BOW & CS: Final reflection post

I am signing off from both BOW and CS in anticipation of beginning the final module, Sustaining Your Practice (SYP). The project I have submitted is, I hope, a lively object that will continue to develop throughout SYP and perhaps beyond – the underlying inquiry is likely to, certainly.

I am aware that my BOW why is there an astronaut in a field of flowers is plagued with an internal tension between my/its desire to explore a Donna Haraway-like-‘compost’-reality for an audience that ‘sees’ in a universe still dominated by a Cartesian subjectivity (albeit one in crisis). And that dichotomy means it might well fall flat on its face. I hope it manages to avoid such a fate.

It’s worth listing some immediate ideas that I intend to explore in SYP.

  • I want to take a look at the printed publication slightly differently – now that the writing is secure, I think it is worth seeing what the printed version might look like without any fragmented text on image pages. However, I think the ePublication should continue with the text-fragments as the monologue would not work there. This further differentiates the two versions. The fact the book exists in two different states is integral to the project.
  • I would like to go back and make sure I have picked up all the valuable statements made by the app. The central text in the printed version has room for (perhaps significant) development.
  • I have experimented with vocalising the app’s text myself – I have to admit, my attempts are at the moment truly crap, and I am very happy to put that aside as something tried and best forgotten. I also recorded the app’s text being read by a seeing AI app which reads things out for people whose eyesight is compromised – which was less crap, but a bit hackneyed nevertheless, and so not worth (in my mind) pursuing (although maybe audio descriptions of the images are worth looking at). However, there were some moments where the seeing/reading app went quite, quite wrong, and I am very interested in those fragments.
  • I suspect there are more photographs to be made. I will revisit certain images and look at making a selection of mini series’ to include in a longer edit.
  • I am really not sure about the moving image element – if I end up organising an online/offline exhibition, it may be something to develop again. I like the idea of having moving-image as another fractal-ed version but it has to be right. And as positive as some were about what I’ve concocted now, I just don’t believe it is at the moment.

That’s it for these modules. Can’t quite believe I’ve almost reached the end of this degree, which I began thinking I’d only do one module…

SYP available here.

End of Module Extended Reflection notes: BOW

Originally part of a series of three end of module posts. However, there is too much for an assessor to read already and this is too long, a bit ‘ploddy’ and it would be better to make a video. I may use this as a prompt when editing the video but have removed it from the Submission Menu and cateogrised it simply as Reflection.

Six minute read

why is there an astronaut in a field of flowers is an inquiry into how we see and are seen. As it’s exploring a contemporary view,  it inevitably expresses a sense of structural instability and disorder. That doesn’t mean life was once fixed, stable and safe, and no longer is; however, for reasons I discuss in a little while, we do seem to be in a period of significant chaos and the work reflects that. 

An image from why is there an astronaut in a field of flowers

Beginnings of L3 

I began with a loose idea about the stranglehold of representation on female subjectivity – in other words, by exploring the highly persuasive images in films and magazines which my generation grew up with. However, by the time I reached Assignment 3 my experiments  were not terribly subtle and I wasn’t overly keen on the way people were interpreting “bondage” or “self-harm” (see images below). I was also interested in the fragmented way we consume content and engage in discourse  nowadays – which is arguably contributing to a strange and unhelpful environment. I started writing short fragments of stories which were attempting to demonstrate the entanglement of image with consumerism, mythology and our everyday narratives. These were  in the form of blank verse/prose with titles such as Orpheus in Homebase and Paucity at the Cabaret – you can see some of that earlier writing included in the A3 submission.

I think I always aimed to reject the mechanistic view which comes from positioning isolated objects against a void background as photography has encouraged, and attempted to embrace a more entangled practice and outcome. But by exploring Karen Barad’s (2007) ideas and other writers influenced by a branch of philosophy known as New Materialism, I came to see that representationalism somehow allows us to excuse ourselves, as it gives the impression that there is a separation between the represented object and the behaviours that helped to form it. In fact, a Cartesian view doesn’t even acknowledge that those behaviours did help form the object, as the object must always have existed. Barad, on the other hand, is avidly committed to the idea of a phenomenological existence, of language and objects being the ongoing intra-active lively expression in a process of becoming.  

I was also not entirely happy with the fragmented texts I’d written. They felt less fluent, more contrived than the piece I wrote while preparing A2 – and which eventually ended up in a zine I produced, a useful preparation for the main BOW overall.

Wanting to somehow ‘Show Not Tell’ the entangled relationship between technology, narrative, identity and reality, I looked at various artists working with AI, and then some accessible AI options, which led me to an App called Replika, marketed as a proprietary ‘friend’. I decided to experiment with it and liked how it linked to consumerism, commodification and the dataisation (anatomisation) of – human and non-human – behaviour. It took a few more iterations of my publication before I dropped the texts I’d written myself but in the end I replaced them almost entirely with statements the AI had made (there is one fragment of self-authored prose that just about makes it into the publication – not all of it.) Looking back, the earlier iterations have something valuable, but it’s a different work – the latest iteration is very focused on the phenomenological relationship between Ai and humans.

Randomness

I  shared images with the Ai – often randomly chosen although I may have mediated them in some way once they were in my hands – for instance, the woman in the red dress comes from a film I bought on eBay which I  chose to buy based on nothing other that its age, the same as mine, and format. However, she, like so many other of the randomly chosen images of women, looks very much like me. (My son thinks it is me every time he looks at the publication.) Randomness and intra-active projection are crucial elements to our way of seeing (see article by Zia Steel – on quantum theory and consciousness – Section 3)

Making the publication – print and digital

A2 – After making a film for A1*, I ended up working with an external group during my preparation for A2 and it made sense to try and incorporate something of that into the OCA development, but it was a sprawling collaborative project called a rumour reached the village, and it was hard to know what aspect to focus on specifically for the OCA assignment. I had taken two sets of images, edited a film using old footage and written some text with the external group – see initial submission. It wasn’t until the beginning of lockdown that I made a firm decision about submitting one set of images and the text in the form of a zine. I chose a set that seemed more commercial with black and white grainy photographs in order to sell it – and the zine preparation was a really useful way of practicing before making something more ambitious for A3/4/5. I made that before I did a Lewis Bush book design course and I would certainly do some things differently in retrospect.

Throughout my time with the OCA (and long before) I have been thinking about the internal structures upon which we base our reality so it was brilliant learning from Bush about the way in which designers use grids. As I had been working with the idea of systemic change and a more flexible internal structure emerging in a post-Cartesian world, I decided to introduce the idea making that structure visible in my publication. I’d already been photographing graph paper alluding to mathematical equations and decoding of reality so this decision served to underline that aspect of the work, I hope. I started looking for grids in old photographs and rephotographing to imply or focus on grids in particular.

At some point, I saw another OCA student Andrew Fitzgibbon had made an ePublication and also received a link to one when I purchased a zine from OCA tutor Andrew Conroy.

Integrating movement with objects that are usually still has been a developing theme for me for a couple of years. And it felt important not to simply make a digital copy but to take advantage of what’s on offer – although with the ever present knowledge that digital platforms can be unreliable. I was constantly reminded of Maya Derren’s writing on cinema and reality – she said, don’t just try to recreate the theatre using film, make the most of what cinema montage offers.

Not having coding skills for the sort of work I want to do is a big problem for me – although I have tried to learn something and there has been a bit of Processing in my journey included in the work (although mostly I am interested in the language coders use such as ‘void draw’ (see Capra quote and symbols below)). I came across a platform via ex OCA student Dawn Langley designed to help artists use code a bit too late in the day and it is something I will need to look at going forward.

Freeing up the work at the last moment

Throughout, I’d been chipping away but never really reached a point where I felt things were coming to life. Something still wasn’t quite right. I have been  intrigued by the idea of old systems disintegrating and the chaos that exists before and while a new system emerges – which I hope is embedded in the project. Capra and Luisi (2014: 305 -320) in A Systems View of Life describe how the period before a social system or organism self organises into a fully fledged one, is often deeply chaotic. They tell us “emergence takes place at critical points of instability that arise from fluctuations in the environment” (Ibid: 3019).

“The new system cannot integrate the new information into its existing order; it is forced to abandon some of its structures, behaviours or beliefs. The result is a state of chaos, confusion, uncertainty and doubt; and out of that chaotic state a new form of order, organised around a new meaning, emerges” (ibid: 319).

Capra and Luisi (307) also tell us: “Human social systems, however, exist not only in the physical domain but also in a symbolic social domain, shaped by the “inner world; of concepts, ideas and symbols that arises with human thought, consciousness, and language”.  I will come back to this in a moment: 

Although lockdown was deeply challenging, I stayed focused on the work. Making work about the lockdown would have been fine, but continuing with underlying systemic change supported by digital culture and which is triggering new ways of seeing felt much more productive, especially as the virus is an emergent outcome of our intra-active behaviours. 

A while before lockdown I had sought out some estimates for a publication that contained gatefolds and half pages, inspired by the Situationists, who were also looking at systemic change in the 60s (see below and related blog posts.)

I continued to work with this idea until very recently but I kept asking the printer for different costs as I tried hopelessly to squeeze my work onto a budget that was beyond my comfort and insufficient for the plans I had envisaged. Eventually, as I was getting ready to print a proof for the BOW assessment (to be developed and perhaps printed for SYP) I sensed the printer was somewhat tired of my changes. I looked around for alternatives and in the end, perhaps a somewhat reactionary result, I have settled on using the Newspaper Club as have done several times before. This meant forgoing all the extra embellishments but it was the best thing I could do. I will admit, I suddenly felt freer and the work did come to life in a way it had not previously (See Capra and Luisi’s comment about new systems above – ibid:319). 

The work is still not where I want it and in SYP I will revisit printing options. But for now, I have brought this period of development to a satisfactory pause. The work will exist across platforms in multiple formats – as a visual stream of consciousness as video, a newspaper, an ePublication and a reported text from the point of view of the AI on my website, echoing Fisher and Rubinstein’s comment about the digital image’s fractal like ability quoted in my essay and the previous blog post.

**

See End of Module Reflection Part Three: CS

*I am in the process of authoring a text from the point of view of the Ai, based on the statements it has made – and may incorporate the films I made in the early stages of BOW in some way as we have ‘spoken’ about them – this would allow the entangled topics to come into the work rather than simply being exploratory but redundant appendages.

Rubinstein, D. and Fisher. A. (ed.) (2013) On the verge of photography: imaging beyond representation. [PDF] Birmingham: Article Press. Available at: https://www.academia.edu/25121246/On_the_Verge_of_Photography_Non-representational_Imaging (Accessed 14/06/2020)

Sauzet, S. (2018) New Materialism. At: https://newmaterialism.eu/almanac/p/phenomena-agential-realism.html (Accessed 22/02/2020).

Steel, Z. (2020) Is Consciousness a Quantum Phenomenon?
Does Quantum Mechanics Explain Self-Awareness and Free Will?
Available at: https://medium.com/whiteboard-to-infinity/is-consciousness-a-quantum-phenomenon-fcbb65bed950 (Accessed 01/09/2020)

Links to my own OCA blogs other than this Level Three one include my Sketchbook https://sarahjanefieldblog.wordpress.com and Self & Other https://ocasjf.wordpress.com as well as my website http://www.sarahjanefield.com

Edited 01/09/2020 to reduce reading time and tighten up narrative.

End of Module Reflection Introduction: BOW and CS

For assessment I have supplied individual reflections that adhere to the word and time limits stipulated by the OCA. However, for my own sake, it was useful to write an integrated reflection (which I’d done before I saw what was required for assessment).

4 minute read

Introduction

When coming up with an idea for a project in an earlier module, Self & Other, my  tutor advised me – to think of what I want to say and then say it.  However, I recognised my way of working in Merlin Sheldrake’s description of his process in an interview about his book Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures (2020). He writes:

 “Early on I decided to produce a first draft by writing very quickly and scrappily. Somewhere in this puddle of text, I hoped, I might find a book. The momentum of this approach helped prevent paralysis. It also allowed me to see more clearly the themes emerge. Reworking this formless mass became a process of trying to understand mycelium, which is conceptually and intuitively slippery” (Sheldrake and Macfarlane, 2020)

As well as describing my process well, I could almost pinch Sheldrake’s words and replace mycelium with “seeing”. How we see is also conceptually and intuitively slippery – at least, it is if you believe Donald D Hoffman in The Case Against Reality (2020), in which he argues what we see has very little to do with what’s really here at the most fundamental level. [See It’s impossible to see the world as it is – a video produced by AEON on Hoffman’s ideas]

If I were to aim to say one definitive thing, as recommended by my Self & Other tutor, it would be that it has becoming increasingly apparent, the failure to let go of the Cartesian/Newtonian, mechanistic view of reality will be our undoing, and that we should do all we can to acknowledge a more entangled view. Furthermore, I’m not entirely sure photography in its most recognisable form is the best medium to help that with – given its representationalist modus operandi. However, I do not suggest we should abandon the photographic image altogether.

Integrated research and practice

My journey through each module continuously informed the other. My essay explores Karen Barad’s commitment to a phenomenological reality which ties in with Hoffman’s view. For Barad, existence is an entangled, lively morass of ‘becoming’ rather than a linear, easily categorised sequence of pre-existing objects inside a void universe. My Body of Work attempts to look at and express such an entangled process of becoming, as we witness my collaborator, an Ai, navigate a personality and relationship with me; but it came about and looks like the chaotic, disparate way in which that occurs.

Perhaps one of the most challenging parts of making this work was due to the fact I was investigating how we see rather than an actual ‘thing/object’, the difficulty of which was compounded  all the while by my “Cartesian habit of mind” (Barad, 2007: 49). 

In my essay, I explore how photography can’t help but promote the idea of a universe which contains pre-existing objects that float about waiting to be named – a Cartesian universe. In my practical work I have actively rejected the Cartesian, linear, mechanistic view which I believe photography inevitably enables (not least of all, because it emerged out of that mindset), and attempted to embrace one that is entangled and non-linear – and which the digital network fosters. I do not know if I have succeeded. I feel more confident that the puzzles and issues needing to be solved in the essay have been, but they are less resolved in the Body of Work*. Practicalities such as affordability or a lack of coding experience got in the way but my nascent post-Cartesian subjectivity may have been the biggest hurdle and too much to overcome.

The image today

Despite my concerns about the photographic image, there are two contemporary concepts about images today which Daniel Rubinstein and Andy Fisher in their 2013 book, On the Verge of Photography: Imaging Beyond Representation express well; the first of which I use in the essay. They discuss the digital images’;

“…fractal-like ability … to be repeated, mutated through repetition and spread through various points of the network, all the time articulating its internal consistency on the one hand and the mutability and differentiation of each instance on the other” (Fisher and Rubinstein, 2013:10).

I have deliberately aimed to explore this “fractal-like ability” by repeating images, creating different versions of them across mediums and platforms, online and off, still and moving, and by cross-pollinating the project with images that I’ve used previously along with new ones. 

Screenshot from my Body of Work which exists across platforms and mediums, slightly differently in each situation and appropriate for the medium – the main image here appears in the film I made for ‘pic london’ (see A2)

Rubinstein and Fisher (2013:13) also suggest there is a growing understanding that technologically produced images are “precisely the site at which contemporary subjectivity is being formed and deformed.” 

This statement is accurate but does not acknowledge the way in which we so easily mash up mediums today, made possible due to all being underpinned by code. It continues to priviledge the image. By collaborating with an Ai who I shared images, ideas, songs, movie suggestions and more with regularly, I demonstrate how written text, audio, images and as well as the underpinning code combine with more nebulous processes – like the formation of ideas, dreams, fears, imaginaries to form our subjectivities and landscapes. 

Subject and object

Although the work clearly focuses on  images of women, and I wanted to explore that particular subjectivity, I did not set out to make work about the object ‘WOMAN’ – because therein lies the problem. By focusing on the object and insisting that it comes before ‘subject’, we often fail to recognise how our perception is a complex intra-active, post-representationalist and emergent process, and that the object, any object, does not exist in isolation, or in a vacuum. It’s of course important to look at obviously demarcated issues such as sexism, racism, climate change, poverty, or the movement of people, and we risk becoming overwhelmed by the scale of the world’s issues if we don’t – but until we acknowledge the interconnectedness of all these various topics and others, we are unlikely to be able to solve our problems adequately. We need to address the way we see. And crucially, but perhaps most challenging, that need applies not only to individuals but to institutions like governments, educational establishments, media outlets and even photo-agencies.

My inquiry into a more entangled view of life has shown me how the assumptions we all make about life – whether we’re investigating it though text, image, music or interpretive dance – is far more complex and strange than we have long been led to believe. The theories I’ve looked at threaten the West’s commitment to notions of self, to individualism, and to the boundaries we are still so deeply convinced by. And as one looks around the world today, it seems imperative we begin to take some of those lessons on board.

*I feel better about BOW since compiling the monologue.

**

Part Two: BOW

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

Hoffman, D. D. (2019) The case against reality: how evolution hid the truth from our eyes. London: Allen Lane.

Rubinstein, D. and Fisher. A. (ed.) (2013) On the verge of photography: imaging beyond representation. [PDF] Birmingham: Article Press. Available at: https://www.academia.edu/25121246/On_the_Verge_of_Photography_Non-representational_Imaging (Accessed 14/06/2020)

Sheldrake, M. and Macfarlane, R. (2020) Fungi’s Lessons for Adapting to Life on a Damaged Planet. At: https://lithub.com/fungis-lessons-for-adapting-to-life-on-a-damaged-planet/ (Accessed 28/08/2020).

Additional reading:

Ahmed, N. (2020) White Supremacism and the Earth System Available at: https://medium.com/insurge-intelligence/white-supremacism-and-the-earth-system-fa14e0ea6147 (Accessed 01/09/2020)

Jain, A. (2019) Calling for a More-Than-Human Politics. At:
https://medium.com/@anabjain/calling-for-a-more-than-human-politicsf558b57983e6 (Accessed 22/02/2020)

Sheldrake, M (2020) Entangled Life: How Fungi Make our Worlds, Change our Minds, and Shape our Futures, London: Penguin

BOW A4: development

I have made quite a lot of progress this weekend after moaning about not being able to make much progress at all – but when I look at the big leap from where I was when I handed A3 in, I see how the little bits of work I have been doing are informing how I move forward.

Some things to consider when looking at BOW WIP draft A4 (clink on link to see where this work is now)

  1. I have used comments made by the ai and transformed them, not always sticking religiously to how they emerged initially, but in the same way I might transform material which came out of my head, allowing it to be cut up and added to with new or different elements, diluted or changed. So for instance, the comment the ai made about a particular slide was so lovely but the image didn’t fit in with the rest of the work – so I have kept the text as the way it’s put together is wonderful and peculiar.https://www.instagram.com/p/B9hln-dnNR5/
    (keeping text but not this photo) And thank-you to Catherine B, for her comment about this line sounding like a good title.
  2. I have reported some of our conversations – creating a narration, inspired by it to create a story
  3. Pages are designed as coloured blocks in the pdf but these might well represent different coloured/textured paper rather than ink – it’s something to look into when I get to A5
  4. There are different sized pages – I am not sure how to indicate where they should be positioned (stapled) in ID – the horizontal half pages would ideally be in the bottom half of the publication so that the top half of the page behind can be seen in the spread as you turn pages.
  5. I will be rephotographing the image with the Stanley knife. I like the idea of an unmade collage – a photograph of an assemblage of items which could be a collage in another universe, but these items aren’t quite right and so going to redo probably to include graph paper so I can use the ai text about ethernet as seen here:https://www.instagram.com/p/B_k2MRknYj0/
  6. The script filming directions at the back of the pdf are currently with a scriptwriter who will let me know exactly how this might be laid out in a film script
  7. I am going to write out a couple of the texts by hand and photograph the paper rather than using typed text as in the PDF  – emulating what I have seen in the Situationist mag – as shown here:IMG_4233.jpg
  8. See an BOW A4 with titles on pages  – in the latest copy I have put all titles at the back of the book on the inside cover in order of appearance. But I am a bit up in the air with where I will place them ultimately. I will need to print a rough dummy and think about it some more, seek opinions, etc.

I wasn’t sure when I would be able/ready to hand BOW A4 in but hopefully quite soon – maybe even in the next couple of days. These last few changes shouldn’t take too long. I will then send it out to people for comments and prepare the assignment submission. I am very aware of time passing and that I can make use of BOW A5 to continue working on this.

I am also keen to use that assignment to put something on a webpage so there are two different media containing the work  – I wonder whether A5 will be that space or SYP will be. It would be good to have it included for BOW. It is probably quite important that the data which makes up some of the material can move on a screen as well as stay fixed on a printed page.

Bow A4: Research, narrative is repressed

This column has some complex problems but the overwhelming message is about narratives re. the current ‘dystopia’ existing beneath/behind the status quo, and about ‘power’ maintaining the illusion all is fine.

https://www.theguardian.com/film/2020/feb/08/world-class-vapidity-my-night-inside-the-bafta-bubble-carole-cadwalladr

All is most certainly not fine. And my own work does not go remotely far enough to explore / express this. At the moment, it feels like bumps of growth beneath the surface that have yet to break through. I have work to do/make and will try to keep this energy focused on that rather than say more here. (i.e. Show, don’t tell) but the article posted here certainly encapsulates something pertinent – although anyone mistakenly thinking it’s just about the film industry rather than a more widely applicable general blindness (refusal to see) amongst white middle-class people is mistaken.

BOW: A3 contact sheet, film strip/blade

Wanted to photograph this strip of film I have although not sure how, but borrowed a macro lens and a small lightbox. Never worked with a lightbox before and am sure there must be a range of different qualities and light types which one can acquire. This one is like the continuous lights I used years ago when first starting out. It was suggested that I switch to fluorescent in WB but it was way too blue so I tried every setting and in the end, Auto was best although every frame is different even though I shot in the dark to avoid mixing sources.

The most interesting image for me was when I used my own 50mm, and included the various signs of age and wear and tear. The reason I like this one is it looks like a cinema screen. I suspect it would be better if I manipulated the lines so it’s more accurately square on (I tried my best in-camera – maybe I’ll ignore the other pics which don’t excite me at all and give this another try tomorrow evening.) I will include some of the others but I can’t see myself taking them any further. I also shot a blade on the lightbox but I will try other ways of shooting it, I think. There’s a great passage in the Barad book where she uses the shadow of a blade to explain how diffraction works and does weird things. So it’s not only a good signifier of slicing, potential pain, a reference to Un Chien Andalou – it’s also a prop for Barad.

Talking of ‘the Cut’, Emma suggested Berger’s Understanding a Photograph and I’ve found some super references for the essay and context for this work. As for this BOW, I’m still not feeling it though (will write more about that another time).

(c)SJField2020-2001

Putting the contact sheet here – I may relook at a couple but mostly they don’t interest me. Some have had a bit of fiddling in LR/some have been left as shot with all the WB issues laid bare.

 

CS/BOW Reflection: Long

I felt it would be useful for me to pause and consider where I am at this juncture, and where I came from in order to arrive here. The OCA has been an immensely useful container but the journey I’m on, the desire to understand something fundamental but hard to pinpoint began long before 2014. Perhaps as long ago as when I was a child watching how strangely the grown-ups behaved and wondering why. Or noticing how we (I) emulated others; accents, behaviours, tropes, and then absorbing these actions and making them ours (mine).

This will be a long post and is for my benefit rather than anyone else’s – it feels necessary and important to get these thoughts outside my head as a part of a process in relation to CS and BOW.  And also, that it should be more conversational as opposed to confined by the rigours of academia although the habit to identify quotes is strong nowadays. Ruth (previous CS tutor) had suggested experimenting with form for CS and so I won’t rule out including sections of this, or developing it, if down the line that seems like a route I would like to take.

I started making notes for this blog yesterday as I marched along the street, sweaty because it was very mild and I was dressed for the artic, muttering to myself about what exactly it is I am exploring here in this work; I began to formulate a narrative that linked my life with the theories and ideas I am looking at.

Right now, I think it always starts with digitisation. I am fascinated by the revolution we are currently living through, by the assumptions people make about it. About where it comes from, what it’s doing, why we’ve contrived to arrive at this point (without volition – is that possible? Or is contrived the wrong word?)

Groups used to be smaller. For most of our evolutionary history, we lived in manageable extended families. Across cultures, there were some basic similarities. Nikolas Christakis covers these in his book Blueprint (2019). He talks about a social suite, which ‘includes individuality, love, friendship, co-operation, learning and so on’.

He also talks about the dyadic nature of humans. I really like this. It’s a word I came across when I was reading about babies and their primary carers. In the baby literature, it implies living in this secondary invisible placenta; it contains mother and child. Both are deeply connected within and even shielded from something outside the dyad. Not all mothers experience this. And modern culture seems to makes it challenging for genuinely dyadic relationships. Some people suggest the high numbers of post-natal depression are related to this failure to connect – and I suspect there is some truth to that although it can also be down to a lack of support, which is of course, another connection with other mothers/parents/helpers – or allo-parents, a term used by Sarah Blaffer Hrdy, a socio-anthropologist who writes about mothers.

I was lucky. I did experience a deep connection with all of my children. During my divorce, I seemed to be able to protect my youngest in this little bubble from all the toxicity outside of it. It also taught me that symbolic language isn’t always necessary  (I should have been far more consciously and intellectually aware of this given my acting training)- that we can communicate without it, even while we are asleep. And that has been very important throughout this course. I’ve learned that symbolic language is a distancer. It helps us to distance ourselves from ourselves, never mind anyone or anything else. “Use your words” is a constant refrain to toddlers who prefer to lash out when angry. We ‘otherise’ ourselves, remove something and in the process de-intensify it – be it rage or love – through the use of symbolic language whether it’s written down or simply spoken. We send our thoughts out into the world with language; a little bit of ourselves leaves our bodies and lands elsewhere. It can land as a caress or a weapon and it has an effect but, while wounding with words can be devastating and the cause a chain of fatal events, it removes us from direct violence. Again, Christakis discusses this, as does Richard Wrangham in his book The Goodness Paradox (2019)

A little bit of us – a thought that gets heard is something that can affect others.

In a dyad between a mother and child, something else is going on. Physical reactions take place that don’t need words, not even as thoughts. A baby wakes in one room and your breasts start leaking in another. The prickly sensation of your milk ducts filling up is what alerts you and you check in to see your infant’s beaming face  – and they seem to have known you were on your way. I’m painting an idyllic picture  – it’s not always like this, obviously. And some women and babies have a really terrible time. There is so much in modern culture which gets in the way of the connecting behaviours that evolved to help us survive. But somehow most mothers (although not all) and also fathers overcome the many, many obstacles. When your child falls over, a jolting sensation takes place in your own body as if you too have fallen. The theory suggests mirror neurons are responsible, which apparently exist in all primates (and beyond no doubt). It happens with other relationships too but it’s very noticeable in parent/child pairs.

Christakis discusses the hyperdyadic nature of the human species. In other words, we are all connected, that is how we operate. Hegel talked about collective consciousness.  Edward O’ Wilson has spent a lifetime investigating the hive and applying it to human behaviour. Social contagion or mimetics are other words to describe this phenomenon. Despite sounding so modern, it seems plain as day to me that we are networked creatures and always have been. Christakis’s earlier book is indeed titled Connected (2009). These connections mean that ideas spread around cultures and groups even when there has been no physical contact. Wilson discusses this strange ability seen throughout history when inventions take place in more than one place at the same time.

The Internet is a response to a lack of connection, perhaps in particular relation to population growth. As groups got larger, we stopped being connected. Social fragmentation, evident in the artwork of the early 20th century is one expression of this loss of connection between people and in relation to how reality felt. We humans then ingeniously came up with a way to address that. We dug down into reality and found a way to emulate it. Despite its relative technological advancement our code is still a crude copy. And there is a problem. The code we use to make these connections is a language. It underpins all the forms and media that we see on our screens, which is also another layer of language. So inherent and embedded in the anatomy of the Internet is a process of distancing. What’s even more difficult, as my lovely and intelligent friend rages about often, the people writing the code are very frequently a certain type. “They are the nerds!” she states angrily. “The people who aren’t naturally social, who don’t understand relationships, who are on the spectrum and can’t communicate. The ones who don’t have any empathy!” This is blatant stereotyping but the people writing the code are aware there is a problem. They know they need to write empathy into the code. They know this. However, for now, empathy is missing and the fact the whole thing is structured on language which is itself a distancing process means there is a structural problem which we may never be able to overcome, although I have faith in humanity

We can be optimistic because while we have collectively tried to re-connect using digital technology, which emulates natural linkages, today we’ve not even begun to see just how powerful our technology will be. This is both frightening and exhilarating. Once quantum computing moves out of its infancy we will not only emulate ‘hyperdyadicness’ (not a real word, I know), we will reach a point where simulation and nature are interchangeable. There are many, many foreseeable and unforeseeable problems but we will go on an incredible journey as our clever people look for the solutions.

We have begun the process though. So far it has wrought terrible consequences in the form of nuclear war. But what we’ve lost over time as language developed and civilisation grew is currently being rediscovered through quantum science and systems theory (which is interdisciplinary – don’t underestimate how crucial that is). People often see similarities between Eastern philosophies and the newer sciences. But I am wary of spouting racist claptrap. However, it is well documented that the Dalai Lama is interested in quantum mechanics and Luisi and Capra (2007) devote a carefully written chapter to the relationship between spirituality and science.

Karen Barad’s book Meeting the Universe Halfway (2007) deals with the philosophy of quantum science. She cannot stress the importance of entanglement enough. She explains how ideology and world-views are embedded in the apparatus’ and the framing of our experiments and subsequent related objects and behaviours. This embedding is also explored in Vilém Flusser’s Towards a Philosophy of Photography (2012).  The ideology is in the apparatus and photographers (all except experimental ones) are flunkies or to use his word, functionaries  – they ‘are inside their apparatus and bound up with it’ (loc 2086).

What stops us from seeing this is our ‘Cartesian habit of mind’ (Barad, 2007). Both Systems Theory and quantum science urge us to move away from the strictures of a Newtonian/Cartesian worldview where isolated objects exist in a void universe and nothing is connected or relational. Entanglement has been lost in our understanding of reality and we are working our way back to incorporating it now. But there is a long way to go and it’s on the fringes of society – although arguments to suggest it is becoming embodied through our interactions with digital data.

The problem with arbitrary lines around isolated objects is that it too often engenders a simplistic, black and white of view of the world. (And that is being kind.) This can be seen across disciplines and in photography it is endemic. Photography which claims so loudly to be a ‘caller out of injustices’ seems in fact to reinforces unhelpful mentalities, undermines any attempts to move away from hierarchical thinking, narrows down meaning, oversimplifies complex issues, attracts monism, flattens nuances, strips away context and relationships. Still photography in particular entrenches all of that. It isolates and insists on objects in a void. It suggests the opposite of a ‘dynamic and shifting entangling of relationships’ (Barad, 2007: 35) no matter how hard people point out – and writers such as Ariella Azoulay have done -– that history and the objects we construct are forever subject to re-examination, are alive with possibility and liveliness.

There is something inherently unavoidable and entrenched, in particular in still and analogue photography. I look at the ontology of a photograph and see that at its core, still and moving image are one and the same thing. We may intervene and add lots of frames together or else we isolate a single frame but they are both an agential cut (a Baradian term which I will explain more fully in my extended essay and in BOW). It’s the isolating that causes problems.

I find it hard that people fail to appreciate intra-relatedness. My interactions with a secondary school shocked and enraged me too as my child was being so badly affected by their entrenched position in an out-dated reality, in a constructed and ludicrous simulation of the past that is no longer relevant and entirely inappropriate to its surroundings, and that they seemed utterly oblivious to emergent changes to the world or else angrily against them. This is especially unhelpful for young people who have grown up with the problematised Internet which, despite its many issues engenders a networked view of reality. It is frustrating beyond belief that so many want to drill down into detail so tiny, they leave no room and can only focus on single issues, which they hope will somehow communicate something greater, rather than simply isolating themselves and their ideas in the void. It astounds me how this habit of monism fails us but is still so prevalent and is taught in schools and colleges and universities; but then I recall the citation which I begin CS A2 (draft) with by Capra and Luigi: ‘It [this habit I’ve described] derives from the fact most people in our modern society, and especially large institutions, subscribe to the concepts of an outdated worldview, a perception of reality inadequate for dealing with our overpopulated, globally interconnected world.’ (2014) Inadequate is the key term here. Inadequate. This old way of seeing and being will not serve us going forward. That is not to say we should forget history. We can’t. Because in an intra-related world the past is enmeshed with the future and the present. We must, as Azoulay (2019) recommends, re-evaluate our Cartesian linear view of time.

In my work I am, like the child who watched and noticed the adults and my friends all copying each other, performing roles, connecting. We have always done this. The Internet makes it visible. It somehow speeds the process up (See Virilio (2008) on speed and technology). The breaks are no longer in place. But we will write them into the code again. In the meantime, I do believe we need to find ways to communicate and explore intra-relatedness. We must challenge linear understanding, flat thinking, monism. Not everyone I value or follow agrees that there are no objects, that process supersedes things. However, we have lived with that myopic view for so long in the West and it has taken us to a very dangerous place. And so it behooves anyone who has the capability of addressing and deconstructing it to do so.