Sean Cubitt on Tue, 25 Feb 2003 06:36:01 +0100 (CET)
|
[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]
[Nettime-bold] Principia anaesthetica
|
Title: Principia anaesthetica
Principia anaesthetica
Future dimensions after the vanishing point
[self-annotating manifesto]
"vita brevis, ars brevissima"
If you don't like risk, complexity, flux and change, you came to
the wrong century.
*
Something is about to happen: "Something wonderful"
according to Kubrick and Arthur C Clarke. Or, according to WS
Burroughs, "Any moment now the entire fucking shithouse is going
to explode". Or implode (J. Baudrillard). Whatever.
What's great about the future is, no-one knows, because it doesn't
exist - yet.
Art isn't dead. But walk
into any major museum gallery, any fashionable opening, and watch it
committing suicide.
New York circa 1960 went high concept about a decade before Hollywood.
Since then the hottest thing has been to riff on Duchamp's
Fountain (What would music be like if we were still trying to
fathom Cage's silent 4'33"?) - as if the chessmaster
hadn't found another gambit (Etant donnée). When art started
its great enquiry into perception and objecthood in 1905, it undertook
what philosophy had abandoned in the 'turn to language': the
philosophical critique of modernity. Now the avantgarde is
autodeconstructive.
Rejecting the modernism of Joyce, Schoenberg, Mallarmé and the
Duchamp of The Bride Stripped Bare it rejects difficulty,
responsibility (to the difficulty of modern life), and craft (an art
at least as well made as a machine tool).
And where these persist (in Ian
Hamilton Finlay's garden at Little Sparta in the Scottish borders
perhaps) is the margin.
Because if you're
at the centre, you aren't.
Because the centre is a point -
the dimensionless victim of relentless acceleration and the death of
distance. Dimensionlessness - the catastrophe of speed, the black
hole of meaning, implosion of the commodity spectacle, empty heart of
hyperindividualism, windowless monad, singularity, the infinitessimal
at the end of history: pick your theory. At the centre, Nothing
exists.
The contemporary is
always elsewhere
And where you are, where
you can, is the margin
*
The centre doesn't exist and the future doesn't exist. But we know
some stuff about What Happens Next. There's a diary of elections,
international meetings, budget announcements, sporting fixtures, opera
seasons . . . . New Line have a release strategy for Lord of the
Rings stretching to 2006. The calendar of Olympics and biennales
piles up at the feet of Benjamin's angel.
And then we know some other stuff. The oil business will go on
strangling the seas, slaughtering species and throttling the human
world. The weather will get stranger.
And this will be the Chinese century. Why else would Microsoft have
brought forward their handwriting-recognition handheld as the
Next Best Thing?
"The third beta (late test) version of Microsoft 2000 included a
handwriting recognition system that duplicated the functionality of
the popular PRC product Han Wang. "
(http://www.usembassy-china.org.cn/sandt/pdms-hw.html). Not
content with stealing the Chinese code, the entire concept of the MS
product was propelled forward at least a year by the announcement of
the NGO-supported, extremely cheap Indian Simputer designed for
village communication in poor regions with low literacy using
universally available freeware net code:
http://www.simputer.org/
We will only get voice recognition when Africa and Papua New Guinea
become enticing markets (like we will only get decent batteries when
the power supply goes feral).
What happens next was meant to be a surprise.
Someone stole our
future.
*
Coming soon, the informationalization of everything. If you rip and
burn its DNA, does it matter if the painted apple moth goes extinct?
Tom Ray's Tierra was meant to model eco-catastrophe. Today it looks
like a compression algorithm for coral reefs.
*
Not the least striking quality of digital media and the media arts in
general is the level of skill involved, indeed required, of the artist
who wants to make a mark.
Mark-making has a machinery under it for. Designers, engineers,
offshore parts and construction plants, maquilladoras with their
broken lives, immense generosity of unnamed barefoot philanthopists of
code and crystals, the famous and the infamous.
Give, before it is taken from you.
Give back.
(When DG Phalke made the first Hindi films, he apologised for using a
camera Made in England. Until such apologies are once again
forthcoming, the idea of a national film industry is shallow, far less
impressive than digital craft, which few people, beyond an occasional
funder, care to identify by nation. You could of course say we grew up
borderless in the web because the web was American, but now English
has only a few years left as the majority language online. The new
lingua franca will be written and typically a second or third language
(Arabic, Mandarin, Spanish, English). What that means for
literacy - a paradise of mutation, a hell of instrumental jargon,
the annihilation of the remaining small languages - becomes a
political issue in the warmest sense: a question of citizenship in the
polis, the cosmopolis.
*
"Biology is destiny" (Freud): As much as the genome drives
the scientific imaginary, and as much as science is the dominant
culture of globalization, Freud's crude epigram describes tomorrow's
cosmopolitan art. Dimensionless again - the only thing worth
becoming is what you already are ("Neo - You are the One").
When the only thing worth looking forward to is the past, the future
is only the past you discover that you already are - that you were
born with.
And
creativity?
will be only the most highly priced commodity in a world of
proletarianised consumption, where the rest of us poor schmucks have
nothing to sell but our attention to the screens.
Already in the wind is the de-professionalisation of art and to a
lesser extent of media. Not that there will be no livelihhods had from
creative making, but that the amateur can-do spirit of sharing is
already more significant than the professional gate-keeping of
schools, galleries, institutions, critics and the artist star-system.
Unfortunately the proliferating amateur media makers mostly want a
slot at Sundance.
Digital tools for creativity - and biotechnical alife tools - can
in any case be expected to automate gag-writing and plotlines.
How long does it take to train an actor? Say a few carers, a few
friends, a few teachers, for fifteen or twenty years: about a hundred
and fifty person years. How soon will synthespians be trainable in
less? And to give them an environment to observe? Say, something
scriptable in five years time, but something autonomous, capable of
reacting, of charming like George Clooney? - - twenty years
time?
The self-generating movie may become a possibility in a handful
of decades, like the self-generating factory product.
What is harder to imagine is a way of automating the consumption of
culture. Work, in the old sense of labour sold for a wage, is fading
from the knowledge economy. What's left is the saleable commodity of
audience attention, yours and mine.
We're worth paying for only as long as we consume.
*
Ideology began to fade away in the 1980s, not because we got bored of
spotting sinister motives in innocent texts, but because there was no
longer any reason to hide anything. Hollywood-MTV-CNN is an industry
of hidden shallows. In terms of its ideological ambitions, it aims low
and misses. Deep structure and concealed messages are only redundant
functionalities, like the unusable button on the VCR that will record
on a Wednesday lunchtime halfway to Kingdom Come (but only if you
don't use it for anything else for the next ten years).
Ideology is added-value. Like a crowded CGI background or the
never-before-seen extra sequence cut from the release print, it's
only there to encourage you to buy the DVD.
*
- if the deeps become shallows
- if the creative becomes automatic
- if attentive consumption replaces factory discipline
why should
we worry about intellectual property?
The copyright owner is rarely an artist. Bertelsman's 2002 relaunch of
Elvis tells it like it is: copyright is a library, the archive is
wealth, and the fostering of talent that's claimed as a rationale for
over-pricing and exploitative contracts a myth.
First privacy disappears.
Then private property.
The web giveth and the web taketh away.
But if there is, as Richard Barbrook says, an internet gift economy,
the undisciplined consumer cannot just take. Such was the contract
between the Greatful Dead and their legitimated pirates - give and you
shall receive. There is no honour among thieves. The trader must have
something to return: a story, a good luck charm, the name of a new
god.
The global free market is a lie and a deception. The confrontation of
the Chinese gerontocracy and their planned economy with the
ideologists of GATS is the beginning of some strange new world.
Capitalism is visibly failing. Land reform (Mugabe) and Islam -
however demonised - flag the beginnings of a revolt of the
dispossessed.
Because, since the Bretton Woods agreement, all debts are paid in US
dollars, the dollar is over-valued. It was that surplus value that
created the vapourware dot.com pile-up of the 1990s. Solutions for
global inequity 1: disestablish the dollar 2. open the borders. Once
Europe meets its colonial past at home instead of on the tourist
beach, it will find reasons to develop the underdeveloped world.
Arts and media communicate, but in the 21st century e-cash
communicates universally. The new culture can no more afford to be
economically illiterate than it can afford to be digitally
innumerate.
*
The old modern politics was conducted in a geography of exclusion.
Today global flows maintain, corrupt and decimate nations whose
politicians cling to the last vestige of power: the chance to attract
more global flows. Distinguishing politics from economics has become
impossible. Politicians merely mediate money and power - that
inevitably come from elsewhere and go elsewhere - and are mediated
by them. The more globalisation binds all humans (and all
environments) together, the more communication becomes inevitable, and
the more it is mediated.
Money and power are becoming media.
*
Ideas are money and money is an idea. Information wants to be free but
is everywhere traded in the marketplace. The global mediascape is our
new planet. Anyone not in the information society is left to die on
the old, brown, desolate place abandoned in the rush to the data
economy, no longer ghost towns or rustbelt regions but the tragic
continents of agriculture and manufacture.
Neither creating nor consuming the information economy, Africa is
supernumerary.
All art, all media in the 21st century must confront this actuality or
be condemned to the depthlessness of entertainment.
*
The 19th century avantgardes wanted to make artworks that would escape
the clutches of the old - and became collectible. The 20th century
avantgardes wanted to make techniques that would be unrecuperable by
the old - only to see montage, surrealism, even conceptualism become
advertising and branding.
No work and no technique is of itself
radical, progressive or good. Only the relentless pursuit of works and
techniques other than those that existed before is worth the effort,
and even then in the knowledge that as soon as it is public, it
becomes the property of Madison Avenue (further proof of the
fallibility of the intellectual property argument).
The Walker Gallery
archive of net.art is emphatic - what it shows is no longer
'art' but a history of art. It is an honesty all galleries should
have.
The phrase 'finished work' is no longer applicable to
21st century art. If it is finished, it is over, a museum piece. And
even the unfinishing has been relieved of the burden of art by
advertising.
The arts of the 21st century are radically
ephemeral. (further reason for the failure of 'ownership' to account
for art)
*
and radically social. C21 can no longer afford individual artists, not
just because the tools are already the congealed form of all the
workers who made them but because the studio is no longer a garret but
Paramount c. 1939.
The most significant modes of media are now, like games, CDs and
graphic novels, collaborative. P2P and Open Source contest the
privatisation of biotechnology, the individuation of destiny.
The individual - crown of creation from renaissance perspective to
Romanticism to the guitar heroes of the 1960s - is now a museum
piece along with the art it made. The individual that remains is only
a temporary node in a shifting network of communications. That, or the
micro-unit of increasingly precise target marketing. The family
imploded under the weight placed on it in the destruction of the old
communities. Now it is the individual's turn.
Anonymity is no longer James Joyce's choice ("silence, exile and
cunning") but the necessary condition of any making.
After the end of geography and history.
Because new corporate media will be increasingly
transnational, the new art will be translocal.
The only art that looks like art that's still worth looking at comes
from the geographical or social margins where the traditions have not
been mined out and the contradictions still play. The rest of us have
to invent new margins, and learn from the old margins what is most
unwanted by the art system. Art itself has to vanish if it is to get
through and beyond the vanishing points of the spectacle,
hyperindividualism and the cybernetic black box.
After the work, after the technique, the new art is the invention of
dimensions.
At the margins of exclusion, of relentless innovation, of the
perpetual building of vehicles for escape from the boredom of the
professionalised centre, there can be no vanishing points.
Only moments of becoming.
*
Either we are alone in the cosmos, or no-one wants to talk to us, or
they are talking but we aren't listening.
If Islam can't hear the voice of the West and the West won't
listen to Islam - if we cannot establish intercultural dialogue -
what hope of talking with another species? What could we possibly have
to say?
Either we learn to hear when our organic and technological sidekicks
on the planet try to talk or the universe may never experiment with
consciousness again.
Our planet and our own species are dying. The future has already
started.
We had better get ready to change.
Sean Cubitt
Aotearoa
--
Sean Cubitt * Screen and Media Studies * University of Waikato *
Private Bag 3105 * Hamilton * New Zealand * seanc@waikato.ac.nz * T:
+64 (0)7 838 4543 * F: +64 (0)7 838 4767
http://www.waikato.ac.nz/film