CS & BOW: Research Critique of Barad

 

Looking for a critique of Barad’s work I have come across this which confirms some of my concerns and questions, although rather more acerbically than I might have done. It begins with the following which made me laugh – humour in an academic paper, good! I do wonder if there is an element of peevishness in the article – will wait and see:

‘In Artful, her collection of critical essays, Smith (2013: 41) reminds us of a childhood game designed to break the boredom of long car journeys – ‘Ten points to the person who can see the Forth Road bridge’ – and points to its direct suitability to the situation of the academic conference: ‘Ten points to the first person who hears someone say the words Walter Benjamin.’ In recent years, it has been possible to play a version of this game substituting ‘Karen Barad’ for ‘Walter Benjamin’. If we add in bonus points for a cluster of terms taken from her book Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (2007) – especially ‘entanglement’, ‘diffraction’, ‘intra-action’ and ‘agential realism’ – then a fine game of ‘Barad Bingo’ can be had far and wide across the humanities and social sciences: from conferences on ruins, animal ethics and informational infrastructures to journal articles on lifelong learning (Edwards, 2010), bullying in schools (S ̄ndergaarda, 2012) and feminist theories of fashion (Parkins, 2008).’ (Hollins, et al, 2017)

 

Hollin, G, Forysth, I, Giraud, G et al. (1 more author) (2017) (Dis)entangling Barad: Materialisms and ethics. Social Studies of Science, 47 (6). pp. 918-941. ISSN 0306-3127

Click to access Disentangling%20Barad%20-%20version%20for%20repositories.pdf

Will report back with further notes – but good to see some counterpoints

  • What is it about Barad’s work that appeals to ‘now’ – which the authors admit is pressing today. “What is more, and as evidenced below (Figure 1), the influence of Barad’s work continues to grow, with the above outputs receiving significant year-on-year increases in citation counts. And this brings us to an important point: While Barad’s project spans twenty years, it is evidently of this moment.” (3)
  • ‘Questions are raised, however, about the applicability of concepts originating in the quantum realm and what is lost when they ‘jump scales’ and are used in order to grasp macro-sociological concerns.’ Barad herself actually warns against this kind of simplistic scaling up and claims to avoid analogy (5)Re second-mentioned concern is scaleability  – again dealt with by Barad – rather than scaling up, it seems to me she is suggesting implications at micro-level affect out thinking and even though the macro world is govenred by different rules, knowledge about more flexibity and possibility can nevertheless affect us, so not sure about this but I have only read first two chapters so will wait and see: “It does, however, mean that the issue of scale is particularly pertinent for those seeking to draw upon Barad’s work, and worth dwelling on.” (8)
  • Making matter matter, or, in search of lost realness‘ compare section heading to Foster Return fo the Real (6)
  • ‘We conclude the article by arguing that in much of the literature drawing upon Barad there is a focus upon diffraction and entanglement and that this has come at the expense of considerations of complementarity and necessary exclusion. We suggest, however, that it is the radical potential of an ethics of exclusion which is perhaps most vital to those continuing to use Barad’s work.’ (5)

  • ‘Re my own comments on peevishness: ‘Does the process by which ‘matter comes to matter’ in Barad’s thesis matter? When we call upon Barad to help secure an argument, how can we be sure that we are not suffering from a new case of physics envy – of the quantum variety?” (6)
  • ‘There are two entirely concordant consequences to this continuity between physics and social theory. First, Barad’s realism promises to firm up the ‘beneath’, to put it in Foucauldian terms, of knowledge (Lather, 2010) by offering ‘the weight of realism’ as ‘ballast’ against too much postmodernism (Barad, 2007: 43).”Objects, entities and phenomena are demonstrably instantiated in and by material practices, produced performatively in concrete situations and thus – crucially – can anchor political actions. This approach carries distinct ethical implications, on which we focus shortly.’ (8)
  • ‘Despite the obvious utility of diffraction, the section concludes with some thoughts on the possible merits of rescuing reflection.’ (11) see rest of section
  • I like this criticism:
    ‘In a recent article, Paxson and Helmreich (2013: 169) argued that:
    ‘[New materialism] is productive because it can shake thinking away from the certainties of social determinism, as exampled, canonically, in the Strong Programme in the Sociology of Knowledge – and because it can show that phenomena emerge in practice. But it is also risky, because new materialist tactics often veer towards universalizing metaphysical claims about the nature of ‘matter’ as such and also, at times, take scientific truth claims about the world at face value – a move that we consider a step backwards for STS.’ (13)
  • ‘The key terms within this passage – intra-action, agential separability, exteriority-within – all indicate that for Barad the separations between words, things, and knowers are real enough but these separations are effects of particular engagements with the world (p. 138). This is the crux of Barad’s agential realism.’ (16) Key for me too  – and can be applied to cameras and visual recording systems (some of which do not rely on sight or emulation of sight)
  • Barad’s understanding of the apparatus, then, is more expansive than in a ‘typical’ methods section, more-than-human in its composition, and emergent through practice. There are clear affinities here with actor-network theory (e.g. Latour, 1987: 162) Something for me to investigate further (17)
  • ‘Perhaps, we might speculate, for theorists whose bread and butter it is to consider the nonhuman and their relations with humans and other nonhumans, Barad’s considerations are neither seismic nor entirely novel.’ (17)
  • re tools – and thinking about cameras/visualising tools: ‘The stick cannot usefully serve as an instrument of observation if one is intent on observing it. The line between subject and object is not fixed, but once a cut is made (i.e., a particular practice is being enacted), the identification is not arbitrary but in fact materially specified and determined (Barad, 2007: 154-155). (18)
  • NBNBNB: Not only is cutting a boundary-making practice (p. 148), it is a process over which there is a degree of control. Thus, for Barad, boundaries are not only real but there is a degree of responsibility for their creation, the worlds that are made, and those that are excluded (p. 243). (18)
  • This emphasis on separability, exteriority and constitutive exclusion is a significant part of what makes Barad’s work distinct and important. It is also the part of Barad’s scholarship that is most frequently lost in the re-telling. (18)
  • ‘The concept of complementarity makes clear that, for Barad, when one apparatus instantiates a particular world another is necessarily excluded.’ (18) (At the risk of sounding slightly belittling and not meaning to, in popular culture, this is explored by Phillip Pullman  – pulverized and aneathetised by the BBC)
  • ‘We argue that the ways with which Barad’s approach has been engaged have resulted in an over-emphasis on questions of entanglement. In contrast, we suggest that the ‘radical potential’ of agential realism is in drawing attention to what is excluded from particular entanglements.’ (19)
  • A useful list of more-than-human writers: ‘Barad’s intra-active conception of the world offers a specific understanding of relationality that goes beyond earlier conceptualizations of hybridity (Haraway, 1992; Latour, 1993), a term which suggests relations shape pre-existing entities (Lorimer, 2015: 24). Yet, aside from offering a neat neologism that makes its difference from interaction explicit, on a superficial level, intra-active conceptions of the world do not appear to be wholly novel. Approaches that have considered the ‘mangle of practice’ (Pickering, 2010) such as posthumanism (Castree and Nash, 2004; Hayles, 1999; Wolfe, 2010), actor-network theory (Latour, 2005; Mol, 2003), non- representational theory (Anderson and Harrison, 2010), vital-materialist approaches (Bennett, 2009), engagements with cosmopolitics (Stengers, 1997, 2010, 2011; also Hinchcliffe et al., 2003), or object-oriented ontology (Bogost, 2011; Harman, 2012), all stress the agency of more-than- human entities and make clear that the human is shaped through encounters with other agencies.’ And add Deborah Lupton to this re Data Selves (2019)
  • The clearest description of performative for me yet – ‘Barad’s understanding of reality as enacted rather than pre-given similarly troubles pre-defined ethical hierarchies such as human/animal, subject/object, and nature/culture, as a way of thinking about the world.’ (19)
  • ‘Barad could thus be situated as part of a longer lineage of work that has collapsed the ontological and epistemological and turned attention to the performative composition of reality (e.g. Mol, 2002; Star, 1992).’ (I thinkI still need to figure out why this is not constructivist  – see the sentence about performative being not entirely or much at all re volition-) (20)
  • ‘We question the ease with which Barad’s work has ‘jumped’ between diverse scales and urged that attention be paid to frictions between scales, and what may be lost precisely because it is not scalable’ (23) Hayles (1999) seems to answer this when she describes the way we instantiate our movements and actions while we use computers – the technology for these computers often emerge from a range of inte-related sciences and technologies where quantum mechanics plays a significant part – See loc 698 and then Chapter 3 on how information became so important to theorists and scientists via the Macy conferences – how this conversation which informed military and computer sciences and ‘infected’ reality
  • Hard not to disagree with the following or any other form of information which becomes a holy grail and therefore dogma spouted by dogmatic, excluding followers. ‘Despite seeing a number of potentials in agential realism, however, it is important to caution against uncritically extolling the value of this approach. As Willey (2016: 993) powerfully argues, it is dangerous to position new materialism as a radical break from feminist, postcolonial STS (see also Sundberg, 2014), and uncritically valorizing agential realism can lend strength to this trap.’

 

BOW & CS Notes: Meeting the Universe Halfway, K.Barad, 2007 (Intro & Chpt. 1)

This book is vast and complex so I think I might try to make notes as I go. Although there is a risk in reading it that I will be carried away in unhelpful albeit exciting directions, I think it is worth taking because as I move through it I am beginning to have specific ideas about what I’m aiming to explore – and it’s very much linked to ‘seeing’. In DI&C A3 (2019) I began to explore the tendency for photography (both academic and more popular forms) to engage in hierarchical thinking, despite the fact that individuals within it often make great claims about using photography to interrogate society. This results in photography reinforcing rather than dismantling segregation of various forms.

Equipment and output are (perhaps catastrophically?) ‘entangled’ with the history and uses that engendered photography’s invention. I quoted Ariella Azoulay’s blog posts Unlearning the Origins of Photography (2018) which I now see are influenced by the same undoing of a Cartesian mindset that exists in Barad’s writing. I will also need to revisit Flusser’s Towards a Philosophy of Photography (2012) as the ‘apparatus’ – i.e. the social and economic machine in which the camera exists seems relevant.

So here are some bullet points notes for now:

  • Begins with an analysis of Frayn’s play Copenhagen (first performance 1998) (rave reviews and repeated runs across the globe) which she says is beautifully written but flawed – then goes on to say why, effectively lumping it alongside a ‘plethora of popular accounts that have sacrificed rigor (sic) for the sake of accessibility, entertainment, and if one is honest, the chance to garner the authority of science to underwrite one’s favourite view’ (6) I can imagine Frayne taking umbrage with this as it potentially says films such as Marvel’s Into the Spiderverse (2018) for instance which also uses a backdrop of multiple universes and fluid realities for its well-worn but nevertheless entertaining narrative structure are no different to his intellectual production. (I’ve not seen the play but really love Into the Spiderverse, incidentally…)
  • re the play, ‘we are left wandering aimlessly […with] only an empty feeling that quantum theory is somehow at once a manifestation of the mystery that keeps us alive and a cruel joke that deprives us of life’s meaning’ (17)
  • However, Neils Bohr, in particular, has called into question ‘an entire tradition in the history of Western metaphysics: the belief that the world is populated with individual things with their own set of determinate properties. The lesson that Bohr takes from quantum physics  is very deep and profound: there aren’t little things wandering aimlessly in the void that possess the complete set of properties Newtonian physics assumes’ […] “Which properties become determinate is not governed by the desires or the will of the experimenter but rather by the specificity of the experimental apparatus.”
  • ‘the very nature of intentionality needs to be rethought’ (22) i.e. we can assume nothing in isolation and the network/schema/surrounding landscape in which an intention emerges is always intra-dependent. (I will get to the use of intra-rather than inter shortly)
  • ‘intentions are not pre-existing determinate mental states of individual human beings’ & intentionality “might better be understood as attributable to a complex network of human and nonhuman [cameras for instance and the companies that make them] agents, including historically specific sets of material conditions that exceed the traditional notion of the individual’. (23)
  • ‘an entangled state of agencies’ (23)
  • She avoids analogies  – especially between people and particles and I will do well to heed her warning against doing so – reductive and simplistic
  • is interested in ‘conditions for the possibility of objectivity, the nature of measurement, the nature of nature and meaning making, and the relationship between discursive practices and the material world’  (24) This is where I am having some issues. First of all, because I had to get my head around ‘discursive practices’ as opposed to discursive writing – the latter is a description of a type of writing that flits from one subject to another and is a pejorative term (my writing!)  The former is a complex Foucaldian term which is very difficult to comprehend… discourse-related performative actions in human behaviour in which power-relations are played out. The most useful description is as follows: 

‘The discursive practice approach is grounded in four insights concerning discourse. One is the affirmation that social realities are linguistically/discursively constructed. The second is the appreciation of the context-bound nature of discourse. The third is the idea of discourse as social action. The fourth is the understanding that meaning is negotiated in interaction, rather than being present once-and-for-all in our utterances.’ From http://voidnetwork.gr/wp-content/uploads/2016/09/Discursive-practice.pdf

My problem – and this runs throughout the Barad and New Materialism material I’ve read (still reading, still trying to understand and a way to go) is that, while I appreciate that language has been given more attention than material/matter as Barad argues in debates about power – language and verbal action are in my understanding material and that distinction between the two is what prevents people up from valuing digital language (code, digital photography) which they see as non-material and therefore less worthy (in art especially). (See Lupton, 2019, How data came to matter (79)) The other thing is, assemblages and intra-actions which include discursive practices, as well as matter, don’t exist in isolation which is the base of her world view (which also tallies with systemic theories as far as I can see – again, based on very basic knowledge). I am aware I have not yet got the gist of Barad’s arguments about matter so – watch this space  – I might get it eventually.

  • diffractive approach  – this suits my way of thinking and I wholeheartedly agree. One of the issues with photography writing in some instances is that it seems to have tunnel vision and excludes all else at times leading to phrases such as ‘photography changes everything’ which I briefly dismantled in DI&CA3. Photography then ends up being seen as a holy grail in some people’s minds when in fact it is one mechanism amongst many that contribute to meaning – and the flat, still, decisive moment kind might just be the most irrelevant and in Elkin’s terms ‘boring’ example of reality out there nowadays. (2011) Again, Lupton’s explanation of a diffractive approach, which refers to Barad, is useful. (29)
  • ‘a diffractive methodology is respectful of the entanglement of ideas and other materials [ideas = materials] in ways that reflexive methodologies are not (29)
  • agential realism – recognises agents both human and non-human that exists in and acknowledge the real but eschew both anti-realism/constructivism as well as realist insisters “a philosophical framework that […] entails a rethinking of fundamental concepts that support such binary thinking, including the notions of matter, discourse, causality, agency, power, identity, embodiment, objectivity, space, and time’ (26) – See page 48 for more inc. ‘representationalism is so deeply entrenched in Western culture that has taken on a common-sense appeal’ (48) What’s the alternative? Describe/how does photography reinforce this and can it help to critique it, if so how? – performative approaches
  • central – ‘matter as a dynamic and shifting entanglement of relations rather than a property of things’ (35)
  • Bohr: ‘we are part of that nature that we seek to understand’. ‘part of the phenomena we describe’ (26)
  • NBNBNBNB ‘Performative approaches call into question the basic premises of representationalism’ (28)
    ‘representationalism in the belief in the ontological distinction between representation and that which they purport to represent’ (46) [I think revisit Rubenstein’s crit of Freid – Failure to Engage for more on this]
    ‘ther are assumed to be two distinct and independent kinds of entities – representations and entities to be represented’ (46)
    ‘Performative approaches call into question representationalism’s claim that there are representations, on the one hand, and ontologically separate entities awaiting representation on the other, and focus inquiry on the practices or performances of representing’ (49) Knowledge comes from ‘direct material engagement’ (49)
    See page 50 for Realism without Representation – where does all this tally with Hoffman’s theory in which our only access to the world is via representation alone. His representation is wholly constructed, it does not accurately describe the real but fulfills our needs for existing within it – therefore it is our real because its the only one we have.
    ‘Theorists who adopt a performative approach are often quick to point out performativity is not the same as performance, and to merely talk of performance does not make an approach performative’ (60)
  • Intraction – 33. ‘The neologism signifies the mutual constitution of entangled agencies’ – a good deal of photography-related critical theory seems not to recognise this mutuality. ‘the primary ontological unit is not independent objects with independently determinate boundaries and properties but rather what Bohr terms phenomena. ‘The shift from the metaphysics of things to phenomena makes an enormous difference in understanding the nature of science and ontological, epistemological and ethical issues more generally’. (33)
  • ‘realism is often saddled with essentialism’ (55)
  • ‘theorising and experimenting are not about intervening (from outside) but about intra-acting from within, and as part of the phenomena produced’ (56)
  • builds on ‘Foucault’s critique of representationalism and Bulter’s gender performativity’  – ‘gender is not an attribute of individuals’ (57) This would apply to poverty, class distinction, ‘race’, sexuality  – all emerge as ‘a doing’ – performing
  • ‘what is at stake in this dynamic conception of matter is an unsettling of natures presumed fixity and hence an opening up of the possibilities for change’ (64)

See Fred Ritchin’s final chapter After Photography (2010) as a possible intro into finding ways to use digital photography to bring these quantum influenced ideas into the discourse beyond scientific circles.

Think Zizek has critiqued Barad and will need to find it and see what he has to say… :-/ Been comparing what I recall of A Systemic View of Life 

Azoulay, A. (2018) Ariella Azoulay – Unlearning Decisive Moments of Photography. [online blog/forum] At: http://www.fotomuseum.ch/en/explore/still-searching/authors/10605_ariella_azoulay (Accessed 15/11/2019).

Capra, F. and Luisi, P. L. (2014) The Systems View of Life: A Unifying Vision. (1 edition) Cambridge: Cambridge University Press.

Flusser, V. (2012) Towards a philosophy of photography. London: Reaktion Books.

Field, S. (2019) The Democratisation of Form, OCA Digital Image and Culture A3. [Essay]: WordPress. At: https://sjfdiculture.files.wordpress.com/2019/03/assignment-3-democratisation-of-form-submission-1.pdf (Accessed 15/11/2019).

Spider-Man: Into the Spider-Verse (2018) Directed by Persichetti, B. et al. Sony.
Frayn, M. (1998) Copenhagen. London: Methuen Drama.
Ritchin, F. (2010) After Photography. New York, NY: W. W. Norton & Company.

Hangout: 13th November 2019

Some recommendations to Nicola & Allan, relevant to both their projects really – and useful to consider in terms of what I’m looking at –  an evolving understanding of humanity’s situation with/in the rest of the universe – although for now, my own work does not focus so specifically on any single aspect. Both examples worth thinking about further

Mandy Barker

https://www.bjp-online.com/2018/11/bastard-countryside-by-robin-friend/

 

Artist: Noami Uman

I wrote about Uman towards the end of Self & Other and was reminded of her yesterday when reading about performativity  (Lloyd, 2015: 18 quoting – MacKinnon 1987: 171).

“Pornography, for MacKinnon, is not, as it has conventionally been understood, a matter of obscenity, free speech, or morality. Akin to hate-speech it is rather a matter of social inequality, inequality that is “substantially created and enforced – that is done through words and images” (MacKinnon 1994: 9, original emphasis). Pornography, for MacKinnon, is a “constitutive practice” (1987: 173) that produces gender inequality by constructing the abuses suffered by women (she cites rape, battery, sexual harassment, and prostitution) as sex. It “sexualizes” these abuses and “thereby celebrates, promotes, authorizes, and legitimizes them”. In so-doing it constructs women “as what men want from sex”(MacKinnon 1987: 171) and, in the process, “institutionalizes the sexuality of male supremacy”.7 As such pornography “eroticizes hierarchy … [and] sexualizes inequality” (MacKinnon 1987: 172). MacKinnon’s contention, however, is that pornography does more than only subordinate women (as if that were not enough).”

From Screening the past website:

Removed is more than just a feminist intervention into the pornographic genre (although it is that, too). Rather than exposing what many believe to be the “essence of [mainstream] pornography – woman without substance”, Uman renders woman as substance, a powerful, pulpy, roiling presence. [14] In his work on ‘screendance’, Douglas Rosenberg introduces the term “recorporealisation”, writing that in order for a body to be recorporealised, it must first be decoporealised or stripped of its somatic and fleshly resonances through mediatisation. [15] Under Uman’s recorporealisation of her, the women of Removed become ‘untouchable’ – the male hands that attempt to stroke their bodies “simply sink into light”. [16] Strangely, it is Uman’s abstinence from touching the whole bodies of her filmic women that renders them impervious to the male touch on-screen. Uman allows the bleach to do its work on the female figures, transforming them into skeins of light. Uman has said that she “wanted to see what would happen if [she] remove[d] the women” from her found footage, asking: “Would it still be pornography?” [17] In Uman’s film, however, the ‘erased’ body returns with a new and more powerful force. The body becomes hyper-visible as a relational and material-kinetic presence. What is manifested on-screen is the body’s kinetic twin; a double which both exceeds the body and originates from within.

Although I first came across Uman’s Removed (1999) I am also interested in the Tin Woodman’s’ Home movie below a) because it references such an iconic film and I have long been interested in doing something with Gone with the Wind (although I have no idea if I ever will get to it not least because doing so potentially invites all sorts of trouble) ; b) it relates to strongly to our childhood – collectively as people continue to watch this film – one of my own sons watched it obsessively when he was about three years old. These narratives which we are exposed to as young children have such a profound effect on us for the rest of our lives – fixing expectations which then become enormously difficult to divert, change, transform.

https://www.youtube.com/watch?time_continue=25&v=-JnRFAgHNKQ&feature=emb_logo

Lloyd, M. (2015) ‘Performance and Performativity’ In: Ditsch, Lisa and Hawkesworth, Mary (eds.) The Oxford Handbook of Feminist Theory. Oxford: Oxford University Press. pp.572–592. At: https://repository.lboro.ac.uk/articles/Performativity_and_performance/9470270 (Accessed 07/11/2019).
Bergen, H. (2018) Pornography, Ectoplasm and the Secret Dancer: A Twin Reading of Naomi Uman’s Removed. [Online magazine] At: http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/ (Accessed 10/11/2019).
Field, S. (2018) Artist: Naomi Uman. [Blog] At: https://ocasjf.wordpress.com/2018/03/20/artist-naomi-uman/(Accessed 10/11/2019).

Writer: Raymond Carver 1938-1988

Raymond Carver was mentioned in my feedback. I don’t know his work really so have been taking a look. I can see why he was suggested – the prose-like verse, the everydayness of the view, the content re death.

In this first text I looked at, I just loved the reason he gives for eyes being sewn shut. I laughed out loud. Good to see this.

7

Poetry Foundation (1989) Another Mystery by Raymond Carver. [text/html] At: https://www.poetryfoundation.org/poetrymagazine/browse (Accessed 08/11/2019).

 

Artists: Susan Hiller 1960-2019

Suggested in A2 BOW Feedback: Susan Hiller – e.g. Punch and Judy (7 March 1940 – 28 January 2019)

2-02
From https://www.mattsgallery.org/artists/hiller/exhibition-2.php
Ghost Susan Hiller from Artrabbit
From Art.rabbit.com https://www.artrabbit.com/events/susan-hiller-ghost-tv
Demons and Dancing
From https://thequietus.com/articles/25645-susan-hiller-interview

(Gosh, I am annoyed I missed Hiller’s work which was being exhibited in London until recently.)

https://www.artrabbit.com/events/susan-hiller-ghost-tv

From the above video

  • “translations of phenomena of light”
  • “translating into something we can perceive” (see Donald Hoffman’s theory)
  • “science has gone beyond this” (dualism between rational and irrational) – I so agree and want this in my work somehow
  • “we spend an enourmous amount of time dreaming and that is beyond reason”
  • “committed to looking at things which are not acknowledged or ridiculed  – a whole range of things like this”

From

  • Also interested in the way cinema has replaced religion (I have been so interested in how the cinema is making the same stories as we have seen in mythology)
  • She is interested in the devices of cinema and how they communicate the magical, magical, non-rational
  • Think Hiller’s work is extremely relevant for me
  • The Clinic piece is “very austere, very difficult, and challenging” which relies entirely on people’s imagination and willingness to engage.
  • belief in rationality is a belief system
  • looks at the commodification of spirituality
  • looks at social world
  • difference between subject matter (e.g. apples) and content (about other things)
  • people get diverted by the subject matter and don’t reflect on the content
  •  different relationships between sense and modality  – sees this as a possibility
  • voice is body
  • work today is heavily influenced by the 70s
  • See 19.16 mins to see moving image and object installed
  • I’m only at the sketchbook stage, she ends her interview with

I love what I have seen of this work so far.

 

 

CS & Bow Notes: More re. Performativity

One of things about studying this way (as opposed to in a classroom) is there’s plenty of freedom to go off and explore – which I do a-plenty. But because I tend to stray quite far (which is a good thing, I think, despite unavoidable pitfalls) I am prone to missing out on some basics which would make things simpler for me if I’d visited them before approaching certain topics, or at the start of doing so. I probably should have read the following and along with notes on philosopher John Austin before tackling Karen Barad’s paper. Having done a bit of digging, I get a much clearer picture about her rejection of language in favour of matter although I probably stand by my arguments for seeing language as a form of matter. I am also certain my experience of ‘actioning’ a script is going to inform my understanding and will be invaluable. I will add to this post once I’ve read Moya Lloyd’s chapter below.

To read and makes notes:

  • Metaphore widely used – perform
  • Derives from performance studies  – dramatic terms OR sociology to perform a function in everyday life
  • Connote different things  – 1 to act out or 2 to achieve an acceptable level of proficiency – a 50s man reached pique performance if he went to work and provided for the wife who achieved hers if she provided supper and slippers, etc. (no matter the cost to either)  – etymologically different:
    “late a5c., “accomplishment” (of something), from perform + -ance. Meaning “a thing performed” is from 1590s; that of “action of performing a play, etc.” is from 1610s; that of “a public entertainment” is from 1709. Performance art is attested from 1971.”
  • Difference between performance – performance studies and performativity from linguistic studies – (verbal acts which have an effect on the world)
  • Bulter in Gender trouble suggests both gender and sex are performative (3)
  • Austin JL  – originates from
  • Beauvoir (Second Sex) body is not a ‘natural fact’ but an ‘historical idea’ (4)
  • An identity through a ‘stylized repetition of acts’ (Beauvior, 1988-519) (5)
  • Butler – Turner, life as a ritual social drama – depends on repetition of social performances – (see Chater) page 6
  • repeated social performances (6)
  • replication of corporeal repertoire (7)
  • a gendered subject is produced (little autonomy or volition) NBNBNB
  • Collective rules around acting out gender and sexuality
  • Page 11/12/13 Erving Goffman – “frames”
  • Sociological sorting 1977:302-3
  • Doing gender is unavoidable page 14/15 west and Zimmerman 1987:137
  • Differences in gender performance between Goffman and Butler page 17
  • (Remember entanglement – Barrie who wants value non-linguistic elements of an assembly that results in)
  • How to do things with words
  • MacKinnon 1987: 171 page 18 pornography see example in S&O – nail polish NB page

Lloyd, M. (2015) ‘Performance and Performativity’ In: Ditsch, Lisa and Hawkesworth, Mary (eds.) The Oxford Handbook of Feminist Theory. Oxford: Oxford University Press. pp.572–592. At: https://repository.lboro.ac.uk/articles/Performativity_and_performance/9470270 (Accessed 07/11/2019).

Artist: Mark Lewis

Mark Lewis was a photographer but he now works with film and creates video installation. He explores “duration” and “the “species present” (AA School of Architecture, 2017), i.e. the impossible to pin down in-between space ‘bookended’ (ibid) by past and future.  Work has a temporal span but “do not expect action”. Talks about a tension between boredom and revelation.

He tends to strip film convention back to its most basic elements and avoids using audio because it is too powerful and emotive. (I avoided music in very first documentary/type moving image project for this very reason.)

Makes film installation specifically for the museum and not the cinema – short, exploring camera moves and taking them to their extremes. Long shot might go on for ten minutes.

Says art increasingly focusing on the quotidian  – painting and photography went a very different way to the way cinema was going. (Asks why film went down the path it did… suggests there was no reason and it was a choice to become dramatic/theatrical.)

I really like how Mark Lewis describes his working process as ‘intuitive’. He takes pictures, pins them up on a wall and then if he’s lucky it might evolve into something a few months later. I suppose I recognised this in my own meanderings.

 

Research: CA A2 Daniel C Blight’s response to Charlotte Cotton’s Photography is Magic – Photography​ is Not Magic

I just discovered this as a draft – but never posted. The following passage is great.

“We might also beg questions of photography’s current relationship to non-representational theory here, a space in which we attempt to do away with the linguistic connotations of “reading photographs”. For as Piere Taminiaux notes in his The Paradox of Photography (2009) ‘Photography thus signifies both an end and a beginning to representation.’ Whichever theory of representation one might support, let’s remember John Harvey’s lines in his Photography and Spirit (2007), as both a criticism and a warning against such inconsistencies, which seem to forget that in the context of photography (and pertinently in the case of the algorithm), magic might not be made by the makers of photographs at all: ‘Pseudo-photographic relics and spirit photographs share not only the mystery and miracle of their manufacture but also the status of being representations of the spirit by the spirit’ [my italics].” (2015)

Update after finding post:

It seems that scientific theory is heading towards rendering representation key to our existence (Hoffman, 2019), I am not sure what to make of “Photography thus signifies both an end and a beginning to representation.’ It’s an odd sentence which I can’t make head nor tale of.

I do know Representation is under suspicion. On the one hand, science tells us we might only exist in a world of representation and reality is an illusion – on the other, science suggests phenomena rather than representation matters most. (Barad, 2003)  Barad’s critique/thesis “refuses the representationalist fixation on “words” and “things” and the problematic of their relationality, advocating instead a causal relationship between specific exclusionary practices embodied as specific material configurations of the world (i.e., discursive practices/(con)figurations rather than “words”) and specific material phenomena (i.e., relations rather than “things”).”

Daniel Rubenstein argues against Michael Freid’s negation of theatre as art, quoting Lyotard. ” In Libidinal Economy Lyotard proposed that the role of the artist is to lay bare the mechanisms of theatrical [perhaps here we don’t even need the word theatrical] representation, to show that if there is anything real about representation, it is because there also exists a fully real virtual domain constructed not from objects and things, but from intensities, desires and surfaces” (2017)

As I figure out what my A3 research question is – the word representation seems to be one of the key subjects along with performativity and the collapse of fixed and certain boundaries (which representation seems so reliant on).  I keep thinking about the conundrum of maths  – supposedly the least emotive language that exists. Is maths a language or is it a real thing. Apparently, the clever people can’t make up their minds. But what if it’s both?

Hoffman’s book on reality paints a picture (see the video on Aeon in references) that seems to suggest that our reality is *one giant representation – a user interface, the purpose of which is to ‘hide reality’ which allows us to ‘control [our] reality’. Our objects are icons that we recognise to work out our best fitness choices – otherwise, we would be distracted by reality. Not sure yet where the maths conundrum fits here  – but I do think if Hoffman’s theory has any credence then the illusion we create is the only reality we know and have, therefore it is real to us least, even though it is also representation. (“As an actor, I was not trying to fake it – I was trying to live it” – the most extreme example, the Method.)

*”When I see an apple it is a data structure  – I am rendering it when I look at it. This rendering happens in everyday life (a description of fitness payoffs.)

  • data structure
  • rendering
  • space-time itself is a data structure
  • conscious agents – passing experiences back and forth
  • reality is like a vast social network
  • Emergence
  • Entanglement

 

Barad, K. (2003) ‘Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter‘ In: Signs: Journal of Women in Culture and Society 28 (3) pp.801–831. At: https://www.journals.uchicago.edu/doi/abs/10.1086/345321 (Accessed 30/10/2019).

Blight, D. C. (2015) Photography Is Not Magic: Photographic Images and their Digital Spirit.  (AXA Online] At: https://americansuburbx.com/2015/10/photography-is-not-magic-photographic-images-and-their-digital-spirit.html (Accessed 06/11/2019).

Aeon (2019) It’s impossible to see the world as it is, argues a cognitive neuroscientist | Aeon Videos  At: https://aeon.co/videos/its-impossible-to-see-the-world-as-it-is-argues-a-cognitive-neuroscientist (Accessed 06/11/2019).

Rubinstein, D. (2017) ‘Failure to Engage: Art Criticism in the Age of Simulacrum‘ In: Journal of Visual Culture 16 (1) pp.43–55. At: http://journals.sagepub.com/doi/10.1177/1470412917690970 (Accessed 06/11/2019).