In an article “On the New Philosophers” Deleuze sticks the boot into Bernard-Henri Levy , et al, saying:

“We’ve been trying to uncover creative functions which would no longer require an author-function for them to be active (in music, painting, audio-visual arts, film, and even philosophy). This wholesale return to the author, to an empty and vain subject, as well as to gross conceptual stereotypes, represents a troubling reactionary development… That’s how things go: precisely when writing and thought were beginning to abandon the author-function, when creations no longer require an author-function for them to be active, the author-function was co-opted by radio and television, and by journalism. Journalists have become the new authors, and those writer who wanted to become authors had to go through journalists or become journalists themselves.”

Well this immediately made me think of some of the YBA’s (Young British Artists) Tracy Emin, Sam Taylor-Wood, et al. Just as contemporary art practice and theory does away with the author-function then it’s re-imposed in an emptied out and corrupted form as a subsection of journalism.

Interestingly the artist as producer has been proposed by some as a paradigmatic figure of immaterial labour and precarious work, just look at this snippet from a larger interview

“Atelier Europa Team: One of your theses is that conceptual artists are “the blueprint’s for today’s “affective labourer”. Why do you focus explicitly on the conceptual artists?

Marina Vishmidt: To be quite concise and general, conceptual art heralded the de-materialisation of the art object, focusing instead on the symbolic mediations that instantiate art as an event and mode of communication. The object has also been displaced from contemporary capitalist production as it concentrates on branding, differentiation, lifestyle marketing, attention management and so forth. Both share the feature of valorising information, and some conceptual artists practices were in many ways prototypes of today’s standard IP regulations. In fact, it could be argued that the de-materialised object is actually information, as it is subject to the same forms of proprietary relations.”

Perhaps this opens out more widely onto the role of the celebrity in our culture. Just as immaterial labour and the dissolving of the object reveals all production to be collective and all of life to be creative then the author-function or even the genius-function is killed but comes back to haunt us, zombie like, through the figure of the celebrity. I mean, what is the celebrity but the hollowed out genius-function, famous for being famous, for being empty, for being non-productive or rather corruptive of the collectivity of production.

The celebrity and ‘intellectual property rights’ are partners in crime. Our regulatory and juridical systems but also our political imaginaries haven’t escaped the outdated figure of the abstract, autonomous liberal individual. But let’s not underestimate the unholy power of Paris Hilton’s rotting corpse. Just because these forms are corrupt and are, to some extent, based on an illusion, doesn’t mean they aren’t concrete. There’s no easy way out. Zombies can be brought down with a bullet to the head but don’t take this too literally, tempting though it may seem to Dando a few celebs, the only real answer is to separate our heads from their bodies and dissolve them into the living flesh of the multitude, something much more monstrous. In fact perhaps we’re living a B-movie, fuck ‘Aliens versus Predator’ this is ‘Zombies versus the Blob.’