Ghost Story

ER IC C. H. DE BRUYN ON KINETI C ART AND NEW M EDIA

FROM ITS START, kinetic art has been possessed- by the unca nny end . But might we instead see kineticism as the very foundation
Surrealist automaton as much as by the technological promi se of contemporary modes of experience, from the projected image to
of a utopian future. And, in turn, it has haunted modern sculpture, spectacle to the media network? Taking his cue from Artforum ' S
which had long been vexed by Marx ' s famous desc ription of the inaugural cover, which featured a Jean Tinguely automated sculpture,
commodity as a diabolical dancing object. Kinetic art, we came to art historian Eric C. H. de Bruyn reexamines kinetic art's labyrinthine
think, was a bit of an embarrassment-indeed, an aesthetic dead 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 end. But might we instead see kineticism as the very foundation
as much as by the technological promise of contemporary modes of experience, from the projected image to
.nd . in turn , It has haunted modern sculpture, spectacle to the media network? Taking his cue from Arrforum' s
vexed by Marx's famous description of the Inaugural cover, which featured a Jean Tinguely automated sculpture ,
oli cal dancing object. Kinetic art, we came to art historian Eric C. H. de Btuyn reexamines kinetic art's labyrinthine
I embarrassment-indeed, an aesthetic dead past and maps a new space for its passages among us.

Above : Jean TInc" . Iy. H""",g.. 10 New YOrl<. 1960. OppasH e page: C, GrQW''''.
mi. cd media. "eft.,.."......,' .. e", "'bI.l',' ... NuWn 1955,
"luuum of M(I(\I"In An . ham mort COll I!I S. 4'
New y", k , 1 l;?o:.V Daol d Goo,
NumN MACHINES amomatically or mechanically, ramer than of its own
All genea logies of media art have their roOlS in a voli tion " (Oxford English Dictionary). Kinetic
ghost slOry. And perhaps none more so than kinetic sculpture is haunted by this history, and its spectral
a rt, which wa s paraded on Artforum's inaugural traces may be seen equally in Homage and the Nullin
cover til the fo rm of a shadowy, slighdy sinister si l- Box, the "diabolical machine" and its pa rodiccoun-
hOllette o f one of Jea n TinKuely's a nimated sculp- terparr, JUSt as they may still be sensed in the present.
lUres. No doubt the anist would appreciate tales of To revisit this phantomatic history of kinetic an is, 1
the spectra l if nOt infernal roots of his automatic think, to recount a ghost story worth telling.
creations. propagating the Faustian complex of an
a rtist-constructor who dab bles in the mechanical A THEATER OF GHOSTS
simulation of life and its explosive demise. Tinguely's In the pages of Artforum in 2000, Yve-Alain Bois
most famous iteration, Homage to New York, which provided a handy sketch of the rather inglorious his-
se lf-destructed in the co urtyard of t he Museum tory of kinetic art. According to this abbreviated
of Modern Art in 1960, was dubbed by the artist a trajectory, kinetic art had a brief moment of suc-
"simulacrum of catastrophe,'" a "cymcal object, both cess-only to suffer a quick demise, largely due to its
luciferian and phantomatic in nature. " 1Not every- public confusion with Op an: "Because kinetic art
one was impressed by such apocalyptic spectacles, was (wrongly ) perceived as an a rt based almost
which served up the fiery wreckage of industrial soci- entirely on easy optical tricks, it would soon be
ety as a pyrotechnic display to an enthra1!ed audi- trashed as utter kitsch, on a par with sllch risible by-
ence. Indeed, a 1961 ed itorial in the Situationist products as the Courreges dress and the la va lamp."s
International mocked the Swiss sculptor's kinetic Bois makes an exception for one critic (rightfully so,
contra ption, constructing a less heraldic lineage fo r I would agree), Guy Brett, who in Kinetic Art: The Uisd 6 Moholy-N"Il'. BJadV
Tinguely's work. According to 51, a certain Richard Language of Movement (1968) argued that the true prInt. 14 'l1.. 10'JI' . of M o/"IoIy-
C. Grosser had beaten Tinguely to the punch a few exponents of ki netic art were not such figures as SllI6e. 1922-30.
years earlier with his prototype of a "useless machine," Nicolas Schaffer and Julio Ie Pare- those merchants
the so-ca1!ed "Nuttin Box, a gray aluminum box of an "art of gadgerry "-but Lygia Cla rk, H elio with th e work of (ersatz
with eight sma ll neon la mps which blin ked in a Oiticica, and David Meda lla (with Tinguely in a Naum Gabo in order to fee>
totally random pattern."l mere "supporting" role). [n short, Brett developed a body of " New Tendency,
We get the joke: Complete chaos is but another genealogy of ki neticism tha t was determined less by others, Group Zero in (
form of toral order. Indeed, the randomly flashing its technological aspects than by its collective engage- Recherche d'Art Visuel in
lights of the Nuttin Box evince the double bind of al! ment with the spectator. Unlike the cybernetic seu Ip- ment in the Netherlands.
commodities. That is, they speak in order to have tures of Schaffer, Clark's and Oiticica's work did nOt If Krauss left no dOli ;
commerce with other commodities and huma n .require the implementati on of advanced fo rm s of sellted an artistic practice
beings, but on the topic of use-value, they have noth- information tech nology. Whar rhis work req uired gested that its predecessor
ing to say. Or as ou r inventor (who would playa instead was the conception of a spatial mod el of used to simulaTe rhe movet
significant role in the early days of computer engi- organizing social relations, a model thar would rely as clockwork automata. In
neering) explained at the time: "fA Nuttin Box ] on a topological rather than pro;ective paradigm of ing the ilrgu mem of
serves its purpose merely by existing. It attracts geometry. In contrast to th e programmed behavior Modem SClllpture (1968),
attention and confuses your friends. It's a wonderful of Schaffer's tobotic scu lptures, one may think , for nlre follows a "Faustian "!
thing for a businessman, when he has a customer instance, of Clark's and Oitieica'5 coll aborative work un stoppable craving to w
come into the office .... This really breaks the ice."J Dialogue ofHands, 1966-ao elastic Mabius strip order from God-with thl
But for all their display of wit, what the Siruationists that creates a sensory feedback loop with one's own trolling human destiny, if
miss is the uncann iness of Tinguely's machines, an hody-or Oiticica's aptly titled Topological Ready- itself. "6This porrentOus cla
uncanniness defined by the spectral nature of a recur- Made Landscapes, 1978- 79. elusion that benearh the
Qu es un objeto sin una funcin social, cmo hacer que el objecto supere su terreno y afecte comportamientos?
rent yet utterly enigmatic thing or event.4 This is all Almost two deca des after the Situation ist
Creando escenografas walkeables? Espacios reales? Immersion? mappeo?
editorial kinetic sculpture lies norhin
the more surprising because the Situationists might suggested it was best suited to be office kitsch, kinetic idea l of art: The main pu
have turned to the specifically Dadaist and Surreali st an would receive a more extensive if still dismissive Light Prop was to exist as a
trad ition of the machine, populated by all kinds of treatment in Rosalind E. Krauss's Passages in Modern In this capacity, it prefigur
uncanny devices, including automatons, manne- Scul/)ture (1977) . Krauss situated kinetic sculpture as rures of Schaffer, already e'
quins, schizoid " influencing machines, " and erotic a suhset of the environmental art of " light -space " learn ro dance with aerua
" bachelor machines." Th is genealogy extends even (Laszlo Moholy-Nagy's terml , as exemplified by machina: Kinetic sculpru
earl ier, to a mo me nt when machine had not yet Moholy-Nagy's Light Prop {or aft Electric Stage (also simulacru m of life. And
found an industrial or informationa l use but referred, ca lled Light-Space Modulator ), 1922- 30, which ideological; it projects a " I
among other meanings, to a movable contrivance for immersed the sp1ator in a f1ucruating field of stun- We find th is simulacr-
t he product ion of stage effects (e.g., the deus ex ni ng optical effects achieved by mechanica l means. reception of t he modern
machi na ) or the li ving bod y that "" moves or acts Kinetic a rt's bloodstrea m, Kra uss claimed, merged an.xious relationsh ip to th
Cul es la relacin del kinetic art y el uso de objetos en el arte contemporneo?
528 AR TFORUM Digo, objetos auto-portantes de identidad, maquinas que se mueven solas, con humanidad, ahora OOO hay algo ah?
r [han of its own The arts of "theatricality"- kinetic
mary ). Kinetic
,and its spectra l art as well as Minimalism and its
e and the Nllttin aftermath- would contaminate the
IS parodic COll ll- (technical) image with the specta-
:d in the present. tor's body and dangerously com-
If kinetic art is, 1
h telling.
mingle visions and things, radically
destabilizing the visual field.
YveAlain Bois
inglorious his-
his a bbreviated
noment of suc-
largely due to its
:ause kinetic art
t based a lmost
would soon be
1 such risib le by-
the lava la mp. "J
:ic (rightfu Ily so,
"{inetic Art: The L6S116 MOIIOIy-Kaft. uthlpl,ay; 8lacIVWItit'l/Gn!r. ca.. 1926. gelatin sil.er
Jed that the true prinl . J4 '14 , 10'14" . Delail QlMohQIyN"I'.l's Ugll! Prop fOI' an Electric
51",11.1922-30.
such figures as Frnncis l"lcilbia. fkll>cl><:
(PerI""nance ca.--I.... ,. 1924.
those merchants Pe "01"",oce Vi8W. l hUt'lI deB
ia Cla rk, H elio w ith the work of (ersan) Construcrivists such as Champs-lyoo ..... Paris. 1924.
h Tinguely in a Nauru Gabo in order to feed into the " pan-European"
rert developed a bod y of "New Tendency," which included, among initia tes a fo rm of cririque familiar to us fro m Tile
[ermined less by o thers, Group Zero in Germa ny, t he Grou pe de Cermall ldeology (1846 ). T here, Karl Marx. devel-
ollecrive engage- Recherche d'Art Visucl in Paris, and the NU L move- oped a theory of rhe phanromaric, or a ha untology,
:ybernetic scul p ment in the Netherlands. tha t shows how rhe producrs of the human brain- '"'
thll
a's wo rk did not If Krauss left no doubt rhar kinetic art repre- ou r "spirirs"-arc projected into the world as ani- [hi.
'anced forms of sented an artistic practice wirhout a future, she sug- mistic objects, then begin to behave as autonomous onv
; work req uired gestcd tha t its prede<:essors were rhose contraptions figures, acq uiring a life and momenUim of their own. PS}
patial model of used ro simulate the movement of living beings, such In his Spectres de Marx (1993 ), Jacq ues Derrida m.
that would rely as clockwork automata. [n doing so she was rehears- glosses argument as follows: "The ghost gives its ind
'ive paradigm of ing the argum ent of critic Jack Burnham in Beyond form, that is to say, its body, to the ideo logem. "K ing
mmed behavior Modern Scu lptu re (1968) , according to which sculp- Marx would later call this apparition the commodity Mi
may think, for tun: follows a "Faustian" goal; it is possessed by "an fetish: an animated yet inanimate thing that is capable
.Iaborativc work unstoppa hle craving to wrest the secrets of natural of entering into relations with one another and with
6c MobiLis strip order from God-with the unconscious aim of con- human beings . Or, as Marx famously puts it in Das me
,with one's own trolling human destin y, if no r in fact becoming God Kapi/(/ l ( 1867), the social relations between men ins
ologieal Ready itself."6TIl is portentous claim leads Krauss [0 the con assume the phOl!tasmagoric form of a relation between .ss
el usi on that benea th the technologica l armor of commodities. literally this means that commodities nm
arion ist editorial kinetic sculpture lies nothing but the same old mimetic constitute themselves as a "gathering of phantasms, n ag:
:::e kitsch, kinetic idea l of art: The main purpose of Moholy-Nagy's a nd this spectra l assembly has commerce with itself wit
1 still dismissive Light Prop was to exiSt as a mechanica l actor onstage.' as well as human beings, foc
'5ages in Modern in this capacity, it prefigured those cybernetic sculp- To pass unfavo rable judgment o n kinetic art, as
letic sculpture as tures of Schoffer, already evoked by Brerr, thar would Kra uss did in 1977, need raise few eyebrows. Wha t of,
If "I ighr-space " lea rn 10 dance w ith acwal human beings. Deus ex is striking, neverrheless, is the vigilance with which
exemplified by machina: Kinet ic sculpture creates a false copy, a she hunts down rhe spectral vestiges of "surrogate
!!ctric Stage (also simulacr um of li fe. And this simulation is deeply persons" withill contemporary sculpture. What is
921-30, which ideological; it projects a "picrure of [he wo rld ." at stake here, or, rather, contillues [0 be at stake, no<
ing field of stun- We find rhis haunting the critical is the o ld question of theatricality (although we \vo
::hanical means. receprion of rhe modern sculptural ob ject and its might now prefer the notion of spectrality). We know wit
laimed, merged anxious relationship to the commodity. Krauss thus how Michael Fried meant the term to carry a blanket ,uf
ality" -kinetic
tlism and its
ontaminate the
th the specta-
!rously com-
hings, radically
ual field.

rancis Rc/ikhc
Canceled) . 1924.
,jew. ThMtr" des
'hamps.lystes, 1924.

amiliar to us from The rejection of litera list art. J\llodernism had flattened contrast, is sa id to exist only by virtue of its audience.
here, Karl Marx dcvd- thr: fidd of pcn.:r:ption, constructing the pictorial But is this not the exact condition of the commodity?
marie, or a hauntology, surface as a specular device facing the viewer so It also only knows a life onstage, which is why Marx
s of the human brain- that she might recognize her own independence in compared it to the dancing table of the spiritualist
J inro the world ani- this autonomous object. But shadows had begun to seance . It is a "'sensuous non-sensuous " thing that
behave as autonomous invade this surface, turning the pictorial plane into a appears to rear its head and stand on its legs in order
lOmentum of their own. psychIC screen that masked a groundless, phantas- that it may address the viewer, all the time evolving
993 1. Jacq ues Dcrrida matic space that lay beyond. What hied sensed was out of its wooden head "grotesque ideas far more
IWS: -The ghost gives its indeed uncanny: an anthropomorphic specter lurk- wonderful than if it were to be dancing of its own
to the ing between the geometnc planes and lattices of free will. "I U With this magic trick, the commodity
panrion the commodity M inimalist sculpture. In these "hollow" objects, he assumes the appearance of independent life . I.ike an
:t12 IIg that is capahle recognized a "Surrealist" space replete with the automaton, this ghostly specter seems to move on its
:i;.Q:}eanorher and with affects of "expectation, dread, anxiety, presenti- own, miming the living.
putS it in Das ment, memory, nostalgia, The literalist object I am not suggesting that we simply conflate the
-:::inion" between men installed a fatal (hssyrnmetry in the visua l field by thea tricality of the Minimalist object and that of the
I[:;;;;. rdation between assuming a vaguely human presence that concealed commodity. Blit it bears emphasis that by the late
commodities nothing but an empty void at its ccnter. Fried warned '70s the theatrical- or speetral-----condition of art had
Eattli:lg of phantasms," agamst the \vhispermgs of such deceptive objects become differe ntiated even ftlnher. For instance,
ih.::DlWIJerce with itself with their "lIlner, even s(;crt:t, life. " It was as if a new Krauss distinguished between a good and a bad, a
form of Idolatry had sedm;ed the art world, Impeding nonmlmetic and a mimetic, variant of theatricality.
on kinetic art, as any authentic sensation of "conviction" or epiphany To do so, she brought an o ft-ignored question into
:a::--ey-ebrows . What of religious "grace." play, namely, the role of artifiCial illummation In the
IIr. -.pi.:a-'lce with which To allow such a moment of grace to descend on display of art. i ' Krauss's example of a radical, n011-
of "surrogate the spectator, the illusionistic mechanisms of the mimetic theatricality was Francis Picabia's set for the
jo.-'prure. \'Vhat IS theater must be suppressed at all cost. One must ballet Reliichc (Performance Canceled), 1924, which,
- _ " ". to be a t stake, never be witness to the ralsmg of the curtain; the flashing a banerr of spotlights at the spectators,
::T although we work of art must always already appear to simply be blinded the audience even while it was illuminated .
We know without need of any audience to confirm its self- Picabia'5 violent assault on his audimcc demonstrated
a blanket sufficient existence. The literalist object, by way of that " once the watcher is physically incorporated into

SEP TEMBER 20 12 529

Ghosts have a nasty habit ofcoming the spectacle, Ius dazzled vision is no longe r cap;! ble from thei r (oTl1l(.r, sta ble po
of superviSlnl" Its events." ' 1 T he transcendellT:l1 sub- logica l system of pro jection . h
back. And to imagine kinetic art's jeCt is 10 bt toppled frOIll his :.car, a tri\(.; kcd br rhe cleared for a more inrel1S{" (or
future apparitions is to revisit the lIghts oi spccucle and the refore awakened to its ill u- thl' networks of fl o'
notion of the spectral commodity. sions of olllll isciencc.
It is to conjectu re how -dazzled vision" pre- A DESCENT INTO THE CAVE
cisely describes the effe.:t that the (.;(Jllllllodiry has on If rhe fa ult o f kinetic a rt W;\ 5

us. Yet this not enough. Eve n 'thing de pends iecrion of ideological
on what .xcurs in that murky, spectr:11 space where ro be " do ne wi , h pro j(:ctr on.
bod ies and un age:. begi1l to mingle . .Modern ism di:.ma ntle rhe ideologi;;:al J.r
fcared inferrl.ll rcgion and would a n clllpt. a nx- Can one hri ng down to
iously. 10 keep bod) and illlage ap'l rt. Byconrrast, th e tCfr<lin of media archaeo!
thl' .1r ts of -thealrica lity" -k inelic a rt as we ll as rh to r}' of medi a , T h is exca\'
:\ linirnali:'1ll and its afrC'fmath-would contamina te knows it, s pirit ()ne away to
the (tcchnic;l!) i111agl' \\'i th thl' specraw r's body and 0.:<1\'(" paintings altcrnati \e!
d:lngerousl\ wmmingle visions and things, Phuo's o.:a vc par:l blc. Both. f(
destabi lizing the field. Fried's own haunting by identified .1S prOtocine111:ltic
rhe M inimalist ohieCi dram:lti;;cs the disjunctive char- iormer, mos t recently, in \X'err
or
;'J (tC f space, T he ghost tary fi lm Cave of FOJ'go lt ell [
limina l domain: It looks at liS, but we (.:annnr be su re la m:r in {he so-called apparJ.
of seeing it, t hereby generating :l kin d of -spcn r.1 t which eq uan:s the cinematic 1
asy m me tr y, - to borrow from Derri d.l. wiTh in the sh:l dows or simulacra o f Pbt
visua l. But wi th this up rooting of bodK'S a nd Images ncw digit;11 rn :hnologir:. used
We ....' lio"og. CRve of Fotto"""
Ore..ms, 2010. liD IIIclec .
95 m,nutes.
10 longer capable from their former, stable positio ns within an ideo-
- are capable of consrructing a n exact spatial map of
in!OCendental sub- logical system of projecrion, has the path simply Ix:en the subterranea n network of cave like
, attacked by the clea red for a more intense form of circulation within rea ding the Manh:l!tan phoIl e di rectory. he com-
akencd to its illu - the ca pitalist networks of flow and cxchangc? 'J plai ns. This in t\.I rn reveals his OWIl stakes in using
3-D technology to fi lm the Cha uvct Cavc in hance:
visioll pre- A DESCENT INTO THE CAVE nOt to provide a mcre spatial replica of the original
)mOlodiry h::as on If the fau lt of kinetic a.n was rhat it upheld the pro- site, but [Q visualize coexistent strata of time, imagin-
erything depends jection of ideological spectcrs, it SUIll S that we need ing cave paim ing as a pa limpsest of temporalities
: tral space [0 be "done with projection. "14 EUI is it possible to that resist the narra ti ve orderings of history.
51e. dismantle the ideological apparatus of projection ? It's al l a hit confused in H erzol?,'!i fil m: What ,
lid attem pt, anx- Can onc hring ghosts down to earth? Here we enter exactly, is the genea logica l relationship between the
an. By the terrain of media archaeology, of the hislOry and appara t us of cine ma tic and digiral pro jection?
:ic art as weU as theory of media. Th is excavation can. before one Between visualizing the cavc as a site of ideological
. uld contaminate knows it, spirit o ne away to the Neolith ic paSt of ca pt ivation and as a liher:uory ma ze? To begin to
tator's body and cave o r, alternatively, ro the mythic past of answer slIch questions, wc muSt kee p in mind that
I things, radically Pla to's ca ve parable. Both , for insta nce, have heen there afe at least two of media archaeology.
own haunting by identified as protocint:matic sites of projection: the The fi rst is devoted ro the writing of linear histories, in
. dis junctive char- which one invention feeds into anothcr 3ccordi ng to
lhabits a strange,
former, mOSt recently, in Werner Herzog's documen-
tary fil m Cave of Forgotte" Dreams (20 10) and rhe an evolutionary scheme of technological ,
;e cannot be sure larter in rhe so-called apparatus t heory of the '70s, innovation and perfection. (lr's a scheme thaI creares ,
:ind of wh ich the cinelllatic image with the moving such red herrings as: Does the history of the virtua l- r
rida, wirh in rhe shadows o r simulacra of Plato,u Herzog dism isses reality CAVE !Ca\'e Automatic Virmal EnvironmentJ
and images new digi tal technologies used by archaeologists tha t start with Roman frescoes or Lasc:lUx ?) The mher
perspective is nonlinear and, follo wing the cue of the "
Surrc;] iists, adopts a melancholi-.: attitude-
seeking OUI what is outmoded o r extinct wilhin tech- ,s
nologic:ll histo r y fln he r than c hasing aft er the P
up-to-date ;]nd the state-of-the-a rt. 1
As an example of t he larter, nonl ine;] r route, l d
mentio n the Dead Media Pro ject, cofounded u
by sci-fi novel ist Bruce Stcrli ng in the midSt of the
Internet hype of tht: '90s. In ;1 highl y enterta ining ,b
lecture called " Medi.l Paleontology" in 2004, Sterling 1
expla ined his fascina tion with the phenomena o f n
stillborn o r discarded technologies that had been
s.
reduced to the status of "'c uriosities or embarrass-
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 c
accelerated the process of obsolescence. It conrains
';lc"e1 a fter level of sophisticated inSTabilities" that \\
open OntO "vistas of woe and decl ine" a nd are lxset \\
with the "fretful haulltings of Threatening ghl..lsr!i and 1-
phantoms." Sterl ing's aim is to debunk the " PlatOniC k
mythology" of the computer <1ge Witll its imaginings
of a "clean, :lbstract, ellvi ronment. IT
To the cont ra ry, Sterling asserts, we are forced [0 rI
sleep in a " very rumpled, dirty, makeshift, ana rch ic r:
kind of bed. It smells of viruses and worms." On the 51
floo r of the r l:lton;e ca ve we sit in squa- n
lor," wa llowing among heaps of junked 0
Surel y there is more to explore al the bottom of d
tht' cave, with its warren of passages. to n:piort' d
in these subterranean depth s where: ph
seem keen to camp, watch in!! the
(Baudrillard ) and "rt'oellu ...,. $l"-"
-ing an exact map of multiply so That, in the words of Nietzsche, "behind
MEDIA STUDY
.1. of cave passages-it's lik e eKh cave [there isl another that opens sti ll more
I phone directory, he com- deeply. "1- Hut let us nO! sink into the llluck at the
:als his own stakes in using bottom of that endless series of grottoes. We shou ld TAKASHI MURAKAMI
ht Chauvet Cave in France: allow that odd assortment of artist-spelunkers, such
)atial replica of the original as Giuseppe PinoTG3Ilizio, Robert Smithson, Mike WHilE PAINTING has been my primary medium since
istent stram o f time, imagin- Kelley, Werner Herzog, and T homas Hi rschhorn, to I was eighteen, scu lpture Is somethi ng that I began
of tempo ra lities pro\lide a tour of rhis cavernous maze some other time. exploring later on, with the help of several loyal
orderings of his w ry. Instead, we should pu rs ue the revenants of partners. I also consider running my own company,
d in Herzog's film: Wha t, kinetic art elsewhere. To the melancholic disposition Kalkal Klki, and Its related stores and galleries to
:al relationship between the characterizing the va rious 'dead-media projects" of be part and parcel of my artistic practice: the advan
ie and digital media archa eologr, we might oppose rhe d elirious tage of this lies In the direct communication with
cave as a site of ideologi,;al o perations of thc desiring machines of Felix Guattari my clients, which allows me to haWl an up-close,
'erawry maze? To begin to and Gilles Deleuze, which, as they stressed, were not realtlme perspective on the economic and cultural
we must keep in mind that w be seen as ideological pro jections, were not 10 be changes happening around the world.
'sions of media archilco logy. confu sed with either gadget or fantasy. (Those arc Maybe it goes wit hout saying, but the advent
writing of linear hi stOries, in bUT[he residues of desiring machines, they insisted, of the personal computer and the invention of the
:Is into another according to that have come under the sway of the market needs Internet have been the most astonishing technologi-
of continuous rechnological of capitalism a nd psychoana lysis.) Rather, they are cal developments of my lifetime. When [started my
,no (h's scheme that creates machinic assemblages of dis parate COtll- career, It was extremely difficult to communicate
es the history of the virrual- sch il.Oid macl1 ines o f d etcrrirorialil.ation one's Ideas to large groups of people- I evt!n resorted
matic Virtual Env ironmentl that cur into the semiotic flows of capital ism, creat- to publishing my own free newsletter. So for me,
)es or Lascaux?) r he other ing transitional moments of pure intensity. the current proliferation of socialnetworklng outlets
provides a miraculous set of tools and has been
md, following the (ue of the One author has given us a description of Guattari
suspended in "melancholic eCSTasy" while visiting crucial in the promotion of my wortl.
:lrt: melancholic anit mk--
I don't know much about other forms of technol
)oded o r extinct with in te(h a Tinguely retrospective at the Centre Pompidou in
ogy, but the spread of computers has truly constl
er t ha n c hasi ng afte r the Pari s in Guattari accepted the banali"lation of
tuted a global paradigm shift, and I Imagine that
-ofthe-art- Tinguely 's work as a given; ill the philosopher's view,
In twenty years' time another equally revolutionary
e Iarrer, nonli near route, I this des(:ent into artiness did not dimin ish the poten-
breakthrough will occur In new media . My hope is
I Media Pro ject, cofou nded tia l of these phantolnatic machines to become devices
that my work has the flexibility, unlWlrsality, and
Sterling in the midst of th e by wh ich "w try to hook into the cos mos. "11 Delcuze
relevance necessary to take advantage 01that
)s. In a high ly entertaining and Guarrari would, in fact, draw a paralle l between
moment when it comes, and that I will personally
conrology" in 2004, Sterling Tinguely's kinetic machines ,md [heir own uesiring
be able to participate In that transformation.D
)n with rhe phenom ena o f machines, because each initiates a kind of interplay,
edmologies that had been a joyous dismantling of the machine's fun ctionalism
"curiosit ies o r embilrrass- so t hat "the grandmother who pedals inside rhe
n that lies "beached on the automobile under the wonder-st ruck gaze of the
Jlescence ," Central (() his c hild, n as DeleuJ.e and Guartilri exult, "does no t
that the computer has on ly cause the car to move forward, bur, through her ped-
)f obsolescence. It contai ns alling, activates a second structure which is sawing
listieatt:d instabi lities" that wood. i:)ut can we rake Dcleuze and Guarrari's
: and decl ine" and a re beset word fo r it? Are they nOI dealing in metaphors here?
gs of th reatening ghosts and Have they nor circumvented the spectral aspeClS o f
11 is to debunk the "Platonic kinetic art a liule tOO quickly?
mer age with its imagin ings Ghosts have a nasty ha bit of coming back. And ro
lthernatica l" environm en t. imagine kinetic a rt's furu re ap paritions is TO revisit
g asse rts, we arc forced to the notion of the spectra l comm odity. Indeed, a fter
dirty, makeshift, anarchic Derrida. after Marx, Antonio Negri deemed the con-
iruses and worms ." On the struction of the spectral commodity to he itsel f out-
we sit in "stupefying squa- moded, arguing that such a model of the uncanny
aps of junked technologies. Iii o hject belongs to a former, Fordist phase of ca pitalist
o (xp!ore a t the botrolll of development. In ils currcnt sta re, t he la bor para-
)f passages, mo re w explore d igm-in particular the distinction between intellec-
epths where philosophers tu al and manual labor-has ch3llged. As a View ofT8lutshi MurakamI" 'Ego,"
:hing the " demon images" resu lt, we live in a world where (ht' un(:anny recur- AI Riwaq, Doh . Q....,. Photo: Gioo .

lious si mulacra " (Deleuzel rence is not lodged in the objects around us; rather,

SEP1MBER 2012 531

Today, the exploited subject appeats on ly "a radical 'Unheimlicn ' rema ins in which we're circumstances, even the schizoid
immersed. "11 H ere the ghosts of M arx arc no longer desiri ng machines cannOt a ut.
on a new scene, which is presented as val id; the exploited subject ap pears on a new scene, t:rt:cl an eflective mean s of
a mobile and flexible reality. We have which is presented as a mobile and flexible rea lity. It C uactari and Deleu ze ha ve 0
become specters to ourselves. is nOt that rhe experi en ce o f rhe u nca nn y as such is shifting relations between the fo
abolished-how co uld it bc?-bur that its Structure tiOll and reterritO rialization, an.
has been interna lized: We have become s pecters to of em ploying both). At this p
o urselves. Thi s ca n onl y ha ppen in that space of consider another a
tOtal inrcrconnl'Cted ness that Dclcuze and Guattari tral s pacc--one that does nOt s
explored with their desiring ma<.:hincs . And as I have or esca pe its ghosts, but, to the
argued elsewhere, this is a space that can no lo nger to con duct rheir pro per work
be descri bed according to a (Opography of projec- o vt:r, t ha t provides a qu ire d
tion , but only as a to pology of llows and nerworks. l.l " kinetic," to the a uto-motion
Some have posed this k ind o f w po logy as not in killetic art a nd dllema.
only a but a mt:ans of escape from the spec-
tacula r space of ca piralism, w he re, as Cuy Dehord A REBELLION OF IMAGES
claimed, all co mmod ities, a ll bodies, ha ve hecom c 1f rht: spectacle ru m s bodies into
images (and real ity has become truly ghostl ike). But it mean to turn im ages into t
a re such d eterri tQri aJized lines of fligh t capa ble of performa nce ea rlier this yea r, r
outrunn ing the specters nipp ing at o ur heels ? We suggested tha t we take a di ffer
know th.u Debord , at least, still beli eved in some o f rhe revenanr.lt H er talk cna.
bedrock of a uthentic selfhood, a domain where usc- into Pl atO's cave, invo lving a s
va lue stil l he ld sign ificance. But to imagin e such a through the auditOrium onto wi
refuge no longer seems tenable amid the permanent jecred . R at her tha n visualizin
displacements and d isloca tions of subjectivity within however, Steyerl's images seeme
a post-Fordi st sta ge of capitalism .!l Under these in orde r to attac.h themselves It

MEDIA STUDY

HARUN FAROCKI
FOR OVER ONE HUNDRED YEARS, photography and film
were the leading kind of Image. From the start
served not only as forms of information and entertain-
ment but also as media for scientIfic research and
document ation.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
H....n f _ k l. 5&r!<>tJS Games l.
lead . Films already try to imitate video games-which in
w.tIO<> " OoWII . 2010. two-<:hllrlMl
turn borrow from films. Following the Gulf War in 1991, video. coto/ . 8 min utes
the US military decided to capture the decisiYe Battle
of 73 Easting not on film but computer animation.
Computer animation aspires toward the photographic
fil mic models of representation, yet with each advance differentiation between the textures of 'Iltrlous depicted booby traps or enemies. One can op
It becomes clear how far it still is from the IdeaL In the objects. Stone can be distinguished from metal, but one taking part In the exercise, and the
program Virtual Battlespace 2, which is used by the stone appears the same as another, and all metals have The flrlng range of weapons Is equl
US armed forces for training purposes, tanks churn up the same sheen. spondlng distance In reality. Such j
dust when they roll over the ground and no dust when These militarytrainlng programs are based on real compensate for the laek of photore.
they tTifYel on asphalt. However, they create the same geographic data . One can navigate within the program- tion.A computer animation is not jl
amount of dust whether the terrain Is completely over walk or drive through the landscape and view It from also a datagadget that makes the 1
grown or almost free of vegetation.There is hardly any Yarlous arbitrary perspectives, Instructors can plant calculations- and visualizes them il
 n which we're circum!>tances, even the schizoid flo ws of the Deleuzian
: are no longer desiring mach ines cannOt auto matica lly be consid-
[l a new scene, ered an effecti ve means of resistance (all depends, as
..:ihle reality. h Guarta ri an d Dcleuze ha ve observed, on the ever'
nny as such is shifring relations berween rhe forces of deterritorializa
It ils Sltuct u re tion and rcterrirori ali zation, and capi talism is capahle
'ne specters to of employi ng both), At th is point, thm, we m ight
that space of consider another possibil ity, ano ther mode of spec-
. and Guanari tral thar does 110t seek to evade, repress,
.Andas [ have o r esca pe its ghosts, but, to the contrary, allows them
ca n no longer to conduct their proper work. A genealogy, more
Jhy o f p rojec- over, (hat a qui te different sense to t he
ld net\vorks. !l "kinetic," to the auto-morion of images and bod ies
po logy as nOt in kinetic art and cinema,
from the spec
; G uy Dehord A REBELLI ON OF IMAGES
have hecome If the spectacle turns bodies into images, what would
;hosrlike}, But it mean to ru m images into bodies? In a lecwre- the screens. What was at stake, in other words, was Th
;h t capable of performance earlier this year, the artist H ilO Steyer! not the image: of bodies, but the body of the image IS ;
)ur hee ls? We suggested thar we take a different look at the fig ure itself. " What if images tu rned into stone. concrete,
ieved in some of the (cvcna nt.H H er talk cnacted a kind of descent pla stic, into seemingly dea d things?" she asked.
'"
where use- into Plato's cave, involving a set of screms moving "Would they rhus shake off servitude and mea ning?
nagine: sllch a through the auditorium onto wh ich images were pro- Wo uld t his be an uprising of images? A nd w hat
:he permanent jecte:d . R ather than visualizing Plaro's would they be rebel ling against ?"
e<-tivit)' within however, Steyerl 's images seemed to jump off the wal l l.et there be no misunderstand ing. Steyerl is not
,\ Under these in order [0 attach themselves to the moving body of engaged in a de mystifying act, exorcising the mon-
Str OUS 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 perfor-
m:lOce worth enacting. T he ghosts she conjures bear du
w imess ro a type of injustice th at wholly belongs to <0
our present . They testify 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 rl's fr iend And rea '"Th
Wolf took shelter before being hombarded and killed DO
with othe r members of the Ku rdish resistance gro up sh,
PKK. All tha t re ma ins of the coll a psed cave is a w,
debris-strewn field and sh attered rocks. In a some
what foolhardy attempt to reconstruct what rook
'"
his
place, Steyer! turned the location of Wo lf's 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 milita ry and used in d econstrucrivisl architec- lin,
rnre). Bu t rather dl an buyi ng irHO th e "whole new fo<
lous depictoo booby traps or enemies. One can open lire on those euph oria o f documemary veracity" that surrounds
netal, but one taking part In the exercise, and they can fire back, such statc-of-Ihe-a rt technologies, she tips the rheto- '"
r t'\
II metals have The firing range of weapons Is to the corre ric on its head. " O nce we ilcmaUy try to scan an ani
sponding distance in reallty, Such fe at ures apparently actua l crime or eveflf go ing on, we starr tripping over
lSed on real compensate lor the lack of photorealistIc representa massive lechnologieal limilations, " Stcyerl explained Ko
the program- tion,A computer animation Is not jus1a likeness but in her lecture. This is hecause the 3-D scan does not
ew It from also a data-gadget that makes the fa stest possible re pl'esent real ity, but generates a fractal space that
can plant calculations- and Yisuallzes them immediately. 0 exists somewhere betweel1 the two-dimensional a nd
the three-dimensional, between su rface and vol ume. me
rfs lecIu.&-pe rlo'ma nce TIle 80dy of Ih. (male. 2012, as pan of II>e Berlin D<>cumentao) fotu m 2. New Practices Acr.a Ha ul de, !lul u... " de< Well, Be,Hn. Ju .... 2. 201.2.

stake, in other words, was The measurements are always incomplete since there this reason, Herzog's cave cinema may well be con-
but the body of th e image is a pmentially infi nite amount of informatio n to reg- sidered ami-Platonic, and d uring her performa nce,
rned into stone, concrete, ister, so that the data set or point cloud must conta in wo uld show appreciation for certain aspects
iea d th ings ?'" she asked. many blanks and shadows, forcing the computer to of his cinematic approach, commenting on how he
)ff servitude and meaning? mak\:: " rel igious" leaps in judgment. It is in these sho wed ca ve painting to be a fo rm of "immcrsive
ng of images? And wha t empty spaces, Steyer! proposes, where the re bels, the protocinema ," inhabiting a fractiona l space where
unruly images, can hide. But if they are capable of o bjects and images are able to transform into one
deNtanding. Steyer1 is nor rebellion, it is fl at as pure simulacra, as virtual images an other, and concl ud ing tha t th is prove s th at
g act, cxorcisin g the mo n- alone, but thro ugh the repossessio n of a bod y in that "somethi ng can only be seen under the conditio n of
; within the interior of the fractal (or spectra l) space that lies between rhe two co mplete obscurity."
: proiecrion. That play of and three dimensio ns of Euclidean space. But if botb proiects sha re certain thematic inter-
l as ceased to be a pcrfor- " I found a roll of film ae rhe cave site," she said ests, they arc st ill funda mentally differen t .
Ie ghosts bea r d uring the performa nce. " I was obviously nOt able asks us to conceive of a spectral event of a more dis-
ice that who lly belongs to to develop it. In fact, what I show you here is but a concerting nature [han Herzog's carnal screen :
ocrimes that have slipped 3-D print of rhe o riginal roll o f fi lm, which is too
e new wor ld order, going fragile to hring with me. But I developed th is replica We are seeing an LCD scrttn- its matrix-and we
mpunished. instead .. .. W hat it shows [a n image fla shes on- see the transformatiOn of the liquid crystals which
look place in a ca ve in the screen that bears a striking resemblance to Hokusai 's are (:arriers of the image information imo stont .
They refuse heing tnobili:.e w and
r e Steyerl's fr iend Andrea T he Great Wave] are no longer images of bodies or
(hey foss ilize as if in a fl ash . .. inside the screen and
eing bomba rded and killed body pa rts, but the bod y of the image itself. '" We brea k it open fro m within. And at this moment the
Kurdish resista nr.;c gro up sho uld nOt mistake this body of the ima ge for tha t uprising o f im;lges indeed ha ppens. All screens t urn
If rhe coll a psed cave is a current paradigm of the "' haptic cinema " or "' touch into dead objects.
lattered rocks. In a some- screen " in cinema studies, which revives an old, art-
to reco nstruct wha t took historical terminology that in its desire to expel the And so we return to the breaking point, the apoc-
cation of Wolf's death into ideological ghosts of apparatus theory mo ves a bit a lyptic, uncertain dca th of technology. The specter
.uest digital technology of too hastily. Nor is Steyer! caught up in the recurrent that rises from this co mbustion is not an appa rat us
and printing tedmiques fa ntasy of avant-ga rde cinema, which wo uld bestow of projection. No longer the simulacra of literalist art
: poims ou t, developed by cinema with a living body, returning the eye to a pre- that haunted Fried or rhe huma niSTspecters of kinetic
i econsrruct ivist a rch itec- linguistic state of sheer corporea 1 vision. Rt:\:end y, art hunted down by Krauss, these shadows are pro-
into the " whole new for insta nce, Lutz Koepnick o ffered a compelling d uced and erased (if never co mpletely) by processes
. \'eracity" tha t surro unds reading of how Herzog's Cave of Forgotten Dreams of technologica l co ntrol a nd verifi catio n mov ing
IOlogies, she tips tbe rhero- revived such an eroticizatio n of the cinematic eye aro und and thro ugh us. They gather in the virtual
'e actua lly try ro scan a n a nd how he transfor med the film screen in to a "[iv- meshes of netwo rked spaces; they invade the virtual
on, we sta r[ tripping o ver ing membra ne" by means of 3-D tec hno logy. As caves o f control we build, ca lcifyi ng the arteries of
lations," Steyer! explained Koe pn ick comments, "CavelCinema add resses the info rma ti onal flow.
lUse the 3-D scan does nor eye, not as a window to the soul and the Ghosts will exact their revenge. 0
: rates a fractal space that desire, but as a physical organ, as part of a
ER IC c . H. DE BRUVN TEACHES IN THE FUM AND PHOT OGR APHIC
I the two-dimensiona l and body for which experiences of touch and physical STUDI ES PRDGAAM OF LEI DEN UNIVERSITY. THE NETH ERkANOS.
ween surface and volume . mo tion are integral to the efficac y of seeing. tt U For (SEE CONTRIBUTORS., ro. "" m. 538.

SEPrEMBER 201 2 $33

 20. M . (;. Rich.rd>, NtMon .hot Tra nslanon," in Amoud, The 11'eo'''' j"",,,,,I, Th . /l.i.. It( a New Cln om", / 9j9- / 5I71 INew York :
II< 6. Con;,.., 19721, .191: "Ai tbe ", ... nacrivi ty ,br'd,UJlnll' room co"ti,,-
2 1. Ar,.ud, Tbcalndnd I ii Douhle.6g. ,>ed, an d J.ck kqn cru."l:'1lf. . rc"rd nd tuudlin& , h'$ , h;" . Iowly. ""'Y
$lowly, nn. brgan 10 _, ,n rnU:u.-. ,hat the", was n"'hing, obsulu[oly IlOthillf.,
21. Ibid. 68-6';1lellipocs in OriS1O.1U. alm".t piK< of dUi' .ha, was ,""'" by ",,<iden[, hy chan"". "
2J. Ibid., 47. 49. Aruud, l"hTMdJcr a"d lIS Do<.bie, 1U1- 102.
24. lb[d., 50. An' onin Atla oJ , "'To H e Don . ... ; th the ludg",.nt of God : An
2.S. Ros:otind E. K",u<> A VO)'d.It<' "" the Nor!h Su", An ;"Ihe Ago or Ihe Approri....,;"", in ElI8lilh." ,ran .. Goy Wernli.",. Nor!hwnt
(F. II 1"3!: 1. 1 quOfo frOID rlu: ""nsla"M In whkh Smilh ..... uld he h. d
4
I'"., M.di"", Condili<>to (I.ondnn: Th.. m<I.nd Hu dson, 11100);.nd
f. KTauss. Und,r /lI,,,,('.Mp MIT I'r=.,10l1 !. lIT.". On .. vail.bil;, y of ,h. r. wrding of To H",u wili> the
J.. o{ G,,J. I joa nna I'awlik, " Artaud in Di " ident
26. A... ud. It. Dooble, 11. M. icIu,d, push" .1I<: ,,"oobt;inn
r...... iN ATJ "r M amaanJ HI$ Sur reali.m ond [b e ro" ...... American li lOrar, A... .. ' Gd " Pap.,. of
",""",who[ to nuko .hi< poin,.
;yrm.., 1984),S. S.tm,li.m DO. g (2010), 12- 13. hltp"lw";w.
27. Ibid . 90---91.
2g. In <hi., Anaud', "Oll],.t; c i. nu. I<> ..ille'1 nOfion of 5 1. Gi ller Ddcuze.nd felix Tb",,,d Plat.au$; O>pi.,ujs", a"d
fulfn ki:ot'.... Ihrmized lor an a,, hiSTor lCa l <on'ex' i" V.eAlain lIoi. and .'>dti,,,ph.t,,irl,'"M. llri.n Ma",um[{ M' nn puli" Univecs'tyof Min ........
",I.." Y., .. of l'li"",y,' Look, Ros.tluld f.. K.-:am., Forml"l: A Uu.-'. (New York: Zone, ( 997). P,.... 1987). I.U - .59.
29. A.... ud. Th. TheaUr d...J Its 1)<>0,1*. 12. 52. Ib"l., 15K.
30. IbId., .l9. H. lbld.
31. Anto nin Anlu d, '11 It', d pas d. Flnna"'O"I " ( 1932), un fini,h.d op<u .. l MH;1.
written for Edsard Va,"*, in o.,,,vrtj. 368.
55. Ibid .
32. Antonin C"gh. the .Man Suic[odctl by :;'",iy ' In
:;.. <ran . Mi chao1 Sha w .... IJ.OII'" Arla"d, W,,"ung ed . Su,,"n (Now Yor k: h IT",
(;C)() K fJI"ROC J(.L {TIl'" paSt 525
1984): Iknj. min H. D.lluc:hluh. Strau nd GiIOU>:, 1976). 4YS . ,......., .. bo h. ieil)' trU,ed Ana ud.r ,h.
hndipn R."mnOl1 of ,br N..,.. S. int.A.."" ylwl! in p,,'n<lu n<:n1 him "10" fo r li [.,.,u", yeJyn. KOTI'.S
4 1-S!;and Hal F...,..... 'Wha'" c, ............. ....... /0"'" A"aud; Vitd in Oeuvro'. 1.153. I. T,oxkel: A Cn,"""." M ustO Nacion .. 1 Ccn, .-.dc ruo< R.,,,,
1'0 S-32. 31. A" aud. "Th. SII<:I I . ndthrClcrllmon." 65. s.nrr. , Madrid. May 2.1-Sc p'embrr 24; 1.... 1. to the N.YI Mu.... m. N.w
palos in .. >n Yo,l . OcIOM . 14, lOll-J anuary 13, 20Ll; Ga llery, '- ondo n.
34. A" .. ud. "Sor."tll.maanmu.," 25 7.
J.prinz 2013; Kun" und AU<l1dlungw ll<d IJeuI>Chland,
od IhdL. ir h no< bern en,i,d,
35. Aru ud, Th. Tht"lnq...J /I. P.,.,hle. 72. 8onnummcr201 J .
- ill 100 Yem ofr..n.dly:
'"!' ...,.,.. Pubhcod"" .. 20(0), J6 . See Friedr;":h A. Kinltr. v ,,,,,,,,phone, Film, TYTH""'le" ....... Groff,-.,y 2. For this .ery I"'blic of her im aginaryhe u.". lIy "" iant arti ..
.-,;: To.nrd. a QlX'Cf A"a uod." Winthro p-Young M ic ha.1 lPalo Alro, CA, Stonf",d Uni.ersi'y ideuTifi.d .. intqr;uJ ' 0 ... re.....,,'" a of .......to hryond the I rt hi.u>. iarl
....alism.."ftI["'.ac.uklpa p<n.ol. I"c", and K,,,In', marki on tt.. media. hni.a l basis of IIonol. can"n hy dilp..... l rnd. ed 'piri. " of ;n.., by.1I<: pionurins,
... ." R.. Roberl B,eeh,'1 tt...tcT m M.,Ud.. Iktli" Ud",e. J.'J9.'J. traM. An'''''''r Enn <c. . n:llmali., Ma . i. Sihylb Me,io", near-forgo-run qu ;
M...., M1T Prn!., 2003), UK: Polity, 20101, 88. On audlo.iou .l ".ib,a. i" n., _ . for feminis.rol>jt.e h mad. in to .a. ly 1970s r.ri . by Rotlr F..""km.
in,Un, 1''''' /,hedt., anJ II< DOftI>k, 26--17; Artaut!. Co4uillul .nd the ",,--moly ",", laimed wool oculptulM b,. .... ".".. dcr artist Judith Scon.
I. 119281, in Otuvrn, 25'> and Artoud, ""e eltq"'I.
I tbt AmholnJq," in .1. In 1993. lor .,,"mrl o, T"",kd .ioled an u hi hidr>n .nd i.. accompa nying
b IPak-rmo, Ilal,: IL.A hlm_,
au ciltmtll," .80. buuk "jeae. .. 1 d Ire KiiJUII.".,,, (f.u ry Animal [I IFtmale' Arti"),
....... ....tUJId, B"'",... Bomln
,G::I>.'I Friar. infomoUI ,ririquo:
37. [ .en Art. ud'. op"",i,ion '0 oeem. "ledia ' lhn;ca lly ca ndi
, i""".j: With .he ad"fll' of me 'y_riter. rJOft$ Ki" ltr, .. and >001 fall
".Id.... Tornhc'll Gallery. Lund, S.....xn.
4.Citedm Melitta Kl i<gc, "The Powtf nIExprt:ta.ioo>. in ROU!'Ua,i, r"",kd,
.."bDoo, of mrdium bou"""';.. """ft." Kitdu. t;rd ... opl"'M. Film, Typewrtler. 14. Thi. was p'eci ,ely
Bodi,s of Wnr. 1986--19.'J1I Okl""on. 1993).63 n1. Kli oK" a'1lu"
. " M i.h,d "''laud'.I."",nl in hi, '"undalion:ll oorrespondcncr whh
, lo.. for "]"",,,kol tho n,ool"'''''' r< /ur><-1iu!1la! " "..... . mo.", for rclkaiJ18 0tI
AT" A Crilic,,' .... Mhology. td. 1923-24. in Anm..ill .. Se/tcltd Wrrtr"K'.3 1---49.
h.r OW" rult U ai, art... . nd at ,>thon ao co","""" on imito,ion .. a mode of
iIiiorni.a 1 141. 38. Dtn;1 Holli . " Tho Dealh of r 'fM'r. , .... Two: Art. ud, SOllnd Sy.f<:m. ortm.kinr,.
, " (ln7).;n .... A''''';n A!u ud, ftO {Spring 19971: 27-37.
0. D=i< HoUlo,\ucetltnl .....Y H. Cal\< n,,,,,d thaI II<: had "been ",adinS. grea t de.1of ,.....ud" in I 1%1
iN rbt: 19 j o., rod. Kl in C, hana<
DE BRUYNlKINrTrC .... RT W,n=d POll' 53J
IrtOC 0 Piet.e I\oj,le'; J ean -Jacqu.. and Koben s..muds, ctI,., The
tria.a Sofia,lO l l) i. d ut.d to Bou!e{.c"g. Corrup" "denu, ru n . Robe .. Samuel. (C. mhrid ge, UK , NOIT>
Com bri<Jx. Uni.c,.;ty Preo.. 19931, %. In .ddition 10 a"d I f< 1. S .....ge. d'UH i..tervitw d' Awill j""rfroy "!1U "-,"X,,fty." in
-.ron: Fdm Sccnario. " T,,,,,.,,jo,r no..ble, e.g. app.rently A""ud's N etw: M eIer (1 92.S)-ru, .,,,,m. to r"'j"'/Y. nh. ""t.I Amst..wm: Stnklij k Museu m. 197.).
, anilablt ... the 1950.; Atuud. r
the " " II Wnting I, Pig.h it l<o.-hoH"..... ...,tinn in " More 2. O n Ju nc 23. Rkh..d C. Gr""oc r w'Ott ",.,he following <-",.il, " Ke.p in
's.e...J:.dJ "ltd Ihe Ci"K}''''''It. 11951 1. in Job.. C.gt":An ""JI>oIOgy, cd . Rich..sd K...,el'M'l (New Y"rk: 0.. mind <ha. [hi! Ylua.!he d.wn oitht compure.c. a. Ptupk we" /a.dn ,,,td h'
(;_po. 1970). 9l-------<rnd "n..: Sh,lI .n d , ru, from wh ....b 1M"
"L . . . Iu d" dB"""" blinki"g USh .. Ind . """'i,ned ,h.m wit], ..J oa n<! Irclonologi . I . c.u . l1y
the ph..... "objrctive in the ....... 1'51 Ict1e. 10 Ilouk>.. wid 0.11' 1000 o f tbern ., 520 api ece.... I " ill hayt mony "'... dipping> and
' (1 928 ). in 0............ 308.
Fil m" in / ob" Glgt......" "'nrhnl"lIY. 115. lett." frurn ""'Y f"""",, 1"'<>1'1" who purd......J rbern '" """" .0<1
them a. &ifR.
One lubn ....,.;ne(SSN :l'7 1 N.utilul ) on irs hi..oric trip
\...,.,..cJ fi.lm, _ Jon.,h.n Crary.
4 1. Sec Tht D<utblt. 95.
und<:t ohr Nonh Pole. The ,wo edl!orial. from the SiIUil/io",yl,,'enra/irnMl,
aoba 5Otf:0111989): 97- 107. 41. John "ExperimenTa l D."",i'lC" i.. ,'iil",,, Lu lU'.' "The !ot eiln,,'lI 01 Decay in Art " (1959) and " 0""" Again. on I)ea)m",,,;,itm "
arul W.iling. (Middle,own , (:T: WnJ<y:m Uni .. rm4, 1961), 16; "mud, (1';16 11, arc collrc,ed in G"y Ikbo"J _d !h. ed.
n.., 111 DOI'blt.17. Tom ,\-IcDnnough (;.mbridxe, MA , MIT P",.., 2002).
.180.
4.1. An a ud. Th. Thealn and I.. D.:.u bie. 13. 30. . lI udu ' 0 " nod.-.; 3. 1'I''''''papcr d ippm& """,ived hy author from G......._
fb.,J d, (19ll). [n B=on. "M . nifesro olSo,,,,,,hlnt" in Mmri/e.w. "fS"""""li'm, tra"".
Hel .n R. Richard IAnn A,bus: URi ,..;[y 01 Mich,,"a Press, 4. Dtn"id.a, SPnU'>" of Ma,x, D. bt, lhe wo of
Mo"rning 6- tin New /1IJ""",,!iO lUJl Y<wk: R..... kdse. 19941.
'ran. M ory Corolino
5. Yve-Ala in 1Ioi., " F"",. Field" r h . ... nfth. Kinetic." ArI;orum 3'J, no. J
44. Anaud. II> Do..bIe, 69.
IN"".mbcr-lOOO):
45.J:rck Soni' h, Filmic ... of M o, i. MOnfu" 11962-
53). in W..i, for Mea.lh. BOItom o/rhe p,,,>!: Th. Wriling.o/j..dt5miJh, <d . 6. nlci!1:d in E. /'....a&e' in Moderlt s.."lplu.t [New Yor,,:
(19601. in Cirttwtl (;" .nberj:
1. Hohnm'm and Ldfi_1I {london: 1997) .l-4. Vi.i", PIn" 19771, 21 1.
ohD OBria .., .01. 4 (Chicas,o:
46. On Smith'. rdation to Ana,ld. _ my Ueyond Ih Drum Sy1ldl(4U , Ton}' 7. For aodi(f...n[ appraiS;t I...... N' ..m M. fleo[{. "Room. " f Our T""", U ...16
MoI>n]y l'la&r and ,he Stillbirtb 01 M ulum:di. J.1u..
c", r"d tJ"d Ih. Am Afu, o.ttt INcw Yorl: Zooc. 2(03). "1'. 257- 59.
.,."" P,ojtrt.d in Qmlrmpo,ary Arl. ctI. l'omara. ToJd, {Manch:Ster.
r LaoxOQn " {19401 , in a -enl l 'h. fOrm " , <>,ricred rconomy" and i" ruun'ttp;>n , "\:<n.,.. 1<"<'un"",y, UK: P...., 20111. 2.1-52.
. r. devdoped in Gwrg.. ",,. ilk, The Mamea5hare. vol. I, tranl. Roben
it:ism. ctI. John 0'8";. 0. vol. 1
HUrlt), INew York: Zonc. 1988). These ,deu "" found in A".ud,
8. Derrida. Spec",. ",Mar". 148.
both in TIt.Thealnand II< D""bl. {t h.lan.r in .he 1I0i"" of tn I bdnS 9. Fnct!, "" and (Chic>gc>: Uni,crI;,y of (;hicago I"eu,
"an immc.d.... g..,uitou.tle.. P<<W<li<inR .. cto Yl itlwut u:l<: or I'mltt" [2411.nd 19981. 171.
in TI, H_ no,., with II,,, J"dgmool 0/ Cod. 10. Kall M.anr. Capi!al, A OiljqHtof/'o/i/,eal ECONOmy. IIorn ......,,'"
Sa" M.b s, "JIC. Smi,h. or The End of C;;vlltu. ion.- In Movi. /1'1...... " ork: Vunase, 19771,
II. But ,",e .1 ", Fritd '''' I'O't-lIredtfi ." 10gb, effKlo u. "the ..ion New II:Ih)'lon .,d,.,..JiLn Sigmund O'.-nOCCOUJ1' oltl>< "I Yot!<. pOle 250 : VlewolTtlomas HlrKht
nf 1"dd', six-cuhc piea ." the Gall .,. ohows fri cd might (he urban .e. " 'hieh one , od i",oIun'a. ily .0 'en"" ro 2010. C Artists Rigl1ts Sociely lARS). New
h... used Ih< m",c o lmo... <unlpl "I ;n,.. I1 ;""s by SoII..cWi,t m D.n .. me Iwhkh in freud" ""SC to be proS('lu{ion l.Qno.'/. In tho CI"- 1959. PhoIo:
FI:. .. .... n ObjtbonJ, 172..23. tt1I! COn{ U'. w< .on<ide. Babylon .. . d IlOIl .n'nJ<n1 "f RithtsSociety[ARSI . New YWAf)N';. p,
kineric u! ,ha r is trul)' ,mmer .j,e .nd l""icil"'lUry in ronrr." ro Schoi!d. No.1. 1959. 0 Artis ts Rights Soci.
12. I(nlu", I'd,ro8e. In .<>o.lp''',e.
cY(tO<rne liC)'Fi"iodyn.micl .culp"''''s, I l"wever, Con". n. ', 405: Envtroorneot designed a; Rober
I). Kra.... w "uld ,uMel! Wl'h H "tJn<:lm;"" in "The C;ulr ur.ll.usi<: ohhe La r(luion to .u'om,uiu,io n ,"c hnul"II'Y i, c" mp l. ParaJuxiu lly, s lum on HDtabilily. \Ier"ot:ie. CA . 1%9. O N
C'ri..,list M useum," (lao/>f' H ( 19901:3-17. lI.bylon ",lied on """,po.eri.. d m.rniDc:I"}' undcrground) '" .u"a,n Mcluh2n at hOme In Toronto, 1966. C He.
14. Domin ique hin;, ".","uld W. Put an E.noJ " , p.. " , .." . Ros.:.l,nd a nomad ic c""i"",nec nlendl... dr ift \><o,<p"und. Pl>ge 472, frle<lrIdI NielZsclwf s typewritE
E. Kr.u", O"oIH. 110 (Au",m l1 20041: 23-48. ball. C Th e Goe the and Schiller "" chive. \
24. Hi!o Stc)crl . The Rod)" of'itr Imalit. The 111' fC-pc,fo rm.,.." I'lace
15. The "l."jc ' U ' .. Jl."an Lou;. ry, "Idwlogical Effects of Buic a'
during Ih. B",lin Documcnu ry fo r um 2 rhe H.u, n cr Kult ",,,,, <.Ier Wdr. All imajes C Estate of Stan Bfakhaee and
NiOOIa8 La Ville eyOemlk/Que fT'
Appa"'. .... in ;'pp"ral"s, ' de..J"IO'. cd . Philip Bo:rli n, OII June 2. 2012. 1 ... ""Id 10k. '0 !h.nk t he .rtis! for mak,,'t ,he
SocIeIy (ARS}, !<Iew VOrk/ADAGP. P;vil\. P
JI._ (New York , Columbia Uno.c. sily P... 1 286-98. s..:.
in tenp! ava ib bl. to me.
1958-59. C Arlists Ri&hts 50clety l ARS).
1ac.l!.oudry, COmment> nn.he "arunCtrn<n' of the d iff... en, Icin<m3tiel d<- 2.5 . Lun Koqmick. (iect"... prtkn'oJ durin, Nl cola5 Schlllfe<. Maison !tou de serrure
" ,{f....-pr..;.c{ot. darkcn,-.) holl. <C"fUn" OS rtpruJ""ing , he mi..-... -sconr o f "Oi,playlDi'posi,i,-e, ,o.<llh.,i , :\{odcl. nl -rh.,,,gh,. " U"i"c-niry nl CoIOft'K. Socie ty (ARS). New York/ADAGP. {
I'lno,,,,,. p. 2'H . 1
M'r 2,2011). SchOff...s studio with CYSI' 1.
16.llru,," S!erli "50 " MC<!i . 1'.IOOll[ol"l\Y. in B,,,.. or
ImagjJt"r)' MMia, l . (ARSI. New I'OrIc/ADAGP. P"ris; Pago from
Eric Kluitcnhe'l (ROl1crJam: NA : 200'). bO-62. 1lQ"". (TcllOU. 1969). CI Artists Riehls SocI
Caption Itck nowle<lgmllfllS Pit'" 494: Al l Dhotos of Antonin A'tavd l
17. S., Gill.". Ikleuu, Plaw .nJ th t S,nlUl>crum in Th. LIJK;C
4: Page from Artfowm 4. no. 410eceml)e r 1965). Dan Flavin. " . .. in des MuseeS NatioMln. Pace 496, Shoo
INew York: Uni ........ ny P","" I \I'J(l), 25J--66; J<lIn nouclr;llard,
daylieht 01 coot White.' an s ketch. " Shown: Dan Flavin. the GBrmaine DuIOilC 'S 1928 L.Q Coqume <!! Ie
"-"'I D."",,, lOr (SId..., : Univ< ..ity of 5yd..." 19871.
dflttonMot May 25. 1963. C S tephen Fla";n/ArJi sts R'eht!; Society [ARS). Cle,gyman). P'm'o: Bibl iotMQua nallon,
I M. See .."'0 Bn.rd; ( Kifol, Fi'<x G,jdlla.;: Thought. f"r,e"J. hip, "JtJ New Vorl<.. PaV> 5.: Nicolas ScMIt",. MIIiSOll TIOu de Serrure (l\.e)4loIe House). Altaud. La TlM!;jlte 01<! tli 1iM6. C
Vi,i<,,'.J1)' Gmog.al,hy iNew York: Poolgr.o.-e Mocmillan. 2008}. 1955. C Altists Rights 50c le ty (MIS). New Paris. Pale 61 : Y!)rk/ADAGP. Paris; Gastor>-Lou is Roux. pc
19. lbiJ., 85. Chlll1es A. Csuri Project/Dhlo Slale Unive<sily. Pille! 104_105: "-II WO<ks by DrQdllClion of V"dO<. Oil. lll$ fttfanlS au po
Dan Flavin CO Stephen Flavin/Artists Rights Soe,ety (MIS). New Yof!<. Page Power). 192B. Ptooto: Bibliotht'!que nali on
20 . G ... . t:lri onod G ille< -Il.ana: 5hre, . rrogram f", Dcsirinll- 114: Hans H88Ck&. HiltcnirJ". 1969. CH8I\S Haa<ke /Artista FtighIS the first edition o f Antonln /utaud's 194
!.bch;ne,, in S...."'usl(.) 2, no. 3 {19711, 125-27. ' ni, doc:. nu' Society lARS). New York/VG Bonn . Page 135: Co . .. r of n ...... Jugemeflt de dlcu ITo Have ()one wit h til
dncribe on ""Iua! WQlk by Tinguely but doel ><:em ',,011,,<1< [0" well known magazf"" (June 21. 1986). Cowr Im8]je by Roylicllenstein. 0 Estale of Roy 1948. PI"IoIO: BibHotMque
photoy.ph "fh " C-y<:/a-Gravrllr. 1961 . Lichtenste in. Page 147: Frook Stel la . 1em",. 1963. Frank 5 te ila/C Artists para\o,y notes lor his 1947 ,adio pi..,.. Po
21 . An. on io Negri. "The SI>' ''''' Smile," in GhQiidr Dtm""utlOn., cd . Rlghls Soclety{ARS), New 1'0<1<. Robe' t Morris . Untitle<i(Corroet Piece). 1964. ITo Have Oone with the Judgment of Goa
Michul Spoini<cr (London : Verso, 1999).9. C ArII$I$ R\d1ts Soc iety (ARS). "",e157: LygiaClark. /900 1>Itlro- tr>o!!Qu" nlltion31e de Franca . 509: I
polSgioII Drool). 1973. Photo: The 01 Lygia CIIIriI Warhol FoundatiOO for the Visual Arts
22. Enc dc lI",y", "Topologkall'.rh_,.. G.ey Room
Association. Pl>gH 169- 1 10: Vlews of 'les - 1985. Cettlle New VOrl<; MtdyWBrhOI. f8lJni! Too Fasf. 19
2$ ( Fall 20010): 32-63. Potnp;dou. Paris. Pi">o1o: natiooale de Frar>ee . Page 199: 'o\<C>rII\e fOt the Visual Arts. fnc./AltlSI$ Righls So<
2.i. Tn d.....-lop <hi> "'I.""n!, i! would to< b<:ttSl'.<ll")' 10 01.100"""1< ho ... . uch Rai ner. This is tile 5UWY 01 11 woman who . ... 1972. 0 Babette Pase 525: All images by Ro s-c-marie Troc kel C.
!opolog;.. a.e a lruJy ..d with 'he - .. ni 'ory urhani sm" of , h e from Arlforum 12. no. 5 (Ja nuary 1974). C 1972 Sabelle Mangolt ... Pale York/VG Si ld-Kun s t. Bonn. Pal" !i21!: Jal
Sirua !tOn;" I n... M . ion l "'.... y, t he l.byrinth, Ilf (".o n lu n!. In 200: Yvonne R&ine'. YrioA.196!l . PhotO: Pete, Moore/VAGA . C of 1 960. C Artist! Rights SocieIy(ARS). Ne
c.mstant', lohy"n.h ''''' New Babylnn , I ,hc", is .... path of T(!urn . Petel Moore. Licensed PII,e 22B: ThOO1>15 Demand . Komro/lrlIum L.aD6 MohoIy-Nagy. Lighl p1ay: BS/IcI<,IWItIte
w.lko the re w ill Ii .. in .... r. of permanent disurim,orinn. Tl",. (Conllol Room). 2011. 0 Thomlos Demand. VG Bi ld-Kunst. 8orvI/ .l.RS New Sociely (.i.R"S). New YOtk/VG Bil(1-K\!n$1... Be

Atone 00II F-. ,-"", to tJle_ 13 (\;rectQf Ctln>l,n Chns:

of Sf.... Rekf>. 1982/201.2. Anne Tereu De '"' ... stuOen! WDlid E\M-..i. (Proo'o: I!.:!ef
00"",". (P\'IoIo: H"mmn SorlltlOOSl

" It WIlS immediate ly obv iou s to everyone what Tate "Art HK's VIP calendar nine pages. each eve nt "Pemaps Documen ta 13 shou ld
Modem has achieved: Nearly a hundred feet In d iemeter more exclusive than the last. Some we re simply on the torium. not the seminar. Or perhaps
aod over twenty feet high. sO lJndproofed and kined out tist to announce that they were too good lor you . po int to something suspect at the 0
with theatrical Iight5. this is an important new space for " Lee Ambrmy III the editlO<l or Art HK - Kae len WilS<ln--Goldie at Docume nta 13'!
live performance."
- Nikki CoIumt>tos on too lau ncl1 Of T8Ie MoOern 's TankS

SCENE & HERD

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