Artist: Hito Steyerl, How Not to be Seen: A Fucking Didactic Educational.​MOV File, 2013

Recommended by CS tutor Matt White, Hito Steryerl – Guardian review (can’t believe I missed this!):

  • “Tart, funny and furious, filled with rants and “semi-poems”, Steyerl’s latest project is difficult to approach” I love the term semi-poems! I think this probably suits my loose text-based ramblings. I hate calling them poems. They’re not and the word, unfortunately, feels a little grandiose or archaic nowadays.
  • “Once configured (and doing that already had me hyperventilating), your phone is now your interface with the gallery. Forget direct looking. Forget an embodied experience. Only connect, the app store and a strong enough wifi signal willing.”
  • “more and more people let their phones do the looking, trying to capture on their devices the experience they are not really having. I am far from immune.” This is our world… today I talked about the journey towards a simulated reality which will be indistinguishable from the one we currently think of as ‘real’ (and there are plenty of examples of  “more-than-human” (Lupton, 2019) hybrids – e.g. chips helping to regulate heart rate https://www.hopkinsmedicine.org/health/treatment-tests-and-therapies/loop-recorder-implantation. but more than that we are integrating with our phones. They more than represent us. They are us.
  • “With this complicated splicing of fact and fantasy, social reality and grim futurology, Steyerl sucks us in. But don’t get too seduced, she seems to be saying. Along with the fun stuff and the pretty flowers in the gallery, life for many people is hell. Hear their voices, walk with them.?
  • I wonder how much she relied on others to help bring this to fruition. I always think of my roots with Brecht and making work with no money – this is virtually impossible in today’s work if you’re trying to address the construction of a seamless alternative reality (which is no longer alternative). Screens, technology, expertise – all of these cost and so this type of work which I love because it’s addressing current concerns (unlike the endless iterations fo alternative processes) BUT it’s inherently elitist.
  • Looking forward to finding out more.

https://www.theguardian.com/artanddesign/2019/apr/10/hito-steyerl-review-serpentine-sackler-gallery-london

 

Searle, Adrian (2019) ‘Much of the experience is meant to be horrible’: Hito Steyerl review | Art and design | The Guardian. [Online] At: https://www.theguardian.com/artanddesign/2019/apr/10/hito-steyerl-review-serpentine-sackler-gallery-london (Accessed 04/11/2019).

MOCA (2016) What is Contemporary? A Conversation with Hito Steyerl [Online] At: https://www.moca.org/program/what-is-contemporary-a-conversation-with-hito-steyerl (Accessed 04/11/2019).

Hito Steyerl, (2013) How Not to be Seen: A Fucking Didactic Educational.MOV File, 2013 [Online Magazine] At: https://www.artforum.com/video/hito-steyerl-how-not-to-be-seen-a-fucking-didactic-educational-mov-file-2013-51651 (Accessed 04/11/2019).

Artists: Lewis Bush’s Ways of Seeing 2019 (WIP)

I love this. It’s so refreshing to see someone experimenting with forms and processes that are relevant to today’s world rather than languishing in some sort of nostalgic fantasy from the 19th century. That’s not to say one shouldn’t explore our history, and Bush does that here, but if I see one more ‘alternative processes’ project or read yet again about the merits of analogue over digital, I might fall off my perch with boredom. Seeing this, I am encouraged to stick to my convictions and keep experimenting with digital

 

Ways of Seeing Algorithmically

http://www.lewisbush.com/ways-of-seeing-algorithmically/

 

 

CS & Bow: Research notes, Daniel Rubinstein, Failure to Engage 2017

www.danielrubinstein.net/wp-content/uploads/2013/04/Failure-to-Engage.pdf

This article by Daniel Rubinstein confirms my recognition of Freid’s conservativism and does a super job of helping me to more fully comprehend some of the ideas in Barad’s essay. Beneath the argument about theatricality and anti-theatricality, it explores the changing nature of being and knowledge – or ontology and epistemology, as expressed via quantum sciences and philosophies, namely Barad (2003), Lupton (2019), Rovelli (2017), Capra (2014) – leading to what Barad terms “Onto-epistem-ology”[which is] —the study of practices of knowing in being—is probably a better way to think about the kind of understandings that are needed to come to terms with how specific intra-actions matter.” (2003: 829) (See Rovelli and Kant in the previous blog.)

However, Barad argues against what she calls representationalism, which is; “the belief in the ontological distinction between representations and that which they purport to represent; in particular, that which is represented is held to be independent of all practices of representing. That is, there are assumed to be two distinct and independent kinds of entities—representations and entities to be represented” (804) If you can overcome this and see “representationalism as a Cartesian by-product—a particularly inconspicuous consequence of the Cartesian division between “internal” and “external” that breaks along the line of the knowing subject.” (Rouse, 1996: 209, Barad, 2003:805) then the arguments made be Fried begin to disintegrate. As – “it is possible to develop coherent philosophical positions that deny that there are representations on the one hand and ontologically separate entities awaiting representation on the other” (807) relying instead on emergence. And ff you see theatre as a laboratory (not just Growtowski’s but the entire history of it) then perhaps Fried’s entire argument collapses – although I am not sure Rubinstein gets there with this.

Some quotes below and perhaps an occasional note:

  • by way of identifying the dualist oppositions and the ideological investments that establish the ontological significance of this text. (44)
  • Fried is not criticising the work of certain artists, but devising a universal method for distinguishing true art from ‘objecthood’, based on the assumption that (Fried’s) consciousness can distinguish physical reality from art (44) (religiosity)
  • this rejection leads him to adopt a conception of art that is hierarchical, analytical and traditionalist (45)
  • contemporary philosophical thought that studies theatricality as part of the logocentric apparatus inherited from the Renaissance (45)
  • The conception of ‘objecthood’ in contemporary art can be traced to Duchamp’s readymades which he created by selecting, modifying and rectifying mass-produced objects (46)
  • this opposition between the image and the real has its roots in Platonism, where the sensible world is produced as a copy of the world of ideas, and it is the task of reason to overcome the errors of the copy in order to arrive at the truth (46) Far more simply explained here than in Barad’s essay
  • The touchstone for this distinction is whether the image declares itself to be an image (the fable of the cave is told as a fable) or whether the image pretends not to be one, disguising itself as an object (47)
  • Plato’s demand for ‘primary distinction’ between images and models is motivated by the moral need to protect the idea of truth from the dangerous world of simulacra. (47) In CS A2, I argue the shadows on the wall of the attic are the actual real  – what looks like the simulacra is just as real as the flesh and blood version watching the slides – although more likely they exist together, both real, both valuable (see Jung – dream world equal to waking world) 
  • The artworks that Fried designates as ‘theatrical’ seem to have a common denominator: they strive to take over the real, to immerse and to overwhelm us by replacing the real with a readymade and truth with simulacrum until we are no longer able to distinguish the artwork from the real, the referent from the sign, and the subject from the object. (48)
  • Critical opposition to theatricality will not get one very far, as opposition itself is a theatrical requisite (49)
  • Quote Fried, “The Platonic division of the cave, which is effectively the theatrical division between a real outside and an inside simulating this outside … The thing stands for something else, and it is less than what it represents. In order that it be what it is, there has been a lack of being. What is given to us, insofar as it is not similitude itself, is deficient in force. The theatricality of representation implies this deficiency, this depression. (pp. 68, 71, emphases in original)” (49) See Barad and her refusal of representation being something that acts as a sign for something previous and original. (50)
  • Here the antinomy to the ‘theatrical cube’ is being revealed not as anti- theatricality, but as an infinite movement of surfaces that continuously self- replicate and morph into each other (50)
  • If the origin of theatre is in negation, and if its operation is representational, then the deeper reason Fried can speak of a ‘war’ between theatricality and real art becomes clear. (51)
  • Anti-theatricality, in other words, implies that in order to be meaningful, accessible and ‘true’, the artwork has to inhabit some form of transcendental negation, or excluded middle or some other form of metaphysical ground (51)
  • by arguing against the dualism of theatricality and for the monism of ‘real’ art, he is unable to move beyond the very dualism he is trying to unsettle as his thought is chained to the common-sense notion that representation is a natural, ordinary, everyday occurrence (52)
  • The deeper structure of Fried’s argument is that true knowledge can transcend mere appearances and grasp their underlying presence. As Luce Irigaray (1985[1974]) has shown, this framework is based on the notion of a stable subject that comprehends – like Rodin’s Thinker – a world that is also stable and unchanging. (53)
  • Freid’s description of Caro’s sculptures are ‘performative’ therefore theatrical (53) They are also elitist and come about due to a his privileged and educated position. 
  • according to Fried, the greatest danger: under the auspice of theatre, art loses its spiritual, sensual and theological dimension. When art is stripped of its mystical, spiritual powers, of its direct link with experience through the unmediated connection with life, all that remains is the theatre: a pale re-enactment of the mysteries of the sacrificial ritual. (53) This is a bizarre argument given theatre’s roots are deeply embedded in the spiritual and mystical, and was born out of attempts to commune with the gods (the universe).
  • Putting the object first will not work because the opposition between art and non-art is itself the product of an ideology that asserts that there is a real world that can be taken up and represented as an image (53) which Barad argues against using quantum knowledge. 

Edited 01/09/2009 to correct the spelling of Rubinstein’s name

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).
Capra, F. and Luisi, P. L. (2014) The Systems View of Life: A Unifying Vision. (1 edition) Cambridge: Cambridge University Press.
Rovelli, C. (2017) Reality is not what it seems: the journey to quantum gravity. London: Penguin
Rubinstein, D. (2017) ‘Failure to Engage: Art Criticism in the Age of Simulacrum’ In: Journal of Visual Culture 16 (1) pp.43–55. At: https://doi.org/10.1177/1470412917690970 (Accessed 30/10/2019).

CS: Notes on what ‘Performativity’ means in new materialism terms

From – https://newmaterialism.eu/almanac/p/performativity.html

  • re Derrida and Austin’s Theory of Speech Acts, Judith Bulter develops the idea of sexuality and gender as performative
  • “Butler has put it herself: “This very concept of sex-as-matter, sex-as-instrument-of-cultural-signification […] is a discursive formation […]” (ibid., p. 50).”
  • “Haraway’s notion of the material-semiotic that thinks the material, bodily fleshiness and the discursive-linguistic together, and thus breaks through the long-standing nature/culture divide (see e.g. Haraway, 1988 and 1997) – critical re-readings and re-engagements with Butler’s notion of (gender) performativity slowly but surely came into being”
  • “For Barad, performativity is not only linked to the coming into being of the human subject and the (gendered) materialization of bodies, and the socio-political interpellation process that goes along with it (i.e. Butler’s more recent understanding of performativity as articulated in Bodies), but is about the processes of the materialization of “all bodies” and the “material-discursive practices” that engender differences between for example human and non-human bodies (Barad 2003, 810).”
  • Matter is not a passive actor – (i.e. body/camera, body/phone – see Charlotte Prodger, phone shot on phone)
  • Barad “moves away from an individualistic atomistic metaphysics, the modern Cartesian mind/body split, our strong cultural belief in representationalism, our Western tendency to thingify or basically objectify, and a mere discursive-linguistic concept of performativity”
  • “but bodies themselves “come to matter through the world’s iterative intra-activity – its performativity” (ibid., p. 824).” So  – intra-activity is performativity in Barad’s theory. Rovelli talks about reality being relational  – “reality is reduced to relation” “We, like waves, and like all objects, are a flux of events; we are processes, for a brief time monotonous…” Events, therefore, are performances, using Barad’s language.  (Rovelli, 115/116)
  • “Reality, according to Barad, is rather “a dynamic process of intra-activity” or “an ongoing open process of mattering through which ‘mattering’ itself acquires meaning and form in the realization of different agential possibilities” (ibid., p. 817).” So – therefore exactly what I have been unraveling and which is explained in the Hoffman book, Systems Theory, Rovelli etc. Barad applies it to the humanities and is interdisciplinary or in her words discursive and diffractive (I think?).
  • “Materiality is no longer “either given or a mere effect of human agency,” but rather “an active factor in processes of materialization” (ibid., p. 827)” See the previous point.

Susan Yi Sencindiver on the Oxford Bibliography website writes: “Important as this [constructivist] ideological vigilance has been for unearthing and denaturalizing power relations, and whose abiding urgency new materialism does not forego, the emphasis on discourse has compromised inquiry by circumscribing it to the self-contained sphere of sociocultural mediation, whereby an anthropocentric purview and nature-culture dualism, which constructivists sought to deconstruct, is inadvertently reinscribed.” (2017)  https://www.oxfordbibliographies.com/view/document/obo-9780190221911/obo-9780190221911-0016.xml

 

CS: Notes on Posthuman Performativity by Karen Barad

Edit 2024: throughout I refer to Her/she. This is wrong. Barad is a they/them as far as I’m aware. I was not aware when making the notes originally. Please adjust accordingly as reading.

Following the previous two posts where I attempted to pinpoint what I have been exploring in one way or another, I have identified what seems like a perfect paper by Karen Barad called,

Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter

However, Barad’s rejection of language and signification in relation to ‘matter’ are in opposition to my own interest in language. This paper reflects so much I am interested in but devalues language in the process and gives higher value to other elements, in particular matter – although perhaps she is simply trying to even things out. Incidentally, Lupton refers to more-than-human rather than posthuman and I think I may prefer this adjustment.

  • I love this quote KB has at the top of the paper: “We are far too impressed by our own cleverness and self-consciousness. . . . We need to stop telling ourselves the same old anthropocentric bedtime stories.”
    —Steve Shaviro 1997 (However, I think the stories make an otherwise terrifying existence bearable – just about. People are foolish, immature, vain and silly –  how would we cope without our bedtime stories – I sense very little forgiveness or tolerance in some.)
  • “Language has been granted too much power” – starts Barad. This seems to be a rallying cry against Judo-Christian and therefore Western (paternalistic) doctrine which has been the foundation of our civilisation for centuries, i.e. “In the beginning was the Word, and the Word was with God, and the Word was God.” The Gospel of John. The word is apparently – forgive the Wiki quote and I am aware I would need to dig deeper if included in an essay but it’s a useful start for this non-believer. “The phrase “the Word” (a translation of the Greek word “Logos”) is widely interpreted as referring to Jesus, as indicated in other verses later in the same chapter” Wiki.  The relationship between mythology and science tells me this is really crucial; universal cognition, matter, liveliness and life cycle of particles, superposition  – all of this could be interpreted via the story contained in that one line. The opening line of John also carries so much paternalistic fixedness which Sarah Lucas’ work God is Dad explores. If the word Jesus represents supposedly God’s flesh – is it not a metaphor for the manifestation of the emergence of matter?
  • “Language matters. Discourse matters. Culture matters. There is an important sense in which the only thing that does not seem to matter anymore is matter”, she says.

But, and I know Barad is about addressing an imbalance  – Language IS matter. Even if only focused on linguistics – and then only spoken, i.e. no text: breathe is expelled as part of the breathing process: we interrupt its journey out of the body with our epiglottis, and then our tongue, teeth, skull cavities, cheeks, etc help to form the breathe (material) into something shaped despite its apparent ephemerality. Add some vibrations with the help of your vocal nodes and you have sound. Plosives, implosives, glottal stops all contribute to making the breath and vibrations into a shaped sound that is then carried as/on a wave and interacts with the eardrum; and might also be understood in conjunction with sight and touch and smell  – all forming a material interaction with whoever is listening even if the only one hearing is the same person who made the sound in the first place. The shaped breath/sound vibrations’ impact in the world may not be so ephemeral. The impact may indeed be long-lasting and extremely powerful, causing a definitive reaction visible in the material world.

I do not know enough about her ideas yet, but if the term assemblage which Lupton used so frequently emerges from Barad’s theories or related ones, then surely language is one of many emergent elements. The rejection feels like an understandable response to logocentrism and also the theories of structuralism which were dominated (as so much was/is) by men and misogynistic, racist, colonialist attitudes and beliefs, but I wonder if it risks chucking the ‘baby out with the bathwater’.

I find myself agreeing with so much Barad says and her highly educated ability to link quantum science to the humanities would have been so helpful when I wrote the essay for DI&C. Ariella Azoulay’s analysis of history which I referenced seems very much influenced by the same thought processes.

  • When I explained what underlies all my work to the first CS tutor, I said, I am driven by the desire to figure out why people say things which bare no relation to what they actually mean or intend even when they have no idea that may be the case. i.e. “John is a feminist and he tells everyone who will listen that he is one. Even so, John demands to know why his wife has not packed his cufflinks, or why she failed to wash his jeans because, in John’s mind, he’s the one earning the money and therefore it is not unfair to expect his wife to fulfill these domestic duties. John believes in feminism but says things like “No wife of mine will …. (insert things wives ‘shouldn’t’ be seen doing) ” John moans about his wife to his male friends when they are doing the same. When questioned about it, John insists it’s just banter. John cheats on his wife and lies to her and believes that’s just how men are. It doesn’t prevent him from being a feminist. John’s wife tells him he’s verbally abusive. John thinks this is ridiculous – because, he tells his wife, “You’re lucky to be with me.  I’m a feminist and always have been. I would never hurt you. You’ve got no idea what other men do to their wives. Because John is a feminist, he cannot see why any of the above is anti-feminist.” Is John lying on purpose, does he really believe he is a feminist? Or does he know that’s the ‘right’ thing to be in his world but the role of Husband is so entrenched and deeply embedded that he simply can’t see outside the reality that he has constructed or that has been constructed as the landscape in which he exists? Perhaps this is an extreme example but it is one which represents how language is tied up with constant performance, and to dismiss it or devalue it feels strange. Even though, I can see we also need to value other elements of reality.
  • Architecture – the most obvious ‘matter’ – is a language – in semiotics, it might be referred to as a text just as a film or photograph or a book can be.
  • “The belief that grammatical categories reflect the underlying structure of the world is a continuing seductive habit of mind worth questioning. Indeed, the representationalist belief in the power of words to mirror preexisting phenomena is the metaphysical substrate that supports social constructivist, as well as traditional realist, beliefs.” I’ve highlighted the phrase I think is critical – if words aren’t mirroring pre-existing phenomena but rather emergent creating and being the phenomena as they do then does this problem over overvaluing the word in favour of all else go away? I can’t help thinking about Hoffman’s book where he suggests we exist in an interface and that we recognise ‘things’ but these work along the same line as desktop icons. In Hoffman’s theory representation is really important even though its an illusion. (Hoffman’s book does have some extraordinary and surprising misogynistic thinking in it which I am still trying to figure out).
  • Barad makes no apologies about using language herself, which can at times separate her ideas from people without PhDs in physics or gender or critical studies trying to understand what she is saying. At a very basic level, she is saying the very nature of reality cannot be isolated from the knowing about it and being it; that both being and knowing are undergoing seismic reconfigurations upending everything we have thought for thousands of years. (This reconfiguration is taking place throughout our world as the technology we use is founded on the principles and science that began the transformation – and is involved in a feedback loop – we are instantiating (Hayles, 1999)) the technology, no longer expecting things to be present or absent but instead to be patterned, assembled, having come into being as intra-active relational phenomena. (Icons on our desktop, web pages, animated objects that appear to react and interact). Carlo Rovelli who writes specifically for non-physics-, critical theory- etc. PhDs, says, “Kant was perhaps right when he affirmed that the subject of knowledge and its object are inseparable” (169)

Having read the whole paper, I am yet to fully get my head around what Barad means by performative  –given that is what the paper aims to explain, I feel a bit daft but its such a dense paper, for the central point becomes lost (having looked again -see next post – I’m pretty sure she means quantum events and processes). I am also slightly in the dark about the use of the word discursive/nondiscursive and need to understand that. Diffraction I get – perhaps it is similar.

Below are some useful quotations which I may refer back to in any future writing:


there are assumed to be two distinct and independent kinds of entities—representations and entities to be represented.

The fact that representationalism has come under suspicion in the domain of science studies is less well known but of no less significance

where they differ is on the question of referent, whether scientific knowledge represents things in the world as they really are (i.e., “Nature”) or “objects” that are the product of social activities (i.e., “Culture”), but both groups subscribe to representationalism.

Having read Hoffman’s book, I came to a different conclusion – representation matters because it’s all we have. It’s the illusion with which we exist, and therefore how it functions and manifests is critical. Even if it cannot represent a place before representation as no such place exists – representation represents our parochial and myopic situation. 

anthropological philosophy, representations were unproblematic prior to Democritus: “the word ‘real’ first meant just unqualified likeness” (142).

The presumption that we can know what we mean, or what our verbal performances say, more readily than we can know the objects those sayings are about is a Cartesian legacy, a linguistic variation on Descartes’ insistence that we have a direct and privileged access to the contents of our thoughts that we lack towards the “external” world. (1996, 209) I do not think we know what we mean – I think people have no idea what they mean. The stories we tell ourselves are the only comfort we have in an otherwise terrifying universe where there is no meaning. 

Indeed, it is possible to develop coherent philosophical positions that deny that there are representations on the one hand and ontologically separate entities awaiting representation on the other.

In this article, I propose a specifically posthumanist notion of performativity—one that incorporates important material and discursive, social and scientific, human and nonhuman, and natural and cultural factors. A posthumanist account calls into question the givenness of the differential categories of “human” and “nonhuman,” examining the practices through which these differential 9

boundaries are stabilized and destabilized. Donna Haraway’s scholarly
opus—from primates to cyborgs to companion species—epitomizes this point.

Foucault – – – “show how the deployments of power are directly connected to the body—to bodies, functions, physiological processes, sensations, and pleasures; far from the body having to be effaced, what is needed is to make it visible through an analysis in which the biological and the historical are not consecutive to one another . . . but are bound together in an increasingly complex fashion in accordance with the development of the modern technologies of power that take life as their objective. Hence, I do not envision a “history of mentalities” that would take account of bodies only through the manner in which they have been perceived and given meaning and value; but a “his- tory of bodies” and the manner in which what is most material and most vital in them has been invested. (1980a, 151–52)

a diffraction grating for reading important insights from feminist and queer studies and science studies through one another while simultaneously proposing a materialist and posthumanist reworking of the notion of performativity. This entails a reworking of the familiar notions of discursive practices, materialization, agency, and causality, among others.

On an agential realist account, it is once again possible to acknowledge nature, the body, and materiality in the fullness of their becoming without resorting to the optics of transparency or opacity, the geometries of absolute exteriority or interiority, and the theoretization of the human as either pure cause or pure effect while at the same time remaining resolutely accountable for the role “we” play in the intertwined practices of knowing and becoming.

Physicist Niels Bohr won the Nobel Prize for his quantum model of the atom, which marks the beginning of his seminal contributions to the development of the quantum theory.

were inseparable for him) poses a radical challenge not only to Newtonian physics but also to Cartesian epistemology and its representationalist triadic structure of words, knowers, and things

This account 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”). This causal relationship between the apparatuses of bodily production and the phenomena produced is one of “agential intra-action.”

Therefore, according to Bohr, the primary epistemological unit is not
independent objects with inherent boundaries and properties but rather
phenomena.

relata do not preexist relations; rather, relata- within-phenomena emerge through specific intra-actions.

The notion of agential separability is of fundamental importance, for in the absence of a classical ontological condition of exteriority between observer and observed it provides the condition for the possibility of objectivity.

In my further elaboration of Bohr’s insights, apparatuses are not mere static arrangements in the world, but rather apparatuses are dynamic (re)configurings of the world, specific agential practices/intra-actions/performances through which specific exclusionary boundaries are enacted. Apparatuses have no inherent “outside” boundary. This indeterminacy of the “outside” boundary represents the impossibility of closure—the ongoing intra-activity in the iterative reconfiguring of the apparatus of bodily production

This ongoing flow of agency through which “part” of the world makes itself differentially intelligible to another “part” of the world and through which local causal structures, boundaries, and properties are stabilized and destabilized does not take place in space and time but in the making of spacetime itself.

Temporality and spatiality emerge in this processual

they enact a local cut that produces “objects” of particular knowledge practices within the particular phenomena produced.

, or meanings apart from their mutual intra-actions, Bohr offers a new epistemological framework that calls into question the dualisms of object/subject, knower/known, nature/culture, and word/world.

Meaning is not a property of individual words or groups of words but an ongoing performance of the world in its differential intelligibility. I

What constitutes the “human” (and the “nonhuman”) is not a fixed or pregiven notion, but nor is it a free-floating ideality

Nature is neither a passive surface awaiting the mark of culture nor the end product of cultural performances.

matter is not a fixed essence; rather, matter is substance in its intra-active becoming—not a thing but a doing, a congealing of agency

” are not outside observers of the world. Nor are we simply located at particular places in the world; rather, we are part of the world in its ongoing intra-activity.

Click to access barad_posthumanist-performativity.pdf

https://en.wikipedia.org/wiki/John_1:1

 

 

CS & BOW: Notes following online presentation with Dr. Ariadne Xenou 24/10/19

It was good to hear someone say don’t separate CS & BOW. Students keep saying, you don’t need to connect CS to BOW and I can’t for the life of me understand why you wouldn’t connect them or why you’d want to disconnect them either. I have actually been thinking about these reflections which are are usually relevant for both and wondering how to rearrange the menu system as both modules become more and more interconnected.

It was also useful to think CS A3 as a research document setting out my plans and suggested research question – which I have yet to identify.

The other useful thing that came out of the session for me was thinking about overarching topics I’ve been investigating since the end of UVC, and how I can put those into some kind of tangible form. Here is an attempt to pin down some of these very big themes and links to relevant subtopics.

Inside Outedness

From my Sketchbook blog:

For millennia, language was on the outside. We could, in retrospect, usually see it. On walls, in caves, then tablets, scrolls and eventually in books. [Lately on advertising hoarding and signs telling us how fast we can drive, where we can park, if we play, enter, stay out, smoke, shop, make noise, and of course, what we can buy, how much better we will be if we buy whatever it is.]

Today, as many but not all are aware, it [language] somehow exists more and more on the inside [but not the inside of us as it did before emerging – although I think it is generally thought of as outside – rather the inside of machines and devices]. And in places it can’t be seen.

This means we often have no idea what’s being said. We are less able to read the signs [Or even see them]. Vast dynamic archives of language exist – somewhere – affecting everything. We know they are there. But they’re invisible. We see the flimsy surface only.

It’s true, in the past archives tended to be secreted, were often sacred, and contained as well as emanated power.

Very few would have had access.

It’s just that today the whole world is one big archive. And it’s hard to imagine how anyone escapes. [Could do with expanding the final thought.]

Random notes for a short story #12

Derrida’s Archive Fever, University of Chicago Press; Reprint edition (19 Sept. 2017)(The first chapter may be useful here)

Chapter 7, Turning Reality Inside Out and Right Side Out: Boundary Work in the Mid Sixties of Philip K. Dick, Hayles, K. (1999) How we became posthuman: virtual bodies in cybernetics, literature, and informatics. Chicago, Ill: University of Chicago Press.


 

When I was a child a boy in my class used to turn his eyelids out. It revolted me. The other boys found it hilarious. I hated seeing him do it. It hurt to look at and to think about, and still does. Seeing my reaction, he did it all the more to taunt me. 

 


 

Gossip & Performance

I believe these aspects of our existence are inter-related. From my BOW A2 assignment:

As part of my on-going research into language, culture and reality, I’d been reading Richard Wrangham’s The Goodness Paradox (2019) and books by Nicholas Christakis who wrote Connected (2009) which is about social networks (in general, not just digital ones.)

Wrangham’s book centres around the idea that human beings evolved with an ability to temper their immediate aggression, while simultaneously developing a propensity for calm, rationally-considered, pre-planned violence. Humans also became hyper-co-operative; today collaboration is part of our DNA. Wrangham suggests these trends are underwritten by our ability to talk to and about each other, and that we have an ever-present unconscious fear someone might be watching, gossiping, and planning to do away with us if we don’t conform. Gossip allows us to conjure up stories, deny and blame others, and plan punishment for anyone deemed a deviant. Wrangham’s theory along with Christakis’ ideas about connection sit at the centre of my contribution to the project. (2019a)

Performance grows out of the knowledge we will be seen and so we must ‘act’ the part in order to be accepted, to survive in the group. However, as Karen Barad tells us – entanglement is critical and without it perhaps nothing at all emerges. Her description changes my understanding of the conscious agent which I wrote about CS A2 – assuming a notion which I accepted in books about systems. However, Barad says something which fundamentally changes the underlying nature of performance and I’m still trying to get my ehad around it: ““A phenomenon is a specific intra-action of an ‘object’; and the ‘measuring agencies’; the object and the measuring agencies emerge from, rather than precede, the intra-action that produces them.” (Barad, 2007, p. 128). From Sauzet, 2018 – https://newmaterialism.eu/almanac/p/phenomena-agential-realism.html Accessed 21/10/2019 From https://sjflevel3.photo.blog/2019/10/21/bow-cs-notes-research-karen-barad/

Today we appear to perform for ourselves and the manifestation of such is available for all to see on social media. But there are also more private performances which people don’t necessarily share widely (although some do) which emerges from tracking devices. See Lupton’s Data Selves book.


Langauge

At the beginning of Self & Other I wrote about Léopold Szondi. After reading The Body & the Archive by Allan Sekula I was reminded about his thoughts on language. I said, “Szondi was also I believe interested in those ‘in-between spaces’ I’m so keen to find out more about. “language is a ‘social fact’. It is the glue that holds society together; through ‘language a child becomes integrated with a social community,’ and ‘it serves to maintain social interaction’. Since dialogue is the primary vehicle of interpersonal relations – what Szondi calls the sphere of the between -it lords it over traditional theatre” (Holmberg, 1996; 67).”

Notes: The Body and the Archive Allan Sekula

I am interested in the changing nature of language, the structural implications of a language which is coded and incomprehensible to most of us. Flusser’s thoughts on the ease with which we use devices compared to the complex nature of them which bypasses most of us may be useful to revisit.

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

Data Selves by Deborah Lupton also contains useful content about language and its relationship to new materialism. “In new materialism, the poststructuralist emphasis on language, discourse, and symbolic representation is enhanced by a turn towards the material: particularly human embodied practices and interactions with objects, space and place.” (2019: 15) However, she also writes a great deal about how data (language) manifests as those things – so although data seems immaterial, “things that are generated in and through material devices (smartphones, computers, sensors), stored in material archives (data repositories), materialised in a range of formats that invite human sensory responses and have material effects on human bodies (documenting and having recursive effects on human flesh” (19).

I need to revisit Barthes’ Myth Today (1957) https://uvcsjf.wordpress.com/2016/07/18/notes-project-3-3-myth-is-a-type-of-speech/


I suspect Karen Barad’s ideas are going to be important. And I suspect they will inform all three of these key themes. I need to investigate further before adding them here. However, I think I have identified three key topics: Inside Outedness, Gossip & Performance and Language. I wonder if the latter is the umbrella under which Inside Outedness, Gossip & Performance exist.  And the term assemblage which I’ve talked about quite a lot lately is not a theme but rather a structural reality, and our modern form of assemblages are what’s resulting in inside outedness. How I bring any of this into a semi-coherent work yet is anyone’s guess a this time! 

 

CS & BOW Book Notes & Quotations: Data Selves, Deborah Lupton 201C

Lupton, D. (2019) Data selves: more-than-human perspectives. Cambridge, UK ; Medford, MA: Polity.

I am not sure when I started following Deborah Lupton’s blog or how I came across it but as we were preparing the installation for Pic London, I read her post about the forthcoming publication of her book Data Selves in my WordPress app. The word ‘assemblage’ stood out as one of the other artists, Josh Phillips had mentioned it several times. I wrote about it here and mentioned a discomfort with the word as it felt like an adjective that was being used as a noun. I have become used to the word now and it no longer jars every time I hear it. (I am not sure why I felt annoyed by the word – irrational irritation perhaps.)

Whatever the reasons, the work our group constructed, A rumour reached the village (2019) might be described as an assemblage of many smaller assemblages. There is something fractal about the ‘village’ of things we constructed. And so after reading Lupton’s blog, I ordered her book and am glad to have read it now, not only because it seems so relevant to my overall inquiry in which I am attempting to make sense of the way in which digital culture is changing the structural nature of existence, but because it led me to Karen Barad’s work. Actually, Barad had been mentioned to me before by another of my Pic London collaborators, Rowan Lear. But her name only sunk in while reading Data Selves.  

I expect I will need to investigate Barad further for CS and BOW but in the meantime here are some quotations from Lipton’s book with page numbers that could come in handy.

  • “Popular representations of these personal data and their futures often lean towards polar extremes.” (4)
  • “lively data” and “these data can continue to be lively even once the human they refer to is dead” (6)
  • “function creep”  – tech used in ways that go beyond their original purpose. (8)
  • Surveillance Capitalism (8)  – see https://www.theguardian.com/technology/2019/jan/20/shoshana-zuboff-age-of-surveillance-capitalism-google-facebook
  • “predictions that are made by data analytics can result in predictive privacy harms, in which people can be categorized against within certain social groups” (8) (See end of book where she talks about the limitations of data analytics – how our paranoia that too much is known about us prevents us from seeing how basic and limiting the categorisations can be (124)
  • (13 – NB pa) Personal data blur and challenge many of the binary oppositions and cultural boundaries that dominate in contemporary Western societies.
  • Rather than user – exister Amanda Lagerkvist (2017)
  • “In new materialism, the poststructuralist emphasis on language, discourse, and symbolic representation is enhanced by a turn torwards the material: particularly human embodied practices and interactions with objects, space and place.” (15)
  • “Braidotti (2018) terms ‘critical posthumanities’, in which the concept of human exceptionalism is done away with. This more-than-human approach sees human bodies as extending beyond their fleshy envelopes into the physicalenvironmentt, while the environment likewise colonised human bodies” (15)
  • “If we view personal digital data as manifestations of vitality, as recording, monitoring and influencing human lives, generating biolvalue and indeed as essentially part of humans, then they become part fo the domain of biopolitics.” (15)
  • “Feminist new materialists celebrate the renewal and liveliness of the capacities that human-nonhuman assemblages generate at the same time as identifying the ways in which these capacities can be closed off or limit the freedoms and potentials of some people or social groups or generate harm for the more-than-human world, as in environmental degradation, global warming, species extinction, pollution and climate change.” (17)
  • “While digital data assemblages are often conceptualised as immaterial, invisible and intangible, I contend that they are things that are generated in and through material devices (smartphones, computers, sensors), stored in material archives (data repositories), materialised in a range of formats that invite human sensory responses and have material effects on human bodies (documenting and having recursive effects on human flesh (19)
  • See quote by Koro-Ljungber et al. 2017; Taylor et al. 2018) NB
  • Diffractive methodology  – making entanglements visible. Barad suggests a diffractive approach is “good to think with”. (21) I agree. (Also 29)
  • More-than-human rather than posthuman (22) good para over to 23 – “interconnected and trans-agential.” Life, or vitality is not seen as possessed by any individual actor, but rather as constantly generated” (24)
  • Line about Caterisan dualism between mind and body (but see Alan Jasanoff (2018) for this too)
  • Animism – (25) quotes Haraway ” human ontologies must be understood as multiple and dynamic rather than fixed and essential (Bhavnani and Haraway, 1994)
  • Haraway’s ‘composite’ theory (26) See my own comments in BOW A2. (tentacular thinking)
  • Barad – “humans don’t know about the world because they are observing from outside it. They know about the world because they are inseparably part of it” (27)
  • Re agential cuts (29) And “Photographs make agential cuts that produce life forms rather than simply documenting them. “It is a way of giving form to matter” (Kember and Sylinska 2012:84) See 45 Years in lit review. more about agential cuts here: https://newmaterialism.eu/almanac/a/agential-cut.html – “Any attempt to impose meaning and order” […] “inevitably part of the matter it seeks to preserve or document” . Link this to Flusser and apparatus  – what he says about photographers (funny!)
  • Thing power and enchantment (30) “strange ability of ordinary, man-made items to exceed their status as objects and to manifest traces of independence and aliveness, constituting the outside of our own experience” Quoting Jane Bennett (2001 and 2009) – compare this to OOO Graham Harmen
  • Page 31 – assemblage “function of grouping of different things in an assemblage, each operating in conjunction with the others (including humans)” (Bennett 2004: 354)
  • 32 – Bennett recognises “mass-produced commodities as possible sites of enchantment” NB para
  • 33 – others working in technological design …recognise “humans invest digital devices with animistic or magical properties” See Marx and use-value.
  • 39 “death is more of a continuum” see page 40 too (Re mummies text)
  • 42/43 Summary about human and non-human entanglement inc. data and machine.
  • Liquid metaphor “data sweat” (Melissa Gregg 2015) ; data leaking, emerging from within the body to outside  – reveal ambivalence to data as it moves between “high value and useless – or even disgusting – waste product” (Abjection) 46
  • 53 uncanny valley, not quite right, see Mario Klingman – my blog S&O
  • 57 – Good Kristeva quote re creepiness, abjection.
  • 59 – Dirty data, “What matter is considered dirty or clean?” – attitudes can be related to underlying fears and anxieties about loss of control. Rowan Lear suggested the following after I posted a picture of the mould produced by her yeast started in the collective work and a picture of this section of the book – https://www.upress.umn.edu/book-division/books/against-purity?fbclid=IwAR1W0EQEaOOzd4jWd1Knp2iBmyse8bB22tN6sM0GayAg7o33KF1KyVo-Yj0
  • 63 – emphasis on all senses, not just visual “data physicalisations” See http://dataphys.org. Plenty of artists listed who are making alternative to visual art drawn from data
  • 68 NB – bias/visual data materialisations  – instead list artists making “multisensory, unconventional and surprising” materialisations
  • Doing Data chapter – less than critical of some of the neoliberal ways in which data is enmeshed with people’s lives, potentially making them more rather less neurotic. Little critical analysis, more reporting of her data about how this affects people who use the data.
  • Sharing and exploiting data  – caring/intimate surveillance concerns 103

The first section of the book is probably the most useful to me as it expresses ideas that I have found while reading about systems, a move away from mind-body dualism and digitisation’s impact on our perception of a less fragmented world. It is one of many books and articles which follow on from Kathryn Hayle’s posthuman book which has been so influential for me. I am inundated by such essays on Academia since reading a number of them. I like the sensible and pragmatic relationship Lupton has with data and technology even though she doesn’t seem all that critical of some aspects of data monitoring which strike me as nuts/unhealthy/hellish such as the constant surveillance of babies breathing – this kind of thing is very telling about our society and I could probably write a thesis on it alone.

 

BOW & CS Notes/Research: Karen Barad

A phenomenon is a specific intra-action of an ‘object’; and the ‘measuring agencies’; the object and the measuring agencies emerge from, rather than precede, the intra-action that produces them.” (Barad, 2007, p. 128). From Sauzet, 2018 – https://newmaterialism.eu/almanac/p/phenomena-agential-realism.html Accessed 21/10/2019

From Deborah Lupton’s Data Selves (2019) I have discovered Karen Barad who is a key figure within new materialist philosophy. Her background in quantum physics makes her significantly important to the ideas behind the work I’ve been developing. There are lots of relevant things going on in this short video but I will do some reading before doing a longer post about some of her ideas. But essentially, for her, everything starts with entanglement and in the following video, she describes how measurement is one aspect of an assemblage (entangled collection of processes) that results in a phenomenon (how does this relate to objecthood?). Things don’t exist independently of each other – they come into being due to their interaction. I feel like there will be much to gain from looking into her theories further and I may need to reword some of my lit review to be more accurate/specific and ascertain that measurement is seen as an emergent process not a fixed external object. Here are some links for now.

Ideas in here relate to DI&C work specifically A2 & A5

A2: Polar Inertia; the depletion of time, the negation of space – Assessment submission

A4/5: Film slightly reworked following feedback

One of the other collaborators from A rumour reached the village posted the following, so I had come across Barad before but her name had not stuck – although I liked the post very much when it first appeared.

All of this also ties in very much with some of the arguments I made in the DI&C essay I wrote in particular referencing Ariella Azoulay’s ideas about reconfiguring logocentric linear history.

Artist: Allan Kaprow

https://www.guggenheim.org/blogs/findings/how-allan-kaprow-helped-create-happenings

I have been thinking about this word ‘assemblage‘ and ended up talking about it with friends. I was directed towards Kaprow who used the word and titled a book with it – but relied on the French accent – I have a feeling it wasn’t really used in English at that time (50s) although I can’t pinpoint why I would think such a thing and may just be making it up.

Search for etymology brings up the following:

1704, “a collection of individuals,” from French assemblage “gathering, assemblage,” from assembler (see assemble). Earlier English words in the same sense include assemblement, assemblance (both late 15c.). Meaning “act of coming together” is from 1730; that of “act of fitting parts together” is from 1727.

https://www.etymonline.com/word/assemblage

It is used extensively in the blog and book I mentioned yesterday by Deborah Lupton – Data Selves: More than Human (2019) – due out tomorrow.

From the Guggenheim website:

“One of the movement’s major texts, Assemblage, environments & happenings is in the special collections. It features Kaprow’s theory of the evolution of abstract expressionist painting into Neo-Dada, assemblage, environments, and happenings of the early 1960s. This rare book documents works by Kaprow and artists including Robert Rauschenberg, Red Grooms, Robert Whitman, Jackson Pollock, Jim Dine, Yayoi Kusama, Claes Oldenburg, George Segal, Jean Tinguely, and the Gutai group.”

https://www.guggenheim.org/blogs/findings/how-allan-kaprow-helped-create-happenings

I hope I can see a copy of the book as it may prove useful for both BOW and CS research.

I may add to this post as my investigations continue.

Artist: James Richards

One of my Pic London collaborators told me about James Richards:

From the Tate site:

“Richards generates meaning through abundance, by way of allusion, ellipsis and unity of tone, the lack of legibility counterbalanced by a strong sense of mood. The White Review”

Richard’s work will be really useful for me as he’s doing the same sort of thing – improvising, mixing, creating audio-visual collages. Here are some of the key phrases which stuck out for me from his Tate SHots interview:

  • The material… none of it is abstract… it is all stuff from the world… continuously gather and experiment
  • sound can enforce or go against an image

https://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2014/turner-prize-2014-artists-james-richards?fbclid=IwAR0AfSyI70ZWTbs7o4H8xx8ma_7KZeZCBe4NEXW_l365H1h7_Mg6zzGCJRc

In the film below the time-lapsed Lillies are filmed in front of a painting that has a slight cartoon quality to it  – of a wolf and bloody sheep, creating a ‘moving image still life‘ with death and gore in the Lillies as we watch them open and wilt, and in the painting that surrounds them. Death, dying, life, living, beauty, terror, sex all in this tightly compacted text. Content becomes abstracted by the close-up crop.  Good for me to see how he relies on others to edit and animate. This later work has more of a polished feel and although I’m beginning to feel that the Brechtian/Deren habit of opting for less polished settings is not fashionable at the moment – I think my heart still resides more with a raw and under-commodified aesthetic.