Ghost Story ER IC C H DE BRUYN ON KINETIC ART AND NEW M EDIA

FROM ITS START kinetic art has been possessed- by the uncanny Surrealist automaton as much as by the technological promise of a utopian future And in turn it has haunted modern sculpture which had long been vexed by Marx s famous description of the commodity as a diabolical dancing object Kinetic art we came to think was a bit of an embarrassment-indeed an aesthetic dead

end But might we instead see kineticism as the very foundation of contemporary modes of experience from the projected image to spectacle to the media network Taking his cue from ArtforumS inaugural cover which featured a Jean Tinguely automated sculpture art historian Eric C H de Bruyn reexamines kinetic arts labyrinthine past and maps a new space for its passages among us

Ghost Story ERIC C H DE BR UYN ON KI NETIC ART AND NEW M EDIA

et ic art has been possessed-by the uncanny as much as by the technological promise

nd in turn It has haunted modern sculpture vexed by Marxs famous description of the oli cal dancing object Kinetic art we came to I embarrassment-indeed an aesthetic dead

end But might we instead see kineticism as the very foundation of contemporary modes of experience from the projected image to spectacle to the media network Taking his cue from Arrforums Inaugural cover which featured a Jean Tinguely automated sculpture art historian Eric C H de Btuyn reexamines kinetic arts labyrinthine past and maps a new space for its passages among us

Above Jean TInc Iy Hg 10 New YOrllt 1960 OppasHe page Ric~d C GrQW mi cd media eft ~ e bIl I~ch NuWn Bo~ 1955 ~Imnvm h

Roo ~ Mel l ~ SltlptU1~ ~ luuum of M(I(IIn An hammort COll ~nlSll II ~ S 4 New y k M~rc~ 1~ loV ~rot~ Daol d Goo

I

NumN MACHINES All genea logies of media art have their roOlS in a ghost slOry And perhaps none more so than kinetic a rt which wa s paraded on Artforums inaugural cover til the fo rm of a shadowy slighdy sinister si lshyhOllette o f one of Jea n TinKuelys animated sculpshylUres No doubt the anist would appreciate tales of the spectra l if nOt infernal roots of his automatic creations propagating the Faustian complex of an artist-constructor who dab bles in the mechanical simulation of life and its explosive demise Tinguelys most famous iteration Homage to New York which se lf-destructed in the co urtyard of the Museum of Modern Art in 1960 was dubbed by the artist a simulacrum of catastrophe a cymcal object both luciferian and phantomatic in nature 1 Not everyshyone was impressed by such apocalyptic spectacles which served up the fiery wreckage of industrial socishyety as a pyrotechnic display to an enthra1ed audishyence Indeed a 1961 ed itorial in the Situationist International mocked the Swiss sculptor s kinetic contra ption constructing a less heraldic lineage fo r Tinguelys work According to 51 a certain Richard C Grosser had beaten Tinguely to the punch a few years earlier with his prototype of a useless machine the so-ca1ed Nuttin Box a gray aluminum box with eight sma ll neon lamps which blin ked in a totally random patternl

We get the joke Complete chaos is but another form of toral order Indeed the randomly flashing lights of the Nuttin Box evince the double bind of al commodities That is they speak in order to have commerce with other commodities and huma n beings but on the topic of use-value they have nothshying to say Or as ou r inventor (who would playa significant role in the early days of computer engishyneering) explained at the time fA Nuttin Box ] serves its purpose merely by existing It attracts attention and confuses your friends Its a wonderful thing for a businessman when he has a customer come into the office This really breaks the iceJ But for all their display of wit what the Siruationists miss is the uncann iness of Tinguelys machines an uncanniness defined by the spectral nature of a recurshyrent yet utterly enigmatic thing or event4 This is all the more surprising because the Situationists might have turned to the specifically Dadaist and Surreali st trad ition of the machine populated by all kinds of uncanny devices including automatons manneshyquins schizoid influencing machines and erotic bachelor machines Th is genealogy extends even earl ier to a mo ment when machine had not yet found an industrial or informationa l use but referred among other meanings to a movable contrivance for the product ion of stage effects (eg the deus ex machi na ) or the li ving bod y that moves or acts

528 AR TFORUM

amomatically or mechanically ramer than of its own voli tion (Oxford English Dictionary) Kinetic sculpture is haunted by this history and its spectral traces may be seen equally in Homage and the Nullin Box the diabolical machine and its parodiccounshyterparr JUSt as they may still be sensed in the present To revisit this phantomatic history of kinetic an is 1 think to recount a ghost story worth telling

A THEATER OF GHOSTS In the pages of Artforum in 2000 Yve-Alain Bois provided a handy sketch of the rather inglorious hisshytory of kinetic art According to this abbreviated trajectory kinetic art had a brief moment of sucshycess-only to suffer a quick demise largely due to its public confusion with Op an Because kinetic art was (wrongly ) perceived as an art based almost entirely on easy optical tricks it would soon be trashed as utter kitsch on a par with sllch risible byshyproducts as the Courreges dress and the lava lamps Bois makes an exception for one critic (rightfully so I would agree) Guy Brett who in Kinetic Art The Language of Movement (1968) argued that the true exponents of ki netic art were not such figures as Nicolas Schaffer and Julio Ie Pare- those merchants of an art of gadgerry-but Lygia Cla rk Helio Oiticica and David Meda lla (with Tinguely in a mere supporting role) [n short Brett developed a genealogy of ki neticism tha t was determined less by its technological aspects than by its collective engageshyment with the spectator Unlike the cybernetic seu Ipshytures of Schaffer Clarks and Oiticicas work did nOt require the implementati on of advanced fo rm s of information tech nology Whar rhis work req uired instead was the conception of a spatial mod el of organizing social relations a model thar would rely on a topological rather than proective paradigm of geometry In contrast to th e programmed behavior of Schaffers tobotic scu lptures one may think for instance of Clarks and Oitieica5 coll aborative work Dialogue ofHands 1966-ao elastic Mabius strip that creates a sensory feedback loop with ones own hody-or Oiticicas aptly titled Topological ReadyshyMade Landscapes 1978- 79

Almost two deca des after the Situation ist editorial suggested it was best suited to be office kitsch kinetic an would receive a more extensive if still dismissive treatment in Rosalind E Krausss Passages in Modern Scul)ture (1977) Krauss situated kinetic sculpture as a suhset of the environmental art of light -space (Laszlo Moholy-Nagys terml as exemplified by Moholy-Nagys Light Prop or aft Electric Stage (also ca lled Light-Space Modulator) 1922- 30 which immersed the splaquo1ator in a f1ucruating field of stunshyni ng optical effects achieved by mechanica l means Kinetic arts bloodstrea m Kra uss claimed merged

Uisd6 Moholy-NIl UCh~y BJadV prInt 14 l1 10JI Det ~ il of M oIoIyshySllI6e 1922-30

with th e work of (ersatz Naum Gabo in order to feegt body of New Tendency others Group Zero in ( Recherche dArt Visuel in ment in the Netherlands

If Krauss left no dOli sellted an artistic practice gested that its predecessor used to simulaTe rhe movet as clockwork automata In ing the ilrgu mem of ~fitic Modem SClllpture (1968) nlre follows a Faustian un stoppable craving to w order from God-with thl trolling human destiny if itself 6 This porrentOus cla elusion that benearh the kinetic sculpture lies norhin idea l of art The main pu Light Prop was to exist as a In this capacity it prefigur rures of Schaffer already e learn ro dance with aerua machina Kinetic sculpru simulacru m of life And ideological it projects a

We find th is simulacrshyreception of the modern anxious relationsh ip to th

r [han of its own mary ) Kinetic and its spectra l e and the Nllttin IS parodic COll llshy

d in the present If kinetic art is 1 h telling

YvemiddotAlain Bois ~r inglorious hisshyhis abbreviated noment of sucshylargely due to its ause kinetic art middott based a lmost would soon be 1 such risib le byshythe lava lamp J

ic (rightfu Ily so inetic Art The Jed that the true such figures as

those merchants ia Cla rk Helio h Tinguely in a rert developed a [ermined less by ollecrive engageshyybernetic scul pmiddot as work did not anced forms of work req uired patial model of that would rely

ive paradigm of mmed behavior ~ may think for Iaborativc work 6c MobiLis strip with ones own ologieal Readymiddot

arion ist editorial e kitsch kinetic 1 still dismissive 5ages in Modern letic sculpture as If I ighr-space exemplified by ctric Stage (also 921-30 which ing field of stunshyhanical means laimed merged

L6S116 MOIIOIy-Kaft uthlplay 8lacIVWItitlGnr ca 1926 gelatin siler prinl J4 14 1014 Delail QlMohQIymiddotNIlmiddots Ugll Prop fOI an Electric

51111922-30

with the work of (ersan) Construcrivists such as Nauru Gabo in order to feed into the pan-European bod y of New Tendency which included among o thers Group Zero in Germa ny the Grou pe de Recherche dArt Visucl in Paris and the NU L moveshyment in the Netherlands

If Krauss left no doubt rhar kinetic art represhysented an artistic practice wirhout a future she sugshygestcd tha t its predeltessors were rhose contraptions used ro simulate the movement of living beings such as clockwork automata [n doing so she was rehearsshying the argum ent of critic Jack Burnham in Beyond Modern Sculpture (1968) according to which sculpshytun fo llows a Faustian goal it is possessed by an unstoppa hle craving to wrest the secrets of natural order from God-with the unconscious aim of conshytrolling human dest in y if nor in fact becoming God itself6 TIl is portentous claim leads Krauss [0 the conmiddot el usi on that benea th the technologica l armor of kinetic sculpture lies nothing but the same old mimetic idea l of art The main purpose of Moholy-Nagys Light Prop was to exiSt as a mechanica l actor onstage in this capacity it prefigured those cybernetic sculpshytures of Schoffer already evoked by Brerr thar would lea rn 10 dance with acwal human beings Deus ex machina Kinet ic sculpture creates a false copy a simulacr um of li fe And this simulation is deeply ideological it projects a picrure of [he world

We find rhis ~imulacrum haunting the critical receprion of rhe modern sculptural object and its anxious relationship to the commodity Krauss thus

The arts oftheatricality - kinetic art as well as Minimalism and its aftermath- would contaminate the (technical) image with the spectashytors body and dangerously comshymingle visions and things radically destabilizing the visual field

Frnncis llcilbia fkllgtclgtlt (PerInance ca--I 1924 Pe 01oce Vi8W l hUtlI deB Champs-poundlyoo Paris 1924

initia tes a fo rm of cri rique familiar to us from Tile Cermall ldeology (1846) T here Karl Marx develshyoped a theory of rhe phanromaric or a hauntology tha t shows how rhe producrs of the human brainshy thll ou r spiri rs-arc projected into the world as anishy [hi mistic objects then begin to behave as autonomous onv figures acq uiring a life and momenUim of their own PS

In his Spectres de Marx (1993 ) Jacq ues Derrida m glosses th i~ argument as follows The ghost gives its ind form that is to say its body to the ideo logem K ing Marx would later call this apparition the commodity Mi fetish an animated yet inanimate thing that is capable of entering into relations with one another and with human beings Or as Marx famously puts it in Das me Kapi( l (1867) the social relations between men ins assume the phOltasmagoric form of a relation between ss commodities literally this means that commodities nm constitute themselves as a gathering of phantasms n ag and this spectra l assembly has commerce with itself wit as well as human beings foc

To pass unfavorable judgment on kinetic art as an~

Krauss did in 1977 need raise few eyebrows Wha t of is striking neverrheless is the vigilance with which she hunts down rhe spectral vestiges of surrogate persons withill contemporary sculpture What is at stake here or rather contillues [0 be at stake nolt is the o ld question of theatricality (although we vo might now prefer the notion of spectrality) We know wit how Michael Fried meant the term to carry a blanket uf

ality -kinetic tlism and its ontaminate the th the spectashyrously comshyhings radically ual field

rancis Pic~b i~ Rcikhc ~rtofmanc~ Canceled) 1924 ermm~nce jew ThMtr des hampspoundlystes P~ris 1924

amiliar to us from The here Karl Marx dcvdshymarie or a hauntology s of the human brainshyJ inro the world a~ anishybehave as autonomous lOmentum of their own

993 1 Jacq ues Dcrrida IWS -The ghost gives its ~- to the ideologem~ panrion the commodity t12 IIg that is capahle iQeanorher and with

UiiiJIlIttiI~ putS it in Das -inion between men I[ ~~ rdation between ~rnlt commodities Eattlilg of phantasms ihDlWIJerce with itself

~ on kinetic art as a--ey-ebrows What

IIr -pia-lce with which ~~ of surrogate ~ jo-prure Vhat IS

-_ to be a t stake bull T although we ~- We know ~ ~ a blanket

rejection of litera list art Jllodernism had flattened thr fidd of pcnrption constructing the pictorial surface as a specular device facing the viewer so that she might recognize her own independence in this autonomous object But shadows had begun to invade this surface turning the pictorial plane into a psychIC screen that masked a groundless phantasshymatic space that lay beyond What hied sensed was indeed uncanny an anthropomorphic specter lurkshying between the geometnc planes and lattices of M inimalist sculpture In these hollow objects he recognized a Surrealist space replete with the affects of expectation dread anxiety presentishyment memory nostalgia stasis ~ The literalist object installed a fatal (hssyrnmetry in the visua l field by assuming a vaguely human presence that concealed nothing but an empty void at its ccnter Fried warned agamst the vhispermgs of such deceptive objects with their lIlner even s(crtt life It was as if a new form of Idolatry had sedmed the art world Impeding any authentic sensation of conviction or epiphany of religious grace

To allow such a moment of grace to descend on the spectator the illusionistic mechanisms of the theater must be suppressed at all cost One must never be witness to the ralsmg of the curtain the work of art must always already appear to simply be without need of any audience to confirm its selfshysufficient existence The literalist object by way of

contrast is sa id to exist only by virtue of its audience But is this not the exact condition of the commodity It also only knows a life onstage which is why Marx compared it to the dancing table of the spiritualist seance It is a sensuous non-sensuous thing that appears to rear its head and stand on its legs in order that it may address the viewer all the time evolving out of its wooden head grotesque ideas far more wonderful than if it were to be dancing of its own free will I U With this magic trick the commodity assumes the appearance of independent life Iike an automaton this ghostly specter seems to move on its own miming the living

I am not suggesting that we simply conflate the thea tricality of the Minimalist object and that of the commodity Blit it bears emphasis that by the late 70s the theatrical- or speetral-----condition of art had become differentiated even ftlnher For instance Krauss distinguished between a good and a bad a nonmlmetic and a mimetic variant of theatricality To do so she brought an o ft- ignored question into play namely the role of artifiCial illummation In the display of art i Krausss example of a radical n011shymimetic theatricality was Francis Picabias set for the ballet Reliichc (Performance Canceled) 1924 which flashing a banerr of spotlights at the spectators blinded the audience even while it was illuminated Picabia5 violent assault on his audimcc demonstrated that once the watcher is physically incorporated into

SEP TEMBER 2012 529

Ghosts have a nasty habit ofcoming back And to imagine kinetic arts future apparitions is to revisit the notion of the spectral commodity

We lioog CRve ofFotto Orems 2010 liD IIIclec ~~ltl 95 mnutes

the spectacle Ius dazzled vision is no longer cap ble of superviSlnl Its events 1 T he transcendellTl1 subshyjeCt is 10 bt toppled frOIll his car a tri(kcd br rhe lIghts oi spccucle and therefore awakened to its ill ushysions of olllll isciencc

It is elS~ to conjecture how -dazzled vision preshycisely describes the effe t that the ((Jllllllodiry has on us Yet this do(~ not sa~ enough E ven thing depends on what xcurs in that murky spectr11 space where bod ies and un age begi1l to mingle Modern ism fcared thi~ inferrlll rcgion and would an clllpt a nxshyiously 10 keep bod) and illlage apl rt Byconrrast thl 1r ts of -thealrica lity -k inelic a rt as well as linirnali1ll and its afrCfmath-would contaminate the (tcchnicl) i111agl i th thl specrawrs body and

dlngerousl wmmingle visions and things radicall~ destabi lizing the vi~u11 field Frieds own haunting by rhe M inimalist ohieCi dramltics the disjunctive charshyJ(tCf or ~PtTtrlt11 space T he ghost in h ~l b i ts1 ~trlnge

limina l domain It looks at liS but we (annnr be su re of seeing it t hereby generating l kin d of -spcn r1 t asy m metry - to borrow from Derri dl wiTh in the visua l But wi th this uprooting of bodKS and Images

from thei r (oTl1l(middotr sta ble po logica l system of pro jection h cleared for a more inrel1S (or

thl capit lt1 ti ~t networks of flo

A DESCENT INTO THE CAVE If rhe fa ult o f kinetic a rt W 5

iecrion of ideological splrc~ ro be done wi h pro j(ctron dima ntle rhe ideologial Jr Can one hring ghos t~ down to

th e tCfrltlin of media archaeo rhtor of medi a T h is exca knows it spirit ()ne away to 0lt1( paintings O~ altcrnati e Phuos oa vc parl blc Both f( identified 1S prOtocine111lt ic ~

iormer most recently in X err tary fi lm Cave of FOJgo ltell [

la mr in he so-called apparJ which eq uans the cinematic 1 shl dows or s imulacra o f Pbt ncw digit11 rn hnologir used

Ghost Story ERIC C H DE BR UYN ON KI NETIC ART AND NEW M EDIA

et ic art has been possessed-by the uncanny as much as by the technological promise

nd in turn It has haunted modern sculpture vexed by Marxs famous description of the oli cal dancing object Kinetic art we came to I embarrassment-indeed an aesthetic dead

end But might we instead see kineticism as the very foundation of contemporary modes of experience from the projected image to spectacle to the media network Taking his cue from Arrforums Inaugural cover which featured a Jean Tinguely automated sculpture art historian Eric C H de Btuyn reexamines kinetic arts labyrinthine past and maps a new space for its passages among us

Above Jean TInc Iy Hg 10 New YOrllt 1960 OppasHe page Ric~d C GrQW mi cd media eft ~ e bIl I~ch NuWn Bo~ 1955 ~Imnvm h

Roo ~ Mel l ~ SltlptU1~ ~ luuum of M(I(IIn An hammort COll ~nlSll II ~ S 4 New y k M~rc~ 1~ loV ~rot~ Daol d Goo

I

NumN MACHINES All genea logies of media art have their roOlS in a ghost slOry And perhaps none more so than kinetic a rt which wa s paraded on Artforums inaugural cover til the fo rm of a shadowy slighdy sinister si lshyhOllette o f one of Jea n TinKuelys animated sculpshylUres No doubt the anist would appreciate tales of the spectra l if nOt infernal roots of his automatic creations propagating the Faustian complex of an artist-constructor who dab bles in the mechanical simulation of life and its explosive demise Tinguelys most famous iteration Homage to New York which se lf-destructed in the co urtyard of the Museum of Modern Art in 1960 was dubbed by the artist a simulacrum of catastrophe a cymcal object both luciferian and phantomatic in nature 1 Not everyshyone was impressed by such apocalyptic spectacles which served up the fiery wreckage of industrial socishyety as a pyrotechnic display to an enthra1ed audishyence Indeed a 1961 ed itorial in the Situationist International mocked the Swiss sculptor s kinetic contra ption constructing a less heraldic lineage fo r Tinguelys work According to 51 a certain Richard C Grosser had beaten Tinguely to the punch a few years earlier with his prototype of a useless machine the so-ca1ed Nuttin Box a gray aluminum box with eight sma ll neon lamps which blin ked in a totally random patternl

We get the joke Complete chaos is but another form of toral order Indeed the randomly flashing lights of the Nuttin Box evince the double bind of al commodities That is they speak in order to have commerce with other commodities and huma n beings but on the topic of use-value they have nothshying to say Or as ou r inventor (who would playa significant role in the early days of computer engishyneering) explained at the time fA Nuttin Box ] serves its purpose merely by existing It attracts attention and confuses your friends Its a wonderful thing for a businessman when he has a customer come into the office This really breaks the iceJ But for all their display of wit what the Siruationists miss is the uncann iness of Tinguelys machines an uncanniness defined by the spectral nature of a recurshyrent yet utterly enigmatic thing or event4 This is all the more surprising because the Situationists might have turned to the specifically Dadaist and Surreali st trad ition of the machine populated by all kinds of uncanny devices including automatons manneshyquins schizoid influencing machines and erotic bachelor machines Th is genealogy extends even earl ier to a mo ment when machine had not yet found an industrial or informationa l use but referred among other meanings to a movable contrivance for the product ion of stage effects (eg the deus ex machi na ) or the li ving bod y that moves or acts

528 AR TFORUM

amomatically or mechanically ramer than of its own voli tion (Oxford English Dictionary) Kinetic sculpture is haunted by this history and its spectral traces may be seen equally in Homage and the Nullin Box the diabolical machine and its parodiccounshyterparr JUSt as they may still be sensed in the present To revisit this phantomatic history of kinetic an is 1 think to recount a ghost story worth telling

A THEATER OF GHOSTS In the pages of Artforum in 2000 Yve-Alain Bois provided a handy sketch of the rather inglorious hisshytory of kinetic art According to this abbreviated trajectory kinetic art had a brief moment of sucshycess-only to suffer a quick demise largely due to its public confusion with Op an Because kinetic art was (wrongly ) perceived as an art based almost entirely on easy optical tricks it would soon be trashed as utter kitsch on a par with sllch risible byshyproducts as the Courreges dress and the lava lamps Bois makes an exception for one critic (rightfully so I would agree) Guy Brett who in Kinetic Art The Language of Movement (1968) argued that the true exponents of ki netic art were not such figures as Nicolas Schaffer and Julio Ie Pare- those merchants of an art of gadgerry-but Lygia Cla rk Helio Oiticica and David Meda lla (with Tinguely in a mere supporting role) [n short Brett developed a genealogy of ki neticism tha t was determined less by its technological aspects than by its collective engageshyment with the spectator Unlike the cybernetic seu Ipshytures of Schaffer Clarks and Oiticicas work did nOt require the implementati on of advanced fo rm s of information tech nology Whar rhis work req uired instead was the conception of a spatial mod el of organizing social relations a model thar would rely on a topological rather than proective paradigm of geometry In contrast to th e programmed behavior of Schaffers tobotic scu lptures one may think for instance of Clarks and Oitieica5 coll aborative work Dialogue ofHands 1966-ao elastic Mabius strip that creates a sensory feedback loop with ones own hody-or Oiticicas aptly titled Topological ReadyshyMade Landscapes 1978- 79

Almost two deca des after the Situation ist editorial suggested it was best suited to be office kitsch kinetic an would receive a more extensive if still dismissive treatment in Rosalind E Krausss Passages in Modern Scul)ture (1977) Krauss situated kinetic sculpture as a suhset of the environmental art of light -space (Laszlo Moholy-Nagys terml as exemplified by Moholy-Nagys Light Prop or aft Electric Stage (also ca lled Light-Space Modulator) 1922- 30 which immersed the splaquo1ator in a f1ucruating field of stunshyni ng optical effects achieved by mechanica l means Kinetic arts bloodstrea m Kra uss claimed merged

Uisd6 Moholy-NIl UCh~y BJadV prInt 14 l1 10JI Det ~ il of M oIoIyshySllI6e 1922-30

with th e work of (ersatz Naum Gabo in order to feegt body of New Tendency others Group Zero in ( Recherche dArt Visuel in ment in the Netherlands

If Krauss left no dOli sellted an artistic practice gested that its predecessor used to simulaTe rhe movet as clockwork automata In ing the ilrgu mem of ~fitic Modem SClllpture (1968) nlre follows a Faustian un stoppable craving to w order from God-with thl trolling human destiny if itself 6 This porrentOus cla elusion that benearh the kinetic sculpture lies norhin idea l of art The main pu Light Prop was to exist as a In this capacity it prefigur rures of Schaffer already e learn ro dance with aerua machina Kinetic sculpru simulacru m of life And ideological it projects a

We find th is simulacrshyreception of the modern anxious relationsh ip to th

r [han of its own mary ) Kinetic and its spectra l e and the Nllttin IS parodic COll llshy

d in the present If kinetic art is 1 h telling

YvemiddotAlain Bois ~r inglorious hisshyhis abbreviated noment of sucshylargely due to its ause kinetic art middott based a lmost would soon be 1 such risib le byshythe lava lamp J

ic (rightfu Ily so inetic Art The Jed that the true such figures as

those merchants ia Cla rk Helio h Tinguely in a rert developed a [ermined less by ollecrive engageshyybernetic scul pmiddot as work did not anced forms of work req uired patial model of that would rely

ive paradigm of mmed behavior ~ may think for Iaborativc work 6c MobiLis strip with ones own ologieal Readymiddot

arion ist editorial e kitsch kinetic 1 still dismissive 5ages in Modern letic sculpture as If I ighr-space exemplified by ctric Stage (also 921-30 which ing field of stunshyhanical means laimed merged

L6S116 MOIIOIy-Kaft uthlplay 8lacIVWItitlGnr ca 1926 gelatin siler prinl J4 14 1014 Delail QlMohQIymiddotNIlmiddots Ugll Prop fOI an Electric

51111922-30

with the work of (ersan) Construcrivists such as Nauru Gabo in order to feed into the pan-European bod y of New Tendency which included among o thers Group Zero in Germa ny the Grou pe de Recherche dArt Visucl in Paris and the NU L moveshyment in the Netherlands

If Krauss left no doubt rhar kinetic art represhysented an artistic practice wirhout a future she sugshygestcd tha t its predeltessors were rhose contraptions used ro simulate the movement of living beings such as clockwork automata [n doing so she was rehearsshying the argum ent of critic Jack Burnham in Beyond Modern Sculpture (1968) according to which sculpshytun fo llows a Faustian goal it is possessed by an unstoppa hle craving to wrest the secrets of natural order from God-with the unconscious aim of conshytrolling human dest in y if nor in fact becoming God itself6 TIl is portentous claim leads Krauss [0 the conmiddot el usi on that benea th the technologica l armor of kinetic sculpture lies nothing but the same old mimetic idea l of art The main purpose of Moholy-Nagys Light Prop was to exiSt as a mechanica l actor onstage in this capacity it prefigured those cybernetic sculpshytures of Schoffer already evoked by Brerr thar would lea rn 10 dance with acwal human beings Deus ex machina Kinet ic sculpture creates a false copy a simulacr um of li fe And this simulation is deeply ideological it projects a picrure of [he world

We find rhis ~imulacrum haunting the critical receprion of rhe modern sculptural object and its anxious relationship to the commodity Krauss thus

The arts oftheatricality - kinetic art as well as Minimalism and its aftermath- would contaminate the (technical) image with the spectashytors body and dangerously comshymingle visions and things radically destabilizing the visual field

Frnncis llcilbia fkllgtclgtlt (PerInance ca--I 1924 Pe 01oce Vi8W l hUtlI deB Champs-poundlyoo Paris 1924

initia tes a fo rm of cri rique familiar to us from Tile Cermall ldeology (1846) T here Karl Marx develshyoped a theory of rhe phanromaric or a hauntology tha t shows how rhe producrs of the human brainshy thll ou r spiri rs-arc projected into the world as anishy [hi mistic objects then begin to behave as autonomous onv figures acq uiring a life and momenUim of their own PS

In his Spectres de Marx (1993 ) Jacq ues Derrida m glosses th i~ argument as follows The ghost gives its ind form that is to say its body to the ideo logem K ing Marx would later call this apparition the commodity Mi fetish an animated yet inanimate thing that is capable of entering into relations with one another and with human beings Or as Marx famously puts it in Das me Kapi( l (1867) the social relations between men ins assume the phOltasmagoric form of a relation between ss commodities literally this means that commodities nm constitute themselves as a gathering of phantasms n ag and this spectra l assembly has commerce with itself wit as well as human beings foc

To pass unfavorable judgment on kinetic art as an~

Krauss did in 1977 need raise few eyebrows Wha t of is striking neverrheless is the vigilance with which she hunts down rhe spectral vestiges of surrogate persons withill contemporary sculpture What is at stake here or rather contillues [0 be at stake nolt is the o ld question of theatricality (although we vo might now prefer the notion of spectrality) We know wit how Michael Fried meant the term to carry a blanket uf

ality -kinetic tlism and its ontaminate the th the spectashyrously comshyhings radically ual field

rancis Pic~b i~ Rcikhc ~rtofmanc~ Canceled) 1924 ermm~nce jew ThMtr des hampspoundlystes P~ris 1924

amiliar to us from The here Karl Marx dcvdshymarie or a hauntology s of the human brainshyJ inro the world a~ anishybehave as autonomous lOmentum of their own

993 1 Jacq ues Dcrrida IWS -The ghost gives its ~- to the ideologem~ panrion the commodity t12 IIg that is capahle iQeanorher and with

UiiiJIlIttiI~ putS it in Das -inion between men I[ ~~ rdation between ~rnlt commodities Eattlilg of phantasms ihDlWIJerce with itself

~ on kinetic art as a--ey-ebrows What

IIr -pia-lce with which ~~ of surrogate ~ jo-prure Vhat IS

-_ to be a t stake bull T although we ~- We know ~ ~ a blanket

rejection of litera list art Jllodernism had flattened thr fidd of pcnrption constructing the pictorial surface as a specular device facing the viewer so that she might recognize her own independence in this autonomous object But shadows had begun to invade this surface turning the pictorial plane into a psychIC screen that masked a groundless phantasshymatic space that lay beyond What hied sensed was indeed uncanny an anthropomorphic specter lurkshying between the geometnc planes and lattices of M inimalist sculpture In these hollow objects he recognized a Surrealist space replete with the affects of expectation dread anxiety presentishyment memory nostalgia stasis ~ The literalist object installed a fatal (hssyrnmetry in the visua l field by assuming a vaguely human presence that concealed nothing but an empty void at its ccnter Fried warned agamst the vhispermgs of such deceptive objects with their lIlner even s(crtt life It was as if a new form of Idolatry had sedmed the art world Impeding any authentic sensation of conviction or epiphany of religious grace

To allow such a moment of grace to descend on the spectator the illusionistic mechanisms of the theater must be suppressed at all cost One must never be witness to the ralsmg of the curtain the work of art must always already appear to simply be without need of any audience to confirm its selfshysufficient existence The literalist object by way of

contrast is sa id to exist only by virtue of its audience But is this not the exact condition of the commodity It also only knows a life onstage which is why Marx compared it to the dancing table of the spiritualist seance It is a sensuous non-sensuous thing that appears to rear its head and stand on its legs in order that it may address the viewer all the time evolving out of its wooden head grotesque ideas far more wonderful than if it were to be dancing of its own free will I U With this magic trick the commodity assumes the appearance of independent life Iike an automaton this ghostly specter seems to move on its own miming the living

I am not suggesting that we simply conflate the thea tricality of the Minimalist object and that of the commodity Blit it bears emphasis that by the late 70s the theatrical- or speetral-----condition of art had become differentiated even ftlnher For instance Krauss distinguished between a good and a bad a nonmlmetic and a mimetic variant of theatricality To do so she brought an o ft- ignored question into play namely the role of artifiCial illummation In the display of art i Krausss example of a radical n011shymimetic theatricality was Francis Picabias set for the ballet Reliichc (Performance Canceled) 1924 which flashing a banerr of spotlights at the spectators blinded the audience even while it was illuminated Picabia5 violent assault on his audimcc demonstrated that once the watcher is physically incorporated into

SEP TEMBER 2012 529

Ghosts have a nasty habit ofcoming back And to imagine kinetic arts future apparitions is to revisit the notion of the spectral commodity

We lioog CRve ofFotto Orems 2010 liD IIIclec ~~ltl 95 mnutes

the spectacle Ius dazzled vision is no longer cap ble of superviSlnl Its events 1 T he transcendellTl1 subshyjeCt is 10 bt toppled frOIll his car a tri(kcd br rhe lIghts oi spccucle and therefore awakened to its ill ushysions of olllll isciencc

It is elS~ to conjecture how -dazzled vision preshycisely describes the effe t that the ((Jllllllodiry has on us Yet this do(~ not sa~ enough E ven thing depends on what xcurs in that murky spectr11 space where bod ies and un age begi1l to mingle Modern ism fcared thi~ inferrlll rcgion and would an clllpt a nxshyiously 10 keep bod) and illlage apl rt Byconrrast thl 1r ts of -thealrica lity -k inelic a rt as well as linirnali1ll and its afrCfmath-would contaminate the (tcchnicl) i111agl i th thl specrawrs body and

dlngerousl wmmingle visions and things radicall~ destabi lizing the vi~u11 field Frieds own haunting by rhe M inimalist ohieCi dramltics the disjunctive charshyJ(tCf or ~PtTtrlt11 space T he ghost in h ~l b i ts1 ~trlnge

limina l domain It looks at liS but we (annnr be su re of seeing it t hereby generating l kin d of -spcn r1 t asy m metry - to borrow from Derri dl wiTh in the visua l But wi th this uprooting of bodKS and Images

from thei r (oTl1l(middotr sta ble po logica l system of pro jection h cleared for a more inrel1S (or

thl capit lt1 ti ~t networks of flo

A DESCENT INTO THE CAVE If rhe fa ult o f kinetic a rt W 5

iecrion of ideological splrc~ ro be done wi h pro j(ctron dima ntle rhe ideologial Jr Can one hring ghos t~ down to

th e tCfrltlin of media archaeo rhtor of medi a T h is exca knows it spirit ()ne away to 0lt1( paintings O~ altcrnati e Phuos oa vc parl blc Both f( identified 1S prOtocine111lt ic ~

iormer most recently in X err tary fi lm Cave of FOJgo ltell [

la mr in he so-called apparJ which eq uans the cinematic 1 shl dows or s imulacra o f Pbt ncw digit11 rn hnologir used

I

NumN MACHINES All genea logies of media art have their roOlS in a ghost slOry And perhaps none more so than kinetic a rt which wa s paraded on Artforums inaugural cover til the fo rm of a shadowy slighdy sinister si lshyhOllette o f one of Jea n TinKuelys animated sculpshylUres No doubt the anist would appreciate tales of the spectra l if nOt infernal roots of his automatic creations propagating the Faustian complex of an artist-constructor who dab bles in the mechanical simulation of life and its explosive demise Tinguelys most famous iteration Homage to New York which se lf-destructed in the co urtyard of the Museum of Modern Art in 1960 was dubbed by the artist a simulacrum of catastrophe a cymcal object both luciferian and phantomatic in nature 1 Not everyshyone was impressed by such apocalyptic spectacles which served up the fiery wreckage of industrial socishyety as a pyrotechnic display to an enthra1ed audishyence Indeed a 1961 ed itorial in the Situationist International mocked the Swiss sculptor s kinetic contra ption constructing a less heraldic lineage fo r Tinguelys work According to 51 a certain Richard C Grosser had beaten Tinguely to the punch a few years earlier with his prototype of a useless machine the so-ca1ed Nuttin Box a gray aluminum box with eight sma ll neon lamps which blin ked in a totally random patternl

We get the joke Complete chaos is but another form of toral order Indeed the randomly flashing lights of the Nuttin Box evince the double bind of al commodities That is they speak in order to have commerce with other commodities and huma n beings but on the topic of use-value they have nothshying to say Or as ou r inventor (who would playa significant role in the early days of computer engishyneering) explained at the time fA Nuttin Box ] serves its purpose merely by existing It attracts attention and confuses your friends Its a wonderful thing for a businessman when he has a customer come into the office This really breaks the iceJ But for all their display of wit what the Siruationists miss is the uncann iness of Tinguelys machines an uncanniness defined by the spectral nature of a recurshyrent yet utterly enigmatic thing or event4 This is all the more surprising because the Situationists might have turned to the specifically Dadaist and Surreali st trad ition of the machine populated by all kinds of uncanny devices including automatons manneshyquins schizoid influencing machines and erotic bachelor machines Th is genealogy extends even earl ier to a mo ment when machine had not yet found an industrial or informationa l use but referred among other meanings to a movable contrivance for the product ion of stage effects (eg the deus ex machi na ) or the li ving bod y that moves or acts

528 AR TFORUM

amomatically or mechanically ramer than of its own voli tion (Oxford English Dictionary) Kinetic sculpture is haunted by this history and its spectral traces may be seen equally in Homage and the Nullin Box the diabolical machine and its parodiccounshyterparr JUSt as they may still be sensed in the present To revisit this phantomatic history of kinetic an is 1 think to recount a ghost story worth telling

A THEATER OF GHOSTS In the pages of Artforum in 2000 Yve-Alain Bois provided a handy sketch of the rather inglorious hisshytory of kinetic art According to this abbreviated trajectory kinetic art had a brief moment of sucshycess-only to suffer a quick demise largely due to its public confusion with Op an Because kinetic art was (wrongly ) perceived as an art based almost entirely on easy optical tricks it would soon be trashed as utter kitsch on a par with sllch risible byshyproducts as the Courreges dress and the lava lamps Bois makes an exception for one critic (rightfully so I would agree) Guy Brett who in Kinetic Art The Language of Movement (1968) argued that the true exponents of ki netic art were not such figures as Nicolas Schaffer and Julio Ie Pare- those merchants of an art of gadgerry-but Lygia Cla rk Helio Oiticica and David Meda lla (with Tinguely in a mere supporting role) [n short Brett developed a genealogy of ki neticism tha t was determined less by its technological aspects than by its collective engageshyment with the spectator Unlike the cybernetic seu Ipshytures of Schaffer Clarks and Oiticicas work did nOt require the implementati on of advanced fo rm s of information tech nology Whar rhis work req uired instead was the conception of a spatial mod el of organizing social relations a model thar would rely on a topological rather than proective paradigm of geometry In contrast to th e programmed behavior of Schaffers tobotic scu lptures one may think for instance of Clarks and Oitieica5 coll aborative work Dialogue ofHands 1966-ao elastic Mabius strip that creates a sensory feedback loop with ones own hody-or Oiticicas aptly titled Topological ReadyshyMade Landscapes 1978- 79

Almost two deca des after the Situation ist editorial suggested it was best suited to be office kitsch kinetic an would receive a more extensive if still dismissive treatment in Rosalind E Krausss Passages in Modern Scul)ture (1977) Krauss situated kinetic sculpture as a suhset of the environmental art of light -space (Laszlo Moholy-Nagys terml as exemplified by Moholy-Nagys Light Prop or aft Electric Stage (also ca lled Light-Space Modulator) 1922- 30 which immersed the splaquo1ator in a f1ucruating field of stunshyni ng optical effects achieved by mechanica l means Kinetic arts bloodstrea m Kra uss claimed merged

Uisd6 Moholy-NIl UCh~y BJadV prInt 14 l1 10JI Det ~ il of M oIoIyshySllI6e 1922-30

with th e work of (ersatz Naum Gabo in order to feegt body of New Tendency others Group Zero in ( Recherche dArt Visuel in ment in the Netherlands

If Krauss left no dOli sellted an artistic practice gested that its predecessor used to simulaTe rhe movet as clockwork automata In ing the ilrgu mem of ~fitic Modem SClllpture (1968) nlre follows a Faustian un stoppable craving to w order from God-with thl trolling human destiny if itself 6 This porrentOus cla elusion that benearh the kinetic sculpture lies norhin idea l of art The main pu Light Prop was to exist as a In this capacity it prefigur rures of Schaffer already e learn ro dance with aerua machina Kinetic sculpru simulacru m of life And ideological it projects a

We find th is simulacrshyreception of the modern anxious relationsh ip to th

r [han of its own mary ) Kinetic and its spectra l e and the Nllttin IS parodic COll llshy

d in the present If kinetic art is 1 h telling

YvemiddotAlain Bois ~r inglorious hisshyhis abbreviated noment of sucshylargely due to its ause kinetic art middott based a lmost would soon be 1 such risib le byshythe lava lamp J

ic (rightfu Ily so inetic Art The Jed that the true such figures as

those merchants ia Cla rk Helio h Tinguely in a rert developed a [ermined less by ollecrive engageshyybernetic scul pmiddot as work did not anced forms of work req uired patial model of that would rely

ive paradigm of mmed behavior ~ may think for Iaborativc work 6c MobiLis strip with ones own ologieal Readymiddot

arion ist editorial e kitsch kinetic 1 still dismissive 5ages in Modern letic sculpture as If I ighr-space exemplified by ctric Stage (also 921-30 which ing field of stunshyhanical means laimed merged

L6S116 MOIIOIy-Kaft uthlplay 8lacIVWItitlGnr ca 1926 gelatin siler prinl J4 14 1014 Delail QlMohQIymiddotNIlmiddots Ugll Prop fOI an Electric

51111922-30

with the work of (ersan) Construcrivists such as Nauru Gabo in order to feed into the pan-European bod y of New Tendency which included among o thers Group Zero in Germa ny the Grou pe de Recherche dArt Visucl in Paris and the NU L moveshyment in the Netherlands

If Krauss left no doubt rhar kinetic art represhysented an artistic practice wirhout a future she sugshygestcd tha t its predeltessors were rhose contraptions used ro simulate the movement of living beings such as clockwork automata [n doing so she was rehearsshying the argum ent of critic Jack Burnham in Beyond Modern Sculpture (1968) according to which sculpshytun fo llows a Faustian goal it is possessed by an unstoppa hle craving to wrest the secrets of natural order from God-with the unconscious aim of conshytrolling human dest in y if nor in fact becoming God itself6 TIl is portentous claim leads Krauss [0 the conmiddot el usi on that benea th the technologica l armor of kinetic sculpture lies nothing but the same old mimetic idea l of art The main purpose of Moholy-Nagys Light Prop was to exiSt as a mechanica l actor onstage in this capacity it prefigured those cybernetic sculpshytures of Schoffer already evoked by Brerr thar would lea rn 10 dance with acwal human beings Deus ex machina Kinet ic sculpture creates a false copy a simulacr um of li fe And this simulation is deeply ideological it projects a picrure of [he world

We find rhis ~imulacrum haunting the critical receprion of rhe modern sculptural object and its anxious relationship to the commodity Krauss thus

The arts oftheatricality - kinetic art as well as Minimalism and its aftermath- would contaminate the (technical) image with the spectashytors body and dangerously comshymingle visions and things radically destabilizing the visual field

Frnncis llcilbia fkllgtclgtlt (PerInance ca--I 1924 Pe 01oce Vi8W l hUtlI deB Champs-poundlyoo Paris 1924

initia tes a fo rm of cri rique familiar to us from Tile Cermall ldeology (1846) T here Karl Marx develshyoped a theory of rhe phanromaric or a hauntology tha t shows how rhe producrs of the human brainshy thll ou r spiri rs-arc projected into the world as anishy [hi mistic objects then begin to behave as autonomous onv figures acq uiring a life and momenUim of their own PS

In his Spectres de Marx (1993 ) Jacq ues Derrida m glosses th i~ argument as follows The ghost gives its ind form that is to say its body to the ideo logem K ing Marx would later call this apparition the commodity Mi fetish an animated yet inanimate thing that is capable of entering into relations with one another and with human beings Or as Marx famously puts it in Das me Kapi( l (1867) the social relations between men ins assume the phOltasmagoric form of a relation between ss commodities literally this means that commodities nm constitute themselves as a gathering of phantasms n ag and this spectra l assembly has commerce with itself wit as well as human beings foc

To pass unfavorable judgment on kinetic art as an~

Krauss did in 1977 need raise few eyebrows Wha t of is striking neverrheless is the vigilance with which she hunts down rhe spectral vestiges of surrogate persons withill contemporary sculpture What is at stake here or rather contillues [0 be at stake nolt is the o ld question of theatricality (although we vo might now prefer the notion of spectrality) We know wit how Michael Fried meant the term to carry a blanket uf

ality -kinetic tlism and its ontaminate the th the spectashyrously comshyhings radically ual field

rancis Pic~b i~ Rcikhc ~rtofmanc~ Canceled) 1924 ermm~nce jew ThMtr des hampspoundlystes P~ris 1924

amiliar to us from The here Karl Marx dcvdshymarie or a hauntology s of the human brainshyJ inro the world a~ anishybehave as autonomous lOmentum of their own

993 1 Jacq ues Dcrrida IWS -The ghost gives its ~- to the ideologem~ panrion the commodity t12 IIg that is capahle iQeanorher and with

UiiiJIlIttiI~ putS it in Das -inion between men I[ ~~ rdation between ~rnlt commodities Eattlilg of phantasms ihDlWIJerce with itself

~ on kinetic art as a--ey-ebrows What

IIr -pia-lce with which ~~ of surrogate ~ jo-prure Vhat IS

-_ to be a t stake bull T although we ~- We know ~ ~ a blanket

rejection of litera list art Jllodernism had flattened thr fidd of pcnrption constructing the pictorial surface as a specular device facing the viewer so that she might recognize her own independence in this autonomous object But shadows had begun to invade this surface turning the pictorial plane into a psychIC screen that masked a groundless phantasshymatic space that lay beyond What hied sensed was indeed uncanny an anthropomorphic specter lurkshying between the geometnc planes and lattices of M inimalist sculpture In these hollow objects he recognized a Surrealist space replete with the affects of expectation dread anxiety presentishyment memory nostalgia stasis ~ The literalist object installed a fatal (hssyrnmetry in the visua l field by assuming a vaguely human presence that concealed nothing but an empty void at its ccnter Fried warned agamst the vhispermgs of such deceptive objects with their lIlner even s(crtt life It was as if a new form of Idolatry had sedmed the art world Impeding any authentic sensation of conviction or epiphany of religious grace

To allow such a moment of grace to descend on the spectator the illusionistic mechanisms of the theater must be suppressed at all cost One must never be witness to the ralsmg of the curtain the work of art must always already appear to simply be without need of any audience to confirm its selfshysufficient existence The literalist object by way of

contrast is sa id to exist only by virtue of its audience But is this not the exact condition of the commodity It also only knows a life onstage which is why Marx compared it to the dancing table of the spiritualist seance It is a sensuous non-sensuous thing that appears to rear its head and stand on its legs in order that it may address the viewer all the time evolving out of its wooden head grotesque ideas far more wonderful than if it were to be dancing of its own free will I U With this magic trick the commodity assumes the appearance of independent life Iike an automaton this ghostly specter seems to move on its own miming the living

I am not suggesting that we simply conflate the thea tricality of the Minimalist object and that of the commodity Blit it bears emphasis that by the late 70s the theatrical- or speetral-----condition of art had become differentiated even ftlnher For instance Krauss distinguished between a good and a bad a nonmlmetic and a mimetic variant of theatricality To do so she brought an o ft- ignored question into play namely the role of artifiCial illummation In the display of art i Krausss example of a radical n011shymimetic theatricality was Francis Picabias set for the ballet Reliichc (Performance Canceled) 1924 which flashing a banerr of spotlights at the spectators blinded the audience even while it was illuminated Picabia5 violent assault on his audimcc demonstrated that once the watcher is physically incorporated into

SEP TEMBER 2012 529

Ghosts have a nasty habit ofcoming back And to imagine kinetic arts future apparitions is to revisit the notion of the spectral commodity

We lioog CRve ofFotto Orems 2010 liD IIIclec ~~ltl 95 mnutes

the spectacle Ius dazzled vision is no longer cap ble of superviSlnl Its events 1 T he transcendellTl1 subshyjeCt is 10 bt toppled frOIll his car a tri(kcd br rhe lIghts oi spccucle and therefore awakened to its ill ushysions of olllll isciencc

It is elS~ to conjecture how -dazzled vision preshycisely describes the effe t that the ((Jllllllodiry has on us Yet this do(~ not sa~ enough E ven thing depends on what xcurs in that murky spectr11 space where bod ies and un age begi1l to mingle Modern ism fcared thi~ inferrlll rcgion and would an clllpt a nxshyiously 10 keep bod) and illlage apl rt Byconrrast thl 1r ts of -thealrica lity -k inelic a rt as well as linirnali1ll and its afrCfmath-would contaminate the (tcchnicl) i111agl i th thl specrawrs body and

dlngerousl wmmingle visions and things radicall~ destabi lizing the vi~u11 field Frieds own haunting by rhe M inimalist ohieCi dramltics the disjunctive charshyJ(tCf or ~PtTtrlt11 space T he ghost in h ~l b i ts1 ~trlnge

limina l domain It looks at liS but we (annnr be su re of seeing it t hereby generating l kin d of -spcn r1 t asy m metry - to borrow from Derri dl wiTh in the visua l But wi th this uprooting of bodKS and Images

from thei r (oTl1l(middotr sta ble po logica l system of pro jection h cleared for a more inrel1S (or

thl capit lt1 ti ~t networks of flo

A DESCENT INTO THE CAVE If rhe fa ult o f kinetic a rt W 5

iecrion of ideological splrc~ ro be done wi h pro j(ctron dima ntle rhe ideologial Jr Can one hring ghos t~ down to

th e tCfrltlin of media archaeo rhtor of medi a T h is exca knows it spirit ()ne away to 0lt1( paintings O~ altcrnati e Phuos oa vc parl blc Both f( identified 1S prOtocine111lt ic ~

iormer most recently in X err tary fi lm Cave of FOJgo ltell [

la mr in he so-called apparJ which eq uans the cinematic 1 shl dows or s imulacra o f Pbt ncw digit11 rn hnologir used

r [han of its own mary ) Kinetic and its spectra l e and the Nllttin IS parodic COll llshy

d in the present If kinetic art is 1 h telling

YvemiddotAlain Bois ~r inglorious hisshyhis abbreviated noment of sucshylargely due to its ause kinetic art middott based a lmost would soon be 1 such risib le byshythe lava lamp J

ic (rightfu Ily so inetic Art The Jed that the true such figures as

those merchants ia Cla rk Helio h Tinguely in a rert developed a [ermined less by ollecrive engageshyybernetic scul pmiddot as work did not anced forms of work req uired patial model of that would rely

ive paradigm of mmed behavior ~ may think for Iaborativc work 6c MobiLis strip with ones own ologieal Readymiddot

arion ist editorial e kitsch kinetic 1 still dismissive 5ages in Modern letic sculpture as If I ighr-space exemplified by ctric Stage (also 921-30 which ing field of stunshyhanical means laimed merged

L6S116 MOIIOIy-Kaft uthlplay 8lacIVWItitlGnr ca 1926 gelatin siler prinl J4 14 1014 Delail QlMohQIymiddotNIlmiddots Ugll Prop fOI an Electric

51111922-30

with the work of (ersan) Construcrivists such as Nauru Gabo in order to feed into the pan-European bod y of New Tendency which included among o thers Group Zero in Germa ny the Grou pe de Recherche dArt Visucl in Paris and the NU L moveshyment in the Netherlands

If Krauss left no doubt rhar kinetic art represhysented an artistic practice wirhout a future she sugshygestcd tha t its predeltessors were rhose contraptions used ro simulate the movement of living beings such as clockwork automata [n doing so she was rehearsshying the argum ent of critic Jack Burnham in Beyond Modern Sculpture (1968) according to which sculpshytun fo llows a Faustian goal it is possessed by an unstoppa hle craving to wrest the secrets of natural order from God-with the unconscious aim of conshytrolling human dest in y if nor in fact becoming God itself6 TIl is portentous claim leads Krauss [0 the conmiddot el usi on that benea th the technologica l armor of kinetic sculpture lies nothing but the same old mimetic idea l of art The main purpose of Moholy-Nagys Light Prop was to exiSt as a mechanica l actor onstage in this capacity it prefigured those cybernetic sculpshytures of Schoffer already evoked by Brerr thar would lea rn 10 dance with acwal human beings Deus ex machina Kinet ic sculpture creates a false copy a simulacr um of li fe And this simulation is deeply ideological it projects a picrure of [he world

We find rhis ~imulacrum haunting the critical receprion of rhe modern sculptural object and its anxious relationship to the commodity Krauss thus

The arts oftheatricality - kinetic art as well as Minimalism and its aftermath- would contaminate the (technical) image with the spectashytors body and dangerously comshymingle visions and things radically destabilizing the visual field

Frnncis llcilbia fkllgtclgtlt (PerInance ca--I 1924 Pe 01oce Vi8W l hUtlI deB Champs-poundlyoo Paris 1924

initia tes a fo rm of cri rique familiar to us from Tile Cermall ldeology (1846) T here Karl Marx develshyoped a theory of rhe phanromaric or a hauntology tha t shows how rhe producrs of the human brainshy thll ou r spiri rs-arc projected into the world as anishy [hi mistic objects then begin to behave as autonomous onv figures acq uiring a life and momenUim of their own PS

In his Spectres de Marx (1993 ) Jacq ues Derrida m glosses th i~ argument as follows The ghost gives its ind form that is to say its body to the ideo logem K ing Marx would later call this apparition the commodity Mi fetish an animated yet inanimate thing that is capable of entering into relations with one another and with human beings Or as Marx famously puts it in Das me Kapi( l (1867) the social relations between men ins assume the phOltasmagoric form of a relation between ss commodities literally this means that commodities nm constitute themselves as a gathering of phantasms n ag and this spectra l assembly has commerce with itself wit as well as human beings foc

To pass unfavorable judgment on kinetic art as an~

Krauss did in 1977 need raise few eyebrows Wha t of is striking neverrheless is the vigilance with which she hunts down rhe spectral vestiges of surrogate persons withill contemporary sculpture What is at stake here or rather contillues [0 be at stake nolt is the o ld question of theatricality (although we vo might now prefer the notion of spectrality) We know wit how Michael Fried meant the term to carry a blanket uf

ality -kinetic tlism and its ontaminate the th the spectashyrously comshyhings radically ual field

rancis Pic~b i~ Rcikhc ~rtofmanc~ Canceled) 1924 ermm~nce jew ThMtr des hampspoundlystes P~ris 1924

amiliar to us from The here Karl Marx dcvdshymarie or a hauntology s of the human brainshyJ inro the world a~ anishybehave as autonomous lOmentum of their own

993 1 Jacq ues Dcrrida IWS -The ghost gives its ~- to the ideologem~ panrion the commodity t12 IIg that is capahle iQeanorher and with

UiiiJIlIttiI~ putS it in Das -inion between men I[ ~~ rdation between ~rnlt commodities Eattlilg of phantasms ihDlWIJerce with itself

~ on kinetic art as a--ey-ebrows What

IIr -pia-lce with which ~~ of surrogate ~ jo-prure Vhat IS

-_ to be a t stake bull T although we ~- We know ~ ~ a blanket

rejection of litera list art Jllodernism had flattened thr fidd of pcnrption constructing the pictorial surface as a specular device facing the viewer so that she might recognize her own independence in this autonomous object But shadows had begun to invade this surface turning the pictorial plane into a psychIC screen that masked a groundless phantasshymatic space that lay beyond What hied sensed was indeed uncanny an anthropomorphic specter lurkshying between the geometnc planes and lattices of M inimalist sculpture In these hollow objects he recognized a Surrealist space replete with the affects of expectation dread anxiety presentishyment memory nostalgia stasis ~ The literalist object installed a fatal (hssyrnmetry in the visua l field by assuming a vaguely human presence that concealed nothing but an empty void at its ccnter Fried warned agamst the vhispermgs of such deceptive objects with their lIlner even s(crtt life It was as if a new form of Idolatry had sedmed the art world Impeding any authentic sensation of conviction or epiphany of religious grace

To allow such a moment of grace to descend on the spectator the illusionistic mechanisms of the theater must be suppressed at all cost One must never be witness to the ralsmg of the curtain the work of art must always already appear to simply be without need of any audience to confirm its selfshysufficient existence The literalist object by way of

contrast is sa id to exist only by virtue of its audience But is this not the exact condition of the commodity It also only knows a life onstage which is why Marx compared it to the dancing table of the spiritualist seance It is a sensuous non-sensuous thing that appears to rear its head and stand on its legs in order that it may address the viewer all the time evolving out of its wooden head grotesque ideas far more wonderful than if it were to be dancing of its own free will I U With this magic trick the commodity assumes the appearance of independent life Iike an automaton this ghostly specter seems to move on its own miming the living

I am not suggesting that we simply conflate the thea tricality of the Minimalist object and that of the commodity Blit it bears emphasis that by the late 70s the theatrical- or speetral-----condition of art had become differentiated even ftlnher For instance Krauss distinguished between a good and a bad a nonmlmetic and a mimetic variant of theatricality To do so she brought an o ft- ignored question into play namely the role of artifiCial illummation In the display of art i Krausss example of a radical n011shymimetic theatricality was Francis Picabias set for the ballet Reliichc (Performance Canceled) 1924 which flashing a banerr of spotlights at the spectators blinded the audience even while it was illuminated Picabia5 violent assault on his audimcc demonstrated that once the watcher is physically incorporated into

SEP TEMBER 2012 529

Ghosts have a nasty habit ofcoming back And to imagine kinetic arts future apparitions is to revisit the notion of the spectral commodity

We lioog CRve ofFotto Orems 2010 liD IIIclec ~~ltl 95 mnutes

the spectacle Ius dazzled vision is no longer cap ble of superviSlnl Its events 1 T he transcendellTl1 subshyjeCt is 10 bt toppled frOIll his car a tri(kcd br rhe lIghts oi spccucle and therefore awakened to its ill ushysions of olllll isciencc

It is elS~ to conjecture how -dazzled vision preshycisely describes the effe t that the ((Jllllllodiry has on us Yet this do(~ not sa~ enough E ven thing depends on what xcurs in that murky spectr11 space where bod ies and un age begi1l to mingle Modern ism fcared thi~ inferrlll rcgion and would an clllpt a nxshyiously 10 keep bod) and illlage apl rt Byconrrast thl 1r ts of -thealrica lity -k inelic a rt as well as linirnali1ll and its afrCfmath-would contaminate the (tcchnicl) i111agl i th thl specrawrs body and

dlngerousl wmmingle visions and things radicall~ destabi lizing the vi~u11 field Frieds own haunting by rhe M inimalist ohieCi dramltics the disjunctive charshyJ(tCf or ~PtTtrlt11 space T he ghost in h ~l b i ts1 ~trlnge

limina l domain It looks at liS but we (annnr be su re of seeing it t hereby generating l kin d of -spcn r1 t asy m metry - to borrow from Derri dl wiTh in the visua l But wi th this uprooting of bodKS and Images

from thei r (oTl1l(middotr sta ble po logica l system of pro jection h cleared for a more inrel1S (or

thl capit lt1 ti ~t networks of flo

A DESCENT INTO THE CAVE If rhe fa ult o f kinetic a rt W 5

iecrion of ideological splrc~ ro be done wi h pro j(ctron dima ntle rhe ideologial Jr Can one hring ghos t~ down to

th e tCfrltlin of media archaeo rhtor of medi a T h is exca knows it spirit ()ne away to 0lt1( paintings O~ altcrnati e Phuos oa vc parl blc Both f( identified 1S prOtocine111lt ic ~

iormer most recently in X err tary fi lm Cave of FOJgo ltell [

la mr in he so-called apparJ which eq uans the cinematic 1 shl dows or s imulacra o f Pbt ncw digit11 rn hnologir used

ality -kinetic tlism and its ontaminate the th the spectashyrously comshyhings radically ual field

rancis Pic~b i~ Rcikhc ~rtofmanc~ Canceled) 1924 ermm~nce jew ThMtr des hampspoundlystes P~ris 1924

amiliar to us from The here Karl Marx dcvdshymarie or a hauntology s of the human brainshyJ inro the world a~ anishybehave as autonomous lOmentum of their own

993 1 Jacq ues Dcrrida IWS -The ghost gives its ~- to the ideologem~ panrion the commodity t12 IIg that is capahle iQeanorher and with

UiiiJIlIttiI~ putS it in Das -inion between men I[ ~~ rdation between ~rnlt commodities Eattlilg of phantasms ihDlWIJerce with itself

~ on kinetic art as a--ey-ebrows What

IIr -pia-lce with which ~~ of surrogate ~ jo-prure Vhat IS

-_ to be a t stake bull T although we ~- We know ~ ~ a blanket

rejection of litera list art Jllodernism had flattened thr fidd of pcnrption constructing the pictorial surface as a specular device facing the viewer so that she might recognize her own independence in this autonomous object But shadows had begun to invade this surface turning the pictorial plane into a psychIC screen that masked a groundless phantasshymatic space that lay beyond What hied sensed was indeed uncanny an anthropomorphic specter lurkshying between the geometnc planes and lattices of M inimalist sculpture In these hollow objects he recognized a Surrealist space replete with the affects of expectation dread anxiety presentishyment memory nostalgia stasis ~ The literalist object installed a fatal (hssyrnmetry in the visua l field by assuming a vaguely human presence that concealed nothing but an empty void at its ccnter Fried warned agamst the vhispermgs of such deceptive objects with their lIlner even s(crtt life It was as if a new form of Idolatry had sedmed the art world Impeding any authentic sensation of conviction or epiphany of religious grace

To allow such a moment of grace to descend on the spectator the illusionistic mechanisms of the theater must be suppressed at all cost One must never be witness to the ralsmg of the curtain the work of art must always already appear to simply be without need of any audience to confirm its selfshysufficient existence The literalist object by way of

contrast is sa id to exist only by virtue of its audience But is this not the exact condition of the commodity It also only knows a life onstage which is why Marx compared it to the dancing table of the spiritualist seance It is a sensuous non-sensuous thing that appears to rear its head and stand on its legs in order that it may address the viewer all the time evolving out of its wooden head grotesque ideas far more wonderful than if it were to be dancing of its own free will I U With this magic trick the commodity assumes the appearance of independent life Iike an automaton this ghostly specter seems to move on its own miming the living

I am not suggesting that we simply conflate the thea tricality of the Minimalist object and that of the commodity Blit it bears emphasis that by the late 70s the theatrical- or speetral-----condition of art had become differentiated even ftlnher For instance Krauss distinguished between a good and a bad a nonmlmetic and a mimetic variant of theatricality To do so she brought an o ft- ignored question into play namely the role of artifiCial illummation In the display of art i Krausss example of a radical n011shymimetic theatricality was Francis Picabias set for the ballet Reliichc (Performance Canceled) 1924 which flashing a banerr of spotlights at the spectators blinded the audience even while it was illuminated Picabia5 violent assault on his audimcc demonstrated that once the watcher is physically incorporated into

SEP TEMBER 2012 529

Ghosts have a nasty habit ofcoming back And to imagine kinetic arts future apparitions is to revisit the notion of the spectral commodity

We lioog CRve ofFotto Orems 2010 liD IIIclec ~~ltl 95 mnutes

the spectacle Ius dazzled vision is no longer cap ble of superviSlnl Its events 1 T he transcendellTl1 subshyjeCt is 10 bt toppled frOIll his car a tri(kcd br rhe lIghts oi spccucle and therefore awakened to its ill ushysions of olllll isciencc

It is elS~ to conjecture how -dazzled vision preshycisely describes the effe t that the ((Jllllllodiry has on us Yet this do(~ not sa~ enough E ven thing depends on what xcurs in that murky spectr11 space where bod ies and un age begi1l to mingle Modern ism fcared thi~ inferrlll rcgion and would an clllpt a nxshyiously 10 keep bod) and illlage apl rt Byconrrast thl 1r ts of -thealrica lity -k inelic a rt as well as linirnali1ll and its afrCfmath-would contaminate the (tcchnicl) i111agl i th thl specrawrs body and

dlngerousl wmmingle visions and things radicall~ destabi lizing the vi~u11 field Frieds own haunting by rhe M inimalist ohieCi dramltics the disjunctive charshyJ(tCf or ~PtTtrlt11 space T he ghost in h ~l b i ts1 ~trlnge

limina l domain It looks at liS but we (annnr be su re of seeing it t hereby generating l kin d of -spcn r1 t asy m metry - to borrow from Derri dl wiTh in the visua l But wi th this uprooting of bodKS and Images

from thei r (oTl1l(middotr sta ble po logica l system of pro jection h cleared for a more inrel1S (or

thl capit lt1 ti ~t networks of flo

A DESCENT INTO THE CAVE If rhe fa ult o f kinetic a rt W 5

iecrion of ideological splrc~ ro be done wi h pro j(ctron dima ntle rhe ideologial Jr Can one hring ghos t~ down to

th e tCfrltlin of media archaeo rhtor of medi a T h is exca knows it spirit ()ne away to 0lt1( paintings O~ altcrnati e Phuos oa vc parl blc Both f( identified 1S prOtocine111lt ic ~

iormer most recently in X err tary fi lm Cave of FOJgo ltell [

la mr in he so-called apparJ which eq uans the cinematic 1 shl dows or s imulacra o f Pbt ncw digit11 rn hnologir used

Ghosts have a nasty habit ofcoming back And to imagine kinetic arts future apparitions is to revisit the notion of the spectral commodity

We lioog CRve ofFotto Orems 2010 liD IIIclec ~~ltl 95 mnutes

the spectacle Ius dazzled vision is no longer cap ble of superviSlnl Its events 1 T he transcendellTl1 subshyjeCt is 10 bt toppled frOIll his car a tri(kcd br rhe lIghts oi spccucle and therefore awakened to its ill ushysions of olllll isciencc

It is elS~ to conjecture how -dazzled vision preshycisely describes the effe t that the ((Jllllllodiry has on us Yet this do(~ not sa~ enough E ven thing depends on what xcurs in that murky spectr11 space where bod ies and un age begi1l to mingle Modern ism fcared thi~ inferrlll rcgion and would an clllpt a nxshyiously 10 keep bod) and illlage apl rt Byconrrast thl 1r ts of -thealrica lity -k inelic a rt as well as linirnali1ll and its afrCfmath-would contaminate the (tcchnicl) i111agl i th thl specrawrs body and

dlngerousl wmmingle visions and things radicall~ destabi lizing the vi~u11 field Frieds own haunting by rhe M inimalist ohieCi dramltics the disjunctive charshyJ(tCf or ~PtTtrlt11 space T he ghost in h ~l b i ts1 ~trlnge

limina l domain It looks at liS but we (annnr be su re of seeing it t hereby generating l kin d of -spcn r1 t asy m metry - to borrow from Derri dl wiTh in the visua l But wi th this uprooting of bodKS and Images

from thei r (oTl1l(middotr sta ble po logica l system of pro jection h cleared for a more inrel1S (or

thl capit lt1 ti ~t networks of flo

A DESCENT INTO THE CAVE If rhe fa ult o f kinetic a rt W 5

iecrion of ideological splrc~ ro be done wi h pro j(ctron dima ntle rhe ideologial Jr Can one hring ghos t~ down to

th e tCfrltlin of media archaeo rhtor of medi a T h is exca knows it spirit ()ne away to 0lt1( paintings O~ altcrnati e Phuos oa vc parl blc Both f( identified 1S prOtocine111lt ic ~

iormer most recently in X err tary fi lm Cave of FOJgo ltell [

la mr in he so-called apparJ which eq uans the cinematic 1 shl dows or s imulacra o f Pbt ncw digit11 rn hnologir used

-10 longer capable inOCendental subshyattacked by the

akencd to its illu shy

~ded visioll ~ preshy)mOlodiry has on erything depends tral space whert~

51e Moderni ~m lid attem pt anxshyan By conrra~t

ic art as weU as uld contaminate tators body and I things radically own haunting by dis junctive charshylhabits a strange e cannot be sure ind of ~spectra l

rida wirh in rhe ~ies and images

from their former stable positions within an ideoshylogical system of projecrion has the path simply Ixen clea red for a more intense form of circulation within the ca pitalist networks of flow and cxchangc J

A DESCENT INTO THE CAVE If the fau lt of kinetic an was rhat it upheld the proshyjection of ideological spectcrs it SUIllS that we need [0 be done with projection 14 EUI is it possible to

dismantle the ideological apparatus of projection Can onc hring ghosts down to earth Here we enter the terrain of media archaeology of the hislOry and theory of media Th is excavation can before one knows it spirit one away to the Neolith ic paSt of cave painring~ or alternatively ro the mythic past of Pla tos ca ve parable Both for instance have heen identified as protocintmatic sites of projection the former mOSt recently in Werner Herzogs documenshytary fil m Cave of Forgotte Dreams (20 10) and rhe larter in rhe so-called apparatus theory of the 70s wh ich equa te~ the cinelllatic image with the moving shadows or simulacra of Platou Herzog dism isses new digi tal technologies used by archaeologists tha t

are capable of consrructing an exact spatial map of the subterranea n network of cave passages~i t s like rea ding the Manhltan phoIl e di rectory he comshyplai ns This in tI rn reveals his OWIl stakes in using 3-D technology to fi lm the Cha uvct Cavc in hance nOt to provide a mcre spatial replica of the original site but [Q visualize coexistent strata of time imaginshying cave paim ing as a palimpsest of temporalities that resist the narra ti ve orderings of history

It s al l a hit confused in Herzol i fil m What exactly is the genea logica l relationship between the appara tus of cine matic and digiral pro jection Between visualizing the cavc as a site of ideological ca pt ivation and as a liheruory ma ze To begin to

answer slIch questions wc muSt keep in mind that there afe at least two e l ~ions of media archaeology The fi rst is devoted ro the writing of linear histories in which one invention feeds into anothcr 3ccording to an evolutionary scheme of continuou~ technological

innovation and perfection (lrs a scheme thaI creares such red herrings as Does the history of the virtua lshy r reality CAVE Cae Automatic Virmal EnvironmentJ start with Roman frescoes or LasclUx ) The mher perspective is nonlinear and following the cue of the Surrc] iists adopts a mor~ melancholi- attitudeshy s seeking OUI what is outmoded or extinct wilhin techshynologicll histo ry fln her than chasing aft er the P up-to-date ]nd the state-of-the-art 1

As an example of t he larter nonl ine] r route l d mi~hr mention the Dead Media Pro ject cofounded u by sci-fi novel ist Bruce Stcrli ng in the midSt of the b Internet hype of th t 90s In 1 highl y enterta ining lecture called Medil Paleontology in 2004 Sterling 1 expla ined his fascina tion with the phenomena o f n stillborn or discarded technologies that had been bull reduced to the status of curiosit ies or embarrass- s ments so much notsam that lies heachcd on the a deserted s hores of obsolesce nce Cen tra l to his argument was the thesis thai [he computer has onl~ c accelerated the process of obsolescence It conrains ~

lce1 after level of sophisticated inSTabilities that open OntO vistas of woe and decl ine a nd are lxset with the fretful haulltings of Threatening ghllsri and 1shyphantoms Sterl ings aim is to debunk the PlatOniC k mythology of the computer lt1ge Witll its imaginings of a clean lbstract rnathematical~ ellvi ronment IT

To the cont ra ry Sterling asserts we are forced [0 rI sleep in a very rumpled dirty makeshift anarch ic r kind of bed It smells of viruses and worms On the 51

floo r of the r ll tone ca ve we sit in s ttlpcfyin~ squa- n lor wa llowing among heaps of junked trchnoJogi~ I 0

Surel y there is more to explore al the bottom of d tht cave with its warren of passages Ill ~ to npiort d in these subterranean depth s where ph seem keen to camp watch in the -~ (Baudrillard ) and rtoellu $l-

I

-ing an exact ~patia l map of 1 ofcave passages-its lik e

phone directory he comshyals his own stakes in using ht Chauvet Cave in France )atial replica of the original istent stram of time imaginshy)alimp~e~t of tempora li ties orderings of hisw ry d in Herzogs film Wha t al relationship between the ie and digital p rojectio n~

cave as a site of ideologial erawry maze To begin to we must keep in mind that sions of media archilcology writing of linear hi stOries in

Is into another according to

of continuous rechnological no (hs ~l scheme that creates es the history of the virrualshymatic Virtual Env ironmentl )es or Lascaux) middotr he other md following the (ue of the lrt melancholic anitmk-shy)oded or extinct with in te(hmiddot er t ha n chasi ng afte r the -ofmiddotthe-artshye Iarrer nonli near route I I Media Pro ject cofou nded Sterling in the midst of th e )s In a high ly entertaining conrology in 2004 Sterling )n with rhe phenom ena o f edmologies that had been curiosit ies o r embilrrassshy

n that lies beached on the Jlescence Central (() his that the computer has on ly )f obsolescence It contai ns listieattd instabi lities that and decl ine and a re beset gs of th reatening ghosts and 11 is to debunk the Platonic mer age with its imagin ings lthernatica l environm en t g asse rts we arc forced to bull dirty makeshift anarchic middotiruses and worms On the we sit in stupefying squashy

aps of junked technologies Iii o (xpore a t the botrolll of )f passages more w explore epths where philosophers hing the demon images lious si mulacra (Deleuzel

multiply so That in the words of Nietzsche behind eKh cave [there isl another that opens sti ll more deeply 1- Hut let us nO sink into the llluck at the bottom of that endless series of grottoes We shou ld allow that odd assortment of artist-spelunkers such as Giuseppe PinoTmiddotG3Ilizio Robert Smithson Mike Kelley Werner Herzog and Thomas Hi rschhorn to

prolide a tour of rhis cavernous maze some other time Instead we should pu rs ue the revenants of

kinetic art elsewhere To the melancholic disposition characterizing the va rious middotdead-media projects of media archa eologr we might oppose rhe delirious operations of thc desiring machines of Felix Guattari and Gilles Deleuze which as they stressed were not w be seen as ideological pro jections were not 10 be confu sed with either gadget or fantasy (Those arc bUT [he residues of desiring machines they insisted that have come under the sway of the market needs of capitalism and psychoana lysis) Rather they are machinic assemblages consi~ti ng of disparate COtllshy

pOnell[~ sch imiddotlOid macl1 ines o f detcrrirorialilation that cur into the semiotic flows of capital ism creatshying transi tional moments of pure intensity

One author has given us a description of Guattari suspended in melancholic eCSTasy while visiting a Tinguely retrospective at the Centre Pompidou in Pari s in 1988 ) ~ Guattari accepted the banalilation of Tinguely s work as a given ill the philosophers view this des(ent into artiness did not dimin ish the potenshytia l of these phantolnatic machines to become devices by wh ich w try to hook into the cos mos 11 Delcuze and Guarrari would in fact draw a paralle l between Tinguelys kinetic machines md [heir own uesiring machines because each initiates a kind of interplay a joyous dismantling of the machines functionalism so t hat the grandmother who pedals inside rhe automobile under the wonder-st ruck gaze of the c hild n as DeleuJe and Guartilri exult does not cause the car to move forward bur through her pedshyalling activates a second structure which is sawing wood ~OJ i)ut can we rake Dcleuze and Guarraris word for it Are they nOI dealing in metaphors here Have they nor circumvented the spectral aspeClS of kinetic art a liule tOO quickly

Ghosts have a nasty ha bit of coming back And ro imagine kinetic a rts furu re apparitions is TO revisit the notion of the spectra l comm odity Indeed a fter Derrida after Marx Antonio Negri deemed the conshystruction of the spectral commodity to he itsel f outshymoded arguing that such a model of the uncanny ohject belongs to a former Fordist phase of ca pitalist development In ils currcnt sta re t he la bor parashydigm-in particular the distinction between intellecshytu al and manual labor-has grearl ~middot ch3llged As a resu lt we live in a world where (ht un(anny recurshyrence is not lodged in the objects around us rather

MEDIA STUDY

TAKASHI MURAKAMI

WHilE PAINTING has been my primary medium since I was eighteen scu lpture Is somethi ng that I began exploring later on with the help of several loyal partners I also consider running my own company Kalkal Klki and Its re lated stores and galleries to be part and parcel of my artistic practice the advan middot tage of this lies In the direct communication with my clients which allows me to haWl an up-close realmiddottlme perspective on the economic and cultural changes happening around the world

Maybe it goes without saying but the advent of the personal computer and the invention of the Internet have been the most astonishing technologishycal developments of my lifetime When [started my career It was extremely difficult to communicate ones Ideas to large groups of people- I evtn resorted to publishing my own free newsletter So for me the current proliferation of socialmiddotnetworklng outlets provides a miraculous set of tools and has been crucial in the promotion of my wortl

I dont know much about other forms of technolmiddot ogy but the spread of computers has truly constlmiddot tuted a global paradigm shift and I Imagine that In twenty years time another equally revolutionary breakthrough will occur In new media My hope is that my work has the flexibility unlWlrsality and re levance necessary to take advantage 01 that moment when it comes and that I will personally be able to participate In that transformationD

View ofT8lutshi MurakamI Ego 201~ AI Riwaq Doh bull Q Photo Gioo

SEP1poundMBER 2012 531

i

Today the exploited subject appeats on a new scene which is presented as a mobile and flexible reality We have become specters to ourselves

on ly a radical Unheimlicn rema ins in which were immersed 11 Here the ghosts of M arx arc no longer val id the exploited subject appears on a new scene which is presented as a mobile and flexible rea lity It is nOt that rhe experi en ce o f rhe u nca nny as such is abolished-how co uld it bc-bur that its Structure has been interna lized We have become specters to

o urselves Thi s can onl y happen in that space of tOtal inrcrconnlCted ness that Dclcuze and Guattari explored with their desiring malthincs And as I have argued elsewhere this is a space that can no lo nger be descri bed according to a (Opography of projecshytion but only as a topology of llows and nerworks ll

Some have posed this k ind o f w po logy as not only a ~ymprom but a mtans of escape from the specshytacula r space of ca piralism where as Cuy Dehord claimed all co mmod ities a ll bodies ha ve hecomc images (and real ity has become truly ghostl ike) But a re such d eterri tQri aJized lines of fligh t capa ble of outrunn ing the specters nipp ing at o ur heels We know thu Debord at least s till beli eved in some bedrock of a uthentic selfhood a domain where uscshyva lue stil l he ld sign ificance But to imagin e such a refuge no longer seems tenable amid the permanent displacements and d isloca tions of subjectivity within a post-Fordi st sta ge of capitalism l Under these

circumstances even the schizoid desiring machines cannOt a ut trtcl an eflective mean s of resi~ C uactari and Deleu ze ha ve 0

shifting relations between the fo tiOll and reterr itOrialization an of em ploying both) At this p consider another po~si bi l i ty a tral spacc--one that does nOt s or esca pe its ghosts but to the to con duct rheir proper work o vtr t ha t provides a qu ire d kinetic to the a uto-motion in killetic art a nd dllema

A REBELLION OF IMAGES

1f rht spectacle rum s bodies into it mean to turn images into t performa nce ea rl ier this yea r r suggested tha t we take a di ffer o f rhe revenanrlt Her talk cna into Pl atOs cave invo lving a s through the auditOrium onto w jecred Rather tha n visualizin however Steyerls images seeme in order to attach themselves It

MEDIA STUDY

HARUN FAROCKI

FOR OVER ONE HUNDRED YEARS photography and film were the leading kind of Image From the start the~ served not only as forms of information and entertainshyment but also as media for scientIfic research and documentation That s one reason these techniques of reproduction were assocIated with notions of objectivity and contemporaneity-In contrast to images created by drawing and painting which signaled subjectivity and the transraUonal

Apparently today computer animation Is taking the lead Films already try to imitate video games-which in turn borrow from films Following the Gulf War in 1991 the US military decided to capture the decisiYe Battle of 73 Easting not on film but ~a computer animation

Computer animation aspires toward the photographicmiddot filmic models of representation yet with each advance It becomes clear how far it still is from the IdeaL In the program Virtual Battlespace 2 which is used by the US armed forces for training purposes tanks churn up

dust when they roll over the ground and no dust when they tTifYel on asphalt However they create the same amount of dust whether the terrain Is completely overmiddot grown or almost free of vegetationThere is hardly any

Hn f _ k l 5amprltgttJS Games l wtIOltgt OoWII 2010 two-lthllrlMl video coto 8 min utes

differentiation between the textures of Iltrlous depicted objects Stone can be distinguished from metal but one stone appears the same as another and all metals have the same sheen

These militarymiddottrainlng programs are based on real geographic data One can navigate within the programshywalk or drive through the landscape and view It from Yarlous arbitrary perspectives Instructors can plant

booby traps or enemies One can op taking part In the exercise and the The flrlng range of weapons Is equl spondlng distance In reality Such j

compensate for the laek of photore tionA computer animation is not jl also a datamiddotgadget that makes the 1 calculations- and visualizes them il

I

-ing an exact ~patia l map of 1 ofcave passages-its lik e

phone directory he comshyals his own stakes in using ht Chauvet Cave in France )atial replica of the original istent stram of time imaginshy)alimp~e~t of tempora li ties orderings of hisw ry d in Herzogs film Wha t al relationship between the ie and digital p rojectio n~

cave as a site of ideologial erawry maze To begin to we must keep in mind that sions of media archilcology writing of linear hi stOries in

Is into another according to

of continuous rechnological no (hs ~l scheme that creates es the history of the virrualshymatic Virtual Env ironmentl )es or Lascaux) middotr he other md following the (ue of the lrt melancholic anitmk-shy)oded or extinct with in te(hmiddot er t ha n chasi ng afte r the -ofmiddotthe-artshye Iarrer nonli near route I I Media Pro ject cofou nded Sterling in the midst of th e )s In a high ly entertaining conrology in 2004 Sterling )n with rhe phenom ena o f edmologies that had been curiosit ies o r embilrrassshy

n that lies beached on the Jlescence Central (() his that the computer has on ly )f obsolescence It contai ns listieattd instabi lities that and decl ine and a re beset gs of th reatening ghosts and 11 is to debunk the Platonic mer age with its imagin ings lthernatica l environm en t g asse rts we arc forced to bull dirty makeshift anarchic middotiruses and worms On the we sit in stupefying squashy

aps of junked technologies Iii o (xpore a t the botrolll of )f passages more w explore epths where philosophers hing the demon images lious si mulacra (Deleuzel

multiply so That in the words of Nietzsche behind eKh cave [there isl another that opens sti ll more deeply 1- Hut let us nO sink into the llluck at the bottom of that endless series of grottoes We shou ld allow that odd assortment of artist-spelunkers such as Giuseppe PinoTmiddotG3Ilizio Robert Smithson Mike Kelley Werner Herzog and Thomas Hi rschhorn to

prolide a tour of rhis cavernous maze some other time Instead we should pu rs ue the revenants of

kinetic art elsewhere To the melancholic disposition characterizing the va rious middotdead-media projects of media archa eologr we might oppose rhe delirious operations of thc desiring machines of Felix Guattari and Gilles Deleuze which as they stressed were not w be seen as ideological pro jections were not 10 be confu sed with either gadget or fantasy (Those arc bUT [he residues of desiring machines they insisted that have come under the sway of the market needs of capitalism and psychoana lysis) Rather they are machinic assemblages consi~ti ng of disparate COtllshy

pOnell[~ sch imiddotlOid macl1 ines o f detcrrirorialilation that cur into the semiotic flows of capital ism creatshying transi tional moments of pure intensity

One author has given us a description of Guattari suspended in melancholic eCSTasy while visiting a Tinguely retrospective at the Centre Pompidou in Pari s in 1988 ) ~ Guattari accepted the banalilation of Tinguely s work as a given ill the philosophers view this des(ent into artiness did not dimin ish the potenshytia l of these phantolnatic machines to become devices by wh ich w try to hook into the cos mos 11 Delcuze and Guarrari would in fact draw a paralle l between Tinguelys kinetic machines md [heir own uesiring machines because each initiates a kind of interplay a joyous dismantling of the machines functionalism so t hat the grandmother who pedals inside rhe automobile under the wonder-st ruck gaze of the c hild n as DeleuJe and Guartilri exult does not cause the car to move forward bur through her pedshyalling activates a second structure which is sawing wood ~OJ i)ut can we rake Dcleuze and Guarraris word for it Are they nOI dealing in metaphors here Have they nor circumvented the spectral aspeClS of kinetic art a liule tOO quickly

Ghosts have a nasty ha bit of coming back And ro imagine kinetic a rts furu re apparitions is TO revisit the notion of the spectra l comm odity Indeed a fter Derrida after Marx Antonio Negri deemed the conshystruction of the spectral commodity to he itsel f outshymoded arguing that such a model of the uncanny ohject belongs to a former Fordist phase of ca pitalist development In ils currcnt sta re t he la bor parashydigm-in particular the distinction between intellecshytu al and manual labor-has grearl ~middot ch3llged As a resu lt we live in a world where (ht un(anny recurshyrence is not lodged in the objects around us rather

MEDIA STUDY

TAKASHI MURAKAMI

WHilE PAINTING has been my primary medium since I was eighteen scu lpture Is somethi ng that I began exploring later on with the help of several loyal partners I also consider running my own company Kalkal Klki and Its re lated stores and galleries to be part and parcel of my artistic practice the advan middot tage of this lies In the direct communication with my clients which allows me to haWl an up-close realmiddottlme perspective on the economic and cultural changes happening around the world

Maybe it goes without saying but the advent of the personal computer and the invention of the Internet have been the most astonishing technologishycal developments of my lifetime When [started my career It was extremely difficult to communicate ones Ideas to large groups of people- I evtn resorted to publishing my own free newsletter So for me the current proliferation of socialmiddotnetworklng outlets provides a miraculous set of tools and has been crucial in the promotion of my wortl

I dont know much about other forms of technolmiddot ogy but the spread of computers has truly constlmiddot tuted a global paradigm shift and I Imagine that In twenty years time another equally revolutionary breakthrough will occur In new media My hope is that my work has the flexibility unlWlrsality and re levance necessary to take advantage 01 that moment when it comes and that I will personally be able to participate In that transformationD

View ofT8lutshi MurakamI Ego 201~ AI Riwaq Doh bull Q Photo Gioo

SEP1poundMBER 2012 531

i

Today the exploited subject appeats on a new scene which is presented as a mobile and flexible reality We have become specters to ourselves

on ly a radical Unheimlicn rema ins in which were immersed 11 Here the ghosts of M arx arc no longer val id the exploited subject appears on a new scene which is presented as a mobile and flexible rea lity It is nOt that rhe experi en ce o f rhe u nca nny as such is abolished-how co uld it bc-bur that its Structure has been interna lized We have become specters to

o urselves Thi s can onl y happen in that space of tOtal inrcrconnlCted ness that Dclcuze and Guattari explored with their desiring malthincs And as I have argued elsewhere this is a space that can no lo nger be descri bed according to a (Opography of projecshytion but only as a topology of llows and nerworks ll

Some have posed this k ind o f w po logy as not only a ~ymprom but a mtans of escape from the specshytacula r space of ca piralism where as Cuy Dehord claimed all co mmod ities a ll bodies ha ve hecomc images (and real ity has become truly ghostl ike) But a re such d eterri tQri aJized lines of fligh t capa ble of outrunn ing the specters nipp ing at o ur heels We know thu Debord at least s till beli eved in some bedrock of a uthentic selfhood a domain where uscshyva lue stil l he ld sign ificance But to imagin e such a refuge no longer seems tenable amid the permanent displacements and d isloca tions of subjectivity within a post-Fordi st sta ge of capitalism l Under these

circumstances even the schizoid desiring machines cannOt a ut trtcl an eflective mean s of resi~ C uactari and Deleu ze ha ve 0

shifting relations between the fo tiOll and reterr itOrialization an of em ploying both) At this p consider another po~si bi l i ty a tral spacc--one that does nOt s or esca pe its ghosts but to the to con duct rheir proper work o vtr t ha t provides a qu ire d kinetic to the a uto-motion in killetic art a nd dllema

A REBELLION OF IMAGES

1f rht spectacle rum s bodies into it mean to turn images into t performa nce ea rl ier this yea r r suggested tha t we take a di ffer o f rhe revenanrlt Her talk cna into Pl atOs cave invo lving a s through the auditOrium onto w jecred Rather tha n visualizin however Steyerls images seeme in order to attach themselves It

MEDIA STUDY

HARUN FAROCKI

FOR OVER ONE HUNDRED YEARS photography and film were the leading kind of Image From the start the~ served not only as forms of information and entertainshyment but also as media for scientIfic research and documentation That s one reason these techniques of reproduction were assocIated with notions of objectivity and contemporaneity-In contrast to images created by drawing and painting which signaled subjectivity and the transraUonal

Apparently today computer animation Is taking the lead Films already try to imitate video games-which in turn borrow from films Following the Gulf War in 1991 the US military decided to capture the decisiYe Battle of 73 Easting not on film but ~a computer animation

Computer animation aspires toward the photographicmiddot filmic models of representation yet with each advance It becomes clear how far it still is from the IdeaL In the program Virtual Battlespace 2 which is used by the US armed forces for training purposes tanks churn up

dust when they roll over the ground and no dust when they tTifYel on asphalt However they create the same amount of dust whether the terrain Is completely overmiddot grown or almost free of vegetationThere is hardly any

Hn f _ k l 5amprltgttJS Games l wtIOltgt OoWII 2010 two-lthllrlMl video coto 8 min utes

differentiation between the textures of Iltrlous depicted objects Stone can be distinguished from metal but one stone appears the same as another and all metals have the same sheen

These militarymiddottrainlng programs are based on real geographic data One can navigate within the programshywalk or drive through the landscape and view It from Yarlous arbitrary perspectives Instructors can plant

booby traps or enemies One can op taking part In the exercise and the The flrlng range of weapons Is equl spondlng distance In reality Such j

compensate for the laek of photore tionA computer animation is not jl also a datamiddotgadget that makes the 1 calculations- and visualizes them il

i

Today the exploited subject appeats on a new scene which is presented as a mobile and flexible reality We have become specters to ourselves

on ly a radical Unheimlicn rema ins in which were immersed 11 Here the ghosts of M arx arc no longer val id the exploited subject appears on a new scene which is presented as a mobile and flexible rea lity It is nOt that rhe experi en ce o f rhe u nca nny as such is abolished-how co uld it bc-bur that its Structure has been interna lized We have become specters to

o urselves Thi s can onl y happen in that space of tOtal inrcrconnlCted ness that Dclcuze and Guattari explored with their desiring malthincs And as I have argued elsewhere this is a space that can no lo nger be descri bed according to a (Opography of projecshytion but only as a topology of llows and nerworks ll

Some have posed this k ind o f w po logy as not only a ~ymprom but a mtans of escape from the specshytacula r space of ca piralism where as Cuy Dehord claimed all co mmod ities a ll bodies ha ve hecomc images (and real ity has become truly ghostl ike) But a re such d eterri tQri aJized lines of fligh t capa ble of outrunn ing the specters nipp ing at o ur heels We know thu Debord at least s till beli eved in some bedrock of a uthentic selfhood a domain where uscshyva lue stil l he ld sign ificance But to imagin e such a refuge no longer seems tenable amid the permanent displacements and d isloca tions of subjectivity within a post-Fordi st sta ge of capitalism l Under these

circumstances even the schizoid desiring machines cannOt a ut trtcl an eflective mean s of resi~ C uactari and Deleu ze ha ve 0

shifting relations between the fo tiOll and reterr itOrialization an of em ploying both) At this p consider another po~si bi l i ty a tral spacc--one that does nOt s or esca pe its ghosts but to the to con duct rheir proper work o vtr t ha t provides a qu ire d kinetic to the a uto-motion in killetic art a nd dllema

A REBELLION OF IMAGES

1f rht spectacle rum s bodies into it mean to turn images into t performa nce ea rl ier this yea r r suggested tha t we take a di ffer o f rhe revenanrlt Her talk cna into Pl atOs cave invo lving a s through the auditOrium onto w jecred Rather tha n visualizin however Steyerls images seeme in order to attach themselves It

MEDIA STUDY

HARUN FAROCKI

FOR OVER ONE HUNDRED YEARS photography and film were the leading kind of Image From the start the~ served not only as forms of information and entertainshyment but also as media for scientIfic research and documentation That s one reason these techniques of reproduction were assocIated with notions of objectivity and contemporaneity-In contrast to images created by drawing and painting which signaled subjectivity and the transraUonal

Apparently today computer animation Is taking the lead Films already try to imitate video games-which in turn borrow from films Following the Gulf War in 1991 the US military decided to capture the decisiYe Battle of 73 Easting not on film but ~a computer animation

Computer animation aspires toward the photographicmiddot filmic models of representation yet with each advance It becomes clear how far it still is from the IdeaL In the program Virtual Battlespace 2 which is used by the US armed forces for training purposes tanks churn up

dust when they roll over the ground and no dust when they tTifYel on asphalt However they create the same amount of dust whether the terrain Is completely overmiddot grown or almost free of vegetationThere is hardly any

Hn f _ k l 5amprltgttJS Games l wtIOltgt OoWII 2010 two-lthllrlMl video coto 8 min utes

differentiation between the textures of Iltrlous depicted objects Stone can be distinguished from metal but one stone appears the same as another and all metals have the same sheen

These militarymiddottrainlng programs are based on real geographic data One can navigate within the programshywalk or drive through the landscape and view It from Yarlous arbitrary perspectives Instructors can plant

booby traps or enemies One can op taking part In the exercise and the The flrlng range of weapons Is equl spondlng distance In reality Such j

compensate for the laek of photore tionA computer animation is not jl also a datamiddotgadget that makes the 1 calculations- and visualizes them il

n which were are no longer [l a new scene ihle reality h nny as such is It ils Sltuct u re ne specters to

that space of and Guanari Andas [ have ca n no longer Jhy o f p rojecshyld netvorks l po logy as nOt from the specmiddot Guy Dehord have hecome

hosrl ike But

h t capable of )ur hee ls We ieved in some ~i n where useshynagine sllch a he permanent elt-tivit) within Under these

circumgttances even the schizoid flo ws of the Deleuzian desiring mach ines cannOt auto matica lly be considshyered an effective means of resistance (all depends as Guarta ri an d Dcleuze ha ve observed on the ever shifring relations berween rhe forces of deterritorializamiddot tion and rcterrirori ali zation and capi talism is capahle of employi ng both) At th is point thm we m ight consider another possibil ity ano ther mode of specshytral ~pace--one thar does 110t seek to evade repress o r esca pe its ghosts but to the contrary allows them to conduct their proper work A genealogy moremiddot over (hat pf()vide~ a qui te different sense to t he kinetic to the auto-morion of images and bod ies in kinetic art and cinema

A REBELLI ON OF IMAGES If the spectacle turns bodies into images what would it mean to ru m images into bodies In a lecwreshyperformance earl ier this year the artist H ilO Steyer suggested thar we take a different look at the fig ure of the (cvcnant H Her talk cnacted a kind of descent into Platos cave involving a set of screms moving through the auditorium onto wh ich images were proshyjected Rather than visualizing Plaros ~imu lacra

however Steyerl s images seemed to jump off the wal l in order [0 attach themselves to the moving body of

booby traps or enemies One can open lire on those taking part In the exercise and they can fire back The firing range of weapons Is equl~alent to the corremiddot sponding distance in reallty Such features apparently compensate lor the lack of photorealistIc representamiddot tionA computer animation Is not jus1a likeness but also a data-gadget that makes the fastest possible calculations- and Yisuallzes them immediately 0

lous depictoo netal but one II metals have

lSed on real the programshyew It from can plant

the screens What was at stake in other words was Th not the image of bodies but the body of the image IS

itself What if images turned into stone concrete pla stic into seemingly dea d things she asked Would they rhus shake off servitude and mea ning Wo uld t his be an uprising of images And what would they be rebel ling against

let there be no misunderstand ing Steyerl is not engaged in a demystifying act exorcising the monshyStrOUS shadows crowd ing with in the imerior of rhe ideologica l a ppa ra tu s o f project io n That p lay of an Enlightenment cri tique has ceased to be a perforshymlOce worth enacting The ghosts she conjures bear du wimess ro a type of injustice th at wholly belongs to lt0

our present They test ify to crimes that have sl ipped 3-1 thro ugh the cracks o f the ne w world order goi ng fn hoth ullinvestigated and unpu nished ins

One such tragic even t took place in a ca ve in the Kurd ish mo untains where Steye rls fr iend And rea Th Wolf took shelter before being hombarded and killed DO with other members of the Kurdish resistance group sh PKK All tha t rema ins of the coll a psed cave is a w debris-strewn field and sh attered rocks In a somemiddot what foolhardy attempt to reconstruct what rook his place Steyer turned the location of Wo lfs death into idt a forensic sile using the la test digital techn ology o f repl icatio n 3-0 scanning and printing techniques fall (the sa me technology she po ims our deve loped by cin the mili ta ry and used in deconstrucrivisl architecshy lin rnre) Bu t rather dl an buying irHO th e whole new folt euph oria o f documemary veracity that surrounds such statc-of-Ihe-a rt technologies she tips the rhetoshy r t

ric on its head O nce we ilcmaUy try to scan an ani actua l crime or eveflf go ing on we starr tripping over in~ massive lechnologieal limilations Stcyerl explained Ko in her lecture This is hecause the 3-D scan does not replesent real ity but generates a fractal space that exists somewhere betweel1 the two-dimensional a nd the three-dimensional between su rface and vol ume me

rfs lecIuamp-pe rloma nce TIle 80dy of Ih

stake in other words was but the body of th e image rned into stone concrete iea d th ings she asked )ff servitude and meaning ng of images And wha t ~a in st

deNtanding Steyer1 is nor g act cxorcisin g the monshy within the interior of the proiecrion That play of l as ceased to be a pcrforshyIe ghosts shc conj ure~ bea r ice that wholly belongs to

ocrimes that have slipped e new wor ld order going mpunished look place in a ca ve in the re Steyerls fr iend Andrea eing bomba rded and killed ~ Kurdish resista nrc group If rhe coll apsed cave is a lattered rocks In a someshyto reconstruct what took cation of Wolfs death into uest digital technology of ~ and printing tedmiques poims ou t developed by i econsrruct ivist a rch itecshy~-ing into the whole new eracity tha t surrounds IOlogies she tips tbe rheroshye actua lly try ro scan an ~ on we sta r[ tripping over lations Steyer explained lUse the 3-D scan does nor rates a fractal space that I the two-dimensional and ween surface and volume

(male 2012 as pan of IIgte Berlin Dltgtcumentao) fotum 2 middot New Practices Acra DllclpIi ~I Ha ul de lul u delt Well BeHn Ju 2 2012

The measurements are always incomplete since there is a pmentially infi nite amount of information to regshyister so that the data set or point cloud must conta in many blanks and shadows forcing the computer to mak rel igious leaps in judgment It is in these empty spaces Steyer proposes where the rebels the unruly images can hide But if they are capable of rebellion it is flat as pure simulacra as virtual images alone but through the repossession of a body in that fractal (or spectra l) space that lies between rhe two and three dimensions of Euclidean space

I found a roll of film ae rhe cave site she said during the performa nce I was obviously nOt able to develop it In fact what I show you here is but a 3-D print of rhe original roll o f fi lm which is too fragile to hring with me But I developed th is replica instead What it shows [a n image fla shes onshyscreen that bears a striking resemblance to Hokusai s The Great Wave] are no longer images of bodies or body parts but the body of the image itself We should nOt mistake this body of the ima ge for tha t current paradigm of the haptic cinema or touch screen in cinema studies which revives an old artshyhistorical terminology that in its desire to expel the ideological ghosts of apparatus theory moves a bit too hastily Nor is Steyer caught up in the recurrent fa ntasy of avant-ga rde cinema which would bestow cinema with a living body returning the eye to a preshylinguistic state of sheer corporea 1 vision Rtendy for instance Lutz Koepnick o ffered a compelling reading of how Herzogs Cave of Forgotten Dreams revived such an eroticization of the cinematic eye and how he transfor med the film screen in to a [ivshying membra ne by means of 3-D tec hno logy As Koepn ick comments CavelCinema addresses the eye not as a [fanspar~m window to the soul and the v i~wcrs desire but as a physical organ as part of a body for which experiences of touch and physical motion are integral to the efficacy of seeing tt U For

this reason Herzogs cave cinema may well be conshysidered ami-Platonic and during her performance Stey~r1 would show appreciation for certain aspects of his cinematic approach commenting on how he showed cave painting to be a fo rm of immcrsive protocinema inhabiting a fractional space where objects and images are able to transform into one an other and concl ud ing tha t th is prove s th at somethi ng can only be seen under the condition of complete obscurity

But if botb proiects sha re certain thematic intershyests they arc st ill funda mentally differen t Stey~rl

asks us to conceive of a spectral event of a more disshyconcerting nature [han Herzogs carnal screen

We are seeing an LCD scrttn- its matrix-and we see the transformatiOn of the liquid crystals which are (arr iers of the image information imo stont They refuse heing tnobiliew and Iiqu idatcd lnst~d

(hey foss ilize as if in a fl ash inside the screen and break it open fro m within And at this moment the uprising of imlges indeed happens All screens turn into dead objects

And so we return to the breaking point the apocshya lyptic uncertain dca th of technology The specter that rises from this combustion is not an apparat us of projection No longer the simulacra of li teralist art that haunted Fried or rhe huma niST specters of kinetic art hunted down by Krauss these shadows are proshyduced and erased (if never completely) by processes of technological control and verifi cation mov ing around and through us They gather in the virtual meshes of networked spaces they invade the virtual caves o f control we build ca lcifyi ng the arteries of informati onal flow

Ghosts will exact their revenge 0

ER IC c H DE BRUVN TEACHES IN THE FUM AND PHOT OGR APHIC STUDIES PRDGAAM OF LEI DEN UNIVERSITY THE NETHERkANOS (SEE CONTRIBUTORS ro m S~~ p~g 538

SEPrEMBER 201 2 $33

rfs lecIuamp-pe rloma nce TIle 80dy of Ih

stake in other words was but the body of th e image rned into stone concrete iea d th ings she asked )ff servitude and meaning ng of images And wha t ~a in st

deNtanding Steyer1 is nor g act cxorcisin g the monshy within the interior of the proiecrion That play of l as ceased to be a pcrforshyIe ghosts shc conj ure~ bea r ice that wholly belongs to

ocrimes that have slipped e new wor ld order going mpunished look place in a ca ve in the re Steyerls fr iend Andrea eing bomba rded and killed ~ Kurdish resista nrc group If rhe coll apsed cave is a lattered rocks In a someshyto reconstruct what took cation of Wolfs death into uest digital technology of ~ and printing tedmiques poims ou t developed by i econsrruct ivist a rch itecshy~-ing into the whole new eracity tha t surrounds IOlogies she tips tbe rheroshye actua lly try ro scan an ~ on we sta r[ tripping over lations Steyer explained lUse the 3-D scan does nor rates a fractal space that I the two-dimensional and ween surface and volume

(male 2012 as pan of IIgte Berlin Dltgtcumentao) fotum 2 middot New Practices Acra DllclpIi ~I Ha ul de lul u delt Well BeHn Ju 2 2012

The measurements are always incomplete since there is a pmentially infi nite amount of information to regshyister so that the data set or point cloud must conta in many blanks and shadows forcing the computer to mak rel igious leaps in judgment It is in these empty spaces Steyer proposes where the rebels the unruly images can hide But if they are capable of rebellion it is flat as pure simulacra as virtual images alone but through the repossession of a body in that fractal (or spectra l) space that lies between rhe two and three dimensions of Euclidean space

I found a roll of film ae rhe cave site she said during the performa nce I was obviously nOt able to develop it In fact what I show you here is but a 3-D print of rhe original roll o f fi lm which is too fragile to hring with me But I developed th is replica instead What it shows [a n image fla shes onshyscreen that bears a striking resemblance to Hokusai s The Great Wave] are no longer images of bodies or body parts but the body of the image itself We should nOt mistake this body of the ima ge for tha t current paradigm of the haptic cinema or touch screen in cinema studies which revives an old artshyhistorical terminology that in its desire to expel the ideological ghosts of apparatus theory moves a bit too hastily Nor is Steyer caught up in the recurrent fa ntasy of avant-ga rde cinema which would bestow cinema with a living body returning the eye to a preshylinguistic state of sheer corporea 1 vision Rtendy for instance Lutz Koepnick o ffered a compelling reading of how Herzogs Cave of Forgotten Dreams revived such an eroticization of the cinematic eye and how he transfor med the film screen in to a [ivshying membra ne by means of 3-D tec hno logy As Koepn ick comments CavelCinema addresses the eye not as a [fanspar~m window to the soul and the v i~wcrs desire but as a physical organ as part of a body for which experiences of touch and physical motion are integral to the efficacy of seeing tt U For

this reason Herzogs cave cinema may well be conshysidered ami-Platonic and during her performance Stey~r1 would show appreciation for certain aspects of his cinematic approach commenting on how he showed cave painting to be a fo rm of immcrsive protocinema inhabiting a fractional space where objects and images are able to transform into one an other and concl ud ing tha t th is prove s th at somethi ng can only be seen under the condition of complete obscurity

But if botb proiects sha re certain thematic intershyests they arc st ill funda mentally differen t Stey~rl

asks us to conceive of a spectral event of a more disshyconcerting nature [han Herzogs carnal screen

We are seeing an LCD scrttn- its matrix-and we see the transformatiOn of the liquid crystals which are (arr iers of the image information imo stont They refuse heing tnobiliew and Iiqu idatcd lnst~d

(hey foss ilize as if in a fl ash inside the screen and break it open fro m within And at this moment the uprising of imlges indeed happens All screens turn into dead objects

And so we return to the breaking point the apocshya lyptic uncertain dca th of technology The specter that rises from this combustion is not an apparat us of projection No longer the simulacra of li teralist art that haunted Fried or rhe huma niST specters of kinetic art hunted down by Krauss these shadows are proshyduced and erased (if never completely) by processes of technological control and verifi cation mov ing around and through us They gather in the virtual meshes of networked spaces they invade the virtual caves o f control we build ca lcifyi ng the arteries of informati onal flow

Ghosts will exact their revenge 0

ER IC c H DE BRUVN TEACHES IN THE FUM AND PHOT OGR APHIC STUDIES PRDGAAM OF LEI DEN UNIVERSITY THE NETHERkANOS (SEE CONTRIBUTORS ro m S~~ p~g 538

SEPrEMBER 201 2 $33

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4 1 Sec Aru~d Tht The~ertJrullti Dltutblt 95

41 John C~o ExperimenTa l M~ DilC ( I ~SS) i iillaquo Lu lU arul Wiling (Middleown (T WnJltym Uni ~ty rm4 1961) 16 mud n Tlmer~d 111 DOIblt17

41 An a ud Th Thealn and I Du bie 13 30 A ~ud lI udu 0 nod- B=on M nifesro olSohlnt (ln~) in Mmriew fSlim tra Hel n R Lanc~ud Richard ~avr IAnn Abus URi bullbull[y 01 Micha Press 19~9)28

44 Anaud ~Thr~ln ~d I Igt DobIe 69

45Jrck Soni h ~The Podec~ Filmic Ap~itn of M o i MOnfu 11962shy53) in W i for Mealh BOItom orhe pgt Th Wrilingojdt5miJh ltd 1 Hohnmm and Edw~rd Ldfi_1I london Serpel 1T~I 1997) bull l-4

46 On Smith rdation to Anald _ my Ueyond Ih Drum Sy1ldl(4U Ton c rd tJd Ih Am Afu ottt INcw Yorl Zooc 2(03) 1 257- 59

~ 7 l h fOrm ltgtricred rconomy and i ruunttpgtn ltn 1ltltuny~ r devdoped in Gwrg ilk The Mamea5hare vol I tranl Roben HUrlt) INew York Zonc 1988) These deu c~n al~ found in Aud both in TItThealnand IIlt Dbl t hlanr in he 1I0i of tn bullbull I bullbull bullbull bdnS an immcd guitoutle PltltWltliltinR cto Yl itlwut ullt or Imltt [2411nd in TI H_ no with II Jdgmool 0Cod

~8 Sa jn~ Mbs JIC Smih or The End of Cvlltu ion- In Movi

jI Th li It( a New Atrca~ Cln om 9j9- 5I71 INew York Con 19721 191 Ai tbe nacrivi ty ~ourul brdUJlnll room cotishygted an d Jck kqn crul1lf rcrdbull bull nd tuudlinamp h$ ~nd h Iowly Y $lowly nn brgan 10 _ n rnUu- hat the was nhing obsulu[oly IlOthillf almt ~Ot ~a piKlt of dUi ha was by ltiden[ hy chan

49 Aruud lhTMdJcr ad lIS Doltbie 1U1- 102

50 An onin AtlaoJ To Hbullbulle Don th the ludgnt of God An Approri in ElI8lilh ran Goy Wernli Norhwnt RaMw~ItO 4 (F II 13 ~ 1 1 quOfo frOID rlu nslaM In whkh Smilh uld h bullbulle h d lIT On l h~ vailbil y of h r wrding of To Hu no~ wiligt the Jdg~1 o GJ Ilaquo joanna Iawlik Artaud in r~ rormanc~ Di ident Sur realim ond [be ro American li lOrar A middotGbullbulld bull bull Pap of Stmlim DO g (2010) 12- 13 hltplwwbullu~IIm-TlfeiICuklpapenofmiddot

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5 1 Gi ller Ddcuzend felix Cum~fi Tbd Platau$ Ogtpiujs ad gtdtiphtirl M llrin Maum[ Mnnbullbullpuli Univecstyof Min P 1987) IU - 59

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I ~ROltrmae Toxkel A Cn M ustO Nacion 1 Ccn -dc ruolt R snrr Madrid May 21-Sc pembrr 24 1 1 to the NYI Mum Nw Yol OcIOM 14 lOll-January 13 20Ll Ser~ntt Ga llery - ondo n Jprinz 2013 Kunmiddot und AUltl1dlungw llltdlaquo 8UI~t~publrk IJeuIgtChland 8onnbullbullummcr201 J

2 For this ery Iblic ~plor2ion of her im aginary bullbullhe u lIy iant arti ideuTifid intqruJ 0 re a tn~ of to hryond the I rtmiddot hiugt iarl cann hy dilp l rnd ed piri w~Ter~oIOlts of nlaquo by1Ilt pionurins ltcntltenrlfoC~Ur nllmali Ma i Sihylb Meio near-forgo-run qu bull bull middot feminisrolgtjtmiddoteh mad in 1amiddotI~W to a lymiddot 1970s rri by Rotlr Fkm nd the --moly laimed wool oculptulM b dcr artist Judith Scon

1 In 1993 lor mrlo Tkd ioled an u hi hidrgtn nd i accompa nying buuk jeae Ti~ 1 d Ire KiiJUIImiddot (fury Animal [I ~ IFtmale Arti)Id Tornhcll Gallery Lund Sxn

4Citedm Melitta Kl iltgc The Powtf nIExprttaioogt~ in ROUUai rkd Bodis of Wnr 1986--19J1I (~ Oklon 1993)63 n1 Kli oK a1lu lo for ]kol tho nool rlt urgtlt-1iu1la mo for rclkaiJ18 0tI

hr OW rult U ai art nd at gtthon ao bull co on imitoion a mode of ortmkinr

DE BRUYNlKINrTrC RT laquoWn=d POll II~ 53J

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1 Slaquo ~P~ge dUH itervitw dAwill jrfroy 1U jea~ -Xfty in J~n rjY nh tIAmstwm Stnklij k Museu m 197bull)

2 O n Ju nc 23 Rkhd C Groc r wOtt he following lt-il Kep in mind ltha [hi Yluahe dwn oitht compurec a Ptupk we adn td h blinkig USh Ind ined hm wit] Joa nlaquolt Irclonologi bullbull I cu l1y wid 011 1000 o f tbern 520 api ece I ill hayt mony dippinggt and lett frurn Y f 1ltgt11 who purdJ rbern 0lt1 them a ampifR One wasonthe fi~mld lubn ne(SSNmiddotl7 1 Nutilul ) on irs hi oric trip undltt ohr Nonh Pole middot The wo edlorial from the SiIUilioylenrairnMl The ot eilnlI 01 Decay in Art (1959) and 0 Again on I)ea)mitm (11611 arc collrced in Gy IkboJ _d h Siualo~u 1~nHJiogtral ed Tom -IcDnnough (mbridxe MA MIT P 2002)

3 1Ipapcr d ippmamp ived hy author from G _

4 Cfl~1 uOl Dtnida SPnUgt of Max ThtSr~oflh D bt lhe wobullbull of Morning 6- tin New 1IJiOlUJl (~w Yltwk R kdse 19941

5 Yve-Ala in 1Ioi F Field r h nfth Kinetic ArIorum 3J no J INmbcr-lOOO) ~S

6 nlci1d in Rosa ~nd E Kra~S$ aampe in Moderlt slplut [New Yor Vii PIn 19771 21 1

7 For aodi(fn[ appraiSt I N m M fleo[ Room f Our T U 16 MoIgtn]ymiddot llaampr and he Stillbirtb 01 M ulumiddotmdi J1uu~middotn Str~~nlSpct Pojtrtd Im~l in Qmlrmpoary Arl ctI lomara ToJd ManchSter UK ~lInchlo Uni~r P 20111 21-52

8 Derrida Spec Mar 148

9 ~Iiebd Fnct and Obi~Chood (Chicgtgcgt UnicrIy of (hicago Ieu 19981 171

10 Kall Manr Capial A OiljqHtofoieal ECONOmy trn~ IIorn 11 ork Vunase 19771 I ~~

II But e 1 Fritd IOt-lIredtfi 10gb effKlo u the imt~lIion ~tw nf 1dd six-cuhc piea the Dw~n Gall bull middot ohows~ (ahlgtou~h fri cd might h used Ihlt mc olmo ltunlplbullbull I n I1bull bull s by SoIIcWit m Dn FIin~ n ~nd ObjlaquotbonJ 17223

12 I(nlu Idro8e In MuJ~n ltgtolpe 212~13

I) Kra wuld uMel Wlh H tJnltlm in The Culr urllusilt ohhe Lalaquo Crilist M useum (laogtf H (199013-17

14 Domin ique hin uld W Put an EnoJ p ~laquoOtin bull Roslnd E Kru OoIH 110 (Aum l1 20041 23-48

15 The ljc U Jlanmiddot Lou H~d ry Idwlogical Effects of rh~ Buic Cinmat~ralhic Appa ~ in ~ OII~e pprals deJIO cd Philip JI_ (New York Columbia Unoc sily P laquo 1~g6) 286-98 s in p~rticushy1acloudrymiddot COmmentgt nnhe arunCtrnltn of the d iff en Icinltm3tiel dltshy bullbull f-prcot darkcn-) holl ltCfUn OS rtpruJing he mi --sconr of Ilnomiddotlaquo p 2H

16llru Serli 50 MClti 1IOOll[ollY ~ in B or ImagjJtr) MMia laquol Eric Kluitcnhel (ROl1crJam NA I~blilherl 200) bO-62

17 S Gill Ikleuu middotPlaw nJ th t SnlUlgtcrummiddot in Th LIJKCQr S~ INew York (~gtIumbia Uni ny P I IJ(l) 25J--66 ~nd JltlIn nouclrllard I~ -I D lOr Ima~s (SImiddotd Univlt ity of 5yd 19871

I M See bullmiddot0 Bnrd ( Kifol Filtx Gjdlla Thought freJ hip JtJ ViiltJ1) Gmogalhy iNew York Poolgro-e Mocmillan 2008

19 lbiJ 85

20 ~Iix G tlri onod G illelt Dd~u -Iraquolana 5hre rrogram f Dcsirinllshybchne middot in Susl() 2 no 3 19711 125-27 ni psamp~ doc nu dncribe on Iua WQlk by Tinguely but doel gtltem 011lt1lt [0 wellmiddot known photoyph fh C-ylta-Gravrllr 1961

21 An on io Negri The SIgtlaquo Smile in GhQiidr DtmutlOn cd Michul Spoiniltcr (London Verso 1999)9

22 Enc dc lIy Topologkallrh_ ofPtmiddotMjirMlim~ Gey Room 2$ ( Fall 20010) 32-63

2i Tn d-lop lthigt In i would tolt bltttSlltll) 10 011001lt ho uch opolog ae a lruJy ~ cfig u d with he - ni ory urhani sm of he Sirua tOn In M ionl y t he dyn~mic lbyrinth Ilf (o nlun In cmstant lohynh New Babylnn I 95--7~ hc is path of T(urn wboc~u wlko the re will Ii in r of permanent disurimorinn Tl

New IIIh)lon dJiLn Sigmund ~d l O-nOCCOUJ1 oltlgtlt ~nin I (he urban m~bulle hieh c~uses one r~ladly od ioIuna ily 0 en ro h~ me ~ Iwhkh in freud SC Ogt~J to be bull proS(luion lQno In tho CIshytt1I COn U wlt mi~ht onltide ~W Babylon lu ~c d IlOIl nnJltn1 f kineric u ha r is trul) mmer jmiddote nd licillUry in ronrr ro Schoid p(OIP~mm~ cY(tOltrne liC)Fiiodynmicl culps I lwever Con n r(luion to uomuiuion chnulIIY i c mp l bull ~ ParaJuxiu lly N~w lIbylon lied on poerid mrniDcI (dplalt~ undcrground) uan a nomad ic cinec nlendl dr ift bull gtltoltpund

24 Hio Stc)middotcrl The Rod) ofitr Imalit The 1laquo11 fC-pcfo rm ~k Ilace during Ih Blin Documcnu ry forum 2 a rhe Hu n cr Kult ltIer Wdr Borli n OII June 2 2012 1 Id 10k 0 hnk the rtis for makt he tr~nshytenp ava ib bl to me

25 Lun Koqmick CavdCi~middot (iect prtknoJ durin ele~ OiplaylDiposii-e oltllhi odcl nl -rhgh Uic-niry nl CoIOftK Mr 122011)

Caption Itck nowleltlgmllfllS ~ampe 4 Page from Artfowm 4 no 410eceml)e r 1965) Dan Flavin in daylieht 01 coot White an ~u1ObioampraPgtlt ai s ketch Shown Dan Flavin the dflttonMot May 25 1963 C S tephen FlanArJi sts Reht Society [ARS) New Vorllt PaVgt 5 Nicolas ScMIt MIIiSOll TIOu de Serrure ( le)4loIe House) 1955 C Altists Rights 50c lety (MIS) New O~ADAGP Paris Pale 61 Chlll1es A Csuri ProjectDhlo Slale Univeltsily Pille 104_105 -II WOltks by Dan Flavin CO Stephen FlavinArtists Rights Soeety (MIS) New Yoflt Page 114 Hans H88Ckamp ~ HiltcnirJ 1969 CH8IS HaaltkeArtista FtighIS Society lARS) New YorkVG Bild middot K~n st Bonn Page 135 Co r of n magazf (June 21 1986) Cowr Im8]je by Roylicllenstein 0 Estale of Roy Lichtenste in Page 147 Frook Stel la 1em 1963 Frank 5 te ilaC Artists Rlghls SocletyARS) New 10lt1lt Robe t Morris Untit lelti(Corroet Piece) 1964 C ArII$I$ Rd1ts Soc iety (ARS) ~IbI1t e157 LygiaClark 900 1gtItlroshypolSgioII (Anthro~hlllc Drool) 1973 Photo The Wo~d 01 Lygia CIIIriI Cu~ tur~ Association PlgtgH 169- 110 Vlews of les 1mm~14rleubull bull - 1985 Cettlle Potnpdou Paris Pigto1o Bib ll oth~que natiooale de Frargtee Page 199 oltCgtrIIe

Rai ner This is tile 5UWY 01 11 woman who 1972 0 Babette M~ neolte Pase from Arlforum 12 no 5 (Ja nuary 1974) C 1972 Sabelle Mangolt Pale 200 Yvonne Rampine YrioA196l PhotO Pete MooreVAGA C Est~te of Petel Moore Licensed by~ PIIe 22B ThOO1gt15 Demand KomrolrlIum (Conllol Room) 2011 0 Thomlos Demand VG Bi ld-Kunst 8orvI lRS New

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Atone T~ 00II M~ma~kc F- - Mowtmant~ to tJle_ of Sf Rekfgt 19822012 Anne Tereu De MIltlrS~oae~er T~1c 00 (PIoIo Hmmn SorlltlOOSl

It WIlS immediately obvious to everyone what Tate

Modem has achieved Nearly a hundred feet In d iemeter

aod over twenty feet high sOlJndproofed and kined out

with theatrical Iight5 this is an important new space for

live performance

- Nikki CoIumtgttos on too lau ncl1 Of T8Ie MoOern s TankS

Art HKs VIP calendar ~ nine pages each event

more exclusive than the last Some were simply on the tist to announce that they were too good lor you bull

Lee Ambrmy III the tlft~ editlOltl or Art HK

SCENE amp HERD wwwartforumcomj diary

Ooaomltn~ 13 iUi ~c (rectQf Ctlngtln Chnsmiddot - I~ stuOen WDlid EM-i (Prooo Ief

Pemaps Documenta 13 should ha~

torium not the seminar Or perhaps

point to something suspect at the 0

- Kae len WilSltln--Goldie at Docume nta 13

540 AR TFORUM