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Imaginationssighting SIGHTING OIL IMAGINATIONS ISSUEAUTHOR 3-2 INFO 2012 REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE • JOURNAL OF CROSS-CULTURAL IMAGE STUDIES GUEST EDITORS • SHEENA WILSON & ANDREW PENDAKIS WRITINGS BY • ALLAN STOEKL • WARREN CARIOU • URSULA BIEMANN • IMRE SZEMAN • MIKE GISMONDI SHEENA WILSON • MARIA WHITEMAN • TRACY LASSITER • MERLE PATCHETT • ANDRIKO LOZOWY PETER HITCHCOCK • ANDREW PENDAKIS • LANCE DUERFAHRD • DEBRA J. DAVIDSON JONATHAN GORDON • MICHAEL TRUSCELLO • TIM KAPOSY MARK SIMPSON • GEORGIANA BANITA 1 • ISSUE 3-2, 2012 • IMAGINATIONS Guest Editors • Sighting Oil • Sheena Wilson & Andrew Pendakis Editor in Chief | Rédacteur en chef: Sheena Wilson Editorial Team | Comité de rédaction: Daniel Laforest, Dalbir Sehmby, Carrie Smith-Prei, Andriko Lozowy French Content Editor | Contenu français: Daniel Laforest Copy Editor | Révisions: Justin Sully Designer and Technical Editor | Design et technologie: Andriko Lozowy Web Editor | Mise en forme web: Carrie Smith-Prei Reviews Editor – Elicitations | Comptes rendus critiques – Élicitations: Tara Milbrandt French Translations | Traductions françaises: Alexandra Popescu Editorial Advisory Board | Comité scientifique: Hester Baer, University of Oklahoma, United States Mieke Bal, University of Amsterdam & Royal Netherlands Academy of Arts and Sciences, Netherlands Andrew Burke, University of Winnipeg, Canada Ollivier Dyens, Concordia University, Canada Michèle Garneau, Université de Montréal Wlad Godzich, University of California Santa Cruz, United States Kosta Gouliamos, European University, Cyprus Faye Hammill, University of Strathclyde, United Kingdom Anton Kaes, University of California Berkeley, United States Dominic McIver Lopes, University of British Columbia, Canada Sarah McGaughey, Dickinson College, United States Peter McIsaac, University of Michigan, United States Marie-Dominique Popelard, Université de la Sorbonne Nouvelle - Paris 3, France Christine Ramsay, University of Regina, Canada Laurence A. Rickels, Academy of Fine Arts, Karlsruhe, Germany Will Straw, McGill Univeristy, Canada Imre Szeman, University of Alberta, Canada Founding Editors: William Anselmi, Daniel Laforest, Carrie Smith-Prei, Sheena Wilson Sponsor: IMAGINATIONS • ISSUE 3-2, 2012 • 2 3-2, Fall 2012 Sighting Oil Guest Editors: Sheena Wilson & Andrew Pendakis Table of Contents: Sight, Site, Cite : Oil in the Field of Vision By Andrew Pendakis and Sheena Wilson • 4-5 This is Not a Pipeline: Thoughts on the Politico-Aesthetics of Oil By Ursula Biemann and Andrew Pendakis • 6-16 Tarhands: A Messy Manifesto By Warren Cariou • 17-34 Unconventional Oil and the Gift of the Undulating Peak By Allan Stoekl • 35-45 Oil Imag(e)inaries: Critical Realism and the Oil Sands By Imre Szeman and Maria Whiteman • 46-67 Imagining the Tar Sands 1880-1967 and Beyond By Mike Gismondi and Debra J. Davidson • 68-103 Everything’s Gone Green: The Environment of BP’s Narrative By Peter Hitchcock • 104-114 A Scale That Exceeds Us: The BP Gulf Spill Footage and Photographs of Edward Burtynsky By Lance Duerfahrd • 115-129 Resistance is Futile? Enduring Hegemony Despite Ideological Challenge By Tracy Lassiter • 130-139 Reframing the Canadian Oil Sands Curatorial Essay by—Merle Patchett • 140- 169 Photographs and Essay by—Andriko J. Lozowy Rethinking Bitumen: from “Bullshit” to a “Matter of Concern” By Jonathan Gordon • 170-187 The New Topographics, Dark Ecology, and the Energy Infrastructure of Nations: Considering Agency in the Photographs of Edward Burtynsky and Mitch Epstein from a Post-Anarchist Perspective By Michael Truscello • 188-205 Book Reviews by Tim Kaposy • 206-207 Georgiana Banita • 208-209 Mark Simpson • 210-211 Front (2011) and Back Cover (2009) Images by Andriko Lozowy 3 • ISSUE 3-2, 2012 • IMAGINATIONS SIGHT, SITE, CITE: OIL IN THE FIELD OF VISION ANDREW PENDAKIS AND SHEENA WILSON The image we have chosen for the cover of this special oil into Albertan and Canadian history, as well as its issue on oil and visuality nicely frames our problematic. future. These two machines are an archive of outdated To one side, burns oil literalized, oil in the shape of its technology and inefficiency that stand in contrast to own productive apparatus, the classical image of the contemporary oil discourses that revolve around a focus silent, effective refinery. This is a culturally transparent on scientific innovation. It is not enough to defamilarize image, one which domiciles oil’s complexity, its life as oil, to free it to some imagined objectal monstrosity or social process, and even its historical contingency, in the reticence. Rather, the task of visualizing oil, one which simple immediacy of a functional industrial procedure. goes beyond phenomenology, beyond even the logic Oil does nothing more or less than its societally prescribed of the gaze itself, is that of hoarding maps and screens duty: there are no spillages or externalities, no leeks in and files, layering mediums, and setting into motion the coherence of its A = A. It may be, however, that this myriad arts and sciences of oil’s determinate presence. identity is today unravelling and that the refinery— This is a task which is by definition endless, but not here smoking brightly in the background—already has precisely infinite, not endlessly deferred; or rather, about it the whiff of an apocalypse, a dying industrial it is one which restlessly explores and investigates a Mordor. Very quickly the gleaming effectiveness of oil’s concrete material knot, drawing conclusions as it goes. technologies can morph into their opposite: images It is research construed as profusion, but also, crucially, of excess and failure, a process without a subject, as intervention. This is a picture, then, that owes equal utility pushed to a point without telos or reason, sheer debts to sociology and art history, to discourse analysis instrumental nihlism. Though we would not want to and materialist geography, to political economy and the dismiss the urgency, even the political necessity of this history of science. It is a picture that is not merely an picture, there is a way in which it suffers from the same image, but a si(gh)ting. debilitating iconicity, one which pushes into oblivion the whole ramifying nexus of petroleum. Meanwhile, in the Sight, site, cite: sighting oil requires this triple passage foreground of the image, we are confronted abruptly through vision, space and discourse. Oil, perhaps, is no by an oil extraterrestrial, anonymous, without use or more invisible that any other element of our postmodern place, beyond sensible scale, a creature, weapon, or economies, no more occluded, say, than corn or socks tool, perhaps, depending on the light. At once hideous or coffee—or even the image itself, for that matter. In and foreign this is an object freed to a place beyond the age of oil it is the image, at this time more than stable relations, beyond meaning or inherence, pure in any other era, that proliferates as a medium of defamiliarization in all its discomfort and uncertainty. communication. And, the very image-technologies that We do not want to rest content at any moment of this allow us to conceptualize our relationship to energy and dialectic: not the first stabilized image of functioning petroleum are a product of oil: the first photograph in production, nor its apocalyptic reversal, nor even this 1827 resulting from a combined use of bitumen, metals, classical figure of aesthetic or epistemological rupture. solar energy and chemicals in a solvent. The problem Instead, looking again at the image, but now from within of visualization, of the proliferation of determinate, the spirit of what Ursula Biemann calls visual research, useful maps of our economic lives, is not specific to we find a name for the object in the foreground—a oil, but one politically structural to a system that is at ‘bucketwheel excavator’—and a context for its display, once spectacularly consumerist and fully globalized on positioned across from the Syncrude plant on Highway the level of production. However, it could be argued 63 north of Fort McMurray. What initially disturbed us that oil is a uniquely occluded substance: not only does is now understood as a fragment from the oil industry’s its exchange value engender an enormous corporate reproduction of its own techno-historical legitimacy—it project of hiding, an explicit machinery of deception is an affair of history and discourse. The bucketwheel and spin, its pervasiveness, its presence everywhere, in this photo, paired in physical reality with another perhaps singularly christens its position as “hidden in relic, a dragline excavator, function both to imbricate plain sight” (Szeman & Whiteman). At the same time, IMAGINATIONS • ISSUE 3-2, 2012 • 4 PENDAKIS & WILSON there is no alternative to oil, no substance available Sheena Wilson is Assistant Professor at Campus to the system by which its functions can be replaced Saint-Jean, University of Alberta. She holds a PhD or exchanged without massive structural disorder; it in Comparative Literature with a specialization in is this indispensability, the way oil comes to appear Film and Media studies. She is interested in the more and more like our time’s secret substantia that relationship between the written word and the image necessitates the diverse situating procedures employed as discursive referents in socio-political contexts. Her by the various contributors to this collection. Their research involves an interdisciplinary approach to the research makes blatant the visual rhetorical
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