CS A4: research Deleuze

In order to concentrate on BOW I had to remove myself temporarily from the CS module – still keeping one foot in obviously as both are informing each other – but now climbing back into it is taking a bit of time/space. I’ve just started reading Baggini’s How the World Thinks (2018) but I need to head back to Barad and also start delving into Deleuze esp. Difference and Repetition (1968). The video below is an excellent introduction. Interesting to compare with Barad.

 

Difference / diffraction

Rhizome / entanglement

The virtual by Deleuze is described in the same terms as Barad and other quantum people.

https://images.app.goo.gl/uYqeqcZdYqw92LkT6

Several useful YouTube vids and podcasts – weird that Barad doesn’t refer to Deleuze more

 

https://podcasts.apple.com/gb/podcast/the-partially-examined-life/id318345767?i=1000159329268 (English guy’s comments useful – if (Life Not School Digest 23 Jan 2013))

Medium post with several podcasts, Philosophize This, John David Ebert, Todd May

Bow/CS: Life After New Media, Kember & Zylinska 2012

Some useful references: see artists highlighted in chapter below

See  –  https://www.richardgalpin.co.uk – an excellent visual metaphor

See – http://www.ninasellars.com/?catID=30 Final section in chapter provides a useful analysis

Possible inclusion for CS: The compulsion to define photography in an essay (see CS A3 and early drafts fo DI&C essay) is not merely a means of identifying what the inquiry is about. It goes to the heart of the matter which is querying the ‘Cartesian habit of mind’ (Barad, 2007). This can be resolved by seeing ‘the cut’ for what it is – a way of making meaning out of the chaos and creating matter (material or discursive). I do this making words and categories, painting, sculpting – or by capturing photons when creating images – regardless of what I do with those photons thereafter i.e. add traces together to create movement or give the illusion of stillness  – a freeze. What happens thereafter is not is being explored in this instance. It’s complex though because the thing that I do to make order (cut) compels me to want to cut photography up into a hierarchical system.

Ultimately, it is not the material, equipment or medium which is being critiqued – but the mindset.

Backed up by the following which also helps to define the cut. Highlighted sentences from a critical chapter of Life After New Media: Mediation as a Vital Process by Sarah Kember and Joanna Zylinska (2012)

With Notes – 3 Cut! The Imperative of Photographic Mediation

Kember, S. and Zylinska, J. (2012) Life after new media: mediation as a vital process. Cambridge, Mass: MIT Press. At: http://topologicalmedialab.net/xinwei/classes/readings/KemberZylinska/LANM.pdf(Accessed 11/01/2020).

CS: Alan Sekula’s The Body and the Archive part 1

Sekula, A. (1986) ‘The Body and the Archive’ In: October 39 p.3064. At: http://chnm.gmu.edu/courses/magic/sekula.pdf (Accessed 23/11/2019).

Field, S. (2017) Notes: The Body and the Archive Allan Sekula. WordPress [Blog] At: https://ocasjf.wordpress.com/2017/06/12/notes-the-body-and-the-archive-allan-sekula/ (Accessed 05/01/2020).
Heimans, J. and Timms, H. (2018) New power: how it’s changing the 21st century – and why you need to know. (Kindle) London: Macmillan.
Blatt, Ari J. 2009 ‘The interphototextual dimension of Annie Ernaux and Marc Marie’s L’usage de la photo‘, Word & Image, 25: 1, 46 — 55, 27 – Alain Fleischer, Mummy, mummies (Lagrasse: E ́ ditions Verdier, 2002), pp. 15–16. Translations mine. (Blatt) Available at: https://www.tcd.ie/French/assets/doc/BlattOnErnauxMarie.pdf [Accessed: 24/04/2018]
Quantum Fields: The Real Building Blocks of the Universe – with David Tong (2017) In: The Royal Institution. Royal Institute. At: https://www.youtube.com/watch?v=zNVQfWC_evg (Accessed 05/01/2020).

I looked at this essay during S&O and will look at it again here – Sekula’s essay along with John Tagg’s talk on the filing cabinet both provide plenty of useful references, which, combined with Barad, Lupton and Rubenstein’s thoughts/thesis’, are probably the key sources of information through which I’ll explore at the topic I’ve chosen.

  • The essay opens with the paradoxical status of photography in bourgeois culture (3)
  • He quotes a song which ‘plays on the possibility of a technological outpacing of already expanding cultural institutions’. (4) This rings true today (see New Power, (Heimans and Timms, 2018))
  • You could replace the work photography with digital for the first two pages and it would all sound relevant and fair.
  • However, by page 6, the veracity of the photography is being discussed, as seen by contemporaries – ‘Only the photograph could begin to claim the legal status of a visual document of ownership’
  • ‘a silence that silences’ (See muteness and photography – ‘Ernaux reminds us, initially ‘all photos are mute’’ (p.73).) Blatt, Ari J.(2009))
  • (6) ‘the criminal body’ and therefore the ‘social body’ invented
  • ‘a system of representation capable of functioning honorifically and repressively’ (6) how does this work with representationalism and the unpicking of that? There are no entities waiting somewhere to be represented, rather there are emergent intra-active phenomena (Barad, 2007) (criminal and social bodies are made/formed)
  • again photography can be replaced with digitisation when discussing how portraits are degraded and extended at the same time – see selfies, phone pics
  • (7) ‘Photography came to establish and delimit the terrain of the other, to define both the generalised look – the typology – and the contingent instance of deviance and social pathology.’ So much to say here – See Azoulay (2019) and photography’s intra-active position/role within a much wider non-linear narrative. See Tagg and ‘fixity’ of the photography and Victorian culture – the desire to catalogue everything according to ordered and identifiable rules, (2011) i.e. the periodic table of elements  – a Victorian System compared to today’s quantum fields, a modern system/model of reality which we are informed in most accurate to date and is far more nebulous and difficult to comprehend, no doubt in part due to our Cartesian ‘habit of mind’ which is desperate to label and file everything neatly and ordered (Barad, 2007) as well as being counter-intuitive, shrouded in academic mystery and just really impossibly hard. The Victorian system and hence our dominant one (although this is changing hence the entrenched reaction of a conservative mindset), seems desperately naive in comparison.
  • (7) See quote about ‘possessive individualism’ which I’ve already inserted into CSA2
  • (7) Relate photography ‘a means of cultural enlightenment’ and ‘sustained sentimental ties in a nation of migrants’  – compare this to digital tech/culture in today’s culture. Beneath both Carlyle and Aurelias Root’s comments is a dreadful patronising tone however which is surely avoidable. See images ‘of the great’ = ‘moral exemplars’ ??? (Imagine a photograph of any of our current crop of erstwhile leaders providing such?)
  • Sekula writes of the utilitarian social machine, the Panopticon – think today of social media/ Surveillance Capitalism (Zuboff, 2016) (9)
  • The archived body – ‘begins’ here see page (10) begins is not the right word, becomes visible perhaps.
  • 911) physiognomy and phrenology  – ‘surface of the body’ ‘bore the outward signs of the inner character’  – Compare this to Professor Plomins deterministic genetic code thesis which Cummings et al relied upon to justify changes they made to the Education system. Cummings claims that people misunderstood the work and have since retracted their negative comments. However, I think Christakis’ comments on genetic coding is probably more honest  – both I suspect, however, show how deep and far-reaching social construction and their associated embedded epigenetic markers can be. Whereas some can see the need for more positive and profound structural changes to take place, there is a mindset which believes we should further entrench these realities which Sekula is talking about that continue today. I was also struck while reading this by the similarities in an article I read today some on FB (I think) which claimed the more bitter and cynical you are, the more likely you are to age quickly and get sick. Lots of scientific data support the thesis – the way it’s been framed, but I am quite cynical indeed and look about fifteen years younger than some of my friends  – so I felt a little doubtful  – we people seem to enjoy deterministic narratives even today.
  • (11) borne of ‘attempts to construct a materialist science’  – compare to Barad’s performative/discursive/material emergence of meaning, far more complex and lively but nebulous so hard for people to engage with
  • Maybe time to revisit Szondi who I discussed in my first reflection about this essay – an early psychometric tester, he defined people by their reactions to faces rather than by the shape of their own faces/heads. Many companies today use much more robust psychometric tests which are extremely powerful but one wonders about the wonderful aspect of chance being eliminated. And so we enter the discussion of AI and how it can be so much more accurate than human power but how much agency do we give it? Currently watching Travelers (Netflix) which explores this in typical pop-culture fashion – first series better than then the rest and lots of references to .
  • Sekula identified ‘idealist secret lurking a the heart of the putatively materialist sciences’ – how is the AI screening of CVs and psychometric testing any different? And you should see the John Lewis video that you must watch before taking thier tests   – madly idealist in quite a scary way, reminded me of Logan’s Run (In HR terms, humans do still get involved: I know this as AI testing identified me as potentially suitable for a well-paid relatively high-status job but my lack of experience ensured I was rejected once a human looked at my CV in one particular application process!) Perhaps I will include some of the resulting descriptions of me, having taken part in this process in my BOW… 
  • TBC

Artists: Orpheus Standing Alone, Camille L. and Anna L

I recalled seeing this work in a Foam magazine #51 (the previous post is also from that edition) and being really struck by the way it was put together, and incorporated a range of images, styles, as well as text. On the website there are still images, text, a bit of processing and a freedom that one doesn’t see in more ‘conservative’ examples of photographic work. I did not recall the name of the work and had to flick through old copies, and now see a similarity to one of my own texts – Orpheus in Homebase. The linking again of old myth to today’s world. What I take mostly from this work is freedom to play. (Which is interesting given my sense that there is an ever decreasing sense of play related to online forums where the conservatism of Flusser’s apparatus appears to dominate and rule.)

Self Published Art Books
— Read on www.orpheusstandingalone.com/about

Artist: Filip Berendt

Berendt’s ephemeral process equates well to Barad’s agenitial cut which I’ve been exploring in my own work (ideas for so far). There is also the mix of medium and ownership (like Martins and Clark) which rejects the purity espoused by Bate. Additionally, he manages to focus his work on myth and archetypical patterns cross culturally and across linear time. Worth exploring and thinking about, possibly including as an example in CS.

Monomyth project combines authorial photography with abstract painting – photographed objects are spatial collages created on the walls of Berendt’s studio and destroyed once they have been captured on film. Berendt has used that method previously in a couple of cycles (Every Single Crash, Pandemia) in which the only physical trace of the pieces he created – and thus the final effect of the creative act – was a photograph. His latest works refer to the idea of monomyth, introduced by the American mythologist Joseph Campbell (the term was originally coined by James Joyce). Monomyth stands for the archetypal pattern typical of fictional narratives, described by Campbell, shared by all mythical stories, manifesting itself as the hero’s journey, conveying universal truths about self-discovery and self-transcendence, about social and interpersonal roles. According to Campbell – and Berendt – the hero is an individual setting out on a journey leading them to the final destination: profound spiritual transformation. The journey is tantamount to making life meaningful, to searching for and discovering its meaning at consecutive stages of the trip.

text; Agnieszka Rayzacher

— Read on www.filipberendt.pl/

CS Research: (97) (PDF) ‘Lights, Camera, Algorithm: Digital Photography’s Algorithmic Conditions’ in Sean Cubitt, Daniel Palmer & Nate Tkacz (eds.), Digital Light (London: Fibreculture Book Series, Open Humanities Press, 2015), 144–62. | Daniel Palmer – Academia.edu

This has some useful references included and the phrase ‘marginal’ referring to decisive moment photography which may be useful alongside ‘boring’ (Elkins) ‘conservative’ (Blight) and ‘tautological’ (me).

(97) (PDF) ‘Lights, Camera, Algorithm: Digital Photography’s Algorithmic Conditions’ in Sean Cubitt, Daniel Palmer & Nate Tkacz (eds.), Digital Light (London: Fibreculture Book Series, Open Humanities Press, 2015), 144–62. | Daniel Palmer – Academia.edu
— Read on www.academia.edu/30168558/_Lights_Camera_Algorithm_Digital_Photography_s_Algorithmic_Conditions_in_Sean_Cubitt_Daniel_Palmer_and_Nate_Tkacz_eds._Digital_Light_London_Fibreculture_Book_Series_Open_Humanities_Press_2015_144_62

 

Research: Art Schools of the Future Need to Teach Students to Understand Technology. How Will That Change the Future of Art? | artnet News

As software, algorithms, non-conscious cognitive agents and cybernetic thinking increasingly shape the world around us, artists need to have a strong grasp of the practical and philosophical implications of this transformation,” Kaganskiy says. “I’m not saying that every artist needs to learn to code, but they should probably read some media theory and software studies texts, maybe even some posthumanist philosophy.”
— Read on news.artnet.com/art-world/art-school-tech-adapt-1742802

I can’t help thinking this reluctance is all about snobbery. It reminds me of the Blight comment re photography and conservatism which I mentioned in a previous post and which might go into my introduction- if not elsewhere in the essay.

CS & BOW: research – Cultural Capital / Capital Culture text Sunil Shah

Re: the entangled implications of art, culture, business and ethics

‘How can artists and their work stand up to critical scrutiny if the conditions which foreground them are complicit in the creation of the subject matter they represent? What does that mean for the integrity of the artist and the ethics of the photo- journalist, documentarian or creative producer who seeks to address our world’s problems?’ (Shah, 2019)

https://www.mathieuasselin.com/cultural-capital-capital-culture

Currently looking through a book on Baudrillard so good timing to stumble across the above

CS: notes

In my plan, I suggested chapter’s 3 and 4 would merge and become less pedestrian – i.e. subject followed by examples. Instead examples should flow throughout the essay. And that an alternative topic for 4 might present itself at some point. I’m wondering now if addressing the difference between revisionism and reviewing but coming to different conclusions with new information is worth investigating. This would entail looking at quantum erasure too where the past is changed by what happens in the future – as in chapter 7 Barad. (See final episode of Good Omens for example of this in popular culture/fantasy science fiction – relevant for BOW)

CS A4: Notes – naive realism etc.

Veridical perception – what you see is what you get. (Hoffman, 2019 posits this can’t be the case)

Schrödinger – uses term ‘naive realism’ (Barad, 2007)

Daniel C Blight – talks about photography being conservative (agree!) (Twitter, 2019)

And photography does seem in many instances / general use to be tautological (CS A1 Field, 2019)- at which point it becomes reassuring/comforting to make and look at.