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

SEP TEMBER 20 12 529

Ghosts have a nasty habit ofcoming
back. And to imagine kinetic art's
future apparitions is to revisit the
notion of the spectral commodity.
We ....' lio"og. CRve of Fotto"""
Ore..ms, 2010. liD IIIclec .
95 m,nutes.
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
jeCt is 10 bt toppled frOIll his :.car, a tri\(.; kcd br rhe cleared for a more inrel1S{" (or
lIghts oi spccucle and the refore awakened to its ill u- thl' networks of fl o'
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
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
.1. of cave passages-it's lik e
I phone directory, he com-
:als his own stakes in using
ht Chauvet Cave in France:
)atial replica of the original
istent stram o f time, imagin-
of tempo ra lities
orderings of his w ry.
d in Herzog's film: Wha t,
:al relationship between the
ie and digital
cave as a site of ideologi,;al
'erawry maze? To begin to
we must keep in mind that
'sions of media archilco logy.
writing of linear hi stOries, in
:Is into another according to
of continuous rechnological
,no (h's scheme that creates
es the history of the virrual-
matic Virtual Env ironmentl
)es or Lascaux?) r he other
md, following the (ue of the
:lrt: melancholic anit mk--
)oded o r extinct with in te(h
er t ha n c hasi ng afte r the
-ofthe-art-
e Iarrer, nonli near route, I
I Media Pro ject, cofou nded
Sterling in the midst of th e
)s. In a high ly entertaining
conrology" in 2004, Sterling
)n with rhe phenom ena o f
edmologies that had been
"curiosit ies o r embilrrass-
n that lies "beached on the
Jlescence ," Central (() his
that the computer has on ly
)f obsolescence. It contai ns
listieatt:d instabi lities" that
: and decl ine" and a re beset
gs of th reatening ghosts and
11 is to debunk the "Platonic
mer age with its imagin ings
lthernatica l" environm en t.
g asse rts, we arc forced to
dirty, makeshift, anarchic
iruses and worms ." On the
we sit in "stupefying squa-
aps of junked technologies. Iii
o (xp!ore a t the botrolll of
)f passages, mo re w explore
epths where philosophers
:hing the " demon images"
lious si mulacra " (Deleuzel
multiply so That, in the words of Nietzsche, "behind
MEDIA STUDY
eKh cave [there isl another that opens sti ll more
deeply. "1- Hut let us nO! sink into the llluck at the
bottom of that endless series of grottoes. We shou ld TAKASHI MURAKAMI
allow that odd assortment of artist-spelunkers, such
as Giuseppe PinoTG3Ilizio, Robert Smithson, Mike WHilE PAINTING has been my primary medium since
Kelley, Werner Herzog, and T homas Hi rschhorn, to I was eighteen, scu lpture Is somethi ng that I began
pro\lide a tour of rhis cavernous maze some other time. exploring later on, with the help of several loyal
Instead, we should pu rs ue the revenants of partners. I also consider running my own company,
kinetic art elsewhere. To the melancholic disposition Kalkal Klki, and Its related stores and galleries to
characterizing the va rious 'dead-media projects" of be part and parcel of my artistic practice: the advan
media archa eologr, we might oppose rhe d elirious tage of this lies In the direct communication with
o perations of thc desiring machines of Felix Guattari my clients, which allows me to haWl an up-close,
and Gilles Deleuze, which, as they stressed, were not realtlme perspective on the economic and cultural
w be seen as ideological pro jections, were not 10 be changes happening around the world.
confu sed with either gadget or fantasy. (Those arc Maybe it goes wit hout saying, but the advent
bUT[he residues of desiring machines, they insisted, of the personal computer and the invention of the
that have come under the sway of the market needs Internet have been the most astonishing technologi-
of capitalism a nd psychoana lysis.) Rather, they are cal developments of my lifetime. When [started my
machinic assemblages of dis parate COtll- career, It was extremely difficult to communicate
sch il.Oid macl1 ines o f d etcrrirorialil.ation one's Ideas to large groups of people- I evt!n resorted
that cur into the semiotic flows of capital ism, creat- to publishing my own free newsletter. So for me,
ing transitional moments of pure intensity. the current proliferation of socialnetworklng outlets
provides a miraculous set of tools and has been
One author has given us a description of Guattari
suspended in "melancholic eCSTasy" while visiting crucial in the promotion of my wortl.
I don't know much about other forms of technol
a Tinguely retrospective at the Centre Pompidou in
ogy, but the spread of computers has truly constl
Pari s in Guattari accepted the banali"lation of
tuted a global paradigm shift, and I Imagine that
Tinguely 's work as a given; ill the philosopher's view,
In twenty years' time another equally revolutionary
this des(:ent into artiness did not dimin ish the poten-
breakthrough will occur In new media . My hope is
tia l of these phantolnatic machines to become devices
that my work has the flexibility, unlWlrsality, and
by wh ich "w try to hook into the cos mos. "11 Delcuze
relevance necessary to take advantage 01that
and Guarrari would, in fact, draw a paralle l between
moment when it comes, and that I will personally
Tinguely's kinetic machines ,md [heir own uesiring
be able to participate In that transformation.D
machines, because each initiates a kind of interplay,
a joyous dismantling of the machine's fun ctionalism
so t hat "the grandmother who pedals inside rhe
automobile under the wonder-st ruck gaze of the
c hild, n as DeleuJ.e and Guartilri exult, "does no t
cause the car to move forward, bur, through her ped-
alling, activates a second structure which is sawing
wood. i:)ut can we rake Dcleuze and Guarrari's
word fo r it? Are they nOI dealing in metaphors here?
Have they nor circumvented the spectral aspeClS o f
kinetic art a liule tOO quickly?
Ghosts have a nasty ha bit of coming back. And ro
imagine kinetic a rt's furu re ap paritions is TO revisit
the notion of the spectra l comm odity. Indeed, a fter
Derrida. after Marx, Antonio Negri deemed the con-
struction of the spectral commodity to he itsel f out-
moded, arguing that such a model of the uncanny
o hject belongs to a former, Fordist phase of ca pitalist
development. In ils currcnt sta re, t he la bor para-
d igm-in particular the distinction between intellec-
tu al and manual labor-has ch3llged. As a View ofT8lutshi MurakamI" 'Ego,"
resu lt, we live in a world where (ht' un(:anny recur- AI Riwaq, Doh . Q....,. Photo: Gioo .
rence is not lodged in the objects around us; rather,
SEP1MBER 2012 531
Today, the exploited subject appeats
on a new scene, which is presented as
a mobile and flexible reality. We have
become specters to ourselves.
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
lead . Films already try to imitate video games-which in
turn borrow from films. Following the Gulf War in 1991,
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
It becomes clear how far it still is from the IdeaL In the
program Virtual Battlespace 2, which is used by the
US armed forces for training purposes, tanks churn up
dust when they roll over the ground and no dust when
they tTifYel on asphalt. However, they create the same
amount of dust whether the terrain Is completely over
grown or almost free of vegetation.There is hardly any
on ly "a radical 'Unheimlicn ' rema ins in which we're
immersed. "11 H ere the ghosts of M arx arc no longer
val id; the exploited subject ap pears on a new scene,
which is presented as a mobile and flexible rea lity. It
is nOt that rhe experi en ce o f rhe u nca nn y as such is
abolished-how co uld it bc?-bur that its Structure
has been interna lized: We have become s pecters to
o urselves. Thi s ca n onl y ha ppen in that space of
tOtal inrcrconnl'Cted ness that Dclcuze and Guattari
explored with their desiring ma<.:hincs . And as I have
argued elsewhere, this is a space that can no lo nger
be descri bed according to a (Opography of projec-
tion , but only as a to pology of llows and nerworks. l.l
Some have posed this k ind o f w po logy as not
only a but a mt:ans of escape from the spec-
tacula r space of ca piralism, w he re, as Cuy Dehord
claimed, all co mmod ities, a ll bodies, ha ve hecom c
images (and real ity has become truly ghostl ike). But
a re such d eterri tQri aJized lines of fligh t capa ble of
outrunn ing the specters nipp ing at o ur heels ? We
know th.u Debord , at least, still beli eved in some
bedrock of a uthentic selfhood, a domain where usc-
va lue stil l he ld sign ificance. But to imagin e such a
refuge no longer seems tenable amid the permanent
displacements and d isloca tions of subjectivity within
a post-Fordi st sta ge of capitalism .!l Under these
H....n f _ k l. 5&r!<>tJS Games l.
w.tIO<> " OoWII . 2010. two-<:hllrlMl
video. coto/ . 8 min utes
differentiation between the textures of 'Iltrlous depicted
objects. Stone can be distinguished from metal, but one
stone appears the same as another, and all metals have
the same sheen.
These militarytrainlng programs are based on real
geographic data . One can navigate within the program-
walk or drive through the landscape and view It from
Yarlous arbitrary perspectives, Instructors can plant
circumstances, even the schizoid
desiri ng machines cannOt a ut.
t:rt:cl an eflective mean s of
C uactari and Deleu ze ha ve 0
shifting relations between the fo
tiOll and reterritO rialization, an.
of em ploying both). At this p
consider another a
tral s pacc--one that does nOt s
or esca pe its ghosts, but, to the
to con duct rheir pro per work
o vt:r, t ha t provides a qu ire d
" kinetic," to the a uto-motion
in killetic art a nd dllema.
A REBELLION OF IMAGES
1f rht: spectacle ru m s bodies into
it mean to turn im ages into t
performa nce ea rlier this yea r, r
suggested tha t we take a di ffer
o f rhe revenanr.lt H er talk cna.
into Pl atO's cave, invo lving a s
through the auditOrium onto wi
jecred . R at her tha n visualizin
however, Steyerl's images seeme
in orde r to attac.h themselves It
booby traps or enemies. One can op
taking part In the exercise, and the
The flrlng range of weapons Is equl
spondlng distance In reality. Such j
compensate for the laek of photore.
tion.A computer animation is not jl
also a datagadget that makes the 1
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
stake, in other words, was
but the body of th e image
rned into stone, concrete,
iea d th ings ?'" she asked.
)ff servitude and meaning?
ng of images? And wha t
deNtanding. Steyer1 is nor
g act, cxorcisin g the mo n-
; within the interior of the
: proiecrion. That play of
l as ceased to be a pcrfor-
Ie ghosts bea r
ice that who lly belongs to
ocrimes that have slipped
e new wor ld order, going
mpunished.
look place in a ca ve in the
r e Steyerl's fr iend Andrea
eing bomba rded and killed
Kurdish resista nr.;c gro up
If rhe coll a psed cave is a
lattered rocks. In a some-
to reco nstruct wha t took
cation of Wolf's death into
.uest digital technology of
and printing tedmiques
: poims ou t, developed by
i econsrruct ivist a rch itec-
into the " whole new
. \'eracity" tha t surro unds
IOlogies, she tips tbe rhero-
'e actua lly try ro scan a n
on, we sta r[ tripping o ver
lations," Steyer! explained
lUse the 3-D scan does nor
: rates a fractal space that
I the two-dimensiona l and
ween surface and volume .
The measurements are always incomplete since there
is a pmentially infi nite amount of informatio n to reg-
ister, so that the data set or point cloud must conta in
many blanks and shadows, forcing the computer to
mak\:: " rel igious" leaps in judgment. It is in these
empty spaces, Steyer! proposes, where the re bels, the
unruly images, can hide. But if they are capable of
rebellion, it is fl at as pure simulacra, as virtual images
alone, but thro ugh the repossessio n of a bod y in that
fractal (or spectra l) space that lies between rhe two
and three dimensio ns of Euclidean space.
" I found a roll of film ae rhe cave site," she said
d uring the performa nce. " I was obviously nOt able
to develop it. In fact, what I show you here is but a
3-D print of rhe o riginal roll o f fi lm, which is too
fragile to hring with me. But I developed th is replica
instead .. .. W hat it shows [a n image fla shes on-
screen that bears a striking resemblance to Hokusai 's
T he Great Wave] are no longer images of bodies or
body pa rts, but the bod y of the image itself. '" We
sho uld nOt mistake this body of the ima ge for tha t
current paradigm of the "' haptic cinema " or "' touch
screen " in cinema studies, which revives an old, art-
historical terminology that in its desire to expel the
ideological ghosts of apparatus theory mo ves a bit
too hastily. Nor is Steyer! caught up in the recurrent
fa ntasy of avant-ga rde cinema, which wo uld bestow
cinema with a living body, returning the eye to a pre-
linguistic state of sheer corporea 1 vision. Rt:\:end y,
for insta nce, Lutz Koepnick o ffered a compelling
reading of how Herzog's Cave of Forgotten Dreams
revived such an eroticizatio n of the cinematic eye
a nd how he transfor med the film screen in to a "[iv-
ing membra ne" by means of 3-D tec hno logy. As
Koe pn ick comments, "CavelCinema add resses the
eye, not as a window to the soul and the
desire, but as a physical organ, as part of a
body for which experiences of touch and physical
mo tion are integral to the efficac y of seeing. tt U For
Ha ul de, !lul u... " de< Well, Be,Hn. Ju .... 2. 201.2.
this reason, Herzog's cave cinema may well be con-
sidered ami-Platonic, and d uring her performa nce,
wo uld show appreciation for certain aspects
of his cinematic approach, commenting on how he
sho wed ca ve painting to be a fo rm of "immcrsive
protocinema ," inhabiting a fractiona l space where
o bjects and images are able to transform into one
an other, and concl ud ing tha t th is prove s th at
"somethi ng can only be seen under the conditio n of
co mplete obscurity."
But if botb proiects sha re certain thematic inter-
ests, they arc st ill funda mentally differen t .
asks us to conceive of a spectral event of a more dis-
concerting nature [han Herzog's carnal screen :
We are seeing an LCD scrttn- its matrix-and we
see the transformatiOn of the liquid crystals which
are (:arriers of the image information imo stont .
They refuse heing tnobili:.e w and
(hey foss ilize as if in a fl ash . .. inside the screen and
brea k it open fro m within. And at this moment the
uprising o f im;lges indeed ha ppens. All screens t urn
into dead objects.
And so we return to the breaking point, the apoc-
a lyptic, uncertain dca th of technology. The specter
that rises from this co mbustion is not an appa rat us
of projection. No longer the simulacra of literalist art
that haunted Fried or rhe huma niSTspecters of kinetic
art hunted down by Krauss, these shadows are pro-
d uced and erased (if never co mpletely) by processes
of technologica l co ntrol a nd verifi catio n mov ing
aro und and thro ugh us. They gather in the virtual
meshes of netwo rked spaces; they invade the virtual
caves o f control we build, ca lcifyi ng the arteries of
info rma ti onal flow.
Ghosts will exact their revenge. 0
ER IC c . H. DE BRUVN TEACHES IN THE FUM AND PHOT OGR APHIC
STUDI ES PRDGAAM OF LEI DEN UNIVERSITY. THE NETH ERkANOS.
(SEE CONTRIBUTORS., ro. "" m. 538.
SEPrEMBER 201 2 $33

r...... iN ATJ "r M amaanJ HI$
;yrm.., 1984),S.
",I.." Y., .. of l'li"",y,' Look,
:;.. <ran . Mi chao1 Sha w
1984): Iknj. min H. D.lluc:hluh.
hndipn R."mnOl1 of ,br N..,..
4 1-S!;and Hal F...,..... 'Wha'"
1'0 S-32.
palos in .. >n
od IhdL. ir h no< bern en,i,d,
- ill 100 Yem ofr..n.dly:
'"!' ...,.,.. Pubhcod"" .. 20(0),
.-,;: To.nrd. a QlX'Cf A"a uod."
....alism.."ftI["'.ac.uklpa p<n.ol.
... ." R.. Roberl
M...., M1T Prn!., 2003),
I tbt AmholnJq," in
b IPak-rmo, Ilal,: IL.A hlm_,
....... ....tUJId, B"'",... Bomln
,G::I>.'I Friar. infomoUI ,ririquo:
.."bDoo, of mrdium bou"""';..
. " M i.h,d
AT" A Crilic,,' .... Mhology. td.
iIiiorni.a 1 141.
, " (ln7).;n .... A''''';n A!u ud,
0. D=i< HoUlo,\ucetltnl .....Y
iN rbt: 19 j o., rod. Kl in C, hana<
tria.a Sofia,lO l l) i. d ut.d to
-.ron: Fdm Sccnario. " T,,,,,.,,jo,r
, anilablt ... the 1950.; Atuud.
's.e...J:.dJ "ltd Ihe Ci"K}''''''It.
"L . . . Iu d" dB""""
' (1 928 ). in 0............ 308.
\...,.,..cJ fi.lm, _ Jon.,h.n Crary.
aoba 5Otf:0111989): 97- 107.
.180.
fb.,J d, (19ll). [n
'ran. M ory Corolino
(19601. in Cirttwtl (;" .nberj:
ohD OBria .., .01. 4 (Chicas,o:
r LaoxOQn " {19401 , in a -enl
it:ism. ctI. John 0'8";. 0. vol. 1
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
$lowly, nn. brgan 10 _, ,n rnU:u.-. ,hat the", was n"'hing, obsulu[oly IlOthillf.,
21. Ibid. 68-6';1lellipocs in OriS1O.1U. alm".t piK< of dUi' .ha, was ,""'" by ",,<iden[, hy chan"". "
2J. Ibid., 47. 49. Aruud, l"hTMdJcr a"d lIS Do<.bie, 1U1- 102.
24. lb[d., 50. An' onin Atla oJ , "'To H e Don . ... ; th the ludg",.nt of God : An
2.S. Ros:otind E. K",u<> A VO)'d.It<' "" the Nor!h Su", An ;"Ihe Ago or Ihe Approri....,;"", in ElI8lilh." ,ran .. Goy Wernli.",. Nor!hwnt
(F. II 1"3!: 1. 1 quOfo frOID rlu: ""nsla"M In whkh Smilh ..... uld he h. d
4
I'"., M.di"", Condili<>to (I.ondnn: Th.. m<I.nd Hu dson, 11100);.nd
f. KTauss. Und,r /lI,,,,('.Mp MIT I'r=.,10l1 !. lIT.". On .. vail.bil;, y of ,h. r. wrding of To H",u wili> the
J.. o{ G,,J. I joa nna I'awlik, " Artaud in Di " ident
26. A... ud. It. Dooble, 11. M. icIu,d, push" .1I<: ,,"oobt;inn
Sur reali.m ond [b e ro" ...... American li lOrar, A... .. ' Gd " Pap.,. of
",""",who[ to nuko .hi< poin,.
S.tm,li.m DO. g (2010), 12- 13. hltp"lw";w.
27. Ibid . 90---91.
2g. In <hi., Anaud', "Oll],.t; c i. nu. I<> ..ille'1 nOfion of 5 1. Gi ller Ddcuze.nd felix Tb",,,d Plat.au$; 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 ........
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
.... IJ.OII'" Arla"d, W,,"ung ed . Su,,"n (Now Yor k: h IT",
(;C)() K fJI"ROC J(.L {TIl'" paSt 525
Strau nd GiIOU>:, 1976). 4YS . ,......., .. bo h. ieil)' trU,ed Ana ud.r ,h.
S. int.A.."" ylwl! in p,,'n<lu n<:n1 him "10" fo r li [.,.,u", yeJyn. KOTI'.S
c, ............. ....... /0"'" A"aud; Vitd in Oeuvro'. 1.153. I. T,oxkel: A Cn,"""." M ustO Nacion .. 1 Ccn, .-.dc ruo< R.,,,,
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
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,
35. Aru ud, Th. Tht"lnq...J /I. P.,.,hle. 72. 8onnummcr201 J .
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 ..
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
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,
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 ;
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.
.1. In 1993. lor .,,"mrl o, T"",kd .ioled an u hi hidr>n .nd i.. accompa nying
au ciltmtll," .80. buuk "jeae. .. 1 d Ire KiiJUII.".,,, (f.u ry Animal [I IFtmale' Arti"),
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,
"""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"
"''laud'.I."",nl in hi, '"undalion:ll oorrespondcncr whh
, lo.. for "]"",,,kol tho n,ool"'''''' r< /ur><-1iu!1la! " "..... . mo.", for rclkaiJ18 0tI
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
38. Dtn;1 Holli . " Tho Dealh of r 'fM'r. , .... Two: Art. ud, SOllnd Sy.f<:m. ortm.kinr,.
ftO {Spring 19971: 27-37.
H. Cal\< n,,,,,d thaI II<: had "been ",adinS. grea t de.1of ,.....ud" in I 1%1
DE BRUYNlKINrTrC .... RT W,n=d POll' 53J
IrtOC 0 Piet.e I\oj,le'; J ean -Jacqu.. and Koben s..muds, ctI,., The
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
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.).
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
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"
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
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
4 1. Sec Tht D<utblt. 95.
und<:t ohr Nonh Pole. The ,wo edl!orial. from the SiIUil/io",yl,,'enra/irnMl,
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).
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......._
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.
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,,:
1. Hohnm'm and Ldfi_1I {london: 1997) .l-4. Vi.i", PIn" 19771, 21 1.
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.
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
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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