An illustrated advertisement for 'Hudson's Extract of Soap' appeared in the Illustrated Sydney News, on Saturday February 22nd, 1888. The illustration shows a young woman with a washing basket under her arm, standing beside a sign posted to a wall, which reads 'Remarkable Disappearance of all Dirt from Everything by using Hudson's Extract of Soap' (see Figure 1). The woman has her head turned towards the poster, as if reading it. Beneath these words, is another set of words offering a reward: 'Reward !!! Purity, Health, Perfection, Satisfaction. By its regular daily use'. Here we are confronted with a remarkable proposition: soap does not make things clean, rather it makes dirt disappear. Soap purifies things by making their impurities disappear. The claim made applies to 'everything', drawing attention to a desire for a certain state of perfection, exemplified by the pure body, cleansed of dirt and filth. The pure exists in potentia as a perfect state of being, realised by the purgation of impurities. Fig 1: Hudson's Soap. Illustrated Sydney News, on Saturday February 22nd, 1888 Here we might be tempted to trace the motivation of this advertisement to a concern in the nineteenth century for a morally purged, purified body, regulated according to bourgeois values of health, respectability and decorum. As Catherine Gallagher has pointed out, the body in the nineteenth century was at the centre of a sick society requiring "constant flushing, draining, and excising of various deleterious elements" (Gallagher 90). But this is only half the story. The advertisement offers a certain image of purity; an image which exceeds the immediate rhetorical force associated with selling a product, one which cannot be simply reduced to its contexts of use. The image of perfection in the Hudson's soap advertisement belongs to a network of images spread across a far-flung field; a network in which we can 'see' perfection as a material immanence embodied in things. In modernity, commodities are created objects par excellence, which, in their very ordinariness, bear with them an immanence, binding consumers together into consumer formations. Each act of consumption is not simply driven by necessity and need, but by a desire for self-transformation, embodied in the commodity itself. Indeed, self-transformation becomes one of the main creative processes in what Marshal Berman has identified as the "third" phase of modernity, where, paraphrasing Nietzsche, "modern mankind found itself in the midst of a great absence and emptiness of values and yet, at the same time, a remarkable abundance of possibilities" (Berman 21). Commodification shifts human desire away from the thought of the other as a transcendental reality remote from the senses, and onto a future oriented material plane, in which the self is capable of becoming an other in a tangible, specific way (Massumi 35 ff.). By the end of the nineteenth century, commodities had become associated with scenarios of self-transformation embedded in human desire, which then began to shape the needs of society itself. Consumer formations are not autonomous realms; they are transversally located within and across social strata. This is because commodities bear with them an immanence which always exceeds their context of production and consumption, spreading across vast cultural terrains. An individual consumer is thus subject to two forces: the force of production that positions her within the social strata as a member of a class or social grouping, and the force of consumption that draws her away from, or indeed, further into a social positioning. While the consumption of commodities remained bound to ideologies relating to the formation of class in terms of a bourgeois moral order, as it was in Britain, America and Europe throughout the nineteenth century, then the discontinuity between social strata and cultural formation was felt in terms of the possibility of self-transformation by moving up a class. In the nineteenth century, working class families flocked to the new photographic studios to have their portraits taken, emulating the frozen moral rectitude of the ideal bourgeois type, or scrimped and saved to purchase parlour pianos and other such cultural paraphernalia, thereby signalling a certain kind of leisured freedom from the grind of work (Sekula 8). But when the desire for self-transformation starts to outstrip the ideological closure of class; that is, when the 'reality' of commodities starts to overwhelm the social reality of those who make them, then desire itself takes on an autonomy, which can then be attached to multiple images of the other, expressed in imaginary scenarios of escape, freedom, success and hyper-experience. This kind of free-floating desire has now become a major trigger for transformations in consumer formations, linked to visual technologies where images behave like quasi-autonomous beings. The emergence of these images can be traced back at least to the mid-nineteenth century where products of industrialisation were transformed into commodities freely available as spectacles within the public spaces of exhibitions and in mass advertising in the press, for instance in the Great Exhibition of 1851 held at London's Crystal Palace (Richards 28 ff.) Here we see the beginnings of a new kind of object-image dislocated from the utility of the product, with its own exchange value and logic of dispersal. Bataille's notion of symbolic exchange can help explain the logic of dispersal inherent in commodities. For Bataille, capitalism involves both production utility and sumptuary expenditure, where the latter is not simply a calculated version of the former (Bataille 120 ff.) Sumptuary expenditure is a discharge of an excess, and not a drawing in of demand to match the needs of supply. Consumption thus has a certain 'uncontrolled' element embedded in it, which always moves beyond the machinations of market logic. Under these conditions, the commodity image always exceeds production and use, taking on a life of its own, charged with desire. In the late nineteenth century, the convergence of photography and cartes-de-visites released a certain scopophilic desire in the form of postcard pornography, which eventually migrated to the modern forms of advertising and public visual imagery that we see today. According to Suren Lalvani, the "onset of scopophilia" in modern society is directly attributable to the convergence of photographic technology and erotic display in the nineteenth century (Lalvani). In modern consumer cultures, desire does not lag behind need, but enters into the cycle of production and consumption from the outside, where it becomes its driving force. In this way, modern consumer cultures transform themselves by ecstasis (literally, by standing outside oneself) when the body becomes virtualised into its other. Here, the desire for self-transformation embodied in the act of consumption intertwines with, and eventually redefines, the social positioning of the subject. Indeed the 'laws' of capital and labour where each person or family group is assigned a place and regime of duties, are constantly undone and redefined by the superfluity of consumption, gradually gathering pace throughout the nineteenth and twentieth centuries. These tremendous changes operating throughout all capitalist consumer cultures for some time, do not occur in a calculated way, as if controlled by the forces of production alone. Rather, they occur through myriad acts of self-transformation, operating transversally, linking consumer to consumer within what I have defined earlier as a field of immanence. Here, the laws of supply and demand are inadequate to predict the logic of this operation; they only describe the effects of consumption after desire has been spent. Or, to put this another way, they misread desire as need, thereby transcribing the primary force of consumption into a secondary component of the production/labour cycle. This error is made by Humphrey McQueen in his recent book The Essence of Capitalism: the origins of our future (2001). In chapter 8, McQueen examines the logic of the consumer market through a critique of the marketeer's own notion of desire, embodied in the "sovereign consumer", making rational choices. Here desire is reduced back to a question of calculated demand, situated within the production/consumption cycle. McQueen leaves himself no room to manoeuvre outside this cycle; there is no way to see beyond the capitalist cycle of supply/demand which accelerates across ever-increasing horizons. To avoid this error, desire needs to be seen as immanent to the production/consumption cycle; as produced by it, yet superfluous to its operations. We need therefore to situate ourselves not on the side of production, but in the superfluity of consumption in order to recognise the transformational triggers that characterise modern consumer cultures, and their effects on the social order. In order to understand the creative impulse in modernity today, we need to come to grips with the mystery of consumption, where the thing consumed operates on the consumer in both a material and an immaterial way. This mystification of the commodity was, of course, well noted by Marx: A commodity is . . . a mysterious thing, simply because in it the social character of men's labour appears to them as an objective character stamped upon the product of that labour; because the relation of the producers to the sum total of their own labour is presented to them as a social relation, existing not between themselves, but between the products of their labour. (Marx 43, my emphasis) When commodities take on such a powerful force that their very presence starts to drive and shape the social relations that have given rise to them; that is, when desire replaces need as the shaping force of societies, then we are obliged to redefine the commodity and its relation to the subject. Under these conditions, the mystery of the commodity is no longer something to be dispelled in order to retrieve the real relation between labour and capital, but becomes the means whereby "men's labour" is actually shaped and formed as a specific mode of production. Eric Alliez and Michel Feher (1987) point out that in capitalism "the subjection framework which defines the wage relation has penetrated society to such an extent that we can now speak not only of the formal subsumption of labor by capital but of the actual or 'real' subsumption by capital of society as a whole" (345). In post-Fordist economic contexts, individuals' relation to capital is no longer based on subjection but incorporation: "space is subsumed under a time entirely permeated by capital. In so doing, they [neo-Fordist strategies] also instigate a regime in which individuals are less subject to than incorporated by capital" (346). In societies dominated by the subjection of workers to capital, the commodity's exchange value is linked strongly to the classed position of the worker, consolidating his interests within the shadow of a bourgeois moral order. But where the worker is incorporated into capital, his 'real' social relations go with him, making it difficult to see how they can be separated from the commodities he produces and which he also consumes at leisure: "If the capitalist relation has colonized all of the geographical and social space, it has no inside into which to integrate things. It has become an unbounded space—in other words, a space coextensive with its own inside and outside. It has become a field of immanence" (Massumi 18). It therefore makes little sense to initiate critiques of the capital relation by overthrowing the means of subjection. Instead, what is required is a way through the 'incorporation' of the individual into the capitalist system, an appropriation of the means of consumption in order to invent new kinds of selfhood. Or at the very least, to expose the process of self-formation to its own means of consumption. What we need to do, then, is to undertake a description of the various ways in which desire is produced within consumer cultures as a form of self-creation. As we have seen, in modernity, self-creation occurs when human materiality is rendered immaterial through a process purification. Borrowing from Deleuze and Guattari, I have characterised this process in terms of immanence: a force coming from the outside, but which is already inside the material itself. In the necessary absence of any prime mover or deity, pure immanence becomes the primary field in which material is rendered into its various and specific modern forms. Immanence is not a transcendental power operating over things, but that which is the very motor of modernity; its specific way of appearing to itself, and of relating to itself in its various guises and manifestations. Through a careful mapping of the network of commodity images spread through far-flung fields, cutting through specific contexts of production and consumption, we can see creation at work in one of its specific modern forms. Immanence, and the power of creation it makes possible, can be found in all modern things, even soap powder! References Alliez, Eric and Michel Feher. "The Luster of Capital." Zone 1(2) 1987: 314-359. Bauman, Zygmunt. Modernity and Ambivalence. Cambridge: Polity, 1991. Berman, Marshall. All That is Solid Melts into Air. New York: Penguin, 1982. Bataille, George. "The Notion of Expenditure." George Bataille, Visions of Excess: Selected Writings, 1927-1939. Trans. Alan Stoekl, Minneapolis: University of Minnesota Press, 1995, pp.116-129. 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