One Man’s Bible

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So why do it at all? Because there is something in this idea that took.

No walking away possible. But what does it mean to say that OOO gives us our ontology? To answer that question, I want to look a bit closer at two refrains that skein across the book and web it together: withdrawal and mutation.

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For OOO, the world is composed of stuff and not just words about stuff. Further, they argue that thinking about the stuff that falls outside of human meaning systems might help reconcile us to the kind of world we live in now — in the digital era, in the Anthropocene, in the sixth great extinction, or what have you. But, and here is the crucial turn, stuff is always elusive, withdrawn, vacuum-sealed.

Objects turn their faces away and present instead a shimmering, alluring facade. As I argue elsewhere, this winds up committing OOO to a redoubled but now blocked epistemology in exactly the place where it had offered the promise of opening the way toward ontology. It is what happens when we refuse what we nonetheless must acknowledge.

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It is, in the strongest sense, critique. And so it may be less surprising to find that where OOO tends to theorize itself through deracinated philosophical examples, OOF proceeds by way of a fairly recognizable mode of engaged political criticism and an even more recognizable target of that criticism: neoliberal governance.

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First of all, Haraway is careful to remind us that the promise of the cyborg lies not in some abstract liberation or original plenitude but in the encroaching formation it allows us to see. Under given spatiotemporal, racialized conditions, like gang injunction sites, the color red is a criminal offense. The DAS [Domain Awareness System] does not determine the policy of outlawing red shirts on black bodies, but it provides the technical know-how to determine where red dye is transubstantiated into an eventuality of violence.

You Can’t Have Me: Feminist Infiltrations in Object-Oriented Ontology - Los Angeles Review of Books

The DAS [Domain Awareness System] is indifferent to the maximalization of certain life potentials over others in that life is incidental to the map, no more relevant than credit histories, shopping habits, electrical usage levels, road quality, air quality, radiation levels, real estate values, noise levels, transportation habits and so forth. People do not register here. The figure Haraway conjures to do battle with the incipient control logics of her time is the cyborg, and she rejoices in the power of it as a trickster figuration, fitted to the apparatus it was to take apart.

Scannell gives face to the calculative governance he diagnoses through the figure of the cyborg goddess. In each of these analyses, it is the compulsive fit between subjects and systems of connection and the frenzy of access that divinizes the goddess and vacuum-seals her away from the banal algorithms that compose her.

But this is a bit disingenuous of her. Her strategy is not the generous gesture of amplification but the dangerous one of infiltration.

Remember, it is Behar who gives us the opening image of shame. And what better way to evade the shame of misrecognition than to wear a false face?


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It is this false face that Behar is really after in her necropolitical aesthetics. Citing Catherine Malabou, she reminds us that self-fashioning replaces one sort of face with another through acts of effacement.

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In the wake of her vacuum-sealed grace, OOF becomes the sound made by broken connections, refused requests for access. If OOO has given philosophical standing to a world of flattened, deracinated data points, OOF completes the seal on the object, taking away its allure. In and out, we up and down I already know there's another Boy if you wanna, You can't have me, make up your mind Don't even lie I already know there's another Boy if you wanna, You can't have me, you can't have me I'm a tell you it is Can't have me, if you trying to leave Me with me and be with her You can't have me.

I don't want confusion all in my life I, I just wanna get it right I, I don't need you in my life I, I just wanna get it right Called you, yesterday a little past 2 You answer quietly, said you call me back at 3 And still I haven't heard from you Disappearing, popping out whenever I thinking I don't know where you going You can't be, when you stop me You can't be wither With me In and out, we up and down I already know there's another Boy if you wanna, You can't have me, make up your mind Don't even lie I already know there's another Boy if you wanna, You can't have me, you can't have me I'm a tell you Can't have me, if you trying to leave Me with me and be with her You can't have me Eyes down, when I asked where you've been Before you answer me, and before you even speak I already know where you've been You've been with her Thought I wouldn't nodes The one that you need In and out, we up and down I already know there's another Boy if you wanna, You can't have me, make up your mind Don't even lie I already know there's another Boy if you wanna, You can't have me, you can't have me If we never go on another day together I know I will be alright Cause you can't hurt me ever again No more baby, no more lies, it's over I don't want confusion all in my life I, I just wanna get it right I, I don't need you in my life I, I just wanna get it right I don't wanna live my life like this I'm ready to move on In and out, we up and down I already know there's another Boy if you wanna, You can't have me, make up your mind Don't even lie I already know there's another Boy if you wanna, You can't have me, you can't have me I'm a tell you it is Can't have me, if you trying to leave Me with me and be with her You can't have me.

I want all that, I want you, but I know I can’t have you.

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