The Onomatophore of the Anthropocene by Bronislaw Szerszynski; Thurs., 27 Nov at 6pm

Caring for the Future Through Ancestral Time | The Onomatophore of the Anthropocene by Bronislaw Szerszynski; Thurs., 27 Nov at 6pm.

You are cordially invited to a special evening performance and dialogue with Bronislaw Szerszynski (Department of Sociology, Lancaster University) this Thursday, Nov 27 at 6pm in the Martin Hall, “The Onomatophore of the Anthropocene: Commission on Planetary Ages Decision CC87966424/49″:
“Earth scientists have proposed that the Earth may be entering a new geological epoch, the Anthropocene, in which the human species is the main geological force. In this performance for voice and animated graphics we will hear the declaration of an official decision from an imagined body which has the legal power to determine the names of the ages of all planetary bodies or ‘worlds’ across the galaxy. The decision considers the claim from Homo sapiens that the new geological age of the Earth should be named after their species.  It places this claim in the context of what is known about the evolution of worlds and what it means to be decreed the onomatophore or ‘name-bearer’ of a planetary age, and concludes with a dramatic rewriting of the future evolution of the Earth.”

Seating is limited, so we recommend that you obtain a free ticket through event brite at this link.


Interstellar: Not cosmic

Spoiler red alert: this is an assessment, not a review, of

Interstellar. A film in which:

Michael Cain is revealed as cinema’s least convincing science-genius. Retire already!

Matthew McConaughey pushes his grufflo-whistly-voice into the red zone. McConaughey’s character, Cooper, also undergoes total consistency fail to make sure we get to Act V.

Jessica Chastain channels steely-beauty energies in order to overcome abandonment and solve the “problem of gravity”. A lone genius scribbling on a blackboard.

Anne Hathaway claims that love is empirically verifiable. That’s science, don’t you know: methodical, logical, emotionally void. Like Hathaway’s acting.

Matt Damon appears. Impersonates Bourne gone loopy. Re-enacts classic fight scene from Arena. Why, oh why?! Don’t wake him up!

He's behind you!
He’s behind you, Coop!

The robots, TARS and CASE, don’t go mad. They save the day. Multiple times. They totally steal the show.

Good monolith! Tars saves Dr Bland
Good monolith! Tars saves Dr Bland

Interstellar is not original. It’s not a homage to 2001. It’s a mish-mash of The Fifth Element, Close Encounters, Contact, ET, Solaris, and 2001; a dash of Prometheus, Alien, The Tree of Life. Most of all it reminded me of Danny Boyle’s much under-rated Sunshine, and the 60s family show Lost in Space. Interstellar is a high-brow wannabe girded with lashings of sentimental twaddle.

The low point: When they arrive at Saturn’s black hole, and the science guy explains to Cooper that faster-than-light travel “is like folding a page”. Argh! As if ashamed at their clichéd exposition, the producers decided to make the black hole a sphere. “A sphere? I thought it would be a hole,” says Cooper, speaking on behalf of the dumb audience members. Science guy slaps forehead: “4D, man, 4D!”

The low, low point: When they wake up Dr Mann and its Matt Damon.

The low, low, low point: more physics exposition. I half expected Brian Cox to enter stage left and start bumbling on about how this or that new planet was billions and billions and billions of light years away.

As with all Nolan’s films, aggressive sound pummels you into submission. Like a giant, all-encompassing dust-storm, the score waxes so loud it fills all plot holes, corrodes all lumps in pace, suffocates all shonky dialogue, and forces you to retreat to the deepest recesses of your cinema seat. Noise power can be exhilarating – the post disaster docking sequence is genuinely awesome – but it is also obvious and tiring.

The low, low, low, low point: the Final Act. Deathbed scene with your decrepit daughter? That’s just base sentimentality worthy of Hanks/Spielberg.

Still, Interstellar looks good

I don’t get why critics call this film incomprehensible. Its obvious.

George Monbiot’s analysis is totally on the money: “This fantasy permits us to escape the complexities of life on Earth for a starlit wonderland beyond politics.” He is so right it leaves little to say. Except that the film isn’t about life beyond earth. The film never even gets that far, really; it just transmutes space exploration into ‘love dilemmas’. Dear Mariella, I’m one hundred and thirty years older than my daughter due to a temporal anomaly, what should I do? Dear Mariella, my boyfriend crash-landed on a planet, but I don’t know if its habitable – should I call him?

Interstellar doesn’t explore the cosmos – it retreats into heteronormative, US small town, family drama.

Item 1: The team are all American. Small point, but it flies against the internationalism of, say, Sunshine, or the post-national techno-asceticism of 2001. They are also obviously American – the old school NASA logo, the corn-farm as ground zero. And all the humans going to be saved in Plan A, or in the eugenic-tastic Plan B are – we can only presume – American. Just as Dr Bland describes the arch-pioneer of the first mission as “the best of us,” we can only assume that this American embryo bank represents the best of us too.

Farm with veranda? Check. Dust? Check. Pickup truck? Check. Interstellar coordinates confirmed: US Midwest, the centre of the universe

Item 2: The robots steal the show. The human characters are totally shackled to Earth by the messy ties of love, unable to think about the cosmic importance of their mission. Coop bleats on about his children, who he sort of liked but are estranged and annoying (and billions of billions of billions of miles away anyway). Brand Jnr is prepared to alter the mission to chase after her squeeze – it takes Coop to remind her that ‘love’ is not generally an acceptable parameter in hypothesis formulation. I’m not quite sure whether Dr Mann (Matt Damon) is trying to save the mission or himself.

By contrast the robots are faster, stronger, smarter. They are able to crack jokes (even if they are weak sf-homage/rip-off ones about setting the auto-destruct sequence they bring much-needed levity…). They save people on multiple occasions.

Why was the mission not run by the robots? Matt Damon tells us that this is because they “can’t improvise.” But since all the mission problems come from people improvising and changing their minds having a few more robots around might have been a good idea! The real clincher is the way that TARS and CASE are prepared to go into the singularity to collect data (Coop’s motives make no sense here). The robots are still doing science long after the best of humanity have descended into dribbling sentimental idiots.

The final Acts reveal that instead of dwelling in deep space and infinite time, we are caught in claustrophobic, recursive loops: love, love lost, love regained. That isn’t uplifting. It’s boring, because it’s a drivelly kind of cinema schamltz writ cosmic.

The only wormhole traverse here is Nolan’s yearning for a parochial, apolitical, happy-family mythic world that can’t exist. It’s a retreat, a surrender in the face of a challenge to do good science fiction.


Marder’s vegetal philosophy

Plants: we know them. Green stuff, just hanging out.

Not really. Though there are lots of places to read about plants’ full craziness, two recent books are really very good. One is Matthew Hall’s Plants as Person  (2011, SUNY Press). The other is Michael Marder’s Plant thinking: A philosophy of vegetal life (2013, New York: Columbia University Press). Hall’s book is the more accessible and the more predictable, though by no means lesser of the two. Marder’s is undoubtedly more ambitious, more original, more self-consciously clever: by turns one of the most irritating and one of the most head-bangingly brilliant books I’ve read this year.

Both are courageous attempts to think plants. They also both make much more sense read alongside the work of scientists like František Baluška and Stefano Mancuso (e.g. Plant-environment interactions; plant robots in space anyone?), key thinkers in the emerging plant intelligence paradigm. Or a short-cut via this essay in the New Yorker by the Michael Pollan.

Anyway, here follows some not-terribly-coherent-or-edited thoughts on Marder’s book. Cutting room floor sweepings from a book chapter………


Michael Marder proposes a far-reaching ‘vegetal philosophy’. Most of his readers will agree when Marder argues that ‘metaphysics and capitalist economy are in unmistakable collusion’: both, we are told, reduce plants to a meaningless mass – Aristotle and Riceland Foods Inc in unwitting nefarious alliance. Marder spins it that we humans have interposed ourselves between the plant and its environment, taking the place of the sun in the prospects for plant growth. (These humans remain unmarked by specificities of time or place in Marder’s book; the nadir arrived on p149 with the phrase ‘in African cultures’ – I threw the book down in disgust at such racist, sloppy, scholarship, but picked it up straightaway again as he is citing someone else/he’s a philosopher).

Marder argues that life is less developed in plants than other creatures, that plants are distinctly other with their own ways of being and that this is their message. Marder wants to reclaim plants from the realm of biology; he wants to ask not just what philosophy can do for plants, but also what plants can do for philosophy. Brilliant! He calls for a weakening of the self in line with the weakness of self in plants.


Life’s principle is still too weak in the plant, the soul of which is neither differentiated in its capacities nor separate enough from the exteriority of its environment. But what is weakness for metaphysics marshals a strength of its own, both in the sense of passive resistance it offers to the hegemonic thinking of identity and in the sense of its independence from the fiction of a strong unitary origin” (Marder 2013, 34).

The plant is radically open to its environment and lacks any interiority. In contrast to human and animal life, the plant does not ‘stand under the injunction … to cordon itself off from its surroundings, to negate its connection to a place’ (p69). This injunction to differentiate self from other is the basis for non-planty subjectivity. Such subjectivity begins (Marder channels some Levinas) from this cordoning off, and then proceeds to pull the energies of others to its own formation. Subjectivity involves imposing will on matter, changing matter and folding what lies beyond into the self (Marder channels some Deleuze/Grosz). Since indeed life is seen in this way, as underwritten by a will to power, an impersonal drive to enhance the self’s capacities and connections, as well as secure the means to subsist into the future, then, as Marder writes, plants have classically been seen as ‘weak’ for several reasons.

First, plants are not really unified, autonomous beings, but rather emergent entities made up of many parts. The unity of a plant is comprised of a ‘non-totalizing assemblage of multiplicities’ (p85), by which Marder means that bits can be removed without reducing the unified whole. A cutting can be taken, but the plant remains whole; roots can die, but the plant remains whole; leaves can be shed, but the plant remains whole. Moreover, the parts of a plant are not in hierarchy: there is no ‘brain’ or ‘head’ command and control centre; roots and shoots communicate in complex ways but neither is in charge (one of the current questions in plant science is therefore: what mechanisms enable the plant to operate as a whole organism?).

But how do plants know????

Second, plants lack any kind of interiority. They rely completely on others for their existence, endlessly vulnerable to the elements and to light. The role of light and elements remains external to the plant, but yet they remain utterly and irreducibly dependent on these external forces; external forces which remain completely disinterested in the plant. The plant fails to bend the energy and matter of others to its own will, in other words. ‘The plant’s self’, Marder writes, ‘bound to the universality of the elements and of light, is always external to itself’ (p89). Because they are sessile plants are embedded in their milieu, reliant on the other with only very limited capacities to shape their circumstances [though yes, plants are sessile they can move in reproducing or colonising bits of the earth if you look at it over a long time-scale (Angela was animated on this point)].

Third, even though plants resemble humans by existing in webs of body, place and narrative memory, their time is that of the other. Their time is made up of their actual growth out of the possibilities presented to them for growth. The past is inscribed in plant tissue and morphology, and they can ‘remember’ – continuing to react to past stimuli – in ways not yet fully understood. But plant time is the time of the other: the seasons, the diurnal rhythm of sun and cloud. Plants live in cycles of growth and decay determined by forces external to themselves; thus they do not have a time of their own. More, plants do not – like subjects with a will to power for enhancing themselves – struggle against this repetition, but inhabit it fully. Plant temporality is the outcome of ‘the absence of identity that forces it to obey the law and the time of the undifferentiated other’ (p105). Others like goats:


Plants, then, are traditionally seen as weak in life. Marder’s philosophy is to turn this own its head and argue that the plant is indeed weak, but that instead of thinking that this makes them inferior, we should instead marvel at their powerlessness and ‘primordial generosity’. If plants lack any interiority or self, then they enjoy true freedom. Yes! Neither passive nor active, in responding to forces beyond them, they express an intention without intelligence or goal. Not having a telos or a self to perpetuate should not be seen as a lack, but rather as part of the plant’s gift to the earth, a gift that makes life on earth possible on a large scale. The way plants tend to light, to nutrients, to other plants in an intentional but unconscious way, Marder suggests, is their particular ‘sagacity’ (p12). The plant can shake up our ideas of self, by weakening our idea of the self’s boundaries, by showing life lived post-relationally without boundaries: plants offer a different metaphysics of being from which we should learn. What critique needs, Marder concludes, is not ‘a more powerful criticism, but an infinite loosening up, a weakening of the self’s boundaries, commensurate with the powerlessness (Ohnmacht) of the plants themselves’ (p150).

Ultimately, while compelling, Marder’s work teaches us more about what Levinas, Aristotle and Michael Marder think of plants than about plants themselves. I know he’s a philosopher, not an empiricist (Jim), but I couldn’t get Haraway’s critique of Derrida’s failure to be curious about his cat out of my head. Why is Marder not curious about the diversity of plant morphology and life ways? He lumps them all together as a green, planty, mass:  the plant kingdom reduced to the model of a deciduous tree! Parasites, epiphtyes, insectivorous, sea-dwelling, evergreen – none of these and their particular ways of converting external energies and materials to perpetuating their own particular forms of plant subjectivity are mentioned.

Marder also draws on very selectively on the new plant biology, which indicates that plants do perhaps have rudimentary ways of distinguishing self/non-self (their roots especially), and ways of transacting nutrients between individuals – if so some of his claims would need to be modified. He also ignores the long-running intertwining of plant and human life. The history of wheat, for example, shows how plant and certain poltico-economic collectives have mutually calibrated through the last 11,000 years.

Finally, following from the way he eschews the worldliness of plants, Marder’s critique of human/plant politics is both odd-verging-on-naïve and rather opaque. Marder argues that capitalism has inserted humans in the place of what is ‘other’ to plants – namely sun and all the other material ingredients for growth: ‘Standing in for the other, in which the plant’s being accomplishes itself without reflectively returning to itself, capital eclipses the sun and power the the nutrients contained in the earth’ (p102). He seems to prefer autonomous plants growing in classic wilderness over their domesticated kin. He argues against genetic modification and plant breeding for no clearly articulated reason. Elsewhere, in “Is It Ethical to Eat Plants?” he’s written that we can eat plants, but that we should minimize violence, harm and death. This sounds just like an extended Peter Singer position: in which case, why the detour?

Now, if I understand him correctly (not sure I really do), and plants do have an irreducible openness and primordial generosity, then really what is the case to oppose their use for human needs? Without a self to be appropriated, what is to be appropriated? Surely it then becomes all about us humans and what we do – thus ‘we’ have to become more like plants – but we can’t, argh! we’re move-y…  The prescription seems to be that we shouldn’t mistake plant’s generosity for an eternal reserve that can never be depleted, but should attend to the plant and leave it to its autonomous interaction with the natural environment. Again this doesn’t make sense as there is no plant, only plants, and no natural environments left! One can only conclude he’s left this for other people to think through properly.


Marder seems to eschew relational ties and mutually intertwined histories in favour of recognising and widening the gulf between planty and human earthlings. Recognising the plant as being ‘weak in life’ should lead to deeper and more entangled relations and not, as Marder wants, to withdraw and leave plants alone.

Ok, I’ll stop the grumbling! The central thesis of Marder’s work – that plant are subjects much more radically open to flows of energy and matter than animals – is convincing and radical. It meshes well with the new plant biology paradigm; plants are subjects with their own breed of intelligence and a complex semiotic life. We also now realise that much of what happens in a plant’s life is happening in a virtual sphere, beyond our senses’ capacities to track or apprehend directly. But we no longer have the luxury of what Marder would like us to do: to pull back, to retreat, and to let plants alone to live autonomous, independent lives. They may be different to us animals, but across that gulf our fates nonetheless entwine.