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  • Delicious Morsels

  • May
    08
    2011

    Nonorganic Life

    “Nonorganic Life: Encounters between frequency, virtuality and the sublime in Antarctica,” for
    Far Field: Digital Culture, Climate Change, and the Poles edited by Andrea Polli and Jane Marsching, Intellect Books: Bristol, UK. publication September 2011.
    Intellect Books Autumn catalogue


    Phil Dadson, Aerial Farm (2003). Video still, 12mins DVD video/sound. The circular frame and wires appear as a slowly shifting and illusory graphic outline, much like an animated drawing against a snowdrift, ice-grey background. The sound of wind-generated Aeolian tones through the wires is produced by a 50 k wind. See http://www.sonicsfromscratch.co.nz/

    I’m awaiting the proofs back for my chapter in Far Field, looking forward to also seeing the other essays as they contain some really strong thought surrounding digital media and the poles.

    My essay grapples with tensions between critical ecological thought and what I see as an ongoing twenty-first century adherence to notions of the sublime. I do this by introducing the model of nonorganic life drawn firstly from the scientific discoveries in Don Juan Pond and secondly from Manuel DeLanda’s hurricane. I talk specifically about works by New Zealand artists Joyce Campbell, Ronnie van Hout and Phil Dadson alongside works by Andrea Polli, DJ Spooky and Pierre Huyghe.

    Of course as soon as the proofs come I’ll want to change many words but here is a sneak preview:

    “It may have been about our year 750 that the astonishing Hui-Te-Rangiora, in his canoe Te Iwi-o-Atea, sailed from Rarotonga on a voyage of wonders in that direction (South): he saw the bare white rocks that towered into the sky from out of the monstrous seas, the long tresses of the woman that dwelt therefin, which waved about under the waters and on their surface, the frozen sea covered with pia or arrowroot, the deceitful animal that dived to great depths – ‘a foggy, misty dark place not shone on by the sun’. Icebergs, the fifty foot long leaves of bull-kelp, the walrus or sea-elephant, the snowy ice fields of a clime very different from Hui-Te-Rangiora’s own warm islands – all these he had seen.” (Beaglehole, 1939 cited in McFarlane, 2008, p.2).

    Antarctica is a heightened location where ideas of scale and experiences of the world and our place in it come together with contemporary understandings of ecology. Hui-Te-Rangiora’s extraordinary journey is a significant foundational narrative of the indigenous histories of the Pacific and Antarctica (Te Ariki-tara-are, 1919; Best, 1915; Buck, 1954; Smith, 1904; McFarlane, 2008), and takes its place alongside heroic stories of European exploration that themselves oscillate between fictional truths and scientific myth. Even for those of us who live close by it is a combination of these histories that frames how the far, far south is constructed and understood. To discuss Antarctica we grasp at what French theorist Felix Guattari (2005, p.68) describes as an “environment in the process of being reinvented.” It is a continent formed from information and matter that together reconstitute European understandings of nature. Although it is potentially out-dated, and most definitely a human-centric way of knowing, a close study of Antarctica needs to include a discussion of the European model of the sublime and how this philosophical idea continues to determine how many of us relate to the environment around us. In the eighteenth century German philosopher Arthur Schopenhauer (cited in Elliot, 2010, p.39) traced through levels of the sublime until he reached “part (v) full feeling of sublime: overpowering turbulent nature. (Pleasure from beholding very violent destructive objects).” Schopenhauer’s concept of the sublime grew out a sense of cultural implausibility, a question raised repeatedly by his fellow Romanticists in England: if humans are so cultured, so knowledgeable then how can they not understand the essence of the very earth they stand on? How does it remain beyond comprehension?

    Joyce Campbell, “Ice Ghoul Antarctica” 2006 5″x7″ Daguerreotype. From the “Last Light” Series. See http://www.joycecampbell.com/

    “The hurricane represents a form of non-organic life. It lasts long enough for us to give it a name. … We give [hurricanes] names because they are creatures which inhabit the atmosphere. However, these are creatures that create themselves. They don’t have genes, they don’t have anything that tells them what to do. They are completely spontaneous creatures.”
    This description of the hurricane is central to DeLanda’s arguments about nonorganic life. Antarctica like the hurricane is provisional; nonorganic life formed through frequency and virtuality. In our imaginings it has a life force. It is a place known through material productions that oscillate between the fictional and the scientific. For example, the discovery of the Don Juan Pond lead scientists towards life formed and mobilized by brine-derived nitrates (a kind of molecular self-organization by non-carbon sources). Mapping, measuring and documenting these non-carbon-based life forms living in an oxygen free environment lead scientists towards the possibility of life on Mars (University of Georgia, 2010). Questions appeared: if it is autonomous, can reproduce and evolve, it must be life, mustn’t it? There was no other description available to science except that of nonorganic life. Amidst complex computational models, nonorganic matter is not static; it forever changes and tying it to either nature or culture is impossible. It needs its own language. There are clear parallels between this scientific description of nonorganic life and DeLanda’s cultural framing of the hurricane. Antarctica becomes an object of study that we approach as we might approach an organism that can be sliced, imaged, recorded and folded. This double approach at once scientific/analytic and cultural/aesthetic is found in art’s recent engagements with Antarctica.

    Jan
    19
    2011

    Top Ten: Sydney Biennale 2010


    1. John Bock Fischgratenmelkstand kippt ins Hohlengleichnis Refugium (2008)
    The restraint of the contrivance. On my first visit, a man beside me got extremely agitated and started shouting at the screen, swearing in German, “it is all nonsense”.


    2. Mikala Dwyer An Apparition of a Subtraction (2010)
    Exquisite secrets told through the sound of labour and the silence of a circle. A rehabilitation of the space of an island that conflates affective histories.


    3. Salla Tykka Victoria (2008) Airs Above The Ground (2010)
    Beauty is gathered and controlled and managed, but only when we are looking, and only sustained for a temporary moment. Gravity and death become forces of containment.


    4. Fiona Pardington Ahua: A Beautiful Hesitation (2010)
    A breath of time captured.


    5. Slave Pianos Penalogical Pianology: The Timbers of Justice (2010)
    The body of the king has been threatened and must be publicly punished. An alternative violence to the penal colony, only the most visible and most exuberant execution at the scaffold will pay the debt.


    6. Shen Shaomin Bonsai (2007-2009)
    Nature removed from its mandate to the sublime. Domesticated, and contrived, a different kind of body is formed.


    7. Folkert de Jong The Balance (2010)
    A cybernetic system, of commerce, where the bodies that form the transaction cut slices off themselves in order to continue playing the game.


    8. Jake and Dinos Chapman Shitrospective (2009)
    Beauty formed from the absurd (and a fair amount of cardboard).


    9. Rodney Graham City Self/ Country Self (2000)
    A moment frozen in time caused by the syncopation of the footsteps, the hoof-steps and the anticipation of repetition. Noone can escape the confines of the loop.


    10. AES +F The Feast of Trimalchio (2009)
    The hybrid worlds of the Gods are all about control and contrivance. The Wagnerian opulence supposedly transports but somehow remains a pseudo-affect echoed in our bodies that attempt to gather the whole of the image.


    11. Adel Abidin Green Mouse (2008)
    Abject horror made worse by the need to clean up.


    12. Daniel Crooks Static no. 12 (seek stillness in movement) (2009-2010)
    Opening up spaces for other ways of being. The video becomes an illustration of motion, rather than a transportation.


    13. Isaac Julian Ten Thousand Waves (2010)
    I remain unconvinced by Orientalism.


    14. Kutlug Ataman Journey to the Moon (2009)
    The intensity of documentary fiction revealed through authoritative truth.


    15. Yvonne Todd
    Disquiet of the image matching the location.


    16. Miguel Angel Rios Crudo (2008)
    Interesting to see this again after the DPAG installation. The inhabitation of the circular space shifts the power relation more to the dogs. In the restraint of the gallery the dancer was dominant.


    17. Louise Bourgeios Echo (2007)
    Echos of bodies – doing the same as Daniel Crooks but the frozen space becomes more powerful. The sculptures hold time.