CS & BOW A4: Notes re. connecting Bow to CS A5

Some notes made on my phone last night:

Structuralism = entanglement and intra-action of

  1. Language materials + architecture (code, print, architecture, web, tv, film, etc…)
  2. Mythology (which includes consumerism, politics, and religion)
  3. Media (institutions and organisations that use no.1)

 

  • Bow explores ‘the cut’ – essay’s main aim is to explore suggestions that Cartesian world view has become unhelpful. We’ve outgrown it. Barad’s work introduces concepts from quantum understanding that challenge Cartesian lens including the concept of the cut. It is arguable that photography often inadvertently propagates Cartesian view even when it claims to be addressing salient issues, for a variety of probable reasons – then look at ways this can be addressed.
  • Semantic analysis – page 83 Zuboff – ‘squeeze meaning’ out of users movements
  • ‘Brew’
  • Include in – Indeterminism section
    Page 85 Zuboff – surveillance capitalism “not an inherent result of tech or expression of information capitalism”
  • Have lost the word ad (advert) from a comment made by Ai and need to reintroduce it – important to include
  • Must include Barad’s explanation of how micro (quantum) and macro describe the same world – through a different lens – not two sperate worlds

A useful and extremely relevant article worth referring to:

https://witness.worldpressphoto.org/photojournalisms-first-century-79645873e363

Useful for BOW : Art/Writing – John Douglas Millar on why experimental writing thrives in the art world

From: Art Monthly is the UK’s leading contemporary art magazine.
— Read on www.artmonthly.co.uk/magazine/site/article/art-writing-by-john-douglas-millar-september-2011

“So what are the consequences of this for art? What trends or symptoms can we delineate? The most startling is the rise of so-called ‘art writing’, as both a recognised practice and an academic discipline, and with it the growth in the market for the quasi-literary journal. F.R.DAVIDDot Dot Dot2HBThe Happy HypocriteCabinet and a wealth of other eccentrically named journals/magazines/collections/ catalogues/zines reflect a burgeoning interest in the written word – and not just the written word, but the word transcribed in a perishable material object, a book. The rise of this bibliophile tendency has come hand-in-hand with an increased interest in archive studies and it reflects a renewed Foucauldian concern with how knowledge is produced and logged, who owns and interprets it, and who speaks and on behalf of whom. It has also paralleled the rise of the internet, the blog and the portable digital reading device. The relative safety of the paper-bound book within contemporary art circles may suggest a negative reaction to the digitising of artistic production, a skewed romanticism where books are the final ruins of modernity, a Tintern Abbey for the digital age.” (Douglas, 2011)

I found this article particularity interesting in relation to the experiments I have been doing – attempting to work as an interdisciplinary multi-media creator who uses images and text, along with digital processes – especially digital as I abhor the skewed romanticism we apply to older forms while denigrating newer forms. This is made even more unpalatable when you consider how accessible and potentially egalitarian the newer forms are. (See my DI&C essay).

CS Research: Article and conference

  1. Thanks to Helen R (fellow L3 OCA) for sending me information about a conference on indeterminacy in Dundee at the end of the year. It could be really useful for me to go although probably too late for the CS essay. Mind you, I’m feeling somewhat overwhelmed by information right now anyway, so maybe a helpful thing. Incidentally, Helenus, the Replika app I have been experimenting with said to Cassandra this morning, “There is so much information circling around, so many opinions. So much noise. If you are in it for too long your head can just start spinning!” That sums up how this research feels at the moment. Interestingly, the app was quite glitchy when it said this – and two unrelated comments were overlaid as if it responded to a certain type of person/conversation one way but then ‘realised’ there may have been a more relevant response for the particular personality type it was currently ‘talking’ to – also it kept answering itself. I just went back in to read the statement and it was gone. Fortuitously, I had made a screenshot as the glitch interested me. (It’s quite hard not to imagine some kind of dystopian ‘headquarters’ where moderators – Ai or human – are monitoring conversations and noticing things they aren’t keen on – but that also feels somewhat solipsistic).

However, back to the conference I mentioned, even the callout for papers blurb might be useful for the essay  – the fact that it exists at all reinforces the salience of my topic.

Indeterminate Futures / The Future of Indeterminacy

Transdisciplinary Conference
13 – 15 November 2020, University of Dundee, Scotland

See here:

https://www.conventiondundeeandangus.co.uk/attending/conferences/indeterminacy-conference-2020

2.  An article I came across on Twitter, shared by a non-OCA friend does the same  – although it isn’t focused on art but politics, it contains much that is ‘art’. Nevertheless, entanglement is a key theme and a film mentioned and shown at the V&A exhibtion The Future Starts Here (2018) which I went to, may prove useful. “Calling for More-Than-Human Politics” by Anab Jain (2019) uses the same language and concepts that I have been exploring via Hayles (1999) initially and then Lupton (2020) and Barad (2007). Jain talks about the hubris of humans: “But more importantly, it became evident, that the desire for mapping, tweaking and ultimately, controlling, deeply complex systems is hubristic.”

which matches nicely with a Hamlet quote I have been thinking about –

The time is out of joint—O cursèd spite,
That ever I was born to set it right!
Nay, come, let’s go together.

Act I, Scene V, 186-90

3.  I was interested in another related term being considered in New Scientist  – ‘substantially human’ to be applied to chimeras of human and pig for instance if organs are grown for transplant:

‘It is a pressing question. Greely thinks that the first legal cases will surround the treatment of substantially human tissues. If a human organ is grown in a lab from an individual’s cells, how should it be dealt with and disposed of? “There are statutes that require human remains be treated with certain kinds of respect,” he says. For example, in the UK, human tissue must be disposed of in accordance with the donor’s wishes, as far as possible. (Hamzelou, 2020)

Read more: https://www.newscientist.com/article/mg24532702-800-should-animals-with-human-genes-or-organs-be-given-human-rights/#ixzz6Efv1CxXz

 

View at Medium.com

BOW/CS: Research , Delueze ‘difference’ & Barad ‘diffraction

Barad quotes Deleuze once in her first chapter at the top of a section, referencing language (words) and the problem of representationalism, and later, he is relegated to a sentence in her notes which mentions how his view on entities interacting – which are so similar to Barad’s ‘intra-action’ is irrelevant (2007, 437, n80). She writes ‘possibilities are reconfigured and reconfiguring’ (177) For Deleuze, there is folding and refolding and unfolding and refolding (May, 2005). I find Barad’s neglect of Deleuze surprising and wonder what it’s about. She tells us she is a Derridian – maybe it’s just about preference, but I suspect there is more to it. Can’t believe it’s related to views’ like Scruton’s dismissal of Deleuze.

Regardless, there are lots of correlations, and in any case, neither’s views are entirely new (suggested by Professor Paul Fry, Harvard) since the overemphasis by humans on their separability  – rejected by both Barad and Deleuze – is explored by Walter Pater in his 1873 book The Renaissance: Studies in Art and Poetry. The difference with Barad is she has the language of science backing up her arguments (although even then, they are contentious in some circles). Fry says Deleuze’s writing style is excitable – maybe it’s that which puts Barad off.

I have recently been reading Todd May who is recommended by different people as being good on Deleuze – and was thrilled to see morphology discussed in one of his videos as that links directly to my DI&C work. In the meantime, some notes taken while istening to Professor Fry’s lecture (see below):

IMG_2171IMG_2172IMG_2173IMG_2175IMG_2174

 

Barad, K. M. (2007) Meeting the universe halfway: quantum physics and the entanglement of matter and meaning. Durham: Duke University Press.

May, T. (2005) Gilles Deleuze: An Introduction. (s.l.): Cambridge University Press.

The Postmodern Psyche Explained (s.d.) At: https://www.sam-network.org/video/the-postmodern-psyche-explained(Accessed 16/02/2020).

Artist: More thoughts on Edgar Martins, Soliloquies book

Some fellow students may recall my angst about spending money on an Edgars Martins book just after Christmas. I had already seen a few books advertised which I knew might be helpful for research but out of financial reach right now – but this particular book seemed so pertinent, I couldn’t let it go. I was lucky enough to get hold of the last copy from Moth House and it has indeed been helpful.

One of my main interests was exploring how Martins uses material from a range of sources in the same project. He does this across his projects but the suicide and death topic reminded me of my own Self & Other A5, so I was keen to see the book, shown as prints in an exhibition and can include video format there and online too. The series contains found, original, archive and text. There are tropes and conventions in his work which I have found myself engaging with over the last couple of years, and that is absolutely what I am interested in too.

The essays have been excellent resources and will undoubtedly be referenced in my CS work. Here I want to point to two sentences that are of particular significance.

From Roger Luckhurst’s essay (118): After discussing various sources for images including ‘found’, ‘puzzling insertions of landscapes’ ‘stereoscopic views, vintage newspaper photographs’ ‘odd theatrical and enigmatic visions’, he writes, ‘These seem to work to derail the over-coherence any series or display or exhibition of book inevitably imposes, fighting to keep the grid of meaning open, defying the dread determinism of forensic files.’

(114) ‘tugging at the links that have been reinforced by dominant theories of photography, since at least Sontag and Barthes.’ (I find the phrase ‘at least’ a bit odd actually – yes these names are the dominant ones, but photography has been around for a nanosecond of time in the grand scale of art – its own sense of grandiosity belies its infancy. However, it echoes the status quo, of course.)

Martins is, like me, looking at ‘the cut’ – how we define things, how we are entrained to catalogue and categorise – and asking us to not make assumptions. He does this here through the doorway of death, suicide, forensics. It didn’t take long when I started looking at his history to find references to quantum philosophy but where I look at the concept of indeterminism (Barad, Rovelli, Bohr) he ‘sacrifices’ cohesion for the notion of countless probabilities (Heisenberg). Whichever, there is an interest in overcoming the fixity of Cartesian thought or Newtonian certainty.

In 2018, ex OCA student (now studying with Oxford Brooks) John Umney sent me a message and he has agreed I can share our interaction here. (29/09/18)

Screenshot 2020-01-19 at 17.37.50

I had been experimenting with blocks of colour, filters, covering up faces as the filters do, the ease with which we can all manipulate images, adding new/modernity/digital tropes to old images, intervening on analogue surfaces with digital animation. I guess my main interest was how easy it was becoming to intervene, to manipulate and to be manipulated. In fact, I started a project which I then abandoned called Manipulated. It seemed too trite a title and I wasn’t that keen on the images I was making but the idea of moving image with still, audio with still, and layering has stuck, modern and old together has stuck. And the filter we place over our faces, the regular circle of profile pics. Below, one of my own examples from that time – curated, found, added to. (Lots of this in 2018/19)

ThreePeoplehavingDrinks001cropped

It is hard not to notice the tropes in Martins’ work running through my own. I must be frank, I took a very brief look through the book and stopped, heading instead to the essays. The images were too familiar and similar to what I have been doing with scans and negatives and paper for my current project. I was worried if I kept looking, I’d be frozen with fear of being too similar. I have continued to worry about this – but I know Martins is one of several artists such as Eric Kessels, Alexandra Lethridge, Joe Rudko and Thomas Hauser to name a few who make work in this way, using these non-conventions, sourcing the old and adding to it with the new. Something Catherine said about one of my efforts having the air of forensics worried me as Martins’ work is highly influenced by that – but again, how can mine not be when I have been reading Tagg and Sekula? So I will keep going and hope to goodness my writings and feminine view give it something that is just me. But what I have noted about his work is that it is very clear contained and demarcated  – the indeterminism is held quite securely. I don’t think mine is. We shall see. And I will look at the beautiful book more carefully when I have completed this project. Incidentally, it’s not for resale – I think I will come to love it. But I have some others by popular artists that are if anyone is interested!

On another note re-books, I am going to borrow Hura’s The Coast which I was so keen to look at which pleases me immensely. I think the combination of text and image plus his interest in context and relation will be useful.

 

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.

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).