[Reader-list] X Notes on Practice
Monica Narula
monica at sarai.net
Fri Dec 10 11:14:12 IST 2004
Dear all
Here is an essay we wrote a few months ago, meant to be published in:
Immaterial Labour: Work, Research & Art, ed. Marina Vishmidt,
Melanie Gilligan, Black Dog Publishing, London/New York, 2004. This
is our day for sending in our essays, so there is another one next
which extends some of the ideas raised in this .
best
Monica/Shuddha/Jeebesh
----------------------
X notes on Practice
Stubborn Structures and Insistent Seepage in a Networked World
Raqs Media Collective
I
The Figure of the Artisan
The artisan stands at the outer threshold of early modernity,
fashioning a new age, ushering in a new spirit with movable type,
plumb line, chisel, paper, new inks, dyes and lenses, and a
sensibility that has room for curiosity, exploration, co-operation,
elegance, economy, utility and a respect for the labour of the hand,
the eye and the mind. The artisan is the typesetter, seamstress,
block-maker, carpenter, weaver, computer, oculist, scribe, baker,
dyer, pharmacist, mason, midwife, mechanic and cook - the ancestor of
every modern trade. The artisan gestures towards a new age but is not
quite sure of a place in it.
The figure of the artisan anticipates both the worker and the artist,
in that it lays the foundations of the transformation of occupations
(things that occupy us) into professions (institutionalized,
structural locations within an economy). It mediates the
transfiguration of people into skills, of lives into working lives,
into variable capital. The artisan is the vehicle that carried us all
into the contemporary world. She is the patient midwife of our notion
of an autonomous creative and reflective self, waiting out the still
births, nursing the prematurely born, weighing the infant and cutting
the cords that tie it to an older patrimony. The artisan makes us who
we are.
Yet, the artisan has neither the anonymity of the worker drone, not
the hyper-individuated solipsism of the artist genius. The artisan is
neither faceless, nor a celebrity; she belongs neither in the
factory, nor in the salon, but functions best in the atelier, the
workshop and the street, with apprentices and other artisans, making
and trading things and knowledge. The artisan fashions neither the
mass produced inventories of warehouses, nor the precious, unique
objects that must only be seen in galleries, museums and auction
houses. The objects and services that pass through her hands into the
world are neither ubiquitous nor rare, nor do they seek value in
ubiquity or rarity. They trade on the basis of their usage, within
densely networked communities that the artisan is party to, not on
the impetus of rival global speculations based on the volumes and
volatility of stocks, or the price of a signature. As warehouses and
auction houses proliferate, squeezing out the atelier and the
workshop, the artisan loses her way. At the margins of an early
industrial capitalism, the artisan seemingly transacts herself out of
history, making way for the drone and the genius, for the polarities
of drudgery and creativity, work and art.
II.
Immaterial Labour
Due to the emergence of a new economy of intellectual property based
on the fruits of immaterial labour, the distinction between the roles
of the worker and the artist in strictly functional terms is once
again becoming difficult to sustain. To understand why this is so we
need to take a cursory look at the new ways in which value is
increasingly being produced in the world today.
The combination of widespread cybernetic processes, increased
economies of scale, agile management practices that adjust production
to demand, and inventory status reports in a dispersed global
assembly line, has made the mere manufacture of things a truly global
fact. Cars, shoes, clothes, and medicines, or any commodity for that
matter, are produced by more or less the same processes, anywhere.
The manufacture of components, the research and design process, the
final assembly and the marketing infrastructure no longer need to be
circumscribed within one factory, or even one nation state or
regional economic entity. The networked nature of contemporary
industrial production frees the finished good from a fidelity to any
one location. This also results in a corollary condition - a
multiplication of renditions, or editions, (both authorized as well
as counterfeit) of any product line at a global scale. Often,
originals and their imitations are made in the same out-sourced
sweatshop. The more things multiply, the more they tend towards
similarity, in form and appearance, if not in function.
Thus, when capital becomes more successful than ever before at
fashioning the material surface of the world after its own image, it
also has more need than ever before for a sense of variety, a
classificatory engine that could help order the mass that it
generates, so that things do not cancel each other out by their
generative equivalence. Hence the more things become the same the
more need there is for distinguishing signs, to enable their
purchase. The importance given to the notions of 'brand equity' from
which we get derivatives from which we get derivatives like 'brand
velocity', 'brand loyalty' and a host of other usages are prefixed by
the term 'brand' indicative of this reality.
Today, the value of a good lies not only in what makes it a thing
desirable enough to consume as a perishable capsule of (deferred)
satisfaction. The value of a good lies especially in that aspect of
it which makes it imperishable, eternally reproducible, and
ubiquitously available. Information, which distils the imperishable,
the reproducible, the ubiquitous in a condensed set of signs, is the
true capital of this age. A commodity is no longer only an object
that can be bought and sold; it is also that thing in it which can be
read, interpreted and deciphered in such a way that every instance of
decryption or encryption can also be bought and sold. Money lies in
the meaning that lies hidden in a good. A good to eat must also be a
good to think with, or to experiment with in a laboratory. This
encryption of value, the codification and concentration of capital to
its densest and most agile form is what we understand to be
intellectual property.
How valuable is intellectual property?
How valuable is intellectual property? In attempting to find an
answer to a question such as this, it is always instructive to look
at the knowledge base that capitalism produces to assess and
understand itself. In a recent paper titled "Evaluating IP Rights: In
Search of Brand Value in the New Economy" a brand management
consultant, Tony Samuel of PricewaterhouseCoopers' Intellectual Asset
Management Group says:
"This change in the nature of competition and the dynamics of the new
world economy have resulted in a change in the key value drivers for
a company from tangible assets (such as plant and machinery) to
intangible assets (such as brands, patents, copyright and know how).
In particular, companies have taken advantage of more open trade
opportunities by using the competitive advantage provided by brands
and technology to access distant markets. This is reflected in the
growth in the ratio of market-capitalised value to book value of
listed companies. In the US, this ratio has increased from 1:1 to 5:1
over the last twenty years.
In the UK, the ratio is similar, with less than 30% of the
capitalised value of FTSE 350 companies appearing on the balance
sheet. We would argue that the remaining 70% of unallocated value
resides largely in intellectual property and certainly in
intellectual assets. Noticeably, the sectors with the highest ratio
of market capitalisation to book value are heavily reliant on
copyright (such as the media sector), patents (such as technology and
pharmaceutical) and brands (such as pharmaceutical, food and drink,
media and financial services)."1
The paper goes on to quote Alan Shepard, sometime chairman of Grand
Metropolitan plc, an international group specializing in branded
food, drinks and retailing which merged with Guinness in 1997 to form
Diageo, a corporation which today controls brands as diverse as
Smirnoff and Burger King.
"Brands are the core of our business. We could, if we so wished,
subcontract all of the production, distribution, sales and service
functions and, provided that we retained ownership of our brands, we
would continue to be successful and profitable. It is our brands that
provide the profits of today and guarantee the profits of the future."
We have considered brands here at some length, because of the way in
which brands populate our visual landscape. Were a born again
landscape painter to try and represent a stretch of urban landscape,
it would be advisable for him or her to have privileged access to a
smart intellectual property lawyer. But what is true of brands is
equally true of other forms of intangible assets, or intellectual
property, ranging from music, to images to software.
The legal regime of intellectual property is in the process of
encompassing as much as possible of all cultural transactions and
production processes. All efforts to create or even understand art
will have to come to terms, sooner or later, with the implications of
this pervasive control, and intellectual property attorneys will no
doubt exert considerable 'curatorial' influence as art events,
museums and galleries clear artists projects, proposals and
acquisitions as a matter of routine. These 'attorney-curators' will
no doubt ensure that art institutions and events do not become liable
for possible and potential 'intellectual property violations' that
the artist, curator, theorist, writer or practitioner may or may not
be aware of as being inscribed into their work.
III
The Worker as Artist
What are the implications of this scenario? The worker of the twenty
first century, who has to survive in a marker that places the utmost
value on the making of signs, finds that her tools, her labour, her
skills are all to do with varying degrees of creative, interpretative
and performative agency. She makes brands shine, she sculpts data,
she mines meaning, she hews code. The real global factory is a
network of neural processes, no less material than the blast furnaces
and chimneys of manufacturing and industrial capitalism. The worker
of the twenty first century is also a performer, a creator of value
from meaning. She creates, researches and interprets, in the ordinary
course of a working day to the order that would merit her being
considered an artist or a researcher, if by 'artist' or 'researcher'
we understand a person to be a figure who creates meaning or produces
knowledge.
Nothing illustrates this better than the condition of workers in
Information technology enabled industries like Call Centre and Remote
Data Outsourcing, which have paved the way for a new international
matrix of labour, and a given a sudden performative twist to the
realities of what is called Globalization. In a recent installation,
called A/S/L (Age/Sex/Location)2, we looked at the performative
dimension in the lives of call centre workers.
The Call Centre Worker and her world3
A call centre worker in the suburb of Delhi, the city where we live,
performs a Californian accent as she pursues a loan defaulter in a
poor Los Angeles neighbourhood on the telephone. She threatens and
cajoles him. She scares him, gets underneath his skin, because she is
scared that he won't agree to pay, and that this will translate as a
cut in her salary. Latitudes away from him, she has a window open on
her computer telling her about the weather in his backyard, his
credit history, his employment record, his prison record. Her skin is
darker than his, but her voice is trained to be whiter on the phone.
Her night is his day. She is a remote agent with a talent for
impersonation in the IT enabled industry in India. She never gets
paid extra for the long hours she puts in. He was laid off a few
months ago, and hasn't been able to sort himself out. Which is why
she is calling him for the company she works for. He lives in a third
world neighbourhood in a first world city, she works in a free trade
zone in a third world country. Neither knows the other as anything
other than as 'case' and 'agent'. The conversation between them is a
denial of their realities and an assertion of many identities, each
with their truths, all at once.
Central to this kind of work is a process of imagining, understanding
and invoking a world, mimesis, projection and verisimilitude as well
as the skilful deployment of a combination of reality and
representation. Elsewhere, we have written of the critical necessity
of this artifice to work, (in terms of creating an impression of
proximity that elides the actuality of distance) in order for a
networked global capitalism to sustain itself on an everyday basis,
but here, what we would like to emphasize is the crucial role that a
certain amount of 'imaginative' skill, and a combination of
knowledge, command over language, articulateness, technological
dexterity and performativity plays in making this form of labour
productive and efficient on a global scale.
IV.
Marginalia
Sometimes, the most significant heuristic openings are hidden away on
the margins of the contemporary world. While the meta-narratives of
war, globalization, disasters, pandemics and technological spectacles
grab headlines, the world may be changing in significant but
unrecognized directions at the margins, like an incipient glacier
inching its way across a forsaken moraine. These realities may have
to with the simple facts of people being on the move, of the
improvised mechanisms of survival that suddenly open out new
possibilities, and the ways in which a few basic facts and
conceptions to do with the everyday acts of coping with the world
pass between continents.
Here, margin is not so much a fact of location (as in something
peripheral to an assumed centre) as it is a figure denoting a
specific kind or degree of attentiveness. In this sense, a figure may
be located at the very core of the reality that we are talking about,
and still be marginal, because it does not cross a certain
low-visibility, low-attention threshold, or because it is seen as
being residual to the primary processes of reality. The call centre
worker may be at the heart of the present global economy, but she is
barely visible as an actor or an agent. In this sense, to be marginal
is not necessary to be 'far from the action' or to be 'remote' or in
any way distant from the very hub of the world as we find it today.
The Margin has its own image-field. And it is to this image-field
that we turn to excavate or improvise a few resources for practice.
A minor artisanal specialization pertaining to medieval manuscript
illumination was the drawing and inscription of what has been called
"marginalia"4. "Marginalists" (generally apprentices to scribes)
would inscribe figures, often illustrating profane wisdom, popular
proverbs, burlesque figures and fantastical or allegorical allusions
that occasionally constructed a counter-narrative to the main body of
the master text, while often acting as what was known as "exempla":
aids to conception and thought (and sometimes as inadvertent
provocations for heretic meditations). It is here, in these marginal
illuminations, that ordinary people - ploughmen, peasants, beggars,
prostitutes and thieves would often make their appearances,
constructing a parallel universe to that populated by kings,
aristocrats, heroes, monsters, angels, prophets and divines. Much of
our knowledge of what people looked like in the medieval world comes
from the details that we find in manuscript marginalia. They index
the real, even as they inscribe the nominally invisible. It would be
interesting to think for instance of the incredible wealth of details
of dress, attitude, social types and behaviours that we find in the
paintings of Hieronymus Bosch, or Pierre Breughel as marginalia writ
large. It is with some fidelity to this artisanal ideal of using
marginalia as exemplars that we would like to offer a small gallery
of contemporary marginal figures.
V.
Five Figures to Consider
As significant annotations to the text of present realities, and as
ways out for the dilemmas that we have faced in our own apprehensions
of the world, we find ourselves coming back repeatedly to them in our
practice - as images, as datums and as figures of thought, as
somewhat profane icons for meditation. We feel that these figures,
each in their own way, speak to the predicament of the contemporary
practitioner.
Figure One: The Alien Navigates a Boat at Sea
A boat changes course at sea, dipping temporarily out of the radar of
a nearby coast guard vessel. A cargo of contraband people in the
hold, fleeing war, or the aftermath of war, or the fifth bad harvest
in a row, or a dam that flooded their valley, or the absence of
social security in the face of unemployment, or a government that
suddenly took offence at the way they spelt their names - study the
contours of an unknown coastline in their minds, experiment with the
pronunciations of harbour names unfamiliar to their tongues. Their
map of the world is contoured with safe havens and dangerous border
posts, places for landing, transit and refuge, anywhere and
everywhere, encircled and annotated in blue ink. A geography lesson
learnt in the International University of Exile.
Figure Two: The Squatter builds a Tarpaulin Shelter
Tarpaulin, rope, a few large plastic drums, crates, long poles of
seasoned bamboo, and quick eyes and skilled hands, create a new home.
A migrant claims a patch of fallow land, marked "property of the
state" in the city. Then comes the tough part: the search for papers,
the guerrilla war with the Master Plan for a little bit of
electricity, a little bit of water, a delay in the date of
demolition, for a few scraps of legality, a few loose threads of
citizenship. The learning of a new accent, the taking on of a new
name, the invention of one or several new histories that might get
one a ration card, or a postponed eviction notice. The squat grows
incrementally, in Rio de Janeiro, in Delhi, in Baghdad, creating a
shadow global republic of not-quite citizens, with not-yet passports,
and not-there addresses.
Figure Three: The Electronic Pirate burns a CD
A fifteen square-yard shack in a working-class suburb of northeast
Delhi is a hub of the global entertainment industry. Here, a few
assembled computers, a knock-down Korean CD writer, and some Chinese
pirated software in the hands of a few formerly unemployed, or
unemployable young people turned media entrepreneurs, transform the
latest Hollywood, or Bollywood blockbuster into the stuff that you
can watch in a tea shop on your way to work. Here, the media meets
its extended public. It dies a quick death as one high-end commodity
form, and is resurrected as another. And then, like the Holy Spirit,
does not charge an exorbitant fee to deliver a little grace unto
those who seek its fleeting favours. Electronic piracy is the flow of
energy between chained product and liberated pixel that makes for a
new communion, a samizdat of the song and dance spectacular.
Figure Four: The Hacker Network liberates Software
A community of programmers dispersed across the globe sustains a
growing body of software and knowledge - a digital commons that is
not fenced in by proprietary controls. A network of hackers, armed
with nothing other than their phone lines, modems, internet accounts
and personal computers inaugurate a quiet global insubordination by
refusing to let code, music, texts, math and images be anything but
freely available for download, transformation and distribution. The
freedom is nurtured through the sharing of time, computing resources
and knowledge in a way that works out to the advantage of those
working to create the software, as well as to a larger public, that
begins swapping music and sharing media files to an extent that makes
large infotainment corporations look nervously at their balance
sheets. The corporations throw their lawyers at the hackers, and the
Intellectual Property Shock Troops are out on parade, but nothing can
turn the steady erosion of the copyright.
Figure Five: Workers Protect Machines in an Occupied Factory
Seamstresses at the Brukman Garment Factory in Buenos Aires5 shield
their machines against a crowd of policemen intent on smashing them.
The power of the Argentine state provokes a perverse neo Luddite
incident, in which the workers are attacked while they try to defend
their machines from destruction. The Brukman Factory is a "fabrica
ocupada", a factory occupied by its workers, one of many that have
sustained a new parallel social and economic structure based on self
regulation and the free exchange of goods and services outside or
tangential to the failed money economy - a regular feature of the way
in which working people in Argentina cope with the ongoing economic
crisis. Turning the rhetoric and tactics of working class protest on
its head, the seamstresses of the Brukman factory fight not to
withdraw their labour from the circuit of production, but to protect
what they produce, and to defend their capacity to be producers,
albeit outside the circuit desired by capital.
VI.
Significant Transgressions
These five transgressors, a pentacle of marginalia, can help us to
think about what the practitioner might need to understand if she
wants to recuperate a sense of agency. In very simple terms, she
would need to take a lesson in breaking borders and moving on from
the migrant, in standing her ground and staying located from the
squatter, in placing herself as a link in an agile network of
reproduction, distribution and exchange from the pirate, in sharing
knowledge and enlarging a commons of ideas from the hacker, and in
continuing to be autonomously productive from the workers occupying
the factory.
The first imperative, that of crossing borders, translates as
scepticism of the rhetoric of bounded identities, and relates to the
role of the practitioner as a 'journeyman', as the peripatetic who
maps an alternative world by her journey through it. The second, of
building a shelter against the odds of the law, insists however on a
practice that is located in space, and rooted in experience, that
houses itself in a concrete 'somewhere' on its own terms, not of the
powers that govern spaces. It is this fragile insistence on
provisional stability, which allows for journeys to be made to and
from destinations, and for the mapping of routes with resting places
in between. The third imperative, that of creating a fertile network
of reproduction of cultural materials, is a recognition of the
strength of ubiquity, or spreading ideas and information like a virus
through a system. The fourth imperative, of insisting on the freedom
of knowledge from proprietary control, is a statement about the
purpose of production - to ensure greater pleasure and understanding
without creating divisions based on property, and is tied in to the
fifth imperative - a commitment to keep producing with autonomy and
dignity.
Taken together, these five exempla constitute an ethic of radical
alterity to prevailing norms without being burdened by the rhetorical
overload that a term like 'resistance' invariably seems to carry.
They also map a different reality of 'globalization' - not the
incessant, rapacious, expansion of capitalism, but the equally
incessant imperative that makes people move across the lines that
they are supposed to be circumscribed by, and enact the everyday acts
of insubordination that have become necessary for their survival. It
is important to look at this subaltern globalization from below,
which is taking place everywhere, and which is perhaps far less
understood than the age-old expansionist drive of capitalism, which
is what the term 'globalization' is now generally used to refer to.
It embodies different wills to globality and a plethora of global
imaginaries that are often at cross-purposes with the dominant
rhetoric of corporate globalization.
The illegal emigrant, the urban encroacher, electronic pirate, the
hacker and the seamstresses of the Brukman Factory of Buenos Aires
are not really the most glamorous images of embodied resistance. They
act, if anything, out of a calculus of survival and self-interest
that has little to do with a desire to 'resist' or transform the
world. And yet, in their own way, they unsettle, undermine and
destabilize the established structures of borders and boundaries,
metropolitan master plans and the apparatus of intellectual property
relations and a mechanism of production that robs the producer of
agency. If we examine the architecture of the contemporary moment,
and the figures that we have described, it does not take long to see
five giant, important pillars:
(5)The consolidation, redrawing and protection of boundaries
(6)The grand projects of urban planning and renewal and
(7)The desire to protect information as the last great resource left
for capitalism to mine - which is what Intellectual Property is all
about,
(8)Control over the production of knowledge and culture and
(9)The denial of agency to the producer.
Illegal emigration, urban encroachment, the assault on intellectual
property regimes by any means, hacking and the occupation of sites of
production by producers, each of which involve the accumulation of
the acts of millions of people across the world on a daily,
unorganized and voluntary basis, often at great risk to themselves,
are the underbelly of this present reality.
But how might we begin to consider and understand the global figures
of the alien, the encroacher, the pirate, the hacker and the worker
defending her machine?
VII.
Capital and its Residue
The first thing to consider is the fact that most of these acts of
transgression are inscribed into the very heart of established
structures by people located at the extreme margins. The marginality
of some of these figures is a function of their status as the
'residue' of the global capitalist juggernaut. By 'residue', we mean
those elements of the world that are engulfed by the processes of
Capital, turned into 'waste' or 'leftovers', left behind, even thrown
away.
Capital transforms older forms of labour and ways of life into those
that are either useful for it at present, or those that have no
function and so must be made redundant. Thus you have the paradox of
a new factory, which instead of creating new jobs often renders the
people who live around 'unemployable'; A new dam, that instead of
providing irrigation, renders a million displaced, a new highway that
destroys common paths, making movement more, not less difficult for
the people and the communities it cuts through. On the other hand
sometimes, like a sportsman with an injury who no longer has a place
on the team, a factory that closes down ensures that the place it was
located in ceases to be a destination. And so, the workers have to
ensure that it stays open, and working in order for them to have a
place under the sun.
What happens to the people in the places that fall off the map? Where
do they go? They are forced, of course, to go in search of the map
that has abandoned them. But when they leave everything behind and
venture into a new life they do not do so entirely alone. They go
with the networked histories of other voyages and transgressions, and
are able at any point to deploy the insistent, ubiquitous insider
knowledge of today's networked world.
Seepage in the Network
How does this network act, and how does it make itself known in our
consciousness? We like to think about this in terms of Seepage. By
seepage, we mean the action of many currents of fluid material
leaching on to a stable structure, entering and spreading through it
by way of pores. Until, it becomes a part of the structure, both in
terms of its surface, and at the same time continues to act on its
core, to gradually disaggregate its solidity. To crumble it over time
with moisture.
In a wider sense, seepage can be conceived as those acts that ooze
through the pores of the outer surfaces of structures into available
pores within the structure, and result in a weakening of the
structure itself. Initially the process is invisible, and then it
slowly starts causing mould and settles into a disfiguration - and
this produces an anxiety about the strength and durability of the
structure.
By itself seepage is not an alternative form; it even needs the
structure to become what it is - but it creates new conditions in
which structures become fragile and are rendered difficult to
sustain. It enables the play of an alternative imagination, and so we
begin seeing faces and patterns on the wall that change as the
seepage ebbs and flows.
In a networked world, there are many acts of seepage, some of which
we have already described. They destabilize the structure, without
making any claims. So the encroacher redefines the city, even as she
needs the city to survive. The trespasser alters the border by
crossing it, rendering it meaningless and yet making it present
everywhere - even in the heart of the capital city - so that every
citizen becomes a suspect alien and the compact of citizenship that
sustains the state is quietly eroded. The pirate renders impossible
the difference between the authorised and the unauthorised copy,
spreading information and culture, and devaluing intellectual
property at the same time. Seepage complicates the norm by inducing
invisible structural changes that accumulate over time.
It is crucial to the concept of seepage that individual acts of
insubordination not be uprooted from the original experience. They
have to remain embedded in the wider context to make any sense. And
this wider context is a networked context, a context in which
incessant movement between nodes is critical.
VIII.
A Problem for the History of the Network
But how is this network's history to be understood? To a large
measure, this is made difficult by the fact of an "asymmetry of
ignorance" about the world. We are all ignorant of the world in
different ways and to different degrees. And that is one of the
reasons why the "Network" often shades off into darkness, at some or
the other point. This is what leads to global networks that
nevertheless ignore the realities of large parts of the world,
because no one has the means to speak of those parts, and no one
knows, whether people exist in those parts that can even speak to the
world in the language of the network. Thus the language of the
network often remains at best only a mobile local dialect.
A media practitioner or cultural worker from India, e.g., is in all
likelihood more knowledgeable about the history of Europe than could
be the case for the European vis-a-vis India. This is a fact
engendered by colonialism that has left some societies impoverished
in all but an apprehension of reality that is necessarily global. The
historian Dipesh Chakrabarty has reminded us,
"Insofar as the academic discourse of history is concerned, 'Europe'
remains the sovereign, theoretical subject of all histories,
including the ones we call 'Indian', 'Chinese', 'Kenyan', and so on.
There is a peculiar way in which all these other histories tend to
become variations on a master narrative that could be called 'the
history of Europe'."6
But this very same fact, when looked at from a European standpoint,
may lead to a myopia, an inability to see anything other than the
representational master narrative of European history moulding the
world. The rest of the world is thus often a copy seeking to
approximate this original.
All this to say: not merely that we have incomplete perspectives, but
that this asymmetry induces an inability to see the face in the wall,
the interesting pattern, produced by the seepage. We may inhabit the
anxiety, even be the source and locus of the destabilization and
recognize the disfiguration, but the envisioning of possible
alternative imaginaries may still continue to elude us.
IX.
Towards an Enactive Model of Practice
Recently in a book on neuropolitics7, we came across an experiment
which is now considered classic in studies of perception, (The Held
and Heims Experiment) which might give us an interesting direction to
follow now.
Two litters of kittens are raised in the dark for some time and then
exposed to light under two different sets of conditions. The first
group is allowed to move around in the visual field and interact with
it as kittens do - smelling things, touching them, trying out what
can be climbed and where the best places to sleep are. The kittens
in the second group, (though they are placed in the same environment)
are carried around in baskets rather than allowed to explore the
space themselves, and thus are unable to interact with it with all
their senses and of their own volition.
The two groups of kittens develop in very different ways. When the
animals are released after a few weeks of this treatment, the first
group of kittens behaves normally, but those who have been carried
around behave as if they were blind; they bump into objects and fell
over edges. It is clear that the first group's freedom to experience
the environment in a holistic way is fundamental to its ability to
perceive it at all.
What is the significance of this? Within neuroscience, such
experiments have served to draw neuroscientists and cognitive
scientists away from representational models of mind towards an
"enactive" model of perception in which objects are not perceived
simply as visual abstractions but rather through an experiential
process in which information received from this one sense is
"networked" with that from every other. Vision, in other words, is
deeply embedded in the processes of life, and it is crucial to our
ability to see that we offset the representations that we process,
with the results of the experiences that we enter into. We need to
know what happens when we take a step, bump into someone, be startled
by a loud noise, come across a stranger, an angry or a friendly face,
a gun or a jar of milk.
In a sense this implies a three-stage encounter that we are ascribing
between the practitioner and her world. First, a recognition of the
fact that instances of art practices can be seen as contiguous to a
'neighbourhood' of marginal practices embodied by the figures of the
five transgressors. Secondly, that 'seeing' oneself as a
practitioner, and understanding the latent potentialities of one's
practice, might also involve listening to the ways in which each of
the five transgressive figures encounters the world. Finally, that
what one gleans from each instance of transgression can then be
integrated into a practice which constitutes itself as an ensemble of
attitudes, ways of thinking, doing and embodying (or recuperating)
creative agency in a networked world.
For us here, this helps in thinking about the importance of
recognizing the particularity of each encounter that the practitioner
witnesses or enters into, without losing sight of the extended
network, of the 'neighbourhood' of practices.
It is only when we see particularities that we are also able to see
how two or more particular instances connect to each other. As
residues, that search for meaning in other residual experiences; or
as acts of seepage, in which the flow of materials from one pore to
another ends up connecting two nodes in the network, by sheer force
of gravity. Here it is the gradients of the flow, the surface tension
that the flow encounters and the distance that the flow traverses,
that become important, not the intention to flow itself. Intentions,
resistances, may be imputed, but in the end they have little to do
with the actual movements that transpire within the network.
X.
Art practice and protocols of networked conversation
What does art and artistic practice have to do with all this? What
can the practitioner take from an understanding of interactive
embeddedness in a networked world? We would argue that the diverse
practices that now inhabit art spaces need to be able to recognize
the patterns in the seepage, to see connections between different
aspects of a networked reality.
To do this, the practitioner probably has to invent, or discover,
protocols of conversation across sites, across different histories of
locatedness in the network; to invent protocols of resource building
and sharing, create structures within structures and networks within
networks. Mechanisms of flexible agreements about how different
instances of enactment can share a contiguous semantic space will
have to be arrived at. And as we discover these 'protocols', their
different ethical, affective and cognitive resonances will
immediately enter the equation. We can then also begin to think of
art practice as enactment, as process, as elements in an interaction
or conversation within a network.
For the acts of seepage to connect to form new patterns, many new
conversations will have to be opened, and mobile dialects will have
to rub shoulders with each other to create new, networked Creoles.
Perhaps art practice in a networked reality can itself aspire to
create the disfigurations on the wall, to induce some anxieties in
the structure, even while making possible the reading of the face in
the spreading stain, the serendipitous discovery of an interesting
pattern or cluster of patterns, and possible alterities.
This text draws from a presentation by Monica Narula (Raqs Media
Collective) at Globalica - a symposium on "conceptual and artistic
tensions in the new global disorder", held at the WRO Center for
Media Art, Wroclaw, Poland in May 2003.
The images are from A/S/L, an installation by Raqs Media Collective.
A/S/L support: Editing: Parvati Sharma, Sound Design: Vipin Bhati,
Production Assistance: Ashish Mahajan, T.Meyarivan, Produced at Sarai
Media Lab, Sarai/CSDS, Delhi.
Notes:
1. Tony Samuel, PricewaterhouseCoopers' Intellectual Asset Management
Group, Evaluating IP Rights: In Search of Brand Value in the New
Economy
http://www.pwcglobal.com/Extweb/service.nsf/docid/210123EF9AEBAC1885256B96003428C6
2. A/S/L: A video, text and sound installation by Raqs Media
Collective that juxtaposes the protocols of interpersonal
communication, online labour, data outsourcing, and the
making/unmaking of remote agency in the 'new' economy. Presented at
the Geography and the Politics of Mobility exhibition, curated by
Ursula Biemann for the Generali Foundation, Vienna, (January - April
2003).
http://www.absolutearts.com/artsnews/2003/01/17/30667.html
http://foundation.generali.at/exhibit/2003_1_geo_indexe.htm
3. Raqs Media Collective, "Call Centre Calling: Technology, Network
and Location", Sarai Reader 03: Shaping Technologies, February 2003.
http://www.sarai.net/journal/03pdf/177_183_raqsmediac.pdf
for more on the call center industry in India, see -
Mark Landler, "Hi I'm in Bangalore (But I Dare Not Tell)", New York
Times (Technology Section) March 21, 2001.
http://www.nytimes.com/2001/03/21/technology/21CALL.html?ex=1054353600&en=7576033f99208ca6&ei=5070
India Calling - A Report on the Call Centre Industry in India
http://www.researchandmarkets.com/reports/2387/
4. Andrew Otwell, Medieval Manuscript Marginalia and Proverbs, 1995.
http://www.heyotwell.com/work/arthistory/marginalia.html
5. Naomi Klein, Argentina's Luddite Rulers: Workers in the Occupied
Factories Have a Different Vision: Smash the Logic, Not the Machines,
Dissident Voice, April 25, 2003
http://www.dissidentvoice.org/Articles4/Klein_Argentina.htm
6. Dipesh Chakravarty, "Postcoloniality and the Artifice of History:
Who Speaks for 'Indian' Pasts", Representations, 37 (Winter, 1992)
7. William E. Connolly, "Neuropolitics: Thinking, Culture, Speed",
Theory Out of Bounds, Number 23, Univ. of Minnesota, 2002
--
Monica Narula [Raqs Media Collective]
Sarai-CSDS
29 Rajpur Road, Delhi 110 054
www.raqsmediacollective.net
www.sarai.net
--
Monica Narula [Raqs Media Collective]
Sarai-CSDS
29 Rajpur Road, Delhi 110 054
www.raqsmediacollective.net
www.sarai.net
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