[iDC] IPF09 Conference thoughts
Brian Holmes
brian.holmes at aliceadsl.fr
Sun Dec 6 16:31:00 UTC 2009
Hello everyone -
It's great to get some responses to these reflections. Especially since
there are many on this list who are experts, whereas I'm just taking an
art-historical tangent from some other areas... It's clear that the
Bauhaus exhibition at MoMA stakes out a strong interpretive position,
I'd be curious if anyone has a critical read on it. As for Christiane's
film, the glimpses are intriguing!
Kevin Hamilton wrote:
> I remember reading about how Moholy-Nagy in particular faced
> pressures in this regard, where Chicago business had grown dependent
> on the Illinois Institute of Technology for the provision of ready
> workers in the design and application of visual identity. They
> apparently began to complain that students under these new European
> instructors weren't adequately prepared for working in industry;
If you dig up the reference, do tell. That fits into my understanding,
which is that the German and Central European artists, with their strong
abstractionist and Gestalt ideas, merely found refuge in the US at
first, gravitating notably toward the cybernetic thinkers and finally
having their strongest influence in the 60s and 70s. Everyone has always
focused on the emigre figures as the bearers of industrial modernism,
but what I'm starting to think is that the deterritorializing effects of
the early 20th century vanguards went far beyond industrial modernism.
The social-democratic regulation of mass production society, which the
Bauhaus artists and their Weimar peers were not able to create in
Germany, was the result in America of a compromise forged in the 1930s
between leftist/workerist forces and industrialists, both of whom had
little use for vanguard visuality or trans-identity. That compromise,
anachronistically known as "Fordism" (or the Keynesian National Welfare
State, if you wanna get geeky about it) produced the consumer society in
its classic forms, the cliches of American Grafitti: a society whose
epistemological base was still more behaviorist than cybernetic, despite
the feedback loops that started coming into play in the 1950s through
the monitoring of consumer reception. The consumer culture was all about
regimes of identification, working on the acquisitive desire for things,
both as the objects of raw libidinal drives and as ego-attributes. Such
a culture was not dynamic enough for the elites, who came up against
real limits to corporate growth from the late 60s onward, due to all
kinds of factors including market saturation, renewed labor unrest,
internal hierarchical rigidities, etc.
The corporate elites saw immense possibilities for restructuring in the
information sciences, which had already been developing for managerial
and logistical purposes since the war. The real rupture came in the
crisis of the 70s, which marked the decline of industrialism and the
beginning of another economic paradigm. What would be important to
understand today is how the vanguard European artists and thinkers (and
not only the Bauhaus ones) eventually contributed to the entirely new,
post-industrial paradigm of informationalism, which comes massively into
play from the mid-70s onward. I think they did contribute the mobility,
the superior agility of a trans-identity.
> To my knowledge (and Orit likely knows more here), Kepes benefited
> essentially from a patron in the form of MIT's president Wiesner at
> the time, whose utopian vision kept CAVS alive. My understanding is
> that when Wiesner left, CAVS tanked.
>
> This happened more or less at the same time as Von Foerster's lab
> ended here at Illinois - his patron, the Office of Naval Research, was
> forced to drop him when the Mansfield amendment restricted military
> funding of "blue sky" projects.
Well, fortunately there were some restrictions placed for a while on the
military and the CIA's license to do whatever they wanted! I'm nostalgic
for the Mansfield amendment and the Church commission. The blue-sky
research of the 50s and 60s amply laid the grounds for the takeoff of
the information society from the 70s onward, with a fresh influx of
military money from Reagan's star wars in the mid-80s, then another huge
military injection in this decade, which we're gonna bitterly regret
down the line... Now, I don't mean to give a univocal reading of
informationalism as some kind of dark plot. In my text "Filming the
World Laboratory" I proposed looking at Von Foerster as a kind of
double-agent within the military-industrial complex, a subversive figure
who rendered much of cybernetic theory useless for command-and-control
purposes by the reflexive twist that he gave to it. Patricia Clough, who
studied with Von Foerster, seemed like she might have interesting things
to say about that interpetation! Bateson, Von Foerster, Maturana and
Varela, Deleuze and Guattari, Stengers and Prigogine, they compose a
kind of phylum that puts a twist on informationalism and offers possible
alternatives, a bluer sky if you will. However, at that level of
theoretical elaboration there are always great ambiguities. The power
complexes have a way of appropriating everything.
Over the past two days I realized that you can read the book chapter
from which Orit Halpern drew her talk, it's really extraordinary, check
it out: http://orithalpern.net/chapter3.pdf . Near the start of the
chapter she says something very insightful about the way Kepes fit into
the American context where he produced his first book, Language of Vision:
"Language of Vision is, therefore, an inverted lens upon the Bauhaus
education. It is not so much a break from this history, as a mutation
and extraction of certain impulses within histories of design, now
unmoored from previous modern conceptions of material, time, and
representation."
The words "unmoored" and "unbound" - which I associate with
"disembedded" (Polanyi) and "deterritorialized" (Guattari) - recurr
again and again in this chapter in the attempt to describe the way that
Gestalt ideas, originally conceived as designating fundamental
perceptual structures, are reworked in a radically constructivist
fashion until they become operative schemata for the production of
informational worlds. These mediated environments - like the ones that
the Eameses built for the US Information Agency and IBM - present their
own intrinsic dynamics and complexity, through which the subject
"navigates" an existential course, but a fundamentally arbitrary one,
cut off (unmoored, disembedded) from any traditional habitus or
sedimented ground of experiential knowledge. You see these environments
emerging as possibilities in the 1950s, but they couldn't be massively
developed until semicounductors became cheap, in the 70s. It would be
interesting to look closely into the theory of things like "sensurround"
cinema, which was first used in 1974... Today, the city itself has
become a screenic environment, a sensurround. These are the artificial
worlds of simulated perception that the great corporations have
succeeded in imposing as the leading edges of the informational economy,
which is now the second nature that we live in. I'd say the supreme
expressions of these radically constructive artificial worlds are to be
found in the realms of global finance and of the imperial American
military, in the worlds of satellite-controlled warfare and computerized
trading, which between them make the greatest strategic use of computing
power and informational networks.
Artistic expression allows us to look at something like the
psycho-perceptual level of these transformations, and so art movements
become really interesting when you trace their development over space
and time. Orit's research confirms the "family resemblance" that I saw
between the abstraction of the Bauhaus grid and the radical
constructivism of a cybernetician like Von Foerster. But the resemblance
is expressed through an inversion, or what I've described as a chiasmus,
which reverses some of the key terms that were initially at play. I
think this has to do with the dialectical reversal of industrialism into
informationalism (cf. my short text "Into Information!"). Orit writes
the following, concerning the operative procedures that evolved in the
wake of Kepes and the Eameses, but also of Wiener and the cognitive
sciences:
"There is no single norm for vision. If, for example, the pre-war
designers and psychologists thought there is a “natural” or essential
gestalt form that preceded the perception of an image, then in post-war
design that form is now manipulatable, you can build any gestalt to
produce any perceptual field. The designer doesn’t need to learn the
rules gestalt psychology discovered, the designer must understood the
principle of relationality and builds gestalts. An inversion, if we
will, of the original modernist design principles. The ideal of a
singular, or objective form of vision is replaced by a fantasy of
effectiveness or affect serving particular functions."
It's a brilliant insight which has everything to do with the concept of
simulation that Baudrillard and others have developed, but here it is
much more precise, you see exactly how the collaboration of cognitive
scientists, designers and corporate sponsors produces the environments
we live in, which can also be called "control spaces" (Sze Tsung Leong's
term). Orit's work is the most precise theoretical genealogy of these
environments that I have yet read, very inspiring.
One more point from Keith:
> The question that remains is this - What can we learn
> from the consequent influence of the Bauhaus grid on Chicago's image
> industry, or of cybernetics on economics and management theory? Are
> these examples of the familiar story of long-term capital-driven
> projects borrowing from the avant-garde without sustaining it? How
> else might we tell these stories?
That's the question! Telling these stories otherwise is one of the most
important things, since the informationalism to which those figures
helped give rise is now in crisis and the outcomes of that crisis are
going to shape our civilization for decades to come. Keith asks about a
pattern whereby emigre thinkers are functionalized in the US context, or
(I'd add) remain as kinds of prophetic figures whom we still don't
understand (Marcuse, Bateson, Varela, many others...). But the pace of
change is such that we not only have to go back and tell the stories
differently, but also sustain some vanguard positions ourselves, in the
face of parallel developments in database capacities (for simulation)
and biometric identification techniques (for control). These are going
to take on huge importance in the coming decades. We may all feel like
emigres in the strange new landscapes that are coming.
It's clear there was a postwar thinker who knew everything about
information theory and was able to use that idiom to express basic
issues of life and death and solidarity and betrayal, albeit in a
predominantly tragic mode. That was Lacan, whose algorithms of the
relation to the 0ther were meant to infuse an existential content to the
mathematicized functions of the emerging communication system. In
Lacan's time, the 0ther appeared at the limits of Western humanism, in
the national liberation movements of decolonization. Anybody who's
interested in media, just have a look at Lacan's "Television," it's
gotta be available on the web, you'll see exactly what I mean. Today, as
the capacity to produce artificial Gestalten is dramatically augmented
through neuroscientific research, the locus of the 0ther shifts: the
0ther is at once very near, just beyond the police perimeter of
exclusion from the security society, and at the same time very far away,
within us, as the radical schiz between the programmed realities that
constitute the greater part of our own consciousness and something else
which we can't name. I'd say this namelessness is the field where the
0ther is blurred and obscured by anxiety over our own deaths in the
coming deflagrations, both social and ecological, promised by the vast
contradictions of informational rationality. The issue that concerns me
in contemporary informatics is not play and it's not the factory either
either, it's the abuses of the power to create worlds for mortal beings.
In the face of the corporate-state appropriation of the very capacities
of perception, what counts is an ontological question: How do we touch a
human reality that persists through the successive artificializations,
or through the flux of what I've been calling trans-identity? Orit's
text closes on the ontological question. It's food for thought and maybe
for some more discussion.
best, Brian
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