A Little Tag End of the World
Struggling to join the dots between systems theory, transcendental philosophy, aesthetics and other speculations.
Thursday 8 June 2023
Discussion on The End of Art, Again: Systems and the Aesthetics of Dispersion
The End of Art, Again: Systems and the
Aesthetics of Dispersion
A discussion between Francis Halsall
and Rachel O’Dwyer
Friday 16th June, 6pm, Temple Bar Gallery and
Studios, Dublin
To mark the
publication of Contemporary Art, Systems and the Aesthetics of Dispersion (Routledge,
2023) please join us for a conversation and refreshments with the author and
Rachel O’Dwyer.
Given the
diversity of materials used in art today, once-traditional artistic mediums and
practices have become obsolete in describing what artists do today. Instead of
stable mediums practitioners now be use whatever systems of distribution and
display are available to them. The two central arguments are: any understanding
of what art is will always be underwritten by a related view of what a human
being is; and that these both have a particular character in late capitalism
or, as is named here, The Age of Dispersion.
Rachel
O’Dwyer is a lecturer in
Digital Cultures in the National College of Art and Design, Dublin. She is the
author of Tokens, (Forthcoming Verso October 2023). She was formerly a
research fellow in Connect, the Centre for Future Networks and Communications
in Trinity College Dublin and a Fulbright scholar in collaboration with the
Future of Money project in University of California, Irvine. Her research
focuses on the intersection of cultural and digital economies and has published
widely on this and other topics.
Friday 24 April 2020
The Inhuman Excess
There is a biological and materiality inhumanity within which
human thought is stranded. The essence
of human consciousness lies buried within a mass of materials and flows which
far exceed it. In The Inhuman the
French philosopher JF Lyotard speculates on this condition of humanity as
stranded within the Inhuman:
“what if human beings, in humanism’s sense, were in the process of,
constrained into, becoming inhuman (that's the first part)? And (the second
part), what if what is ‘proper’ to humankind were to be inhabited by the
inhuman?”[1]
In doing so Lyotard raises the spectre of what inhuman might
lurk within human experience. The Inhuman
begins with the essay which asks: “Can thought go on without a body?” My
speculative answer to his challenge is no. Thought without a body can never be
possible but this claim comes with two qualifiers.
First there is an inhuman redundancy to every thinking body
that thought is nested within but which exceeds it. Those dead things that we
slough off, like fingernails and hair don’t think, but then neither do the
molecules like carbon that we share with the rest of the world. All of thought
needs a body, but not all of a body is doing the thinking. Parts of it are
shitting, wheezing, growing and dying.
Second those bodies that think don’t necessarily have to be
human; and other bodies will suggest different possibilities for thinking and
experience.
To rephrase Lyotard’s question: What if
Intentionality is not specific to Human thought? What if other entities exhibit
an intentional relationship to the world? Further, what would it mean to say
that intentionality is not even specific to biological life but, instead,
emerges from instances of systemic complexity?
The horizon for this question is the
attempt to consider the phenomenological notion of intentionality in relation
to complex systems. My claim is that intentionality is not a feature specific
to humans but a feature of all complex systems. Or, intentionality is not a
feature unique to consciousness but rather one that consciousness shares with
other systems.
At stake in this is the recognition that
if phenomenology is the study of phenomena as they appear in experience, then
this requires an expanded understanding of what experience means that extends
its horizon beyond human consciousness. This would provide an account of
intentionality in systems-theoretical terms that recasts phenomena in terms of
terminology specific to complex systems. That is: observation, recursion and
self-reference.
Wednesday 21 November 2018
And, you know, there’s no such thing as society. There are individual systems.
This
idea of humanism cannot continue. Who would seriously and deliberately want to
maintain that society could be formed on the model of a human being, that is,
with a head at the top and so on? Niklas Luhman
You can’t understand an ant colony by looking at a
single ant any more than staring at a Euro coin helps you understand the
economy. Knowing how the gears on a bike work doesn’t explain the Tour de
France; and human consciousness is not reducible to mere synapses snapping in
the soft-machine of the brain. Each of these are complex entities that are
better described when considered as systems. Systems thinking and systems
theories see the world through the prism of systems. Systems are understood
through the combinations of their component parts, operations and behaviour. Their
whole is greater than the sum of their parts, as the old cliché runs. Systems
thinking is a way of thinking about the world in terms of these wholes, rather
than their constituent parts. It considers outputs and behaviours and emergent
properties.
Systems reduce the complexity of their environments
and by doing so become, somewhat, distinct from them. The ant colony, just like
the bike race, is not reducible to its surroundings. They each have separate
identities even if the physical borders are hard to discern. Likewise an
economic system reduces all of the messy complication of the world into the
abstractions of financial transactions. To understand a system means to
understand what it does. Systems have functions which are particular to
themselves. The trick is in working out what, exactly, those functions might
be. But underlying everything else, systems have a primary function: all systems
operate in order to survive. Councils are also systems. They are comprised of
multiple elements: buildings, people, equipment and so on. They perform various
functions. And they will also operate in
order to survive.
A common use of the word “technology” is as a
technique, methodology or knowledge. If so then systems are a type of
technology. They are a way of taking the world, thinking about it, manipulating
it and doing things in it. It has been common throughout history for humans to
understand who and what they are in relation to prevailing technology. In early
Greek and Christian societies humans were clay infused with spirit. In the 3rd
Century BCE humans related themselves to hydraulic engineering; now the human
was understood as the site of canals and pipes for liquids such as the four
“humours.” In the 16th Century humans became machines; that is,
automata of cogs, gears and springs whilst in the following centuries metaphors
of chemistry, steam power and then electricity were used. The model of the
human as a computer subsequently emerged as the dominant metaphor for cognition
and behaviour with the establishment of the so-called Von Neumann architecture
which provides the conceptual model of more or less all existing computers.
This understands the body as a piece of organic hardware that processes
information about the world. Thought, then, is a sort of software that decodes
or represents the world through its own processes of simulation. Each of these
technologies and metaphors for humanity come with their own potentials and
restrictions. They each place humans within a particular worldview with a
particular horizon. Each world will have its own limit.
Systems give us another technique for thinking about
who we are. This requires understanding that our individuality is positioned
within a complex set of environmental coordinates. Humanity is positioned
within systems such as history, culture, language, architecture, economics,
chemistry, physics and so on. The human body is just one, biological, system
amongst many others. Some of these are necessary for our existence; others are
oblivious.
In an interview with Women’s Own magazine in 1987 Margaret
Thatcher made one of her most contentious and notorious claims:
“They are casting their problems at society. And, you know, there’s no
such thing as society. There are individual men and women and there are
families. And no government can do anything except through people, and people
must look after themselves first. It is our duty to look after ourselves and
then, also, to look after our neighbours.”
I think she couldn’t be more wrong. All people are is their relations. All of us get our identities from the systems we inhabit. And this is no cause for alarm; but rather a thrilling opportunity to rethink who, what and why we are.
Tuesday 31 October 2017
Some thoughts on rocks and glass
This text was commissioned for the catalogue for the Ireland Glass Biennial 2017
“The rock is the gray particular of man’s life,
The stone from which he rises, up -- and -- ho,
The step to the bleaker depths of his descents ...
The rock is the stern particular of the air,
The mirror of the planets, one by one,
But through man's eye, their silent rhapsodist,”
In a little book, Seven
Clues to the Origin of Life, which is as amusing and entertaining as it is
audacious and astonishing Graham Cairns-Smith uses the form of a detective
story to present his claim that life begins with clay. But rather than a
mystical or religious account of how we’ve been fashioned from the earth he
offers a modern origin myth based in chemistry and biology. His argument is
that the foundations for organic forms of life lie in the reproduction of the inorganic
structures of minerals. Crystals, in particular, replicate their structures in
a way that offers a clue to how living things might also reproduce and survive.
So, the miniature crystals that squirmed within primordial clay were not merely
inert, dumb stuff but instead vital, unconscious actors in the still evolving
story of life, humans and whatever is coming next. As he puts it: “We have, as it were, identified the organisation
responsible for that ‘crime against common-sense’, the origin of life. And it
is true that the proposition that our ultimate ancestors were mineral crystals
was not widely anticipated.”
This argument is audacious because it is essentially
claiming that genetic inheritance is not unique to living organisms but is
rather a process that might be shared between all sorts of different materials
some of which are often considered to be alive (organisms) and those that are
not (minerals.) As Cairns-Smith puts it: “Clay
crystals growing [within a piece of sandstone]… have, often, distinctive and
elaborate forms - such as the grooved kaolinite vermiforms that were evolving
by direct action… and it is not too difficult to imagine circumstances in which
simply the shapes and sizes of crystals could have a bearing on their ability
to grow quickly, or break up in the right way, or stay in the right place, or
survive difficult conditions- or otherwise be a success… just the same as the
way in which the parts of plants and animals become optimised through natural
selection. The practical difference here between crystal genes and, say, trees
or giraffes would be that for crystal genes shapes and sizes are so much more
directly specified by the genetic information.”
And it is astonishing because it gives a tentative answer to
one of the knottiest problems that scientists and philosophers (along with all
the other story-tellers) have spent the history of humanity trying to answer.
That is, how is life on earth even possible; what is it; and when did it begin?
These questions, of course, come interlaced with what philosophers call “the
hard problem of consciousness” whose down-beat name somewhat understates the
magnitude and gravity of the problem in question and makes it sound like a
tricky weekend crossword puzzle. The question at stake requires the perhaps
impossible task of describing and explaining the nature of conscious
experience.
Cairns-Smith’s claims have had a mixed reception over the
past few decades in part because of the endemic difficulties in working in the
gaps between different scientific disciplines (in this case biology and
chemistry.) It is also extremely difficult to observe the micro-movements of
clay and establish whether it really is self-organising in a way that means it
could be considered proto-biological.
However, it is the ambition and challenge of his theory that
is more important than any of its specific claims and it’s what I’m interested
in here. The aspiration is to explain how the material substrate of the world
can give rise to things that can live and reproduce; that is, to explain how
stuff can do stuff. It is a way thinking about how disinterested the material world
is in the humans that skate about on its surface. It still operates according
to its own occult operations. But it also reminds us of the perhaps horrific
and monstrous thought that lying buried at the core of all our humanity there is
something inhuman, inorganic, indifferent over which we have no control.
The reason that this would be important is because nested
within metaphors for describing the relationships of humans with objects are metaphors
for thinking about what those humans are. Or to put this another way: a way of
thinking about things is also a way of thinking about ourselves.
For example, it is becoming increasingly obvious that in
contemporary life objects and people are losing their autonomy. Everything now
is seemingly interconnected in networks of communication and control. In what
Manuel Castells calls The Network Society
which began to appear in the last 3rd of the 20th Century
the prevalence of systems of telecommunication, computing, transport, and so on
mean that humanity is connected across the globe at burgeoning speed. Think
about the Internet of Things in which
devices communicate with one another and are controlled over networks. Given
this it’s easy to believe that just as objects are not autonomous so too we
humans are also losing our independence. We are also being subsumed by new
technologies, social media and countless other things that we only barely
understand but which make almost infinite demands on our attention.
But maybe thinking not only about but also through materials like clay, or glass, gives us another
way of thinking about both objects and ourselves. Glass, for instance, might
remind us of a world now lived through interfaces and windows; through the pads
and screens we constantly interact with. It resonates with a life lived through
surface and touch where we swipe right. Or left.
But glass is also a material with its own qualities and its
own private secrets. Glass is not the same as clay. Rather than comprised of
mineral crystals in fluid, glass is a
super-cooled liquid that is in the constant flux of flow and formation. Through
these processes it exhibits its own material and alien agency. Beneath its surfaces
small universes roil away at their own glacial pace. In it we might find a way
of thinking, once again, about who we are. In its awkward autonomy we might
rediscover what it means to be human in these dark, dark times.
Wednesday 26 July 2017
Strange Fascination: Bowie and Apophenia
If the ambition of Cracked-Actor-Network-Theory is to
use Bowie to explore the conditions of subjectivity in late capitalism, then it
must necessarily risk apophenia in its tone and spirit and appear somewhat
manic; preposterous even.
Bowie’s very
fluidity in his use of mediums and identities lends itself to being connected
to everything that was around him. As he said of himself in the Russell Harty interview (1973): “I find that I’m a person
that can take on the guises of different people that I meet. I can switch
accents in seconds of meeting somebody—I can adopt their accent. I’ve always
found that I collect. I’m a collector. And I’ve always just seemed to collect personalities,
ideas.”
Or, a few years later: "Bowie was never meant to be. He's like a Lego kit. I'm convinced I wouldn't like him, because he's too vacuous and undisciplined. There is no definitive David Bowie." (David Bowie on David Bowie, 1976)
So it should
come as no surprise to find the Network Society reflected back in him.
Or, in other
words, Bowie’s own eclecticism, opportunism and promiscuity will be reflected
in a theory that is itself is eclectic, opportunistic and promiscuous. And that
both Bowie and our theory capture something of the nature of subjectivity in late capitalism.
Apophenia is the inclination to find patterns and connections
in all phenomena regardless of whether they are related or not (what Tyler Viglen calls Spurious Correlations or, when
more developed, Conspiracy Theory).
The
ability to observe and create connections is a profoundly human act; consciousness is drawn both to and from pattern.
After all, as the phenomenological
commonplace observes: consciousness is always consciousness of something. This
can be both banal - such as finding faces in clouds or prophecies in tea-leaves
– and sublime - such as Stephen Hawking’s description of the universe as a Grand
Design in which: “There must be a complete
set of laws that, given the state of the universe at a specific time, would
specify how the universe would develop from that time forward. These laws
should hold everywhere and at all times; otherwise they wouldn’t be laws. There
could be no exceptions or miracles. Gods or demons couldn’t intervene in the
running of the universe.”
(The Grand Design, pg. 137)
Perception rests
on observing figure/ ground relationships, and the use of
narrative is fundamental for cognition through establishing connections and
causes between events. Working between artificial intelligence and psychology, Schankand Abelson claim that narrative systems and “structures called scripts” are essential
for the production of “knowledge systems.” Such pattern finding has emerged from an
evolutionary wager in which in survival situations the recognition of patterns paid
dividends. Better, for example, to assume that a rustle in a patch of grass is
a tiger and act accordingly than ignore it and be eaten.
As this project develops further patterns and connections within the Cracked-Actor-Network will be suggested. No doubt some will be spurious.
As this project develops further patterns and connections within the Cracked-Actor-Network will be suggested. No doubt some will be spurious.
Monday 24 July 2017
Cracked-Actor Network Theory: David, Diana and Donald
We'll explore the connection between these three in later posts. In the meantime here is an excerpt from
Simon Reynolds: Shock and Awe (Faber, 2017)
“I play to people’s fantasies,” Trump wrote in The Art of The Deal, explaining the role of bravado in his business dealings. “People may not always think big themselves, but they can still get very excited by those who do. That’s why a little hyperbole never hurts. People want to believe that something is the biggest and the greatest and the most spectacular.”
He and co-writer Tony Schwarz coined the concept “truthful hyperbole.” That sounds like a contradiction in terms, but it cuts to the essence of how hype works: by making people believe in something that doesn’t exist yet, it magically turns a lie into a reality. As the American saying goes, fake it ‘til you make it.
Bowie’s manager Tony Defries used this technique to break the singer in America: travelling everywhere in a limo, surrounded by bodyguards he didn’t need, Bowie looked like the star he wasn’t yet, until the public and the media started to take the illusion for reality…. Early in his career, Trump grasped that – like a pop star – he was selling an image, a brand.
Bowie and The Network Society
Bowie: The Network Society and Opening Themes (Death; Sex/ Gender; Economics;
Love; Medium/ Form; The Future)
The key claim of the Cracked-Actor Network Theory is
that Bowie exemplifies the conditions of post-war western society. This was named
by Manuel Castells as The Network Society by which he meant those social orders
that emerged more or less during Bowie’s adult life. It is characterised by the
historical and cultural impact of electronic technologies including the New
Media of telecommunication and computation systems and the subsequent primacy
of information as a metaphor for communication and organisation.
In this sense Network Society describes the conditions
and cultures of late capitalism. Frederic Jameson argues that these conditions
are synonymous with both postmodernity and the emergence of “the world system”
in which the power of nation states is effaced by global networks of capital
and communication where information becomes the primary unit of capitalist
exchange. In such cultures power no longer operates according to a disciplinary
logic (as Foucault observed of modernity) but rather control where power is distributed across networks (as Deleuze claimed
in his famous “postscript” essay).
Subjectivity is similarly understood to be both
distributed across different communicative networks and also mediated by them;
in other words human identity does not exist a-priori but is in fact constituted
by those different networks within which it is situated (such as social media.)
Hence, the conditions of the Network Society present radical challenges to the
account of autonomous and rational humanity that emerges in the European
Enlightenment. As in other accounts of the conditions of subjectivity in late
capitalism, such as Posthumanism humans are identified as enmeshed within and
reliant upon existing economic, technological and ecological networks that are
beyond their control.
Taking this as a starting point we can consider how
Bowie’s own persona as “more than one, less than many” mimicked these effects of
late capitalism and the Network Society. His multiple identities were also, performatively, contingent
upon those conditions he found himself in.
In doing so we can use the following themes to think
about both Bowie and human subjectivity in the age of “the world system”:
DEATH; SEX/ GENDER; ECONOMICS; LOVE; MEDIUM (STUDIO); THE FUTURE
[These ideas were first explored in an MA Seminar for Art in the Contemporary World lead by Francis Halsall and Vaari Claffey]
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