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Robert Smithson Und Kybernetik: Sprache, Technologie Und Abstraktion

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Robert Smithson Und Kybernetik: Sprache, Technologie Und Abstraktion ROBERT SMITHSON UND KYBERNETIK: SPRACHE, TECHNOLOGIE UND ABSTRAKTION Dissertation zur Erlangung des Grades eines Doktors der Philosophie am Fachbereich Geschichts — und Kulturwissenschaften der Freien Universität Berlin und an der Université Paris 8 Vincennes Saint-Denis Ecole Doctorale Esthétique, Sciences et Technologies des Arts vorgelegt von Maud MAFFEI 2016 ROBERT SMITHSON AND CYBERNETICS: LANGUAGE, TECHNOLOGY AND ABSTRACTION Dissertation submitted to the Kunsthistorisches Institut der Freien Universität Berlin Fachbereich Geschichts — und Kulturwissenschaften and to the Université Paris 8 Vincennes Saint-Denis Ecole Doctorale Esthétique, Sciences et Technologies des Arts for the degree of Doctor of Philosophy Maud MAFFEI 2016 Erstgutachterin: Madame la Professeur Catherine PERRET Professeur en Esthétique et Théorie des Arts Université Paris 8 Vincennes Saint-Denis Zweitgutachter: Herr Professor Dr. Gregor STEMMRICH Professor in Kunstgeschichte Freie Universität Berlin Tag der Disputation: 17. Juni 2016 Zusammenfassung Seit dem Anfang des 21. Jahrhunderts erfährt das Werk von Robert Smithson (1938-1973) ein erneutes Interesse. Jedoch, wurde die Bedeutung der Auswirkung von Theorien der Kybernetik auf sein Werk bis heute nur wenig aufgezeigt. Mit Smithsons Schriften und Notizbücher als Ausgangsbasis, analysiert die Vorliegende Untersuchung den Stellenwert der Kybernetik in seinem Denken und seinem Werk durch die engen Beziehungen, die Sprache, Technologie und künstlerische Abstraktion dort eingehen. Ausgehend von den Prinzipien der Kybernetik, formuliert Smithson eine Kritik der modernistischen Abstraktion und legt den Grundstein für seine eigene künstlerische Arbeit. Als er sich für Fragestellungen der Kybernetik interessiert, erkennt er, dass sich in ihr neue Darstellungsprobleme stellen. Er bekräftigt daraufhin eine semiotische Grundlage der bildenden Kunst, nämlich eine unsichtbare, auf Sprache gründende Struktur, wie sie der klassischen Kunst wesentlich ist. Die Werke von Smithson vollziehen Umkehrungen des Sinns auf verschiedenen Ebenen, die in drei Teilen der Dissertation untersucht werden: Umkehrung der traditionellen Vorstellung des Zeitlosen in der westlichen Kultur (I), Umkehrung der modernistischen Abstraktion (II), Umkehrung des Verhältnisses zu Zeit und Gedächtnis (III). Diese drei Umkehrungsformen zielen darauf, die Formen des Kunstwerks im elektronischen Zeitalter neu zu denken. Diese Dissertation analysiert, auf welche Weise sich Smithsons Werk konstruiert, wie sie sich vollzieht und welche Implikationen sie im Laufe der Zeit mit sich bringt. Damit ist es gezeigt inwieweit die künstlerischen und ästhetischen Probleme, die Smithson im Zeitalter der elektronischen Revolution in den Jahren 1960-1970 aufwirft, bis heute mit der Situation der zeitgenössischen Kunst im Zeitalter der digitalen Revolution von Bedeutung sind. Abstract The work of artist Robert Smithson (1938-1973) enjoys a renewed interested since the beginning of the XXIst century. However, the importance of the impact of cybernetic theories on his work has not been stressed so far. Taking as essential basis Robert Smithson’s notebooks and writings, this dissertation consists in an analysis of the impact of cybernetics in his thought and art through the close relationships between language, technology and artistic abstraction. With the principles of cybernetics, Smithson formulates a critique of modernist abstraction and builds the foundations of his artistic practice. Focusing on issues at stake in cybernetics, he is aware of new representation problems. He then reaffirms a semiotic basis for visual arts, namely an invisible structure that is essential in classical art. Smithson’s works achieve rotations of meaning that appear at the different levels that are studied in the three parts of the dissertation: rotation of the notion of timelessness as traditionally dealt with in Western culture (I), rotation of modernist abstraction (II), rotation of the relation to time and memory (III). With these three types of rotations Smithson rethinks the forms of the artwork in the age of electronics. This dissertation analyzes how Smithson’s work constructs, how it operates and what it implies over time. It shows how the plastic and esthetic issues Smithson contemplates at the time of the electronic revolution in the years 1960-1970 resonate to the present day with the situation of contemporary art at the time of the digital revolution. The light hits me and reflects all of me into the camera. The words leave me and are reflected back into my ear and into your ear. You’re hearing and seeing a world of double reflections and refractions. Time… in this isolated capsule of television experience is cut off from time as we usually experience it. Nancy Holt, in Boomerang1 1 Boomerang, video by Nancy Holt and Richard Serra, 1974. TABLE OF CONTENT INTRODUCTION 1 PART ONE: TIMELESSNESS: FROM SYMBOL TO COMPUTER CODE Chapter 1: Non-sight: from sign to signal 20 Chapter 2: How to deal with time? Op art, pulsation, signals 41 Chapter 3: Light and crystal: Dan Flavin and Robert Smithson 58 Chapter 4: Archaeology of communication: Robert Smithson and communication theory 76 PART TWO: ABSTRACTION IN THE AGE OF CYBERNETICS Chapter 1: Duality of place in sculptural practices around Robert Smithson in the 1960s: from place to site and vice-versa 94 Chapter 2: Nonsite, television, cybernetics 117 Chapter 3: “Degrees of abstraction” and “ongoing abstraction”: towards sites of time 141 Chapter 4: The shift of dimension: from metaphor to fourth dimension 160 PART THREE: NON-MEMORIA IN NON-HISTORIA: MEMORY AND FUTILITY Chapter 1: Self, abstraction and nature 181 Chapter 2: What is a tomb? Towards the electric mummy 201 Chapter 3: What is a museum in the age of cybernetics? 216 Chapter 4: “Listless laughter and torpid humor”: the cosmos of “great art” 235 CONCLUSION 250 BIBLIOGRAPHY 260 LIST OF ILLUSTRATIONS 266 ILLUSTRATIONS 277 TABLE OF CONTENT INTRODUCTION 1 I- From the beginning of the XXIth century, from Nice to New York 2 II- Problem: the “cybernetic moment” in the art of the 1960s 5 1- Materiality and language basis of art in the age of cybernetics 6 2- Language as code: contraction and expansion of the work 8 3- The reduction of the code against the modernist reduction 10 III- Smithson, the marvelous monster 12 1-Smithson on the New York art scene in the 1960s-1970s 12 2-Smithson writer 14 IV- Smithson’s archives: methodology 15 V- Dissertation outline 17 PART ONE TIMELESSNESS: FROM SYMBOL TO COMPUTER CODE Non-sight, light, entropy 19 CHAPTER 1 NON-SIGHT: FROM SIGN TO SIGNAL — FROM ORGANIC PAINTING TO CRYSTALLINE STRUCTURE 20 I- “A modern artist dying of modernism” 22 1- Excavating the surface of abstraction 22 2- Excavating the façade of Catholicism 26 II- Religion, time and sight 29 1- Revelation versus duration: Smithson, Greenberg, Duchamp 29 2- The fall of revelation into duration 32 3- Sight and stigmas: crepuscule of modernist theory 33 III- Excavating problems of modern vision 36 1-“the harassment of the spectator”, art in the modernist exhibition space 36 2- Excavating the split between the haptic and the visual 37 3- Modernist critic as obsession 39 CHAPTER 2 HOW TO DEAL WITH TIME? OP ART, PULSATION, SIGNALS — NUANCES OF TIMELESSNESS 41 I- Frictions between opticality and tactility: the problem of op art in relation to the modernist theory of retinal art and Smithson’s response 42 1- Op art in relation to the modernist theory 42 2- Tactile revelation: Smithson’s response 44 II- The pulse as art form 45 1- Flicker works: the flicker film, the neon pulse 45 2- The issue of pulse as form 50 III- Actuality, signals and timelessness: how to look at another relation to time? Smithson, Kubler, Reinhardt 52 1- Robert Smithson reads George Kubler 52 2- Indifferent timelessness into abstract art 55 CHAPTER 3 LIGHT AND CRYSTAL: DAN FLAVIN AND ROBERT SMITHSON 58 I- From icons to monuments or “fluorescent light as image” to “image-object” 60 1- From profane icons to situations 60 2- Intermittent monuments 63 3- Dim monuments 65 II- Crystals and space without shade: new spatio-temporal relations 66 1- Crystals in the electric age 66 2- “the destruction of classical space” or space without shade 69 III- Crystals, science fiction, entropy: the issue of time 70 1- Crystal as model 70 2- Crystals and science fiction: the issue of time 72 3- “inactive history” and memento entropy 73 CHAPTER 4 ARCHAEOLOGY OF COMMUNICATION: ROBERT SMITHSON AND COMMUNICATION THEORY 76 I- Theory of communication and art 77 1- “entropy is beauty”: Smithson reads Norbert Wiener 77 2- Communication theory, electronics and time 79 II- Structural theory of communication versus anthropomorphic theory of communication 81 1- Critic of anthropomorphic theory of communication 81 2- Structural theory of communication: raw materials, prime objects 83 a- What is a raw material ? 83 b- Raw materials and prime objects 84 3- George Kubler and cybernetics: heteronomous objects 86 III- Materials and words: archaeology of a primary encoding system 88 1- A genealogy of computing machines: sequence building 88 2- Excavating the prime word and prime object relation: light measure in the abyss of language 90 a- Excavating the word 90 b- Impalpable flow and massive solid: light measure as primary and theological communication device 91 c- Light measure as observatory: scientific communication device 91 PART TWO ABSTRACTION IN THE AGE OF CYBERNETICS: RECONFIGURATION AND DISMANTLING 93 CHAPTER 1 DUALITY OF PLACE IN SCULPTURAL
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