Map of East End Net, London. Via.
Let us summarize the principal characteristics of a rhizome: unlike trees or their roots, the rhizome connects any point to any other point [...] It is composed not of units but of dimensions, or rather directions in motion. It has neither beginning nor end, but always a middle (milieu) from which it grows and which it overspills.
- Deleuze & Guattari, A Thousand Plateaus
Thus is described the rhizome, the symbol of the internet age. When Michel Foucault said that the 20th century may one day be called Deleuzian, it is doubtful that this is what he intended. And yet, the language of this young, networked century so far is mimicking the speech of the philosophers Gilles Deleuze and Felix Guattari.
The language of Deleuze and Guattari is employed by everyone from the Israeli Defense Forces to this arts website, including any number of for-profit and non-profit startups in between those poles. War machines, companies, NGOs, and arts organizations all find utility in a philosophy that describes systems moving according to programmatic algorithms, breaking through what was solid, and re-writing the codes of meaning. War, commodities, society, and art all function according to their own programming. The public is coming to terms with the knowledge that the internal coding of networks is what defines future possibilities in the 21st century.
And yet, we are often too quick to tell ourselves that this programming can be rewritten for the greater social good. In our enthusiasm for the rhizomatic fruits of this new century, we often neglect the technology itself, replacing it with our ideas of what the technology could be. It is far easier to wield ideologically expedient speculative fictions than to develop socially expedient tools.
Consider what might be the most rhizomatic technology of them all: the mesh network. In words it is the perfect rhizome. Independent nodes set up the same piece of software in their network router. Every router connects to every other router, forming a multi-dimensional web with no central point to be disabled. It is "legion," to use a familiar term from contemporary parlance: each point is not a separate unit, but n-dimensions of distributed power. Some routers are designed to connect to each other ad hoc, over the air, without needing any wires between them. Even cell phones can connect in such a mesh, promoting a vision of infinite, pocket-sized nodes, deployed at a protest or as a hedge against infrastructure-destroying natural disaster. They could be manufactured in bulk, as cheap as a Raspberry Pi, solar-powered, disguised as innocuous light fixtures or other small appliances. The mesh network vision is of a rhizomatic network that is local, horizontal, self-healing, non-hierarchical, and scalable. Philosophically, its kung fu is perfect—bending like a reed in the wind against any foe, whether deployed by Occupy, by Egyptian revolutionaries, against censorship, war, flooding, poverty, or ISPs. In language, it is everything we expect from the future, the fantasy of certain post-structural technological desires.
Allan Sekula and Noël Burch, still from The Forgotten Space (2010).
I woke up at the chime, looked at the mobile. New work available. I clocked in, made coffee, sat at the desk. Two hours of work right away, even before Twitter. Felt accomplished. I invoiced, and collected.
I met Sandra for breakfast. She's in Miami. She had the ceiling open to let in the sun. She got into a new task queue, editorial work. It's good work, she said, even though the pay isn't quite as good as advertising. What's the difference, I said, sipping my Bloody Mary. Different algorithmic authors, same algorithmic grammar problems.
Former Ministry of Highways Building, Tbilisi.
There is a sense in which all architecture is authoritarian, regardless of its ideals. No matter how many community meetings a planning process incorporates, in the end only one building may be built; one architecture, which by its very existence precludes another. The eventual users and non-users of the space may make minor modifications. They may open or close windows, but in the end they must deal with the consequences of the building, whether it is a postwar housing project or a San Jose strip mall. They must negotiate its little manipulations, and have little in the way of recourse if these should become oppressive.
Artists, at least of a particular bent, are not the sort to take authority at its word. Even under the most oppressive of conditions artists find ways to critique and to criticize, and to present alternate theories of the world. They respond to all forms of power, architecture included, through gestures that range from the most basic act of graffiti to Ai Weiwei's "studies of perspective."
Kari Altmann, image from Soft Mobility Abstracts (2014).
When I tell my close friends—who know of, and share, my anti-capitalist anarchist views—that I own some cryptocurrency (my current holdings equal something under 10 USD) I get the same sort of looks that I did when I told them in 2009 that I used Twitter. "How can you support that libertarian bullshit?"