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X X X P O O LP O O L P O O LP O O L P O O LP x x P O L x x P O L x P O L x x P O L x x x P O L x x x P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L P O L x xxxx P O L x xxx xx x x P O L x x x x P O L x x x P O L P O L xx x P O L x P O L P O L x x P O L x x P O L xx P O L xx x x x x xx P O L x P O L x x x x Towards Narrative structures of communication, rather than By Harry Burke objects or even ideas. x Through Bateson, Radical Software +"1#!$%#+&0/!+$-#52+($!$!'"-2%#:+,'"3%$#'$.- This essay intends to serve as a criti- ers, Ira Schneider, Frank Gillette and Nam October 2011 cal assimilation of two moments in art his- June Paik) learnt to explore beyond the tory, the emergent moments of video and material lens, towards context, or integra- (post-)internet. Although largely historical tion. Thus was instigated a manoeuvre !"#!$%#&'()%*#!$#+!,%#"'"-$.-/-%%#$'#0"1#+# perhaps not fully articulated until the turn new footing from which to understand art of the millennium, in Rosalind Krauss’s of the present moment, or a new position own explorations of the post-medium from which to return. condition. Tracing three narratives, we 0"1#+#5!;'$+/#,',-"$#+$#$.-#!"$-2%-($!'"# Excursions / ‘Without context there of video and television, or the introduc- is no communication.’1 tion of the Raindancers’ beloved Portapak. <!1-/=#.-/1#$'#7-#$.-#02%$#(',,-2(!+//=# In 1970 a new magazine was founded available portable camera, this Sony device in New York. An initiative of the Raindance emphasised the revolutionary ability of Corporation, a self-styled alternative media ;!1-'#$'#2-('"03)2-#52-;!')%/=#('.-2- think tank that sought to provide a ‘theo- ent forms, spaces and temporalities (an retical basis for implementing communica- example uncannily familiar today would be tion tools in the project of social change’, watching back childhood memories on old this publication provided a dynamic sphere VHS tapes). Such experiential heterogene- for a now mythologised generation of art- ity, Krauss claimed, provided the nail in ists working at the frontier of networked $.-#.-+1#'&#,'1-2"!%$#,-1!),#%5-(!0(!$=># practices.2 The magazine was Radical consequently, ‘In the age of television, so it Software, the medium was video, however broadcast, we inhabit a post-medium condi- what was achieved provides an important tion.’5 It was something like this, the post- precedent for understanding networked art structuralist recognition of the individual’s of our own time. dependency on and constitution through x Inspired largely by now familiar external sources (interdependence and McLuhanist tendencies, Radical Software intermediation), that the pioneering video P O L is perhaps more enticing today for its artists intuited in their radical ecologies. allusion to the work of Gregory Bateson, The post-medium today seems a an English visual anthropologist and given, the current transience of traditional cyberneticist. Whereas McLuhan had boundaries between object, action and famously argued for technological formats documentation, and the centrality of this in as extensions of the body, Bateson was post-internet practice, emphasised perhaps ,'2-#2+1!(+/*#2-1-0"!"3#$.-#%-/&#+%#+"# most concisely in the * new jpegs * exhibi- -45+"1-1#,-"$+/#0-/1#!"#6.!(.#$.-#%)7- tion this August.6 So too will the concept of ject and objects are no longer separable; a art as communication be familiar to anyone model of the mind propagating integration versed in post-network practice. Yet I’d and realisation in the world through com- nonetheless like to posit an integral differ- municative ecology.3 Whilst perhaps this ence between our two ostensibly correla- isn’t the place to rehash the idiosyncrasies tive (re-performative) moments, albeit one of 1960s systems thinking, this moment perhaps best illustrated with reference to nonetheless seems striking, as both a another art historical precursor. rupture from latent mind-body dualisms of the traditional empirical subject, as well as Incursions / ‘My subject matter is a trope by which to re-imagine the formal- in-formation.’7 ist artwork and its emphasis on separation between technology, communication, affect Dan Graham’s Time Delay Room and sociability. Filtered through the video (1974) serves as an elegant example of the art apparatus, this burgeoning aware- 1-0"!"3#,''1#'&#7'$.#-+2/=#;!1-'#+2$#+"1# ness of media ecology inspired a practice concurrent networked interests. Although demonstrating that ‘every act of mechani- not included in Tate Modern’s 2005 ex- cal reproduction occurs within a particular hibition Open Systems: Rethinking Art spatial, social and psychological topogra- c.1970, we can nonetheless read into it the 4 x phy.’ #82*#2-('"03)2-1*#+"#+2$6'29#6+%# !"?)-"(-#'&#@!"!,+/!%,#)5'"#"-$6'29-1# 2 imagined that began to locate itself within practices, as highlighted by Boris Groys in the accompanying catalogue: ‘The typical 1-0"-%#5'%$EG'21!%$#(+5!$+/!%,H#:I"#&+($# Minimalist installation is perceived as one might realise their role as ‘observed x a fragment of a formalised algorithm of observer’ in the process about eight sec- 2-!$-2+$!'"%#+"1#,'1!0(+$!'"%A#B'6-;-2# onds after arriving at the site, with the powerful and fascinating the immediate (admittedly more active) gesture of typing October 2011 visual impression of these installations on in their own name). Such are the limits of the viewer may be, ultimately they point formalist reading in contemporary art. to something invisible, merely conceivable, J-0$$!"3#$.-#+2$!%$%K#12=#.),')2*#$.-# virtual.’8 Although clearly not as monumen- full scope of both projects is revealed only tal as a Minimalist installation, Graham’s in their terms and conditions, which give a work nonetheless garners its power in clue towards the prospective consequences revealing the hidden forces directing and of signing up. For far from merely placing shaping the viewer/participant’s subjectiv- their viewer within a certain phenom- ity in the situation. For upon realising their enological context, Fornieles, White and entrapment in its closed-circuit, the viewer Vickers reserve all right to fully interact is forced to confront their identity and self- with them: to contact them; to offer gifts, awareness, how they are constructed as 52'5%#'2#!"(-"$!;-%>#$'#!"$2'1)(-#0($!$!')%# a self by their surrounding environment. characters into their life and workplace; This is a result, it is inferred, of all media C6!$.')$#"'$!0(+$!'"#'2#D)%$!0(+$!'"K>#'2# circuits. Think of the last time you unthink- even to inform them of their ‘thoughts, ingly did your hair in a webcam. activities and[...] past’. This is Beuysian It was such structuralism and social sculpture, sure, yet it is social sculp- phenomenology that categorised much art ture with an imagination, with a desire of the period, to once more lean on Groys: to question the real from without, not C!$#!%#52-(!%-/=#%)(.#5'$-"$!+//=#!"0"!$-# within, a Borgesian drive to explore reality projects that the art of the 1960s and $.2')3.#+"#+11-1#/+=-2#'&#0($!'"#:+"1*#/!9-# 1970s repeatedly formulated and present- in the best of Borges, who’s to say the two -1*#52'D-($%#$.+$#,+9-#;!%!7/-#$.-#!"0"!$-# might not converge?). Fully active imagina- operation of the formal, logical system that tive participation is required to grasp the determines both the individual processes artwork. It is this tendency that I’d like to x of thinking and the way that modern social highlight under the rubric of narrative. 9 institutions function.’ It is in this respect L-$#$.-#,-(.+"!(%#'&#$.!%#0($!'"#+2-# P O L that post-network art of today dramatically interesting. Whilst it is true to say that differs. For if the previous generation of +//#+2$#!";'/;-%#+#1-32--#'&#0($!'"#:$.-# artists worked to identify these patterns, historical ‘art vs life’ debate relies on this to place their viewer (participant) within assumption), in these examples the rela- these hidden structures, artists today be- tionship is complicated. Despite the char- gin to play with them, to construct narra- acters created in the above examples being tives and explore new situations. In short, 0($!$!')%#52!'2#$'#+($!;+$!'"*#)5'"#+($!;+- if network art revealed these relationships, tion this is collapsed, the each becoming an post-network art begins to question them. echo of the other. Here is the importance Consider here two London artists, of the online mediation of the project, for Ed Fornieles and Ben Vickers. Although whilst the crucial interaction happens far each have their own independent projects, beyond the computer screen, the online they collaborate on businesses/projects(?) portal locates the projects in the shared whatamithinking.biz and characterdate. language of the internet generation, and com (the latter collaboration completed by the implicit agreement upon the heteroge- Holly White). These offer, on the surface, a neity of authentic or real experience upon radical point of departure from historical contact with any device mediated by the projects such as Graham’s, the viewer be- net. In the sense that language is heterar- ing confronted with a rather corporate and chical, so is narrative, and this is its impor- .+(9"-=-1#6-7#0//E!"#+%#'55'%-1#$'#$.-#$2+- tance. My apologies for all the Greek. ditional video work or gallery installation. However as in traditional narrative Yet of course this is far from a radical ma- we must place an emphasis on person, or noeuvre, following an established net art ,'2-#%5-(!0(+//=#!$%#!".-2-"$#1!%$!"($!'"%A# interest in revealing our complicity with For with its direct intervention in lived $.-#%=%$-,%#$.+$#1-0"-#)%A#F"1#!"1--1# situations, work such as that of Fornieles how far removed is this from Graham’s and Vickers can be characterised as second x concerns, albeit with added transparency person, weaving narratives and encourag- 3 towards the stringent bureaucracy that ing interaction amongst other people.
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