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Heterarchies and Missed Encounters

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Heterarchies and Missed Encounters HETERARCHIES AND MISSED ENCOUNTERS Manuel Ángel Macía PhD in Art Goldsmiths, University of London 2016 1 2 I declare the work presented in this thesis is my own _________________________________ 3 Acknowledgements I would like to thank Edgar Schmitz and Adrian Rifkin for their incredible intellectual and personal generosity, I feel enormously privileged and joyful to have worked with them. I would also like to thank Andrea Philips, John Chilver, and all my friends and colleagues, for encouraging such an exciting research hub in the PhD programme. Thanks to Kyoung Kim, for being such a great friend. Special thanks go to Carolina Rito, for all her loving support. Thanks my family, who is scattered all over the world. I dedicate this work to my father. 4 Abstract This project explores affects and effects of epistemic confusion through the fgure of the missed encounter. In oblique dialogue with post-Althusserian studies, the project makes a new performative term available for debates on contemporary artistic practice and knowledge production. The missed encounter does not signal a lack of encounters, nor an encounter that should have taken place and/but/or did not for an (un)expected reason. The missed encounter is unstable, it can operate as: a missed prescription, the sad outcome of a failed meeting, a quarrel or a disagreement. Drawing on diverse materials spanning conceptual art, science fction, paraliterary production and European and Latin American philosophy the project performs and explores such missed encounters. Chapter One introduces Santiago-Castro Gómez’s fgure of the heterarchy and sets a template where artistic practices that deal with discursive and linguistic material come across affects of not-knowing. Chapter Two explores the notion of epistemic breakdown and knowledge by-products; it does so by reading the Strugatsky Brothers’ Novella A Billion Years Before the End of the World (2014) and actualising Robert Smithson’s Tour of the Monuments of Passaic (1996) in relation to it. Chapter Three reads Ricardo Piglia’s Theory of Complot (2002, 2015) and its production of a com-plot: a machination of plots that activate suspicion and intrigue as conspiranoid drivers of epistemic production. Chapter Four follows Hugo Santiago’s flm Invasión (1969), exploring paraliterary situations of immanence, recurrence and non-exit through the retro-futural story of an infnite siege. The material brought into play in this project engages with the performative and self- actualising dimensions of textual production, tackling linguistic surpluses and the limits of knowledge products. Following this thrust, the project probes the productive ranges of a writing of the missed encounter. 5 TABLE OF CONTENTS List of Illustrations...........................................9 CHAPTER ONE Language, Matter: Not-Knowing and Epistemic Confusion Towards Generality ............................................12 Generality: Language, Knowledge ...............................18 Subsumption ...................................................21 Heterarchies ..................................................24 Missing the Encounter .........................................31 (Re)reading Althusser .........................................35 Language as Material ..........................................41 The Transparency of Transparency ..............................43 Meta […] ......................................................47 (Epilogue) on Surplus Referents ...............................48 CHAPTER TWO Always-Already: Homeostatic Capture and Knowledge (By- Products) Pegaso NE-001 / Tsyklon-3 .....................................50 Desencuentro ..................................................56 6 Knowledge (as a) Production, Reading Passaic ..................66 Homeostatic Capture ...........................................72 Interlude One ...............................................84 CHAPTER THREE Complot: Parallel Machinations Recursive Complot .............................................97 The Politics of Literature ...................................104 (and) the paraliterary .......................................107 Meta–(Fiction) ...............................................110 Bureaugraphy .................................................117 Complot ......................................................120 Interlude Two ..............................................125 CHAPTER FOUR Invasión: Non-Exit, Failed Encounters Resisting Resistance .........................................132 Within/Immersion .............................................138 Contemporary Art Is Postconceptual Art .......................140 Invasión .....................................................144 The Milonga of Manuel Flores .................................158 7 APPENDICES APPENDIX ONE .................................................169 APPENDIX TWO .................................................173 APPENDIX THREE ...............................................174 BIBLIOGRAPHY ..........................................176 8 LIST OF ILLUSTRATIONS Figure 1: Bochner, M. (1970) Language Is Not Transparent. [online]. Available from: http:// www.thislongcentury.com/wp-content/uploads/2009/04/tlc_mel_bochner_04.jpg (Accessed 19 August 2014). Figure 2: Infalcon [user] (2013) Primeras imágenes del Satélite Ecuatoriano NEE-01 Pegaso 16-05-2013 - YouTube [online]. Available from: https://www.youtube.com/watch? v=7Dprd-40jOQ (Accessed 28 October 2015). Figure 3: EXA: Agencia Espacial Ecuatoriana (n.d.) [Splash Image] Tierra-mano-exa- pegaso-krysaor.jpg. [online]. Available from: http://www.exa.ec/ (Accessed 19 October 2015). Figure 4: Rafael Correa [Facebook user: MashiRafael] (2014) Rafael Correa En El Lanzamiento Del Primer Satélite Ecuatoriano. [online]. Available from: http://peru21.pe/ reportuit/fotos-rafael-correa-lanzamiento-primer-satelite-ecuatoriano-2128258 (Accessed 19 October 2015). Figure 5: EXA: Agencia Espacial Ecuatoriana (2008) Logo Agencia Espacial Civil Ecuatoriana. [online]. Available from: https://commons.wikimedia.org/wiki/File:Logo-exa- circ-blkV4-esp.jpg (Accessed 19 October 2015). Figure 6: Msc. Carlos Alvarez [courtesy of], (Public Relations Offce, EXA: Ecuadorian Space Agency)(2016) Pegaso NEE-01 Paper Model. Figure 7: EXA: Agencia Espacial Ecuatoriana (n.d.) Illustration of the Pegasus Cubesat with the Deployed Solar Wings. [online]. Available from: https://directory.eoportal.org/ web/eoportal/satellite-missions/n/nee-01-pegasus. Figure 8: Zscout370 [user] (2010) Flag of Ecuador.svg. [online]. Available from: https:// commons.wikimedia.org/wiki/File:Flag_of_Ecuador.svg (Accessed 19 October 2015). 9 Figure 9: Ysangkok [user] (2010) Coat of Arms of Ecuador.svg. [online]. Available from: https://commons.wikimedia.org/wiki/File:Coat_of_arms_of_Ecuador.svg (Accessed 19 October 2015). Figure 10: Kosmonavtika.com [Nicholas Pillet] (2009) Mik, Cosmodrome De Plesetsk, 24 Janvier 2009: Mise en Place de La Coiffe. [online]. Available from: http:// www.kosmonavtika.com/lancements/2009/30012009/30012009photos.html (Accessed 19 October 2015). Figure 11: Smithson, R. (1996c) ‘A Tour of the Monuments of Passaic New Jersey’, in Robert Smithson: The Collected Writings. University of California Press. pp. 68–74. Figure 12: Merzbow & Hasami, Abtectonics (1986) Antimonument (Vynil cover). [online]. Available from: http://www.discogs.com/viewimages?release=720151 (Accessed 23 October 2015). Figure 13: EXA: Agencia Espacial Ecuatoriana (2015) NEE-02 KRYSAOR: 2do Satélite Ecuatoriano. [online]. Available from: http://exa.ec/krysaor/index.htm (Accessed 23 October 2015). Figure 14: Transitions (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 15: Architectures (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 16: Figure/Ground (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 17: Resistance (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 18: Herrera (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 19: Mappings, Irene (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 20: Map of Aquilea Santiago, H. (1969) Invasión; Becker-Ho and Debord’s ‘Game of War’ Cornet, J. (2008) Guy Debord and Alice Becker-Ho play the Game of War. [online]. Available from: http://www.cabinetmagazine.org/issues/29/galloway.php (Accessed 19 October 2015). Figure 21: ‘Southern Frontier’ (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 22: J.L Borges’ Book: El Hacedor (Dreamtigers) (Snapshot) Santiago, H. (1969) Invasión. Figure 23: Herrera’s Squadron Ambushed (Snapshot) Santiago, H. (1969) Invasión. Figure 24: Don Porfrio’s Map (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 25: Chess Floor Death (Snapshot Layout) Santiago, H. (1969) Invasión. 10 Figure 26: Herrera’s Death / Football Field (Snapshot Layout) Santiago, H. (1969) Invasión. Figure 27: Deadly Snow. Oesterfeld, H. G. & Solano López, F. (1975) El Eternauta. Argentina: Ediciones Record. Figure 28: La Agencia & Manuel Ángel Macía (2015) Escuela de Garaje. Bogotá: La Agencia. Figure 29: La Agencia (2012) Mapa Circular (Bogotá‘s Independent Art Scene Mapped by La Agencia). 11 CHAPTER ONE Language, Matter: Not-Knowing And Epistemic Confusion Towards Generality The ever-increasing global expansion of capitalism has brought an unprecedented extension of the contemporary art world. This fact is, to a certain extent, a truism. In this crux, a crucial series of questions have emerged regarding contemporary art’s legitimation as a specifc modality of knowledge production. A refection
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