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Enduring Time

i
 Also Available from Bloomsbury

Conflicting Humanities, edited by Rosi Braidotti and Paul Gilroy

On Resistance, Howard Caygill
Autarchies, David Ashford
Slow Philosophy, Michelle Boulous Walker
General Ecology, edited by Erich Hörl with James Burton

ii
 Enduring Time

By Lisa Baraitser

Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc

LON DON • OX F O R D • N E W YO R K • N E W D E L H I • SY DN EY

iii
 Bloomsbury Academic
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BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc

First published 2017

© Lisa Baraitser, 2017

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1988, to be identified as Author of this work.

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Cover design by Catherine Wood

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iv
 To Simon
For Endurance and Care

v
vi
 Contents

Acknowledgements viii
List of Images x
Introduction 1

1 Staying 23
2 Maintaining 47
3 Repeating 69
4 Delaying 93
5 Enduring 115
6 Recalling 139
7 Remaining 159
8 Ending 179

Bibliography 189
Index 213

vii
 Acknowledgements

I am indebted to the kindness, time, and precious thoughts that Denise Riley,
Jackie Sumell, Barbara Loftus and Mierle Laderman Ukeles gave me, whose work
is the subject of this book.
I am grateful to both Birkbeck, University of London, and the Independent
Social Research Foundation, both rare institutions that still preserve the odd
idea that we need time to think and write. Two periods of research leave, funded
by each, enabled me to do just that.
Colleagues at Birkbeck, in particular Sasha Roseneil who mentored me
through the first stage of this project, and Miriam Zukas who was there
throughout, provided crucial support. Gail Lewis has been both generous and
thoughtful in her institutional role, and combined with final pep talks from
Leticia Sabsay, Laura Salisbury, Rachel Thomson and Imogen Tyler, allowed the
project to finally come to an end. Thanks also to Yasmeen Narayan, Lynne Segal,
Margarita Palacios and Amber Jacobs for many psychosocial conversations.
Special thanks to Liza Thompson at Bloomsbury for her tireless energy, editorial
support and belief in this project, and to Stella Sandford for close reading, and
the careful attention that philosophers can bring to those of us who come to
philosophy as willing amateurs. I am grateful to Judith Butler, for her kindness
and support, her ongoing attachment to a psychoanalytic sensibility, and for her
exemplary capacity to think things through.
I have been immensely lucky to have had a chance to speak to many friends,
colleagues and students about this project along its way. My gratitude, in no
particular order, goes to Melissa Midgen, Shaul Bar-Haim, Gill Partington,
Michelle Bastian, Sigal Spigel, Jane Haugh, Will Brook, Katie Gentile, Noreen
Giffney, Daniel Pick, Raluca Soreanu, Jess Edwards, Derek Hook, Samuel Bibby,
Stephen Frosh and Oliver Decker. Thanks also to Michael, Marion, Paula,
Alexandra, Joel and Saul Baraitser. They have been most patient!
Thanks to the organizers, panellists and audience members of the following
events where I spoke about the work as this project developed: The Fabric: Social
Reproduction, Women’s History and Art, University of Edinburgh and Edinburgh
College of Art, Social Science as Communication, ISRF, University of Edinburgh,
Unpunctual Encounters/Bottom Natures, CGP Gallery, London, Modernism’s

viii
 Acknowledgements ix

Chronic Conditions, University of Exeter, Time Tricking, Association for Social

Anthropologists Conference, University of Exeter, Visualizing From Memory,
University of East London, European Network for Avant-Garde and Modernism
Studies Conference, University of Helsinki, Austerity Futures Conference,
Goldsmiths, University of London, Psychoanalysis and History Seminar, Institute
of Historical Research, University of London, Motherhood in post–1968
Literature, Centre for the Study of Contemporary Women’s Writing, Institute
of Modern Languages Research, University of London, Temporal Bindings,
The(e)ories: Advanced Seminars for Queer Research, Critical Temporalities
Workshop, Temporal Belongings, University of Manchester, Non-Reproduction:
Politics, Ethics, Aesthetics Conference, Birkbeck, University of London.
I am especially grateful to Belinda Mandelbaum and her students for an
invitation to teach a five-day lecture series at the University of São Paulo, Brazil,
which allowed me to speak the project out loud, in its early form, and gave me
courage to continue.
Earlier versions of some chapters have appeared in journal article form.
Chapter 1 appeared as ‘Baraitser, L., Transdisciplinarity as a Psychosocial
Concept’, Special Issue, Transdisciplinary Problematics, eds, Peter Osborne,
Stella Sandford, Eric Alliez, Theory, Culture & Society 32: 207–231, 2015. Reprinted
by permission of SAGE Publications. Chapter 2 appeared as ‘Touching Time:
Maintenance, Endurance, Care’, in Psychosocial Imaginaries, ed., Stephen Frosh,
Palgrave, 2015. Chapter 4 appeared as ‘Baraitser, L., Collecting Time’, New
Formations., 79: 8–25, 2013. Reprinted by permission of Lawrence and Wishart.
I am grateful to the many colleagues who commented on earlier drafts of these
pieces of writing.
 List of Images

1 Mierle Laderman Ukeles, Touch Sanitation, 1978–1980. City-wide

performance with 8,500 NYC sanitation workers. Courtesy Ronald
Feldman Fine Arts, New York. 60
2 Richard Billingham, Untitled, 1994. Colour photograph mounted
on aluminium, 75 × 50 cm. Private collection, courtesy Anthony
Reynolds Gallery, London. 62
3 Richard Billingham, Untitled, 1995. Colour photograph mounted
on aluminium. Copyright the artist, courtesy Anthony Reynolds
Gallery, London. 66
4 Herman Wallace, 2006. Courtesy of Anne Harkness. 122
5 Herman’s Letter 2003. Courtesy of jackie sumell. 128
6 CAD drawing front of house, 2006. Courtesy of Dan Hatch Studios. 129
7 CAD drawing Herman’s pool. Courtesy of Dan Hatch Studios. 132
8 Barbara Loftus, Stamp (30.5 × 30.5 cm., oil on canvas, 2004).
Copyright the artist, reproduced with kind permission. 140
9 Barbara Loftus, Hildegard under table I (91.5 × 122 cm., oil on
canvas, 2004). Copyright the artist, reproduced with kind permission. 142
10 Works by Arthur ‘Bispo’ do Rosário, Venice Biennale, 2013.
Copyright SunOfErat/Wikicommons. 172
11 Works by Arthur ‘Bispo’ do Rosário, 30th Biennale, São Paulo, Brazil.
Photograph: Leo Eloy. Copyright Leo Eloy / Fundação Bienal de
São Paulo, reproduced with kind permission. 173
12 Works by Arthur ‘Bispo’ do Rosário, 30th Biennale, São Paulo, Brazil.
Photograph: Leo Eloy. Copyright Leo Eloy / Fundação Bienal de
São Paulo, reproduced with kind permission. 174
13 Works by Arthur ‘Bispo’ do Rosário, 30th Biennale, São Paulo, Brazil.
Photograph: Leo Eloy. Copyright Leo Eloy / Fundação Bienal de
São Paulo, reproduced with kind permission. 176

Cover Art: Reproduced with kind permission of the Raqs Media Collective.

x
 Introduction

Time’s suspension

In Time Lived, Without its Flow the poet and philosopher Denise Riley describes
the sudden arresting of time that followed the death of her adult son:

A sudden death, for the one left behind, does such violence to the experienced
‘flow’ of time that it stops, and then slowly wells up into a large pool. Instead of
the old line of forward time, now something like a globe holds you. You live
inside a great circle with no rim.
Riley 2012, 10

The new time Riley found herself living was neither stopped time nor
deadened time, but something like time’s ‘suspension’. Time conceived of as a
viscous fluid takes on a different form, no longer a line with direction or purpose
but a pool, the welling up of present time that will not pass and has no rim.
Suspended time allows the seeping of the materiality of time into consciousness.
It pools, like a great pocket of blood, that both holds and suspends time as
motion.
If time can be lived without its flow, then what can this suspended form of
time tell us about how we are currently living time? And if living such time
without its flow has something to do with persistent attachments we maintain
with others, including those who are dead, then what might suspended time tell
us about care, and our capacities to go on caring when time has pooled?
Over the time it has taken me to write this book I’ve developed a series of
short-hands to respond to the question ‘what are you working on’. It is a question
that implies a project, as Simon Bayly tells us, that recognizes the ‘futural meaning’
that work brings us, even as it staves off that future time that is the end of the
project (2013). ‘I’m working on things that take too long’, I reply, quietly meaning
the writing of this book and more overtly meaning practices of care that go on
and on – looking after the dead through practices of grief; mothering; keeping

1
2 Enduring Time

safe political ideas that no longer have efficacy in the now in the belief that one
day they may be useful; the ‘useless’ open-ended practice of psychoanalysis; all
sorts of ‘maintenance’ work that props up the lives of others and the social
institutions that support them. ‘I’m working on the feeling of always running out
of time, of feeling rushed yet impeded at the same time’, I go on, trying to get
hold of the stop-startness of everything I do. ‘I’m working on what it’s like to
wait, and go on waiting, and whether watchful waiting has anything to do with
gender, and with care’. The answers seemed to generate a momentary glimmer of
recognition – ‘oh yes, I’ve never got enough time’, which then gave way to ‘but
anyway, the world is running out of time’. After this exchange of banalities that
would move almost seamlessly from the quotidian experience of time slipping
through our fingers, to the pending end of the world brought about by the
ravages of global capitalism and the realities of climate disaster, the glimmer
would fade and the idea of working on the question of time and its relation to
care took on a distinctly unappealing veneer. It seemed to repel people, especially
my own stasis, and inability to bring the project to a conclusion. ‘You’re not still
working on that book on time’?
This, then, is an unfinishable book about time’s suspension – modes of waiting,
staying, delaying, enduring, persisting, repeating, maintaining, preserving and
remaining – that produce felt experiences of time not passing. These are affectively
dull or obdurate temporalities. They have none of the allure of the time of
rupture, epochal shift, or change. They involve social practices that are mostly
arduous, boring, and mundane, or simply unbearable. Yet, in staying attentive to
time not passing I have been pushed to think more carefully about the concept
of ‘care’, especially how we might attempt to take care of time when it seems to
pool, dammed up by a foreclosed future that no longer brings the promise of the
now and an historical past saturated with unrepresentable trauma. Although
often common and ordinary – Riley points out that millions of people worldwide
outlive their children, living through the death of someone they relate to as their
child, whatever their age (Riley and Baraitser 2015) – we might view such
quotidian experiences as exceptional both in their capacity to tip us into
experiences of temporal suspension, and through their invocation of temporal
imaginaries that have a tangential relation to those that characterize ‘the capitalist
everyday’, thereby stilling, even if they don’t manage to disrupt, modes of
production based on utility or exchange. Tracking the survival and quality of
these affectively dull yet persistent temporalities within what Elizabeth Povinelli
describes as ‘the seams of capitalism’ has turned out to be the project of this book
(2011). Staying, maintaining, repeating, delaying, enduring, waiting, recalling
 Introduction 3

and remaining are forms of time’s suspension that tell us something about care
in what Žižek rather alarmingly calls ‘the end times’ (2010), or what Eric Cazdyn
describes as ‘the new chronic’, the ‘dull soreness of a meantime with no end’
(2012, 13).
Kimberly Hutchings, in her account of the role of unacknowledged narratives
of time in theories of world politics, attunes us to the patterns of categorization
that structure the temporality of social life (2008). She points to the coexistence
in most cultural formations of constructions of both everyday and exceptional
time. In European cultures these map on to the distinction between the Greek
terms chronos, the time we can measure associated with the inevitable shared
framing events of birth and death, and kairos, the transformational action of
time that interrupts chronos with the new or unexpected. The generalization of
clock time that began with wage labour and modern market relations in the
sixteenth century brought a conceptualization of time as neutral, constant and
measurable. Subsequent theories of thermodynamics in physics, and evolution
in biology, in the eighteenth and nineteenth centuries developed accounts of
time as infinite, linear, unidirectional and irreversible. And yet, Hutchings argues,
in modern Europe alongside chronotic time there have always been temporal
traces that rely on a ‘keirotic tension’ with infinite linear time. These include
categories such as beginning, ending, novelty, repetition, stasis and change.
Theories of world history that conceptualize time as static, for instance, or as
repetitively regressing after periods of progress into periods of decline, interrupt
narratives of time as neutral or undifferentiated flow, and remain at work,
Hutchings argues, in contemporary interpretations of world politics. And yet,
she warns:

If the ‘our’ is to have any meaning in the normative judgment of ‘our times’ in the
world-political present, then explanation and normative judgment of ‘our times’
has to become sensitive to a multiplicity of times and temporalities.
Hutchings 2008, 157

Those working with a chronobiopolitical framework would be unsurprised

by the need for sensitivity to a multiplicity of times and temporalities. European
time operates through the enforcement of a particular conception of time that
then comes to mediate forms of relating to, and representing, the world (Vázquez
2009). Aníbal Quijano, Walter Mignolo, Dipesh Chakrabarty and Silvia Federici
have all argued in different ways that coloniality and modernity are constitutive
of one another other, modernity emerging not simply through industrialization
and the separation of the European worker from their means of subsistence but
4 Enduring Time

specifically through slavery, colonization and the control of women, originating,

for Mignolo, in 1492 with the conquest of the Americas (2005), and for Federici
through the violent destruction of the power of women through their
extermination as ‘witches’ in the same early modern period (2004). Roland
Vázquez has subsequently argued that the conquest of the Americas that situates
Europe as the centre of the world in its own imaginary, does so through a
particular politics of time; one that affirms the west as the present, and the
present as the only legitimate site of reality. Modernity, he argues, produces an
amnesic surface where reality and the present coincide, negating the possibility
of relations between the self and the (non-European) other who is by definition
‘behind’ the times. In contrast relational temporalities drawn from indigenous
philosophies, Vázquez argues, ‘decolonize’ modern time through their radical
critique of the confinement of experience in the empty present (2009). They
allow for a multiplicity of times that are not reducible to spatial representation,
circumventing the argument that the ‘indigenous’ are somehow ‘prior’ to
modernity, as Johannes Fabian famously articulated (1983).1
Hutchings’ response to her own call to become sensitive to a multiplicity of
times and temporalities is to understand world-political time as immanent, a
multitude of non-linear plural becomings that could then be said to constitute
the ‘our’ of ‘our times’. Yet such appeals surely rely on an implicit model of time-
as-movement, even when they seek to interrupt the idea of movement in a
linear or predictable direction. My suggestion is that we engage instead with
‘unbecoming’ time – time that is lived as radically immoveable, experiences
of time that are not just slow, sluggish, or even interminable in the sense of
Heidegger’s account of boredom, but are radically suspended, ‘a great circle with
no rim’. To live this time may turn out to be a question of ethics, inserted within
a question of ontology – the arduous temporal practice of maintaining ongoing
relations with others and the world which I will come to name as care.
Theoretically this relationship between ethics and ontology is aligned with
Christina Sharpe’s account of time in her lyrical work, In the Wake: On Blackness
and Being (2016a). The wake is a term that holds together the path behind a ship,
keeping watch with the dead, and the process of coming to consciousness in the
sense of wakefulness. The ship, the dead, and consciousness coalesce in her work
around what Saidiya Hartman calls ‘the afterlife of slavery’ (2007) and its relation
to Black life in the diaspora:

1
See Browne 2014 for a discussion of the distinction Fabian makes between synchronicity,
contemporaneity and coevalness.
 Introduction 5

Living in the wake on a global level means living the disastrous time and
effects of continued marked migrations, Mediterranean and Caribbean disasters,
trans-American and -African migration, structural adjustment imposed by the
International Monetary Fund that continues imperialisms/colonialisms, and
more.
Sharpe 2016a, 15

The task, as she sees it, for Black thought, and for thinking itself, is to remain
in the wake, to occupy the ‘infinitive’ grammar of being ‘in’ the wake in order to
both inhabit and rupture it. This, for Sharpe, is a mode of care that attends to the
afterlife of the past as it refuses to pass. ‘Care’ understood through the figure of
the wake becomes itself a problem for thinking, and she maintains that both
‘thinking and care need to stay in the wake’. Just as queer thought has advocated
staying ‘in’ non-developmental time rather than passing through it, as a way
to disrupt what Elizabeth Freeman refers to as chromonormative developmental
time (2010), and feminist thought has long advocated a theoretical engagement
with the repetitive laborious time of social reproduction rather than its simple
repudiation, so what Sharpe calls ‘Black non/being in the world’ is what calls
thought to re-think itself as a mode of care. These are all theoretical articulations
of what I’m calling ‘unbecoming time’; time that pools without a rim. The project
of this book is to think about the varied conditions of time’s suspension in an
attempt to understand how to continue when time has stopped. Veering away
from rupture and disruption, it attempts to stay close to the experience of going
on, with, and in time that will not unfold.

Time without qualities

This is not a timely book, or perhaps no longer a timely book. The fact that the
concepts of time and care that I am working with already feel ‘old’ says something
about the ways in which any notion of a ‘new’ twenty-first century ‘time crisis’
has itself become so quickly commonplace, or indeed perhaps misplaced.2 As
Judy Wajcman puts it in the opening to Pressed for Time, ‘There is a widespread
perception that life these days is faster than it used to be. We hear constant
laments that we live too fast, that time is scarce, that the pace of life is spiralling

2
See Roitman’s Anti-Crisis (2013) for a deconstruction of the analytical work of the concept of
crisis and how it functions as a narrative device to raise certain political questions and foreclose
others.
6 Enduring Time

out of control’ (2015, 1). Yet the notion of ‘time crisis’ arises at a particular
historical juncture and is the product of a shift in temporal experience that the
German historian Reinhardt Koselleck located in the fifteenth century in his
analysis of modern progressive time, in which the idea of progress itself is built
on a radical break or rupture between experience (the past) and expectation (the
yet to come) (2002, 2004). Modern time renders the past old and obsolete in
order for the new to emerge, precisely through its radical separation from the
past disparaged as past. Progress is the replacement of the old with the new,
leaving modern European time as a kind of suspension between what is rendered
as a dead past, and a progressive future that holds all the promise of betterment
in a generation always beyond our own. In the time of European modernity
what is new is produced at the cost of what was once new and now made old.3
And yet anachronism – what is ‘against’ time, what stubbornly remains within
the present as the no-longer-new, the out-of-date, the obdurate idea, practice, or
thought – nevertheless holds out something ‘productive’ even as it undoes the
very idea of productivity in terms of commodity, market, utility, labour, exchange.
It is not so much about simply counting the many costs of progressive time,
although this is a vital thing to do,4 but about noticing that modern time itself
contains within it obdurate strands of the anachronistic; of slowed, stilled or
stuck time.5
Movement, in other words, has always been the key to ‘modern time’. European
modernity is traditionally characterized by the shock, exhilaration and anxiety
produced by speed and travel in the latter decades of the nineteenth century, the
contraction of an expansive time and space and the ‘future shock’ brought about
by technological developments and rapid rates of social change that gave rise to
the various aesthetic modernist movements in Europe and the parts of the world

3
Peter Osborne, in his seminal book, The Politics of Time (1995), worked through the semantic and
conceptual difficulties of speaking about modernity and postmodernity, for instance, as distinctive
historical periods. Despite ‘modernity’ specifically signalling a period of ‘new time consciousness’
that inaugurates a series of breaks or ruptures in the development of societies, this narrative itself
presumes an homogenous continuum of historical time, ‘across which comparative judgements
about social development may be made in abstraction from all qualitative temporal differences’
(Osborne 1995, 1). ‘Modernity’ then becomes fixed as a discrete historical period within its own
temporal scheme, and left stranded in the past. The replacement of ‘modernity’ with ‘the
contemporary’ fails to help matters, just as the shift from modernity to postmodernity ended up in
a semantic paradox. If the ‘modern’, Osborne argued, in its primary sense, is simply that ‘pertaining
to the present and recent times’, or ‘originating in the current age or period’, then ‘postmodernity’
was the name for a ‘new’ modernity, a kind of conceptual paradox that threw both terms into crisis.
4
See for example the ‘post-growth economy’ literature that counts the economic, social, political and
individual costs of the principle of perpetual economic growth. Examples include Banerjee 2003,
2008, Bauman 2012, Bjerg 2016, Carson 2000, D’Alisa et al. 2015, Daly 1996, Gorz 2012, Jackson
2009, and Johnsen et al. 2017.
5
See Koepnick 2014 and Salisbury 2008, 2017 on ‘slow modernism’.
 Introduction 7

it colonized.6 In the first decades of the twenty-first century, however, we are

learning painfully to attune ourselves to the contradictions of both experiences
of immediacy and the rapid acceleration in social life, on the one hand,7 and the
simultaneous slow violences of contemporary capitalism on the other.8 These
slow violences entail the ‘becoming uninhabitable’ of the globe for life systems
including our own; the now permanent and irreversible loss of biodiversity,
concerns about ‘deep time’ violence brought about through the prolonged yet
delayed uncertain effects of nuclear waste; the injustices of wage slavery and new
forms of debt bondage that are not only designed to be ‘managed’ life-long but to
be inherited across generations; the temporally elongated control of subjugated
populations including the permanent ‘warehousing’ of Black, Indigenous,
migrant, queer and trans people and others who are imagined as major social
problems in prisons around the world; and new and brutal forms of exclusion
from public institutions that work to sustain life projects that lead to the now
chronic deterioration of the mental and physical health of particular embodied
subjects.9 These violences play out differentially, exacerbating existing inequalities
of gender, ‘race’, sexuality, disability and age, but also what will become the
inequalities between generations. Some of these violences are felt immediately
and others are so slow they will not be noticed countless generations after they
were instigated, producing a prolonged or chronic violence well into the ‘deep
future’.10 Yet we appear to be holding our breath, waiting, not for a pending
catastrophic ‘event’ in the sense that Fredric Jameson suggested characterized
post-modern time (1996), but for a diffuse catastrophe that has already happened
to unpredictably play itself out. As Nicholas Stern, author of the 2006
Stern Review on the economics of climate change asks simply, as the title of
his recent book, ‘Why are we waiting’? (2015). And yet it is precisely the
temporality raised by this question – the quality of the time in which we ask
‘why are we waiting’ – that may come to describe time consciousness in the
twenty-first century. This caesura has duration. We differentially live it, are living
in it, enduring it.
It is now clear that there has been a return to the question of time, not
just philosophically, but socially, politically, ecologically, psychosocially, even
geographically, and that this may have something to do with millennial anxieties

6
See Kern 2003, Koepnick 2014, Sheppard 2000.
7
See Rosa 2013, Rosa and Scheurman 2009, Virilio 1977, 1999, 2010.
8
See Nixon 2011 for an account of slow violence in relation to the environmentalism of the poor.
9
See Berlant 2011, Davis 2016, Graeber 2011, Puar 2009.
10
See Nixon 2011 and Rose, van Dooren and Chrulew, 2017.
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