This work is informed by our sense that the times call for minimalist thinking concerning our ontological truth, the minimal truth of an absolute criminal being. For some time now, we (of the West / Europeans) are being called upon to give a frank account of ourselves by those who already know us infinitely more intensely than we may know ourselves, namely the sovereign peoples whose lands we continue to occupy. For the occupiers, to be as (self-)knowing through and in response this call is to receive the imperative, ‘Think with your being as fully exposed to our being.’ It is fundamentally to face the question, ‘You are the bearers of criminal being. Who are you?’ The book invites the reader to respond to this question by following the colonizing movement of modern western proprietary being and exposing the concealment of its criminality.
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These short poems are informed by a sense of a devastation in that the human face has been wiped from its places of emergence in history and love. They seek to acknowledge the depth of the catastrophe by re-posing the questions of language’s relationship, as memory and vision, to lost ideals and their deceased martyrs. This vein pursuit takes shape with rhythms seeking to highlight the erotic substrate of communication itself, through disruption of an ego-centric logic that involves whispering to dead words in the hope of making them speak to language. The mystery of language cannot be detected in its words.
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Perverting Felix Guattari’s analysis in Lines of Flight, FOPA is an attempt at doing collective equipment for para-academia. Collective equipment is the natural satellite of social-imaginary institutions. An obvious and relevant example being the institution of the University as such; the constellation of campuses, laboratories, presses etc. on the other hand, being its forms of collective equipment.
Para-academia is an institution. It has been so since the time of Plato’s Academy. And yet, in the present moment, it is not obvious what collective equipment functions para-academia possesses. FOPA, in taking the off-the-shelf idea of a festival, is a first minimal attempt at doing collective equipment for para-academia in this way.
Not in any way ironic, a critical and academic discourse emerged in the 1990’s concerning para-academia, para-academics, as well as ‘students’. This discourse relates to practices, methods, and forms of research. A primary finding of this enquiry was that para-academia is public forming. Put differently, para-academia simply occurs outside of official state institutions.
Read no further than Ivan Illich’s Deschooling Society and its withering critique of manipulative institutional formations. Bluntly put, the modern school is a place of incarceration and indoctrination that produces the naturalisation of hierarchies as well as the values of capitalist consumer society. On his institutional spectrum, Illich counterposes ‘convivial institutions’ to that of the manipulative type. We see para-academia very much in the light of conviviality.
We must be wary of an overly Western cultural trajectory when it comes to problems arising from the question of para-academia in our situation today. So it is wise to adopt the Yolngu notion of “connectedness in separation”, a mode ensuring identity through difference. FOPA’s objectives are not defined by zero-sum logic. There ought to be a place for the public university, a university that approximates as best as possible the symbolic investments people have placed in its ideal. But first of all, it needs to be thoroughly decolonised. And para-academia must maintain a commitment to be constitutively aware of First Nations knowledges.
Thinking now, Fernand Deligny wrote that networks have one of two fates: oblivion or institutionalisation. Networks are sustained by tacit relationships. If those tacit relationships become formal and normative, then institutions emerge. If those tacit relationships simply run out of energy and creativity, then oblivion. Therefore, it is perhaps more apt to say that para-academia is a network in the sense that Deligny gives the term, rather than an institution understood through a long and arguably discontinuous history of counter-practices relative to official state education.
Which brings us to today. FOPA cannot—it is beyond its scope—determine or overdetermine what para-academia might be or mean to someone. Diktats of that nature would be utterly foolish given we are confronted with the pitiable envelope called 21st century experience: identitarian politics, genocidal racism, techno-feudalism, perpetual war, the mental health crisis, planetary systems collapse etc. It is in the context of this experience that para-academia deserves its urgency and attention, given the complicity of state institutions in the perpetuation and promulgation of this very same experience which is nothing less than terror.
These challenges require a collective effort from a responsible public. FOPA is an experiment in collective equipment for the set of tacit relationships that form the networks that compose para-academia. FOPA wants to keep communities-in-movement. We hope and trust that you enjoy our festival and events, that you will learn something, that you support, however you can, the entities participating in para-academia moving forward. This is what FOPA is about: the continued success of para-academic entities today such that in the future more emerges with your support.