Saturday, 5 November 2011

Lecture 3 - Marxism

hacking-tube-ads-with-london-plunderground


Aims
• To introduce a critical definition of ideology
• To introduce some of the basic principles of Marxist philosophy
• To explain the extent to which the media constitutes us as subjects
• To introduce ‘culture jamming’ and the idea of design activism


Ideology - How it works , how it effects us and our lives and how we live our lives.


A quote from Marx inscribed on his gravestone is often misinterpreted. A synthesis between 'thought and action' 'praxis'


Marxism is :



  • a political manifesto (1848), leading to socialism, communism and the twentieth century conflicts between capital and labour




  • a philosophical approach to the social sciences, which focuses on the role of society in determining human behaviour, based on concept of dialectical materialism



The manifesto outlined a better way of organising society- still not achieved. It describes how workers and managers will always be in perpetual conflict.  Society, human behaviour and the world. The perfect praxis a philosophy realised.
The ideology from Marxism led to in some form in Soviet union, China, Vietnam, Cuba


What is Capitalism? The Western society we live in


• Control of the means of production in private hands
• A market where labour power is bought and sold
• Production of commodities for sale
• Use of money as a means of exchange
• Competition / meritocracy - Drummed in at school' High achievers' are encouraged


The ability to make a profit is held by a few individuals -Revolves around a market, commodities bought and sold including human labour, commodities.  Money signifies dead labour and is a system which makes us compete. The best 'succeed'.  Not human nature


….Communist Evolution - Marx how society develops
1. Primitive Communism: as seen in cooperative, sharing tribal societies.
2. Slave Society: develops when the tribe becomes a
city-state. Birth of aristocracy.
3. Feudalism: aristocracy becomes the ruling class. Merchants develop into capitalists.
4. Capitalism: capitalists are the ruling class, who create and employ the real working classes.
5. Socialism: (“Dictatorship of Proletariat"): workers gain class consciousness, overthrow the capitalists and take control over the state.
6. Communism: a classless and stateless society. - Never materialised


Systems create greed, accidental hierarchies emerged - power, haves and have not, aristocracy.


Marx's Concept of Base / Superstructure

A materialist conception of society
Everything is a result of the forces of production and relations of production
Base
Society has a certain level of knowledge, technology, skills


The forces of production - materials, tools, workers, skills, etc.


relations of production - employer/employee, class, master /slave, accidently female/male etc


Superstructure
social institutions     - legal, political, cultural, education
forms of consciousness  - ideology *


‘The history of all hitherto existing society is the history of class struggles’
(Marx, Communist Manifesto)


The base produces the superstructure
A dialectical/cyclical process - one thing produces the other eg education.
The base determines content and form of the superstructure. The superstructure reflects form and legitimises the base.


Eg Education systems - The teacher 'the boss' training to take instruction so when the student become a worker accepts a manager's instructions
Engels 'The origins of a family' Hunters gatherers no single monogamous, Matriarchal society.  changed as the society developed, harvest food, surplus, who do we pass onto?  Men did not know who their sons were.  So this is when monogomy started to evolve.




‘In the social production of their life men enter into definite, necessary relations, that are indispensable and independent of their will, relations of production which correspond to a definite stage of development of their material productive forces. The sum total of these relations of production constitutes the economic structure of society, the real foundation on which rises a legal and political superstructure and to which correspond definite forms of social consciousness. The mode of production of material life conditions the social, political and intellectual life process in general. It is not the consciousness of men that determines their being, but on the contrary it is their social being that determines their consciousness.
At a certain stage in their development, the material productive forces of society come into conflict with the existing relations of production ...
…From forms of development of the productive forces, these relations turn into their fetters. Then begins an era of social revolution.
With the change in economic foundation the whole immense superstructure is more or less rapidly transformed. In considering such transformations it is always necessary to distinguish between the material transformation of the economic conditions of production, which can be determined with the precision of natural science, and the legal, political, religious, artistic or philosophic, in short, ideological forms in which men become conscious of this conflict and fight it out.’
Marx, (1857) ‘Contribution to the critique of Political Economy’
  • Link to the famous Marxist aphorism that men make history, but not under circumstances of their own choosing. We are subject to social conditions first.
  • Economic basis of society of society which gives birth to superstructure (dialectically) which in turn conditions consciousness.
  • Intellectual life, Cultural life and world view are all reflexes of the economic relations of Capitalism in general. MATERIALISM
  • Material productive forces - this is both the working class +industry +tendency to overproduction inherent in Capitalism. This equals conflict and ultimately crisis
  • Shift in economic foundations = shift in consciousness - perhaps link to Williamson later. Also late capitalism /commodity culture / Relational Aesthetics vs. early capitalism / taylorism / heartfield
Society produces our lives:
-Depends where your born
-Forced into situations which we don't have control of


If you change the base i.e. capitalism you change our attitudes to each other.


Pyramid of the capitalist system 1917


The State (Politicians, aristocracy, army etc) 
‘…but a committee for managing the common affairs of the whole bourgeoisie’ (Marx & Engels (1848) ‘Communist Manifesto)


Instruments of the State
Ideological & Physical Coercion


The Bourgeoisie




The Proletariat




The Aristocracy and politicians are just a committee to manage the capitalist leaders.  What the state does in managing on behalf of bourgeoisie is to keep the workers in line. Either through influence how they think or through coercion.




Religion is ideological.  A Marxist reading of religion ' If we are good, honourable, moral, work hard we die then you are rewarded in heaven. 'The ultimate worker trap' mental control


‘Religion is the opiate of the masses’
Karl Marx, 1843



Ideology - Double meaning

1 system of ideas or beliefs (eg beliefs of a political party)

2 Masking, distortion, or selection of ideas, to reinforce power relations, through creation of 'false consciousness'


'[ The ruling class has ] to represent its interest as the common interest of all the members of society, ... to give its ideas the form of universality, and represent them as the only rational, universally valid ones.'

Karl Marx, (1846) The German Ideology


All sorts of ideological mechanisms operating around us. The exploited start to believe this is their view.

Art as ideology
Idea that free expression does truly exist is false. Historically rich educated people made art (only men).  Who buys art? so dictate what they want.  Aristocracy dictates what is painted.  how did this reflect the interests of modern man?



Even Communism used art to condition a certain methodology - Stalin




Roses for Stalin 'Benevolent nice guy!!'

Lincoln Cathedral - Gothic - Actually pictures of sodomy and killing 'If you don't behave and follow our moral code this will be your fete.'


The Gorilla Girls
Art history books claim not porn to make studies of the perfect form.  Many pictures and sculptures of naked women throughout art history.  










SOCIETY =ECONOMIC, POLITICAL & IDEOLOGICAL
Ideology is a practise through which men and women ‘live’ their relations to real conditions of existence.
Ideology offers false, but seemingly true resolutions to social imbalance.


Althusser, (1970) ‘Ideology and Ideological State Apparatuses'


The Media As Ideological State Apparatus


• A means of production
• Disseminates the views of the ruling class (dominant hegemonic)
• Media creates a false consciousness
• The individual is produced by nature; the subject by culture. (Fiske, 1992)
– The constitution of the subject
– Interpellation (Althusser)


Offers reasons why we are in this situation - Male artists paint nude woman. This feeds into our social relations and attitudes. Being women oggled by men often accept this as a compliment because of ideology.  The Education system, ideolgical, training you to exist. ie Enterprise so can make money for society


The most successful apparatus is the media
-All owned by the super rich
-Powerful way of determining how we think and feel


Rupert Murdoch - The Sun claims has controlled elections through what he prints in his papers. Was Tory but Blair cut a deal to relax the monopoly commission rules so they started backing the Labour party. Politics is about principles but voting is not.  Media effects thoughts and consciousness of men.
Looking at newspapers
Broadsheets are marketed at the upper classes - written in a certain way, time new roman, sophisticated story lines quality,certain language and national heritage. Myths -quality, authority. 
The star is aimed at the working classes,the content is about TV, football, celebrity .  Educated Journalists write dumbed down as making ideological assumptions about working classes.  Self fulfilling prophecy, a way of life, recognised as culture.
Working class women fed certain ideological images. They act as judges e.g. student protestors - headlines are summary ideologocal judgements, hooligans, brainless,  


J Bignall ' Media Semiotics 2007


TV ideology - how the BBC cut up and manipulated footage of an interview with an educated black man, Marcus Dow on the reason for the recent riots. Treats the 'other'
http://www.youtube.com/watch?v=mzDQCT0AJcw


Wonderbra ads reflect a certain patriarchal ideology- As long as you have got a Wonderbra you can still be successful without an education. 


1 system of ideas or beliefs (eg beliefs of a political party)
2 masking, distortion, or selection of ideas, to reinforce power relations, through creation of 'false consciousness'
[ The ruling class is ] compelled ... to represent its interests as the common interest of all members of society ... to give its ideas the form of universality, and represent them as the only rational, universally valid ones.
Karl Marx, The German Ideology, 1846


‘Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most of the relations between men and women but also the relation of women to themselves’
Berger, Ways of Seeing, 1972


Women think how man would like them to think


Advertisements are selling us something else besides consumer goods; in providing us with a structure in which we, and those goods are interchangeable, they are selling us ourselves.
And we need those selves […]


Althusser's problematic self perpetuating circle - Used to understand ideology
1950's view
Double ideology - Wife & slut


'[…]in our society, where the real distinctions between people are created by their role in the process of production, as workers, it is the products of their own work that are used, in the false categories invoked by advertising, to obscure the real structure of society by replacing class with the distinctions made by the consumption of goods.


Thus, instead of being identified by what they produce, people are made to identify themselves by what they consume. From this arises the false assumption that workers ‘with two cars and a colour TV’ are not part of the working class. We are made to feel that we can rise or fall in society through what we are able to buy, and this obscures the actual class basis which still underlies social position.


The fundamental differences in our society are class differences, but the use of manufactured goods as means of creating classes or groups forms an overlay on them.


The need for relationship and human meaning appropriated by advertising is one that, if only it was diverted, could radically change the society we live in'
Williamson (1978) ‘Decoding Advertisements’



These are some ways that media images can function ideologically to protect the interests of the ruling class.

This is even more apparent in advertising
By attaching human needs / desires to commodities Capitalism keeps us spending
Also add Marcuse quote - why should the overthrow of Capitalism be of primary importance to someone who can have two cars / colour TV’s etc.This is an ideological trap! By consuming we are sucessful we make ourselves poorer and we make the capitalists richer.
This is what Marx calls:


Commodity Fetishism (Marx, Capital Vol.1)


'A commodity is therefore a mysterious thing, simply because in it the social character of men’s labour appears to them as an objective character stamped upon the product of that labour; because the relation of the producers to the sum total of their own labour is presented to them as a social relation, existing not between themselves, but between the products of their labour. This is the reason why the products of labour become commodities, social things whose qualities are at the same time perceptible and imperceptible.'
Marx, ‘Capital Vol. 1’


Something that is used as a substitute for something else.EG Nike trainers = cool therefore a pair of trainers takes the place of 'me' the consumer being cool.


Can now almost brand/commodify anything. Eg Garbage of New York.



Victor Burgin ‘What does possession mean to you?’ Camerawork 3. 1976, back cover.


The world is unfair
The assets of the worlds top three billionaires are greater than those of the poorest 600 million on the planet
More than a third of the worlds population (2.8 billion)live on less than two dollars a day
1.2 billion live on less than one dollar a day
In 2002 34.6 million Americans lived below the official poverty line (8.5 million of those had jobs!) Black American Poverty double that of whites
Per capita income in sub-Saharan Africa =$490
Per capita subsidy for European cows = $913


Why do we not do anything about this?

BURGIN - link also between posession (capital) posession (partner)- commodification of human relationships.(Williamson)

The perversity of Capitalism can be summed up simply by statistics. Sourced from DAmato Meaning Of Marxism p.9
Poverty is horrible, but is obscene when one realises that enough income is generated to wipe out global poverty completely



F. Fukuyama (1992)‘The End Of History’ This society is the best, no other social organisation
JJ Charlesworth (2002)‘Twin Towers: The Spectacular dissappearance of Art & Politics’


1989 the Berlin wall came down  continue at 13 mins



BROADLY SPEAKING HISTORICAL CHANGE HAS BEEN FOUGHT OUT BETWEEN THOSE WHO ACTIVELY SEEK AND DESIRE SOCIAL CHANGE & THOSE WHO SEEK TO PROTECT THE STATUS QUO.

However, we are now in this peculiar age of No Alternatives.
Vacuum caused by the collapse of the soviet bloc. Lack of ideological opponents - Fukuyama - History has ended and neoliberal capitalism is the only sensible world system.
paradoxical lack of ideological agency for Neoliberal Capitalism. Perhaps explains increase in military intevention under humanitarian banners
March 2003 massive march against the iraq war. Police estimate numbers 750,00 - organisers estimate 2,000,000
However, Judean peoples Front vs. Peoples front of judea. This left is totally atomised and unbonded - only united through a feeling of general disgruntlement.



“A meme (rhymes with dream) is a unit of information (a catchphrase, a concept, a tune, a belief) that leaps from brain to brain to brain. Memes compete with one another for replication, and are passed down through a population much the same way genes pass through a species. Potent memes can change minds, alter behavior, catalyze collective mindshifts, and transform cultures. Which is why meme warfare has become the geopolitical battle of our information age. Whoever has the memes has the power.”


VICTOR PAPANEK


‘Most things are designed not for the needs of the people but for the needs of manufacturers to sell to people’ (Papanek, 1983:46)


The philosophers have only interpreted the world, in various ways; the point however is to change it
Marx, K. (1845) ‘Theses On Feuerbach


Conclusion
Our society is grossly unfair, something needs to change this situations

Quotes Handout


‘Marxism & Design Activism’




‘In the social production of their life men enter into definite, necessary relations, that are indispensable and independent of their will, relations of production which correspond to a definite stage of development of their material productive forces. The sum total of these relations of production constitutes the economic structure of society, the real foundation on which rises a legal and political superstructure and to which correspond definite forms of social consciousness. The mode of production of material life conditions the social, political and intellectual life process in general. It is not the consciousness of men that determines their being, but on the contrary it is their social being that determines their consciousness. At a certain stage in their development, the material productive forces of society come into conflict with the existing relations of production ...
…From forms of development of the productive forces, these relations turn into their fetters. Then begins an era of social revolution.
With the change in economic foundation the whole immense superstructure is more or less rapidly transformed. In considering such transformations it is always necessary to distinguish between the material transformation of the economic conditions of production, which can be determined with the precision of natural science, and the legal, political, religious, artistic or philosophic, in short, ideological forms in which men become conscious of this conflict and fight it out.’
Marx, (1857) ‘Contribution to the critique of Political Economy’




‘[ The ruling class has ] to represent its interest as the common interest of all the members of society, ... to give its ideas the form of universality, and represent them as the only rational, universally valid ones.
Karl Marx, (1846) The German Ideology,




Key terms to investigate further
Fordism / Taylorism / Capitalism / Late Capitalism / Neo-Liberalism / Exchange Value / Use Value / Alienation / Reification / Atomisation / Commodity Fetish / Dialectics / Materialism / False Consciousness / incorporation / Culture Industry




Selected Bibliography


Berger, J (1972) ‘Ways Of Seeing’
Bourriaud, N (2002) ‘Relational Aesthetics’
Barthes, R (1972) ‘Mythologies’
Charlesworth, J.J ‘Twin Towers: The Spectacular Disappearance of Art and Politics’, Third Text, vol. 16, issue 4, 2002, pp. 357-366
D'Amato, P. (2006) The Meaning Of Marxism, Chicago, Haymarket Books.
Documenta XII Catalogue & Reader
Hardt, M & Negri, A. (2000) ‘The Sociology of Immaterial Labor’ in Empire (2000) at: http://www.marxists.org/reference/subject/philosophy/works/it/negri.htm
Harris , J. (1984) Photo Essay at
http://www.coldtype.net/Assets.07/Essays/0507.MinersFinal.pdf
Lasn, K (2000) ‘Culture Jam’, US, William Morrow Paperbacks
Marx Internet archive available on http://www.marxists.org/archive/marx/index.htm
Works to particularly look at-
Introduction to Critique of Philosophy of Right (1844)
Economic & Philosophic Manuscripts (1844)
Theses On Feuerbach (1845)
German Ideology (1845)
Communist Manifesto (1848)
Preface to Contribution To A Critique Of Political Economy (1859)
Study Guide for Capital: http://www.marxists.org/archive/marx/works/1867-c1/guide/index.htm You might find this a useful aid.
McClellan, D. (ed.) (2000) Karl Marx: selected writings, Oxford, Oxford University Press.
McNally, D. Socialism from Below (1997), available at http://www.marxsite.com/socialism_from_below_by_david_mc.htm#table. McNally’s pamphlet provides a concise overview of the history of struggles for emancipation, and may help you frame contemporary debates
Papanek, V (1971) ‘Design For The real World’ Human Ecology and Social Change, New York, Pantheon Books
Sekula, A (1995) ‘Fish Story’ (study Sekula’s text and photos)
Strinati, J. (2nd edition 2004) ‘An Introduction To Theories Of Popular Culture’, London, Routledge pp. 115-153, JK 306.2
Storey, J. (4th edition 2006) ‘Cultural Theory and Popular Culture’, Harlow, Prentice Hall, pp.47-70.
Williamson, J (1978) ‘Decoding Advertisements’


Richard Miles, 2011

Task one - An example of Panopticism

Task one


Write a short, 200-300 word analysis of something in contemporary society that we believe is panoptic, graphic design even better. Use terminology referenced in the lecture and seminar and 5 quotes from Foucault's writing. Seamlessly integrate these quotes and fragmented sentences into the analysis.

An example of Graphic design which acts as a Panoptic device in contemporary society


I was going to use the Change4 life NHS campaign but struggling how to apply Foucault to this. Instead using The Benefit Cheat/theft campaign which I think uses several panoptic devices which I will demonstrate graphically:







If you suspect that someone is claiming Housing/and or Council Tax benefit fraudulently, or know of anyone who:
  • Has not told us that they are working
  • Has not told us that they have a partner
  • Does not live in the property that they are claiming for Or has not told us they have other forms of income, savings or properties for example.
Then please let us know, do not let these people get away with committing benefit fraud







  • a fraud taskforce that checks claims in your area
  • hidden cameras and mobile surveillence
  • improved IT, cross-checking bank accounts and credit reference agencies
  • working with HMRC and local authorities to a single Fraud Invesigation Service which is solely committed to stamping out fraud
  • harsher sanctions and penalties to punish those who cheat the system.


Through his description of the Great Confinement and The Leper colony in Discipline and Punishment, Foucault describes how institutions exercise two forms of social control firstly to segregate, exclude or lock people away and secondly by training people.  

The Department of Work and Pensions are branding or segregating individuals with words such as Thieves and the image of the prosecuted man.  They are also attempting to train people into believing they are being watched and will be caught. 

'Generally speaking, all authorities exercising individual control function according to a double mode; that of binery divisions and branding (Mad/sane; dangerous/harmless; normal/abbnormal); and that of coercive assignment, of differential distribution (who he is;where he must be; how he is to be characterized; recogognised; how a constant surveillance is to be exercised over him in an individual way etc.)' (Page 63)


The campaign promotes the idea that Benefit thieves are being watched or surveilled on several levels by the Fraud Investigation Team, by hidden cameras and also a 'faceless' member of the public  who is invited to report the crime.  This is attempting to operate like Foucault's Panopticon 'induce.... a state of conscious and permanent visibility that assures the automatic functioning of power' (page 65) The fact that the DPW is appealing to the general public to report people for benefit fraud makes their power, like in Bentham's Panopticon, 'visible and unverfiable'.



The campaign promotes the motive to the general public for 'shopping' benefit fraudsters is because they are stealing from 'you' They are 'internalising' the responsibility for catching Benefits Fraudsters on to the general public.



    
Government campaigns such as this one operate on the premise that we are Docile Bodies whereby we become self regulating and self correcting. We are constantly reminded that we are being watched.  We act in a socially productive and acceptable manner for fear of being caught out.




Biblography


Foucault Michel, Disciple and Punishment (London, Penguin, 1977)

Background reading to Foucault and Panopticism

Background reading to Foucault and Panopticism
In order to find a Graphic representation of the work of Foucault and Panopticism I found an interesting published thesis on the Internet:


The author,Daniel H. Ortega, establishes how Graphic billboards and art work have been strategically placed to 'create a self-surveilled, normalized community.'  He uses examples such as images of the revolutionary hero Che Guevara to support this 
argument. 


Che Guevara's Beret, the star represents his socialist's values




We Want You To Be Like Che - Fidel

The government 'we' want 'you' the people of Cuba to be like Che, signed by Fidel both the highest role models of honour and glory.

Hes uses both state produce propaganda and also public produced graffiti to as examples of Panoptic devices promoting a self-surveilled community. 'En Cada Barrio' [In Each Neighborhood, a revolution] 


These murals imply a sense of national pride in the Cuban Revolution but more importantly are a reminder of the physical presence of the neighbourhood monitoring organizations such as the CDRs or Committees for the Defense of the Revolution. These were created in 1960 to remove any risk of counter culture revolution at neighbourhood level.  In addition they monitor other activities and behaviour in the community.  As such he links these to Foucault 'the major effect' of the panoptic device is to 'induce ' a state of consciousness and visibility that assures the automatic functioning of power'

Change 4 Life is a national campaign to help families eat well, move more and live longer.




This NHS campaign is not obviously a NHS campaign neither the website nor the adverts or videos use the NHS logo.  Th campaign is targeted at both adults and children.  The Morph like figures appeal to a generation of 40 somethings whereas the animation and children's voices and stories will appeal to children.

All mechanism's of power which, even todays, are disposed around the abnormal individual, to brand him and to alter him, are composed of those two forms from which they

Friday, 21 October 2011

Lecture 2 - Technology will liberate us

Recommended reading :  
Digital currents & Art Margot Lovejoy
The Work of Art & In the age of Mechanical reproduction Walter Benjamin (An essay)
Art & the age of mass media John Walker
Simulacra & Simulation John Baudrillard


OVERVIEW


Charting the path of art with technology and then art and design with technology.
  • Technological conditions can affect the collective consciousness
  • Technology trigger important changes in cultural development
  • Walter Benjamin’s essay ‘The work of art in the age of mechanical reproduction’ (1936) significantly evaluates the role of technology through photography as an instrument of change. 
During the lecture to assist with our understanding of the concepts to be discussed we were asked to draw a doodle then make three copies.

The copied, mimicked or imitated become a work of art in its own form as it is distinct from the original.  it can work in its own right or merely be an image representation.
The relationship between Art,design and media is based on this idea.  So who is copying who?



Machine Age

The period is the Machine age which can be aligned with Modernism
Walter Benjamin and his essay The work of art and the age of mechanical production is at the centre of this concept.  


  • The age of Technology and art
  • Parallel and specific to new developments; a duality expressing the zeitgeist (The spirit of the age)
  • Dialectical (*) due to the copy, reproductive nature and the role of the original
  • The aura and uniqueness of art
* In brief, dialectics represent the mind’s way of understanding concepts by understanding and appreciating their polar opposites. Dialectics are one of the important unifying concepts that reflect how the mind fundamentally understands and perceives most core concepts and ideas.


Dziga Vertov –Man with  movie camera 1929 

The variable gaze of the camera eye. Benjamin claims a new consciousness as a result. i.e represented idealism of faith and progress through technological progress.
' Photography is at the beginning' 
The Russian photographer and Graphic Designer, Rodchenko refers to this in Graphic Design:
Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."
 and John Berger writes about this:
In 1972 the BBC broadcast his television series Ways of Seeing and published its companion text, an introduction to the study of images. The work was in part derived from Walter Benjamin's essay The Work of Art in the Age of Mechanical Reproduction.

The Camera eye :
can offer more than just your perception and creates multiple viewing points 
Has a variable gaze


A 20th century poet
‘We must expect great innovations to transform the entire techniques of the arts, thereby affecting artistic invention itself  and perhaps even bringing about an amazing change in the our very notion of art’  Paul Valery (1871 – 1945)




Maholy Nagy:Photogram, 1926


László Moholy-Nagy (American, born Hungary, 1895–1946)
Gelatin silver print   Moholy-Nagy played a key role at the Bauhaus in Weimar and Dessau as a painter, graphic artist, teacher, and impassioned advocate of avant-garde photography. He made this image without a camera by placing his hand, a paintbrush, and other objects on a sheet of photographic paper and exposing it to light.  

Benjamin's essay has parallels with:

Freudinstinctual subconscious side of human behaviour
Tied up with the subconscious and how we express material effects.  Forerunner to Surreilism.

Marxismeconomic though gave new political models of thinking over new criteria for value of the work of art.

Role of art in technology, technology changes the value of a work of art.  the copy also has value

Need more guidance on these points - too fast in lecture

Photography had overturned the judgment seat of art – a fact which the discourse of modernism found hard to repress  (Lovejoy Pg36)


The Chapman Brothers defaced the Goya prints - whats the value of that?


Virtual reality plays with our deepest subconscious is the material way of looking at the development of technology

Kineticism

A development which captures movement

French photographer Etienne-Jules Marey 1888 - A series of moving bodies.  Uses Krono Photography



Etienne-Jules Marey. French photographer. His photographic research was primarily a tool for his work on human and animal movement. A doctor and physiologist, Marey invented, in 1888, a method of producing a series of successive images of a moving body on the same negative in order to be able to study its exact position in space at determined moments, which he called ‘chronophotographie’. He took out numerous patents and made many inventions in the field of photography, all of them concerned with his interest in capturing instants of movement. In 1882 he invented the electric photographic gun using 35 mm film, the film itself being 20 m long; this photographic gun was capable of producing 12 images per second on a turning plate, at 1/720 of a second. He began to use transparent film rather than sensitized paper in 1890 and patented a camera using roll film, working also on a film projector in 1893. He also did research into stereoscopic images. Marey’s chronophotographic studies of moving subjects were made against a black background for added precision and clarity. These studies cover human locomotion—walking, running and jumping (e.g. Successive Phases of Movement of a Running Man, 1882; see Berger and Levrault, cat. no. 95); the movement of animals—dogs, horses, cats, lizards, etc.; and the flight of birds—pelicans, herons, ducks etc. He also photographed the trajectories of objects—stones, sticks and balls—as well as liquid movement and the functioning of the heart. He had exhibitions in Paris in 1889, 1892 and 1894, and in Florence in 1887.

This led to an understanding of space ,time and place which created a dialogue on de-materialisation.



Richard Hamilton Dada, collage and montage (1922)

Richard Hamilton used technology to create image, photography reproductions
With technology, Images  or objects are ordered and coded and styled according to conventions which develop out of the practice of each medium with it s tools and processes Pg 4 Lovejoy many different contexts change meaning. Dada and surrealist movements and the dematerilaization of art.

The beginning of the development of Art and Design merging together. Dealing with image and not just object, How you code it,how you order it  replicate it, style it will either rest in the context of art, or context of design or both.  Art is part of Fashion, graphics, advertising and textiles.  Design is increasingly seen within art from this period.

How production and technology has an effect on society according to Mar


Associated with the term technological determinism. 

How technological determines economical production factors and affects social conditions.

The relationship of technological enterprise to other aspects of human activity

Logical relationship between technology and how it determines economic production and how it effects social conditions.

He sees as a tool for progress but also a tool for ALIENATION 

Dialectical issues:

  • Technology drives history
  • Technology and the division of labour

Technology and the division of labour – Original produced by one person with their own modes of production.  Any copy is produced by the machines. How labour is divided up between technology and the machine.  A labourer does not necessarily see the fruits of his labour from beginning to end.  This separates us from us from our own creativity.  

  • Materialist view of history
  • Technology and Capitalism and production
  • Social Alienation of people form aspects of their human nature as a result of capitalism


Workers do not own their means of making work. They must sell their labour power. The worker is cut off from his productive power as result of mechanical reproduction. Competition replaces cooperation. Alienated form other human beings. Alienated form distinctive creativity and community  we share.  These are issues that are discussed not decided and one to debate.

Who has the power in the capitalist set up?

The immediate effect of the technology on the worker, society and 

The Electronic age and Post Modernism.

Post modern and post machine
  • Many electronic works were still made with the modern aesthetic
  • Emergence of information and conceptual based works
Information how data is collected ,recorded and documented.  design developments from reordering numbers and data.
  • The computer a natural metaphor for many Social developments.  Has become the centre for art and design both as an image and the producing of an image.
  • A spirit of openness to industrial techniques
Moves away from the Modernist aethestic and towards consumerism. We replace and develop and look for new techniques
  • Collaborations between art and science
That much more image and movement based
A shift away from material object and forms. Becomes moveable and shifting across different contexts. First and most obvious collaborations. Art/design, fashion/digital tech, clothing produced through digital data. 
  Hussein Chalayan exhibiting fashion as pieces of art. 
This seeps across boundaries between distinct forms of art and deign. Aorodynamics and dresses. From one form into another media. Fashion becomes conceptual but with technology we get cross boundary work happening.

Development of space, time and movement. 

 


Falling Multi media installation Douglas Rosenberg



Dziga Vertov Performance Group
http://danielrothbart.com/rosenberg2.html
In 1991 Rosenberg founded the Dziga Vertov Performance group in order to develop new works that combine dance, performance and media with such elements as text projections, all filtered through Rosenberg’s masterful use of the camera. Dziga Vertov was an early Soviet filmmaker who believed in the primacy of the camera or "Kino Eye," relying on it to make sense of the myriad images that otherwise bombard our senses. Like Vertov, Rosenberg possesses an ability to distill essential movements and gestures, creating montage works that resonate with our emotions.
A case in point would be Rosenberg’s "Falling / Falling" a 1998 video installation. This work depicts a nude woman, falling deeper and deeper into a body of water. She moves in response to the currents that surround her and carry her downward while her mouth tries to form words but is silenced by the aqueous void. Her hair suffers a sea change, floating about her like the silken pennant billowing in the wind. Partially inspired by the passing of the artist’s father, the piece addresses the theme of death. This is embodied both in the person of a drowning woman and the personification of death which is traditionally feminine. At the same time this image is both sensual and erotic, as this beautiful, graceful woman moves through the water, exploring the notion of the death of reason and analogies between death and sexuality.

Venous Flow. States of grace Peformance still colaboration between Douglas Rosenberg and Li Chao-Ping

A video installation Collaboration between video and art. Test projections on cloth and body Video work become an object in itself.
Consider deconstruction material objects being broken down.  




Thorunn Arnadottir.
The designer’s new line of dresses uses the magic of QR codes to turn each dress into a walking, talking information machine.



Laurie Anderson 1976 Viophonograph

Video works Violin plays vinyl.  Experimentation between music, performance video and installation.   
Development of though and kick back against Modernism and the machine


I will not make boring art (1971) John Baldessari in 1970 destroyed thirteeen years worth of art and publicly cremated the ruins as a protest against modernist hegemony Lovejoy (2004

Began to become a big shift from Modernism to postmodernism. 




Flying John Baldessari - Digital conceptual art

' True materialism is what you learn from the Modern world not what you earn.' 

Simulation & simulacrum
A direct development of the use of moving mage, video and still image particularly in the 80's.

Simulation
A simulated image, a copy of an image , not meant to be real
Simulacrum claims that simulation also becomes real.
By replicating an image digitally is it not a work of art in its own right? Plays with illusion, what is virtual and what is not, what is real what is original what is copy.
Summary of simulacrum
  • It is the reflection of a profound reality
  • It masks and denatures a profound reality
  • It masks the absence of a profound reality - it can become reality in its own right
  • It has no relation to any reality whatsover; it is its own pure simulacrum



Jean Baudrillard (1981) extends Benjamin's work.

The simulacrum is never what hides the truth – it is the truth that hides the fact that there is none. It is not parady, nor duplication, nor imitation it is a substitution of the signs of the real for the real.  Is the experience on a computer not real?  Is a virtual fashion show a REAl fashion show.  Innovation can come out of Simulacrum.  What we show, what we hide, what exists what doesn't exist.


Nam June Paik - Electronic art  Plays with the idea of what is real and what is not.  The illusion of power.

He used technologies as a critique on their actual affect on society.
Paik loved to employ up-and -coming technologies as a method of critiquing their actual effect on society. He was the first artist to use a Sony Portapak and to utilize visual electronics in addition to already established acoustic technologies.

Read more: http://guy.com/2011/07/13/the-daily-slice-electronic-super-highway-the-work-of-nam-june-paik/#ixzz1bIgSZTwo


John Walker and art and mass media; Art in the age of mass media (2001)
Criticises how art uses mass media.  What do you market?  The object, yourself, the myth, the celebrity ie Andy Warhol.
  

Art uses mass media (1990 – 2000)
Art in advertisements
The artist as media celebrity

At what point does art become design and and what point does design become art? How do you promote and develop those.

Attacks the seriousness of art and relationship built between art and media

Digital artists and Digital age


Margot Lovejoy; Digital Currents

Digital potential leads to multimedia productions.
Technological reduction of all images so they are addressed by the computer.
New contexts created as a result





‘blue tilt’, 2004 Digital data shown on building, she transforms surfaces, architecture and bodies.  Projections.  She plays with simulacrum.
© jenny Holzer Blue tilt 2004
xenon on baltic centre for contemporary art, gateshead, england, 2000
Jenny Holzer at Helmut Lang 1998

What is a surface?






Frank Gillette; HCE 98: Vanitas, 1998-99 ; Frank Gillette
"HCE #52: Monkey's Birthday", 1998  Plays with real and fantastical imagery. 





The Human Race Machine

Nancy Burson; Nancy Burson is best known for her pioneering work in morphing technology, which age enhances the human face. Her Human Race Machine, which allows people to view themselves as a different race, is used worldwide as a diversity tool that provides students with the profound visual experience of being another race. She was responsible for the creation of computer morphing technology, FBI collaboration 


Multimedia work - Opportunities and innovations
Interactivity
Performance
Transdisciplinary
Time, Space and Motion explored in art and as art
Collaborations
Computer as a tool for integrating media



Hyperreal; reality by proxy

http://www.nytimes.com/2002/03/01/arts/art-in-review-shelley-eshkar-paul-kaiser-pedestrian.html; All of this looks strikingly real at first. The movements of the people are at once weirdly robotic and life-like. But then you realize that it is all animated. The combination of trompe l'oeil illusion and artificiality gives the effect of a hyper-real dream.







Conclusion

Art comments on the ideology of everyday life
Art can be expressive of progressive
Technological tools can blur the line between production of fine art works and commercial and design production. 
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