Category: Volume 14 – Number 2 – January 2004

  • Notices

     

     

     

    Volume 14, Number 2
    January, 2004
    Every issue of Postmodern Culturecarries notices of events, calls for papers, and other announcements, free of charge. Advertisements will also be published on an exchange basis. If you respond to one of the ads or announcements below, please mention that you saw the notice in PMC.

     


    Publication Announcements

    • We, the People of Europe? Reflections on Transnational Citizenship
      Etienne Balibar
    • Variant 19 (Spring 2004)

    Conferences, Calls for Papers, Invitations to Submit

    • Outside the Frame: A Journal for Texts and Technology
    • Reconstruction: Studies in Contemporary Culture
    • Digital Resources for the Humanities 2004

    General Announcements

    • Crossroads 2004
      5th International Conference of the Association for Cultural Studies
      25 Jun-28 Jun 2004
    • Cultural Studies Association
      2nd Annual Conference

     

  • Exposition in Ruins

    Charles Sheaffer

    Department of Cultural Studies and Comparative Literature
    University of Minnesota
    Shea0016@umn.edu

     

    Review of: Gregory Ulmer, Internet Invention. New York: Pearson, 2003.

     

    Gregory Ulmer’s Internet Invention can be accurately described as a composition handbook for students working in an increasingly visual culture–provided that one follows Ulmer in understanding the newfound prevalence of the image not as a shift in the relative status of specific media, but rather as the ascendance of a particular set of signifying rules. These rules readily accommodate the printed word while nonetheless exploding the premises of expository discourse that the academy continues to equate with the act of written composition. Indeed, the crux of Ulmer’s important and illuminating project could be said to reside in his distinction between pedagogical instantiation and technological potentiality: since the appearance of Applied Grammatology in 1985, Ulmer has sought to delineate the growing epistemological deficiencies of our print-based educational apparatus in the face of its own digital-age contexts. Yet in doing so, he has strived to avoid the easy conflation of discursive structure with technological means–an effort that manifests itself, for instance, in Ulmer’s persistent characterization of the academic essay not as the inevitable legacy of alphabet technology, but rather as a particular form of “interface,” a specific code developed by Renaissance scholars as one means of harnessing the cognitive properties facilitated by the written sign.

     

    In Ulmer’s view, then, it is incumbent upon researchers working within the contemporary humanities disciplines to craft the digital-age counterpart to the essay itself–a project entailing not only the development of specific technological prostheses (for example, the extension of the print-based educational apparatus into such settings as the video production studio or the networked learning environment), but also the conceptualization of altogether new forms of epistemological code, the conceptualization, that is, of a specifically digital rhetoric that would accommodate any technological medium, including paper and pen. On this matter, it is worth noting the case of the “mystory,” the calculatedly post-literate genre that Ulmer first fully adumbrated in his 1989 book, Teletheory, and that he and his students at the University of Florida initially performed in traditional (that is, un-wired) classrooms: the point of the mystory has always been to think electronically regardless of the medium in use–that is, to augment the modes of inductive and deductive reasoning with the use of conductive methodologies, the formulation of knowledge through the associative channels afforded by the function of the signifier.

     

    For Roland Barthes, it was of course the photographic “punctum” that best displayed the infusion of putatively expository representations with individuated meaning and that demonstrated, in turn, the linking of discrete chains of knowledge through the short-circuitry inherent to the signifying field. And in developing his own trope of “conductivity,” Ulmer’s intent is to raise (or lower, as the case may be) this associative mode of knowledge-production to the level of academic method. As such, the purpose of Internet Invention is not simply to facilitate the incorporation of sound and image within the context of the expository text, but rather to cultivate a post-expository method reflective of the polyvalent conduction of meaning explored by Freud, Barthes, and Derrida and evident throughout the practices that comprise the university’s contemporary contexts. As Gerald Graff began to argue in the mid-eighties, advertising has now usurped the university as the arbiter of cultural logic; Ulmer’s contention, in turn, would be that academic writing lags behind precisely because it has yet to allow for the metonymic sliding–the repetition of sounds, images, and letters across otherwise disjointed contexts–that comprises the fundamental code of the advertising discourse as such.

     

    In assessing Ulmer’s commitment to the issue of pedagogy, it is already enough to observe the quotidian circumstances surrounding the appearance of the book in question: handled by the educational division of Longman Publishers and featuring the kind of companion website now more or less mandatory for college writing guides, Internet Invention is indeed meant to serve as a student textbook. Even more indicative of Ulmer’s investment, though, is the site of his departure from received pedagogical practices: while Internet comprises a different kind of textbook, this difference has little to do with its substitution of the webpage for the writing pad. Much more to the point, Internet comprises a first-person composition manual (to paraphrase Ulmer himself), a revelation of methodologies through the enactment of the institutional, conceptual, and personal problems that have spawned them. Hence, while Ulmer joins a sizeable group of scholars in emphasizing the growing gap between academic discourse and the practices that surround the contemporary academy, he stands out for his enactment of a distinctly post-expository method.

     

    Here, though, we must proceed by way of caveat: the revelatory act in question has less to do with the kind of personal agency espoused by Peter Elbow than with the retroactive effect denoted by Lacan as the mechanism of capitonnage; what’s to be revealed to the student of Ulmer’s digital pedagogy is the instantaneous linking of public and private modes of experience through the repetition of signifiers across conceptual contexts. In Internet Invention, this form of revelation, as it were, is demonstrated through the same mix of popular and personal discourses that has marked Ulmer’s previous books (with topics ranging from Derrida to Elvis to Ulmer’s boyhood in Eastern Montana). In this case, however, these fragments serve to guide the student’s movement through a four-step cycle of “career,” “family,” “entertainment,” and “community.” Through various exercises interspersed amongst the aforementioned mosaic (the complexion of which is unabashedly mediated by Ulmer’s ample formulations of both the principle of conductivity itself and the forms and methods by which it might be exploited), the student is directed toward the production of four correlative websites.

     

    Significantly, this progression is to be driven not by the employment of subtending concepts but rather through the recognition of isolated, trans-contextual details (through the circulation, that is, of the gram, the signifier removed from the presumption of fixed subtending meaning). The hoped-for result is the production of a “widesite,” a constellation of text and image derived through the aforementioned succession and used, in turn, as a themata in the formulation of public or professional problems. In one of Ulmer’s many personal examples, the sound of the steel guitar links the country-western music of his boyhood Montana to the hybrid pop music of the contemporary African continent (the sound in question having traveled to both locales from its origins in the Hawaiian method of slack-string guitar tuning). The resulting connection affords Ulmer an idiosyncratic structuring of the various problems connoted by the disciplinary concept of postcolonialism. In this manner, Internet Invention mounts an epistemological formalization of the generative use of extra-disciplinary patterns that researchers of intellectual creativity have ascribed to the work of innovative thinkers in every field. Here, then, resides the site of Ulmer’s intended break: despite its delivery through the familiar interface of the expository text, Internet Invention asks the student/reader to perform a distinctly extra-expository blending of word, sound, and image, a gesture that does not usurp the writing of literate discourse so much as enlist it in a process otherwise obfuscated through the academic espousal of expository knowledge production.

     

    As already suggested, Ulmer’s project rests not so much upon the putative obsolescence of literate epistemology as on the mobilization of methods previously excluded by the pedagogical extolling of expository ends. And as such, the difference between the subtending presumptions of the academic essay and the generative code inherent to the “widesite” cannot be plotted temporally. Media theorist Rita Raley makes a similar point in a productively different manner: in her analysis of the widespread endeavors to discern between (analog) text and (digital) hypertext, Raley notes that any attempt at the binary classification of the two (in terms of their material or ontological differences, for instance) already signals the default invocation of a decidedly analogical method. Alternately, then, Raley formulates the distinction in question through a conceptual inversion of sorts: beginning with the notion of the textual object as that which bespeaks its disciplinary and/or methodological foundations, Raley characterizes hypertextual production as that for which the condition of textuality has simply become prerequisite. As Raley puts it, the analog/digital divide can be said to exist strictly as the precipitate of the movement from the one to the other–with the caveat that it is precisely this anchoring of meaning upon its own anamorphotic trace that defines the hypertextual experience as such.

     

    Where this inversion becomes illuminating with respect to Ulmer’s project is in its implicit formulation of analog representation as a foreclosure of sorts, as a deviation from the “baseline” condition of the hypertext. Within Ulmer’s oeuvre, this same conceptual reversal becomes evident in his frequent references (particularly in his earlier works, such as Teletheory and Heuretics) to the modern suppression of metonymic methods of knowledge production. It is not simply that Ulmer advocates a digital-age return to the pre-literate use of poetics; rather, the point not to be missed (a point that Raley can be said to illuminate by way of analogy) concerns Ulmer’s differentiation between method and potential–his realization, in other words, of the delimited status of the expository code relative to a range of potentialities that was already inherent in the era of literate discourse.

     

    What this analogy underscores in turn, however, is the internal horizon of the mystory itself, the lacuna of Ulmer’s own pedagogical narrative. For once we differentiate between rhetorical interface and technological potentiality, then why wouldn’t we want to locate this split within the literate apparatus itself? In other words, having learned from Ulmer the importance of distinguishing between epistemological method and material specificity, why should we necessarily look to generic alternatives to the essay? Shouldn’t conductive knowledge-formation be expected to function within the form of the modern essay despite this form’s pedagogical subordination to the fantasy of exposition?

     

    We can pursue this point further by way of a quick return to Ulmer’s core impetus. As Ulmer suggests, one of the best rationales for the widesite is the growing need for a means of knowledge production that would effectively mime the postapocalyptic condition of ruin in which we now operate. In delineating his method, then, Ulmer takes as one of his models Freud’s schematization of the dream mechanism–that is, the psychoanalytic theorization of the linking of latent and manifest fragments (or ruins) through the purely associative interactions of visual and textual signs. In the aforementioned case of the disciplinary problem of postcolonialism, for instance, Ulmer’s point is that his investment in the issue derives not from an objective survey of the global cultural-historical landscape but from the conductive linking of discrete contexts through their confluence within polysemic signifiers (“I hated the piles of rocks at the Sand and Gravel plant, but I loved the new rock music on KOMA that we could hear in Montana at night” [116]). In Ulmer’s words, it is the metonymic pursuit of the signifying thread that leads to conceptual epiphany.

     

    Here, then, lies the essence of Ulmer’s crucial contribution. In conclusion, however, the trajectory of his most recent offering can be both corroborated and qualified through a consideration of our academic responses to the public crisis of the 9/11 attacks. As we now know, attempts to place the attacks within pertinent historical contexts merely tended to feed the hegemonic fantasies that our various historiographical expositions sought to dispel (as evidenced, for instance, by the backlash against Susan Sontag’s New Yorker commentary). But consider, in turn, Seattle journalist Charles Mudede’s chronicling of African-American reactions to 9/11. Throughout the wide range of views represented within Mudede’s September 2001 article, one begins to recognize a recurrent expression of anger toward the attackers’ disregard for the domestic victims of American policy. In other words, the position that emerges in Mudede’s piece effectively circumvents the false choice between patriotic solidarity and global sympathy–and it does so through the generative “revelation” of a new chain of knowledge.

     

    Mudede’s article is entitled “Black Flag,” a nice example of conductivity in and of itself. But one could argue that the epistemological significance of the position described in Mudede’s narrative becomes clear only once it is read alongside, say, Martin Luther King Jr.’s proclamations of a violated American dream. King’s strategy was to invoke the American way itself as the context for a new articulation of its own antagonistic failure, its own intrinsic incompleteness. As such, King’s rhetoric further exemplifies the tenet of generative epistemology, the associative linking of fragmentary “ruins” toward the intervening reformulation of public issues.

     

    The point, though, is that in doing so King merely mobilizes the very form of logic that afforded the emergence of the national community in the first place: the predication of new discursive fields upon their own lacuna, upon a condition of purely intrinsic antagonism. Here then, it perhaps becomes necessary to augment the mechanisms of condensation and displacement with the function of the impossible “navel” that Freud posits as the anchor of the dream structure itself: in the seminal case of the emergence of the French republic, for instance, the experience of nationalism erupts precisely as a generative expression of its own incompleteness.1 Likewise, in Raley’s analysis of the comparative status of digital representation, it is precisely this retroactive emergence of the trace that becomes recognized as the zero-degree of the hypertextual field itself–with the important caveat that it is this “field,” as it were, that comprises the logical foundation of the modern episteme as such. With respect to the implementation of Ulmer’s project, the above juxtapositions underscore the possibility of recognizing conductivity as a function that already subtends the modern act of writing. In light of Ulmer’s own demonstration of the distinction between electronic thinking and electronic media, then, the continuation of the project enacted in Internet Invention appears too important to remain displaced onto the anticipatory form of the mystory. In the immediate future, the range of the widesite might well be gainfully extended to the domain of the freshman research paper.

     

    Notes

     

    1. This formulation of the generative basis of nationalist discourse is derived from chapter three of Laclau and Mouffe’s Hegemony and Socialist Strategy.

     

    Works Cited

     

    • Laclau, Ernesto, and Chantal Mouffe. Hegemony and Socialist Strategy. London: Verso, 1985.
    • Mudede, Charles. “Black Flag: The Black Response to America’s Tragedy.” The Stranger. 25 Oct. 2001. 14 Dec. 2002 <http://www.thestranger.com/2001-10-25/feature2.html>.
    • Raley, Rita. “Reveal Codes: Hypertext and Performance.” Postmodern Culture 12 (2001). 26 Nov. 2002 <http://muse.jhu.edu/journals/pmc/v012/12.1raley.html>.
    • Sontag, Susan. “Talk of the Town.” The New Yorker. 24 Sept. 2001: 24.
    • Ulmer, Gregory. Applied Grammatology. Baltimore: Johns Hopkins UP, 1985.
    • —. Heuretics: the Logic of Invention. Baltimore: Johns Hopkins UP, 1994.
    • —. Internet Invention: from Literacy to Electracy. New York: Pearson, 2003.
    • —. Teletheory: Grammatology in the Age of Video. New York: Routledge, 1989.

     

  • Killing the Big Other

    Daniel Worden

    Department of English & American Literature
    Brandeis University
    dworden@brandeis.edu

     

    Review of: Slavoj Zizek, The Puppet and the Dwarf: The Perverse Core of Christianity.Cambridge: MIT P, 2003.

     

    The first book in his “Short Circuits” series from MIT Press, Slavoj Zizek’s The Puppet and the Dwarf: The Perverse Core of Christianity strives to radicalize belief and action by revaluing the solid, divine foundation usually thought to underpin religious faith. The book’s title might be misleading for those interested in the study of puppetry or dwarves, for this work does not share a common focus with Susan Stewart’s On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection or Victoria Nelson’s The Secret Life of Puppets.

     

    Instead, The Puppet and the Dwarf alludes to the first of Walter Benjamin’s “Theses on the Philosophy of History.” Benjamin describes “an automaton constructed in such a way that it could play a winning game of chess.” Inside the chess-playing puppet is “a little hunchback who was an expert chess player” who controls the puppet’s moves. This absurd Turing Machine illustrates the trick involved in theoretical discourse: “the puppet called ‘historical materialism’ is to win all the time. It can easily be a match for anyone, if it enlists the service of theology, which today, as we know, is wizened and has to keep out of sight” (253). Benjamin’s formulation implicates theology as the hidden motor of historical materialism, and the thesis aphoristically argues that “materialist” accounts of history are ultimately guided by theological narratives of salvation, of a progressively inclined “invisible hand,” or of the divine coming of class consciousness. Zizek reverses this formulation to mount an attack not against theology in general or Christianity in particular, but against deconstruction.

     

    At the outset of the book, Zizek claims that in our historical moment “the theological dimension is given a new lease on life in the guise of the postsecular ‘Messianic’ turn of deconstruction” (3). Deconstruction assumes the position of Benjamin’s chess-playing puppet, while historical materialism retreats to the dwarf’s position. Never sparing of deconstruction, Zizek’s formulation here and throughout unapologetically links deconstruction to the pasty liberalism he is so fond of deriding. However, lurking behind Zizek’s usual critique of liberal political positions (multiculturalism, identity politics, human rights), there lies a more intriguing relation to deconstruction. Zizek devotes a great number of pages in this book to Saint Paul, one of his heroes, and Jesus, a man whom he values not as the son of God but as he who kills himself in order to save himself from becoming doxa. Jesus seems to figure here as none other than Jacques Derrida, the messianic voice of deconstruction, around whom disciples gather, and Paul as none other than Zizek himself, the outsider who rigorously theorizes and institutionalizes the excess out of the dominant tradition. Christianity serves as the allegory through which Zizek critiques and proposes a solution to the apolitical “messianism” of deconstruction.

     

    The messianic promise has recently taken the shape of “elsewhere” in Derrida’s writings. As he claims in Monolingualism of the Other; or, The Prosthesis of Origin, this elsewhere exists “on the shores” of language, just barely unreachable and unspeakable, but nevertheless it is that which constitutes language’s promise. In Monolingualism of the Other, Derrida constructs a dialogue on the limits of language, and language’s limits give way to the promise of an “elsewhere”:

     

    you at once appreciate the source of my sufferings, the place of my passions, my desires, my prayers, the vocation of my hopes, since this language runs right across them all. But I am wrong, wrong to speak of a crossing and a place. For it is on the shores of the French language, uniquely, and neither inside nor outside it, on the unplaceable line of its coast that, since forever, and lastingly [à demeure], I wonder if one can love, enjoy oneself [jouir], pray, die from pain, or just die, plain and simple, in another language or without telling one about it, without even speaking at all. (2)

     

    Occurring “on the shores” of language, this “wonder” reaches for the promise of unmediated transparency. Derrida here seriously entertains the possibility of an “unspeakable” that promises the very profundity of belief that remains “lastingly” inaccessible. Zizek traces this concept of the unspeakable to Hegel’s “absolute panlogicism” and Lacan’s formulation of the Real as not external to the Symbolic, in effect arguing that language overlays the real and in so doing punctures its surface:

     

    it is not that we need words to designate objects, to symbolize reality, and that then, in surplus, there is some excess of reality, a traumatic core that resists symbolization--this obscurantist theme of the unnameable Core of Higher Reality that eludes the grasp of language is to be thoroughly rejected; not because of a naïve belief that everything can be nominated, grasped by our reason, but because of the fact that the Unnameable is an effect of language. We have reality before our eyes well before language, and what language does, in its most fundamental gesture, is--as Lacan put it--the very opposite of designating reality: it digs a hole in it, it opens up a visible/present reality toward the dimension of the immaterial/unseen. When I simply see you, I simply see you--but it is only by naming you that I can indicate the abyss in you beyond what I see. (70)

     

    This dialectical relation between reality and language, that reality is explained by language, while the latter, through its articulation, exposes reality as propped up by nothing in its fundamental rootlessness, though, never reaches even a tentative synthesis. The praxis that emerges from this insight seems to be simply that one is responsible for one’s own decisions, a solution more descriptive than prescriptive. Zizek lacks a positive program of action, causing his work here to resonate with the moral ambiguousness that emerges out of Jean-Paul Sartre’s Being and Nothingness, an embrace of radical freedom that fails to develop a normative component to guide one’s radically free choices.

     

    To give his Christian allegory of deconstruction and ideology critique a positive component, a model of intellectual praxis, Zizek theorizes what, exactly, Paul did to the Jewish tradition to force a radical break between Judaism and Christianity. This radical break occurs because of the “perverse core” of which the book’s title speaks; the promised core, simply put, is no core at all. The messianic promise of Christianity is a hollow promise, for God, the core, can do nothing but fail to act. God is a “petit objet a,” an object that is desired but can never satisfy. Zizek performs a convincing reading of Jesus’s question during the crucifixion–“God, why hast thou forsaken me?”–to support this point. Instead of marking the necessity of Jesus becoming fully human so that he could then rise from the dead and ascend to heaven, Jesus’s question exposes God’s essential impotence. God forsakes Jesus because God is powerless to do anything. The messianic promise is exposed in Christianity to be a promise with no possibility of fulfillment. Like the commodity, Christ is figured as that which gives value to humanity by promising to be more than human. As Zizek claims in a previous work, On Belief, “Christ directly embodies/assumes the excess that makes the human animal a proper human being” (99). But this excess is always already fictional, an excess that ideologically inflects desire.

     

    The argument of The Puppet and the Dwarf has much less to do with actual theology than with present-day critical theory. Concerned not with the “historical” Jesus or the “historical” Paul (although he does cite historical studies and even an “alternative” history that asks, “what if Jesus had not been betrayed by Judas and crucified but had lived to a ripe old age?”), Zizek’s argument is aimed at contemporary ideology, particularly leftist ideology. Since theology is the puppet against whom we all play chess (theology not only in the sense of a messianic promise but also in the sense of the valuation of things as sacred, including, but not limited to, our bodies, our health, commodities, and the cultures of ourselves and others), then theology itself must be modified. Zizek’s book, in this sense, is an attempt to embrace the dwarf (historical materialism) and forego the puppet (theology). If Christ is ultimately human with no excess content that makes him transcendent, then the Big Other turns out to not be a Big Other after all. Accordingly, one should view the world not as constituted by radical difference but instead as always reaching toward a totality. Christianity, then, demystifies Otherness and allows for collective formations:

     

    insofar as the Other is God Himself, I should risk the claim that it is the epochal achievement of Christianity to reduce its Otherness to Sameness: God Himself is Man, "one of us" [...]. The ultimate horizon of Christianity is thus not respect for the neighbor, for the abyss of its impenetrable otherness; it is possible to go beyond--not, of course, to penetrate the Other directly, to experience the Other as it is "in itself," but to become aware that there is no mystery, no hidden true content, behind the mask (deceptive surface) of the Other. (138)

     

    Opposed to the Levinasian insistence of absolute Otherness, Zizek affirms radical collectivity as the basis for an ethics, an ethics that figures “believers” as the idolatrous and those who fail to believe in the content behind the “face of God” as the radically pious. Through recognizing that ideology is everywhere and denying the “messianic promise” of a pure language or a divine politics, one embraces radical freedom and responsibility.

     

    The alternative to the absolute alterity of Levinas, Zizek argues, is ideology critique. Discontented with the reification of cultural difference as an alibi for ideologically informed exploitation, the book calls for a renewed investment in the demystification of perceived differences that are not evidence of “the Big Other” but instead are cultural productions. The clearest sense of this ideology occurs in Zizek’s endorsement of a “return to the earlier Derrida of différance,” wherein the subject perceives that something rendered “outside” by ideology is in fact “inside”:

     

    in this precise sense, the "primordial" difference is not between things themselves, nor between things and their signs, but between the thing and the void of an invisible screen which distorts our perception of the thing so that we do not take the thing for itself. (143)

     

    This plea might sound pathetic, even humanistic. But, within the schema of the book, similarities emerge through communal recognition and action, not through one-to-one reified individual interaction. Zizek’s recent book endorses ideology critique as a means of rendering texts–film, fiction, philosophy, psychoanalysis, theory–as moments of ideological work, both mystifying and liberating. Zizek reads theology as a philosophy, as productive of a metaphysics that burrows within liberal ideology in the form of a reverence for Otherness and a refusal to think Otherness as Sameness. In this register, The Puppet and the Dwarf complicates the common methodology underlying postcolonial studies, gender studies, queer theory, race studies, and deconstruction.

     

    Paul emerges as the hero of this book, for he exposes the lack at the center of the messianic promise and then builds a scaffolding around that lack. As Zizek argues in the Appendix on “Ideology Today,” the structure of the commodity matches up nicely with the belief that “the face of God” marks an alien consciousness. Using the example of the Kinder Egg, the chocolate candy that contains a toy, Zizek remarks that “a child who buys this chocolate egg often unwraps it nervously and just breaks the chocolate, not bothering to eat it, worrying only about the toy in the center” (145); the child who cares only for the promised interior to the egg matches up with the consumer, caring only for the promised commodity’s value never to be given, or messianic deconstruction, with its promise of “elsewhere,” desiring the Unnameable which can only remain so as an effect of language.

     

    Interestingly, the example of the Kinder Egg also mirrors the opening image of Benjamin’s dwarf-piloted puppet. Like the child, the consumer, and the deconstructionist, Zizek too seizes on the interior, historical materialism, while discarding the puppet, theology. Zizek’s system here, if it is even systematic enough to be called such, is structured around a lack, like the other systems that he both criticizes and admires. While the scaffolding constructed around any lack eventually becomes rigid doxa, much like Lenin’s politics eventually informing the rigid totalitarianism of Stalin, there remains a fleeting moment when one is radically responsible for one’s choices, when ideology no longer determines actions but gives way to freedom.

     

    Works Cited

     

    • Benjamin, Walter. “Theses on the Philosophy of History.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken, 1969. 253-64.
    • Derrida, Jacques. Monolingualism of the Other; or, the Prosthesis of Origin. Trans. Patrick Mensah. Stanford: Stanford UP, 1998.
    • Zizek, Slavoj. On Belief. New York: Routledge, 2001.

     

  • Irigaray’s Erotic Ontology

    Hillary L. Chute

    Department of English
    Rutgers University
    Kinny8@hotmail.com

     

    Review of: Luce Irigaray, Between East and West: From Singularity to Community.New York: Columbia UP, 2002.

     

    Many contemporary feminist thinkers reject the accusation, most forcefully leveled by Monique Plaza in 1978, that Luce Irigaray’s theories of the feminine are naturalist. Irigaray’s conception of “the feminine” is hardly biological, but rather an “interrogative mood,” writes Meaghan Morris, coming to her defense in 1978; Morris imagined the iconoclastic philosopher lingering in a doorway, an ironic “recalcitrant outsider at the festival of feminine specificity” (64). Irigaray’s lasting radical concepts, including the “two lips,” which posits a feminist economy of knowledge production–chains of speaking in which no one ever speaks the final word–have invigorated feminist philosophy in both esoteric and popular milieus, as the resurgence of Irigaray’s reputation in academia in the 1990s and her influence on the grassroots theorizing of the recent Riot Girl movement confirm. A special issue of Diacritics in 1998, with titles like “Toward a Radical Female Imaginary: Temporality and Embodiment in Irigaray’s Ethics” and “Women on the Global Market: Irigaray and the Democratic State,” attests to the fact that Irigaray, once unfortunately unfashionable among U.S. feminists, still provokes and compels some thirty years after she transformed the feminist critical landscape with her second doctoral thesis, which became one of her most important books, The Speculum of the Other Woman.

     

    In one of the most inspiring grapplings with Irigaray’s work, Beyond Accommodation: Ethical Feminism, Deconstruction, and the Law (1991; 1999), Drucilla Cornell rejects any notion that Irigaray’s “feminine” can be mapped onto femaleness, or even that it describes something that exists in reality. Rather, Cornell explains, the feminine is “a kind of radical otherness to any conception of the real.”1 Cornell persuasively describes Irigaray’s category of the “feminine” as a space of the prospective, a conditional tense that inaugurates a certain future within language and within intelligibility. The fears in U.S. feminist academic circles (much less acute abroad) of what was seen as Irigaray’s essentialism now tell us more about the exigencies of backlash provoked by poststructuralism than about the real nature of Irigaray’s work. For, again to quote Morris, in fact “Luce Irigaray is very far from confusing the anatomical and the social, but works with a deadly deliberation on the point (the site and the purpose) of the confusion of anatomical and cultural” (64).

     

    Now that the polemic of essentialism versus constructionism no longer dominates feminist scholarship, contemporary critics like Cornell and others have begun to engage Irigaray on her own terms. In her new work, Between East and West, Irigaray continues to do what she’s always done: interrogate the binaries of Western metaphysics, question what passes as normative rationality, insist on sexual difference as the impetus for the ethical apprehension of the Other. But here she also moves beyond the “feminine” as a critical space of possibility, to talk about actual breathing, stretching, orgasmic female bodies.

     

    In this addition to Columbia University Press’s “European Perspectives” series, Irigaray’s tone is open, appraising–lacking the charged, tricky edge of “loyalty and aggression,” to use Judith Butler’s phrase, that characterizes her early, furious outfoxings of Plato and Freud (19). Here she dispatches the Pope with two words–“naïve paganism”–and takes a mere snip at deconstruction, identifying its practitioner’s virtuosity with a too “secular manner of know-how” and hence with Western man’s domination of nature: “does not the technical cleverness of the deconstructor risk accelerating, without possible check or alternative, a process that appears henceforth almost inevitable?” (5). In Between East and West, Irigaray has herself abandoned some of this “technical cleverness” and with it too the anger that fueled her first dizzying displays of critical prowess. Here, Irigaray is once more focused intently on what Morris admiringly identified as writing the “elsewhere.” Like Cornell, her American colleague in philosophy, Irigaray is “dreaming of the new”–what she calls “human becoming”–but her dominant mood is one of sadness for an entire civilization gone astray: “we are to have become at best objects of study. Like the whole living world, destroyed little by little by the exploration-exploitation of what it is instead of cultivating what it could become” (85, vii).

     

    Searching for a different way to “constitute the mental,” Irigaray diagnoses our current condition as breathing badly: we are “bathing in a sort of socio-cultural placenta” of exhaled, already-used air (74). Yet when it comes down to it, Irigaray is not simply employing a pretty metaphor. Literal breathing is, she believes, a way out of the potential pitfalls of the “linguistic turn”:

     

    We Westerners believe that the essential part of culture resides in words, in texts, or perhaps in works of art, and that physical exercise should help us to dedicate ourselves to this essential. For the masters of the East, the body itself can become spirit through the cultivation of breathing. Without doubt, at the origin of our tradition--for Aristotle, for example, and still more for Empedocles--the soul still seems related to the breath, to air. But the link between the two was then forgotten, particularly in philosophy. The soul, or what takes its place, has become the effect of conceptualizations and of representations and not the result of a practice of breathing. (7)

     

    To cultivate the kind of consciousness needed to be aware of breathing–and different, gendered modes of breathing–would constitute a re-education of the body, a spiritualization of the body in the present tense that Western metaphysical tradition, with its emphasis on divine, inaccessible transcendence, has occluded. In the Western framework, the possibility of the very “divine” character of sexual difference itself falls by the wayside. This metaphysics, Irigaray argues, has sacrificed the pleasures of the spiritualized, individuated body by focusing on the fruits of reproductive intelligence, both literal and figurative: “man essentially wants to reproduce […] [He] gives birth to imaginary children. Philosophy and religion are two of them,” she quips (26).

     

    Irigaray turns to the traditions of India to present a model of a different kind of plenitude, one radically different from Schopenhauer’s schema of the “genius of the species,” in which “love between lovers represents nothing but an irresistible reproductive attraction. […] as individuals, the lovers do not exist. […]. They are differentiated only by the hierarchy of natural functions” (25). India, Irigaray muses, has a philosophy of sexual difference with no separation of theory and practice, where the continuity between microcosm (the body) and macrocosm (the universe) ensures an ethic of caring about “the maintenance of the life of the universe and […] body as cosmic nature” (31).

     

    Where is Irigaray going with all this? One of her primary targets is the too-abstract nature of Western culture. Attention to the body demands a practice and a framework of intention, the goal being an “accomplished” and “connected” interiority (the Hindus, she writes, worship individuation as body, as self, but not as ego–unlike the egological Schopenhauer). Our reigning ethos is too speculative, sociological, she wagers; it has run away from–but needs desperately to return to–consideration and cultivation of sensory perceptions.

     

    Irigaray takes this moment, before bemoaning the fact that “the majority of animals have erotic displays that we no longer even have,” to interject an intriguing, if brief, narrative of her own (ontological and psychoanalytic) education:

     

    It has often been said to me that I should have conquered my body, that I should have subjected it to spirit. The development of spirit was presented to me in the form of philosophical or religious texts, of abstract imperatives, of (an) absent God(s), at best of politeness and love. But why could love not come about in the respect and cultivation of my/our bodies? It seems to me this dimension of human development is indispensable. (61)

     

    This brings us to the aspect of the book that stands out the most: its powerful obsession with Eros. This direction in Irigaray’s work has always distinguished her enterprise and is perhaps responsible for the renewed respectful attention to even her earliest theorizations of the body. Irigaray’s most fervent argument here is for the creative–but not necessarily procreative–integrity of what she memorably names “carnal sharing.” Irigaray goes further here in specifying the parameters and contours of “the carnal” than do other feminist theorists. Cornell, for instance, advocates but never actually details a “carnal ethics” in Beyond Accommodation (in which the concept is her shorthand for taking the body, and the Other, seriously).

     

    Irigaray’s focus on the carnal emphasizes that carnal union can be a privileged place of individuation, an engaged practice even more rigorous than the renunciation of the flesh. The body, then, is the “very site” where the spiritual gets built. To put it baldly, “men and women have something besides children to engender” (64). This is not merely what Fredric Jameson terms Molly Bloom’s sensual, affirmative “vitalist ideology,” but rather “an evolved, transmuted, transfigured corporeal” (63). Here sexual difference, manifest in the physical union of bodies, provides a fabric for a type of transcendence that Irigaray theorizes as productively “horizontal,” in contradistinction to the genealogical transcendence outlined by Schopenhauer.

     

    Sexual energy is often sinfully paralyzed in regimes of knowledge–even leftist or feminist ones–and it is equally stagnant under postmodernity’s “technical chains” and multiplicity of information that theorists like Jameson and David Harvey analyze. Irigaray exhorts the postmodern subject to revolt against all that produces obeisance (“abandon the clarity of judgement!” she demands), even obeisant patterns of breathing (116). “The flesh,” then, can become both spirit and “soul” (conceived as a force animating the body), thanks to the conscious physical machinations of the body. Irigaray sees the body registering shades of non-compliance to metaphysical strictures and thought patterns. A new sexuality invested with mystery works against the idea that sex is a base “corporeal particularity,” yet Irigaray desires an erotic ontology of sexual difference whose foundations are not solely in the abstract. Here Irigaray’s focus is on the bridge that real bodies create–not on the theoretical “elsewhere” in language that the “feminine” once seemed to powerfully indicate (escaping the tyranny of logos, in fact, is a recurring theme).

     

    Unfortunately, however, unlike in her earlier work, here Irigaray’s rhetoric–while grand and even gorgeous–often slips into the “vive la difference” or even the “opposites attract” approach that for years feminists have understandably been writing past: “what attracts men and women to each other, beyond the simple corporeal difference, is a difference of subjectivity” (84). It is further disconcerting, then, when she also declares, “love, including carnal love, becomes the construction of a new human identity through that basic unit of community: the relation between man and woman” (117, emphasis mine). She also proposes legislation to “protect […] the difference between subjects, particularly the difference of gender” (102).2 Irigaray’s stubborn insistence on restricting her purview to the male-female dyad is unwarranted, even willfully ignorant. That she bypasses consideration of same-sex “unions,” spiritual or physical or legal, even in her chapter devoted to mixité, the “mixing” up of the normative family as a principle for refounding community, is a central weakness of this text. While she speaks of multiracial and, more broadly, of “multicultural” and mixed-religion couples, and of family “mutations” as a factor of progress, never does she so much as mention a gay family or how, on a basic theoretical level, carnal sharing between people of the same sex might challenge or transvalue her ethic of sexual difference, the dialectic between two gendered consciousnesses that she views as a bedrock of culture. Her conceptualization of a solution to the dilemma of subjectivity and community–that “being I” and “being we” become instead simply “beings-in-relation” (yet with “I” and “you” still individuated, singular)–is seductive, but her strong emphasis on the relation between the genders as “the privileged place for the creation of horizontal relations” leaves much unanswered. Carnal love, Irigaray strongly suggests (and her prose, dotted with metaphors of openings, elevations, and ladders, affirms) is vaginal sex.

     

    Generalizations about men and women abound; Irigaray flies in the face of poststructuralist doxa. Sometimes this is refreshing, an invocation of political common sense, as when she snaps, “the corporeal and spiritual experience of woman is singular, and what she can teach of it to her daughter and to her son is not the same. To efface this contribution of the transmission of culture is to falsify its truth and value” (59). But when Irigaray issues such proclamations as, “woman also remains in greater harmony with the cosmos” and ascribes–much like Carol Gilligan did in her seminal, roundly criticized A Different Voice (1982)–a relational ontology to woman, one begins to suspect that she is idealizing: “woman has, from her birth, an almost spontaneous taste for relational life” (85, 87). The list of woman’s attributes goes on along these lines, though Irigaray is careful, in drawing in part on Eastern feminine traditions for inspiration, to make clear that she is not invoking the maternal; in fact, as she states rather frankly, “the role of woman as lover is in some ways superior and more inclusive compared with that of the mother” (89).

     

    Yet in Irigaray’s most recent schema, what is finally most frustrating about her fascinating and provocative vision of mental, spiritual, and physical erotic production is that women bear the burden of educating men. Ethics, Irigaray points out, differ for men and women; but while Gilligan, and Seyla Benhabib most notably after her, aimed to revise the dichotomies structuring this perceived enculturated difference, Irigaray seems only to substitute the physical for the numinous with the idea of the “spiritual virginity of woman,” a quality that helps man discover relational life. Hence, women must teach men to breathe not only for the sake of male survival, but also to cultivate men’s interior vitality (88). The thought that woman must spiritually give birth to already-adult men is unappealing, to say the least; yet woman must also “initiate” and “safeguard” the process of education (130). To put it simply, compared to men, women have a markedly spiritual role in furthering humanity. Irigaray’s rallying call is as follows:

     

    The task is great, yet passionate and beautiful. It is indispensable for the liberation of women themselves and, more generally, for a culture of life and love. It requires patience, perseverance, faithfulness to self and to the other. Women are often lacking these virtues today. But why not acquire them? (91)

     

    To use Irigaray’s own language (from her description of Brahma, the Indian god), women’s genius is not to know everything, but to be capable of one more question.

     

    Resolutely diagnosing Western civilization and seeing that we are, at best, as Irigaray puts it, sometimes good patriarchs or good matriarchs, Irigaray posits the goal of establishing a global civil community–and especially an as-yet-unrealized civil identity in the feminine. It is not enough to criticize patriarchy, she correctly observes. Women need to be aware of themselves as women, letting go of fundamentally conservative models of substantive equality and pursuing an ethics of carnality that surpasses instinct, the urge to procreate, in favor of a disciplined and rewarding “becoming without an end” (99). Irigaray calmly offers options for this “new epoch of History,” affirming her hopeful belief in “tranquil world revolution” (145).

     

    Irigaray’s argument and the strategy for civil identity that she describes are both deeply compelling and deeply flawed. What is viable here is Irigaray’s evaluation of the erotic as a political foundation for subjectivity and the social. Serious and vital, Irigaray’s critical attention to the erotic–not just as “philosophy,” but as the sensible–skillfully connects Eros with ethical community-building and carries much power. Her ongoing and adamant focus on the erotic–ongoing since she unforgettably announced that women’s desire “upsets the linearity of a project, undermines the goal-object of desire, diffuses the polarization toward a single pleasure, [and] disconcerts fidelity to a single discourse” in “This Sex Which is Not One”–remains Irigaray’s outstanding achievement (27). The major–and riveting–contribution of Between East and West is that her relational ontology is specifically premised on an expansive erotic ontology, and this locus allows Irigaray to make her most provocative statements. Her privileging of individuated sexual “becoming” between lovers over motherhood in the chapter “The Family Begins With Two,” for instance, is still indubitably radical. For many in the academy and in spaces of activism alike (and this is especially the case for the new generation of young feminists), Irigaray remains the most moving and articulate theorist of the body’s relation to the horizon of the political.

     

    Ultimately, however, much of what Irigaray outlines in this new work is problematic. She is, as she has always been, frustrating. This is part of her continuing appeal, her bid for us to engage. “The path of such accomplishment of the flesh does not correspond to a solipsistic dream of Luce Irigaray, nor to a fin-de-siècle utopia, but to a new stage to be realized by humanity,” she reminds us (115). It is not the commanding, exalted language, threaded with hope, that is objectionable. It is rather that Irigaray, in focusing solely on the generative force of sexual alliances between men and women, boldly ignores myriad portions of this resurgent “humanity” and the question of how they fit into her plan for the future. Irigaray consistently writes of “the union of two lovers, man and woman, free with respect to genealogy”; of how “between these two subjects, man and woman, there takes place […] a spiritual generation, a culture foreign to a unique objective and a unique absolute” (63, 100). She notes–and casually dismisses–other possibilities, as when she writes of her hope for a refigured concept of the familial: “a family is born when two persons, most generally a man and a woman, decide to live together” (105, emphasis mine).

     

    Hence this brilliant and difficult philosopher ends an essentially fascinating text with what feels like voluntary obliquity. The stubbornness of this narrow vision is all the more confounding because Irigaray’s proposals–her championing of the nonreproductive family, for instance, and her order for women to “pass from […] imposed natural identity”–would seem to lend themselves to a more inclusive theory of sexuality (112). In this disappointing adoption, late in her career, of what strikes me as an inadequate (and yet surely self-aware) romance of gender, Irigaray is not alone: fellow French feminist Julia Kristeva’s Revolt, She Said (also published in 2002) smacks of the same. As interviewer Phillipe Petit remarks to Kristeva in this book, “what is difficult to understand with you is the type of place you reserve for men and women in heterosexual couples” (93).3 The force of Irigaray’s argument would only be strengthened by a discussion of carnal sharing outside of the male-female dyad. If she further addressed the modes of love and union that her gender-charged “sexual difference in the feminine” does not furnish, her model would be even more relevant.

     

    Notes

     

    1. See Cheah and Grosz for Cornell’s retrospective elaboration of her views of “the feminine” in Beyond Accommodation. The “imaginary domain” is the concept Cornell now prefers in place of the Irigarayan feminine.

     

    2. The content of this proposed legislation isn’t surprising, given the fact that Irigaray has addressed certain questions of “sexuate rights” to the UN, for example, as Elizabeth Grosz points out, and has touched on this in recent work. See Pheng and Grosz.

     

    3. Kristeva’s response to Petit is vague, describing the “endemic and deep” feminine melancholia that is the result of woman’s relationship to the social order and indicating that “[balancing] out this strangeness” requires economic independence, as well as psychic and existential reassurance in which “husbands and lovers try to offset the Bovary blues that affect most of us.” Unlike Irigaray, Kristeva here posits the primary role of the child: for woman, “it’s the child who is the real presence and becomes her permanent analyst.” Like Irigaray, Kristeva believes that “women hold the key to the species on the condition that they share it with men” (94).

    Works Cited

     

    • Cheah, Pheng, and Elizabeth Grosz. “The Future of Sexual Difference: An Interview with Judith Butler and Drucilla Cornell.” Diacritics 28.1 (1998): 19-42.
    • Irigaray, Luce. “This Sex Which Is Not One.” This Sex Which Is Not One. Trans. Catherine Porter with Carolyn Burke. Ithaca: Cornell UP, 1985.
    • Kristeva, Julia. Revolt, She Said. Trans. Brian O’Keeffe. New York:Semiotext(e), 2002.
    • Morris, Meaghan. “The Pirate’s Fiancée: Feminists and Philosophers, or maybe tonight it’ll happen.” The Pirate’s Fiancée: Feminism, Reading, Postmodernism. London: Verso, 1988.
    • Plaza, Monique. “‘Phallomorphic Power’ and the Psychology of ‘Woman.’” Ideology and Consciousness 4 (1978): 4-36.

     

  • Not Just a Matter of the Internet

    Stuart J. Murray

    Department of Rhetoric
    University of California, Berkeley
    sjmurray@socrates.berkeley.edu

     

    Review of: Mark Poster, What’s the Matter with the Internet?.Minneapolis: U of Minnesota P, 2001.

     

    There is surely a double entendre at work in the title of Mark Poster’s book, What’s the Matter with the Internet?. In this matter, it is not just a question of what might have gone wrong, what danger lurks behind the Internet’s promise. We’re also asked to consider the ways in which the Internet and related technologies bear upon matter itself, upon the very real and material conditions of human culture.

     

    If a picture is worth a thousand words, the photograph reproduced in the front matter of the book makes a strong statement. The caption adequately conveys the immediate sense of the picture:

     

    in a new configuration of the virtual, an orthodox Jew at the sacred site of the Wailing Wall holds a cell phone so that a distant friend can pray.

     

    Here we are offered a jarring image of what for some is an unholy alliance between the old and the new. If the sacred can still be said to exist in our modern world, it does not merely exist alongside new technologies, but has, as this photograph attests, become inseparable from them.

     

    This is an extreme example, but it captures a common theme shared by the essays collected in this volume. If the early context of critical theory was capitalism, Poster argues, today it is surely the mode of information. Information has assumed the form of a commodity, silently and invisibly working to reconfigure what we call “culture,” upsetting the bounds of tradition, redefining who we are, and troubling political terminologies and identities. Poster suggests that such a politics is outmoded: “culture has lost its boundary” (2). And this most certainly ushers in a crisis of identity and meaning no less than it opens up hitherto unavailable possibilities for subjects, citizens, races, classes, and genders to be configured anew. What are the possibilities for loosening rigid notions of ontogeny, epistemology, and identity in a recombinant world of 0/1/0/1…? And how desirable would this be? While Poster’s critics have often been quick to seize on the more utopian aspects of his analyses, they usually overlook the material import of his work, inadequately acknowledging the subtleties at play and the risks at stake.

     

    Several of the essays collected in What’s the Matter with the Internet? have appeared elsewhere, but at the heart of these and especially in his new work, Poster is at his best. In the last two decades, Poster has earned a well-deserved reputation not least for translating and interpreting Baudrillard, but also for rendering the difficult theory of members of the Frankfurt School and of more recent thinkers such as Foucault, Habermas, Derrida, and Lyotard accessible to North American academic audiences. This book continues the tradition of lucid exegesis while at the same time firmly establishing Poster as an original thinker in his own right; in these pages he has really come into his own, and his voice is one worth listening to. Even more than in The Second Media Age (1995), these essays are theoretically rich and risk original analyses by adapting a political economy critique to the new media.

     

    For instance, in chapter two, “The Being of Technologies,” Poster resituates the insights of Heidegger’s famous essay on technology for our current digital context.1 He argues: “The terms of the debate over technology must be reconceived in relation to the emergence of qualitatively new kinds of machines” (23). These new machines pose significant challenges. The traditional view of technology went only so far as conceiving machinery materially, as that which is of and which affects matter. Today, however, “the matter” with the Internet and related techno-machines is that their effects are profoundly symbolic, and therefore bear on society, culture, and politics in new and complex ways. Today’s techno-machines must be conceived as engaging in technical and rational activities; consequently, technology enjoys a kind of “agency”–a power traditionally preserved for human subjects. Poster continues to challenge us to think the ways in which the boundaries between human subjects and machines have become blurred, from both sides. He has recently dramatized this alliance by the awkward locution “network digital information humachines.”2

     

    Not so long ago, the human alone was celebrated as the unique alloy, as a symbolizing and material entity, both spiritual and corporeal. Aquinas tells us how even the angels envy man for this! And since the humanism of the Enlightenment, man3 has been the measure of all things, the source of truth and justice, the locus of value, and the bearer of rights. But intelligent machines, made in our image, effectively challenge human supremacy, bringing to light the conceits of liberal humanism. As Poster points out, “the failure to distinguish between machines that act upon matter and those that act upon symbols mars the humanist critique” (23). Of course, these machines do not aspire to be gods, but they do seriously rattle the foundations of Enlightenment reason, truth, and justice–including their material effects in social, cultural, and political contexts.

     

    Thus the “challenge” that comes from techno-machines is much more radical than the kind of “challenging forth” [Herausfordern] that Heidegger envisaged. Heidegger’s view of technology is instrumentalist; for him, machines “challenge forth” the environment in a particular way, “enframing” [gestellen] nature as an object at the behest of a machinic will to power. Ultimately, not only nature but humanity itself gets configured as an available resource or “standing reserve” [Bestand]. Despite himself, however, Heidegger remains ensconced in a humanist frame insofar as he believes that we can be saved from technological dangers without altogether destroying technology and returning to some bucolic past. According to Heidegger, our “saving power” lies in our very human capacity to philosophize. Poster points out the limitations of Heidegger’s instrumentalist view of technology, offering an approach more in keeping with the information age. Poster remarks: “there is a being of technology and […] it varies depending upon the material constraints of the technology” (35). In Poster’s view, technology generates its own autonomous constraints, free from the constraints we would place on a subject who acts, and free from humanist conceits: “the machine itself inscribes meaning, enunciates, but it does so within its own register, not as a human subject would” (36). This is perhaps more sinister than Heidegger could have imagined, for it not only acknowledges that techno-machines signify in hitherto unimaginable ways, but that a shoring up of humanism’s liberal subject is both anachronistic and futile if our project is to reassert supremacy.

     

    Because the human subject appears to be irreversibly situated within a worldwide technological web, the traditional Cartesian notion of subjectivity is no longer relevant. As we saw with the photograph mentioned above, even human sacred practices are now imbricated within ever-expanding technologies. Poster writes:

     

    the network has become more and more complex as dimension has been overlaid upon dimension, progressing to the point that Cartesian configurations of space/time, body/mind, subject/object--patterns that are essential components of [Heideggerian] enframing--are each reconstituted in new, even unrepresentable forms. (37)

     

    And the matter at hand is not merely that complexity has rendered these patterns epistemologically “unrepresentable,” somehow unknowable or outside of logic; rather, they have also undergone an ontological shift. The metaphysics of presence must now be rewritten. It is no longer sensible to theorize a subject who would possess or otherwise represent and know an object. If there is a “subject” (and the term itself must be debated), this “subject,” along with its “consciousness” and “agency,” must be theorized as part of the diffuse and decentralized network in which it is taken up.

     

    Thus, even the subjectivity of the author must be reconceived in light of digital networks. Drawing on Foucault’s discussion of authorship and what he calls the “author function,” Poster spends two chapters reframing this discussion in light of current technologies and the subjectivities they foster. We must first overthrow the cultural assumptions based on the paradigm of print media. He distinguishes between what he calls an “analogue author” and a “digital author.” The central difference between these two is the relation each has to his or her work; for the analogue author, written work is seen as participating in a kind of material contiguity reminiscent of analogue technologies, whereas for the digital author, written work is further displaced from any “source” in symbolic ways akin to digitized products. In Poster’s words, analogue authors assume and “configure a strong bond between the text and the self of the writer, a narcissistic, mirroring relation” (69), whereas digital authorship is a relation of “greater alterity” (69), “a rearticulation of the author from the center of the text to its margins, from the source of meaning to an offering” (91).

     

    The being of the network not only bears upon the authorial subject, but it impacts those domains in which subjects locate themselves, claim identities and affiliations, and demand political recognition, often as a form of representation. In addition to the radical challenge to a metaphysics of representation, Poster develops a critique of the subject and its sociocultural contexts through a sustained reflection on nationhood and identity in the age of global technology. What, for instance, is the fate of the nation-state in the digital age? From a digital perspective, information can in theory be perfectly, infinitely, and extremely inexpensively reproduced. Thus, the presence and authority of any so-called original is displaced along with its “author.” In Benjamin’s terms, it has lost its “aura.” “Once digitized,” Poster remarks, “the original cultural object loses its privilege, its ability to control copies of itself, escaping the laws that would manage it” (104). As far as national(ist) institutions are concerned, this might well result in a declining ability to control or govern ways in which particular cultural products or discourses are consumed and circulated as the norm. Although we may register this change in form as a loss of and even as a threat to traditional subject-positions, with a shift in perspective we shall see that the field has opened up for various and multiple discourses: less centralized, less normative, and allowing for individual empowerment through more local and grass-roots activism. Of course, this is an ideal, and a distant one; Poster cites compelling examples and he is hopeful, but cautiously so.

     

    Today more than ever we live in a state of what Poster calls “postnational anxiety.” Although this book was published in 2001, before the events of 9/11, it eerily anticipates our culture of terror and the extreme governmental response designed to resignify “America” as part of its effort to safeguard her “homeland” and its interests from would-be enemies, both domestic and foreign. Poster cites Timothy McVeigh as a patriot whose acts were motivated by “postnational anxiety”–in McVeigh’s case, specifically the fear of a multiracial society. Interestingly, Poster states that the efforts of the U.S. government, “while apparently in opposition, are in fact responding to the same conditions of postnationalism” (106). His critical point is that neither McVeigh nor the U.S. government knows how to respond to the ongoing process of globalization:

     

    The U.S. government's very effort to secure its borders from "terrorism" (one might see terrorism as an aspect of globalization) is similar to the fantasy on the part of the bomber in Oklahoma of an America secure from the "contamination" of foreign bodies. (106)

     

    Thus, a shoring up of national borders, a “return” to American “family values,” and the like, is a reaction that seeks to bolster traditional forms of subjectivity with a corresponding nationalism and political identity; however, in all likelihood this incommensurate response will prove ineffective against the diffuse, global, and decentralized terrorist networks that constitute a numinous “enemy.” It is therefore not surprising that official state rhetoric would assign evil a name and a face: without Osama bin Laden and Saddam Hussein as subjective counterparts to the just and piously crusading subject/nation-state, there would be no enemy and no war. As this troubling example illustrates, while the Internet and related technologies might suggest new possibilities for postnational forms of political authority and authorship–for “CyberDemocracy,” as Poster says–these possibilities are as yet without a navigable roadmap. Poster does, however, provide a thoughtful analysis of some of the paradigm shifts that must occur if we are to meet the political challenges raised by global(izing) technologies.

     

    The network operates behind the scenes, as it were. This is a Marxian insight regarding capitalism, brought to bear here on the mode of information. We hear everywhere that we have entered a “digital” or “new” economy where intellectual property and information itself are commodified. In a chapter titled “Capitalism’s Linguistic Turn,” Poster discusses new ways in which commodities are produced, distributed, and consumed. He is critical of the received wisdom. For instance, he is wary of those who claim that in industrialized countries, machines replace physical labor while human beings “manipulate data in computers and monitor computers, which in turn monitor and control machines” (42). Such a model would in theory allow for a more lateral and less hierarchical–rather than top-down–management style, although this is rarely met in practice, and even more rarely outside of first-world industrial centers. Instead, capitalism’s market principles represent a faith and a hope, rewriting geopolitics by replacing the state in the allocation of scarce resources–capitalism over communism, three cheers.

     

    While the market was quick to seize the opportunities of the Internet to turn a quick buck, this is not a unilateral victory because with digital technologies greater power has also been placed in the hands of the consumer, namely, for each individual, “the capacity to become a producer of cultural objects” (47). The division between production and consumption has become blurred, argues Poster, but we shall have to wait to see the long-term implications of these changes. While we remain wedded to the markets, there are signs that age-old structures are under threat, if the reactions of the music industry to online music trading are any indication. Legal claims aside, these corporations have had a great deal of control wrested from them by ordinary citizens and even children. The culture industry itself is under threat, and the promise of placing culture in the hands of a greater number of people has geopolitical implications:

     

    with its decentralized structure, the Internet enables non-Western culture to have presence on an equal footing with the West. It establishes for the first time the possibility of a meeting and exchange of cultures that is global in scope, albeit favoring the wealthy and educated everywhere. (49)

     

    This “equal footing” is still a dream, but it seems slightly more possible than ever before, at least in some venues. And while the wealthy and educated are “favored,” it is still uncertain whether in the long term the Internet will help realize a postcapitalist economy or, on the contrary, a kind of hypercapitalism. (It will probably be both.) In any case, the new experience of being a producer-consumer is bound to have a vast and continuing effect on what it means to be a subject and a global citizen.

     

    If we understand that both subjects and nations are historical formations, discursively produced, we may feel less anxiety about their disappearance and even embrace our postnationalism. This insight–again, owed to Foucault–is also extended to various discussions on ethnicity, gender, and capitalism vis-à-vis digital networks. Poster is respectfully critical of both Foucault and what he calls “the postmodern position” because, he claims, they are “limited to an insistence on the constructedness of identity” (174). As for postmodernists, he has Lyotard and Jameson in mind:

     

    In both instances postmodernity registered not an institutional transformation or alteration of practices so much as a new figure of the self [...]. For Lyotard the self was disengaged from historicity and for Jameson in addition it was fragmented, dispersed, low in affect, and one-dimensional. (9)

     

    Poster’s critique of this position–at least insofar as he’s characterized it here–is that while it works well to deconstruct entrenched notions of identity, it remains limited in its ability “to define a new political direction” (174). He therefore sees his work as going beyond these theorists in important practical–and material–ways. For this purpose, the reader need not agree wholeheartedly with Poster’s characterization of the nature or scope of Foucault’s, Lyotard’s, or Jameson’s interventions. Suffice it to say that Poster makes an intervention of his own, independent of these theorists. Poster is, after all, an intellectual historian who works to identify historical structures in present modes of being and to read in these structures new possibilities for the future. In this regard, I see his recent work as remarkably faithful to Foucault’s later ethical project, from the last years of his life in the 1980s. Poster takes up the spirit of Foucault’s ethics to ask how, at the advent of the digital age, we might reconceive those possibilities available to us to understand the self as a social, cultural, and political being, and from these, how we might begin to be otherwise.

     

    What’s the Matter with the Internet? poses a rhetorical question that is deceptive in its simplicity. At stake is the yet-unanswered question of what will matter, why, and to whom; worse, what matters is a historical reality, and as such, it is always in flux. What, after all, is the Internet? Before retorting that the Internet represents a victory of the virtual over the real, or even of mind over matter, Poster reminds us that the Internet affects the very real and material conditions of human lives, on a planetary scale. “The Internet” thus stands in a synecdochic relation to an unfolding, vast and complex technical and technological network; this network is a reality imbricated with the gamut of human existence, from our most sacred acts to our most mundane functions. This includes Orthodox Jews praying through cell phones at the Wailing Wall and teenaged Indonesian girls working in factories of multinational corporations. In brief, “the Internet” is a synecdoche that matters here because it stands in for a reality that has taken on “new, even unrepresentable forms” (37). It is true that some reactionary critics claim that the significance of work such as Poster’s is overblown; they are fond of stating as evidence that the vast majority of human beings haven’t even made a phone call, let alone used the Internet. But this would be to miss Poster’s point: the implications are vast and not overblown because, given the very material effects of this unrepresentable global-technological mode of being that “the Internet” here signifies, few human lives are materially free from its web.

     

    Notes

     

    1. See Martin Heidegger, “The Question Concerning Technology,” The Question Concerning Technology and Other Essays, trans. William Lovitt (New York: Harper and Row, 1977).

     

    2. See my interview with Mark Poster, “Network Digital Information Humachines: A Conversation with Mark Poster,” Qui Parle 14.1 (forthcoming, Fall/Winter 2003).

     

    3. I say “man” here in the generic sense as anthropos, but also catachrestically, to underscore the sexist historical fact that the male, and not the female, was–and arguably continues to be–the paradigm for the species.

     

  • Pain-in-the-ass Democracy

    Jeffrey T. Nealon

    Department of English
    Pennsylvania State University
    jxn8@psu.edu

     

    Review of: John McGowan, Democracy’s Children: Intellectuals and the Rise of Cultural Politics.Ithaca, NY: Cornell UP, 2002.

     

    Are we so confident in our current formulations that we would not value the person who comes along to challenge them? More likely than not, that person is a pain in the ass.(McGowan 224)

     

     

    In Democracy’s Children, John McGowan goes out of his way to be a pain in the ass–as long as we understand that term in the very circumscribed manner he outlines in our epigraph: a person who ceaselessly examines, challenges, and unsettles many of our longstanding beliefs and assumptions. McGowan’s project, he admits, is “to provoke as much as convince” (95), and there is much both convincing and provocative to recommend Democracy’s Children.

     

    Like McGowan’s earlier books, Postmodernism and Its Critics and Hannah Arendt: An Introduction, Democracy’s Children is an exceedingly smart and deft surgical strike to the heart of contemporary debates about intellectuals and politics. Among the dozens of books published on this topic, I know of none that will so quickly and persuasively orient the reader within these crucial debates. McGowan cuts decisively to the crux of critical arguments, and more importantly, he offers a series of paths away from the stale platitudes that too often adhere to cultural criticism. “I am an intellectual,” McGowan insists, “not a scholar” (1)–and in a personal style that quickly gains the reader’s attention and trust, he takes us on a guided critical tour of the fraught relations among contemporary intellectual production, academic work, and politics.

     

    McGowan’s most sustained engagement here is with critical in-fighting among academic intellectuals themselves, the tendency of many intellectual debates to become intramural wars of position, rather than useful critical interventions. “What I am trying to combat,” he writes in the book’s introduction, “is the narcissism of intellectuals, their tendency to find their own ambiguous position in modern societies endlessly fascinating. ‘This is not about us,’ I want to scream” (5). Later he expands on this claim, in another of the book’s many spot-on, “pain in the ass” critical moments: “manifestos with footnotes capture the laughable plight of today’s would-be intellectual, a careerist in the university who believes himself to be a threat to the status quo. Luckily, he has Roger Kimball to bolster his self-esteem” (79). Not the sort of thing academic intellectuals like to hear, but increasingly the sort of problem that intellectuals need to confront. What might “resistance” or “critique” mean in a climate where the dominant mode of power shares intellectuals’ suspicion of something called “the status quo”? And how might intellectual work be rethought or reoriented to give it some traction in public debates? These are the questions that fuel McGowan’s inquiry into intellectual work.

     

    Democracy’s Children also constitutes a thoroughgoing interrogation of the roots of contemporary cultural studies in North America: “the very enterprise of cultural studies,” McGowan argues, “marks our Victorianism” (141). As he expands on this claim, McGowan insists that “loyalty to culture is almost always reactionary in every sense of that term. Such loyalty tends to be negative, to exist as a defensive resistance to change, without any positive plan of action” (182). Culture, then, is the abstract, oddly contentless Victorian moniker for all those things that might have saved Victorians from complete adherence to instrumental rationality, the market, and the commonplace.

     

    But culture is our code word for such hopes, as well–the hopes of a critical practice that would subvert or overturn the economic leveling effects of late capitalism. On McGowan’s view, such faith in culture is either hopelessly abstract, or much too particularist. “With dreams of revolution lost,” he writes, “local resistance to capitalism often seems the best hope available” (182). At the vanguard of the contemporary fight against capitalism, McGowan argues, the enemy to be overcome is both “their” vision of the future and “our” nostalgia for the subversive past, when the realm of culture challenged the repressive forces of capitalism. We, the other Arnoldians: contemporary radicals fighting from tenured pulpits, just as the conservative Victorians did from their drawing rooms, both trying to keep some privileged and supposedly resistant forms of “culture” from disappearing into the maw of uncultured, lunkheaded businessmen.

     

    And McGowan takes head-on left intellectuals’ near-universal denunciation of corporate or market economics, and their concomitant celebration of cultural alternatives: “as a pluralist, I am not in favor of letting the market determine all human relations or all human desires. But I want to encourage suspicion about the culturalist alternative, which looks equally anti-pluralist to me” (121). Indeed, McGowan provocatively suggests that “cultural studies needs an ethnography of business to match its sophisticated ethnographies of consumers. Then we would stand a chance of getting past the fatuous opinions of commerce that now pass unchallenged” (125). In short, McGowan insistently shows that “culture” continues to mark our fear of massification and our fear of the other, 100 years after the Victorians.

     

    Against any emphasis on studying something narrowly called “culture,” the central concept that McGowan both builds and performs throughout the book is “pragmatic pluralism,” a thoroughgoing pluralism that maintains a healthy skepticism about its own claims, abilities, and limitations. Subtly, McGowan’s “pragmatic pluralism” continues his critique of the cultural intellectual as the subject presumed to know. His notion of pragmatism, in other words, is not territorialized on subjects and their supposedly plural abilities to subvert dominant norms and expectations. “Significance,” he insists, “is not solely the provenance of selves but the product of a multitude of signifying acts” (194). In other words, pluralism is pragmatic precisely because it’s not primarily subjective, but is rather beholden to process, “the non-subjective creation of meaning” (194).

     

    McGowan’s principled stand of pragmatic pluralism commits him to ceaselessly interrogating notions of politics and the intellectual, rather than settling for platitudinous solutions to complex problems. So when McGowan writes, for example, that “the terms ‘left’ and ‘right’ have lost their usefulness” (157), he argues this provocation and its consequences not according to some neo-liberal consensus model–we’re beyond such ideological conflicts here at the end of history or the rebirth of Empire, etc.–but through a principled commitment to pragmatic pluralism. The terminology of left and right has to be abandoned not because of its anachronistic or polemical nature, but precisely because it smoothes out a whole complex world of differences, non-subjective differences of performative labeling that we precisely do not get to choose or remake. Pragmatically, we have to negotiate among plural stances of naming, and we are as subject to the chain of plural meanings as we are in control of it.

     

    McGowan builds his notion of pragmatic pluralism on the scaffolding afforded by an odd but finally effective linking of performative theory and narratology, an approach that allows him to treat “pragmatist themes [he] want[s] to take up against prevailing Derridean models of the performative” (187). Rather than seeing performatives as essentially semantic entities, tied up with meaning and its ostensible subversion, McGowan wants to emphasize the forceful, open-ended, and future-oriented qualities of performativity. And he sees a robust, narrative, non-truth-oriented pragmatism as the key factor in helping him do so:

     

    pragmatism sees the emphasis on process as a way of freeing us from the dead hand of the past. Because meaning is always in process, our primary concern should not be in delineating the meaning of this situation or the causes that bring us to this moment, but instead on the possible ways to go from here. Process means that acts of naming are always transformative, always supplements to the already-named. (195)

     

     

    Rather than emphasize the originary absences so crucial to Derridean notions of the performative (where the conditions of meaning’s possibility are always and simultaneously the conditions of its impossibility), McGowan highlights the positive upshot of meaning’s plurality: the constant (and necessarily non-subjective, non-originary) experimental deployment of response that makes up the public sphere of “culture.”

     

    Rather than understanding culture primarily as a negative site of subjective subversion (the culturalist undermining of a totalized caricature of capitalism, meaning, identity, or whatever), McGowan asks us to reconceptualize cultural politics as a positive performative process, “a succession of namings in a perpetual call and response that establishes the ongoing relations among self, world, and others, relations that individual performatives strive to shape, to change for the better, but which no action can permanently arrest” (198). So for McGowan the “performative” political is precisely not the site of meaning’s constant failure, from which we learn over and over again negative lessons concerning our inabilities to communicate or effect change. Rather, “the political refers to the processes that produce a public sphere and the activities that are enabled by the existence of that public sphere” (178). This is a subtle but important change of focus from the performative political theories of, say, Judith Butler, Ernesto Laclau and Chantal Mouffe, or Jean-Luc Nancy (all of whom, in different ways, emphasize the negative moment of meaning’s failure in cultural politics). Without relying on some notion of privatized subjective creativity, McGowan wants to emphasize the positive, productive, enabling powers of performativity, what he calls performativity’s social “creativity and its plural effects” (214).

     

    In short, McGowan tries to build a notion of the performative public sphere, where debates are treated less as wars of position among ossified cultural commonplaces (left/right, liberal/conservative, intellectuals/mass culture) than they are as open-ended situations, always “stressing the rhetorical component of democracy,” its “dialogic give-and-take” (8). Importantly, though, McGowan’s notion of “rhetoric” is less concerned with any kind of correctness or speaking of “the truth” than it is with transformation and intervention: “we don’t begin from nowhere,” he writes, “since just as situations come to us already label-laden, so each agent begins from a set of commitments, loyalties, other agents to whom he or she feels answerable, and habitual strategies of relation to various realities. But selves and situations are transformed through their interaction in the on-going process of meaning-creation” (195).

     

    As an alternative to the public discourses of right and wrong or true and false, McGowan offers us an Arendt-inflected notion of “story-telling and judgment,” a kind of rhetorical public work that is less dedicated to ideology critique (unmasking the illusions we live by) than it is interested in creating performative narratives that allow us to go somewhere else, to escape dead-end debates. This, I think, is the most important provocation performed in this most important book: McGowan challenges intellectuals to take up a critical, pragmatic pluralism that gives up the pretense of unmasking the sinister truth hiding behind the cultural glitz and noise. As he asks, “does critical reflection, lucidity about the social and intellectual processes by which habits are formed, gain us anything? The watchword of critique has always been that the truth will set you free […]. The arrogance of this position is among the least reasons it has come under increasing attack” (77).

     

    McGowan’s Democracy’s Children, at some level, finishes off the attack on the intellectual and his or her position as the subject presumed to know. But, more importantly, he gives intellectual work another place to go, another more crucial series of interventions to perform. In the end, McGowan suggests that intellectuals–as “democracy’s children”–have affinities with children everywhere, a kind of ingrained commitment to dialogic, pain-in-the-ass questions: “where are we going? Why? How do we get there?” And in the end, maybe intellectuals can learn their most important lessons about democracy from children, who know intuitively that getting somewhere beats knowing something any day of the week.

     

  • Evolution and Contingency

    Arkady Plotnitsky

    Theory and Cultural Studies Program
    Purdue University
    aplotnit@sla.purdue.edu

     

    Review of: Gould, Stephen J. The Structure of Evolutionary Theory.Cambridge, MA: Harvard UP, 2002.

     

    We often complain about long books, and, at nearly 1500 pages, Stephen Jay Gould’s magnum opus is about as long as one could find in the sciences. But then, the actual genre of the book, which is a mixture of science, history of science, and biography, sets it apart from most science books as well, although the approach has its companions and precursors from Galileo’s dialogues (which add literature to the mix) on. We do not, however, always do long books justice either; and I’d urge the readers of this review to give Gould the benefit of the doubt and read the whole book, which, it may be added, is not forbidding in its technical aspects. One could of course benefit considerably even from readings parts of it. Gould must have known that some would, and he offers a summary of the chapters’ content at the outset, which can be used to plot various itineraries through the book. Chapter 1, “Defining and Revising the Structure of Evolutionary Theory,” is almost a book in itself, especially by current publishing standards (The Structure of Evolutionary Theory [hereafter SET] 1-89). Chapter 2, “The Essence of Darwinism and the Basis of Modern Orthodoxy,” offers an introduction to Darwin in general and in a twentieth-century context, and is reasonably self-contained, as well. Gould, however, pleads with his readers to “read the book,” the whole book (SET 89). No doubt the book could be trimmed, but, in this reader’s assessment, not by much (maybe by 150 pages or so), and, in some respects, it may not be long enough. But then perhaps no book, no matter how long, could be in a case like this.

     

    The Tolstoyan, War-and-Peace scale and ambition of the project are not out of place. The book may even be seen as the “War and Peace” of evolution itself (the relative “peace” or more gradual processes of adaptational natural selection punctuated by war-like catastrophes wiping out entire species) and of the history of evolutionary theory, or even of Gould’s own life as a scientist. Evolutionary peace is of course relative at best, a fact reflected in Darwin’s extraordinary (full) title, On the Origin of Species by Means of Natural Selection, or the Preservation of Favored Races in the Struggle for Life. But then so is Tolstoy’s peace, as familial and societal “wars” are waged in the continuous struggle for social survival and success. Possibly influenced by Darwin’s work, Tolstoy’s concept of history in War and Peace (which contains, as one its two epilogues, a philosophical essay on the nature of history) is itself relevant to Gould’s argument and is invoked by him (SET 1340).

     

    Gould, rightly, sees Darwin’s historicizing of evolution and his conception of history as among his most important contributions, perhaps, combined, the most important one. He also, again, rightly, sees Darwin as a philosophical (rather than only scientific) revolutionary, an aspect of Darwin’s work he addresses at some length (99-103, 117-63). (That Gould himself shares this ambition is evident in the book as well.) That history and, hence, at least some philosophy of history are significant is inevitable, given evolution as the subject of their scientific pursuits, inevitable, that is, once Darwin gives life evolution and thus history. In this case, however, at stake is also the introduction of a new philosophical concept of history, as part of a scientific theory, which is not inevitable, since one can also borrow such a concept from elsewhere. Revolutionary as Darwin is, along with so many others, on this score, he is not without his debts. In particular, Darwin’s concepts of history may be seen as extending Hegel’s. Hegel is, to be sure, only one among Darwin’s precursors, but a more significant one than we might surmise from Gould’s discussion of Darwin’s historical thinking, where Hegel is strangely absent. (Gould does invoke Hegel’s notion of dialectical synthesis [591].) Nietzsche, in singling out Hegel’s unique contribution as a philosopher of history, made the point in strong terms by stating that “without Hegel there could have been no Darwin” (Gay Science 305). This may or may not be true, but, to use Nietzsche’s term, the “genealogy” itself is hardly in question. The general appeal to history is more natural (in either sense) in evolutionary theory than in philosophy. As, however, a structural element of theorizing a given phenomenon (which is also how history works in Darwin, and in Gould), it was largely introduced by Hegel and is arguably his greatest philosophical discovery. It is also worth noting the equally crucial influence of Adam Smith on both Hegel and (in part via Thomas Malthus and against William Paley) Darwin, which Gould stresses in Darwin’s case (59-60, 121-125, 231-32). Both Hegel’s philosophy and Darwin’s theory are, conceptually, forms of economics, theories of gains and losses in the struggle of concepts or living beings for life.

     

    Gould’s own concept of history also follows that of Nietzsche (52, 1214-18). As Gould notes:

     

    Although I am chagrined that I discovered Nietzsche's account [in On the Genealogy of Morals] of the distinction between current utility and historical origin so late in my work, I know no better introduction--from one of history's greatest philosophers to boot, and in his analysis of morality, not of any scientific subject--to the theoretical importance of spandrels and exaptation in the rebalancing of constraint and adaptation within evolutionary theory (Chapter 11, pp. 1214-1218). (52)1

     

    Gould also stresses that Darwin’s theory, especially his nearly unconditional insistence on the organismal character of selection, was deeply indebted to the analogy with theories of morality, specifically, again, Adam Smith’s work (127-36; 596-97). On the other hand, Darwinism is one of Nietzsche’s points of departure for his analysis in On the Genealogy of Morals, a point missed or not addressed by Gould (21). Gould does note similarities with Darwin in Nietzsche’s argument, which he sees as “almost eerie,” but which are, I would argue, inevitable (1217). It would be surprising otherwise, even though Nietzsche famously preferred Lamarck to Darwin, or a certain “Lamarck” to a certain “Darwin.” Gould’s Darwin would be much closer to Nietzsche, and Gould, it is worth noting, gives a well-deserved credit to Lamarck as well (170-92). Had Gould dug into Nietzsche a bit deeper, he could have discovered the conceptual problematic of evolutionary theory there. In any event, Nietzsche takes our understanding of the history of morality in radically new directions, including those that Gould found converging on his concept of evolutionary history.

     

    This concept also serves Gould’s critique of Darwin’s grounding of evolution in organismal selection, a critique in part extracted from Darwin’s argument against its grain, from Darwin’s “battle with himself,” or, one might say, by means of a deconstruction from within Darwin’s argument (135-36, 596-97). A central part of Gould’s program is “the expansion of Darwin’s reliance upon organismal selection into a hierarchical model of simultaneous selection at several levels of Darwinian individuality (gene, cell lineage, organism, deme, species and clade)” (1340). Darwin’s version of Nietzsche’s principle of the distinction between current utility and historical origin is “overly restrictive” and “remains fully adaptational,” as against Gould’s, which extends this principle to the role of different structural elements, such as spandrel and exaptation, in shaping evolution (1229). Applications and implications of this principle extend far beyond this particular case, however, and lead to a radical view of evolution–one of the book’s most important philosophical, as well as scientific, contributions.

     

    There are many other contributions, some equally important, and reflecting equally radical and controversial views. The book is a scientific, philosophical, and cultural document of major significance; the parallels with Galileo, Tolstoy, and Hegel are not fortuitous, and the one with Darwin is unavoidable, given that Gould clearly aims at Darwin’s reach and scale. It is not accidental, either, that one can invoke scientific, philosophical, and literary works here, even apart from the role literature and art play in Gould’s argument and exposition. At the same time, the links to the ideas of such authors as Nietzsche, whom Gould, again, follows expressly, or (Gould might have been surprised to hear this) Derrida and Deleuze, and Gould’s inescapable presence in the current cultural debates also make the book a significant document of postmodern thought and culture. This significance is further amplified by the shift from physics to life sciences and information sciences, and their relationships (for example, in the genome project) as primarily defining the relationships between science and culture during the same postmodernist period. Physics retains its scientific and cultural role, in part in conjunction with information sciences, as in quantum information theory, and new biology, specifically via chaos and complexity theory (an icon, sometimes abused, of many recent discussions in the humanities as well). Even though not given a major treatment, complexity theory and its application in evolutionary theory, especially in Stuart Kauffman’s work, play an important role in Gould’s argument for extending and radicalizing Darwin (SET 1208-14).

     

    This argument is for the extension of evolutionary theory beyond what Gould calls the modern synthesis of (the more traditional) Darwinism, presented in Part I, “The History of Darwinian Logic Debate,” toward a different type of evolutionary theory presented in Gould’s argument in Part II, “Toward a Revised and Expanded Evolutionary Theory.” The key aspects of both logics are explained from the outset, where Gould uses the memorable image of Agostino Scilla’s corals as a symbol of Darwin’s theory, to be reshaped by Gould’s revisions, even against Darwin’s favorite “tree of life,” although, as will be seen, both share their essential tree-like structure (16-19, 97). Darwin’s first book was on corals, and it is honored by Gould with “the coral reef principle” of sequencing of Darwin’s historical way of thinking (103-4). This joint structure–of Darwin’s theory and Gould’s revision–is reiterated throughout the book. It is even restated, with a considerable mastery of composition, in the final and the longest footnote in the book on page 1313 and then yet again in (almost) closing the book. To cite this final summary:

     

    In most general terms, and in order to form a more perfect union among evolution's hierarchy of structural levels and tiers of time, this revised theory rests upon an expansion and substantial reformation of all three central principles that build the tripod of support for Darwinian logic: (1) the expansion of Darwin's reliance upon organismal selection into a hierarchical model of simultaneous selection at several levels of Darwinian individuality (gene, cell lineage, organism, deme, species and clade); (2) the construction of an interactive model to explain the sources of creative evolutionary change by fusing the positive constraints of structural and historical pathways internal to the anatomy and development of organisms (the functionalist approach); and (3) the generation of theories appropriate to the characteristic rates and modalities of time's higher tiers to explain the extensive range of macroevolutionary phenomena (particularly the restructuring of global biotas in episodes of mass extinction) that cannot be rendered as simple extrapolated consequences of microevolutionary principles. (1340)

     

    This is an immense program, and one can, obviously, offer no more than a sketch of some among its lineaments here. I shall assess Gould’s argument from a particular angle, indicated by my title, “evolution and contingency,” which will, however, allow me to address some among the most fundamental aspects of the argument. Many other aspects of it, some of them important, will have to be sacrificed. Most of these, however, are among the better known and the more extensively commented-upon aspects of Darwin’s work or post-Darwinian evolutionary theory and of Gould’s work. Given this history, Gould’s theoretical and historical arguments in the book are bound to be challenged by evolutionary theorists and historians of science. Here, however, in a more “positive spirit,” such as Nietzsche invokes in On the Genealogy of Morals, I will look beyond these specific points of agreement or disagreement to consider some of the more radical questions and challenges posed by the book itself (18).

     

    My angle is defined by the joint role of chance and discontinuity (as in Gould’s “punctuation”) in evolution and in the structure (or history) of evolutionary theory and, indeed inevitably, beyond them. The scientific and epistemological significance of this problematic in evolutionary theory and elsewhere in modern science is unquestionable.2 It is, I would argue, culturally significant as well. At least from the mid-nineteenth century on, our culture may be seen as the culture of chance, or of the confrontation with chance, a confrontation which, in the absence of any counterbalancing causality, it may not yet be ready to accept (SET 1332-33). I speak of the role of chance (rather than simply chance), since the argument of the book is not primarily about chance but is (more) about causality and organization (46-47, 1339). And yet, from Darwin on, chance is seen as an essential force in evolution, which gives the concept of chance a central role in the structure of evolutionary theory, especially as it is developed in Gould’s work, including in this book. I shall link causality and chance in the concept of contingency (which is also Gould’s preferred concept) as the (inter)play of both. The idea originates with Democritus and extends through a long chain of thinkers to Derrida in particular, and is here invoked by Gould via the complexity theorists Jacques Monod and Stuart Kauffman (144, 1336).3 My appeal to contingency stresses the significance of theorizing chance in evolution, as opposed to causal explanation, while keeping the latter as part of the overall theory. This emphasis is consistent with both Darwin’s and Gould’s views, different as these are in their overall theoretical structure. Gould’s own use of contingency is defined at the outset, in his biographical “Apologia Pro Vita Sua,” complementing his historicist philosophy and attitude, his “love of history in the broadest sense.” He writes:

     

    Finally, my general love of history in the broadest sense spilled over into my empirical work as I began to explore the role of history's great theoretical theme in my empirical work as well--contingency, or the tendency of complex systems with substantial stochastic components, and intricate nonlinear interactions among components, to be unpredictable in principle from full knowledge of antecedent conditions, but fully explainable after time's actual unfoldings. (46; emphasis added)

     

    This concept of contingency is close, but not identical, to that of chaos and complexity theories (specifically as developed in Kauffman’s work), as the invocation of the terms “complex systems” and “nonlinearity” suggests. While granting the significance of the Gouldian dynamics of contingency in evolution, I shall introduce a broader and in some respects more radical view of chance (conceived in part on the model of quantum theory) and, hence, of contingency, and suggest that this type of chance plays a role in evolutionary theory. Overall, I shall argue that it is the structure of evolutionary contingency–of what types of chance, of causality, and of the relationships between them–that is, ultimately, at stake in Gould’s argument. Gould’s book directs us toward a different, higher-level, synthesis between the modern (Darwinist) synthesis presented in Part I and Gould’s argument presented in Part II, “Toward a Revised and Expanded Evolutionary Theory.” This new synthesis, for which, as Gould says, the Hegelian triad of thesis-antithesis-synthesis may be inadequate, is not offered in the book, which only directs us “toward” it (591). The book does not have and did not aim to have a Part III, but it did aim to argue for such a new synthesis and to prepare for it–a Herculean labor and an immense achievement already (SET 591-92; also pp. 46-47, 1332-43). It is clear, however, that, as announced by Gould at the outset, following his definition of contingency, and as sketched in the epilogue, that new synthesis is fundamentally defined by the role of contingency in the structure of evolutionary theory. As Gould writes:

     

    This work [his previous work on contingency] led to two books on the pageant of life's history [Wonderful Life: The Burgess Shale and the Nature of History [1989] and Full House: The Spread of Excellence from Plato to Darwin [1996]). Although this book, by contrast, treats general theory and its broad results (patterns vs. pageant in terms of this text), rather than contingency and the explanation of life's particulars, the science of contingency must ultimately be integrated with the more conventional science of general theory as explored in this book--for we shall thus attain our best possible understanding of both pattern and pageant, and their different attributes and predictabilities. The closing sections of the book (pp. 1332-1343 of Chapter 12) offer some suggestions for these future efforts. (46-47)

     

    I shall have a chance to return to the image of pageant, a special favorite with Gould, used three times here. The problematic itself developed in these closing sections may, as I said, take us toward notions of chance and contingency more radical than Gould’s, but not more than what may be demanded from our theories by evolution–or by life, to which both Darwin and Gould appeal at crucial junctures. The concept of evolution may be insufficient in turn, even as it emerges in all its architectural complexity in Darwin’s or Gould’s cathedral, a persistent image in the book, almost closing it as well–almost: ultimately Darwin’s “the tree of life” does. Gould’s argument is, however, framed by Milan’s Duomo and San Marco in Venice, with the architecture of New York taking over in the Epilog (SET 1-6, 1249-55, 1339). Would life, however we image it, be sufficient? Do we, in truth, have such a concept qua concept, life, which doubt compelled Shelley to ask in his great unfinished poem The Triumph of Life, the poem that his death interrupted, punctuated, on this very question: “What is Life?”? Would even a double question mark be enough?

     

    Gould’s book was published posthumously in 2002 (Gould died earlier the same year). Forty years earlier, in closing his The Structure of Scientific Revolutions, Thomas Kuhn addressed Darwin’s evolutionary theory, a primary inspiration for Kuhn’s own work. Kuhn noted that Darwin’s most innovative and radical idea, which “bothered many professionals most was neither the notion of species change nor the possible descent of man from apes,” but instead that of the abolition of evolutionary teleology (171-72). These, especially, as Gould stresses, the first one, remain important conceptually, historically, and culturally (SET 99-103). Nevertheless, Kuhn is right. As he elaborates:

     

    The evidence pointing to evolution, including the evolution of man, had been accumulating for decades, and the idea of evolution had been suggested and widely disseminated before. Though evolution, as such, did encounter resistance, particularly from some religious groups, it was by no means the greatest of the difficulties the Darwinians faced. That difficulty stemmed from the idea [of non-teleological, undirected evolution] that was more nearly Darwin's own. All the well-known pre-Darwinian evolutionary theories--those of Lamarck, Chambers, Spencer, and the German Naturephilosophen--had taken evolution to be a goal-directed process. The "idea" of man and of the contemporary flora and fauna was thought to have been present from the first creation of life, perhaps in the mind of God. That idea or plan had provided the direction and the guiding force to the entire evolutionary process. Each new stage of evolutionary development was a more perfect realization of a plan that has been present from the start. (171-72)

     

    Gould’s book shows the enormous richness and complexity of this history and its transition to Darwinism, well beyond what Kuhn could convey here and, he argues, beyond what Kuhn’s conception of history of science could offer (SET 967-70). Darwin enters the stage set by this history with “his most significant and least palatable suggestion”:

     

    For many men the abolition of that teleological kind of evolution was the most significant and least palatable of Darwin's suggestions. The Origin of Species recognized no goal set either by God or nature. Instead, natural selection, operating in the given environment and with the actual organisms presently at hand, was responsible for the gradual but steady emergence of more elaborate, further articulated, and vastly more specialized organisms. Even such marvelously adapted organs as the eye and hand of man--organs whose design had previously provided powerful arguments for the existence of a supreme artificer and an advance plan--were products of a process that moved steadily from primitive beginnings but towards no goal. The belief that natural selection, resulting from mere competition between organisms for survival, could have produced man together with the higher animals and plants was the most difficult and disturbing aspect of Darwin's theory. What could "evolution," "development," and "progress" mean in the absence of specified goal? To many people, such terms suddenly seemed self-contradictory. (Kuhn 172)

     

    Several key Darwinian concepts are indicated here, even beyond the abolition of evolutionary teleology, most especially “gradualism” or a more general principle of “gaining the knowledge of the world” or natural history from the behavior of its small or even infinitesimal parts or changes and their continuity.4 This principle may be seen as defining the scientific paradigm and paradigm change, established not only by Darwin’s work but by such contemporary theories as James Clerk Maxwell’s field theory of electromagnetism and Bernhard Riemann’s mathematics (or earlier differential calculus, since, like all paradigm changes, this one has a long pre-history as well), and extending to Einstein’s work in relativity. Leibniz, a co-inventor of differential calculus and a major influence on Riemann, was arguably the most significant precursor, as Gould notes, rightly coupling him with Linnaeus–although, as Gould explains, Charles Lyell may be an equally important influence upon Darwin in this respect (150, 149, 479-86). In science, one needed quantum theory to announce a new paradigm, although there are earlier intimations, especially as concerns the idea of chance, as in thermodynamics, and philosophically one can trace this history still earlier. The principle cannot be sustained in Gould’s version of evolutionary theory either, which shift has its history in turn, at least from Georges Cuvier on (484-92).

     

    Along with most Darwinian concepts, those just mentioned are given a powerful critical treatment by Gould throughout the book, using the term “critical” in Kant’s sense of critique as an exploration of fundamental concepts in a given field and of the conditions for their effective deployment there. Decisive to this critique are the questions of chance and discontinuity, and the relationships between them, in evolution and specifically in the non-teleological view of evolution advanced by Darwin. Both Kuhn and Gould fundamentally link the structures of biological and scientific evolutions, or revolutions, to chance and discontinuity (“revolution” in Kuhn and “punctuation” in Gould), in Kuhn’s case under the impact of quantum theory. Gould could hardly have been unaware of the parallel between Kuhn’s and his own title, even if he did not intend a direct allusion. Nor could he have been unaware of Kuhn’s elaborations just cited, and it is of some interest that he does not comment on them or Darwin’s influence on Kuhn’s work. Gould does discuss Kuhn’s ideas concerning scientific revolution and acknowledges Kuhn’s significance and influence in this respect, as well as noting certain Darwinian elements in Kuhn’s later (1969) “Postscript” to his book in the context of the concept and the very term “punctuation” (SET 967-70).

     

    Now, all teleology is, by definition, causal, even if, as I shall explain, this causality is hidden behind (the appearance of) chance, and, by virtue of its causal nature, essentially continuous. Accordingly, the questions of chance and discontinuity, or of the relationships between causality and chance and continuity and discontinuity (or among all of these), may be seen as less interesting in this case. On the other hand, the role of chance and discontinuity in non-teleological views of evolution is a subtle issue, which caused a complex and sometimes ambivalent attitude on the part of Darwin himself, specifically in the relations between more local (such as adaptation) and more global evolutionary dynamics (SET 1333-36). Can we dispense with chance and discontinuity, given the abolition of teleology? What are the dynamics of chance or discontinuity? How are the latter linked to causalities and continuities? What are the relationships between chance and discontinuity, or causality and continuity? These are decisive questions. For, at least in evolution, chance without causality, or discontinuity without continuity, would be almost as problematic and scientifically uninteresting as causality, natural or divine, absolutely without chance (100-2). In question is an interplay of chance and causality or necessity, of which Democritus was perhaps first to speak, coupled, if one wants to trace it to the pre-Socratics, to the Heraclitean becoming, the never-the-same flow of evolution, but, on this view, the flow interrupted and reshaped by discontinuity. With Darwin and, then, with Nietzsche, this double interplay acquires an extraordinary and ultimately irreducible complexity and, as Derrida argues, becomes ultimately incalculable, preventing us from ascertaining whether, at least, some events are products of chance or causal dynamics (7).5

     

    Gould’s own contribution to evolutionary theory belongs primarily to this problematic of causality and chance, within contingency, or (sometimes correlatively) between punctuation and continuity. It is, again, important that all these elements and various relationships between and among them are engaged with by Gould and made parts of the structure of evolutionary theory, as he sees it. Thus, for example, the continuity and persistence of form (morphological continuity) or that of other constraints is just as important as punctuation, as both equally work against orthodox Darwinism. This type of complexity is found, however, throughout Gould’s arguments, for and against Darwin’s theory, and translates into the relationships, conceptual or historical, between various strains of evolutionary theory. Granting this complexity, one might, nevertheless, argue that the most radical implication, if not the idea, of Darwin’s theory is that of the role of chance, also in its discontinuous, interruptive effect, as the primary force of evolutionary change. As Gould says:

     

    If, however, as the central thesis of this book maintains and the [postmodern?] Zeitgeist of our dawning millennium no longer rejects [in contrast to evolutionists and paleontologists of the preceding generations], we cannot validate the actuality of mammalian success by general principles, but only as a happy (albeit entirely sensible) contingency of a historical process with innumerable alternatives that didn't happen to attain expression (despite their equal plausibility before the fact), then we must face the philosophical question of whether we have surrendered too much [of contingency] in developing a more complex and nuanced view of causality in the history of life. (SET 1332; emphasis added)

     

    On this view, the rise of humans, as conscious animals, is, too, a product of contingency, of a series of contingent, if sensible accidents, perhaps glorious, as Gould once called them, but accidents nonetheless. The question becomes what is the particular character of this chance and, hence, of the interplay of chance and causality defining the contingency/ies of evolution. The emphasis on contingency, as the interplay of chance and causality, rather than on chance alone, is crucial, but the character of contingency is defined by the character of chance within it. This is not to say that the nature of causalities and necessities involved in evolution is not important; quite the contrary, and we need as rich and complex conceptions and theories of causal processes as we can develop. The same argument applies to continuity and discontinuity, and the relationships between them, or between them and causality and chance. Gould’s elaboration opening the section “Undirected,” dealing with Darwin’s abolition of teleology, indicates this complexity as well, in part by way of warning (143-46). Gould stresses the contingent and yet also notes the crucial significance of chance in shaping this complexity, including as concerns “the direction of evolutionary change.” He writes:

     

    Textbooks of evolution still often refer to variations as "random." We all recognize this designation as a misnomer, but continue to use the phrase by force of habit. Darwinians have never argued for "random" mutation in the restricted and technical sense of "equally likely in all directions," as in tossing a die. But our sloppy use of "random" [...] does capture, at least in a vernacular sense, the essence of the important claim that we do wish to convey--namely, that variation must be unrelated to the direction of evolutionary change; or, more strongly, that nothing about the process of creating raw material biases the pathway of subsequent change in adaptive directions. This fundamental postulate gives Darwinism its "two step" character, the "chance" and "necessity" of Monod's famous formulation--the separation of a source of raw material (mutation, recombination, etc.) from a force of change (natural selection). (144)

     

    Monod’s formulation captures well the Darwinian contingency, to which Gould adds the chance of punctuation, or, conversely, additional morphological causalities and/as continuities, thus reshaping the overall structure of evolutionary contingency. As will be seen, there may be more of tossing of the dice in mutation. The problem, however, may indeed be that the complexity of the process prevents us from properly assessing how much, if at all, loaded these dice are. In any event, the mutations in question are random enough, at least as “unrelated to the direction of evolutionary change,” as Gould rightly stresses. That is, they are random enough to change our view of evolution. The evolutionary survival of such mutations is of course a still different bet, more Darwinian (gradualist and adaptational) or more Gouldian, which supplements the Darwinian bet with other elements, such as the contingency of punctuation. Even well-adapted species, such as dinosaurs, or potentially well-adaptable species in the proper evolutionary contexts of their emergence and developments, could be “punctuated” out of existence due to external (geological or cosmic events) or other changes in the context.

     

    It is true that, as I have indicated, this particular book is, at least overtly, not about contingency. Gould stresses this point in the Epilog:

     

    But this book--entitled The Structure of Evolutionary Theory--does not address the realm of contingency as a central subject, and fires my very best shot in the service of my lifelong fascination for the fierce beauty and sheer intellectual satisfaction of timeless and general theory. I am a child of the streets of New York; and although I reveled in a million details of molding on the spandrel panels of Manhattan skyscrapers, and while I marveled at the inch of difference between a forgotten foul ball and an immortal home run, I guess I always thrilled more to the power of coordination than to the delight of a strange moment--or I would not have devoted 20 years and the longest project of my life to macroevolutionary theory rather than paleontological pageant. (1339)

     

    And yet, even as the book only looks toward and prepares the ground for the synthesis of the science of general theory and the science of contingency in evolutionary theory, while primarily doing general theory, contingency is everywhere in this book. This is hardly surprising. Indeed, there is a “because” behind my “and yet.” Contingency is irreducibly complicit with the general theory engaged with by the book, or in Darwin’s work and most versions of Darwinism, which, accordingly, defines the character of the future theory that Gould has in mind. To give one example, which is, however, central to Gould’s argument, Nietzsche’s principle, mentioned earlier, of “the distinction between current utility and historical origin” shapes (albeit differently) both Darwin’s and Gould’s arguments. “Nietzsche recognizes (as Darwin did),” that this principle also

     

    establishes grounds for contingency and unpredictability in history--for if any organ [such as the eye or hand], during its history, undergoes a series of quirky shifts in function, then we can neither predict the next use from a current value, nor can we easily work backwards to elucidate the reason behind the origin of the trait. (1217)

     

     

    Hence, the irreducible role of contingency and indeed chance (“unpredictability”) in the general theory, Darwin’s and even more so Gould’s. There could be no Darwin without contingency anymore than without history, as Darwin’s concept of history is itself crucially shaped by the concept of contingency as the interplay of chance and causality (without ultimate causes) in evolution.

     

    Gould “embraces this apparent paradox with delight”: “I have championed contingency, and will continue to do so, because its large realm and legitimate claims have been so poorly attended by evolutionary scientists who cannot discern the beat of this different drummer while their brains and ears remain tuned to the sounds of general theory” (1339; emphasis added). The paradox itself is of course only apparent, or reveals a more subtle theoretical logic. One might also say that the paradox interrupts and destabilizes the accepted logic of evolutionary theory, and leads to a new logic and, with it, new evolutionary theory, which thus “refute” the paradox, along with (some) of the Darwinisms and even (some) Darwin. As Gould adds, rightly assessing his book (it is difficult to do better): “So yes, guilty as charged, and immensely proud of it! The most adequate one-sentence description of my intent in writing this volume flows best as a refutation to the claim of paradox just above […]” (1339). It is a long sentence, but a good one, both in content and in form, structure, in its continuous flow, which I punctuate a bit here:

     

    This book attempts to expand and alter the premises of Darwinism, in order to build an enlarged and distinctive evolutionary theory that, while remaining within the tradition, and under the logic, of Darwinian argument, can also explain a wide range of macroevolutionary phenomena lying outside the explanatory power of extrapolated modes and mechanisms of microevolution, and that would therefore be assigned to contingent explanation if these microevolutionary principles necessarily build the complete corpus of general theory in principle. To restate just the two most obvious examples of the higher tiers of time exemplified in this chapter: (1) punctuated equilibrium establishes, at the second tier, a general speciational theory of cladal trending, capable of explaining a cardinal macroevolutionary phenomena that has remained stubbornly resistant to conventional resolution in terms of adaptive advantages to organisms, generated by natural selection and extrapolated through geological time; (2) catastrophic mass extinction at the third tier suggests a general theory of faunal coordination far in excess [...] of what Darwinian microevolutionary assumptions about the independent history of lineages under competitive models of natural selection could possibly generate. (1339-1340)

     

    On the other hand, as I have indicated, while contingency and, within contingency, randomness and chance, are fundamental to Gould’s theory of evolution, this theory itself, even when dealing with contingency, is, as is Darwin’s, ultimately more interested in causality, without the ultimate cause, than in chance as such. The qualification is, again, crucial, for “following Hutton, Lyell, and many other great thinkers,” Darwin “foreswore (as beyond the realm of science) all inquiry into the ultimate origins of things” (SET 101). In particular and most significantly, this attitude is correlative to the view that the key causalities, either more Darwinian or more Gouldian, in question in the theory are initiated by random events. These events must thus also be treated structurally as discontinuous in relation to these new causal chains as in relation to previous causal chains. In other words, the dynamics of these chains is initiated by but does not depend on and is dissociated from what triggers them. The absence of the single overall teleology, or a single overall archeology (the ultimate origin), of evolution follows automatically. While incorporating Darwinian mutations (as of secondary significance, without the ultimate creative evolutionary force), Gould’s theory also deals with causal sequences resulting from or shaped by random events, such as punctuations, and in itself qua theory concerns only these causal sequences, and not random events initiating or affecting them. As in Darwin’s case, the specific character of the causalities in question, however, gives this theory its explanatory and descriptive power, and Gould’s book offers ample evidence of this power along both lines, Darwinian and Gouldian, or in joining them.

     

    Gould’s concept of contingency is subordinated and indeed defined by the agenda just explained. To restate his definition, contingency is “the tendency of complex systems with substantial stochastic components, and intricate nonlinear interactions among components, to be unpredictable in principle from full knowledge of antecedent conditions, but fully explainable after time’s actual unfoldings” (46; emphasis added). Analogously (although not identically) to chaos or complexity theory, the dynamics in question are highly nonlinear but ultimately causal, although, in contrast to most situations considered by chaos or complexity theory, these dynamics are, again, initiated by random events. More accurately, these events are seen as random in the context of evolution and may be causal in other contexts, geological, cosmic, or others, but, if they are causal in these latter contexts, these causalities (say, those responsible for the collisions between the Earth and asteroids that destroyed so many well-adapted species) are bracketed. They are not part of the structure of evolutionary theory. Accordingly, Gould’s concept of contingency is well suited to the workings of punctuation or other nonadaptational events and forces at work in evolution that he considers. As will be seen, however, some chance events in evolution, such as, possibly, mutations, may not be bracketed in this way, although they are of course in Darwin’s theory. And yet they may still need to be left to chance, without any hope of theorizing any causality behind them. Would theorizing such events, with or without causality behind them, be part of Gould’s new synthesis, or does he merely mean expanding causal macroevolutionary patterns initiated by random events and their relationships, positive or negative, to microevolutionary dynamics? Could it be, once causality is suspended? Could they be theorized? What would the theory of chance events without causality behind them or of particulars without relations to the whole be, and what kind of explanatory specificity could it offer? I shall return to these questions below. A broader overarching point can be made now, however, to convey one of the most important lessons of this book.

     

    Evolutionary theory may demand from us as complex a combination of chance and causality (or necessity) as we can develop, indeed many a complex combination of both, to a degree of complexity arguably unique in the natural sciences. It is true that, if we consider physics as a conglomerate of its various theories, one can make a similar case there as well. Indeed, as will be seen, one of the key questions here is what a general or unified theory joining such theories, say, as branches of a single tree, would be, if it were possible. For the moment, Gould’s argument is that, along with the Darwinian contingency (as part of a more gradual dynamics of evolutionary change), random discontinuous punctuation is an equally and even more significant force of change, thus leading him to a more radical and more complex concept of evolutionary contingency. The contingency part of this argument (whereby causal chains are initiated or reshaped by chance events that themselves are not included in these chains and are, thus, also discontinuous from them) is, again, decisive. We may need still more complex structure(s) of contingency, however, extending the spectrum of contingency, and thus of both chance and causality, even further. In the case of the history of life, of its, to cite, with Gould, Shakespeare’s most famous lines from The Tempest, continuous, incessant “sea change into something rich and strange,” we might need to do so as much as we possibly can (The Tempest I, ii, 403; SET 24).

     

    With this argument for a necessarily broad spectrum of causality, chance, and contingency in mind, the question becomes that of the character of chance as such. In particular, the question is whether chance is a manifestation of causality or necessity, however hidden or remote, or not. These two alternatives define the two concepts of chance that I shall discuss–classical, which entails a hidden causality or necessity behind chance, and nonclassical, in which case we do not or even cannot assume any causality behind it. Nonclassical contingency is defined, accordingly, as contingency involving nonclassical chance in one way or another, which is the case in Darwin’s or Gould’s view of evolutionary contingency. It is worth qualifying that for the moment I am concerned with what is responsible for chance, with the effects of chance, with random effects, as opposed to the effects of chance events upon a given causal dynamics or engendering new causalities, the main concern of Darwin and Gould. Their argument for giving chance a shaping role in evolution, however, remains important in this context as well. For, as explained above, in relation to the dynamics these interruptive events (such as mutational variations or exterior punctuations) trigger or enter, they are nonclassical, even if the dynamics responsible for the emergence of such events is classical (causal), since this dynamics itself is not included in evolutionary theory. The unpunctuated evolutionary dynamics occurring between such events is considered by the theory as causal or classical, which may not be the case elsewhere, for example, in quantum theory, and, as I indicated above, mutations may need to be considered in a more radically nonclassical way.

     

    By “chance” itself, it is worth reiterating, I mean a manifestation of the unpredictable (possibly within some dynamics of contingency, as the interplay of causality and chance). A chance event is an unpredictable, random event, whether it ultimately hides some underlying causal dynamics, as in the case of classical chance, or not, as in the case in nonclassical chance. For example, when they occur in classical physics, randomness and probability result from insufficient information concerning systems that are at bottom causal. It is their complexity (due, say, to the large numbers of their individual constituents, as in the kinetic theory of gases) that prevents us from accessing their causal behavior and making deterministic predictions concerning this behavior. I here distinguish causality and determinism. I use “causality” as an ontological category relating to the behavior of the systems whose evolution is defined by the fact that the state of a given system is determined at all points in time by its state at a given point. (In the present context, causal and classical are the same.) I use “determinism” as an epistemological category having to do with our ability to predict exactly the state of a system at any and all points once we know its state at a given point.

     

    In physics, classical mechanics deals deterministically with causal systems; classical statistical physics deals with causal systems, but only statistically, rather than deterministically; and chaos theory or complexity theory deals with systems that are, in principle, causal, but whose behavior cannot be predicted even in statistical terms in view of the highly nonlinear character of this behavior. Gould’s evolutionary contingency involves an analogous causal stratum, although the specific dynamics operative there differs from that of complexity theory, for example, as developed in the evolutionary context in Kauffman’s work. All these theories are causal and hence classical insofar as they deal, deterministically or not, with systems that are assumed to behave causally, in contrast to quantum theory and possibly evolutionary theory. Quantum theory offers predictions, of a statistical nature, concerning the systems that may not be and, in most versions of the theory, indeed cannot be considered as causal or, more generally, subject to any realist description, and thus the events such systems trigger cannot be “fully [or even partially] explainable after time’s actual unfoldings,” along the lines of Gould’s contingency. Quantum theory only predicts, statistically, certain events (in the manner of outcomes of tossing dice) but does not explain the physical processes through which these events come about. Even though the probabilistic predictions of quantum mechanics are subject to rigorous mathematical laws, in this case, in contrast to that of classical statistical physics, randomness and probability do not arise in view of our inability to access the underlying causal dynamics determining the behavior of quantum systems.6 It does not appear possible to assume such a behavior to be causal. Accordingly, in quantum mechanics we confront nonclassical chance in the case of all events considered by the theory, without assigning or assuming any causality between these events, rather than only in the case of certain events punctuating causal chains, as in the case of evolutionary theory and its dynamics of contingency. Although not without parallels or predecessors elsewhere, the physical theories just described are our primary scientific and mathematical-scientific models of chance, including in biology and evolutionary theory, which cannot as yet escape “physics envy,” even when they exercise proper ambivalence in this attitude (SET 1209).

     

    Classically, then, chance or, it follows, the appearance of chance is seen as arising from our insufficient (and perhaps, in practice, unavailable) knowledge of a total configuration of the forces involved and, hence, of a lawful causality that is always postulated behind an apparently lawless chance event. If this configuration becomes available, or if it could be made available in principle, the chance character of the event would disappear. Chance would reveal itself to be a product of the play of forces that, however complex, is, at least in principle if not in practice, calculable by man, or at least by God, who, in this view, indeed does not play dice, as Einstein famously said, or at least always knows how they will fall. In other words, in practice, we only have partially available, incomplete information about chance events, which are, nonetheless, determined by, in principle, a complete architecture of causality or necessity behind them. This architecture itself may or may not be accessible in full or even partial measure. The presupposition of its existence is, however, essential for and defines the classical view as causal and, correlatively, realist. Subtle and complex as they may be, all scientific theories of chance and probability prior to Darwin’s evolutionary theory (and then, still more radically, quantum theory), and many beyond them, as well as most philosophical theories of chance, are of the type just described. They are classical. Combined, two of Alexander Pope’s famous utterances, the closing of Epistle 1 of An Essay on Man and his “Proposed Epitaph for Isaac Newton,” encapsulate the classical view of chance or, conversely, causality and law:

     

    All Nature is but art, unknown to thee;
    All chance, direction, which thou canst not see;
    All discord, harmony not understood;
    All partial evil, universal good:
    And, spite of pride, in erring reason's spite,
    One truth is clear: Whatever IS, is RIGHT.

     

    (An Essay on Man, Epistle 1, 289-94)

     

    Nature and Nature's laws lay hid in night;
    God said, let Newton be! and all was light.

     

    (“Proposed Epitaph for Isaac Newton, who died in 1727”)

     

    Gould cites the immediately following passage from An Essay of Man, opening Epistle 2, which considers the nature of man, while Epistle 1 considers the nature of nature itself, as best seen by man, or by best men. Women are yet another subject in Pope. On the other hand, some women writers, such as Emily Brontë, invoked by Gould alongside Tolstoy, give us a more subtle perspective on the world, as defined by chance and contingency (SET 1340). In the passage cited by Gould, Pope writes:

     

    Know then thyself, presume not God to scan;
    The proper study of Mankind is Man.
    Placed on this isthmus of a middle state,
    A being darkly wise, and rudely great [...]
    He hangs between; in doubt to act, or rest;
    In doubt to deem himself a God, or Beast;
    In doubt his Mind or Body to prefer.
    Born but to die, and reas'ning but err;
    Alike in ignorance, his reason such,
    Whether he thinks too little, or too much:
    Chaos of Thought and Passion, all confus'd;
    Still by himself abus'd, or disabus'd;
    Created half to rise, and half to fall;
    Great lord of all things, yet a prey to all;
    Sole judge of Truth, in endless Error hurl'd:
    The glory, jest, and riddle of the world!

     

    (An Essay on Man, Epistle 2, 1-18)

     

    I give a slightly fuller quotation, including the first two lines, which tell us that, as far as science is concerned, we no longer need to appeal to any theological considerations, as (the genius of) Newton is sufficient, but also necessary–a necessary and sufficient condition, as mathematicians say. This passage appears at an important juncture of Gould’s book, in the opening chapter of Part II, “Toward a Revised and Expanded Evolutionary Theory,” as he begins his build-up of his revisionist theory, from the argument concerning, to cite the title of the chapter, “Species as Individuals in the Hierarchical Theory of Selection” (SET 680). It is hardly surprising that Gould sees Pope’s passage “as composed for a quite different, but interestingly related purpose” (680; emphasis added). Pope’s biological, geological, and cosmological examples and hierarchies are of much interest here. To be sure, Pope’s pre-Darwinian and even pre-Linnaen “chain of beings” is well short of evolution. It can, however, be given a teleological, directed historical and thus evolutionary dynamics. Undirected and contingent history is a far more radical and difficult move, which requires the genius of Darwin. With Darwin and then with new non-Newtonian physics, at God’s command or not, a different light appears and different night must be assumed. Man’s view, even at its best, may be even more “parochial” (Gould’s word) than Pope thought, its parochialism lying, ironically, in the assumption of a plan in this maze of Nature–“a mighty maze! but not without a plan” (Epistle 1, 6)–or of “God-does-not-play-dice” necessity and order in this “one stupendous whole” (Epistle 1, 267), or, for that matter, in an assumption of wholeness or oneness, even while renouncing any possible understanding of this plan in its working specificity. Einstein would not be quite so modest and would aim to know how it all works. Bohr, in response, argued that, in order to do quantum theory, we might have to be even more modest than Pope urges us to be. As Gould says:

     

    The problem can be summarized with another, much older, classical quotation. "Man is," as Protagoras wrote in his wonderfully ambiguous epigram, "the measure of all things"--ambiguous, that is, in embodying both positive and negative meanings: positive for humanistic reasons of ubiquitous self-valuing that might lead to some form of universal brotherhood and compassion; but negative because our own "measure" can be so parochially limiting, and therefore so conducive to misunderstanding other scales if we must assess these various domains by the allometric properties of our limited estate. (680-81)

     

    Ultimately, this parochialism may be irreducible. Gould, in the epilogue, offers a powerful critique of the classical view in science. Thus, he says:

     

    I confess that, after 30 years of teaching at a major university, I remain surprised by the unquestioned acceptance of this view of science--which, by the way, I strongly reject for the reasons exemplified just below--both among students headed for a life in this profession, and among intellectually inclined people in general. If, as a teacher, I suggest to students that they might wish to construe probability and contingency as ontological properties of nature, they often become confused, and even angry, and almost invariably respond with some version of the old Laplacean claim [of the underlying ultimate causality of nature]. In the short, they insist that our use of probabilistic inference can only, and in principle, be an epistemological consequence of our mental limitations, and simply cannot represent an irreducible property of nature, which must, if science works at all, be truly deterministic. (1333)

     

    At least it must be truly causal, on the present definition. On the other hand, one should not perhaps be surprised, given that the classical view has the backing of a great many major figures in modern science and beyond it, beginning with Einstein, for whom quantum mechanics was almost not science on these very grounds.

     

    Inspired by, among others, Lucretius (whose well-known passages could also be cited here), Milton’s description of chaos in Paradise Lost gives us a subtler picture of chance:

     

    Before thir [Satan's, Sin's and Death's] eyes in sudden view appear
    The secrets of the hoary deep, a dark
    Illimitable Ocean without bound,
    Without dimension, where lengths, breadth, and highth,
    And time and place are lost; where eldest Night
    And Chaos, ancestors of Nature, hold
    Eternal Anarchy, amidst the noise
    Of endless worth, and by confusion stand.
    [...] Chaos Umpire sits,
    And by decision more imbroils the fray
    By which he Reigns: next his high Arbiter
    Chance governs all. Into this wild Abyss,
    The Womb of Nature, and perhaps her Grave,
    Of neither Sea, nor Shore, not Air, nor Fire,
    But all of these in thir pregnant causes mixed
    Confus'dly, and which this must ever fight,
    Unless th's Almighty Maker them ordain
    His dark materials to create more Worlds,

     

    (Book II, 890-916)

     

    This extraordinary vision is closer to the nonclassical view of chance, if not quite as radical by giving God at least a chance to govern chance and shape it into order. It should be noted, though, that the view of chaos given here is how Satan and his family entourage see it, and it may be that, as in Pope, in Milton, too, there would be no randomness and chaos at the ultimate level, unavailable to anyone “except to God alone” (Book III, 684).

     

    In any event, to reach the conceptual-epistemological structure of evolutionary theory, as advocated by Gould, one needs to remove God from the structure here proposed, or again, with Darwin, “foresw[ear] (as beyond the realm of science) all inquiry into the ultimate origins of things” (SET 101). From this perspective, evolutionary processes are seen as giving rise to causal sequences and ordered structures without presupposing the overall underlying or primordial causality or order, either exterior or integrated into the evolutionary process. Random impacts upon evolution may, again, come either from within, through mutations or constraints, for example, or from exterior punctuations. In question is, accordingly, first, the interplay of chance and causality (or necessity), and, then, the order (life is a highly ordered phenomenon) emerging from it, and, second, the specific character of chance and causality involved, or of their interplay. There may be many variations on how new formations, such as new species, in the biological evolution may arise or are destroyed. As I have stressed throughout, “expanded evolutionary theory” conceived by Gould, is defined by the great complexity of these relations, and we might need a greater complexity still.

     

    The Romantics, such as Hölderlin, Kleist, Keats, and Shelley would, in Shelley’s words, “take the darker side” (Julian and Maddalo 49), and bring us at least to the threshold of nonclassical chance. Gould places Darwin between the Enlightenment and Romanticism, with the help of his grandfather Erasmus (much revered by Darwin), who, I would add, was an important and often equally revered figure for both traditions, and especially for Shelley (SET 595). Shelley’s The Triumph of Life, which presents a tragic-triumphant procession of life or/as death (it is true, of human life) that is hardly a pageant (which Gould favors) stops, remarkably, on an as-yet unanswered question: “What is Life?” (The Triumph of Life 544). The poem intimates that all life, biological or other, may be shaped and even ultimately governed by nonclassical chance. While remarkable, it is not by chance, given Shelley’s biography, and specifically his interest in contemporary science. Mary Shelley’s Frankenstein, for which Shelley wrote a preface, is shaped by the spectrum of scientific themes shared with Shelley’s work, and by this question “What is Life?”. Gould mentions the novel, via Shakespeare’s famous lines–“Nothing in him that doth fade/But does suffer a sea-change/Into something rich and strange”–from The Tempest (I.ii.401-03), the work multiply connected with Shelley’s work, including The Triumph of Life. Gould, at least at this juncture, takes a more positive view, as does Mary Shelley. Shakespeare’s lines, Gould reminds us, “appear on the tombstone of the great poet Percy Bysshe Shelley (also the author of the preface to his wife’s novella, Frankenstein, which cites Erasmus Darwin in its first line of text). I believe that these words would suit, and honor, Charles Darwin just as well and just as rightly” (SET 24). These words, it may be added, also offer as good a description as any of evolutionary change. There is, however, a darker side, along with “grandeur” to Darwin’s “view of life,” to cite the conclusion of The Origin of Species, the side that brings his view of life as life-death and of chance closer to Shelley’s in The Triumph of Life. In Paul de Man’s words, “The Triumph of Life warns us that, nothing, whether deed, word, thought or text, ever happens in relation, positive or negative, to anything that preceded, follows, or exists elsewhere, but only as a random event whose power, like the power of death, is due to the randomness of its occurrence” (122; emphasis added). De Man also stresses, however, that, while it retains the underlying overall economy of chance, thus reversing the classical view (where causality underlies chance), Shelley’s poem also teaches us that causal sequences do shape certain events. It also tells us how we may integrate irreducibly random events into classical-like causal sequences, which we often continue to prefer, as Gould noted above, but which may not be rigorously possible.

     

    Nonclassical chance, then, is irreducible to any causality or necessity, not only in practice but, at the limit, also, and most fundamentally, in principle. There is no argumentation offered and there may be none in principle available to us that would allow us to eliminate chance and replace it with the picture of causality or necessity behind it. Nor, however, does one or, again, at the limit, can one postulate a causal dynamics as unknown or even unknowable but existing behind random events. This qualification is crucial. For, as I explained, some forms of the classical understanding of chance allow for and are defined by this type of assumption. The nonclassical chance is irreducibly random.

     

    At the very least, it is irreducibly random within the field demarcated by a given theory, as in the evolutionary theory of Darwin and Gould, where random events in question may result from some exterior causality, as against quantum mechanics where all events in question in the theory are nonclassically random and are, thus, within the domain of the theory. Unlike in Milton and Pope, in Gould’s theory one is not concerned with the ultimate theological determination of the world (classical, by definition), but only with the specific scientific explanations of evolutionary dynamics. For example, one is not concerned with who or what arranged for the asteroid to hit the earth 65 or so millions years ago (seconds on the cosmological scale, and we, as a species, have been or will be around much less) or other catastrophes that punctuated and changed evolution. One is only concerned with how such events shape the workings of evolution. As I said, more generally, if a given punctuation or mutation has a causality behind it, this causality would not be linked to the evolutionarycausality/iesinitiated or affected by this punctuation or mutation. One might say that mutation, too, functions as a form of punctuation in this sense, although within a more gradual rather than catastrophically ruptured dynamics. One could be concerned with the causalities of such events in studying the motion of asteroids, subject to classical mechanics or else chaos theory. Understanding the specific nature of their motion is essential, for example, if we want to prevent, if we can, yet another chance event that would catastrophically change the course of evolution and would eliminate us from the face of the earth, would do us in, as it did the dinosaurs. That, however, would entail shifting the theoretical context outside the domain of evolutionary theory. In sum, in Darwin’s or Gould’s theories, one theoretically deals with causalities triggered by certain random events, such as mutations or punctuations, rather than with these events themselves in their own history, whether the latter is classical or nonclassical. In other words, evolutionary contingency in Darwin’s and Gould’s sense depends on the nonclassicality of interrupting or punctuating events shaping causal sequences the theory considered in a classical, and specifically descriptive way, just as classical physics does in considering its objects.
    By contrast, in quantum theory, at least in certain (nonclassical) interpretations of it, we deal only with nonclassically shaped events, as opposed to causal (classical) chains that such events would trigger, as they may, for example, by virtue of their impact in the macroworld, to which chains we can, then, apply classical physics. Quantum theory is, accordingly, a theory of predicting such events on the basis of other events of the same type, without explaining (which may not be possible) the process leading from one event to another. If one wants a contrast to Gould’s or Darwin’s theory, quantum theory qua in principle7

     

    Now, the question is whether the structure of evolutionary theory involves this type of nonclassical stratum as well–an unanswered or perhaps, in this form, unasked question of Gould’s book. Before I sketch my reasons for asking this question, or rather by way of transition, I would like to respond to the question that one might ask concerning my general argument here on classical vs. nonclassical chance, whether the latter is of a Gouldian (or Darwinian) type or of a more radical quantum-mechanical type. This question goes as follows. If the underlying causal dynamics of chance, while presupposed, could not be known even in the classical case, what difference would the introduction of nonclassical chance, that is, a suspension of even an assumption of causality behind chance, make? Can assuming something that we cannot possibly know make a difference? Indeed, as explained above, on Gould’s or Darwin’s view it would not make that significant a difference, since evolutionary theory does not deal with chance events themselves but only with their effects, which are causal sequences, treated classically. (The introduction itself of such events is, again, crucial for the structure of evolutionary theory.) Strange as it may seem, however, it can make a difference. We know that, in view of the so-called Bell’s theorem, it does make a difference in quantum theory. For the correctness of our theoretical prediction of the outcomes of the experiments depends on making or not making this assumption. In the words of quantum physicist David Mermin,

     

    Bell [...] demonstrated that there were circumstances under which one could [in fact] settle a question of whether "something [a causal reality behind quantum randomness] one cannot know anything about exists all the same" [or not], and if quantum mechanics was quantitatively correct in its predictions, the answer was, contrary to Einstein's conviction, that it does not. (124)

     

    By contrast, for classical statistical physics or, differently, chaos theory and complexity theory to be correct in their predictions, we must presuppose an underlying causal reality within the scope of the theory, even though we cannot, even in principle, access it.

     

    Accordingly, one might argue that, whenever we deal with a theory where chance plays an essential role, the classical or conversely nonclassical nature of this chance may prove to be significant. Evolutionary theory is such a theory. A certain nonclassicality is already introduced into it by Darwin and extended by Gould (although the extension is subject of much debate among evolutionary theorists). This may be as much nonclassicality as Gould wants, and Gould’s macroevoluationary theory, defined by hierarchy, punctuation, spandrels, and so forth may not need more, although his general appeal of integrating contingency and (causal) general theory may leave space for more. Gould does not, however, here or, as far as I know, anywhere, discuss chance and contingency of the type we encounter in quantum theory or offer theoretical arguments of this (nonclassical) type. On the other hand, microevolutionary dynamics may require a kind of through-and-through quantum-mechanical nonclassicality. Such may be the case, for example, if one wants to address theoretically the nature of random mutations as part of evolutionary theory, rather than see them as microtransformations or micropunctuations, whose biology is bracketed by the evolutionary theory, either Darwinian or Gouldian (which incorporates Darwin on this score). At most, it appears to be left to other theoretical fields such as genetics, say, at the level of the molecular biology and chemistry and physics it involves, apart from evolutionary theory. If, however, as Gould argues in the passage cited earlier, “random” mutations are not necessarily “equally likely in all directions,” and if we want to understand how mutational dice are loaded (quantum dice, we recall, are) and make this understanding part of evolutionary theory, then the nature of such processes may be in question, possibly involving nonclassical features of the kind one finds in quantum theory. In the latter case, we would confront epistemological complexities, as concerns the possibility or impossibility of describing or explaining this type of process, of the type we encounter in quantum theory. There is a crucial difference. In quantum mechanics we deal primarily with predictions concerning future events on the basis of certain events that have previously occurred. By contrast, in evolutionary theory, at least so far, we deal with past events, whose “history” to some previous events we might want to trace, in however limited a fashion, which situation may lead to yet further theoretical complexities. The considerations of the kind just outlined may also arise in other interactions forming Gould’s “expansion of Darwin’s reliance upon organismal selection into a hierarchical model of simultaneous selection at several levels of Darwinian individuality (gene, cell lineage, organism, deme, species and clade)” (1340).

     

    What would such a theory be? Would it be a theory of the quantum-mechanical type, for example, or would it still proceed along the lines of Darwin’s or Gould’s view of contingency on a smaller scale?8 Whether such a “unified” theory is possible is yet another question, to which I shall return presently. It is not unlike the question of a possible or impossible ultimate unified theory in physics, which would unify quantum theory, as a microlevel theory, and general relativity, as currently a macrolevel theory, within a single theory, a string theory, for example. Gould does not address these questions, although it may be seen as shadowing his argument, for example, in some of his discussions of genetic aspects of evolution and debates surrounding them.

     

    Gould, unavoidably, invokes classical physics, via the works of d’Arcy Thomson, whose work, especially his famous On Growth and Form, pioneered a rigorous application of classical physics and related mathematics to biological morphology, as Gould discusses in some detail (SET 1182-1214). Gould might have mentioned the related morphological work of a great mathematician and d’Arcy Thomson’s fellow Aristotelian, René Thom (the two last names also share a signifier, a “form”), whom Gould only invokes in a related context of catastrophe theories, one of Thom’s great contribution to mathematics (922). Gould also discusses the more recent work of Stuart Kauffman in complexity theory, of which Kauffman was one of the pioneers, and which continues d’Arcy Thomson’s tradition of relating physics and biology and extends to new but classical theories, on the present definition, although not in Kaufmann’s terminology. As explained above, there are differences between classical physics, including classical statistical physics, and chaos and complexity theories, which compel Kaufmann to juxtapose them.9 Interestingly enough, however, especially given the place of contingency in Gould’s thinking, quantum theory, a paradigmatic and paradigmatically modern or indeed postmodern theory of chance, does not find its place in the book. The work in molecular biology, essential to modern genetics, stemming in part from quantum theory and in part initiated by quantum theorists, beginning with Erwin Schrödinger’s book What is Life?, which thus repeats Shelley’s question, is not part of the book either. But then, as I said, no book, however long, is ever long enough.

     

    As I argue here, however, Gould’s contingency has crucial nonclassical affinities with quantum theory, and he could not avoid quantum theory altogether, at least by implication. One of the more remarkable junctures of personal, historical, philosophical, and scientific trajectories defining the book occurs around the case of the so-called “quantum evolution” theory (introduced in the 1940s). The name is an inevitably evocative title or, one might say, signifier. I do not want to overstress the significance of this signifier, especially given that the signified behind it is far from the (micro)considerationsof the quantum-theoretical type here discussed. It is in fact closer to Gould’s macroevolutionary theory, and this is why Gould discusses it. Moreover, as Gould shows (which is one of his points), quantum evolution theory progressed from its more radical to its more conventional form, maintaining the same terms or signifiers but subtly shifting its concepts (SET 521-531). Nevertheless, it is not out of place to speak of a shadow of the quantum over Gould’s argument and evolutionary theory, or conversely the shadow of Darwin, arguably the first step toward the nonclassical view of chance in science, over quantum theory. (There are also actual historical lineages and influences.)

     

    One can, then, sum up the preceding argument as follows. First, the structure of evolutionary theory is fundamentally determined by whether we assume that the character of chance that shapes the contingencies of evolution is classical or nonclassical, or combines both, which, I would argue with Gould, is in fact the case, even given the more limited, Gouldian or Darwinian, form of nonclassicality. Second, the nature and the structure of evolutionary theory, arguably more so than that of any other single scientific theory, requires a maximal and multilevel deployment of both views and of their many combinations. In paradigmatic terms of physical theories, it needs the structures of causality and chance, and of their interplay, contingency, on the model of classical physics at some junctures; on the model of classical statistical physics at others; on the model of chaos and complexity theory at still others; and possibly (as we have only seen intimations of it so far) on still other models, such as those of quantum theory (which has different levels and versions in turn). The deployment of such models in evolutionary theory may be qualitative or quantitative, mathematical or nonmathematical, and so forth. But evolutionary theory may also need its own models, such as Darwin’s or Gould’s. Accordingly, it may demand from us the ultimate complexity in the domain of natural science and already engages this type of complexity. This is, I would argue, what Gould’s book teaches us, or this is how it answers or rather asks Shelley’s question “What is Life?”

     

    But would it be, could it be one evolutionary theory, then, even with multiple structures, and in what sense of oneness? Gould appears to suggest or wants to see it as possibly a single theory. His commentary in his epilogue on Darwin’s famous passage ending The Origin of Species is of some interest in this respect. To cite Darwin’s great final sentence first:

     

    There is grandeur to this view of life, with its several powers, having been originally breathed by the Creator into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being evolved. (490)

     

    Gould turns this sentence around and turns around it, in a kind of mutual dance, a few times in his epilogue, beginning with this elegant turn:

     

    Note how Darwin contrasts the dull repetitiveness of planetary cycling (despite the elegance and simplicity of its quantitative expression) with the gutsy glory of rich diversity of life's ever rising and expanding tree. Darwin even gives his metaphor a geometric flavor, as he contrasts the horizontal solar system, its planets cycling around a central sun to nowhere, with the vertical tree of life, starting in utmost simplicity at the bottom, and rising right through the horizontality of this repetitive physical setting towards the heavenly heights of magnificent and ever expanding diversity, in a contingent and unpredictable future of still greater possibility. (SET 1334)

     

    Perhaps! The “utmost simplicity” at bottom only appears at the expense of the contingent event of enormous complexity, that is the origin of life, which, it is true, is properly bracketed in Darwin’s and Gould’s theories alike, but need not be, and no longer is, seen in terms of absolute origins. The future is far less certain, too. We also know (it is true, better than Darwin did) how complex the structure (more likely chaos) of the solar system is, let alone the nature, so far unfathomable, of gravitation, thanks to Einstein’s theory. I am of course not aiming these arguments against Darwin, who could not know them, or indeed against Gould, who is well aware of them. Besides, Gould’s main point here is a historical particularity, contingency, of Darwin’s view of life, as opposed to other possible views, to which I shall return presently. For the moment, I want to look at the image and indeed the concept of the tree–the tree of life and the tree of evolutionary theory–as governing Darwin and, via the image of Scilla’s coral, Gould’s view of both life itself and evolutionary theory. The tree of life (one would expect this) appears in the final sentence of Gould’s book as well. Even as it maps a radical revision of Darwin, this “vertical” view of evolutionary theory still implies a certain unifying attitude, whereby theories or sub-theories branch from a single ultimate lineage, without (ever?) leaving the tree and its hierarchy behind. Could it be the case even within evolutionary theory? Is it not possible to think of a different theoretical structure here (or, as I said, in physics as well) whereby we have a certain “horizontal” field of theories, interactive but not genealogically linked as branches within a single tree, theories that are heterogeneously interactive and interactively heterogeneous? This view may even be necessary if we want to pursue “the generation of theories appropriate to the characteristic rates and modalities of time’s higher tiers to explain the extensive range of macroevolutionary phenomena,” on which Gould insists (1340).

     

    Gilles Deleuze and Felix Guattari would speak of “rhizome,” which they juxtapose to “tree,” although they, correctly, acknowledge that we need both types of structuration. Rhizome may still be too connected. Horizontality, however, and the suspension of any ultimate hierarchy are crucial. One could think in particular of the extraordinary Chapter 3, “10,000. B.C.: The Geology of Morals (Who Does the Earth Think It Is?),” of A Thousand Plateaus, the book that also offers a correlatively rhizomatic philosophy of history (39-74). The title obviously alludes to Nietzsche’s On the Genealogy of Morals, so crucial to Gould but perhaps not followed by him to its ultimate Nietzschean limits, including on this point, that of heterogeneous, if interactive, genealogies of and relationships between different theories or different practices of morality. But the chapter explores, naturally, in philosophical, rather than scientific, terms and in an allegorical mode, the structure of–among others–evolutionary theory, including its relation to the geological and cosmological forces that shaped it. (It also contains an ironic play upon the title of Darwin’s Descent of Man.) In the process it also suggests that this structure may take the horizontal, rhizomatic, theoretical field. I can, however, only indicate this problematic here. To properly address it would require the scale of Deleuze and Guattari’s A Thousand Plateaus (about 600 pages), if not of Gould’s book. Instead, I would like to close by returning, with Gould, to contingency.

     

    Gould adds an epilogue to his epilogue, on contingency in literature vs. science, thus finally ending his “interminable book” on a triple synthesis–philosophical, scientific, and cultural–of causality and chance, of two types of evolutionary theory, and, finally (and not coincidentally, only contingently), of science and literature, all of which are represented in Darwin’s work and life (1342-43). The subject, in all three of its aspects, is implicitly linked to a slightly earlier discussion of Darwin’s “tree of life” and Kauffman’s critique of it from complexity theory, on contingency in immanent and narrative style of explanations and modes of knowing correlative to them, and then to the discussion of contingency in history and biography (1335-37, 1338-39). Now Gould “risks” (chances) “a final statement about contingency”:

     

    And yet, as an epilog to this epilog and, honest to God, a true end to this interminable book, I risk a final statement about contingency, both to explicate the appeal of this subject, and to permit a recursion to my starting point in the most remarkable person and career of Charles Robert Darwin. Although contingency has been consistently underrated (or even unacknowledged) in stereotypical descriptions of scientific practice, the same subject remains a perennial favorite among literary folk, from the most snootily arcane to the most vigorously vernacular--and it behooves us to ask why. (1340)

     

    It is at this juncture that Gould invokes Brontë’s Wuthering Heights (1340). It is a pity that in his first example of Tolstoy’s War and Peace, Gould, while correct in his argument, makes a technical error. Tolstoy does indeed argue, as Gould says, that “Napoleon’s defeat in Moscow in 1812 rested upon a thicket of apparently inconsequential and independent details, and not upon any broad and abstract claim about the souls of nations or the predictable efficacy of Russia’s two greatest generals, November and December” (1340). I would contend that it rested on both, as the predictable evolution of the French campaign was also “punctuated” by the generals in question, while Brontë’s or earlier Stendhal’s (a key precursor of Tolstoy, not mentioned by Gould) would be closer to the quantum-mechanical view of chance. (Actually one finds both conceptions in Stendhal.) In any event, Tolstoy does not argue this in “both prefaces,” as Gould mistakenly says, but in both of his epilogues, just as Gould himself does–a missed chance by Gould.

     

    Gould’s own answer to his question is roughly that literature or art aims at the extraordinary, even in the ordinary, which could only be contingent and even singular, unique. Phenomena like Darwin or Newton, and their work and writings, are in the same category, as are certain phenomena in science itself. Gould says:

     

    We care for the same reasons we love okapis, delight in the fossil evidence of trilobites, and mourn the passage of the dodo. We care because the broad events that had to happen, happened to happen in a certain particular way. And something almost unspeakably holy--I don't know how else to say this--underlies our discovery and confirmation of the actual details that made our world and also, in realms of contingency, assured the minutiae of its construction in the manner we know, and not in any one of a trillion other ways, nearly all of which would not have included the evolution of a scribe to record the beauty, the cruelty, the fascination, and the mystery. (1342)

     

    He adds: “no difference truly separates science and art in this crucial respect. We only perceive a division because our disparate traditions lead us to focus upon different scales of identity” (1343). More specifically, the situation, according to Gould, is as follows. A different history of evolutionary theory or of physics (Newton is mentioned next, by way of the fact that Darwin is buried next to him in the Westminster Abbey), without Darwin or Newton, would be unlikely to change our theories of either physical nature or evolution. (To follow Gould’s view of biological evolution, the contingencies of the macroevolution of culture could do so, since they could deprive or relieve us of science, or of art, altogether.) This different history would, however, change our experience of either science or the history of both, in their particulars, as against those particulars that the work of Newton or that of Darwin brought into them. “We would [still] be enjoying an evolutionary view of life, but not the specific grandeur of ‘this [Darwin’s] view of life’” (1343). We would still be asking Shelley’s question “What is Life?,” but not in the way it is asked by Shelley’s poem, or by us after Shelley and Darwin, or both Darwins, Charles and Erasmus. Other particulars, perhaps equally grand, would take their place. Gould undoubtedly knew full well that this argument equally applies to his book, or his particular way of asking this question, Shelley’s and Darwin’s, the question of art and the question of science, and now (it’s been for a while, actually) Gould’s, “What is Life?.” Or, again, doubling the question mark, how do we ask this question, “What is Life?”?

     

    Notes

     

    1. “Spandrel” and “exaptation” are Gould’s key concepts developed in this central chapter (1214-95).

     

    2. Other interactive conceptual pairs or more multiple clusters, such as, and especially, unity and multiplicity, or general and particular, are significant as well and could be correlated with the problematics in question.

     

    3. Democritus appears to speak of necessity, as (with Democritus in mind) does Monod, which is not quite the same as causality, and the difference is not without significance in the present context. I shall, however, leave the subject aside here, and use primarily causality, and only invoke necessity on a few occasions.

     

    4. I follow Hermann Weyl’s formulation of the principle in his discussion of Riemann in his classic, Space, Time, Matter (92).

     

    5. This is a major theme throughout Derrida’s work, whose connections to evolutionary conceptuality are yet (thirty years in waiting) to be explored.

     

    6. These events may involve statistical correlations, but without causal connections between the events themselves.

     

    7. I cannot enter here into a detailed treatment of quantum theory and instead permit myself to refer to my discussion of the subject in The Knowable and the Unknowable: Modern Science, Nonclassical Theory, and the “Two Cultures” and references therein.

     

    8. Were such transitions to involve quantum processes, as is sometimes conjectured, they would, at least in part, obey the quantum-mechanical model of chance, as sketched here.

     

    9. It would not be possible to address Kauffman’s work here, in part in view of its technical complexity, although this work and complexity theory in general feature prominently in current discussions both in science and in the humanities and social sciences.

     

     

    Works Cited

     

    • Bohr, Niels. The Philosophical Writings of Niels Bohr. Vol. 2. Woodbridge, CT: Ox Bow P, 1987.
    • de Man, Paul. The Rhetoric of Romanticism. New York: Columbia UP, 1984.
    • Darwin, Charles. On the Origin of Species by Means of Natural Selection, or the Preservation of Favored Races in the Struggle for Life. London: Murray, 1859.
    • Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus. Trans. Brian Massumi. Minneapolis: U of Minnesota P, 1987.
    • Derrida, Jacques. Margins of Philosophy. Trans. Alan Bass. Chicago: U of Chicago P, 1982.
    • Kuhn, Thomas. The Structure of Scientific Revolutions. Chicago: U of Chicago P, 1965.
    • Mermin, N. David. Boojums All the Way Through: Communicating Science is a Prosaic Age. Cambridge: Cambridge UP, 1990.
    • Nietzsche, Friedrich. The Gay Science. Trans. Walter Kaufmann. New York: Vintage, 1974.
    • —. On the Genealogy of Morals and Ecce Homo. Trans. Walter Kaufmann. New York: Vintage, 1989.
    • Plotnitsky, Arkady. The Knowable and the Unknowable: Modern Science, Nonclassical Theory, and the “Two Cultures.” Ann Arbor, MI: U of Michigan P, 2002.
    • Weyl, Hermann. Space, Time, Matter. Trans. Henry L. Brose. New York: Dover, 1952.

     

  • Montage/Critique: Another Way of Writing Social History

    George Dillon

    Department of English
    University of Washington
    dillon@u.washington.edu

     

    In the last 40 years, numbers of writers and artists have come to see Walter Benjamin as a pioneer who blazed a new way of writing historical and cultural critique. The drafts of and reflections upon his Arcades Project (Passagen-Werk) have been the subject of major textual scholarship (Tiedeman, 1982) and the focus of several full-scale critical discussions (Buck-Morss, 1989; Jennings, 1989). Over the same period, these writings have inspired artists to adopt and extend their method of critique by fragments and juxtaposition (“montage”), especially into mixed and electronic media (Berger and Mohr, 1975, 1982; Peaker, 1997-2000; Broadway, 1997-99; Michals, 2001; Lederman, 2000.) I do not mean to set the Benjamin scholars and artists at odds, nor to decide who among them is the more legitimate heir of Benjamin. Rather, I want to understand Benjamin’s theory and practice from the point of view of latter-day users of it–those who claim it as inspiration and method for their work, who attempt to do critique without an integrating authorial voice. Though I will discuss the works roughly in the order of their appearance, no development or progess is implied–just a series of responses to Benjamin’s Arcades Project. It should be held in mind that Benjamin’s method was for him a way of writing social history; we cannot expect it to transfer in tototo other, though related, deployments. I begin by outlining his project under the heads of fragment and juxtaposition.

     

    I

     

    fragment: Michael Jennings observes that a fondness for fragments and a suspicion of system characterize all of Benjamin’s work. He was temperamentally a modernist, and many commented on his remarkable eye for detail, especially for things deemed insignificant in standard views–the accounts that supported the interests of the ruling class. Benjamin was probably thinking of collage and photomontage with its inclusion of ticket stubs, pieces of newspaper, and magazine illustrations when he wrote the following:

     

    method of this project: literary montage. I needn't say anything. Merely show. I shall purloin no valuables, appropriate no ingenious formulations. But the rags, the refuse--these I will not inventory but allow, in the only way possible, to come into their own: by making use of them. (N1a,8)[1]

     

    The fragments that make up the Arcades Project are paragraphs of description and reflection and snippets of text cited from critics, commentators, and historians. These fragments are grouped by topic into 28 different bundles (or folders–Konvoluts) and there is a good bit of cross-referencing between individual fragments in different folders. The general look is of a set of notecards for a history about to be written. But Benjamin was strongly opposed to writing history in a way that suggested development, unfolding, emergence, or progress. The meaning Benjamin sought to disclose in his materials was to be found in many sudden illuminations triggered by his juxtapositions and “dialectical images” and not in the forces, movements, conflicts, and resolutions of academic history.

     

    In addition, Benjamin had come to see images–photographs, drawings, illustrations–as other fragments to be included and reportedly had amassed a very sizeable collection for inclusion in the project. Only sixteen remained when Tiedemann put the manuscripts in order (these are included in an appendix to volume V of the Gesammelte Schriften). Other images are so exactly described in the project that editors and scholars, especially Susan Buck-Morss, have been able to find specific ones, or even to photograph the object described in one case. Buck-Morss has greatly augmented the collection of images; Giles Peaker attached several new ones in his hypertext fragment of the Arcades; and Howard Eiland and Kevin McLaughlin have supplied even more in the English translation. It is no wonder artists see the Arcades Project as an invitation to multimedia when the scholars each augment the text in this direction. Though leading away from the topic immediately at hand, there are further details about the deployment of images in this body of Benjamin scholarship. However, one should not forget that for Benjamin, images and especially dialectical images are to be encountered in language (N2a,3).

     

    Benjamin placed great value on discontinuity and decontextualization in his method, both to denaturalize the particular features in view and to prevent their being reinserted into conventional, uncritical pictures of the world. Buck-Morss discusses this point well (218-221). It is clear how this intention attracts photography and hypertext, since as we shall see photographs are often described (for instance, by Berger) as cited or torn from the living world they depict, and hypertext, jumping from screen to screen with no authoritative order, helps to inhibit reinsertion into a smooth and seamless world. Indeed, Eduardo Cadava presses Benjamin’s associations of photography and history very strongly.

     

    What we have in the Arcades Project manuscript that Adorno preserved and passed on to Tiedemann, however, are not photographs, or even reproduced illustrations, but short pieces of text, and it should be noted that the decontextualization effected by photography differs from the effect of quoting “verbal images” in that quite a large number of these are quoted from published academic histories and thus are snipped from contexts that had already woven them into continuous academic narratives. Each quote comes with complete bibliographic information which is like a link back to the original context. The quote borrows the words and authority of the source and positions the work in a web of intertextuality that is quite traditional, even if the position taken toward the web is not. Photographs do not imply other, larger photographs of the world; rather, they imply the physical world beyond the frame, which has no authority and no position. But perhaps the analogy with photographs applies only to verbal images that present uninterpreted facts unmediated by scholarly interpretation? Benjamin would be the first to reject that as an untenable distinction as well as a wholly misguided one, since many of the “interpretations” date from the period and are themselves the facts to be observed. Indeed, many, many fragments aim to evoke the lifeworld of nineteenth-century Parisians, which is one of the reasons the Baudelaire folder is the largest of the lot.

     

    juxtaposition: We say two things are juxtaposed when they are placed side by side or one after the other with no connecting matter or continuing thread or common topic. Some inexplicit connection is nonetheless implied, or else one would simply have a pile of spare parts–disjecta membra–which may not even be parts of the same thing or similar things. Juxtaposition can thus be a matter of degree. Within the individual folders of the Arcades Project, the juxtaposition effect is moderated by all of the pieces bearing on the topic of the folder (for example, Iron Construction, Gambling and Prostitution, etc.). The individual fragments are often linked (cross-referenced) to fragments in other folders, and so if one follows the cross links, it is easy to commence a skid that takes one rapidly away from the initial fragment and its topic. This quality is one of the reasons the Arcades Project has been described as hypertext-like, though the same quality is to be found in dictionaries and encyclopedias as well.

     

    The Arcades Project is not a reference work, however, but a history of Paris in the nineteenth century, so that within the folders and throughout there is a complex temporal layering of brief accounts of bits of the past, often dated with a year, with more recent observations and the opinions of scholars with or without Benjamin’s commentary. Temporal sequence is not the organizing principle, but rather a kind of dialectic between past and present in which the present can recognize itself in a bit of the past and the past yields up its meaning as it is read from the vantage point of the present. In addition, the revival of interest in the Arcades Project and the addition of photographs taken after 1940 create a new present which makes Benjamin’s present (1930s) into a past–a relay station, as it were, between the earlier nineteenth century and the late twentieth.

     

    The dialectic of past and present takes place in and around individual fragments: these are the dialetical images that have been the focus of one scholarly book and a chapter or extended sections of others (see especially Jennings, Pensky, and Buck-Morss). Understanding dialectical images is crucial to understanding how Benjamin wanted “montage” to work in his reading of the book of the nineteenth century. Understanding it is not crucial, however, for tracing references to Benjamin’s method by subsequent writers, who do not choose to pursue dialectical images in greater depth. One thing that they do extract from Benjamin, however, is a method of juxtaposing multiple and incompatible accounts of particular phenomena drawn from diverse sources, forcing readers who want to make a coherent account to do some work with the fragments.

     

    Jennings and others point also to Benjamin’s use of “constellation” and “force field” as metaphors for his method. These are ways of thinking beyond the level of juxtaposition, which always sounds directed at the edge or transition between two things. These are metaphors for a configuration of fragments, or a relation among several fragments, in which a sudden clarification or new grasp of the import of the fragments can occur. There is a perspectival thread here as well, as Benjamin comes close to saying that readers from different times and different angles of view may see different constellations and different meanings–which is to say that he does not intend a single best reading of the Arcades Project that would “get it all.”

     

    Though the Arcades Project was never finished or published in Benjamin’s lifetime, he did complete a sample of the method in the draft of one section of a long essay on Baudelaire that was submitted to Adorno for publication by the Institute for Social Research. The first thing he delivered was the middle section of the work; this draft has been translated and published as “The Paris of the Second Empire in Baudelaire” in Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. It draws heavily on the Arcades Project folders. The “Flâneur” section, for example, averages two citations per page, almost all from the folders. Buck-Morss calls it a “dry wall:”

     

    This first essay is in fact constructed with so little theoretical mortar between the Passagen-Werk fragments that the essay stands like a dry wall, and Adorno rightly identified the (to him, lamentable) principle of montage that governed the form of the whole. (206)

     

    Benjamin agreed to a very substantial revision along traditional lines; tamely entitled “Some Motifs in Baudelaire,” it is included in Charles Baudelaire: A Lyric Poet in the Era of High Capitalism and in Illuminations, the collection edited by Hannah Arendt.

     

    In fact, Adorno’s criticisms were deep and far-reaching and have been discussed extensively by Jennings (1987), Buck-Morss (1991), and Pensky (1993) since they lead directly to the heart of the dialectical image. For our purpose, they point to certain practical issues about writing by juxtaposition and constellation of fragments (montage). The fragment, or more broadly, the constellation, must speak for itself: this means not only that a single definitive authorial perspective must be removed, but also that the fragment/constellation must remain open to further seeings. Adorno feared that by this evacuation of subjectivity (of the interpreter), Benjamin had inadvertently presented a view of the world as mere uninterpreted fact–of material, observable things and unique, unanalyzable events–which the reader would have no reason to connect through any theory at all. On the other hand, he found certain juxtapositions in the early manuscript between Baudelaire’s thoughts and the movements of social history to imply a naïve model of causation between social history and Baudelaire’s consciousness–that is, a model is applied, but it is an inadequate one. Jennings concedes the point about certain invitations to vulgar Marxism, but maintains that the deeper problem is esotericism:

     

    Actually, however, the weakness of the Baudelaire essay stems less from the directness of its causal connections--such one-to-one relationships are the exception in Benjamin's piece--than from the elliptical, often opaque quality of its form. The relationship of many of the images to their immediate context or even to the essay as a whole is by no means immediately clear. (32)

     

    Jennings goes on to suggest that Benjamin may indeed have expected to be understood only by the relatively small group that could draw upon the special body of knowledge and belief needed to discern the intended connections. This is not a matter of missing an allusion here or there, but of missing the true and revealing light that history can shed on the present. And, since Adorno was certainly one of that group, he found Adorno’s response extremely unsettling. In the end, Jennings concludes that Benjamin could not resolve the contrary objectives of author-evacuated montage presentation and the need to provide theoretical, ethical guidance for the reader. Pensky, reviewing Adorno’s response in relation to the issue of claims of truth about history, agrees.[2]

     

    Declaring oneself an adopter of Benjamin’s method of juxtaposition or montage does help to identify one’s intention as critique. One does also, however, inherit the unresolved tension which in practical terms is between saying too much and saying too little about the import or intention of a juxtaposition or constellation. I will illustrate with one juxtaposition from Buck-Morss’s “Afterimages,” where she is writing as an extender of the Arcades Project.

     

    Figure 1: Macy’s: The Benediction
    Ann Marie Rousseau (1980)
    (Click image for larger version)

     

    Figure 1 appears at the top of Buck-Morss’s page 347 with a credit to the photographer, Ann Marie Rousseau. Buck-Morss gives it the title “Shopping Bag Lady, 1980.” It is followed by a fragment from the Flâneur folder (M5,1) which quotes a description (Benjamin calls it a “brief description of misery”) of “a bohemian woman” from Marcel Jouhandeau’s Images de Paris(1934). Jouhandreau’s description is followed by several sentences of commentary by Buck-Morss, beginning:

     

    In the United States today her kind are call "bag ladies." They have been consumed by that society which makes of Woman the proto-typical consumer. Their appearance, in rags and carrying their worldly possessions in worn bags, is the grotesquely ironic gesture that they have just returned from a shopping spree.

     

    Her commentary continues by contrasting Benjamin’s line about the nineteenth-century flâneur inhabiting the streets as his living room with life in the streets for the homeless, concluding

     

    for the oppressed (a term that this century has learned is not limited to class), existence in public space is more likely to be synonymous with state surveillance, public censure, and political powerlessness.

     

    It is quite often problematic to let photographs speak for themselves; as Berger says, they only weakly convey their makers’ intentions. Framed in this fashion by Buck-Morss, this photo seems tiresomely polemical and contrived. One critic of Rousseau’s traveling exhibit offers a little relief on the contrivance charge but finds the import all too obvious in this and another of Rousseau’s photos:

     

    [they are] dependent on chance juxtapositions creating ironic social commentary, a strategy (most famously used during by Depression-era photographers) that now looks dated or didactic. (Curtis)[3]

     

    Another reviewer, Doree Dunlap, moralizes also:

     

    We would rather look at a plastic, anorexic mannequin in spiffy, two-piece swimwear than at a woman trying to survive on the street beneath a window display. She represents an ugly reality--one not easily faced.[4]

     

    Yet another such elaboration is found in Mark H. Van Hollebeke’s essay, “The Pathologies and Possibilities of Urban Life: Dialectical and Pragmatic Sightseeing in New York City,” which begins with this image (entitling it “A Dialectical Image”) and finds it a powerful though predictable “call for the messianic awakening of revolution.”

     

    General agreement notwithstanding, this way of reading expects very little from the image. All of these commentaries close down further readings, turning the image into a fairly discardable trigger for a bit of breast-beating or system-bashing. Once we begin to question the interpreters, certain warning flags spring up: Her type? Is the photograph just about bag ladies in cities? Jouhandeau describes a very particular woman with her few things spread out around her “creating almost an air of intimacy, the shadow of an interieur, around her” (qtd. in Eiland and McLaughlin 426). This commentary portrays her as making a living space for herself, not as a victim cast out like refuse on the street. So this photograph is not just temporally displaced, but quite different in what we see. In fact, we do not see much in these commentaries, though one does note the bald mannequins modeling bathing suits.

     

    The photograph originally appeared prefaced to Rousseau’s book Shopping Bag Ladies: Homeless Women Speak About Their Lives, and in that context, it is more a general indication of the theme of the book than a definitive statement. The rest of the images in the book follow individual women through their days and illustrate the text of interviews with them. As if contesting Buck-Morss’s interpretation, Rousseau has posted this photograph on her website with some explanation and commentary (which was not present in the book publication)–and also with the title “Macy’s: The Benediction.” She notes that she knew the woman and had worked with her in a shelter and that she happened to see the tableau as she rode her bicycle to work one morning. What caught her eye was the gesture of the two mannequins, which she says is like the Pope’s gesture when he gives a benediction. Rousseau continues:

     

    The homeless woman on the outside carries all her worldly possessions and wears everything she owns. The more privileged women (mannequins) on the inside advertise cruise wear in the dead of winter, and are portrayed half naked, bald and equally alienated. They bestow a blessing on their sister a world apart, yet only inches away on the other side of the glass. Both are in full view on public display and are at the same time, to the larger world, invisible.

     

    This commentary neutralizes class, domination, victimization, and oppression in favor of a surprising sisterhood of invisibility. That perception is in its turn a fragile moment that may give way to further thinking about the ethics and aesthetics of representing poor and suffering people and about documentary as a mode of not seeing. Invisibility is the issue for Rousseau in her extended project of photographing and studying homeless women; it is a pity, and a great irony, that her image can so readily be fed into the machine of What We Already Know. So, for the record, I do not think her photograph is a dialectical image; as the preface to her book, or with her commentary, it may function that way for some people, but commented on in other ways, it becomes a piece of shock documentary, which, John Berger suggests in another connection, “becomes evidence for the general human [here we might substitute urban] condition. It accuses nobody and everybody” (Looking 40)–and is about as revolutionary as a package of red licorice vines.

     

    Rousseau’s book, by the way, is a monument to the kind of engaged, humanistic documentary that tries to make contact with and reveal the subjectivity of its subjects. For this purpose, the interview text almost exactly complements the photographic images. It contrasts sharply with Martha Rosler’s avowedly anti-humanistic treatment of the male counterparts to the shopping bag ladies, “The Bowery in Two Inadequate Descriptive Systems” (1974). This exhibit of 21 black-and-white photographs of street scenes in the Bowery pairs each photo with a set of words used by the alcoholics to describe their favored state of consciousness (loopy, groggy, boozy, tight–and many, many more). These terms, however, are the only trace of the men’s subjectivity, for the pictures of the doorways and storefronts with their empty bottles have no people in them. Each member of the pair has only traces, for Rosler insists that neither words nor images are adequate to convey the human experience. There is no explanatory matter in the set as it was exhibited nor in the book published from it. Rosler clearly took the esoteric option, maintaining “The Bowery” was a gallery piece suitable for those who go to galleries. The general public doesn’t go to galleries and they are not concerned about the adequacy of descriptive systems (Buchloh 44-45). Also, they do not perhaps think of Walker Evans’s photographs of homeless and alcoholic men in the street as the immediate and obvious context for the work.

     

    II

     

    Although Benjamin did not live to develop his theory or practice, both were taken up by the very similar-minded team of John Berger and Jean Mohr in a series of photograph-texts beginning with A Fortunate Man in 1967. The second of these, A Seventh Man, comes closest to being a direct continuation of the Arcades Project. It too seeks to rouse readers from a collective dream world so that they may grasp the experience of migrant workers in Europe and also the political economy of that experience. It too is a social history of a transformation wrought by capitalism, though far more narrowly focused and more inclined to offer authoritative abstract guidance. Some of Mohr’s photographs are captioned at their place in the text (where they deem the caption helpful in getting into the photo) but they proclaim the general independence of the two “languages” and in particular the minimal role of illustration. The general theme of the photographs is contrast between the worlds that the migrants left behind and the ones they experience as “guests.” Some of these contrasts are extreme and unmistakable, as for example juxtapositions of a downtown Manhattan street at night and an unpaved road leading to a village. Others are more multidimensional and complex. Here is one double page that intrigues me:

     

    Figure 2: John Berger and Jean Mohr, A Seventh Man
    (Click image for larger version)

     

    The images fall generally within the then/there of peasant life and here/now of factory work. The paragraph on the constitution of the normal does not directly bear on them at all. The paragraph immediately preceding, however, does. It concludes, “he knows that what he is doing is separate from any skill he has. He can stuff a saddle with straw. He has been told that the factory makes washing machines” (99). The images do not directly illustrate these statements, which press the point of alienation of (migrant) production line labor, since the images cannot show us what “he” knows; rather, they give presence to hands as the means of skilled labor across widely different circumstances–cattle to clutch-plates. This is not a matter of failed control, or subversion of image by text and vice-versa, since we have been told not to expect illustration or dependence of the images on the text (or vice versa). Rather, there is a kind of double or triple montage going on here: image next to image, text next to text (sometimes hopping over an image) and text next to image. One can draw contrasts, trace similarities, analogize, and generalize across modes.

     

    Sometimes, indeed, there are almost too many contrasts for their purpose, since not all contrasts arise from contradictions in the socioeconomic structure. Here for example is one pairing that almost hurts the head with its contrasts:

     

    Figure 3. John Berger and Jean Mohr, A Seventh Man
    (Click image for larger version)

     

    The left side image has one of the longest captions in the book, and it certainly does make it “easier to look into” the picture:

     

    Turkish Carpet-seller in Germany. A number of migrants come privately to sell goods to their fellow countrymen. He is selling carpets by a road near a Turkish barracks. (222)

     

    The second is a full-page ad for Der Spiegel which begins “18 percent of all executives traveling by car would pick up a hitch-hiker in Hot Pants”–a reflection of sexist attitudes that would probably be suppressed today. Both figures are sitters by the roadside, but she is young, female, stylishly coiffed and dressed to kill (but not to walk), confident of her role and the rules she plays by. Though far from abject, the man is none of those things. It is hard to pick one contrast–one inequality–to focus on.

     

    Figure 4. John Roberts, The Art of Interruption (134)
    (Click image for larger version)

     

    Curiously, though John Roberts includes the image of the Turkish rug seller in his chapter on Berger and Mohr in The Art of Interruption, he recombines it (sans caption) with another photo of a migrant spending leisure time reading in his barracks room. This new context radically changes the image of the rug seller, who now looks like another migrant worker, and one considerably less well off than the man in his room. That is one effect of the power of juxtaposition.

     

    Writing about his practice seven years later, Berger emphasizes especially the function of movement from particular to general, partly because it is this that makes images usable in social analysis (and useful to social analysis in evoking the world as experienced). The more images, he says, the more possible connections. He cites (and in fact reproduces) a sequence of four images of women from A Seventh Man (see Figure 5) which is intended, he says

     

    to speak about a migrant worker's sexual deprivation. By using four photographs instead of one, the telling, we hoped, would go beyond the simple fact--which any good photo-reportage would show--that many migrant workers live without women. (281)[5]

     

    Astonishingly (for a literary person) this is all he says about the “going beyond” in this case.

     

    Figure 5. John Berger and Jean Mohr, A Seventh Man
    (Click here for larger version)

     

    Presented one-per-page and then two-per-page in Another Way, these images can be paired up as Virgin/Whore and Old/Young peasant girl, High and Low art, and other ways as well. You can think of representations as substitutions, as having different market values, and many other things. Berger in fact urges us to read in other orders after we have read left-to-right (Telling 284). I will not pursue the verbalizing of visual meanings here–Clive Scott has devoted several pages to this sequence (275-82–includes images) and has by no means exhausted it.

     

    Scott argues that Berger and Mohr’s confidence in the ability of images to speak for themselves (that is, without textual prompting and anchorage) increased considerably between the publication of these two books, so that the other way of telling they advance and illustrate in Another Way is almost exclusively visual (the “language of appearances”): the core of the book (“If Each Time…”) consists of 150 photographs with no text, titles, or captions (but with brief identifying captions at the end). Alternatively, it is worth pointing out that this core sequence differs in purpose from A Seventh Man. It is to “articulate a lived experience”–that of a Swiss peasant woman (invented). They have no argument to present, no documentation of exploitation, no rousing of opposition and concern as in A Seventh Man. The rhetorical argument of A Seventh Man employs a somewhat schematic linear narrative of Departure–Work–Return, and the text portions elaborate on the social and economic conditions of that experience. To use Habermas’s terms again, they join system to lifeworld, with images being the primary means of unfolding the latter. This is close to what Benjamin wanted his “images” to do, though one difference is that Benjamin had not developed Berger and Mohr’s attachment to the experience of relatively inarticulate people. In Another Way, however, Berger and Mohr turn toward explicating and illustrating a different function or aspect of the photograph, namely, photographic expressiveness.

     

    There are no comparable plots or threads organizing “If Each Time….” Nonetheless, as Berger notes in the penultimate section, “Stories,” the images–all 150 of them–are placed in one order rather than another and sustain what he wants to call, rather tentatively, photographic narrative. He cites two properties of a collection of photographs that induce him to speak of it as narrative: the first is gaps, since the photographs are moments snipped (“quoted”) from peoples’ lives. The second is what he calls “the reflective subject,” a notion which includes maker and reader/viewer as they assemble the photographs before them to re-embed them in experience, namely, their own experience. Here he explicitly draws on Eisenstein’s writings on cinematic montage, beginning with his notion of “a montage of attractions” which is to say that what precedes and follows a cut should attract each other as by contrast, equivalence, recurrence, or conflict (Telling 287-88). However, he notes that in film, there is a directionality of time and succession that as it were unbalances the attractions across the cut. With a set of photographs, however, the attractions can be mutual in the way, he suggests, that one memory triggers another, “irrespective of any hierarchy, chronology or duration,” speaking of the “sequence” of photographs as like a field of memory. It will not have escaped the attentive reader that narrative is an odd term to use for traversing a field of image-memories when chronology and duration do not signify. This final section ends with words that bear a more extended citation:

     

    Photographs so placed are restored to a living context: not of course to the original temporal context from which they were taken--that is impossible--but to a context of experience. And there, their ambiguity at last becomes true. It allows what they show to be appropriated by reflection. The world they reveal, frozen, becomes tractable. They information they contain becomes permeated by feeling. Appearances become the language of a lived life. (289)

     

    Clearly the spatial image of the field has displaced the temporal one of sequence in this passage, just as articulation replaces con-sequenceand reflection takes the place of discovery. One almost supposes that narrative was simply the most flexible and general term for a signifying sequence available to Berger. He seems to be following Susan Sontag, who writes

     

    in contrast to the amorous relation, which is based on how something looks, understanding is based on how it functions. And functioning takes place in time, and must be explained in time. Only that which narrates can make us understand. (Sontag 23)

     

    when he says

     

    and in life, meaning is not instantaneous. Meaning is discovered in what connects, and cannot exist without development. Without a story, without an unfolding, there is no meaning. (Another 89)

     

    But surely there are other ways to develop a point than making it into a story.

     

    Scott strives valiantly to explain Berger and Mohr’s notion of narrative in “If Each Time…,” expanding on the temporality of the various images, but concludes

     

    what is important, then, in this "sequence" of images is not the narrative as such, but the narratology; not the story, but the mechanisms which make it narratable and diversify its manners of being told. (Another 290)

     

    He then proceeds to trace repetitions, sometimes with shifts in scale, similarities and groupings, framing and layout–all good stuff, just not what comes immediately to mind when you hear the word narrative. Indeed, Geoff Dyer’s conclusion about this issue, namely that “If Each Time…” is not visual narrative but visual poetry, has much to recommend it.

     

    Scott welcomes the purely visual mode of “If Each Time…” partly because it has no authoritative voice setting the scope and frame of interpretation. This voice most definitely appears in A Seventh Man, and when it talks “economic theory,” it uses succinct Marxist terminology in a way that strikes some contemporary readers as hectoring and superior. It may be that the urgency of the immediate problem in Berger’s mind excuses shortcuts past the niceties (and risks) of letting the readers reach their own conclusions. Occasionally other voices are heard. A few lines from migrants are quoted, but they are outnumbered and greatly outweighed by authoritative academic sources and Marx himself. There are a couple of “their” images and a wonderful quote from Henry Ford about the harmlessness of repetitive line work. One can imagine that if Benjamin were to treat the subject, there would be many more such voices and much less “author and authorities.” As it is, one can see why Scott finally calls Berger “a nineteenth-century postmodernist” (291).

     

    John Roberts has also undertaken to explain Berger’s notion of “reconstructive narrative” and to differentiate between A Seventh Man and Another Way. Roberts points out that by focusing on the experience of a Swiss peasant woman, “If Each Time…” turns away from urban life and industrial work back toward a sense of life that runs by a different time and by different urgencies. Though the peasants are dairy farmers, there are no images of the mechanization which was already beginning to transform dairy farming elsewhere–no tractors or milking machines, no trucks or even cars, except in a couple of contrasting city images. Even to call it dairy farming seems wrong, as if applying occupation or business categories from a bureaucratized urban world. Roberts sees Berger and Mohr’s evocation of this world that is doomed and passing away as an attempt to turn critical documentary into an act of love. To be sure, this loving tracing and recording can be found in the “back home” sections in A Seventh Man, which contrast with the world of factory labor and dormitory living in the host country. And in the lives of the migrant workers, these are not worlds apart, but define the most significant polarity that they must live across. It is true that “If Each Time…” has contrasting city/country sets of images and brings the worlds into contact in a few scenes, but these scenes seem to be comic in their juxtaposition of peasant horse and buggy in city (Palermo) traffic, or peasant leading a nanny goat and two kids through a formal dining room of the Hotel Schweizerhof in Berne. These images show contradictions, but do not invite us to explore them as a major theme of the work. They do not function as dialectical images to push us to a deeper grasp of the forces at play in the world. Rather, they illustrate the notion of a “field” of relations in which the image stands/is placed and which in a sense it gathers into itself like so many associative threads. In this it resembles the workings of “the stimulus by which one memory triggers another, irrespective of any hierarchy, chronology, or duration” (Another 288). This effectively replaces the notion of signifying sequence with that of “coexistence in a field of memory.”

     

    Roberts, whose book The Interruptive Image is in many ways a working out of Benjamin’s notions of the dialectical image and constructive montage, is decidedly more enthusiastic about A Seventh Man than “If Each Time…” and directs some attention to distinguishing between the image breaking and generalizing of Heartfield and Tucholsky and the (Benjamin)/Berger/Mohr notion of reconstructive [re?] narrative: “the meanings of the photograph lie in how they are reconstructed discursively, and not in the discursive extraction of their truth content from the image” (134-35). This suggests that the meaning arises in readers as they build relations between images and images-and-texts, though it may include as well the point that when we give accounts of pictures of people in scenes, we often construct mini-narratives about them–mini-sociodramas, as it were. These together help explain why Berger and Mohr want to call the pattern of contrasts and connections synthesized by the reader/viewer narratives.

     

    There remains a troubling point about this vein of theorizing reconstructive narrative, which is the suggestion in Berger and Mohr’s writings that photography’s quoting of reality simply frees the image from its historical moorings so that it can resonate or evoke associations in the hearer/viewer. This misses the point that we are guided in our reconstructions by what we know about the circumstances in which the photograph was taken. That dimension of meaning is activated by even a few words of caption, and I find my reading of the Berger and Mohr books greatly enhanced by the table of short identifying captions at the ends of the books, as well as the occasional caption next to the image. The impact of this information is greater in the case of the A Seventh Man since the photos point toward geographical, political, economic, and historical objects and forces of the world as I know it, but it is important in establishing locale and contrasts even in “If Each Time….”

     

    Printed books are distinctly limited in their means for juxtaposing images with images and images with texts. Berger and Mohr may urge us to read first in linear sequence and then in other directions, but the sequences are bound in one way and not in others in a book. Since the order is fixed as printed, the reader must be urged to wander. What if there were several, even many possible orders in which the reader could experience the parts of a text? What if the text were hypertext?

     

    III

     

    From early 1997 on, Giles Peaker–art theorist, critic, and Lecturer at the University of Derby–has maintained a hypertext fragment of the Arcades Project, adding to it from time to time. The site has eleven pages, each one like a mini-folder of the Arcades Project containing a few short paragraphs and an image or two (and there is a twelfth bibliography page.) Many of the key categories are the same as those that appear in the Arcades Project (Flâneur, Arcades, Mirrors, Iron Construction, Fashion, Prostitutes) but a few are new (Dust, Surrealism, Detective, Feuilleton, Commodity). Each page has one to four paragraphs drawn from the 1938 “Paris in the Second Empire,” the 1935 exposé “Paris the Capital of Europe,” the folders, or an external source. The eleven pages contain multiple links to other pages in the set; sometimes different words on a page link to the same page. This is an unusual practice, and in fact, the amount of cross-linking (averaging over five per page) is unusual as well. (See Table of Links.) Most pages have one or two rather small images. Peaker describes his site as image heavy, but it is so only by 1997 standards.

     

    The high degree of cross-linking means that there are many links to each page, sometimes two from the same page. The link words are almost always different, so that one is never quite sure whether the link would return you to a page you have already seen. So, for example, the Prostitution page is pointed at by the following terms:

     

    • empathy with inorganic things
    • professions
    • sex appeal of the inorganic
    • cheap elegance
    • cocottes
    • whore

     

    There is a similar range for the Flâneur page:

     

    • flâneur (twice)
    • advertisements
    • unexpected
    • encountered
    • beloved self

     

    The individual pages thus become the centers for ad hoc semantic clusters. Peaker gives a few sentences to describing his intention with the piece, which basically is to use hypertext links to bring “elements into new juxtapositions and and hopefully generat[e] new meanings out of the debris of the era of high capitalism.” Since the link-anchoring word or words sets a certain semantic aspect and expectation for what completes the link, the same page can be entered from a different direction: “it is possible to recross areas from many different directions. Each time, the material is brought into a new relation and in this, a new aspect of it emerges.” Of the images he says very little: they are not link anchors and tend to be rather small and dark.

     

    Twelve pages is not a large site, but it seems bewilderingly large to start with because of the numerous links on pages leading we know not where. Peaker does provide a kind of top page with links to six of the twelve pages (and all of the pages have returns to this top page), but there is no map or overview that tells us how big the site is or where we are in it. This lack combines with the relatively large number of links on a page to produce a certain anxiety: we don’t know if there is a main path or center nor whether the proffered links will take us away from it. Faced with this type of site, and they are very common, we often try to “learn the site”–learn its structure and navigation scheme–and this can produce impatience and resentment, or simply divert attention from the meaning of what is on the page before us. We may urge reader/viewers to attempt a new way of reading, of simply traversing links in a network without attempting to master or direct one’s movement, but that new way of reading is especially difficult for people who don’t like to wander in strange places. Withholding structural information is the hypertext equivalent of modernist authorial reticence: the work should be experienced on its own terms, not through the interpretations and explanations of its author. The problem with navigational unease is that the viewer’s first question upon going to a page is “have I been here/read this before?” and that tends to distract from the context effect of coming at the page from a different direction. In any case, the power of the sending page to serve as a context for the new page is somewhat limited by its disappearance. One may experience a jump or gap and quickly try to come up with a meaningful connection from sending anchor to target page, but I doubt that we remember much about the exact sequence of pages, or even the exact pages, that we have viewed for more that a minute or so, or for very many pages back. Images, however, especially large images, can provide a context for words, as they seem to represent worlds, or locales within worlds, in which the words circulate. This chance was missed when Peaker’s concern with bandwidth led him to keep his images small. I have tried to maximize this effect of images in my revised Arcades fragment.

     

    e-Arcades (<www.e-arcades.com>) is a site by Robin Michals inspired by Benjamin’s Arcades Project:

     

    e-Arcades is an excursion of association among quotations concerning technology. Borrowing Benjamin's methodology of juxtaposing quotes, e-Arcades grasps at an understanding of the effect of our technologies on how we think as well as live. Enter.

     

    e-Arcades is a way of accessing and displaying 366 pithy quotations from (mostly contemporary) books, articles, and web pages concerning the impact of new technologies (internet, computers, the media, the human genome) on “our society and lives.” These quotations, identified usually only by author and date, each have at least two links to other of the 366 quotations. The links are not single, fixed links from page to page, but from a page to a group of thematically related pages, one of which is randomly selected as the target for display. So, for example, the four links visible in Figure 6 trigger selections from four different groups: market triggers a selection from a group with the theme of new world markets, hidden fist triggers a selection from a group with a war/military theme, and so on. Some groups are small–Disneyland/World has only four pages–but others are much larger, ranging up to a dozen or so and at least 25 in one case (theme: cognitive impact; these are my names, by the way). This guarantees that there will be at least some connection between the source and target quotations, though the connection is sometimes not much stronger than use of the same word. Most of the themes are controversial, and Michals’s sources are selected to give a spread of position and attitude on them, so that one can find oneself jumping from a direly negative observation to a buoyantly positive one on the same theme.

     

    Figure 6: e-Arcades Screenshot, Global Background (Quote 20)
    (Click image for larger version)

     

    In addition, each of these quotes is displayed over an image-rich background. There are eight sets of these backgrounds, each set having five different backgrounds (except for Media, which now has ten). These sets, which Michals calls templates, bear visually on Money, Globalization, Society, Technology, Internet, Computers, Media, and Body. Each quote is targeted for a template where it will acquire a background image, but which of the five backgrounds available in the set is actually chosen for displaying the quote is not fixed but again randomly selected. This procedure guarantees that the background image displayed with the quote will have some thematic consistency with the main theme of the quote, but it does not guarantee a best match between quote and background image. For example, clicking on Silicon Valley in Figure 6 could trigger the selection of quote 99, which has a Social background preferred; it is then assigned to the background templater, which assigns it one of the five Social backgrounds. Figure 7 shows one such pairing. Thus the same quote may appear with different backgrounds, but only from the preferred background set. If you want to try another match, you can click “Reload” which will give you another background from the set (or the same one again, if you are unlucky).

     

    Focusing on the backgrounds themselves, consider the background in Figure 6, which is the first in the Globalization set. This is about as explicit as photomontage ever gets, and it is unusually so for the backgrounds in e-Arcades. Most of the images are digital collage or a mixture of collage and montage (blending parts)[6] and, while the component images may not actually conflict, it is not always clear how or why they have been put together. Figure 7 (from the Social set) is still relatively straightforward:

     

    Figure 7: e-Arcades Screenshot, Social Background 1
    (Click image for larger version)

     

    Four of these parts deal with repetition in a marketing display, though the chickens are hung up for an old-style market. The figure in it appears that of a customer–blurred, as if excitedly moving. (We know surveillence cameras don’t produce this kind of color.) Given the text (one of maybe 45 that could appear here), we may see the shopper as exchanging subtle energies. One cannot expect ready connections between quote and background, however, when the same background has to serve for nearly 50 quotes. This consideration limits the developing of a strong theme in the background images or a specific relation to the quotes, and I find that after spending considerable time with the site, the images do indeed fade into the background and cease to intrigue me as a setting for individual quotes. Note that text overlays image, confirming the latter as a background and giving a distinctly modern, multilayered look. Perhaps if the backgrounds were not so multiple (that is, made up of so many subparts) and followed rather the model of the Globalization template Coke banner, they could more strongly stand in as counterparts to the quotes.

     

    e-Arcades makes good its professed descent from the Arcades Project in a number of ways. It touches on many of the themes that concerned Benjamin, as for example organic/inorganic, speed, dream worlds of technology and advertising (real/virtual), and progress/advancement. It eschews a master, authorial voice, offering instead a pastiche of other voices, some directly or indirectly critical of others, so that the links do offer meaningful connections for the reader/viewer. In fact, the thematic groupings resemble scaled-down Konvoluts, though the viewer cannot just open a thematic group and view its contents. But there are notable differences as well, suggesting that Benjamin’s method is not simply juxtaposition and that it is very much a part of a particular political-historical vision:

     
    e-Arcades is not a history, cultural or otherwise. Hence the play of perspectives from then and now–the continuities and changes of understanding and world view–do not get into the story. We do not learn about the past and we do not learn from the past.

     
    e-Arcades scants the operation of material forces in favor of “opinions” about what is going on and what it all means. There are for example a few quotes about Disneyland and Disney World. These touch on familiar points about fantasy and simulacra and exporting American culture, but the closest they get to material facts and forces is one quote about how more Americans visit Mall of America to shop than go to Disneyland. Disney’s swallowing of ABC (and ESPN) and astonishing ability to manipulate governments into fencing in the intellectual commons are not mentioned. The Arcades Project has plenty of statistics and telling facts that let the reader perform some of the synthesizing work of the historian. If, as with e-Arcades, what a reader gets is a bunch of already-interpreted opinions, she may agree or disagree, but she lacks the materials to do the work of historical understanding that Benjamin provides in such abundance. Most of the texts are conclusions or claims, the only evidence for most of which is the author’s name, and which place the reader in the consumer-of-opinions role–that is, take it or leave it.

     
    Though it juxtaposes contradictory opinions (“McDonalds abroad is a major form of cultural imperialism and a threat to indigenous cultures” v. “McDonalds offers a quick meal for people who want it”), e-Arcades is not critical, taking “critical” to include identifying more or less truthful and insightful statements, exposing injustice and exploitation, and the making visible of the socially invisible. e-Arcades relies heavily on opinion pieces which use the ideological consumerist “we” (“we the consumers and experiencers of the new technology”). People are not equally affected by the new technology and they are not affected in the same way.[7] It cites talk about robots without talking about the loss of manufacturing and service jobs. It cites talk about “netizens” and a dubious world-citizenship displacing community identifications, but includes nothing about migrant workers, immigration, and NAFTA. To be sure, the site is already very large and has to set some bounds, and that means leaving out some part of the picture. But the danger is that e-Arcades might end up as just a collection of multiple thoughts, perspectives, and opinions to which everyone is entitled.

     
    Note that these criticisms have little or nothing to do with the design of the interface. It, or one very like it, could be used successfully with the notes of the Arcades Project, suitably selected and adapted (abbreviated in many cases). I have in fact tried to do that as an extended trial or probe, and the result can be viewed here. Rather, the problem arises from the excessive number of opinion pieces, which leave the reader/viewer only the one role of consumer (connoisseur, collector) of opinions.

     

    We can also read this project through Berger’s notion of a field of inter-definining, inter-energizing pieces, though I will sketch this out only for the quotes, setting the images and quote-image relations aside. The field(s) here are not those of memory on the whole (though 1998 does occasionally seem quite old in this material) but of interpretation of current upheavals and transformations under the impact of new technologies. If all the quotes on a theme could be exhibited on one page, it would be possible to read across, back and forth, letting things stand out and trigger reflection, and then be modified in their turn by other adjacent quotes. For such a procedure, the interface is not very useful, as it only allows one to see one quote at a time, and it is disorienting to go back and find the previous page with a different background. The interface is good for shock or collision montage (in cinematic terms), but not to display a field. It is possible to display all of the quotes for many themes on single pages, and I have constructed a few such arrays for the themes of jargon (“parlance”), links, democracy, political economy, the Web, biological metaphor, and web community, and these too are attached. If you view these arrays, you will see something like a set of notecards laid out on a table, as if one had collected them and were scanning them looking for patterns, pairings, significant oppositions prior to writing a piece that would put them in their proper place. They would closely resemble the pages of the Arcades Project. Such a recoding, which ruthlessly strips the visual backgrounds to focus on the relations of quotations, might be said to be an entirely new work, although it does seem to fall within Michals’s intended “excursion of associations among quotations.”

     

    But, one might argue, these bits of text are not photographs and thus do not have the similarity to memory and access to memory-like processes that photographs do. Reflecting upon them does not memorialize life past (memorializing the present and emerging future?). And similarly, they don’t provide data or evidence for determining the truth in the present world. If they would work as fields for reflection, the reflection would work upon the language of their representations–the rhetoric of prophecy, as it were. That is perhaps why the group arrays I have called biological metaphor and web parlance do serve to heighten one’s awareness of how the passages are constructing the present, which is a move in the direction of critique. The site does not guide the viewer very far in that direction, however, presumably in the hope that the viewer’s sorting and connecting of the somewhat unpredictably juxtaposed quotes will not be wildly off the mark.

     

    Russet Lederman is another digital artist who describes her work as “emulating the fragmented, non-linear, montage-like construction” found in Benjamin’s writings. Even though that is all she says about Benjamin, it is clear in her work that she shares his concern with history and memory and the transformative power of capitalism and technology. She is a web developer for the activist artist collective REPOhistory, whose work for the last ten years “is informed by a multicultural re-reading of history which focuses on issues of race, gender, class and sexuality.” Her largest online piece, American Views: Stories of the Landscape, won the Smithsonian American Art Museum New Media/New Century award in 2001. It is built out of fragments of oral history narratives from three New Yorkers focusing on their relations to their landscapes. Each figure has about 30 fragments ranging from 15 to 50 seconds. Each of these is linked to a small image–often a personal snapshot, piece of the landscape, or a map section–seven of which are presented on a given page. Touching a center band with the mouse causes a quick shuffle and new deal, so that the fragments cannot generally be concatenated into a sequential narrative or discussion of a single topic. The narratives seem to have been prompted to some degree by interview or questionnaire, and have certainly been selected so that they have a common bearing. Here is a sample page from “Neil’s” portion of the site: the white X indicates a mouseover that has inserted and selected the grayed area. A click on this image would trigger the playing of an audio clip beginning with the words “When Walt Whitman was built” (note that you must click on the audio to get the whole text):

     

    Figure 8. Russet Lederman: First Mouseover on Neil’s Page
    (Click image for larger version)

     

    In addition, the site provides four theme pages (seen/scene, use/reuse, permanence/impermanence, and earth/unearth) that come up with simple line drawings, another semantic pairing (often antonyms), and links to pages of profound statements about the term or theme. Each page has ten such statements; four are displayed each time the page is loaded, but there are also audio boxes that let you select any of the ten to hear and read. These audio versions on the theme pages are redundant, since the display changes to show the entire selected statement, all of which are brief and most of which are fairly obvious. Here for example is one page with four of the ten “earth/unearth” maxims displayed, the eighth one selected:

     

    Figure 9. Russet Lederman: one earth/unearth page
    (Click image for larger version)

     

    The sound clips of each of the three figures are reflections about their engagements with their environments: Neil’s, in Syasset, New York, concern the emergence and subsequent loss of the suburban world where he grew up from 1955-1971. Cindi’s, in Irvine, Kentucky, reflect on difference between the New York City she knows and has moved from and the country of eastern Kentucky–and the forces that may push it into the past and make it more like New York. Adam’s, in Northern California, are the ruminations of an environmental pollution specialist about how development and technology have polluted and the resources of life in the area. But are these clips “dialectical images” in Benjamin’s sense? Do they push us to look beyond and behind what is said?

     

    It is certainly fair to say they are not like the audio clips in Broadway’s Glass (see below), which are ideologically positioned voices (and music) in the world–sound captures from the media. Lederman’s clips are taken from interviews and oral histories of three private individuals, and we imagine them as articulate, thoughtful people speaking into a microphone trying to give balanced, temperate accounts of their observations and actions. They do themselves provide some critique of the forces at work in the worlds they describe and also enough information for us to discern their social positioning. Their very accents are enough to locate them socially and by region (though Adam’s accent is light–he is a Californianized New Yorker).

     

    There is one voice on the site, however, that is not dialectical or concretely located: that of the man who reads the maxims. There is little regional or social coloration to his voice; rather, it is that of the voiceover in educational films and videos and could almost be an upper-end text-to-speech synthesizer. And it employs the techno-we noted above in relation to e-Arcades (see the screen capture of “earth/unearth,” Figure 9). I find this perplexing, for Lederman employs a similar voice in another piece (Congestion) where it seems clearly one pole of a dialectical split, opposed by the hysterical voice of New York radio traffic reports. Whatever the reason for the reading voice here, it reintroduces an authoritative perspective, apolitical and above the fray, that montage has consistently tried to eliminate from the work. One has to have some sympathy for the voiceover reader, however, for the content of what he is reading is quite elementary, and it is hard to read those maxims in a voice conveying excitement or conviction that the words are new, interesting, or important.

     

    IV

     

    As everyone who has worked with montage in the last 50 years eventually realizes, the power of juxtaposition to shock people into novel and more reflective awareness has long ago faded into the daylight of television and advertising uses.[8] Shock in any case is a very one-sided way to describe the effect of montage, since it says nothing about the work the reader/viewer must do to connect the juxtaposed parts and to order them into larger wholes. Theories of tearing from context (or quoting–all quotes, someone said, are out of context) and recombining into revealing configurations more directly acknowledge the synthesizing acts of reader/viewers, but leave the door open to the kind of surrealism that worried Adorno: things are recombined according to a logic of dream or personal association to constitute a surreal, fantasy world. The advent of digital collage and montage (or simply “digital compositing”), with its capacity for nearly seamless and effortless combination of images, has indeed stimulated a new rush of surrealist images. These can be found on digital art websites such as the Digital Arts Group and the Focus Gallery, especially such artists as Jochen Brennecke, Ron Brown, Randy Little, Tom Chambers, and Elfi Kaut.[9] Most of these exhibit at least one image online that alludes to Magritte, or is an outright remake (as Randy Little’s digital-photographic version of “Red Shoes”). Figure 10 (“Expired”) is by Jochen Brennecke and deals with humans and common human activity, but the very seamlessness of surrealist montage denies that the image is divided into parts which are juxtaposed. Such images do not attract dialectical readings.

     

    Figure 10. Jochen Brennecke: Expired (1998)
    (Click image for larger version)

     

    So how is critical digital montage possible? To answer that, I will look at the work of three artists who have adopted digital means of making images and who have chosen to work with public themes and issues: Esther Parada, Richard Ramsdell, and Geoff Broadway. All three exhibited pieces in the Livewire Exhibition of Images Received Over the Internet which was a part of the Derby 1995 National [UK] Photography Festival developed by the Design Research Centre in Derby.[10] Despite the title and appearance on a computer screen, these images were exhibited as digital prints and are quite large. The piece exhibited by Esther Parada, for instance (“A Thousand Centuries”) was 33″ x 55″. Here is a view of the center of the composition:

     

    Figure 11: Center view of “A Thousand Centuries”
    Esther Parada

    (Click image for larger version)

     

    This had been exhibited as part of a larger group (“2-3-4-D: Digital Revisions in Time and Space”) which included three others, most of them dealing in one way or another with the figure of Columbus in Latin America. In these works, Parada layers photographic images with texts and other images of colonialism to produce a very complex surface that does not shrink well to the dimensions of the computer display screen. To assist viewing, she identifies the component images and texts individually.[11] “A Thousand Centuries” takes its title from the inscription to Columbus’s effigy and tomb in Havana:

     

    O Remains and Countenance of Great Columbus Rest preserved a thousand centuries in this Urn And enshrined in the Memory of our Nation. [in Spanish, though overlaid here in English]

     

    It includes images of and from that tomb, some of Parada’s photographs of people in Havana streets, and two other texts, one by Oliver Wendell Holmes celebrating the stereoscope and one on a proposed standard definition of photo-composite:

     

    AN IMAGE CONSTRUCTED (A HISTORY NARRATED/ A MONUMENT ERECTED)/THROUGH THE ADDITION OR SUBTRACTION OF ELEMENTS/ THAT SUBSTANTIALLY AFFECT/ THE MEANING/ OF THE ORIGINAL [...]

     

    As the reader might suppose, this layering makes a very complicated composite that would be difficult to see without the assistance she provides. In the case of this image, she provides even more, pointing out some of the visual “contradictions” such as those between the light skin of the girl on the lad’s tee-shirt and his own dark complexion, and between Columbus’s pointing finger and the Cuban babe in arms. Other images of the series of four are somewhat less complex, reworking the street-life photographs with other texts and images in various ways. The needs of “seeing” in this mode are somewhat at odds with the visual message of merger or totality: we need to be able to see the parts as distinct and identifiable voices, stances, and views in order to identify them. In effect, these images convey snapshots of the historical consciousness of contemporary Cubans, or of a contemporary American visiting Cuba. They resemble the Arcades Project in their use of text and images from different points in the past with the interpreting and integrating work left to the viewer. The visual demands are too great for the Web, however; a close-up view close enough for the text to be read utterly sacrifices the design of the whole or integration of the parts. The method of superimposed images and texts here reaches a limit.

     

    Figure 12. Richard Ramsdell
    (Click image for larger version)

     

    At Livewire, Richard Ramsdell exhibited a piece from a larger set of triple-layered historical images bearing on the human body and sexuality over the last few millenia. The inset piece here (Figure 12) is one of the set of “body” images; like Parada, he identifies each of the three component layers. The first, and deepest, one is a Ukranian icon, a famous sculpture by Hiram Powers (“The Greek Slave”) said to be the most popular work of American art at mid-nineteenth century, and a piece by Yves Klein which was painted by having models smeared with International Klein Blue paint roll about on the canvas. So–three ways of depicting women, each deeply saturated with the cultural practices of its era. But what, we may ask, is gained by layering them earliest to latest and reducing their opacity so that the eye of the icon peers through the belly of the slave statue? The parts are easily distinguished by style and quite distant in era and culture, and yet made to talk to each other by sharing the same visual space. They are discontinuous slices of “Art History,” so sequence or development seems unlikely. The past-in-the-present (“O remains and countenance of great Columbus”) does not get us very far either. The Greek Slave was taken to express the epitome of Christian meekness and purity at the moment of being shown for sale as a sex slave (she has a cross nestled in her garments), and so we have two images representing ideals of female piety or sanctity, in relation to which the blue figures are not a representation so much as a sort of contact print. Here is a second image, composited from a tenth-century ivory carving of Christ sitting in Last Judgment, a porn pic of a bound, reclining girl, and a Rothko painting. Tempting though it is, I will leave it as an exercise for the reader. (Other Ramsdell photomontages can be seen at <www.richardramsdell.com/art/>.)

     

    The last of the Livewire exhibitors I will discuss is Geoff Broadway, who also exhibited a piece from a larger set titled the glass, which illustrates the theory in his Master of Philosophy thesis “Digital Realist Montage” in 1997. There is a link to the thesis and a substantial introduction by Giles Peaker. In its final form, the site with its six pieces was elaborated as a Flash file with sound in 2000. Although he uses some reduced opacity to allow images to shine through and merge with others, the individual components are clearly bounded and almost geometrically placed, as in the example here (“Mirage”) and in all six pieces in the glass. The images are each identified (in the non-Flash version); for “Mirage,” these are:

     

    • sixteenth century, Persian compass
    • Galloping Arab, Jules Etienne Marey, circa nineteenth century
    • Israeli soldier with Palestinian prisoner, 1986
    • burning oil well from the 1991 Gulf War

     

    One can readily see that these slices are all part of the Western construction of the Arab, though the compass reminds us of a commonly neglected (underconstructed?) point, namely the Muslim sophistication in numerous areas of the arts and sciences during centuries when Europe was distinctly more primitive, even “dark.”

     

    All of the pieces in the glass deal with Western/Third World or North/South relations (economic, political, and social) such as harvesting of hardwoods in Brazil, child labor in North Indian rug factories, Shell oil in Nigeria, Australian treatment of their indigenous peoples, and tea colonialism in India/Sri Lanka.

     

    Like Ramsdell’s pieces, Broadway’s are uncluttered by text overlays. This forces reliance on the images to convey historical and cultural consciousness, but in the Benjamin tradition (where Broadway clearly locates himself), language-slices are also powerful conveyors of consciousness. Broadway found a way to add voices, music, and other sounds to these images by placing them in Flash format with sound-zones attached to various areas like links to an imagemap, except that the sound zones actually intensify to full volume and then fade out again as you move the mouse over them. Each of the images in the glass has a few such audio clips. In “Mirage,” the clips are of an Arab correcting some English colonial stereotypes of the Arab, an NBC news broadcast of the Gulf War “Victory Parade” and interview, the theme of Lawrence of Arabia (in vicinity of the Marey Arab on horseback), a thunderstorm, and a British newsreel, “The Birth of Israel,” circa 1950 (near the image of the Israeli soldier and his Arab captive). These provide a second set of markers of a complex and long-contested space, with the American Gulf adventure as just the latest and most ignorant victory of Western arms. I find the sound clips extremely evocative of the world of my experience and memory: there is a specificity to the voice and resonances of the returning GI in the NBC interview, for example, that takes us far beyond where a picture of him could go. And even a few bars of the Lawrence of Arabia theme song with their sweeping, swelling grandeur remind us of this very popular packaging of European colonial mastery, which was impressed upon many of us before we had any means of crafting a critical understanding of it. Gathering all these threads into one screen insists that they are all part of the same story, the same world that is our common history.[12]

     

    Because they use no hypertext, these digital montages are limited to what they can get on a single screen (even with audio clips), but they do bring us back to the fundamental point that visual meanings are conveyed as positions in fields rather than steps in a sequence (or “narrative”). Hypertext has the capacity to display things in a multidimensional field or network and it can be experienced as such if we can be persuaded not to worry excessively about exact paths. This is the major reason for the slightly randomized links of the kind we find in e-Arcades: they change the virtual space from a network of connected points to a set of vicinities in which certain kinds of connections are likely.

     

    In his introduction to the glass, Giles Peaker calls Broadway’s work “realism,” and the term may be applied for the same reasons to the whole body of works that we have been examining. It is somewhat surprising to call these many montages of text and image–shot through as they are with fantasy, duplicity, and vapor–realistic, since we so often think of realism as something simplified, ordered, and stripped of illusion. The worlds that these works give us are not very orderly and are made up of glimpses through what now seem partial eyes. Very much in the tradition of Benjamin’s Arcades Project, they give us fragments and remain confident that we can integrate them into the real worlds of experience and history, that we will get it at least approximately right, and that we will derive special excitement and satisfaction from having done it, at least to some degree, ourselves.

     

    Notes

     

    This article is accompanied by another fragment of an e-text Arcades Project which illustrates several of the main ideas of this article.

     

    1. All citations from the Arcades Project are from the Eiland and McLaughlin translation, by folder and item number.

     

    2. For the record, not everyone who studies Benjamin’s claim for a new method of writing history with dialectical images is convinced that he has provided good examples that work the way he says they could. J. M. Coetzee has recently registered his disappointment that the images in the Arcades Project do not come alive. In “The Marvels of Walter Benjamin,” a review essay of several volumes of newly translated work, Coetzee finds some things of value in the Arcades Project and praises it for suggesting a new way of writing about civilization, using its rubbish rather than its artworks and centering on the sufferings of the vanquished, even as he thumps it rather vigorously as a failed project and unconvincing theory (or anti-theory).

     

    3. Curtis’s review is included under Reviews at <www.amrousseau.com>. Curtis is presumably thinking of something like Dorothea Lange’s photos of migrating farmers carrying their possessions past a billboard extolling the relaxing luxury of train travel, or Margaret Bourke-White’s picture of Louisville flood victims applying for flood relief under a billboard showing a white family in their car with the motto “there’s no way like the American Way.” Some of these are cited in Hunter 17-27.

     

    4. Dunlap’s review is included under Reviews at <www.amrousseau.com>. Dunlap acknowledges the gesture of benediction, but concludes it is empty whimsy: “the irony: this commercial gesture of benediction will amount to nothing for this woman, who will receive neither social blessing nor Club Med reservations.”

     

    5. Just as A Seventh Man was published, German law was modified to allow wives and families of the workers to come with them.

     

    6. Terminology is anything but standardized. The general category is assemblage: collage is the overlapping juxtaposition of fragments cut or torn from photographs, prints, printed texts and so on, and sometimes small objects (buttons, foil, ticket stubs). Photomontage (in a single image) involves overlaying images within a single space, where some of the images are semi-transparent and relatively edgeless. It is a photographic process, the precursor of digital montage. Montage in film refers to the sequence of shots at cuts. These may either be abrupt or joined by some fade-dissolve technique. Benjamin’s use of the term was strongly influence by the film theory of his time, especially Eisenstein. The terms are discussed extensively in my long study Writing with Images, especially the chapters on Photomontage and Collage.

     

    7. On this “we” as a feature of digital image rhetoric, see Henning 228-9.

     

    8. Theodor Adorno:”The principle of montage was supposed to shock people into realizing just how dubious any organic unity was. Now that the shock had lost its punch, the products of montage revert to being indifferent stuff or substance.” Adorno seems to be thinking of collage here.

     

    9. Digital Arts Group (<www.digitalartsgroup.com>); Focus Gallery (<tomchambers.0catch.com/index-145.html>); Jochen Brennecke (<hyperart.com>); Ron Brown (<www.xmission.com/~photofx/>); Randy Little (<www.rslittle.com>); Tom Chambers(<www.digitalartsgroup.com/Artist_Pages/TomChambers%20.htm>); Elfi Kaut (<kaut.org>)

     

    10. This exhibition lives on only as an archive at <www.intentional.co.uk/archive/livewire/>.

     

    11. This feature has been retained in the Web Parada site at DIF (Digital Imaging Forum), at <www.art.uh.edu/dif/paradaArtworks_2.html>.

     

    12. The use of audio clips also alleviates the problem of visual clutter, of course.

     

    Works Cited

     

    • Adorno, Theodor. Aesthetic Theory. Trans. C. Lenhardt. Eds. Gretel Adorno and Rolf Tiedemann. New York: Routledge, 1984.
    • Benjamin, Walter. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge, MA: Belknap P of Harvard UP, 1999.
    • —. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Trans. Harry Zohn. London: NLB, 1973.
    • —. Illuminations. Ed. Hannah Arendt. New York: Schocken, 1968.
    • Berger, John. About Looking. New York: Pantheon, 1980.
    • —. Another Way of Telling. New York: Pantheon, 1982.
    • —, and Jean Mohr. A Seventh Man: Migrant Workers in Europe. New York: Penguin, 1975.
    • Broadway, Geoff. “Digital Realist Montage.” Thesis. University of Derby, 1997. <www.intentional.co.uk/glass/thesis/index.html>.
    • Buchloh, Benjamin. “A Conversation With Martha Rosler.” Martha Rosler: Positions in the Life World. Ed. Catherine deZegher. Cambridge, MA: MIT P, 1999.
    • Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge, MA: MIT P, 1989.
    • Cadava, Eduardo. Words of Light: Theses on the Photography of History. Princeton, NJ: Princeton UP, 1997.
    • Coetzee, J. M. “The Marvels of Walter Benjamin.” The New York Review of Books 11 Jan. 2001: 28-33.
    • Curtis, Cathy. “Photos: Cruel World of Homelessness.” Los Angeles Times 7 Nov. 1996. <www.amrousseau.com/review1.html>.
    • Dillon, George L. Writing with Images. <faculty.washington.edu/dillon/rhethtml/imagewrite.html>.
    • Dunlap, Doree. “Days of Their Lives: Homeless Women on Film.” OC Weekly November 1995. <www.amrousseau.com/review6.html>.
    • Dyer, Geoff. The Ways of Telling: The Work of John Berger. CITY: Pluto, 1986.
    • Henning, Michelle. “Digital Encounters: Mythical Pasts and Electronic Presence.” The Photographic Image in Digital Culture. Ed. Martin Lister. New York: Routledge, 1995: 217-235.
    • Hunter, Jefferson. Image and Word: The Interaction of Twentieth-Century Photographs And Texts. Cambridge, MA: Harvard UP, 1987.
    • Jennings, Michael. Dialectical Images: Walter Benjamin’s Theory of Literary Criticism. Ithaca: Cornell UP, 1987.
    • Lederman, Russet. “American Views: Stories of the Landscape.” <http://nmaa-ryder.si.edu/collections/exhibits/helios/newmedia/lederman/>
    • —. “Congestion.” <www.repohistory.org/circulation/russet/russet.html>.
    • Michals, Robin. e-Arcades. <www.e-arcades.com>. 2001.
    • Peaker, Giles. “Walter Benjamin’s Passagenwerk: Reading in the Ruins.” < http://www.othervoices.org/gpeaker/Passagenwerk.html>. c1997-2000.
    • Pensky, Max. Melancholy Dialects: Walter Benjamin and the Play of Mourning. Amherst, MA: U of Massachusetts P, 1993.
    • REPOhistory. <www.repohistory.org/repo/repo_who.php3>.
    • Roberts, John. The Art of Interruption: Realism, Photography, and the Everyday. Manchester, UK: Manchester UP, 1998.
    • Rosler, Martha. “The Bowery in Two Inadequate Descriptive Systems.” Whitney Museum and San Francisco MOMA. (1974-75).
    • Rousseau, Ann Marie. “Ann Marie Rousseau Collection–Benediction.” <www.amrousseau.com/benediction.html>.
    • —. Shopping Bag Ladies : Homeless Women Talk About Their Lives. New York: Pilgrim, 1982.
    • Scott, Clive. The Spoken Image: Photography and Language. London: Reaktion, 1999.
    • Sontag, Susan. On Photography. New York: Farrar, 1977.
    • Van Hollebeke, Mark H. “The Pathologies and Possibilities of Urban Life: Dialectical and Pragmatic Sight-seeing in New York City.” <http://trill.cis.fordham.edu/~gsas/philosophy/vanhollebeke.htm>.

     

  • “Eden or Ebb of the Sea”: Susan Howe’s Word Squares and Postlinear Poetics

    Brian Reed

    Department of English
    University of Washington, Seattle
    bmreed@u.washington.edu

     

    In Poetry On & Off the Page(1998), Marjorie Perloff argues that the era of free verse may be drawing to a close. She examines recent work by a number of avant-garde poets–among them Caroline Bergvall, Karen Mac Cormack, Susan Howe, Maggie O’Sullivan, Joan Retallack, and Rosmarie Waldrop–and concludes that, whereas classic free verse depends on lineation to distinguish itself from prose, today’s “postlinear” poetry considers “the line” to be “a boundary, a confining border, a form of packaging” (157). This new species of verse freely violates longstanding literary conventions governing such aspects of page design as white space, punctuation, capitalization, font type, font size, margins, word spacing, and word placement. These experiments typically result in unusual “visual constructs” that impede, deflect, and otherwise coax readers’ eyes out of their habitual, left-to-right, top-to-bottom progress through a text (160). The predictable “flow” of the old free verse line thereby gives way to a “multi-dimensional” field of unexpected movements, arrests, connections, and disjunctions (160-63).

     

    Perloff hesitates over how to define this emergent poetic sensibility. “I have no name for this new form,” she confesses. The “new exploratory poetry […] does not want to be labelized or categorized” (166). The individual works that Perloff examines vary so greatly in page layout–some resembling shaped prose, some Futurist words-in-freedom, some advertising copy–that it would be hard indeed to find shared identifying traits such as the left-justified and right-ragged margins that typify most twentieth-century free verse.

     

    This formal diversity signals more than the breakdown of the old paradigm for verse-writing. Postlinear poets have begun inquiring into what W.J.T. Mitchell calls the “image-text,” that is, the “whole ensemble of relations” between the visual and verbal (89). Moreover, as Mitchell alerts us, the “study of image-text relations” is far from a straightforward endeavor. Rarely do “image” and “text” work together in perfectly coordinated fashion. On the contrary, “difference is just as important as similarity, antagonism as crucial as collaboration, dissonance and division of labor as interesting as harmony and blending of function” (89-90). Postlinear poets revel in this ambiguity. They have recast their writing as a “composite art” that hybridizes “sensory and cognitive modes” while also “deconstructing the possibility of a pure image or pure text” (95).

     

    If some poets have thereby discovered liberating possibilities for self-expression, literary critics, in contrast, have been presented with a new challenge. Postlinear poetry presents in miniature a dilemma that Mitchell considers inherent to the problem of “the image-text.” He argues that there is no “metalanguage” available or possible that could enable critics to speak confidently, synoptically, and transhistorically about the interface between the verbal and the visual (83). Almost every artistic exploration of that interzone proceeds differently toward noncoincident ends. In response, critics have had to insist on “literalness and materiality” in their analyses instead of resorting to too-abstract or falsely generalizing statements (90). They have had to “approach language as a medium rather than a system, a heterogeneous field of discursive modes requiring pragmatic, dialectical description rather than a univocally coded scheme open to scientific description” (97).

     

    Developing a satisfactory account of postlinear poetics will almost certainly require a series of disparate but complementary forays into the concrete writerly practices of particular, relevant authors. As Mitchell warns us, induction and deduction would misconstrue the phenomenon, insofar as they seek to replace the messiness of individual cases with the cleanliness of “scientific description.” Only by amassing enough specifics, in all their idiosyncrasy and waywardness, will we gain a sufficiently detailed, trustworthy mapping of contemporary poetic involvement in “the image-text.”

     

    This scholarly task is complicated by the fact that many poets embarked on their postlinear experiments within the context of ambitious pre-existing projects. Most of the poets that Perloff identifies as postlinear have careers that stretch over decades, and several are also known for their work in other media and genres (Bergvall as a performance artist, O’Sullivan as a visual artist, Waldrop as a novelist). In each case, we may discover that there is a prodigious amount of prehistory and background to establish before one can speak meaningfully about a poet’s visual sensibility.

     

    This article seeks to demonstrate both the rewards and drawbacks of the quest for an adequate understanding of the emergent postlinear poetries. It concentrates on explaining the origins, functions, and value of a single visual device–the “word square”–in Susan Howe’s poetry. Though this might seem a narrowly focused topic, it quickly ramifies. One has to examine not only Howe’s verse but also her early work as an installation artist, her debts to the painters Ad Reinhardt and Agnes Martin, her apprenticeship to the Scottish writer Ian Hamilton Finlay, her qualified faith in the divine, and her recurrent fascination with the ocean. Howe’s visual experiments only attain their fullest significance when read against the backdrop of her career in its entirety. Perloff has warned that the end of free verse means we can no longer rely on the tried-and-true vocabulary of line breaks, stanzas, and enjambment to orient ourselves when analyzing verse; we will have to master “other principles” that await names, let alone workable definitions (Poetry On & Off the Page 166). The quest to understand Susan Howe’s word squares reveals just how arduous the road to such mastery will be.

     

    I. Introducing Word Squares

     

    Susan Howe first came to prominence as a writer affiliated with Language Poetry, an avant-garde literary movement that originated in New York, the San Francisco Bay Area, and Washington, D.C., in the 1970s.1 In the 1980s, her literary-critical study My Emily Dickinson and her long poems Defenestration of Prague, Pythagorean Silence, The Liberties, and Articulation of Sound Forms in Time attracted such academic partisans as Jerome McGann, Linda Reinfeld, and Marjorie Perloff. In the 1990s, further publications such as The Nonconformist’s Memorial, Pierce-Arrow, and The Birth-mark solidified her fame as one of the most original, erudite, and challenging of postmodern U.S. poets. The secondary literature on her writing is growing quickly–a search of the MLA Bibliography turns up more than forty articles–and the first monograph on Howe, Rachel Tzvia Back’s Led by Language, appeared in 2002.

     

    Since the 1970s, Howe has been known for her bold experiments with the look of her poetry.[2] Unlike such other postlinear poets as Bob Cobbing and Steve McCaffery, however, Howe has not invented new forms with almost every new volume. Instead, she has tended to repeat, with variations and refinements, a small set of characteristic layouts. Hannelore Möckel-Rieke has identified four principle page designs: (1) “more or less compromised regions of text” with assorted indentations and outtakes; (2) a form resembling that of ballads, often consisting of two-line stanzas; (3) a radicalized, “exploded” style with obliquely positioned, intersecting fragments of text; and (4) sections consisting of words, partial words, nonce words, numbers, punctuation marks and/or letters arranged into more-or-less rectangular shapes (291).

     

    Of these four kinds of layout, the fourth one has proved the most baffling. The other three are either conventional enough to escape comment (as with the second) or reassuringly similar to modernist precursors.[3] Howe’s “more or less compromised regions of text,” for instance, recall such Joycean episodes as the Aeolus chapter in Ulysses and the night lessons chapter in Finnegans Wake. These passages generally emphasize the author’s role as a redactor and manipulator of material originally written by others.[4] And the “exploded” pages occur at the points of maximum violence in Howe’s work, such as the execution of King Charles I in A Bibliography of the King’s Book or, Eikon Basilike (EB 56-57).[5] These episodes hark back to F.T. Marinetti’s wild typographical intimations of the clash and noise of modern warfare.

     

    In contrast, Howe’s ragged arrays of words, part words, and symbols–which, following Rachel Blau DuPlessis, I will be calling “word squares” (138)–have few or no obvious literary precedents.[6] One cannot rely on intertextuality or allusion to explain their meaning. Yet they recur mysteriously from poem to poem (see, for example, Figures 1-3).[7] Moreover, they always appear at charged junctures, when the writing confronts the limits of cognition and representation. Examining a particularly striking instance in its original context will demonstrate the enigmatic centrality of this technique in Howe’s work.

     

    Figure 1: Word Square.
    Susan Howe, The Liberties (204).

     

    Figure 2: Word Square.
    Susan Howe, “Heliopathy” (42).

     

    Figure 3: Word Square.
    Susan Howe, Secret History of the Dividing Line (122).

     

    Howe’s celebrated long poem Articulation of Sound Forms in Time opens with a section titled “The Falls Fight,” a detailed, three-page report of a historical event: a 1676 raid into Indian territory that ends in a rout.[8] Hope Atherton, a Protestant minister, is separated from his fellow raiders and spends an unspecified period of time wandering in the wilderness before returning to colonial lands and his congregation. He dies soon afterwards. Despite the general lucidity of “The Falls Fight,” on occasion Howe breaks into a more stumbling, repetitive, and speculative mode: “Putative author, premodern condition, presently present what future clamors for release?” (4).

     

    The poem’s second section, “Hope Atherton’s Wanderings,” accelerates the breakdown of conventional discourse. The section’s strangely sedimented, misleading half-statements tend to confirm, rather than disprove, the charge of “being beside himself” that supposedly “occasioned” Atherton’s written tale (5). Amidst this confusion, we discover several of Howe’s disorienting word squares:

     

    chaotic architect repudiate line Q confine lie link realm circle a euclidean curtail theme theme toll function coda severity whey crayon so distant grain scalp gnat carol omen Cur cornice zed primitive shad sac stone fur bray tub epoch too fum alter rude recess emblem sixty key (13)

     

     

    Howe the “chaotic architect” presents us word-rubble so pulverized that if it operates as an “omen” or an “emblem” its significance is deeply obscured. She gives us language so stripped down, so denuded of syntax that a reader could essay it in any direction–horizontally, vertically, diagonally, or at random–without finding a path capable of arranging the word-nuggets into a coherent picture or narrative. The word-sequence “severity, whey, crayon,” for instance, makes as much (or as little) logical sense as “severity, omen, tub.” One cannot, though, dismiss Howe’s word-array as arbitrary. She has limited her choices of words to a few isolable categories. One can discern traces of the Classical world: its mathematics (“circle a euclidean,” “line Q”), architecture (“cornice”), and language (“Cur” means “why” in Latin). Another set of words impressionistically sketches a rural scene (“whey,” “grain,” “gnat,” “shad,” “fur,” “bray,” “tub”), a further set suggests stern value judgments (“repudiate,” “severity,” “primitive,” “rude”), and yet another set enjoins particular kinds of artistic expression (“confine lie,” “curtail theme,” “toll function,” “crayon so distant grain”). Moreover, a scheme, however perverse, evidently dictates the placement of these words: individual clusters possess strong consonance (“line, lie, link”) or assonance (“scalp, gnat, carol”); one can detect a numerical ordering principle (the first three lines each contain nine elements, the last two lines ten); and the passage ends on something of a slant rhyme (“key” recalling “bray”). Nonetheless, these lineaments of order do not reduce but heighten the strangeness of the passage, since they provide little purchase for a reader intent upon deciphering it.

     

    Critics have, nonetheless, persevered, striving to discover some manner of commentary on Atherton’s plight encrypted in the word squares.[9] They have tried to pin down these “most open apparitions”:

     

    is notion most open apparition past Halo view border redden possess remote so abstract life are lost spatio-temporal hum Maoris empirical Kantian a little lesson concatenation up tree fifty shower see step shot Immanence force to Mohegan (14)

     

     

    If we imagine the word squares to be text “by,” “about,” or “from the point of view” of Atherton, the collapse of syntax inevitably leaves a reader with a multitude of questions. Fifty what? Trees, troops, or Indians? How does one “shoot Immanence”? With a camera? There are also perplexing anachronisms. Immanuel Kant was born five decades after the events that Howe recounts, and the Maori people were unknown to Europeans until after James Cook visited New Zealand in 1769.

     

    A persistent reader, though, can find residual traces of Atherton’s story. Howe provides the barest sketches of the “spatio-temporal” coordinates within which historical narratives such as the clergyman’s typically unfold. We have hints of a landscape (“tree,” “remote”) and perhaps a time of day (“view border redden”–sunset? dawn?). She gives us monosyllabic, vector-like indications of movement (“up,” “step”). She indicates, too, the means by which those who have been “lost” try to find their bearings in new, foreign surroundings: by quantification (“fifty”), by induction (“empirical”), by deduction (“concatenation”), by schematization (“abstract”), and by observation (“see”). The more unusual words in the passage (“Kantian,” “Mohegan,” “Maoris,” “Immanence,” and “Halo”) do not seem to represent agents so much as potential agents, or, better yet, word-nuggets around which sentences can or will take shape. One could easily project appropriately erudite asides concerning Hope’s “excursion” (4) within which these words might appear: an anthropological comment on the place of immanence in Mohegan cosmology, perhaps, or an apt citation from Kant on the universal applicability of the categorical imperative even among the wild Maoris of New Zealand. This impression of growth-toward-discourse is reinforced by the moments in this odd passage where words begin to behave in a somewhat orderly syntactical fashion (“a little lesson,” “most open apparition”). Such clusters suggest that these words are not only capable of generating conventional sentences but might already be in the process of doing so. Howe’s word-grid seems to present a primordial matrix somehow just prior to historical narrative, a condition in which, although the “past” is still no more than a heterogeneous collection of words, it is nonetheless poised to emerge from gross quiddity into intelligibility.[10]

     

    Alternatively–but, curiously, without contradicting the above interpretation–Howe’s word-array might be intended to depict language in a state of decomposition.[11] Howe could be presenting us with a scattering of language that we are supposed to interpret as the barest tracery of long-ago accounts of Hope Atherton’s time in the wilderness. We are perhaps to intuit that these accounts are now a “story so / Gone” (6), that is, that they have subsequently been damaged, circulated in faulty copies, or lost altogether, known only through repute or hearsay. The peculiar spacing of the words in the passage beginning “is notion most open” would then be seeking to render visible the historical, entropic erasure that has afflicted what once might have been a set of reliable, detailed documents upon which to base a more conventional historical fiction. Howe, in other words, could be compensating for her inability to represent what has disappeared from the historical record by calling attention to the very fact of its vanishing.

     

    Like a Necker cube, then, Howe’s array beginning “is notion most open” plots an arrangement of nodes in two dimensions that can ambivalently suggest both protension and recession–that is, on the one hand, a process of maturation into rational discourse or, on the other hand, the decay away from it (see Figure 4). Not coincidentally, these impersonal, recalcitrant word-grids also appear just before Atherton concludes with a platitude-rich homily (“Loving Friends and Kindred:– / When I look back / So short in charity and good works […] . ” [16]). The weirdly geometrical word-arrays mark, as it were, the furthest that Atherton ventures into the wilderness. Like Samuel Beckett in The Unnamable and Texts for Nothing, Howe situates us on the threshold where meaning abuts the incomprehensibility of the other-than-human.

     

    Figure 4: Necker Cube

    II. “All Things Double”

     

    A close reading of Articulation of Sound Forms in Time can help us appreciate how word squares function–at least on one occasion. We learn little, though, about why Howe has chosen to figure an encounter with the non- or superhuman by mechanically arranging stubbornly particulate words into near-grids. If we are to understand when, how, and why her verse turns “postlinear” in the form of word squares, we will have to cast our net both more broadly and more deeply.

     

    Geoffrey O’Brien’s remarkable series of reviews of Howe’s work can serve as a useful point from which to begin fishing for answers. He struggles to articulate why he finds her verse both ineffable and oddly superficial. Her “haunting tunes,” he asserts, seduce us by hinting that Truth, if not present here-and-now, nevertheless still exists: “Howe’s words give the impression of echoing another, hidden poetry of which we catch only fragments, like an opera sung in another room […] . The words are like magnetic filings that adhere uncertainly to a receding body of meaning” (“Meaningless” 11). These ghostly traces of a higher order of Being and Meaning seem sufficient to justify her use of resonant phrases that might otherwise seem laughable or irresponsible, such as “truth and glory” and “ideal city of immaculate beauty” (“Notes” 110). Howe’s poetry can free a reader to enter into the terrain of the Ideal. She opens up “a world ([is] it ours?) in constant metamorphosis, a swirl of depths and tides, a series of transient landscapes (woods, seas, marshes) dissolving even as they [are] named.”

     

    But O’Brien remarks that at other times, however, a reader can find access to these grand vistas impossible. The poetry then seems “hard, dry […] spare, fragmented, analytical.” What had seemed sublime insights couched in “Miltonic words” instead rather “brutally” turn out to be conjectures that “exist only in the mind” of the reader. “The interior spaces I’d glimpsed were not in the words but in their unstated connections: in the decisiveness and freedom with which the words were laid side by side, and the abysses which were permitted to open up between them.” Howe’s genius, O’Brien argues, lies in being able to write a fragmented poetry that is able to fulfill a desire for transcendence while also registering a cynical disbelief in it. In this ambivalent aesthetic, the “same word might be both opening and closure, reality and disguise, truth and a lie” (“The Way” 27).

     

    Again we encounter a dual movement, as with the Necker cube-like movement into and out of the discourse of history exhibited by the word squares in Articulation of Sound Forms in Time. O’Brien, however, helps us see that this doubling is fundamental to Howe’s writing more generally. A concrete–and visually conventional–example can help clarify Howe’s habitual practice of making two readings equally available (“All things double”–ASFT 28), as well as demonstrate what she gains by writing in such a manner. Stephen-Paul Martin, in his essay “Endless Protean Linkages,” comments upon Howe’s terse précis of the Tristram and Iseult myth in Defenestration of Prague:

     

    Iseult of Ireland Iseult of the snow-white hand Iseult seaward gazing (pale secret fair) allegorical Tristram his knights are at war Sleet whips the page (DP 100)

    Martin chooses to read Howe’s invocation of Iseult as if the poet were a feminist theorist bent on dismantling patriarchal ideology:

     

    We are not given the opportunity to lose ourselves in the glamor of "one of the world's greatest love stories." We are instead asked to see the "play of forces" that underscores it. Iseult is the conventional female "seaward gazing," pining for her lost lover. She is "(pale secret fair)," a mere feminine signifier who has all the qualities normally assigned to women in medieval legends or romances. Tristram is the masculine signifier, the "allegorical" warrior. In the original romance (and in the countless versions of it that have come down to us through the centuries) we are encouraged to think of Tristram and Iseult as "real" flesh-and-blood human beings. But Howe shows us what they actually are: patriarchal conventions, stick figures used to convey an ideological message under the guise of storytelling. When Howe tells us that "Sleet whips the page," she reminds us that the climate Tristram and Iseult inhabit is a fictive space whose purposes can and should be analyzed. (64-65)

     

     

    Martin’s interpretation has a great deal of merit. Iseult and Tristram appear only once in Defenestration of Prague, in this brief vignette, and they can indeed seem rather like “stick figures” trotted out and dismissed in a satiric pageant. Howe’s perpetual insistence on the fictive character of poetry (“a true world / fictively constructed”–PS 54) and on the materiality of the text do lay bare the workings of her verse to such an extent that it is hard to ignore the writerly artifice that culminates in what we see on the page. What Martin finds true of Defenestration of Prague‘s Iseult is even more evident in the opening lines of Howe’s 1999 work Rückenfigur:

     

    Iseult stands at Tintagelon the mid stairs between

    light and dark symbolism (129)

     

     

    Howe, in her brevity, seems to mock the elaborate atmospherics that often cue the introduction of a heroine in a novel or a romance. Here we discover no white dress, no ivory skin, no deep shadows nor silent, dark night–just a telegraphic indication of “light and dark symbolism.” Readers are coyly instructed to fill in the blanks with appropriate tropes. They thereby become complicitous in the mechanics and the production of the poem. And, if we are to believe Brecht and Benjamin, this kind of theatricalization of the artistic process operates in service of ideological critique by jolting an audience out of its customary passivity.[12] From this point of view, then, one can say that these schematic, cursory invocations of the Tristram story illustrate the “brutality” of Howe’s analytic mind as she probes the unsightly innards of literary tradition.

     

    But is Howe’s Iseult just a stick figure? “Iseult stands at Tintagel”: although it may sound brisk or even martial, for an informed reader the opening line of “Rückenfigur” can nonetheless strike a powerful chord. It evokes “Iseult at Tintagel,” the fifth book of Algernon Charles Swinburne’s Tristram of Lyonesse.[13] “Iseult at Tintagel” is one of the most extravagant of lovers’ plaints in English. The disconsolate Iseult, aria-like, recounts her grief, passion, and pain. She begs God to damn her if that sacrifice might spare her lover the same fate. She praises and abuses the absent Tristram to the accompaniment of a storm at sea. “Iseult stands at Tintagel / on the mid stairs between / light and dark symbolism.” In Swinburne’s Tristram, Iseult’s dramatic monologue revolves obsessively around tropes of light and dark and their horrifying failure to remain distinct: “dawn was as dawn of night / And noon as night’s noon” (94). Good and evil, heaven and hell, morn and eve–to the suffering soul, all such divisions are meaningless (“soul-sick till day be done, and weary till day rises” [97]). For a reader familiar with Tristram of Lyonesse, Howe’s statement that “Iseult stands […] between light and dark symbolism” is not satirical. It recalls a precursor poet writing magnificent verse at the height of his career. “Rückenfigur” could hardly begin on a more explosive note.

     

    Full or empty? Iseult and Tristram as names wonderfully redolent of myth and literary tradition, or as stick figures acting out tradition’s desiccation? Howe seems deliberately to make multiple, if contradictory, readings available to her audience.[14] In this respect, her verse resembles the optical illusions made famous by Gestalt psychologists–the rabbit-duck drawing, the young-old woman, the profiles-goblet puzzle. In each of these instances, a viewer can readily see one or the other option (rabbit or duck, young or old woman) but cannot easily see both simultaneously. The only place where both options coexist harmoniously is in the design of the artwork itself.[15] Similarly, Howe’s Iseult is just a stick figure. Sometimes. Other times she comes trailing clouds of glory. It depends on one’s point of view.

     

    As O’Brien’s reviews show, this dynamic is especially disconcerting in Howe’s poetry because she puts transcendence itself up for grabs. At almost every point in her work she can be read as critiquing and or offering access to Truth. In other words, the existence of a transcendental referent is perpetually put into doubt even as, paradoxically, that same existence is celebrated. The markedly undialectical character of this worldview is not unusual in the broader context of late twentieth-century literature. Linda Hutcheon contends that postmodern literature is, properly speaking, “neither ‘unificatory’ nor ‘contradictionist’ in a Marxist dialectical sense”:

     

    the visible paradoxes of the postmodern do not mask any hidden unity which analysis can reveal. Its irreconcilable incompatibilities are the very bases upon which the problematized discourses of postmodernism emerge [...] The differences that these contradictions foreground should not be dissipated. While unresolved paradoxes may be unsatisfying to those in need of absolute and final answers, to postmodernist thinkers and artists they have been the source of intellectual energy that has provoked new articulations of the postmodern condition. (21)

     

     

    In making this argument, Hutcheon has in mind the unresolved/irresolvable tension between fiction and history common in the contemporary novels that are her proximate subject. Although Howe’s poetry likewise mixes history and fiction, the un-dialectical “irreconcilable incompatibilities” in her work are so pervasive, in form as well as content, that its bipolarity seems to represent a sharp intensification of Hutcheon’s dynamic. From the microlevel of the line to the macrolevel of the long poem, Howe continually offers repleteness and/or emptiness, the skeptical and/or the visionary, Eden and/or Gethsemane. Moreover, the duality in Howe’s poetry is born neither of paranoia nor of paralyzing doubt. She does not plunge us into a regio dissimilitudinis in which we cannot distinguish true and false. Rather, we have the option of apprehending the true and/or the false while still wandering in the Dantean dark wood–a surprisingly optimistic prospect, all things told. In contrast to Hutcheon’s account, the “unresolved paradoxes” at the heart of her poetics do not inevitably and always frustrate “those in need of absolute and final answers.” Howe grants them the right to choose to read her words as revelation. Skeptics and believers can agree that Howe pierces the Veil of the Temple. The question is whether one decides to see nothing, or something, on the Veil’s other side.

     

    III. Howe’s Installation Art

     

    A duck-rabbit combination of skepticism and transcendentalism is such a foundational part of Howe’s worldview that one can trace it back to her earliest works. In her case, though, such a recounting takes us back into the years before she chose poetry as a vocation. Howe was in her forties before her first chapbook appeared. A graduate of the Boston Museum of Fine Arts School, she spent the late 1960s and early 1970s actively involved in the New York art world. By examining this early, under-studied phase in her career, one gains insight into the origins of her visual poetics and into the intense, ambivalent spirituality that subtends them.

     

    The Susan Howe Archive at the University of California, San Diego preserves written instructions, ephemera, photographs, and other materials relating to Howe’s installations of 1969-1971, which possessed such evocative names as Long Away Lightly, On the Highest Hill, and Wind Shift / Frost Smoke / Malachite Green / Rushlight.[16] These installations contained a heterogeneous mix of word and image: original verse; extracts from ecological and geological texts; extracts from historical sources; illustrations excised from books and journals; photographs; and Xerox copies. Howe mounted or pinned these diverse objects to paper, wood, or cloth supports according to precisely determined measurements.[17] She also typically added a few lines or rectangles with tape or pigment and, occasionally, blots of thinned paint.

     

    Howe’s installations were harshly rectilinear. The constituent polygons, cut-outs, and text blocks were uniformly rectangular, and the assorted elements in each installation were distributed as if they occupied coordinates on a Cartesian grid as well as aligned perfectly with implied horizontal and vertical axes. The often flimsy, always unframed supports were attached directly to blank expanses of wall. Finally, Howe left the vast majority of her supports untouched and uncovered. From any distance greater than arm’s length, one would have experienced these installations as fields of whiteness, interrupted by images too small to identify and short pieces of writing too distant to read.

     

    Significantly, as seen in the few photographs that document Howe’s actual exhibitions, the installations looked like her later word squares. One particularly suggestive (alas unidentified) photograph depicts a wall upon which Howe has hung nine rectangular pieces of what seems to be paper in the pattern of a tic-tac-toe board. Each piece of paper features images, texts, or a combination of the two, positioned, of course, on an implied grid. The rightmost piece of paper in the middle row has nine, very short statements or passages of verse arrayed, again, in a tic-tac-toe-like pattern, this time spread out across a veritable sea of white space.[18]

     

    Howe’s 1969-71 installations are very much of their time and place. Their understatement, relentless geometry, reliance on the written word, and recycling of banal, mass-produced images speak to her loose ties to Conceptual Art, more specifically to her then-fascination with the work of Robert Smithson.[19] Like Smithson, she mixes the creative and the documentary, intersperses poetic and scientific language, and makes use of deceptively “boring” images, mostly monochrome or sepia-tone reproductions cut haphazardly out of journals or books. She does, however, diverge from Smithson (and other contemporary conceptual artists) in several respects. First, she incorporates fiercely romantic verse into her installations, such as the following:

     

    on the highest hill of the heart
    the keen wind cuts
    ancient
    west through the slaty gray of space swash
    the long strand glints
    stale

     

     

    stars stars stars stars

    the heart’s sea shivers[20]

     

     

    The moral here is conventional: that one’s interior life is like a landscape and that, moreover, this landscape is an archetypal one, buffeted by “ancient” forces and offering no solace as one peers into the “west” and sees the “strand” of one’s future trailing into the “slaty gray” emptiness and twilight that portend death. The play throughout the lyric on the letters “s” and “t,” though, is effective, and, in such a short poem, the three parallel phrases “keen winds cut,” “long strand glints,” and “heart’s sea shivers” offer a marvelously heavy, decisive rebuttal to the Swinburnian lilt of the opening, anapestic line. Howe’s versecraft, even at this early stage, is incomparably superior to Smithson’s, whose pale imitations of Allen Ginsberg he rightly never published.[21] Moreover, Howe does not satirize romantic longings in the manner of Smithson, whose contemporary piece “Incidents of Mirror-Travel in the Yucatan” (1969) verges on the carnivalesque in its Beat-like, half-parodic celebration of Mayan cosmology. Instead, Howe subtly ironizes her poetry by submerging it in an oceanic “swash” of space. Blankness overwhelms expression; the indifferent white reduces a speaker’s emotions, whether melancholy or ecstatic, to minor, arabesque-like details on an otherwise uniform surface.

     

    To explain Howe’s plentiful use of white space, one has to look beyond her overt debts to conceptualism. It speaks to a powerfully quietist strain in her aesthetics that aligns her also with another canon of avant-garde artists, as a 1995 interview makes clear:

     

    Q. [An earlier interview] ends with your statement that if you had to paint your writing, "It would be blank. It would be a white canvas. White." I wondered if you could explain what you meant to suggest with that wonderfully evocative remark.A. Well, that statement springs from my love for minimalist painting and sculpture. Going all the way back to Malevich writing on suprematism. Then to Ad Reinhardt’s writing about art and to his painting. To the work of Agnes Martin, of Robert Ryman […] I can’t express how important Agnes Martin was to me at the point when I was shifting from painting to poetry. The combination in Martin’s work, say, of being spare and infinitely suggestive at the same time characterizes the art I respond to. And in poetry I am concerned with the space of the page apart from the words on it. I would say that the most beautiful thing of all is a page before the word interrupts it. A Robert Ryman white painting is there […] Infinitely open and anything possible. (Howe, Interview with Keller 7)

     

     

    Howe’s choice of “minimalist” heroes provides a context for her swerve away from Smithson’s aesthetic by underscoring the fact that she never really shared his passion for the muck, mess, and fracture of the natural world. Ad Reinhardt is best known for his “black paintings,” which are three-by-three grids of black squares that differ ever so slightly in luster and hue.[22] Agnes Martin is best known for her six-foot-by-six-foot canvases covered with tiny rectangles. Robert Ryman is best known for restricting his palette to the color white.[23] As her comments illustrate, Howe admires this particular set of painters for a specific reason: their art posits that the unsaid, the unpainted, can “suggest” the infinite more effectively than any attempt to represent it directly. Martin, Reinhardt, and Ryman reduce their painterly subject matter to a degree zero, a mere grid or a single pigment, in order to redirect a viewer’s attention to the vertiginous freedom that precedes any artistic gesture. Howe makes an analogy between her poetry and their art, seeing in the two kinds of material support–the page and the canvas–an intimation of an Absolute, pure and virginal, that precedes human endeavor and activity. The task of the poet and the painter alike is to let that primal “whiteness” shine out.

     

    Recognizing this principle can help one appreciate Howe’s later liberal use of white space in her poetry. She has a habit of including pages in her long poems that consist of no more than a handful of words isolated in the center of a page.[24] These words often look paltry or whispered, certainly chastened. In the small-press edition of Articulation of Sound Forms in Time, for instance, the phrases so treated are “Otherworld light into fable / Best plays are secret plays.”[25] The “Otherworld light” refers, at least in part, to the primal whiteness of the page that Howe has rendered so noticeable. This whiteness thereby enters “into fable,” in other words, into Hope Atherton’s story. It does so, however, as a “secret,” since in its pure potentiality it cannot be directly articulated–attempting to do so would grant it determinate form, hence violating the very open-endedness that made it valuable in the first place. “Best plays are secret plays.”

     

    Howe’s love for white space alone does not, however, explain her persistent preference for the rectilinear: squares, arrays, grids. Howe’s favored “minimalists,” though, all share her infatuation with grids, and by turning to an art critic who has famously written on this topic–Rosalind Krauss–we can begin to appreciate why rectilinearity proved essential to Howe’s developing aesthetic and spiritual sensibilities.

     

    IV. The Appeal of Grids, Clouds, and the Sea

     

    In her classic essay “Grids”–in which Reinhardt, Martin, and Ryman all make appearances–Rosalind Krauss takes up the problem of the insistent recurrence of grid-like patterns in modern and postmodern visual art. She claims for it a covert ideological role. As she sees it, artist after artist, from Piet Mondrian to Frank Stella to Andy Warhol to Sol LeWitt, discovers in the grid’s geometry a way of circumventing the age-old, ever-vexatious split between spirit and matter. That is, grids look scientific, like a return to the mathematical rigor that typified such Renaissance breakthroughs as vanishing-point perspective, but they also represent pure abstraction, an escape to the realm of universals. “The grid’s mythic power,” she writes, “is that it makes us able to think we are dealing with materialism (or sometimes science, or logic) while at the same time it provides us with a release into belief (illusion, or fiction)” (Originality 10).

     

    Krauss would probably diagnose Susan Howe as another victim of the grid’s insidious appeal–as well as object strenuously to Howe’s use of the word “minimalist” to refer to artists who likewise fall prey to the grid’s magic. An art historian who has written on 1960s and 70s minimalism as a phenomenological revolution in the arts, Krauss would likely contend that Howe fixates on the most backward, “modernist” aspects of the movement.[26] In fact, although Reinhardt and Martin are frequently labeled minimalists because of their limited, geometrical subject matter, a critic such as Krauss is liable to argue that they are better understood within the context of Abstract Expressionism. Reinhardt, after all, belongs to the same generation as Jackson Pollock and Willem de Kooning, and Martin explicitly styles herself as Barnett Newman’s heir.[27] Their grid-paintings are legible as acts of spiritual, aesthetic askesis, and they convey a sublimity entirely foreign to the post-Pop, cool sensibility of most late-1960s avant-garde art. In terms of affect, Reinhardt’s and Martin’s best paintings belong in the same class as Newman’s Stations of the Cross and the Rothko Chapel.[28]

     

    Accordingly, Krauss has written an essay, “The /Cloud/,” which presents Agnes Martin’s grids as an endgame in a senescent modernist tradition, not as a postmodern breakthrough. Whereas early-century grids by masters such as Piet Mondrian were able to resolve (that is, repress) the spirit/matter split through the creation of a single image, later artists discovered that grid-paintings no longer possessed that same “magical” potency. Over the years, grids gradually lost their original, spiritual force as a consequence of having become too closely associated–by critics and viewers alike–with the materiality of the canvas (164-65). Agnes Martin, according to Krauss, is unique in having found a way to revitalize an increasingly moribund device. To illustrate this fact, Krauss dwells on a curious feature of Martin’s paintings. Up close, one concentrates chiefly on the “tactile” qualities of her work: the tracery of the lines and the weave of the canvas. As one moves back, however, something odd happens. The canvas seems to dissolve into a haze or a mist, observable from any vantage, as with clouds, seas, or fields. One also has an experience of radiance, or directionless illumination. This middle distance is characterized by “illusion” and “atmosphere.” As one moves further away, though, the illusion collapses. The “painting closes down entirely,” and in its “opacity” it resembles a “wall-like stele” (158-59). Krauss marvels at the “closed system” that Martin thereby creates. The two “materialist extremes”–the fabric of the grid, as seen up close, and the impassive panel, as seen from a distance–frame the transcendent “opticality” of the middle distance. Whereas modernist grids, such as Mondrian’s, seek to express transcendence and materiality simultaneously, Martin renders those two qualities a function of a viewer’s position vis-á-vis the canvas (164-65).[29]

     

    Krauss’s “The /Cloud/” may have been conceived as an unflattering critique of Martin’s outmoded high modernist aesthetic, but, as with Krauss’s essay “Grids,” “The /Cloud/” is nonetheless most illuminating in the present, literary context. Howe, like Martin, separates out the spiritual and material aspects of her art. Howe, like Martin, makes her audience’s choice between the two a function of point of view, not a question of authorial intent. Thus, insofar as they are modeled on Agnes Martin’s paintings, one begins to see how Howe’s own “grids,” her word squares, might function as an extension of her duck-rabbit aesthetic. They prove ambivalently materialist and/or idealist.

     

    Howe’s comments on Martin can further refine this comparison. Not only does Howe credit Martin with being instrumental in her transition from painting to poetry, she verges on calling Martin herself a poet: “I remember a show Agnes Martin had at the Greene Gallery–small minimalist paintings, but each one had a title; it fascinated me how the title affected my reading of the lines and colors. I guess to me they were poems even then” (4). How, though, can a Martin painting be a “poem,” by any but the loosest definition? There are no words in a work by Martin, only rectangles. Can a title alone qualify a painting as a poem? As we have already seen, Howe pinpoints Martin’s ability to be “spare yet suggestive” as her defining characteristic. If a single word can completely alter the experience of a painting, then ought it qualify as a “minimalist” poem? Howe has argued something of the sort about a scrap of paper upon which Emily Dickinson wrote a single word: “Augustly” (BM 143). The contention that an isolated word can be a poem dovetails with Howe’s duck-rabbit outlook. “Augustly” could either be an infinitely evocative word–or a word reduced to its bare quiddity.

     

    What, one then wonders, were the poem-words that rendered Agnes Martin’s canvases so memorable? In her anecdote about the Greene Gallery, Howe does not mention specific titles, but one can make a reasonable guess. Howe’s transition from painting to poetry occurred in the early 1970s. Agnes Martin’s career happens to contain a long hiatus, from 1967 to 1974, during which time she either was traveling or living as a hermit in New Mexico, although her works continued to be exhibited and her fame continued to grow. In the years leading up to the publication of Howe’s first book, Hinge Picture, the poet would have known Martin primarily through her paintings of 1960-67, the ones most frequently seen in galleries at the time. These early works are notable for the recurrent use of two kinds of titles. A first set has marine monikers, such as Islands No. 1, Ocean Water, The Wave, and Night Sea. A second set of paintings has linguistic labels, such as Words and Song. These two classes of names enshrine Martin’s response upon completing her first grid drawing: “First I thought it was just like the sea […] then I thought it was like singing!” (Chave 144). In the catalog for her 1973 Philadelphia retrospective, the painter further comments,

     

    The ocean is deathless
    The islands rise and die
    Quietly come, quietly go
    A silent swaying breath
    I wish the idea of time would drain out of my cells and leave me quiet even on this shore. (“Selected” 26)

     

     

    Martin, it seems, hopes that her grid paintings give access to a timeless, spiritual realm that resembles an ocean, or silent speech. One can see why this aspect of Martin’s art might so forcefully capture Howe’s imagination. A single word or a phrase transforms a flat canvas into a doorway into a limitless wonderland of silent singing or washing waves.

     

    Agnes Martin, as understood first through Krauss’s “The /Cloud/” and second through the clues that Howe gives us, can be read as offering Howe a poetics in germ. Martin’s bipolar paintings represent a combination of vision and/or Vision, words and/or Silence, faktura and/or ecstasy. Which of these two paired terms is in the dominant depends, not on the artwork, but upon the viewer’s position in regards to it. Furthermore, Martin’s paintings suggest that poetic grids can grant an entrée to a sublime landscape, the “deathless” ocean, which is somehow interchangeable with “words” and “song.”

     

    Questions remain, though. Can one really transpose a painterly technique into another medium–language–without losing something essential? Also: Howe may think of a single word as a mini-poem, but she nonetheless characteristically writes long poems, and her word squares contain many heterogeneous elements. To explain how Martin’s painterly sensibility relates to Howe’s mature visual poetics, we need a better understanding of the route by which Howe made the transition from painter to poet.

     

    V. Language Is Aural and Visual

     

    During the early 1970s, finding her work more and more occupying the borderlands between the visual and literary arts, Howe sensibly began corresponding regularly with one of that region’s few éminences grises: Ian Hamilton Finlay, a Scottish poet, sculptor, and publisher who did much to popularize Concrete Poetry in the English-speaking world. Finlay happily played Chiron to her Jason.[30] This period of literary apprenticeship culminated in a 1974 article, “The End of Art,” which John Palatella has characterized as a veiled manifesto “mapping a genealogy of [Howe’s] aesthetic” (74). In “The End of Art” Howe proposes fundamental connections between Finlay’s poetry and the art of one of her minimalist heroes, Ad Reinhardt. Both, she claims, teach the same lesson: “to search for infinity inside simplicity will be to find simplicity alive with messages” (7).

     

    Given Howe’s enthusiastic endorsement of Finlay in the same breath with one of her favorite painters, it is plausible to conclude that Finlay’s work might provide the missing link between Martin’s painterly grids and Howe’s poetic equivalent, her word squares. But as John Palatella warns, it is not immediately apparent whether the man who made such famous works as Wave-Rock influenced Howe’s poetry in any measurable way, beyond, perhaps, reinforcing her interest in the materiality of the word and her distaste for conventional syntax (76). Some of Finlay’s poems, “Acrobats” for instance, could be called word squares, but they are ultimately closer to a stand-up comedian’s one-liners than the mysterious arrays of shattered words that one finds in Howe (see Figure 5).

     

    Figure 5: Ian Hamilton Finlay, “Acrobats.”

     

    I would argue that the crucial lesson Howe learned from Finlay was in the first instance thematic and only secondarily formal–the inverse of what one might expect, given Concrete Poetry’s reputation for sacrificing complexity of content in order to cultivate instantaneous perceptual effects. In the case of Finlay, that reputation is wholly unmerited. Among much else, he is a poet with an enduring passion for the ocean. Fishing boat names and registrations, for example, supply the words used in his “Sea Poppy” series, and references to boats and nets abound in his work down to the present day.[31] In addition, his love for the sea has influenced not only his choice of subject matter but also his poetry’s look. Again and again, Finlay recycles an implicit equation between page and sea that he borrows from a foundational text for much twentieth-century visual poetry, Stéphane Mallarmé’s Un Coup de dés. Un Coup de dés repeatedly compares its own lines, scattered across wide expanses of white space, to a plume of foam on the sea, or to the wreckage of a ship breaking apart in a storm.[32] Variations on Mallarmé’s conceit occur in such Finlay works as “drifter,” in which names for kinds of ships are positioned rather arbitrarily in “oceanic” white space, and in the octagonal poem-sculpture, Fisherman’s Cross (see Figure 6).

     

    Figure 6: Ian Hamilton Finlay, Fisherman’s Cross
    (Solt, Concrete Poetry 205).

     

    Howe’s “The End of Art” contains a passage of superb commentary on Fisherman’s Cross.[33] After praising Finlay for having bettered Mallarmé, she writes,

     

    The two words, seas and ease, are as close in value as two slightly different blacks are close. Here the words are close visually and rhythmically. The ea combination in the middle is in my memory as the ea in eat, ear, hear, cease, release, death, and east, where the sun rises. These are open words and the things they name are open. There are no vertical letters, just as there are no sharp sounds to pull the ear or eye up or down. Life (seas) rhymes with Death (ease). The cross made by the words has been placed inside a hexagonal form which blurs the edges. The eye wanders off toward the borders until ease (almost seas backward), in the center, draws it back as does sleep, or death, or the sea. (6)

     

    Words emerging from the deep. People sinking into the sea, as into death. Finlay is one of a long line of poets–including Walt Whitman, Hart Crane, and Wallace Stevens–who feel compelled to meditate on the mystery of the sea, genetrix and destroyer.[34]

     

    Howe is fully in sympathy with this point of view. The ocean is one of her favorite images. It appears in virtually all of her poems to date.[35] She has gone so far as to say, “the sea and poetry […] for me they are one and the same” (Howe, Interview with Keller 29). Her prose, too, is full of references to the ocean, and she frequently weaves into her argument other writers’ statements on the subject.[36] There are biographical reasons for Howe’s abiding interest in the sea–chiefly her Transatlantic upbringing and her late husband’s life-long involvement with ships and ship-building[37]–but the ocean usually enters her poetry as an impersonal archetype.[38] Among the many guises that the sea adopts in her work, the following are the most significant:

     

    • Chaos. The sea is a place of storms and pirates. It represents the blind violence that governs the course of history.[39]
    • Genesis. The sea is a place of origin. It is the First Cause that gives rise to sound, to soul, to language and poetry.[40]
    • Pax. The sea is a place of silence and unutterable peace.[41]
    • Peregrinatio. The sea is a place of exile, transit, drift, and pilgrimage, much as in Anglo-Saxon elegy.[42]
    • Thanatos. The sea is a place of death. It is where one dies, and it is either the avenue to, or the abode of, the dead.[43]

     

    Howe undoubtedly derives her mythology of the sea from a wide variety of literary sources, from the Bible to Moby Dick to Olson’s Maximus Poems, but she learns two invaluable lessons from Finlay’s particular inflection of this tradition. First is an association between the page and the ocean, and, further, the sense that words float upon, or emerge from, the ocean-page. Although two-dimensional, the page is, like the surface of the sea, a thin, variegated skin concealing depths upon “seacret” depths (EB 75). A written work is no more than a “Text of traces crossing orient // and occident” the “empyrean ocean” of white space (PS 56). As we have already seen, Howe considers the blank page expressive of an infinity comparable to that intimated by Agnes Martin and Ad Reinhardt. For Howe, the ocean is a figure that allows her to conceptualize, to discuss, and to gesture toward that primal and final absolute.

     

    The second lesson that Howe learns from Finlay is an appreciation for the gap between poetry and painting. In “The End of Art” she writes that “silence” is the only adequate response to a Reinhardt black painting (2). In contrast, Fisherman’s Cross may resemble a Reinhardt work on account of its use of the cross as a structuring principle and its symmetry and simplicity, but Finlay’s poem-sculpture uses words as its building blocks and hence introduces the problem of sound. Hence, in her interpretation of Fisherman’s Cross, she lingers over the vowel combination “ea” and over the “rhyme” that the poem proposes between “Life (seas)” and “Death (ease).” In her 1995 interview with Lynn Keller–the same interview in which she discusses her debts to Finlay, Martin, and Reinhardt –Howe again singles out the distinction between the absence and presence of sound as the crucial dividing line between the visual and written arts. She asserts that she forever crossed over from “drawing” into “writing” once she began to think about the aural impact of the words she had been using in her painting.

     

    I moved into writing physically because this was concerned with gesture, the mark of the hand and pen or pencil, the connection between eye and hand [...] There is another, more unconscious element here, of course: the mark as an acoustic signal or charge. I think you go one way or another--towards drawing or towards having words sound the meaning. Somehow I went the second way and began writing. (6)

     

     

    From the 1970s to the 1990s, Howe has emphasized the role that sound plays in her work. At almost every opportunity, she asserts that it determines the shape and character of each line she writes, both in verse and prose.[44] When at the “cross”-roads between Reinhardt’s silence and Finlay’s sound, she decisively opted to pursue the latter path.

     

    The two lessons that Howe learns from Finlay–about the look of the page and about its intrinsically aural character–govern her use of the open ocean as a figure for the creation, or emergence, of art from the matrix of infinity. Although writers since Antiquity have used encounters with the ocean as a myth of origins, traditionally, as in Swinburne’s “Thalassian” and Whitman’s “Out of the Cradle Endlessly Rocking,” the roar of the waves at seaside is the proximate cause for a poet’s desire to write. Howe, too, writes about seashores,[45] but for her the wide expanses of the ocean-wilderness–the terrain of Fisherman’s Cross–hold the ultimate allure. The “Unconfined […] ocean” (MM 146) is her personal symbol of sublimity, and to plunge into it entails great risk but can also yield revelation. “Out of deep drowning,” she writes, comes “prophetical / knowledge” (DP 88). But she also contends that gaining “prophetical knowledge” does not, in itself, make one a prophet. That knowledge must first be brought ashore. One has to give up the “ease” of the sea’s deathly quiet and re-enter the babble-roar of the human world. She hints at this transition from silence into speech in “Sorting Facts”:

     

    In English mole can mean, aside from a burrowing mammal, a mound or massive work formed of masonry and large stones or earth laid in the sea as a pier or breakwater. Thoreau calls a pier a "noble mole" because the sea is silent but as waves wash against and around it they sound and sound is language.[46] (319)

     

     

    If one does not return from sea to land–if the obdurate concreteness of the earth does not force Language-Ocean to yield up the “thud” of language (PS 53)–the result, as Howe tells Edward Foster in her Talismaninterview, is tantamount to death:

     

    If you follow the lure of the silence beyond the waves washing, you may enter the sea and drown. It's like Christ saying if you follow me, you give up your family, you have no family [...] If you follow the words to a certain extent, you may never come back. (BM 178)

     

     

    Finlay’s poetry, especially Fisherman’s Cross, instructs Howe how she might go about integrating these concepts into the very manner in which she wrote a poem. “Disciples are fishermen / Go to them for direction” (SWS 35). While writing and arranging her words on the page-sea, she can think of them as ones cast up from the deeps, written by a “foam pen” (L 204). This “brine testimony” (R 131), or “water-mark” (EB 63), is like a “raft in the drift” (DP 117) on the white of the page. Moreover, it may only be an “ebbing and nether / veiled Venus” (DP 128), more “wrack” (MM 145) and “broken oar or spar” (L 168) than epiphany on the half shell, but Howe, having “rowed as never woman rowed / rowed as never woman rowed” (L 168), is able to offer up at least “the echoing valediction / of […] gods crossing / and re-crossing” (H 52).

     

    VI. Spacing-Out the Ocean-Page

     

    Crosses, echoes, waves–the building blocks are now in place to answer the remaining questions posed by Susan Howe’s word squares. Krauss would have us believe that grids as a structuring device in art are calculated to suppress history and magically harmonize urges toward immersion in the material world and urges to escape it. Howe certainly writes as if her own word squares, and her poetry more generally, conflate the material presence of the word (its sound/its appearance) and an experience of the transcendental. “A poet sees arrays of sound in perfection,” Howe has written (“Women” 84), and on other occasions she has claimed that these perfect arrays of sound come to her from another, timeless plane of existence.[47]

     

    Writing [...] is never an end in itself but is in the service of something out of the world--God or the Word, a supreme Fiction. This central mystery--this huge Imagination of one form is both a lyric thing and a great "secresie," on the unbeaten way [...] A poet tries to sound every part.Sound is part of the mystery. But sounds are only the echoes of a place of first love […] I am part of one Imagination and the justice of Its ways may seem arbitrary but I have to follow Its voice. Sound is a key to the untranslatable hidden cause. It is the cause. (“Difficulties” 21)

     

     

    “Echoes of a place of first love”–Howe alludes to Robert Duncan’s signature poem, “The Opening of the Field,” in which he talks of returning to “the place of first permission” (Opening 7). One could, therefore, read Howe as a Duncan-style poet-mystic who desires her readers “to enter the mystery of language, and to follow words where they lead, to let language lead them” (Howe, Interview with Keller 31). Howe’s word squares assuredly do seem designed to open out into infinite possibility and into the unknown. With gnosis wrested from the heart of the sea, Howe comes to us: “I messenger of Power / salt-errand / sea-girt” (DP 96).

     

    But this is not the whole story. As we saw with Howe’s use of the Tristan myth, at every point in her work transcendental impulses coexist with their antitheses. As Möckel-Rieke has put it, Howe is uniformly contradictory, “teilweise strukturalistische, teilweise sprachmystische” (281). That is, if she is part speech-mystic, she also provides a structural anatomy of mysticism. One can witness this dynamic at work in her word squares, which do serve a definite analytical purpose. As we have seen in Articulation of Sound Forms in Time, they fail to present coherent narratives, and they fail to provide access to a stable “fictive world.” Instead, Howe seems to “spread […] words and words we can never touch hovering around subconscious life where enunciation is born” (“Ether” 119). She gives us not an enoncé, a statement concerning a defined topic, but rather a model of the process of “enunciation” itself.

     

    Having explored the relation between Howe and Finlay, we have a means for specifying further how Howe conceptualizes this process of “enunciation.” She frequently relies on an implicit metaphor between the page and the ocean. It is possible to say that in her word squares we observe words birthing from an ocean-matrix. But, as Howe’s comments about oceans reveal, this womb is a blank. An emptiness. “Loveless and sleepless the sea” (SWS 42) she cautions us, mere

     

    deep dead waves wher when I wende and wake how far I writ I can not see (L 164)

     

     

    This empty sea cannot, stricto sensu, be “seen.” That is, it contains, and is, nothing, and one cannot see what does not exist. Sight, and sound, can properly be said to belong only on this side of the land/ocean divide, in the realm of history and humanity. The world prior to, or beneath the level of, consciousness is an effect of writing as if such a thing existed, a point Howe makes at the conclusion of sequence Rückenfigur:

     

    Theomimesis divinity message I have loved come veiling Lyrists come veil come lure echo remnant sentence spar (144)

     

     

    Following this logic, the “spars” and “echoes” in the word squares are like “veils” that conceal nothing. They are, however, calculated to give the impression of Someone behind them. They are attempts at “Theomimesis,” at miming an absent God.

     

    When read aright, then, the “timeless place of existence” that Howe claims as the origin of her poetry does indeed turn out to be a “Supreme Fiction”–“fiction” understood in its original Latin sense as “something made.” Her word squares gesture toward an eternity that cannot pre-exist the act of writing or antedate the onset of history. “For me there was no silence before armies” (Europe 9). Jacques Derrida’s musings on the topic of “spacing” in his essay “Différance” can help clarify this point. Spacing, Derrida contends, is at once a spatial and a temporal process. An artificer introduces spaces–introduces emptiness, or “difference”–into a system in order to give it a defined spatial form. But the act of spacing is itself a temporal process, that is, an act. And a viewer necessarily takes in this spatial form in time, that is, by looking from node to node and observing their configuration (Margins 7-9). Derrida would agree with Rosalind Krauss that an array, by organizing space, strives to render time an extrinsic variable and thereby approximate a timeless Form. But Derrida would also go on to say that an array’s dependence on the act and consequences of “spacing” inescapably imports temporality back into its very structure and thus vitiates its aspiration to represent eternity (13).

     

    This deconstructive critique comes naturally to Howe. One of her recurrent themes is the inseparability of space and time.[48] “Concerning a voice through air // it takes space to fold time in feeling,” she writes in a recent essay (“Sorting” 302), and in a review of John Taggart’s work, she praises him for understanding that true poets have “visions of how one might articulate space in an audible way” (“Light in Darkness” 138).[49] The wonderfully ambiguous title of her long poem Articulation of Sound Forms in Time (is “forms” a noun or verb? “sound” an adjective or noun? “in time” as in “just in time”?) can be read as a concise expression of her belief that poetry, “sound forms,” are articulated within history, “in time,” and not outside of it.[50] “Our ears enclose us,” Howe reminds us,[51] and even if we are bent on “the mind’s absolute ideality,” in daily life “stray voices / Stray voices without bodies // Stray sense and sentences // Concerning the historicity of history” will penetrate our contemplation of things timeless (H 54).

     

    Howe’s word squares draw a reader’s attention toward the white space of the page in order (1) to intimate the Void out of which the perceptible world arises and (2) to expose that primordial nothingness as a fraud, or, more precisely, as a “fiction” arising from a certain use of words. For her, the page’s white space is the deathless ocean–the Void/the divine/Language–and the words are like the evanescent sea foam that rides upon it. The messiness of Howe’s word squares is a consequence of her awareness that poetry comes into being in time, that is, in the fallen world. Howe’s word squares all appear at particularly momentous points in her poetry, typically at the beginning or end of a work, or, in the case of The Liberties, when an author-figure is stripped of his or her social identity and confronts the linguistic and phenomenological grounds of selfhood.[52] The word squares mark the limits of the humanly knowable, and they indicate that beyond those limits lies God–if we choose to believe that (S)he exists.

     

    VII. Word Squares and Postlinear Poetry

     

    Surveying contemporary English-language verse, one will occasionally run into word squares in writings by authors other than Howe. Variations on the device appear, for example, in Christian Bök’s Crystallography, Kathleen Fraser’s il cuore, Jorie Graham’s Swarm, Myung Mi Kim’s Dura, Darren Wershler-Henry’s Nicholodeon, and C.D. Wright’s Tremble. Do these poets, too, give us sprays of catachrestic coinages afloat on a page-ocean?[53]

     

    One cannot make that assumption. Take the case of Myung Mi Kim: her long poem Dura is, among other things, a Korean-American’s meditation in seven parts on diasporic identity. The second part, “Measure,” obliquely recounts the Asian origins of paper and moveable type as well as their gradual diffusion westward to Europe. The declaration “A way is open(ed), a hole is made,” precedes a word square:

     

    Introduce single horse turnback

    Introduction ride alone

    (Capital) (fight alone) make a turn (27)

     

     

    The word-spacing here reflects the text’s struggle to speak about one place and time–medieval Korea–using an unrelated and ill-suited language–modern English. The grid-like arrangement of words attempts a compromise by permitting a reader to move through them both left-to-right, top-to-bottom (English) and top-to-bottom, right-to-left (traditional Korean). One “turns back” and “makes a turn” after each line, whether that line is horizontal (English) or vertical (Korean). The price of this compromise is degraded syntax. The words refuse straightforward integration into logical statements. Kim suggests one of the frustrations of bilingualism: a speaker endeavors to “translate” one heritage and its attendant social conventions into phrases intelligible to people for whom those things register as “foreign,” only then to discover the two languages brushing against and deforming each another, producing unexpected, hybrid results.[54]

     

    Today’s postlinear poets do not pursue a unified program, nor do they seek to establish a new, shared formal vocabulary. They work with and against normative reading procedures in their efforts to explore the full range of language’s visual, auditory, and conceptual possibilities. Their projects vary greatly. Howe’s quietism is in dialogue with the ascetic transcendentalism of the 1950s and 60s New York artworld, whereas Kim’s bilingualism belongs very much to the 1990s, a decade when U.S. poetry opened itself to experimental articulations of racial, ethnic, and gender identities.[55] By charting these disparate projects, however, we will gradually produce a topographical map of contemporary visual poetics. The fecundity of the artistry might be daunting, but the results will be correspondingly richer and wilder, unsettled and unsettling.

     

    Notes

     

    I would like to thank the Stanford Humanities Center and the University of Washington’s Royalty Research Fund for making this article possible. I would also like to thank Terry Castle, Bob Fink, Kornelia Freitag, Albert Gelpi, Nicholas Jenkins, Marjorie Perloff, and Susan Schultz.

     

    1. Although Susan Howe claims that the label Language Poet does not apply to her (see Interview with Keller 19-23) she nonetheless published in L=A=N=G=U=A=G=E, the poetics journal from which the movement takes its name, as well as other Language-affiliated periodicals, such as O.blek, Sulfur, and Temblor. She has also consistently appeared in the anthologies that have defined the movement for outsiders, such as Ron Silliman’s In the American Tree and Douglas Messerli’s “Language” Poetries.

     

    2. See Back 3-4 for summary comments on “Howe’s visual experiments” as the “distinguishing mark” and “signature” of her style. See Dworkin for a provocative overview of the subject.

     

    3. See Möckel-Rieke 291 for a rare discussion of Howe’s “ballad” style.

     

    4. See Dworkin for an extended analysis of the “static” and “noise” that Howe produces through her manipulation, superimposition, and violation of found texts.

     

    5. See Back 142-44 for an analysis of the “violence” conveyed by the “radically disrupted and chaotic” pages in Eikon Basilke. For the remainder of this article, I will be using the following abbreviations for Susan Howe’s long poems and works of criticism: ASFT for Articulation of Sound Forms in Time; BM for The Birth-mark; CG for Cabbage Gardens; CCS for Chanting at the Crystal Sea; DP for Defenestration of Prague; EB for A Bibliography of the King’s Book, or, Eikon Basilike; Fed for Federalist 10; H for Heliopathy; HP for Hinge Picture; LTC for Leisure of the Theory Class; L for The Liberties; MED for My Emily Dickinson; MM for Melville’s Marginalia; NCM for The Nonconformist’s Memorial [the long poem, not the collection]; PS for Pythagorean Silence; R for Rückenfigur; SBTR for Scattering as a Behavior Toward Risk; SHDL for Secret History of the Dividing Line; and SWS for Silence Wager Stories.

     

    6. For one possible exception, see the six-by-six word arrays in Robert Duncan’s “The Fire: Passages Thirteen” (Selected Poems 82-87). Howe may know this poem. See Howe, “For Robert Duncan” and “The Difficulties Interview” 17-18.

     

    7. See also e.g. ASFT 12, 14, 15; PS 78, 82-84; L 205-8, 216; and SHDL 89, 116.

     

    8. This preface appears only in the 1990 reprint of ASFT that is on the List of Works Cited. It does not appear in the 1987 version of ASFT published by Awede Press.

     

    9. See e.g. Back 42-44; Perloff, “Collision” 528-29; and Reinfeld 142. Compare McCorkle paragraphs 5-6, 13-16. For other efforts to close read Howe’s word squares, see e.g. Back 21-22, 27, 96-100, and 118-19; Green 86-87 and 99-100; Keller 231-35; and McGann 102.

     

    10. Compare Back 44 on the “multiple and generative landscape” of this word square.

     

    11. Compare Selinger 367 on Howe’s word-grids: “the raw material of a poem yet to be written or all that remains of a piece now decayed.”

     

    12. See Benjamin 150-51 and 153.

     

    13. Swinburne has recently become an important presence in Howe’s work. See “Frame Structures” (12) and “Ether Either” (122; 126-27). See esp. the 1999 long poem The Leisure of the Theory Class, which immediately precedes Rückenfigur in Howe’s book Pierce-Arrow (passim).

     

    14. Compare Back 46 (“tendency to contradict herself, every articulation containing itself and its opposite”).

     

    15. See Mitchell 45-56 for a discussion of “multistable” images such as the Duck-Rabbit.

     

    16. The installation materials are stored in Box 15 of the Susan Howe Papers (MSS0201) at the Mandeville Special Collections Library of the University of California, San Diego. Hereafter I will be citing unpublished materials in the Susan Howe Papers as SHP, followed by their box and (if relevant) folder numbers. For Long Away Lightly, see SHP Box 15, Folder 1. For On the Highest Hill, see Folder 4. For Wind Shift / Frost Smoke see Folder 8. Unfortunately, no dates are provided for individual pieces, and the various materials are unlabeled, rendering many of them mysterious or unidentifiable. Several of the scraps of poetry used in the installation pieces, such as that beginning “on the highest hill of the heart,” also appear in SHP Box 6, Folder 6, with Howe’s earliest poems. In fact, there one can find “Wall 1” and “Wall 2,” poem sequences that either derive entirely from the installation work or represent the installations’ poetic precursors.

     

    17. See esp. SHP Box 15, Folders 2-3 for some of Howe’s meticulous installation instructions.

     

    18. See SHP Box 15, Folder 5 for this photograph.

     

    19. See SHP Box 12 for the working notebook dated 26 April-15 July 1974, in which she declares herself Smithson’s lineal heir.

     

    20. See SHP Box 15, Folder 4.

     

    21. For Smithson’s Ginsberg imitations, see Smithson 315-19.

     

    22. Reinhardt’s “Black Paintings” are notoriously difficult to reproduce. For an example, go to the Guggenheim Museum’s online collection <http://www.guggenheimcollection.org>, search for “Ad Reinhardt,” and enlarge the available image.

     

    23. For samples of Martin’s and Ryman’s work, visit the Guggenheim online collections collection at <http://www.guggenheimcollection.org> and search on the artist’s name. For Martin, see also the online galleries available from the Los Angeles County Museum <http://moca-la.org> and the National Museum of Women in the Arts at <http://www.nmwa.org>.

     

    24. See e.g. DP 89; EB 61-62; L 162, 180; LTC 32; MM 103; NCM 20-21; PS 77; SBTR 70; SHDL 94, 113, and 114.

     

    25. The Awede Press edition of ASFT is unpaginated. When Wesleyan University Press reprinted ASFT, they crammed these two lines into a single page with another lyric (11).

     

    26. For Krauss’s influential account of minimalism, see Passages in Modern Sculpture 198-99, 236-42, and esp. 243-88.

     

    27. In a 1993 interview, Agnes Martin declares herself an abstract expressionist (15) in the “transcendental” mode of Rothko and Newman (13). She says that she has always sympathized with minimalism’s aspiration toward perfection, but intuition and inspiration are necessary to lead one beyond mere mechanical perfection to its “transcendental” corollary (Interview with Sander 13-15).

     

    28. I concede that Reinhardt was an advocate of art in its purity and that he considered any confusion between art and religion to be anathema. Nonetheless, as Krauss points out, “the motif that inescapably emerges” as one contemplates his black paintings “is the Greek cross” (Originality 10). For Howe’s transcendentalist reading of Reinhardt, see “The End of Art” 3-4.

     

    29. Agnes Martin’s paintings reproduce very poorly in digital formats, but for a hint at the dynamic Krauss describes, see the interactive “tour” of the Agnes Martin Gallery available on the web page of the Harwood Museum (Taos, New Mexico): <http://harwoodmuseum.org/gallery4.php>, last accessed 29 January 2003.

     

    30. See the Keller interview for Howe’s cursory recollection of this correspondence (20). For Finlay’s letters to Howe, see SHP Box 1, Folders 4-6.

     

    31. See Bann 55-57. See also Stewart 124, 129-30, and 139.n34. Stewart posits that around 1971 Finlay’s relation to the sea shifted, and that fishing boats gave way to warships in his work (124-25).

     

    31. The original is unpaginated. See esp. the second, third, fifth, sixth, and eighth openings. I have included in the List of Works Cited a recent, readily available translation of Un Coup de dés that respects Mallarmé’s original layout.

     

    33. See Palatella 74-76 for more analysis of Howe’s commentary on Fisherman’s Cross.

     

    34. See E. Joyce, paragraph seven for a comparison between Mallarmé’s Un Coup de dés and Howe’s compositional practice.

     

    35. See for example: ASFT 1, 23, 25, 29, 35, 38; CCS 61, 63, 68; CG 79, 79, 80, 81, 85, 86; DP 88, 96, 100, 101, 103, 117, 124, 135, 146; EB 75, 79; H 43; HP 53, 54, 55; L 158, 164, 168, 172, 173, 174, 187, 196, 198, 199, 213; MM 123, 134, 145, 146, 150; NCM 17, 19, 26, 33; PS 28, 30, 31, 42, 45, 48, 51, 53, 56, 60, 64, 80; R 131, 136; SBTR 66; SHDL 90, 105, 110, 111; and SWS 36, 42.

     

    36. See for example BM 17, 18, 26, 28, 32, 37, 46, 50, 55, 61, 69, 82, 83, 132, 150, 166, 178; “Ether Either” 119, 123; “For Robert Duncan” 54, 55, 57; MED 45, 87, 106, 109; “Since a Dialogue” 172; “Sorting” 297, 308, 311, 319, 320, 326-327, 323, 325, 328, 338, 342; “Where” 4, 11, 12, 18, 19; and “Women” 63, 88.

     

    37. Howe spent her childhood and youth split between the United States and Ireland. See “Ether Either” 112-13 and 118-19. See also a letter by Howe qtd. in Möckel-Rieke 303.n92. And see BM 166 and “Sorting” 320. Ireland in Howe’s work is identified strongly with the ocean and ocean-crossing–see HP 54, L 213, “Sorting” 338 and the first page of WB. For Howe’s discussion of her husband’s love for the ocean and ship-design, see “Sorting” 295-97 and the Keller interview 4-5 and 29.

     

    38. The ocean’s central role in her poetics deserves comparison to that of the wilderness, a related concept upon which critics have frequently commented. See e.g. Back 176-77; Dworkin 399-400; Möckel-Rieke 290-91; Nicholls 589; Palatella 91-92; Schultz paragraph 3; and Vogler 220-23. See Middleton (esp. 87) for a rare statement on the centrality of the ocean in Howe’s work. Compare Reinfeld 126 and 142; and Perloff, “Collision” 518-19.

     

    39. For the violent sea, the realm of history’s nightmare, see BM 61; CCS 63; EB 70; PS 48; DP 100; “For Robert Duncan” 54; L 160, 196; and SHDL 91, 105, 110.

     

    40. For invocations of the sea as a place of origins, see ASFT 1, 35; BM 82; CG 85; DP 88, 101, 123-24; EB 63; H 43; HP 53; L 168, 173, 204, 212; MM 146; NCM 8, 19; PS 53, 60, 80; R 136; “Sorting” 311, 328; and SWS 36, 42.

     

    41. For the sea as a place of peace and silence, see BM 17; CG 86; DP 103; L 199; PS 28, 30, 53; “Sorting” 338; SWS 42. Compare NCM 26 and 33.

     

    42. For the sea as a place of peregrinatio in the medieval sense of sojourning in a fallen world, see ASFT 35, 38; BM 83; CCS 63, 68; CG 81; DP 117; L 158, 164, 168, 173, 174, 213; MED 45; PS 42, 56; SHDL 90, 111; “Sorting” 297, 308, 325. For the sea in its more neutral aspect as a place of drift, see BM 156; DP 117; EB 75; L 195; and SWS 39.

     

    43. For the association between the ocean and death, esp. drowning, see BM 37, 178; CCS 63; CG 79, 86; DP 88; HP 54, 55; L 161, 187, 198; MED 109; EB 79; MM 123, 145, 150; “Where” 18. “To ebb” in Howe is a recurrent verb that calls to mind the ocean in its aspect as a metaphor for death and mortality. See DP 128, 146; L 178, 212.

     

    44. See BM 47, 48, 49, 68, 164; NCM 18; “Difficulties Interview” 17, 21, 24; Falon interview 31, 37; and Keller interview 13, 19, 26-27, 31.

     

    45. See BM 28, 55; HP 46; MM 116; and PS 45.

     

    47. Howe apparently learned of Thoreau’s idea of the “noble mole” from Ed Foster during the course of an interview. See BM 178.

     

    47. See NCM 18 and 30 for poetic moments when Howe explicitly connects “sound” and “perfection.” See also BM 172 and MED 55.

     

    48. According to Ming-Qian Ma, Howe conceives of poetry as taking shape in a “space-time dimension” that permits her poetry to act as a corrective to traditional historiography (“Poetry as History Revised” 719-21). Ma does not specifically connect Howe’s concept of “space-time” to Derrida or to deconstruction, but his argument made it possible for me to make that connection.

     

    49. For other examples of Howe’s habitual synaesthetic confusion of sight and sound see “Ether” 119, “Women” 84, HP 56, and BM 139.

     

    50. See Perloff, “Collision” 524 for the source of this argument. See too McCorkle paragraph 7.

     

    51. See the sixteenth page of Fed. The original is unpaginated.

     

    52. See H 42 (the poem’s beginning); PS 78, 82-84 (the end of the poem); L 216 (the poem’s conclusion); and SHDL 89, 116, and 122 (word squares at the poem’s beginning and end). For an author-figure confronting her (non)existence, see L 204-8 (a section titled “Formation of a Separatist, I”).

     

    53. See Fraser 167-68, Graham 68, and Wright 58. Bök and Wershler-Henry are unpaginated. For Bök, see the section titled “Euclid and His Modern Rivals.” For Wershler-Henry see the unfolding page near the book’s center.

     

    54. My thanks to Grace Ku for pointing me to this passage and helping me navigate the thoroughgoing bilingualism of Kim’s Dura.

     

    55. See Beach 184-87 for his contention that the 1990s saw the “combination of the linguistic and formal energies of the avant-garde or experimental tradition with the transcultural and interpersonal energies of an expanded racial and ethnic context” (185).

    Works Cited

     

    • Back, Rachel Tzvia. Led by Language: The Poetry and Poetics of Susan Howe. Tuscaloosa, AL: U of Alabama P, 2002.
    • Bann, Stephen. Afterword. Honey by the Water. Ian Hamilton Finlay. Los Angeles: Black Sparrow, 1972. 51-57.
    • Benjamin, Walter. Illuminations. New York: Schocken, 1985.
    • Blau DuPlessis, Rachel. “‘Whowe’: On Susan Howe.” The Pink Guitar: Writing as Feminist Practice. New York: Routledge, 1990. 123-39.
    • Bök, Christian. Crystallography. Toronto: Coach House P, 1994.
    • Chave, Anna. “Agnes Martin: ‘Humility, the Beautiful Daughter […]. All of Her Ways Are Empty.’” Haskell 131-53.
    • Derrida, Jacques. Margins of Philosophy. Chicago: U of Chicago P, 1982.
    • Duncan, Robert. The Opening of the Field. New York: Grove, 1960.
    • —. Selected Poems. New York: New Directions, 1993.
    • Dworkin, Craig Douglas. “‘Waging Political Babble’: Susan Howe’s Visual Prosody and the Politics of Noise.” Word & Image 12.4 (Oct.-Dec. 1996): 389-405.
    • Finlay, Ian Hamilton. “Acrobats.” Poems to Hear and See. New York: Macmillan, 1971. Unpaginated.
    • Fraser, Kathleen. il cuore: the heart: Selected Poems 1970-1995. Hanover, NH: Wesleyan UP, 1997.
    • Graham, Jorie. Swarm. New York: Ecco, 2000.
    • Frost, Elisabeth. “Susan Howe, Modernism, and Antinomian Tradition.” How2 1.3 (Feb. 2000). 29 January 2003 <http://www.scc.rutgers.edu/however/v1_3_2000/ current/readings/frost.html>.
    • Green, Fiona. “‘Plainly on the Other Side’: Susan Howe’s Recovery.” Contemporary Literature 42.1 (Spr. 2001): 78-101.
    • Guest, Barbara. Seeking Air. Santa Barbara, CA: Black Sparrow, 1978.
    • Haskell, Barbara, ed. Agnes Martin. New York: Whitney Museum of American Art, 1992.
    • Howe, Susan. Articulation of Sound Forms in Time. Howe, Singularities 1-38.
    • —. A Bibliography of the King’s Book or, Eikon Basilike. Howe, Nonconformist’s 45-82.
    • —. The Birth-mark: Unsettling the Wilderness in American Literary History. Hanover, NH: Wesleyan UP, 1993.
    • —. Cabbage Gardens. Howe, Frame Structures 73-86.
    • —. Chanting at the Crystal Sea. Howe, Frame Structures 57-72.
    • —. Defenestration of Prague. Howe, Europe of Trusts 85-146.
    • —. “The Difficulties Interview.” Interview with Tom Beckett. The Difficulties 3.2 (1989): 17-27.
    • —. “The End of Art.” Archives of American Art Journal. 14.4 (1974): 2-7.
    • —. “Ether Either.” Close Listening: Poetry and the Performed Word. Ed. Charles Bernstein. New York: Oxford UP, 1998. 111-27.
    • —. The Europe of Trusts. Los Angeles: Sun & Moon, 1990.
    • —. Federalist 10. [Issued as Abacus 30.] Elmwood, CT: Potes & Poets, 1987.
    • —. “For Robert Duncan.” American Poetry 6.1 (Fall 1988): 54-57.
    • —. “Frame Structures.” 1995. Howe, Frame Structures 1-29.
    • —. Frame Structures: Early Poems 1974-1979. New York: New Directions, 1996.
    • —. “Heliopathy.” Temblor 4 (1986): 42-54.
    • —. Hinge Picture. Howe, Frame Structures 31-56.
    • —. Interview with Lynn Keller. Contemporary Literature 36.1 (Spring 1995): 1-34.
    • —. Interview with Ruth Falon. The Difficulties 3.2 (1989): 28-42.
    • —. Leisure of the Theory Class. Howe, Pierce-Arrow 31-126.
    • —. The Liberties. Howe, Europe of Trusts 147-218.
    • —. “Light in Darkness.” Rev. of Peace on Earth by John Taggart. Hambone 2 (Fall 1982): 135-38.
    • —. Melville’s Marginalia. Howe, Nonconformist’s 83-150.
    • —. My Emily Dickinson. Berkeley: North Atlantic, 1985.
    • —. The Nonconformist’s Memorial [the collection]. New York: New Directions, 1993.
    • —. The Nonconformist’s Memorial [the long poem]. Howe, Nonconformist’s 3-33.
    • —. Pierce-Arrow. New York: New Directions, 1999.
    • —. Pythagorean Silence. Howe, Europe of Trusts 15-84.
    • —. Rückenfigur. Howe, Pierce-Arrow 127-44.
    • —. Scattering as Behavior Toward Risk. Howe, Singularities 61-70.
    • —. Secret History of the Dividing Line. Howe, Frame Structures 87-122.
    • —. Silence Wager Stories. Howe, Nonconformist’s 34-42.
    • —. “Since a Dialogue We Are.” Acts 10 (1989): 166-73.
    • —. Singularities. Hanover, NH: Wesleyan UP, 1990.
    • —. “Sorting Facts; or, Nineteen Ways of Looking at Marker.” Beyond Document: Essays on Nonfiction Film. Ed. Charles Warren. Hanover, NH: Wesleyan UP, 1996. 295-343.
    • —. Thorow. Howe, Singularities 39-59.
    • —. The Western Borders. Willits, CA: Tuumba, 1976.
    • —. “Where Should the Commander Be.” Writing 19 (Nov. 1987): 3-20.
    • —. “Women and Their Effect in the Distance.” Ironwood 28 (Nov. 1986): 58-91.
    • Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988.
    • Keller, Lynn. Forms of Expansion: Recent Long Poems by Women. Chicago: U of Chicago P, 1997.
    • Kim, Myung Mi. Dura. Los Angeles: Sun and Moon P, 1998.
    • Krauss, Rosalind. “The /Cloud/.” Haskell 155-65.
    • —. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, MA: MIT P, 1985.
    • —. Passages in Modern Sculpture. New York: Viking, 1977.
    • Ma, Ming-Qian “Poetry as History Revised: Susan Howe’s ‘Scattering as Behavior Toward Risk.’” American Literary History 6.4 (Winter 1994): 716-37.
    • McCorkle, James. “Prophecy and the Figure of the Reader in Susan Howe’s Articulation of Sound Forms in Time.Postmodern Culture 9.3 (May 1999). 29 January 2003 <http://muse.jhu.edu/journals/pmc/v009/9.3mccorkle.html>.
    • Mallarmé, Stéphane. “A Throw of the Dice Never Will Abolish Chance.” [English translation of Un Coup de dés by Mary Ann Caws and Daisy Aldan.] Poems for the Millennium, vol. 1. Eds. Jerome Rothenberg and Pierre Joris. Berkeley: U of California P, 1995. 53-76.
    • Martin, Agnes. Interview with Irving Sandler. July 1993. Agnes Martin: Paintings and Drawings 1977-1991. London: Serpentine Gallery, 1993. 12-15.
    • —. “Selected Writings.” Haskell 9-31.
    • Martin, Stephen-Paul. Open Form and the Feminine Imagination: The Politics of Reading in Twentieth-Century Innovative Writing. Washington, D.C.: Maisonneuve, 1988.
    • McGann, Jerome. Black Riders: The Visible Language of Modernism. Princeton: Princeton UP, 1993.
    • Messerli, Douglas. “Language” Poetries: An Anthology. New York: New Directions, 1987.
    • Middleton, Peter. “On Ice: Julia Kristeva, Susan Howe, and Avant-Garde Poetics.” Contemporary Poetry Meets Modern Theory. Eds. Antony Easthope and John O. Thompson. New York: Harvester Wheatsheaf, 1991. 81-95.
    • Mitchell, W.J.T. Picture Theory. Chicago: U of Chicago P, 1994.
    • Möckel-Rieke, Hannelore. Fiktionen von Natur und Weiblichkeit. Trier, Germany: WVT Wissenschaftlicher Verlag Trier, 1991.
    • Nicholls, Peter. “Unsettling the Wilderness: Susan Howe and American History.” Contemporary Literature 37.4 (Winter 1996): 586-601.
    • O’Brien, Geoffrey. “Meaningless Relationships: Banging Against the Edge of Language.” Rev. of The L=A=N=G=U=A=G=E Book, eds. Bruce Andrews and Charles Bernstein; Code of Signals, ed. Michael Palmer; Resistance by Charles Bernstein; ABC by Ron Silliman; and Defenestration of Prague by Susan Howe. Voice Literary Supplement Apr. 1984: 10-11.
    • —. “Notes While Reading Susan Howe.” Talisman 4 (Spring 1990): 110-11.
    • —. “The Way We Word: Susan Howe Names Names.” Voice Literary Supplement Dec. 1990: 27.
    • Palatella, John. “An End of Abstraction: An Essay on Susan Howe’s Historicism.” Denver Quarterly 29.3 (Winter 1995): 74-97.
    • Perloff, Marjorie. “‘Collision or Collusion with History’: The Narrative Lyric of Susan Howe.” Contemporary Literature 30.4 (Winter 1989): 518-33.
    • —. Poetry On & Off the Page: Essays for Emergent Occasions. Evanston, IL: Northwestern UP, 1998.
    • Reinfeld, Linda. Language Poetry: Writing as Rescue. Baton Rouge, LA: Louisiana State UP, 1992.
    • Schultz, Susan. “Exaggerated History.” Rev. of The Birth-mark and The Nonconformist’s Memorial by Susan Howe. Postmodern Culture 4.2 (Jan. 1994). 29 January 2003 <http://muse.jhu.edu/journals/postmodern_culture/v004/4.2r_schultz.html>.
    • Selinger, Eric. “My Susan Howe.” Parnassus 20.1-2 (1995): 359-85.
    • Silliman, Ron, ed. In the American Tree: Language, Realism, Thought. Orono, ME: National Poetry Foundation, 1986.
    • Smithson, Robert. The Collected Writings. Berkeley: U of California P, 1996.
    • Solt, Mary Ellen, ed. Concrete Poetry: A World View. Bloomington, IN: Indiana UP, 1968.
    • Stewart, Susan. “Garden Agon.” Representations 62 (Spring 1998): 111-43.
    • Swinburne, A.C. Tristram of Lyonesse. The Complete Works Vol. 4. London: William Heineman, 1925. 25-168.
    • Vogler, Thomas. “‘Into / The Very of Silence’: Reading Susan Howe.” Hambone 12 (Fall 1995): 220-52.
    • Wershler-Henry, Darren. Nicholodeon: a Book of Lowerglyphs. Toronto: Coach House P, 1997.
    • Wright, C.D. Tremble. Hopewell, NJ: Ecco, 1996.

     

  • Reading Game/Text: EverQuest, Alienation, and Digital Communities

    Eric Hayot
    Department of English
    University of Arizona
    ehayot@u.arizona.edu
     
    Edward Wesp
    Department of English
    University of Wisconsin at Milwaukee
    edwesp@uwm.edu

     

    A lot had to happen between 1915, when the U.S. Supreme Court first ruled that cinema was not “speech” and was thus unprotected by the First Amendment, and 1982, when the Court decided that films were one of the “traditional forms of expression such as books” and ought to be considered “pure speech” (Mutual Film Corp. v. Industrial Comm’n).1The 1915 Court justified its decision at least in part through reference to “common-sense,” a category whose later reversal neatly sums up the changed sense of film’s legitimacy as a medium: today the opinion that film is not speech would get its proponent laughed out of the room, even if the film in question were silent.

     

    The history of film’s gradual acceptance as an expressive medium–an acceptance mirrored in the academic reception of film studies over roughly that same period–is worth keeping in mind as one approaches new media today. Because while the issue of film as speech has been settled for film and, on the basis of their similarities, television,2 the issue remains alive for new forms of digital culture, especially video games, whose legal history extends back only twenty years. In the early 1980s, courts reviewing cases involving the zoning and licensing of video game arcades generally agreed that video games were not speech, with one court asserting that “in no sense can it be said that video games are meant to inform. Rather, a video game, like a pinball game, a game of chess, or a game of baseball, is pure entertainment with no informational element” (America’s Best v. New York).3 The comparison to baseball or chess is telling, as is the reference to “information”; the test applied to video games in these early court cases draws explicitly from the early legal history of film, in which the expressiveness of the medium (and thus its ability to “inform” its viewers) was deemed secondary to an “entertainment” value that disqualified it as serious “speech.”

     

    But as video games have become more complex–a complexity enabled by the exponential growth in computer processing power–and as they have moved from arcades to home computers and the Internet, it has become increasingly difficult to distinguish them from other constitutionally protected media. As newer games approach the conditions by which we identify mainstream literature and film–that is, as they begin to express ideas, develop characters, and tell stories4–the claim that they do not “inform” their players seems harder and harder to make.5 Indeed, the difference between Pac-Man and a contemporary, story-driven game featuring Hollywood actors (Christopher Walken appears, for instance, in 1996’s Privateer 2) might well be said to redefine the scope of the entire genre. And the court record reflects this shift in scope. In a 1991 decision, the Seventh Circuit Court of Appeals wrote that there was no record that might allow it to decide “whether the video games at issue here are simply modern day pinball machines or whether they are more sophisticated presentations involving storyline and plot that convey to the user a significant artistic message protected by the first amendment” (Rothner v. Chicago). In 2001 that same court upheld a ruling that argued that “at least some contemporary video games include protected forms of expression,” even while it held that several of the games “described in the record are relatively inconsequential–perhaps even so inconsequential as to remove the game from the protection of the First Amendment” (American Amusement Mach. Ass’n v. Kendrick). Although neither decision ultimately settled the question of video games’ expressiveness, their ambivalence seemed promising, and the 1991 decision’s reference to “storyline and plot” offered another dimension by which games might be judged to be “speaking.” Though neither film nor literature is currently held to that standard (books that have neither storyline nor message are still protected by the First Amendment), the demand that video games express either information or a narrative remains, in these decisions as it was in the 1980s, the sine qua non of First Amendment protection.

     

    But if the complication introduced by the Seventh Circuit had seemed to open the door to video games’ eventual acceptance as speech (thereby giving them a trajectory to mirror film’s), a recent decision in U.S. District Court has closed it with a vengeance. In April 2002, Judge Stephen N. Limbaugh issued a judgment in which he declared that any expression or communication “during the playing of a video game is purely inconsequential,” and that video games “have more in common with board games and sports than they do with motion pictures.” The case in question, Interactive Digital Software Association v. St. Louis County, involved an attempt by the St. Louis County Council to restrict access to violent video games. Backed by research showing that playing games incites children to violent play and encourages them to identify with perpetrators of deadly violence–and reacting in part to a series of school shootings, most notably the ones in Littleton, Colorado committed by avid players of violent video games–the Council voted in October 2000 to require parental permission for the sale of video and computer games (and the playing of video games in arcades) rated by the gaming industry’s own system as designed for “mature” audiences. The Interactive Digital Software Association sued, arguing that the ordinance violated the First Amendment and was unconstitutionally broad and vague. In April 2002, Limbaugh rejected all of the IDSA’s arguments, dismissing the case in summary judgment, before it could come to trial.

     

    Drawing on a case history involving both video games and film, Limbaugh’s decision is unequivocal about both the standards it uses to judge video games and the degree to which games measure up to those standards. When deciding whether a new medium qualifies for First Amendment protection, Limbaugh writes, one must find “at least some type of communication of ideas in that medium. It has to be designed to express or inform, and there has to be a likelihood that others will understand that there has been some type of expression.” Limbaugh finds that video games cannot pass even this minimal standard, and goes on to reject the Seventh Circuit’s arguments that some video games might merit First Amendment protection: “The Court has difficulty accepting that some video games do contain expression while others do not. […] Either a ‘medium’ provides sufficient elements of communication and expressiveness to fall under the scope of the First Amendment, or it does not.” Limbaugh later claims that even though the plaintiffs presented him with scripts of video games to suggest that the games contained “extensive plot and character development,” this creative detritus, while itself expressive, did not confer any of that expressiveness on its own final products.

     

    Limbaugh’s decision ultimately to deny First Amendment protection to video games depends, then, on his judgment that their expression is “purely inconsequential,” that whatever gets expressed during the game remains effectively extraneous to the main “work” of the game experience. Strangely enough, although the video games were initially regulated on the basis of their degree of “violence”–which would appear to let expressiveness out of the digital bag6–Limbaugh argues that “‘violence’ does not automatically create expression,” that violent games are no more expressive than other video games just because they are violent. This blanket rejection of the idea that video games might have expressive content allows Limbaugh absolutely to forego the ambivalence of the Seventh Circuit decisions; instead, he classes video games with a group of cultural activities that includes baseball, chess, and bingo: that is, as games.

     

    What the decision thus makes clear is that the status of contemporary video games as a medium effectively hinges on a comparison to two related types of culture: film on one hand, and entertainment activities on the other. And the comparison is definitive: if video games are like film, they are expressive, constitute their own medium, and deserve First Amendment protection (indeed the plaintiffs in the Limbaugh case ask the judge to treat the game medium as “no less expressive than its ‘motion picture counterpart’”). But if video games are like activities (pinball, chess, baseball), they not only are not covered by the First Amendment, but also may not even be a “medium” at all (any more than baseball is a “medium”). The decision therefore clarifies the degree to which status as a “medium” confers a priori on a cultural object the privilege of being assumed to mediate between an expressor of some kind (a person or an idea) and the receiver of that expression; the idea that video games do not “express” is thus tantamount to declaring that they cannot transmit content at all.

     

    One potential response to such an argument–one especially tempting for scholars trained in reading texts–argues insistently for expressiveness. Indeed, much work done recently would insist not only that video games express meaning, but that any number of cultural activities or objects not currently granted First Amendment protection are expressive as well; baseball, one might argue, teaches its viewers or players something about teamwork, about labor-management disputes, about geometries of space, and so on. As literature departments have aggregated more and more of the culture to their own field of study, and as the term “text” has come to mean any expressive (or signifying) surface of the real, the drive towards a consideration of everything as (at least potentially) expressive has left less and less outside the category of meaningfulness.

     

    Something like this defense of the “medium” of video games has been articulated by Wagner James Au, who, writing for Salon, calls Limbaugh’s decision “a disaster for anyone who wants to see games evolve into a medium every bit as culturally relevant as movies or books.” Au argues that Limbaugh’s decision demonstrates the need for a “preemptive attack” from the gaming industry, designed to show that the expressions of ideas in a number of recent video games are “inextricably woven into the experience” of the games themselves. Au ultimately suggests that the video game industry borrow a page from the history of motion pictures, whose Hollywood studios, he writes,

     

    regularly produced a few films every year whose main intent was to dramatize social issues and give their more ambitious artists room to breathe [...]. Imagine what could happen if the game industry followed this example. Successful game publishers could invest a portion of their profits into games conceived with explicit social and artistic goals in mind.

     

     

    Only by effectively making games as much like (serious) films as possible (and thereby treating the game medium as “no less expressive than its ‘motion picture counterpart’”), Au believes, can the game industry secure for its products the kind of legal status and cultural respect that now accrues to film.

     

    Au’s plan may well be the best way to legitimize games as a form of expression, but the impulse to develop a legal solution out of a shift in video game production ought not simply to carry over to video game hermeneutics; that is, while it may be legally useful to make games as much like (serious) films as possible, the legal benefits of such a move ought not to determine in advance the interpretive strategies available to the study of games as cultural objects. Video games are, of course, expressive; they contain narrative elements. But they are not exclusively expressive (in a conventional sense) or narrative.7 Evaluating video games exclusively on the basis of those features–and inviting them to take their seat at the First Amendment table by defining themselves largely in relation to narrativity or expressiveness–ignores the other side of their cultural position: the degree to which video games resemble gaming.

     

    This is where one learns something from the legal case: though Limbaugh is wrong to decide that video games are entirely like other games, his comparison opens up interesting possibilities for anyone wanting to develop a theory of video games as a medium because it suggests that any such theory ought to deal with both sides of video gaming’s cultural history. Though many readers in English departments will be more comfortable with the expressive aspects of games that essentially resemble those of more familiar forms like film or literature (even as they may be suspicious of the right of any popular medium to claim for itself the relevance of those forms), the present seems an opportune time for expanding the range of what literary and cultural study might do with new media.

     

    In a recent essay on this issue, Jesper Juul notes that the “narrative turn of the last 20 years has seen the concept of narrative emerge as a privileged master concept in the description of all aspects of human society and sign-production.” But he goes on to argue that some of the main features of narrative analysis cannot be applied to the study of games without substantial modification. For instance, he writes, though narratives “rely heavily on [the] distance or non-identity between the events and the presentation of these events” (what Christian Metz calls “the time of the signified and the time of the signifier”), any game in which the user can act (by firing a weapon, by kicking a ball, by driving a car) necessarily unites those two times as closely as possible. Even when they present players with narrative experiences, then, video games force an experience of that narrative that differs in vital ways from getting a story through a film or novel.

     

    That video games, even when narrative, present a fundamentally different experience of that narrative’s topology, suggests that Limbaugh’s decision–despite its somewhat primitive notion of expressiveness and the odd logic of its position on “violent” content–might point the way to one possible mode of reading. Caught between entertainment “media” like film and television and entertainment “activities” like baseball and bingo, video games require an evaluation that registers those differences without collapsing them. In what follows we intend, in a reading of the online role-playing game EverQuest, to develop a theory of reading video games that might account for the legal bind in which they find themselves, that might read in and through that bind rather than choosing one side or the other. We would like this approach to EverQuest to illustrate the potential for the apparently irreconcilable elements of video games–their status as game, cultural practice, narrative, or visual text–to be pulled together into a coherent analysis, one that acknowledges both the ways EverQuest is like a game and the ways its “game” elements might lead to a reading of the “expression” of ideas.

     

    EverQuest

     

    EverQuest, the most successful “Massively Multi-Player Online Role-Playing Game,” is one of the most complicated video games available today, involving hundreds of thousands of players, an immense imaginary world, and large, involved fan communities. Designed by Verant Interactive, a subsidiary of Sony Online Entertainment, EverQuest has, since its release in March 1999, set the standard for games of its type; the game boasts more than 430,000 playing (and paying) customers8 spread across forty-eight servers, each of which runs a separate version of the game world for up to approximately 3,000 players at any given time.9 EverQuest‘s visual- and text-based world, a rough descendant of J.R.R. Tolkien’s Middle Earth, allows players to choose an avatar and go out into the world to fight, trade, make friends with other players, and explore the expansive virtual geography.

     

    Because our reading proceeds structurally, we will not be taking on a number of promising approaches to the study of video games, including sociological studies of players, questions of masquerade and identification (when male players play female characters, for instance), individual game sequences or narratives, or the game’s internal economics (the platinum piece, the basic monetary unit in EverQuest, trades on the Internet at a rate of about 1000 to the U.S. dollar). Rather, our approach focuses on the aspects of EverQuest that make it like a “game,” namely the formal structures that frame player experience. These formal structures include the rules of the game that limit and direct players’ actions, the goals and obstacles set out for players, and the strategies and practices adopted by players as they navigate the game’s rules and goals. Like visual and aural conventions of film, the interactive circuit between game and player constitutes a register of meaning independent from narrative content or the conditions of a game’s production. EverQuest‘s rules and goals constitute the core of what defines it as a game, and what establishes the terms by which it participates in the production of cultural meaning.

     

    While online, EverQuest players can freely pursue a wide variety of in-game activities, including casual conversation with other players about characters or places in the game world or the fictive history that provides EverQuest‘s back-story. Nonetheless, the vast majority of the interaction between players on an EverQuest server focuses on issues more specific to the achievement of the game’s basic goals–defeating monsters, acquiring powerful or valuable items, and traversing dangerous territory. Though the pictorial or visual aspects of the game constitute an important part of an EverQuest player’s experience, the vast majority of the detailed information required to succeed in the game and to communicate with others appears in a “text box” on the player’s screen. In that box, players receive automatic updates on their status and the status of the monsters they fight (e.g., “You slash a drakkel dire wolf for 24 points of damage”), but also spend a great deal of time discussing strategy or the game situation with one another, which would, for example, appear as “Braxis tells the group, ‘I need a heal now.’”

     

    This fact in some ways confirms Limbaugh’s argument that video games resemble any other type of game or sport. Limbaugh cites an earlier decision about the lack of “expressive” content in a game of Bingo in which

     

    the court went on to hold that Bingo may involve interaction and communication between runners and participants, but any such communication is "singularly in furtherance of the game; it is totally divorced from a purpose of expressing ideas, impressions, feelings, or information unrelated to the game itself."

     

     

    Limbaugh’s sense that communication can happen solely “in furtherance of the game” grants messages like “I need a heal” a peculiar legal status: they do not count as “speech,” perhaps not even as “expression,” even though they communicate meaning. Inside the world of the game, Limbaugh seems to argue, all speech happens in quotation marks, “divorced,” in his phrase, from any serious, real-world meaning. Though we are essentially arguing against the conclusion Limbaugh and his judicial predecessors draw from this fact (and it is worth noting that much player-to-player communication does not serve so strictly to further the game as in the examples above),10 EverQuest‘s design has a powerful structuring impact on the interaction of the players and their experience of playing the game. But an awareness that players engage in a specialized kind of discourse that derives from the conditions of the game in which they are involved doesn’t close the door on an expressivist argument. While the interactions surrounding games of bridge, soccer, or EverQuest may share a structural similarity in that they are primarily instrumental, the fact that those specialized modes of discourse are so closely tied to their associated games suggests that those discourses can be reasonably distinguished from one another. That is, we do not follow the court’s assumption that communication “singularly in furtherance of the game” is necessarily “divorced from a purpose of expressing ideas, impressions, feelings, or information unrelated to the game itself.” Rather the specificity of the discursive exchange surrounding activities like games carries with it the means by which one can interpret the way a particular game structures the experience of its players: the discursive exchange signifies. By arguing that the game-like elements of EverQuest do not limit or confound those elements of the game that mark it more visibly as a mode of expression, we are in essence arguing that those things that make EverQuest a game can be interpreted, and that in so doing we can develop a more complete understanding of how a video game might in fact express “ideas, impressions, feelings, or information unrelated to the game itself.”

     

    In what follows, then, we focus extensively on the interaction between the rules and practices of the game and the in-game interactions that those structural elements inspire. In the case of EverQuest, the rules of the game emphasize two major ideas that establish the structure of relationships between the players in ways that, as we will argue, centrally shape an understanding of the game’s place as a medium of cultural expression. The first of these ideas involves a push for the integration of the character within local groups, required by virtue of the obstacles EverQuest creates between players and the goals of the game, and by the nature of the game world’s geography and characters–a practice that in the game goes by the term “grouping.” The second involves the production of what EverQuest designers and players term “balance”–an ongoing effort to ensure that all characters of equivalent experience are equally powerful and have the same ability to advance.

    Grouping and Community Formation

     

    The creation of local group identifications within EverQuest represents a particular way of modulating the “massively multiplayer” experience that defines it. While the special appeal of EverQuest (and the cornerstone of its marketing) is the large player population that can interact within the game, much about the structure of the game itself encourages characters to develop a sense of distinction and to feel a part of smaller communities within the game. One of the most basic ways in which this happens derives from the fact that the game is conceived geographically. The action in EverQuest takes place within a virtual geographic space divided into connected but discrete “zones” that are modeled to represent a variety of external and interior locales.11 While players can communicate with players in other zones, it is only with players located near a character in the imagined space of the game world that characters can engage in more complex interactions or work to pursue the goals of the game (that is, defeating enemies, gaining wealth or equipment for one’s character). While the creation of a virtual space for the game may seem like an obvious approach for an interactive game, such a decision carries with it a variety of implications related to the interaction of space and personal interaction.

     

    For instance, when a player creates a new EverQuest character, he or she chooses a “race” for that character (from a variety of Tolkien-esque choices including Elves, Dwarves, and Halflings) that also determines where in the EverQuest world that character will begin play.12 Without assistance from other players, beginning characters will not be able to travel far from their starting locations, so characters tend to spend much of their early careers near their home city in the company of other characters of the same race.13 As a result of the game’s efforts to enforce these geographic limitations, players cannot help but encounter and become familiar early on with characters of their own race near their “home” town, thereby encouraging from the beginning of the player’s experience a sense of locality and distinction within an online community of players defined by its vastness.14

     

    In addition to the effects of the geographic nature of the EverQuest world, the way the game structures its goals directs the characters to form a variety of formal and informal groups in order to progress. At the smallest scale, the design of the game nearly requires that players band together in order to venture into areas of the game world that would be too dangerous to traverse alone, but which players must enter in order to develop their character’s skills and to gain wealth or equipment. It is as a part of these groups that most players engage in the central activities of the game. These groups may be impromptu gatherings of players who are all interested in exploring the same area or pre-planned groups of players who know each other from previous experience in the game or friendships outside EverQuest. Because obtaining power and wealth in EverQuest requires killing monsters, players will gather at known “camps,” and the vast majority of these camps require groups, either by virtue of the relative strength of the monsters that appear there or the rate at which they “spawn” in the game world. This structural encouragement to group increases exponentially as characters become more powerful, with many high-level encounters (at which players may acquire the most powerful and valuable items in the game) requiring the presence not only of one or two groups (each group with a maximum of six people) but of as many as thirty or forty players. These large group endeavors are undertaken by “guilds,” long-standing formal associations of players who agree to cooperate in all manner of in-game activities.

     

    The structure of the game in a variety of ways thus encourages people to find smaller communities, conceived either in response to local proximity within the imagined space of the game or to the difficulty of the challenges the game presents to its players. EverQuest therefore ought to be considered not simply in terms of the numbers of people who are able to play the game together simultaneously, but also by the degree to which those people all experience the game as part of smaller, more local communities. For instance: 100,000 people playing simultaneously will be divided into forty-eight servers with around 2,000 to 3,000 players each, further divided into geographic “zones” containing as many as 100 people, many of whom have organized themselves into groups composed of two to six individuals. While this description does not make EverQuest “about” the creation of local community in the explicit way a film could be, the game’s structure nonetheless leads players to experience a necessity for organization at various scales and gives them the chance to identify that imperative consciously or unconsciously. Though we are attempting to argue for the meaning of games as a medium apart from film, it is an instructive analogy to suggest that if a film can convey an experience of forming local communities through its visual depiction of characters and events, then EverQuest can be said to communicate these concepts through its depiction of such activities on the computer screen and through the processes of actually playing the game of EverQuest, bound by its design and its rules.15 This structural analysis of EverQuest, in which one sees and reads aspects of the game that are like “grouping,” might be thought of therefore as an attempt to develop a “grammar” for the game, an understanding not so much of its specific expressions but rather of the modes through which those expressions articulate themselves.

     

    Balance, Homogeneity, and Alienation

     

    While community formation is an important underlying theme implied by the rules of EverQuest, “game balance” remains the concept most explicitly central to the design of the game’s rules. EverQuest gives players a wide variety of choices in the design of the character they will play in the game. In addition to the aforementioned choice of character race, players assign their characters a “class” or profession (classes include Warriors, Wizards, Rogues, and Druids) that defines the character’s skills. Additionally, players may assign their characters physical and mental attributes, choosing to develop a character that is physically strong, agile, highly intelligent, or some combination of those traits.

     

    Bounding all of the diversity of these decisions, however, is an explicit assurance that each of the individual races and classes “balance” in terms of their effectiveness in the game. While certain combinations may provide a short-term advantage–physically strong races such as Barbarians or Ogres will start the game as particularly effective warriors–the game is designed so that these initial differences can be erased (largely through the purchase of equipment) as the player progresses through the game; in other words, the game effectively promises that no class will, in the long run, outshine its peers in terms of power or ability.

     

    No concept contributes more visibly to the discussion of what EverQuest is and how it should work than the idea of balance; in message board discussions by fans and official communiqués from the Verant Interactive team, “balance” dominates the continued development of the game. Because it is relatively difficult for the creators of EverQuest to predict the effect of specific game rules on the dynamics of game play, EverQuest is designed to be continuously altered and updated. Periodically, players must download updates of the game software that alter the rules of the game in various ways, making certain pieces of equipment more or less powerful, or adding to a class’s ability to perform magic or heal injuries. The overwhelming majority of these changes expressly address the issue of balance, correcting some perceived weakness or strength of a class relative to all others.16

     

    This premise is repeated by the conditions in which the character starts, outside the race’s home city, with the same rudimentary equipment as any other character of the same class, and, like all other new characters, with no money. While it seems reasonable enough to have characters start from the same position, this is in no way mandatory or even conventional for some of the sub-genres from which EverQuest borrows. Characters in other video role-playing games, as well as pen and paper role-playing games like Dungeons & Dragons, can start with much greater differentiation both in terms of physical and mental abilities and in terms of initial wealth, allowing the game to model the advantages of class privilege or genetic predisposition. As the EverQuest player begins play, the pronounced equality of the character’s starting situation translates the structural concept of balance into the played experience of potential or opportunity. Though EverQuest‘s goals are open-ended, its players’ most consistent long-term project requires developing a character’s abilities, enabling the character to explore the game world more extensively and to obtain items that both enhance the character’s powers and serve as a mark of status. In this context, the assurance of balance and the equality of starting condition situate characters within an apparently neutral conception of personal achievement based solely on perseverance and effort.

     

    Through “balance,” then, the game conveys a set of ideas about identity, community, and time that are central to the game’s participation in a broader cultural expression. By effectively creating a situation in which everyone is “equal” in game terms–and by making that situation a stated goal of the software development–the makers of EverQuest establish a framework that echoes an idealized vision of American, and more broadly capitalist, culture; in turn, the player community’s visceral investment in “balance” as a game concept points to the ideological drive towards not simply a form of consumerist “choice” but rather more deeply held ideas about the kind of world players want to “live” and play in.17

     

    The disjunction between the game’s combination of a character system based on idealized equality and the high fantasy setting of the game’s imagined world produces a deep and revealing irony. The latter carries with it a generic tradition of heroic individualism: characters in popular fantasy novels, as well as characters played in sessions of Dungeons & Dragons or single-player computer fantasy role-playing games, are almost inevitably depicted as uniquely heroic. Whether born with some special gift or fated to play a pivotal role in their fictive world, these characters do things that no others could do, confirming their distinction from the ordinary with their dramatic, singular achievements. But in order for EverQuest to allow all of its players the chance to assume this kind of heroic role, it must ensure that all players have the same opportunities for heroism. This is the logic behind the game’s insistence on “balance,” but of course it has the paradoxical effect of eliminating the possibility of uniquely talented, exceptional heroes who might play a one-of-a-kind role in the unfolding of the game world’s history. Thus, the promise of developing one’s character to greater and greater power, defeating ever more powerful enemies and acquiring greater wealth, is always undercut by the knowledge that there are in the world other heroes exactly as powerful as your character and a host of other characters who will be in time.

     

    The drive towards balance and homogeneity means that the only distinction between any two characters in EverQuest can be understood simply as a difference in time. Because of balance, the external limiting factor on a character’s success is the amount of time it is played: today’s brand-new character can, within a year or so, be as powerful as any other character. One of the effects of this structure is to inspire many players to focus intensely on “the furtherance of the game” so as to translate their playing time into as much character advancement as possible–and since advancement is always possible, no structural feature of the game itself offers players a reason to ever stop playing. Understanding the structural relationship between time and game balance emphasizes the usefulness of reading the game elements of EverQuest, since doing so demonstrates one of the ways that the game encourages players to focus on the furtherance of the game in preference to either the development of narrative18 or even the types of less-directed online interaction (via the Web, chat rooms, message boards, and so on) that have garnered more academic attention than have video games themselves. Indeed, as the players interact, kill things, advance their characters, and organize themselves into imagined communities, it may be that they experience little that is narrative at all.

     

    The phrase “imagined communities” belongs, of course, to Benedict Anderson, who uses it to describe the processes that undergird modern nation-formation: that series of cultural and political developments–particularly the development of print capitalism as expressed in the widespread availability of the modern novel and newspapers–that linked disparate individuals to “socioscapes” providing a shared sense of time and space, a “deep, horizontal comradeship” (7).19 While such a concept might have a limited application to the sense in which EverQuest creates online communities of players, we want to bring a more developed version of Anderson’s ideas about community and the socioscape to bear on the way EverQuest structures its players’ relationships to time and identity regardless of the relation of those relationships to actual circumstance outside the game because, as Anderson notes, “communities are to be distinguished, not by their falsity/genuineness, but by the style in which they are imagined” (6).

     

    For Anderson, the time of the imagined community of the nation is “based on a conception of ‘meanwhile,’” a neutral temporality that a citizen might imagine sharing with his or her unseen fellow countrymen. As Anderson writes of two theoretical characters, A and D:

     

    What then actually links A to D? First, that they are embedded in "societies" [...]. These societies are sociological entities of such firm and stable reality that their members (A and D) can even be described as passing each other on the street, without ever becoming acquainted, and still be connected. (25)

     

     

    In the context of a cultural sense of “meanwhile,” citizens can imagine the simultaneous participation of thousands of other unseen citizens; a temporal common ground comes to replace the geographical proximity that united premodern, pre-national communities, as citizens imagine themselves in relation to a series of anonymous others to whom they are tied through affiliation, not filiation proper.

     

    Anderson’s interest in the novel as a cultural form is based on key formal elements of the novel that encourage and illustrate the kind of thinking that makes imagining national community possible. In particular, he argues, the structure of the novel conditions its readers to accept an understanding of social activity as embedded in a free-flowing, neutral temporality that Walter Benjamin describes as “homogenous, empty time.” The novel’s contribution to the cultural development of nationalism thus derives not from its specific plots or characters, but rather from its ability to schematize the relationship between time, space, and community that induces affiliation with anonymous others.

     

    Anderson’s reading of the novel’s formal and temporal structure makes his observations useful for a reading of EverQuest without forcing an equation between computer games and novels. By abstracting the premise of Anderson’s observation, we have a way to pursue a reading of how a game might be able to reflect and shape its culture despite the fact that it lacks those elements–narrative, literary or filmic symbolism, allegory–that seem to be prerequisites for consideration under legal or academic tests of expression. The arrangement of characters, space, and temporality in EverQuest creates a substantive instance of an Andersonian socioscape, the imagined framework of social organization in time and space shared by the fictional narrative and the real world of the reader.20 This is especially important to the way EverQuest structures character development and relationships around time. Because game balance creates a situation in which the primary goal of character development depends almost exclusively on the amount of time played, EverQuest presents its players with “homogeneous, empty time” taken up only by segments of the character’s theoretically infinite progression. Similarly, the distinction between characters of varied levels of power is rendered, in large part, as a difference of time. Especially powerful characters are the object of envy or admiration from other players, but the temporal basis of characters’ power always allows a lower-level character to imagine that he or she could at some future moment be as powerful as any other character on the server. No EverQuest character can be so singled out by fate or circumstance that it could present a unique and unrepeatable model of heroism. Meanwhile, the promise of game balance assures any player with a low-level character that his or her character’s rise to the highest levels of development will be just as easy or difficult as it was for the more powerful character that preceded it. This evokes a temporal frame in which characters are to some extent earlier or later versions of each other, at different points in the same progression.

     

    All of this happens within the temporality of EverQuest‘s “persistent world”–a term used in EverQuest and similar online multiplayer role-playing games to denote the fact that time passes in the game world no matter how many players happen to be online. Thus, during the time that a player is not playing EverQuest, thousands of players are online, exploring areas, gaining virtual wealth, and developing the power of their characters. A player might return after a week’s hiatus to find that another player’s character has in the interim changed considerably, had any number of adventures, and relocated to a distant part of the game world.

     

    We see in this a remarkable manifestation of the temporal logic expressed or implied by certain novels, films, and especially television series in which it seems as if the viewer is stopping in periodically to look at an ongoing timeline of events. While this impression is a narrative illusion in the case of a weekly television series (it would be difficult to argue that the characters in ER are doing anything between the times depicted by the show), in the case of EverQuest it is essentially true that the game-time does keep moving when an individual player is not playing.

     

    EverQuest‘s persistence is thus a temporal persistence, deepening the player’s experience of a temporality so “empty” that it proceeds unaltered by the player’s presence or absence within the game. Indeed, the player knows whether or not he or she is playing, but the game-time of EverQuest does not honor that distinction for any individual player. More than the overwhelming scale of the online population or geographic separation, the temporality of EverQuest offers the player the very real potential of an existential alienation: one’s participation in the game forces one to confront the fact of a virtually global indifference. This is true both while playing the game, as players feel an obligation to use their time to develop their characters, and especially while not playing, as EverQuest players experience a very literal form of alienation, entirely removed from the still-active game world while it continues without them.

     

    Balance and Grouping: the Dialectics of Online Community

     

    This powerful form of alienation is absolutely central to the experience of EverQuest, as it provides the dynamic tension for the game’s push toward grouping. In the context of a fictional construction in which a player is always missing something when not playing, the formation of group-based identities provides the consolation that the player will be missed in return. The importance of limited communities as a resistance to the game’s threat of alienation is thus repeated in the way it modulates the player’s development in the context of game balance.

     

    In the absence of uniquely heroic characters, the formation of smaller communities within EverQuest provides at least partial resistance to the homogenization of identity, as interaction within these groups interrupts both the equality of characters and uninterrupted flow of time that provides the medium of that equality. At the smallest scale, for example, characters in adventuring groups rely heavily on each other’s abilities to defeat enemies and avoid being killed. This provides a context in which players can focus intently on their own activities and accomplishments and provide each other with an audience prepared to appreciate each character’s vital contributions to the group. The structure of the group simultaneously highlights the capabilities and usefulness of its characters and provides a more limited context in which a player can measure his or her character’s abilities. Additionally, as the group discusses its strategies and recalls its successes and failures, the players layer a narrative structure over the time they spend together, shaping and distinguishing a segment of EverQuest‘s otherwise empty time.

     

    One might argue, then, that EverQuest allows its players, indeed encourages them, to seek community in the face of a spatial and above all temporal vastness that threatens their character with dismaying anonymity. But at the same time, it must be noted that the game is as responsible for providing its players with the alienating temporal/spatial structure as it is for providing them with the means by which to resist or avoid it. This opposition or bind between alienation and community is the central effect of the game elements on the players’ experience of EverQuest; that is, the relation between these two fundamental structures in the game establishes, dialectically, both the reason to avoid playing the game (the alienating, temporal vastness of unheroic indifference) and the reason that the game is so compelling to play (the opportunity to overcome that vastness and indifference through community formation).

     

    A more thorough analysis of EverQuest would have to explain why designers engineered this bind at the core of the game, and perhaps more importantly, why players find the experience so compelling. For instance, one could ask whether EverQuest‘s homogenous time is compelling because it creates a bridge for players, matching the in-game experience of social time to players’ sense of time in the world around them, thereby producing a subtle but compelling reality-effect that undergirds the game’s otherwise fantastic setting. Or one could ask whether the representation of an “empty, homogenous” temporal structure exists only to create the dynamic of its resistance through the formation of small communities and whether players accept the threat of alienation because it raises the stakes for the pleasure derived from the formation of community within the game (much in the way that the prospects of loss create the thrill of gambling). In either case, there remain questions as to the tenor of the game’s central tension. Does the formation of community in the face of alienation offer a cultural critique, modeling social practices that offer solutions to the dilemmas of time conceived under national and/or capitalistic cultures? Or does the game’s simulation offer a false confirmation of community, defusing players’ frustration with the very sense of social dislocation in the real world that drives them to find virtual community online?

     

    The goal of this essay is not to answer these specific questions, but to illustrate the way we might read the specificity of the video game form by concentrating on formal elements that distinguish these games from other expressive media. This avoids the temptation to subsume the computer game form under a generalized conception of “texts” or “culture” and accommodates the unexpected paths a game like EverQuest might take to intelligibility.

     

    The fact that EverQuest is played online, over the Internet, clearly makes possible many of the structural qualities (continuous time, for instance) we have been discussing. Our discussion of the game, and of Anderson’s Imagined Communities, has yet to substantially address the implications of EverQuest‘s community formation for theories of citizenship and identity that see the Internet as a potentially revolutionary, or at least historically significant, development in the possibilities of political being. While we are sympathetic to the argument, our reading of EverQuest–arguably one of the most complex forms of interaction on the Internet today–suggests that the political question is complicated. Though some elements of the game may well be pushing players towards new forms of experience and identification, the political value of those forms remains difficult to parse.

     

    In a recent essay published as part of a special section in PMLA on “Mobile Citizens, Media States,” Mark Poster offers a replacement for the term “citizen”–the neologism “netizen,” to denote what he calls “the formative figure in a new kind of political relation, one that shares allegiance to the nation with allegiance to the Internet and to the planetary political spaces it inaugurates” (101). Though we agree with Poster that “certain structural features of the Internet encourage, promote, or at least allow exchanges across national borders” (101)–and believe that EverQuest is one of those features–the kind of political relation EverQuest‘s players are involved in, or rather, the kinds of communities that the game structurally encourages them to form, nonetheless remain readable within a framework that resembles the one Anderson uses for the modern novel (even if, as we have argued, there is no easy formal equivalence between video games and literature). That is, though the communities EverQuest forms (or encourages players to conceive and form) may well be “new,” the difference that newness makes may simply be a difference we already know.

     

    Poster dismisses comparisons between forms, arguing that the difference between the novel and digital media is one of kind, not degree; he writes that “a novel does not constitute subjects in the same manner as a digitized narrative inscribed in the Internet” and adds that “humanists too often diminish the cultural significance of technological innovations” (102). While we have been insisting on the importance of understanding video games (and by extension, the technological innovations that produce them) as culturally significant, our reading of EverQuest suggests that in at least one important instance the innovation in form might not immediately produce utopian forms of citizenship or cultural experience–or rather, that it may not create forms of citizenship that cannot be created by novels or films. By virtue of its position as (one of) the most extensively structured and complex forms of Internet experience, EverQuest seems to present, if nothing else, a substantial obstacle to Poster’s claim that what is “new” about new forms translates into something as radical as “bringing forth […] a humanity adhering not to nature but to machines” (103).

     

    Poster argues that the Internet may introduce “new postnational political forms because of its internal architecture; its new register of time and space; its new relation of human being to machine, of body to mind; its new imaginary; and its new articulation between culture and reality” (103). Certainly EverQuest players experience their communities transnationally and outside traditional forms of the local–there are large numbers of players in Western Europe and in East Asia (especially Japan, Korea, and Hong Kong). But as we have shown, the political forms suggested by the game’s complex register of time and space are, for all that, not necessarily different than ones we already know. Though players may identify with a transnational EverQuest community at the expense of their local political districts, they do so within a space that is busy constituting them in terms that are recognizably political and national themselves (the drive towards “balance” draws, for instance, upon a very clearly American ideology about equality and opportunity, one likely to support bootstrapping over the welfare state). Though the “digitized narrative” and form of EverQuest do not “constitute subjects in the same manner” as a novel, the game nonetheless seems capable of producing political identities and experiences of time and space that resemble those that novels can produce–even as it puts its players in a complex and addictive bind. To say this is not to dismiss the Internet’s potential, nor is it to deny the possibility that new identities might be created there. What the EverQuest example suggests, however, is that liberating possibilities do not inhere in digital forms, but rather develop out of the uses to which they are put.

     

    In a review essay of Poster’s “Digital Networks and Citizenship” published as part of that same PMLA section, N. Katherine Hayles argues for the seriated (rather than absolute) nature and value of technological change and its effects on individual experience, suggesting that there exists a more general “cultural heterogeneity, in which older cultural formations exist side by side with the technologies that are supposedly rendering them obsolete” (119). The word “supposedly” is vital here, as it suggests that the perception of obsolescence is simply an effect of (and coming to terms with) technological change. Obsolescence in such a scenario figures a more general acceptance of and discomfort with the passage of time, the moving of the future into the present, and the present into the past. One might say the same thing about the perception of “newness,” particularly as it gets described as utopian (as is Poster’s view) or dystopian (as in the many critiques of the Internet’s effect on local communities, or on video games’ effect on “genuine” human interaction): it is an effect of coming to terms with technological change that insists on absolute differences between the present and the past and which, in doing so, forgets that such change will probably “take shape as it has in the past, as heterogeneous striations overlapping and interpenetrating areas of innovation and replication” (Hayles 119).21 Cultural change–and political value–articulates itself at different rates, even in the same object.

     

    EverQuest, we have been arguing, is one such object. And its striations are multiple: formally, it juxtaposes a highly visible form of technology as technology with a much older, seemingly non-technological form of entertainment (most elegantly articulated in the divide between video or computer and game); it brings together an emphasis on text-based communication (between the game world and players, and between players themselves) with explicitly filmic codes that allow for viewing in-game action through a number of different “cameras” or “views”; it mediates its broadly transnational community of players through divisions into smaller, local communities defined by either “geographic,” “ethnic,” or goal-oriented affiliations (that is, groups or guilds); it unites seemingly new experiences of both space and time with older notions (as Anderson describes them) of what those experiences ought to mean; and it establishes at its most fundamental structural levels an unresolved tension between the formation of community and a powerful experience of cultural alienation.

     

    As we have suggested all along, only by remaining aware of the productive interactions of these differences (beginning with the basic difference between “film” and “game” at the heart of Interactive Digital v. St. Louis County) does such a reading of EverQuest become possible. This is not to deny the utility or value of other kinds of readings–one could read the game purely in terms of its narratives, or its production of identification, or the sociological makeup of its players (their gender, their race, their class, their sexuality, their politics)–but rather to suggest that converting new media to textual or other analogous forms is not the only way to read. Within the terms laid out by the discipline of English as it currently exists in the American academy, one can take seriously the “game” in “video game” and still claim it as readable within a framework of (con)textual practices with which we are familiar. Such a reading–and readings of cultural practices like games more generally–will always tend towards the ideological, as readers will inevitably want to evaluate how that practice makes people act (in the “real” world) in political terms. But the material here can be read in multiple ways, and one of our goals has been to suggest that the complexity of a game like EverQuest requires a specific and careful analysis (which is why we have left open the question of whether it does “good” or “bad” work, in political terms, to the people who play it). Beyond that general proposition, however, the goal here has been to illustrate through the reading of EverQuest not simply the degree to which it represents and/or shapes the real experience of hundreds of thousands of players, but also to suggest that those representations (and the structures that make them possible) constitute an important site for the articulation and experience of cultural and political value, of broader understandings of communities and what they mean, of time and its relation to individual lives, and of one especially compelling form of alienation and its endlessly present solution. That our structural reading of EverQuest can be turned to make an argument about the uneven development of new media and technologies in the digital age, we take simply as evidence that video games are (and are readable as) culturally significant sites of the production and reception of capital, identity, and their pleasures.

     

    Notes

     

    1. In 1952, the Supreme Court had already written that “it cannot be doubted that motion pictures are a significant medium for the communication of ideas” (Burstyn v. Wilson); the decision, however, extended only limited First Amendment protection to film. Film censorship lasted slightly longer–the last censorship board in the United States closed its doors in 1993, some seventy-seven years after the Supreme Court’s first review of film’s status as film.

     

    2. At least legally–the academic place of television studies is marginal in comparison to film and literature.

     

    3. Other cases include Malden Amusement Co. v. City of Malden (1983); Tommy & Tina, Inc. v. Department of Consumer Affairs, (1983); Kaye v. Planning & Zoning Comm’n (1983); Caswell v. Licensing Comm’n (1983).

     

    4. Avant-garde work in any of these media is excepted from these definitions, as Jesper Juul notes.

     

    5. At some basic level, of course, even the simplest video games express ideas and tell stories: Pac-Man tells the story of a brave circular creature chased by evil ghosts; the arrival of Ms. Pac-Man places the characters of both games within an easily recognizable conventional narrative. This may well be said to express the idea that heterosexual marriage, even for non-humanoid creatures whose major form of existence is to be chased through mazes, is the end-point of all play. But in something like Privateer 2–which includes cut-scenes, dialogue, and a large backstory involving one character’s mysterious parentage–narrative elements are much more visible as such to an “average” reader.

     

    6. The ratings systems used for video games specify that to be considered “violent” the game must include violence done to humans or human-like creatures; in such a scenario Pac-Man is not “violent” even though it involves “eating” ghosts. This seems to require recognizing that video games can have “content,” though Limbaugh disagrees.

     

    7. Neither, for that matter, are books or films.

     

    8. At $12 per month each, EverQuest‘s 430,000 players generate some $62 million in annual revenue.

     

    9. No matter which server a player chooses to play on, they will encounter exactly the same geography and computer-controlled monsters. However, players can only encounter other players who are on that same server.

     

    10. Players tell jokes, discuss their (real-life) social situations, politics, and sports, or gossip about other players in both private discussions and larger groups; none of these furthers the game, strictly conceived. Or, if one adopts a broader view of what a “game” is and does–if one imagines that games exist for social reasons furthered by phatic communication–then such communication does indeed further those purposes. The fact that EverQuest players simply cannot have such discussions unless they are actively within the game world, unless they are connected to the Internet and running the EverQuest software, suggests something of the need to more broadly consider what the “furtherance” of the game means in this case.

     

    11. For instance: cities, open plains, dungeons, mountainous regions, deserts, and the like.

     

    12. Each player is allowed to create up to eight characters to play on any of the EverQuest servers. It is very common for players to alternate their gaming sessions between one or more characters, and players will often create extra characters in order to experience the geography and “culture” of a different region of the game world.

     

    13. Or similar races: home cities for “good” races like dwarves and elves are near each other, but far from home cities of such “evil” races as trolls and ogres. Recent changes in the game’s structure, through an optional software expansion known as “Planes of Power,” have given low-level characters a much higher degree of mobility.

     

    14. The sense of community encouraged by the geographic division of the game space is often very persistent. It is a common for players to recognize each other’s characters from their early days and hail each other as old friends might. Thus, for instance two players playing Wood Elf characters might express a sense of expatriate community upon encountering each other in a distant city that is home to Halflings.

     

    15. To be sure, it is possible to play EverQuest idiosyncratically–refusing to group or communicate with other players, or to otherwise advance a character. One could, of course, do the same in other games; a soccer player who insisted on always heading the ball rather than kicking it might achieve some personal pleasure at the cost of team success. But EverQuest, like soccer, will not reward idiosyncratic players in the game’s terms.

     

    16. It is worth noting that these changes are generally called for by the community of players. In general, players seem to accept the concept of balance enthusiastically; some portion of the agitation for game changes in the name of balance, however, simply conceals lobbying efforts to increase the ability of players’ own preferred character types.

     

    17. In fact, on the face of things, it is not clear why “balance” would be a problem–if warriors are more efficient or fun to play than wizards, a purely consumerist chooser would play a warrior every time. But players on message boards not only articulate their insistence on playing a certain class (combined with a directive to Verant Interactive to balance the class fairly) but also a refusal to play other classes that they feel uncomfortable with. What the players therefore want is the opportunity to make a “choice” that does not have to be based on in-game efficiency but can stem from other (cultural, emotional) factors.

     

    18. The structure of such a feature can be translated, to be sure, into narrative terms (the game is, in some conceptions, a “neverending” story), but it seems to us that such a reading might make the structural importance of “balance” harder rather than easier to see, while a reckoning with EverQuest as a game brings it into relief.

     

    19. As Anderson notes in his preface to the second edition of Imagined Communities, the original edition deals primarily with the problem of time; the second edition (1990) adds a chapter on space and “mapping” (xiv).

     

    20. In an essay offering a revision and extension of Anderson’s “socioscape” designed to remark the degree to which the imagination, in late capitalism, functions as a “social practice,” Arjun Appadurai writes that “the imagination has become […] a form of work […] and a form of negotiation between sites of agency (‘individuals’) and globally defined fields of possibility” (327). In Appadurai’s terms, EverQuest occurs at an especially intense node of the global “mediascape” (it is, after all, owned by Sony) but, by virtue of the kind of world it invites players to spend time in, maps that mediascape onto a landscape involving ideologies, technologies, and the flow of money.

     

    21. Hayles thus insists that striation is not so much a new condition as one which new situations make easier to see. In How We Became Posthuman, Hayles argues against the idea that the digital age is creating an entirely new type of human and destroying the older, Cartesian model, that the “becoming” in question has been ongoing and diachronic rather than the product of any recent, synchronic break in the fabric of human experience (283-91).

     

    Works Cited

     

    • American Amusement Mach. Ass’n v. Kendrick. 244 F.3d 572 (7th Cir. 2001).
    • America’s Best Family Showplace Corp. v. City of New York. 536 F. Supp. 170, 173-174 (E.D.N.Y. 1982).
    • Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. New York: Verso, 1991.
    • Appadurai, Arjun. “Disjuncture and Difference in the Global Economy.” The Post-colonial Studies Reader. Eds. Bill Ashcroft, Gareth Griffiths, and Helen Tiffin. London: Routledge, 1995. 324-339.
    • Au, Wagner James. “Playing Games With Free Speech.” Salon.com < http://archive.salon.com/tech/feature/2002/05/06/games_as_speech/>. 22 Aug. 2002.
    • Joseph Burstyn, Inc. v. Wilson, 343 U.S. 495, 502-503 (1952).
    • Caswell v. Licensing Comm’n. 444 N.E.2d 922 (Mass. 1983).
    • EverQuest. Computer software. Verant Interactive, 1999.
    • Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: U of Chicago P, 1999.
    • —-. “The Complexities of Seriation.” PMLA 117:1 (January 2002): 117-21.
    • Interactive Digital Software Ass’n v. St. Louis County. 200 F.Supp.2d 1126 (E.D. Mo. 2002).
    • Juul, Jesper. “Games Telling Stories? A Brief Note on Games and Narratives.” Game Studies 1:1. < http://www.gamestudies.org/0101/juul-gts/>. 22 Aug. 2002.
    • Kaye v. Planning & Zoning Comm’n. 472 A.2d 809 (Conn. Super. Ct. 1983).
    • Malden Amusement Co. v. City of Malden. 582 F. Supp. 297 (D. Mass. 1983).
    • Mutual Film Corp. v. Industrial Comm’n. 236 U.S. 230, 244 (1915).
    • New York v. Ferber. 458 U.S. 747, 771 (1982).
    • Poster, Mark. “Digital Networks and Citizenship.” PMLA 117:1 (January 2002): 98-103.
    • Tommy & Tina, Inc. v. Department of Consumer Affairs. 459 N.Y.S.2d 220, 227 (N.Y. Sup. Ct.), aff’d on other grounds, 464 N.Y.S.2d 132 (N.Y. App. Div. 1983.
    • Rothner v. Chicago. 929 F.2d 297, 303 (7th Cir. 1991).

     

  • From Advertising to the Avant-Garde: Rethinking the Invention of Collage

    David Banash

    Department of English
    Western Illinois University
    D-Banash@wiu.edu

     

    I see no reason why the artistic world can’t absolutely merge with Madison Avenue

     

    –William S. Burroughs (“Art of Fiction” 29)

     

    Cutting Up Consumer Culture: “Big Daddy”

     

    In her article “The Invention of Collage,” Marjorie Perloff begins the story of collage at what she considers its end, a playful and private work created by her own children. Nancy and Carey Perloff have cut up newspapers and magazines to create a sentimental birthday card for their father, “Big Daddy” (see Figure 1).

     

     
    Figure 1: Nancy and Carey Perloff, Birthday Collage for Daddy
    (Perloff 5)
    (Click image for larger version)

     

    This collage has been made by taking ready-made texts and images and reassembling the fragments into a new composition; in both its private context and its sentimental application, it calls to mind a long tradition of homespun collage creations that date back centuries but are most commonly found in the domestic scrapbooks and novelty creations of thousands of anonymous collagists of the nineteenth century. These works of folk art, rarely displayed and almost always made for private use and pleasure, were created out of whatever material was at hand–photographs, stamps, illustrations and text from books, newspapers, or other printed matter. In “Big Daddy,” according to Perloff, “the pleasure and fun for both the collage makers and for the recipient arise from the realization that items already in print–found objects, as it were–can be spliced and recombined so as to transfer reference from the impersonal to the personal domain” (6). Perloff’s observation is readily confirmed if one remembers at least one version of the Dadaist inspiration for collage at the beginning of the century:

     

    [Raoul Hausmann] asserts that the germ of the idea was planted while he and Hannah Höch were on holiday in the summer of 1918 on the Baltic coast, where they saw in almost every house a framed coloured lithograph with the image of a soldier against a background of barracks. “To make this military memento more personal, a photographic portrait had been stuck on in the place of the head.” (Ades 19)

     

    The family of a soldier pasting in the picture of their own son’s face over the anonymous image on the patriotic, illustrated postcards of the time performs the public-to-private transformation that Perloff identifies in “Big Daddy.” However, the Dadaists saw this as more than a one-way street. The patriotic postcard could not be a more literal expression of ideological interpolation, as the individual is literally inserted into an abstract image of official patriotism. Yet the Dadaists also recognized the power of such cut-and-paste techniques to challenge the very forces which in this case it served.

     

    There is a strange, one-way logic to Perloff’s playful evocation of her own family’s private use of collage. She concludes her survey of collage, which concentrates almost exclusively on avant-garde works, with the following statement:

     

    Indeed, to collage elements from impersonal, external sources–the newspaper, magazines, television, billboards–as did my daughters in their birthday collage is, as it were, to establish continuity between one’s own private universe and the world outside, to make from what is already there something that is one’s own. (43)

     

    While Perloff is certainly right that making such ready-made elements something of one’s own is an important part of the collage impulse, she nonetheless presents it as a process in which the artistic act of appropriation completely transforms the materials that the artist has chosen to cut up. She does not, for instance, suggest that the materials her daughters have chosen are primarily propaganda for an abstract notion of the California Lifestyle: “‘The Best of the Beaches’ is removed from its Sunday Supplement context [. . . ] to poke gentle fun at Daddy’s chauvinistic enthusiasm for the California he had just moved to after years in the cold grey east” (6). Far from being turned into some completely personal artifact, these choices might just as well reveal the way such commercial images and ideologies have penetrated the private, domestic space of the family, even becoming a means to express affection itself through ready-made images. Indeed, what is most striking about “Big Daddy” as a collage is that all of its elements are of purely commercial origins. Perloff’s analysis is of a piece with the critical tendency in discussions of collage to insist, emphatically, that the technique is itself almost a guarantee of a critical position, but in the celebratory images and exclamations of this work such a critical posture is not quite so obvious.

     
    Like critics such as David Antin, Gregory Ulmer, and many others, Perloff locates what is most important about collage, its particular power, in its severing of narrative and syntactic relationships. Unlike traditional modes of narrative and visual art, collage technique is based on radical parataxis. According to Perloff,

     

    collage, even at this rudimentary level [“Big Daddy”], is thus quite unlike traditional modes of discourse, whether verbal or visual. Regarded historically, this “revolution in picture making” as Robert Rosenblum calls it, is the peculiar invention of the first two decades of the twentieth century. (8)

     

    Perloff goes on to identify Picasso and Braque as the real inventors of collage. However, Perloff’s decision to concentrate on the role of these heroic modernists occludes the role of one of the most significant discourses to transform aesthetics and everyday life in the nineteenth and twentieth centuries: the mass media in the form of newspapers and advertising. The very materials that the creators of “Big Daddy” cut up were themselves already cut-ups, paratactic assemblages of ready-made materials. As I will argue at length, collage has deep roots in the rise of mass media and commercial culture that both precede and make possible the avant-garde innovations of modernists and postmodernists. It is the ubiquity of the mass media spectacle and the attendant typographical and visual forms and techniques of advertising that provide the context, inspiration, and technical means for the collage culture of the twentieth century, and thus the very genealogy of collage brings with it not only critical possibilities and formal innovations, but also the problems that animate consumer culture as a whole: reification and alienation in the face of the commodities and ideologies of consumer capitalism.

     

    Rethinking Collage

     

    Critics readily recognize collage as one of the most important techniques of the twentieth century. For Katherine Hoffman, “collage may be seen as a quintessential twentieth-century art form with multiple layers and signposts pointing to a variety of forms and realities and to the possibility or suggestion of countless new realities” (1). Even more emphatically, Ulmer argues that “collage is the single most revolutionary formal innovation in artistic representation to occur in our century” (84). This view is echoed by Jochen Schulte-Sasse in his forward to Peter Bürger’s Theory of the Avant-Garde, where he argues that understanding collage is the key to understanding the most important and radical developments of the historical avant-garde of the twentieth century: “the success of any theory of the avant-garde can be measured by how convincingly it can anchor the avant-garde formal principle of the collage and montage” (xxix). Schulte-Sasse’s association of collage with the historical avant-garde and Ulmer’s assertion that collage carries a revolutionary potential both rest on assumptions about the invention of collage itself. However, the story that art historians usually tell is deeply problematic in the context of modernism’s complex relationship to the emergent mass media.

     
    According to most critics, collage was invented by Georges Braque and Pablo Picasso on the eve of World War I. Picasso’s Still Life with Chair Caning (see Figure 2) is usually put forward as the first true collage, as it incorporates a ready-made oilcloth print of chair caning and a frame made out of a rope. In an encyclopedic study entitled Collage, Herta Wescher examines this work closely:

     

    The first time that some component was ever glued into a Cubist painting was early in 1912, when Pablo Picasso inserted a piece of oilcloth into a still life. The design on the oilcloth was an imitation of chair caning, and Picasso painted wooden strips around it to enhance the illusion of a piece of furniture. Behind it, their planes overlapping in typical Cubist fashion, painted glass, pipe, and newspaper, lemon, and other objects are so crammed together that what strikes the eye is the large and otherwise empty insert of oilcloth, without which the small oval picture, painted in subdued, mat colors and framed with twisted cord, would have little interest. (20)

     

    What is most striking about Picasso’s collage, and Wescher’s reading of it, is not its radical incorporation of ready-made materials, but the formalism. After all, the chair caning that most distinguishes this work as a collage is not itself real caning, but only a manufactured reproduction.

     

     
    Figure 2: Pablo Picasso, Still Life with Chair Caning.
    (Click image for larger version)

     

    The other ready-made element, the rope, serves not as an element of the canvas, but as a frame; this function minimalizes its impact as a collaged element of the picture. It is subtle collages such as this that provide the best evidence to substantiate the claims of formalist critics. The formalist view also best reflects the few comments that both Picasso and Braque made on the subject of collage, and it is perhaps best articulated by Clement Greenberg, for whom the actual particulars of the collaged material were beside the point. From his relentlessly formalist perspective, Greenberg argues that by 1912

     

    the process of flattening seemed inexorable, and it became necessary to emphasize the surface still further in order to prevent it from fusing with the illusion. It was for this reason, and no other that I can see, that in September 1912, Braque took the radical and revolutionary step of pasting actual pieces of imitation woodgrain wallpaper to a drawing paper. (71)

     

    Thus, in Greenberg’s account, the abundant use of facet planes in analytic Cubism threatened the mimetic function of the picture plane: “depicted flatness–that is, the facet-planes–had to be kept separate from literal flatness to permit a minimal illusion of three dimensional space to survive between the two” (69). Collage provided the answer, but it did so only to the extent that the pasted elements thematized the flatness of the canvas or paper itself. The function of the collage elements was completely formal, a technical solution to a technical problem.

     

    That the formalist view of Cubist collage is so widespread is in part due to comments made by Picasso and Braque themselves. For instance, in her Life with Picasso, Françoise Gilot records one of Picasso’s frequently reiterated explanations of Cubist collage:

     

    The purpose of papier collé was to give the idea that different textures can enter into composition to become the reality in the painting that competes with the reality in nature. We tried to get rid of trompe l’oeil to find a trompe-l’esprit. We didn’t any longer want to fool the eye; we wanted to fool the mind. The sheet of newspaper was never used to make a newspaper. It was used to become a bottle or something like that. It was never used literally but always as an element displaced from its habitual meaning into another meaning to produce a shock between the usual definition at the point of departure and its new definition at the point of arrival. (77)

     

    In “The Invention of Collage,” Perloff reproduces the essential details of this story, taking Picasso at his word. She gives little attention to the context of advertising, the rise of the mass media, and the relationship of such popular discourses to the work of collage for the Cubists or later practitioners. For Perloff, collage is essentially another technical innovation which allows the artist to call “into question the representability of the sign” (10). Why collage should emerge during the avant-guerre is far from clear.

     

    If for Greenberg collage is merely a self-referential development which thematizes painting itself, for Perloff collage is simply a formalist device of parataxis which completely transforms its material. As she puts it, “the cutting up and fragmenting of the newspapers forces us to see them as compositional rather than referential entities” (12). In both cases, the invention of collage is an affair of artists, and if it did exist as a response to a changing world there is no suggestion that the rise of advertising and the mass media were themselves a major factor in the appearance of collage on the eve of World War I. In part, this typical conclusion has allowed critics to situate the invention of collage as a sui generis revolutionary moment.
    Just as art historians occlude the role of the mass media, Picasso’s disingenuous claims about the role of ready-made elements in Cubist collage should be taken with more than a grain of salt. For instance, there are numerous collages in which the title includes the word “newspaper,” and the banner of the Paris Journal clearly plays the role of newspaper itself. In essence, the banner must be read as an element of the real rupturing the painter’s presentation of an illusionistic imaginary. Consider Picasso’s Table with Bottle, Wineglass and Newspaper from 1912 (see Figure 3). In this simple collage, it is clear that the fragment of the Journal‘s banner is a part neither of the bottle nor the glass. And while the newspaper is represented through a series of broad, straight lines in the background, this fragment of the banner is the newspaper as well, presented not as an illusion but as the thing in itself. There is no shortage of examples of such literal use of ready-made elements. Whatever claims Picasso may want to make about the role of ready-made elements, in this typical case it is clear that the real has entered the picture plane, and it is doing something more than metonymically becoming something else.

     

     
    Figure 3: Pablo Picasso, Table with Bottle, Wineglass and Newspaper.
    (Click image for larger version)

     

    The very presence of the newspaper in these early Cubist collages is itself a clue to the changes in the relationship between art and the emerging mass media, which Christine Poggi explores in her article “Mallarmé, Picasso, and the Newspaper as Commodity.” According to Poggi, the “eruption of the newspaper fragments within the previously homogeneous and pure domain of painting must be interpreted as a critique of Symbolist ideals and, indeed, of Symbolist theories of representation” (180). For Poggi, the newspaper is the very antithesis of the “autonomous, pure realm of art” (180). Through the medium of the newspaper and advertisements, the space of painting is put in conversation with popular culture in the form of “political and social events, serialized romances, scientific discoveries, advertisements of all kinds, the want ads” (180). However, while Poggi and other critics are quick to investigate the ways Picasso uses this material to initiate a conversation about aesthetics, there is still little sense that this was also a conversation with and about popular culture. Indeed, critics have done little to investigate the ways in which the emerging mass media must surely have been part of what prompted the Cubist invention of collage itself.

     
    If, as I am arguing, the rise of the mass media and the discourse of advertising are major influences in the invention of collage, why should critics consistently avoid a thorough investigation of it? The answer is rooted in the ideologies of high art and avant-gardism which coordinate most discussions of modernism. As Renato Poggioli argues in his seminal book The Theory of the Avant-Garde, antagonism is an essential characteristic of almost all avant-garde movements. For Poggioli, antagonism is “certainly the most noticeable and showy avant-garde posture” (30). Antagonism is essential, argues Poggioli, because

     

    on the one hand, the anarchistic state of mind presupposes the individualistic revolt of the “unique’ against society in the largest sense. On the other, it presupposes solidarity within a society in the restricted sense of that word–that is to say, solidarity within the community of rebels and libertarians. (30)

     

    Though many critics have questioned to what extent the historical avant-garde offered any sort of efficacious or legitimate forms of resistance to dominant cultural norms, few will debate that the rhetorical pose of antagonism–understood as critique of norms and the creation of revolutionary alternatives–has in fact been a defining element of the avant-garde in almost all critical appraisals. Insofar as collage is seen as the most characteristic avant-garde technique, it has been associated with just such resistance. In the introduction to his Faces of Modernity: Avant-garde, Decadence, Kitsch, Matei Calinescu describes the oppositional posture associated with all the movements of modernism: “What we have to deal with here is a major cultural shift from a time-honored aesthetics of permanence, based on a belief in an unchanging and transcendent ideal of beauty, to an aesthetics of transitoriness and immanence, whose central values are change and novelty” (3). Calinescu captures the oppositional values of modernity, and his description is telling insofar as it all but outlines an aesthetic based on the principles of collage. Not only is collage the most innovative form of modernism, it is also an aesthetic defined by its use of ephemeral materials presented tel quel within both visual and literary works–in short, an art defined by the transitory and the immanent.

     
    Critics far more invested in the fine art traditions of high modernism tend to focus on the relationship of radical modernism to fine art traditions rather than social norms and practices broadly understood. Yet, even for such formalist critics the idea of antagonism remains a central tenet of their understanding of the modernist movement. For instance, Clement Greenberg characterizes the invention of collage as a critical moment which turns the means of representation against their own illusions, thus forcing the audience to rethink the very notion of painting itself. Formalist critics tend to limit their investigations to the relation of collage to the hermetic discourse of the fine arts, articulating even collage as a technique hostile to artistic traditions, popular culture, and the advertisers of the mass media. Both socially oriented avant-garde theorists and the more narrow scope of fine art formalists find their synthesis in the work of Peter Bürger. Bürger’s Theory of the Avant-garde also tells the orthodox story of the invention of collage, which he subsumes under the broader category of montage: “montage first emerges in connection with cubism, that movement in modern painting which most consciously destroyed the representational system that had prevailed since the Renaissance” (73). Thus Bürger, like other theorists of the avant-garde, situates collage in the familiar position of oppositional technique. However, like other formalists, Bürger sees collage as an affair of the fine arts, designed to simply shock traditionalists, and, according to Bürger, “nothing loses its effectiveness more quickly than shock, it is a unique experience. As a result of repetition, it changes fundamentally” (81). Thus collage, though initially antithetical to both traditional means of representation and popular culture, is finally a dead-end: “the recipient’s attention no longer turns to a meaning of the work that might be grasped by a reading of its constituent elements, but to the principle of construction” (81). For Bürger, collage fails in just the same ways that he feels the entire avant-garde failed, deteriorating into something much too close to a reactionary “commodity aesthetics” (54). Of course Bürger is writing against the more utopian claims that animate the work of earlier theorists of the avant-garde, especially that of Poggioli and Calinescu. The problem for Bürger is not that the avant-garde did little more than adopt the collage means that already dominated consumer aesthetics of advertising, but that the avant-garde’s critique of art was co-opted into advertising. As I hope to show below, Bürger and others have missed the crucial fact that advertising preceded and informed the avant-garde invention of collage.

     
    For formalist critics and more politically committed theorists of the avant-garde alike, collage is always opposed to whatever it is that the critic considers the dominant mode: collage is a critique of traditional modes of pictorial illusion, collage deconstructs the very concept of the sign itself, and collage is always a liberation. In part, it is this temptation that makes collage so important to theorists of the avant-garde. After all, any avant-garde worthy of the name must present itself in a posture that is oppositional to popular culture. Just as the formalists want to protect Picasso’s invention of collage for a revolution in painting by occluding the role of the mass media itself, the theorists of the avant-garde want to guarantee the oppositional posture of collage by separating it from the instrumental means and ends of the rising mass media. To redraw the genealogy of collage, identifying it first and foremost as a technique of the advertising industry and its attendant mass media is to put more traditional ideas about both advertising and the avant-garde into question. It is indeed a troubling move given the Frankfurt School’s critique of mass culture coupled with a more general theoretical tendency to equate formally difficult art with progressive politics. The theory of mass media developed in the work of Horkheimer and Adorno suggests that the culture industry is incapable of producing anything but works in which “the whole and the parts are alike; there is no antithesis and no connection. Their prearranged harmony is a mockery of what had to be striven against in the great bourgeois works of art” (126). This evaluation of the culture industry is all but universal in critical theory, for a formally complex text which provides the space for active reading, or which demands an engaged reading, would seem to be antithetical to the purposes of advertising. For example, consider Roland Barthes’s distinction between readerly and writerly texts. For Barthes, the texts of advertisements and most popular culture fall into the category of the readerly, those texts which can only be consumed. In contrast, and here Barthes certainly has in mind the more formally complex texts of modernism and the avant-garde, the writerly text is that which forces the reader into the position of author, producer, and, by extension, politically engaged and progressive subject. With few exceptions, the above represents the pervasive attitude of criticism and theoretical models toward the text of the advertisement.

     
    To locate the invention of collage solely in the work of Picasso and Braque is to miss the ways in which it was implicated in the complex and ambivalent relations between serious art and the rise of mass media. The fundamental moves of collage techniques, cutting and pasting ready-made materials, chance juxtaposition, and paratactic relationships, were in the air of the avant-guerre. It was in the techniques of advertising, with their reliance on the ready-made and radically abstract forms, that the materials and basic elements of collage first emerged. The first true mass medium of industrialism was the newspaper.[1]

     
    With the rise of the newspaper and other forms of mass media, and especially its saturation by advertising, formally transgressive techniques that had been developing for over two hundred years become ubiquitous in public spaces and discourses. In Advertising Fictions, Jennifer Wicke exhaustively traces the tremendous changes wrought by the development of industrial capitalism and mass media: “the sudden profusion of ads and their creation of social narrative in a newly discontinuous way naturally reshaped the reception of narrativity as a whole” (120). Coextensive with the rise of newspapers, consumerism becomes a new way of reading and representing the world, a method that is based on discontinuity and rupture at a number of levels. Newspapers themselves represent an assemblage of fragments. As for advertisements, Wicke explains that, in the interest of concision and power, “advertising succeeded because it pried loose other languages from their referents, and set them in juxtaposition, creating a new representational system” (120). For Wicke, the narrative world of early advertising is thus coordinated by the same kinds of moves that animate the paretic essence of collage. As advertisers abandoned any respect for notions of aesthetic wholeness and work with the incorporation of fragmented images, names, typography, and hype, they moved beyond the rules governing fine art painting and literature. This formulation is extraordinarily suggestive, for not only does the advertisement work through the violation of aesthetic wholeness and the valorization of the fragment and the image, but there also seems to be something of this process in the very machines and techniques of the late nineteenth and early twentieth century. Hand in hand with capital, advertising disseminates the radical fragmentation that would define collage throughout the emerging mass media. Certainly, the use of collage in advertising is one of the key moments of a vast and alienating reification. The inflated claims of advertising mobilize the strategies of collage to disguise a product’s lack of use value and, by associating it with som

     

    Advertising and collage both have long histories; they surely encompass the entire nineteenth century. For instance, both private scrapbooks and the carnivalesque chromolithographic advertising posters demonstrate the ways in which private individuals and public businesses transgressed the tightly regulated ideologies and techniques that governed fine art and literature well before the rise of the modernists. While advertising and collage have many antecedents, I would like to demonstrate the ways in which advertising and newspapers were developing disjunctive, paratactic, and progressive modes of representation in the years just before the fine art invention of collage. My purpose is not to claim that these particular images are themselves some pure and more authentic origin of collage, but rather that the context of the avant-garde invention and use of these techniques should be understood in the context of these commercial and popular developments. Too often developments in advertising emphasize the work of fine art painters such as Toulouse-Lautrec, Gustave Mucha, and others who created some of the colorful advertising posters of the late nineteenth and early twentieth century. This emphasis supports the idea that advertising and mass media simply co-opted the developments of artists. However, I hope to show that the anonymous illustrators, copywriters, and graphic designers also contributed significantly to the revolutions in representation that would make collage the definitive technique of the twentieth century.

     
    By the 1880s, the process of creating text and illustrations for advertisements could make use of assembly line processes. Newspaper ads, handbills, and posters were created, at least in part, with ready-made elements. In fact, type foundries in Europe and America created not only typefaces, borders, and other decorative elements, but also detailed illustrations of every imaginable object. As Irving Zucker notes, the catalogs of French type foundries “represent a pictorial social history of the affluent French society at the turn of the century” (3) (see Figure 4).

     

     
    Figure 4: Ready-made items from type foundry catalog, circa 1890.
    (Zucker 3)
    (Click image for larger version)

     

    The very existence of such catalogs, with their endless examples of desks, dressers, spoons, jackets, chocolate grinders, drums, tubs, combs, bottles, wrenches, watches, and every other conceivable commodity, allowed graphic designers to operate as conceptual artists. Rather than putting pen to paper, the creator of advertisements need only select the ready-made illustrations, assemble the illustrations with copy created from ready-made fonts, and arrange the disparate elements into the suitable advertisement. In both fin-de-siècle Europe and America, the imaginary world of the illustrated advertisement prefigures the innovations of the Cubists and other avant-gardes.

     

    Johanna Drucker was one of the first critics to challenge formalist and avant-gardist accounts of the invention of collage and other modernist techniques. In The Visible Word: Experimental Typography and Modern Art, 1909-1923, she identifies the importance of advertising to avant-garde sensibilities. According to Drucker, the incorporation of innovative typography into both literary and visual works of the avant-garde was, in large part, made possible by the discourse of advertising, which was revolutionizing the possibilities of representation:

     

    But the most important context for the typographic experimentation, the realm in which these printed artifacts gain their specificity, is in their relation to mainstream publications, including advertising graphics. The graphic arts witnessed the development of typographic forms to accommodate the burgeoning needs of the advertising industry. In tandem with the increased production of consumer goods resulting from industrial capitalism, the advertising industry provoked production of an unprecedented variety of typographic means. These had been fully exploited by compositors stretching to invent ways of catching the attention of the reading public, and the forms of graphic design which would become hallmark elements of avant-garde typography were already fully in place in advertising and commercial work by the end of the nineteenth century. (3)

     

    Drucker goes on to offer a comprehensive series of examples of commercial typography which anticipates, and indeed makes possible, the innovative typography usually attributed to the avant-garde work of the Cubists, Futurists, and Dadaists. Indeed, she identifies in commercial typography the initial impulses that would later remake the very look of modernism in all its forms. Just as typography was being revolutionized by advertising, so advertising contributed to a new approach to images and their relationship to traditional, illusionistic painting. Drucker’s analysis is supported by Arthur Cohen in his article “The Typographic Revolution.” According to Cohen, developments of innovative and paratactic typography such as Marinetti’s “Words in Freedom” is made possible against a horizon of “the placard, the sandwich man, the poster, the sign, the advertisement, the leaflet, the broadside, prospectus, prier d’inserer, ticket, handbill.” As Cohen has it, “typographic novelty began in the marketplace” (76).

     

    The most ambitious and rigorous investigation of the relationships among Cubism, other emerging modernisms, and the mass media is Art et Publicité 1890-1990, an exhibition presented by Le Centre Georges Pompidou in 1990. Focusing on the relationship between Cubism and advertising, Pierre Daix argues that “the increasingly marked intrusion of advertising in the visual field of city dwellers [. . . ] created a reflection in painting” (136). The overwhelming presence of advertising images and the rise of posters are thus, for Daix, a major influence on the modernist rethinking of both the formal constraints of painting, and the relationship between fine art and commercial culture. Taking the cue from the abstract and conceptual images of advertising, artists began to see that “the space of painting was no longer a corollary of illusion but an autonomous field” (137). In a fascinating observation, which Daix himself does little to develop, he notes that advertising’s technical developments were part of “the reorganization of graphic space indispensable for the diffusion of commercial messages” (136). In short, the rise of advertising changed the formal constraints of picture making, introducing radical elements of abstraction and fragmentation. Take for instance a series of ads which appeared in the Paris newspaper Le Journal on December 10th, 11th, and 12th, 1900 (see Figure 5). The ad itself is for a serialized novel by Daniel Lesueur entitled L’Honneur d’une Femme. Mimicking the serialization of the novel, the complete ad appears as a series of installments over the course of several days. However, what is striking is that in the first ad, fully two thirds of the picture remains as empty space, the askew slogan in the lower right merely assuring us that the rest will eventually appear. The ad presents itself to us as an autonomous, abstract space that might contain anything. The necessity of the advertisement to sell the novel results in a strikingly innovative use of space and images.

     

     

     

     

     

     
    Figure 5: A serial ad appearing in Le Journal, 1900.
    (Click image for larger version)

     

    There is more to the series than the fact that it highlights the growing autonomy of advertising from fine art conventions. This particular ad also highlights the increasingly anti-mimetic and fragmentary tendencies in mass media advertising in the years just before the Cubist revolution. While the major scene in the ad depicts a duel between two rival lovers, at the top of the ad there appears a small portrait of the beloved. There is no extra frame placed around this insert, and its presentation suggests nothing so much as a collage. Taken as a whole, this series of ads confirms that the conjunction of images, words, and space in advertisements need make no unified sense: anything might appear in any form (that is, the insert of the picture or the askew slogan assuring us there is more to come) without respect to traditional conventions of representation.

     

    Perhaps just as striking is the tension between the content of the ad, or more properly its product, and the ad itself. Where the novel is an utterly traditional work of art, the advertisement which sells it could not be more modern. In short, the progressive and fragmentary technique of the advertisement is in the service of the traditional. Even the most casual observers of fin-de-siècle and early twentieth-century newspapers and illustrated magazines cannot help but notice this tension. While the advertised novel will dutifully follow the conventions of mimeticism established over the previous two hundred years, the ad itself dispenses with concerns for verisimilitude. Other examples of these techniques and tendencies are not difficult to find.

     
    Consider Le Figaro Illustré, a deluxe, folio-sized illustrated magazine. The content itself consists of photographs, lavish engravings, and lithographs in both black and white and color. Throughout, the featured pictures are often reproductions of old masterworks, or they are newer paintings that follow conventional modes of representation which do not significantly differ from those developed in the Renaissance. The presentation of these lavish features is marked by a thoroughly bourgeois devotion to the ideals of fine art in tasteful arrangements. However, the back pages are filled with ads that abandon any and all of these conventions, frequently using impossible perspectives, abstractions, and what can only be described as cut-and-paste techniques. For instance, take an advertisement for the Charron automobile from 1910 (see Figure 6).

     

     
    Figure 6: Charron advertisement
    (Click image for larger version)

     

    Here, the advertiser has purchased a half-page ad, which in this folio format occupies close to 10×8 inches of space. Yet for the most part the ad remains a blank field of white with a small image of the car in the top right-hand corner and the name of the company occupying the lower left. This ad emphasizes the radically abstract nature of space used in advertising. The car itself exists in a seeming nowhere, requiring no further contextualization. It floats in the autonomous space of the ad, a commodity ripped away from any suggestion of a more complex socio-political situation. This strongly suggests the fragmentation that would later be developed for more immediately political ends by the Dadaists and other collagists. This decontextualization further suggests that the image of the car itself was ready-made previous to the ad. There is nothing at all to suggest that it was created for this specific ad, and it might just as well appear in another ad. Lurking in ads such as this one is the context that must be accounted for in any appraisal of modernist collage practices. The same analysis might just as well apply to a full-page ad for Waring’s furniture published in the same issue of Le Figaro Illustré(see Figure 7).

     

     
    Figure 7: Warings’ Furniture advertisement
    (Click image for larger version)

     

    Here a series of tables occupies the full page. However, these tables too have no context, except perhaps one another. However, even more striking, the images that represent the tables were certainly individual to begin with. The graphic designer simply took the ready-mades and arranged them in the space of the ad. In short, here is the assemblage, the cutting and pasting so characteristic of collage itself.

     

    This process of cutting and pasting is further emphasized in another ad in Le Figaro Illustré for High-Life Tailor (see Figure 8).

     

     
    Figure 8: High Life Tailor advertisement
    (Click for larger version)

     

    In this ad, the image of a mountain top has been combined with the image of a man in the stylish overcoat. However, there is not even an attempt to place the model on the mountain in any way that would make illusionistic sense. To begin with, the relationship of perspectives between the model and the mountain is one of impossibility. Quite simply, the model’s feet have no ground beneath them. Both images are brought together as autonomous fragments. There is no question that the model is not supposed to be standing on an actual mountain. As if to emphasize this very point, the engraving of the model is surrounded by a halo that strongly suggests that it was simply cut from another page and placed on top of the ready-made mountain. The ad itself all but begs its reader to take it as a collage. The many violations of conventional representationality do however make a certain kind of sense. After all, this is not an ad for what one might expect to be wearing on the top of a mountain, but for the fashionable dress of the urban bourgeois gentleman. The mountain itself has become a metaphor for whatever the viewer aspires to–class status, masculinity, etc. As such, the man and the mountain need only come together conceptually; there is no need for some faithful, mimetic contextualization. In fact, that more traditional sort of representation might even undercut the conceptual connections the ad makes. However, in the service of making this point, the ad has done so through radical fragmentation and parataxis. While the ad itself doesn’t use this technique to make a political point, it nonetheless makes the technique a part of a public mediascape.

     

    The technique of bringing together disparate images and texts into an abstract field is a staple of advertising that predates the avant-garde significantly. Consider the American Writing Machine Company’s 1894 advertisement (see Figure 9).

     

     
    Figure 9: American Writing Machine Company advertisement
    (Sutphen 105)

    (Click image for larger version)

     

    There are three elements to this text: typewriter, text, and a figure representing Mercury. Clearly the company is attempting to associate its product with the god Mercury, the divine messenger. Yet what is amazing in this simple and typical advertisement is how it articulates with the norms of fine art. The figure of Mercury and the typewriter occupy an abstract plane, a virtual nowhere. There is no attempt to represent these two elements in any sort of mimetic or organic place. They float as independent fragments drawn together simply by the needs of the advertisement to communicate its message. What I want to emphasize here is the absolute abstraction, fragmentation, and unreality of the ad. The very plane of the ad is a nowhere in which any elements might appear since there is no larger mimetic logic or necessity to guarantee the picture plane. Rather like a Wonderland or the space of a dream, there can be no expectation that these elements will make any consistent representational sense. They must be read as the fragmented elements of a radical metonomy. The typography, which makes spatial sense only in relation to the reader, further emphasizes this point. What this ad shows so well is the need of advertisements to associate incongruous elements. The typewriter must be made more appealing; it might become memorable and desirable through its association with the god. Similarly, the economy of the ad is coordinated by a need to disguise limited or questionable use value and emphasize the most questionable kinds of exchange values or cultural capital. It seems as if the fame of the commodity is more important than the thing itself. The needs of advertisers move representation away from mimesis and toward the creation of a new kind of representation that has more in common with dream texts and dream-logic, the cut-and-paste associations of fragmented images that define collage practices.

     

    The sense of parataxis, the feeling and logic of collage, is further underscored in the presentation of multiple ads on a single page. In both the newspapers and illustrated magazines of the period, most advertisements were kept together in discrete sections. Thus ads for the most disparate products, created with vastly different techniques, occupy adjacent space with no regard for their obvious differences. Simply the fact that they are ads seems to provide a plane of equivalence. Consider a typical page from the advertising section of Le Figaro Illustré (see Figure 10).

     

     
    Figure 10: A full page of ads from Le Figaro Illustré 246 (Sept. 1910)
    (Click image for larger version)

     

    On a single page the reader is presented with ads for a water sterilizer, a psychic, an automobile engine alternator, perfume, a bowling alley. The ads themselves range from the completely typographic to those which incorporate engravings, lithographs, photographs, or a combination of these elements. At the level of the page, each ad seems to present itself as a ready-made element in its own right, assuming strange and unexpected relationships with the other ads on the page. As Christine Poggi has pointed out, Mallarmé attacked the newspaper as a degraded and degrading form precisely for such irrational juxtaposition and equivalence. Indeed, Mallarmé had reason for such a reaction, for collage presentation is not at all unusual in advertising. In his essay “The Book as Spiritual Instrument,” he attacks the random juxtaposition of elements that defines the form and could equally apply to the random groups of ads in illustrated magazines or billboards on a street. The fault, as Mallarmé makes clear, lies with the technical developments of printing:

     

    Every discovery made by printers has hitherto been absorbed in the most elementary fashion by the newspaper, and can be summed up in the word: Press. the result has been simply a plain sheet of paper upon which a flow of words is printed in the most unrefined manner. The immediacy of this system (which preceded the production of books) has undeniable advantages for the writer; with its endless line of posters and proof sheets it makes for improvisation. We have, in other words, a “daily paper.” But who, then, can make the gradual discovery of the meaning of this format, or even of a sort of popular fairyland charm about it? [. . . ] The newspaper with its full sheet on display makes improper use of that is it makes good packing paper. (??)

     

    Mallarmé opposes the random, simultaneous play of surfaces that define the newspaper to the mysterious depths of the book, which he calls “that divine and intricate organism” (28).

     

    The radical differences between traditional fine-art painting and advertising, or between the careful and ordered layout of the book and the radical columns of the newspaper, suggest that many of the most celebrated techniques of the avant-garde were already a part of the growing mass media, emergent elements that were present to some degree for some two hundred years. It should come as no surprise that the newspaper is the primary material of almost every twentieth-century invention of collage. For instance, consider its importance to Tristan Tzara. Tzara was fascinated with newspapers, and angered André Breton by reading from one as a provocation at an early Littérature Friday when he first came to Paris. Tzara was also profoundly conscious of the role of newspapers in creating realities, and he employed clipping services the world over to send him every mention of Dada in any paper. Just as innovative typography and paratactic juxtaposition provided the Cubists and the Futurists with collage materials, Tzara all but inaugurated the practice of literary collage with his famous newspaper recipe. In his “Manifesto on Feeble and Bitter Love,” Tzara offers the following instructions to the would-be Dadaist:

     

    To make a dadaist poem
    Take a newspaper.
    Take a pair of scissors.
    Choose an article as long as you are planning to make your poem.
    Cut out the article.
    Then cut out each of the words that make up this article and put them in a bag.
    Shake it gently.
    Then take out the scraps one after another in the order in which they left the bag.
    Copy conscientiously.
    The poem will be like you. And here you are a writer, infinitely original and endowed with a sensibility that is charming beyond the understanding of the vulgar. (92)

     

    The implications of Tzara’s collage poems are explained by Rudolf Kuenzli:

     

    By literally cutting the grid of semantic connections Tzara liberates the words and forms with them an arbitrary collage in which the signifying aspect of the sign is stressed. The function of these liberated signs seems to be a metasemiotic one: to point out that the daily historiography of newspapers, their reproduction of the state of the world consists of arbitrary cultural signs which can only produce illusions. (59)

     

    Kuenzli emphasizes the critical function of Tzara’s uses of collage as a technique to deconstruct the truth claims of journalism. From Kuenzli’s perspective, Tzara is cutting through the ideology of journalism as a reflection of the true state of the world. This is certainly the critical target of Tzara’s recipe, but to articulate it as such does not acknowledge that Tzara’s operation is taking advantage of the form of the paper itself. The newspaper is already a paratactic, random assemblage of elements. Cutting up the newspaper simply brings this formal aspect of it into extreme relief, in essence mobilizing the form against the content. Tzara’s recipe is thus less a radical departure from the form of mass media than a tactic which takes advantage of it. Rather than cutting up a monolithic form, Tzara’s collage tactic reminds us that a newspaper is a fragmented and intertextual work from the beginnning. The heroic story of the avant-garde suggests that the mass media co-opts the innovations of the outsider artist, but careful attention to these forms suggests a more complicated dialectic in which avant-garde artists like Tzara recognize potentials emerging in these forms and emphasize them in new, extreme, or unexpected modes.

     

    William S. Burroughs: The Subversive Ad Man

     

    William S. Burroughs is arguably the most innovative and influential collage artist of the postwar period. Though Burroughs is best known for his literary collages, throughout the 1960s he developed collage techniques in a variety of media, including film, audiotape, and less well-known visual assemblages composed of found mass-media elements including newspapers, advertisements, photographs, and other fragments of media culture. Throughout this period, Burroughs believed that collage techniques held incredible powers, which he described in both scientific and supernatural terms. He believed that collage techniques held tactical abilities to diagnose and disrupt the ideological functions of the mass media, as well as supernatural potentials for communicating with the dead. In The Third Mind he writes, “cut the word lines and see how they fall. Shakespeare Rimbaud live in their words. Cut the word lines and you will hear their voices. Cut-ups often come through as code messages with special meaning for the cutter. Table tapping? Perhaps” (32). Indeed, Burroughs became so convinced of the powers of cut-up techniques that he would slice and rearrange letters from his friends and associates, close reading the results to ascertain just who they might be working for or what they really meant.[2] Asked if he believed that cut-ups could uncover subliminal meanings, Burroughs replied that “you’ll find this when you cut-up political speeches. Here, quite often, you’ll find that some of the real meanings will emerge. And you’ll also find that the politician usually means the exact opposite of what he’s saying” (qtd. in Lotringer 262). In The Electronic Revolution, Burroughs recommends the use of collage techniques to effect material resistance to government powers by starting riots, disrupting official ideologies, and creating ex niliho a variety of events, from the assassination of leaders to revolutions in consciousness: “so stir in news stories, TV plays, stock market quotations, adverts and put the altered mutter line out on the streets” (8). Burroughs’s emphasis on collage as a form of political resistance aligns him with the projects of this historical avant-garde. However, where these more militantly organized movements had an interest in drawing clearer rhetorical lines between their work and the popular media, Burroughs was consistently and unflinchingly frank about his complicated relationship to mass media.

     
    Burroughs’s interest in collage was inspired by his collaboration with the artist Brion Gysin. Gysin, primarily a painter, had been experimenting with the use of calligraphy as the basis for a new style of painting that emphasized the materiality of language. In 1959, while living in Paris with Burroughs at the Beat Hotel, Gysin rediscovered the collage techniques of the historical avant-garde. On a September afternoon, Gysin was alone in his room working on his drawings:

     

    While cutting a mount for a drawing in room #15, I sliced through a pile of newspapers with my Stanley blade and thought of what I had said to Burroughs some six months earlier about the necessity for turning painters’ techniques directly into writing. I picked up the raw words and began to piece together texts that later appeared as “First Cut-Ups” in “Minutes to Go.” At the time I thought them hilariously funny and hysterically meaningful. I laughed so hard my neighbors thought I’d flipped. I hope you may discover this unusual pleasure for yourselves–this short lived but unique intoxication. Cut up this page you are reading and see what happens. See what I say as well as hear it. (Burroughs and Gysin 44)

     

    Gysin’s account, frequently retold by everyone from Allen Ginsberg to Genesis P-Orridge, has become a kind of myth about the origins of postmodernism itself. Once again, it is the newspaper, this most ubiquitous form of mass media, that provides the initial example and inspiration for a fundamental avant-garde technique. Like Picasso, Tzara, and Breton, Gysin had found in the material of newspapers a powerful means to reinvent public discourses, transform and critique ideology, and ultimately to transform reality. However, the cut-ups produced by these methods depended in no small part on the very same chance techniques that were at work structurally in the layout of any newspaper, illustrated magazine, or advertisement. Rather than inventing something entirely new, Gysin was more precisely actualizing potentials in the medium that were already there. Burroughs himself makes this point as he demonstrates one way to produce a cut-up literary collage:

     

    Now for example, if I wanted to make a cut-up of this (picking up a copy of The Nation), there are many ways I could do it. I could read cross-column. I could say: “Today’s men’s nerves surround us. Each technological extension gone outside is electrical involves as act of collective environment. The human nervous system itself can be reprogrammed with all its private and social values because it is content. He programs logically as readily as any radio net is swallowed by the new environment. The sensory order.” You find that it often makes quite as much sense as the original [. . . ] . Somebody is reading a newspaper, and his eye follows the column in the proper Aristotelian manner, one idea and sentence at a time. But subliminally he is reading the columns on either side and is aware of the person sitting next to him. That’s a cut-up. (Burroughs and Gysin 4)

     

    Burroughs makes explicit the random structure of newspaper pages that so vexed Mallarmé. However, Burroughs was a good deal more sanguine about the role and possibilities of mass media than many other artists and critics both before and after him.

     

    Like other intellectuals of the early 1960s, Burroughs had a complex attitude toward the media environment that Guy Debord would describe as the spectacle. Indeed, Debord and Burroughs shared a similar analysis of the media, as well as a belief in the power of collage to transform consciousness. However, unlike Debord and most Marxist intellectuals, Burroughs credits the media as a progressive force favorably transforming everyday life, and throughout the 1960s and 1970s he frequently made comments about the liberatory possibilities of mass media: “the media are really accessible to everyone. People talk about establishment media, but the establishment itself would like to suppress the media altogether” (qtd. in Lotringer 262). In 1972 Burrroughs went so far as to credit the social transformations of the 1960s to technologies such as television: “a real revolution would have to involve a total change in consciousness, using television and other media that have been responsible for most of the evolution in the last ten years” (qtd. in Lotringer 133). For Burroughs, “establishment” power meant the rigid and repressive forces of inherited wealth, religion, and unchecked governmental power, and he believed that in comparison commercial mass media held a tremendous possibility for resisting such forces. He attributes the key social changes of the 1960s to sitting in front of televisions rather than to sit-ins. In this, Burroughs is most typically postmodern in his insistence that the social transformations are more a matter of media than muscle. In a 1970 interview, he forcefully articulates his position:

     

    A great deal of revolutionary tactics I see now are really 19th century tactics. People think in terms of small arms and barricades, in terms of bombing police stations and post offices like the IRA of 1916. What I’m taking about in The Job, and in this treatise [The Electronic Revolution] is bringing the revolution into the 20th century which includes, above all, the use of mass media. That’s where the real battle will be fought. (qtd. in Lotringer 150)

     

    Burroughs would maintain that even mainstream media had an important role in progressive social transformations throughout his life. In 1983, Burroughs could confidently proclaim the success of the media:

     

    The past 40 years has seen a worldwide revolution without precedent owing to the mass media which has cursed and blessed us with immediate worldwide communication. Everything that happens anywhere now happens everywhere on the TV screen. I am old enough to remember when the idea that Gays, Hispanics, and Blacks had any rights at all was simply absurd. A Black was a nigger, a Hispanic was a spic and a Gay was a fucking queer. And that was that. Tremendous progress has been made in leading ordinary people to confront these issues which now crop up in soap operas. Gay and junky are household words. Believe me, they were not household words 40 years ago. (qtd. in Lotringer 588)

     

    Burroughs’s critique of repression, and especially his attacks against the establishment in the form of big business (i.e. Coca-Cola, etc. in Nova Express) coexist with a strange attraction to the darker side of advertising. One of Burroughs’s short-lived jobs after graduating from college was as an ad copywriter, and he frequently mentioned Ivy Lee, his maternal uncle, who worked as a public relations agent for both the Rockefellers and, briefly, for Adolf Hitler. It is not difficult to find examples of Burroughs commenting on the beauty of advertisements, and in one surprising example, imagining himself in the role of literary ad man. Speaking about J. Paul Getty’s rather dull autobiography, Burroughs suggests that he might have been hired to do a better job for the tycoon, and this prompts him to imagine rather accurately the future of art and advertising:

     

    Well, yes, I wouldn’t mind doing that sort of job myself. I’d like to take somebody like Getty and try to find an image for him that would be of some interest. If Getty wants to build an image, why doesn’t he hire a first-class writer to write his story? For that matter, advertising has a long way to go. I’d like to see a story by Norman Mailer or John O’Hara which just makes some mention of a product, say Southern Comfort. I can see the O’Hara story. It would be about someone who went into a bar and asked for Southern Comfort; they didn’t have it, and he gets in to a long stupid argument with the bartender. It shouldn’t be obtrusive; the story must be interesting in itself so that people read this just as they read any story in Playboy, and Southern Comfort would be guaranteed that people will look at that advertisement for a certain number of minutes. You see what I mean? Now, there are many other ideas; you could have serialized comic strips, serial stories. Well, all we have to do is have James Bond smoking a certain brand of cigarettes. (“Art of Fiction” 39)

     

    Burroughs’s sympathy for advertising is not generally mentioned in critical accounts of his work. However, he was given to exaggerated statements about it. In the same interview, he goes on to say

     

    I see no reason why the artistic world can’t absolutely merge with Madison Avenue. Pop art is a move in that direction. Why can’t we have advertisements with beautiful words and beautiful images? Already some of the very beautiful color photography appears in whisky ads, I notice. Science will also discover for us how association blocks actually form. (“Art of Fiction” 29)

     

    It is no coincidence that Burroughs should be thinking about the relationship between advertisements and the total immediacy of thought through simultaneous associations. After all, the ideal advertisement is apprehended and understood immediately, its words and images creating an overwhelming desire for its product. For Burroughs, narrative itself, with its dependence on verbal units such as sentences, forcing the reader to plod through individual words, traps people in routine patterns of thought. To escape this aspect of language would mean moving beyond words. As he explains it, “a special use of words and pictures can conduce silence. The scrapbooks and time travel are exercises to expand consciousness, to teach me to think in association blocks rather than word” (“Art of Fiction” 22). In a series of largely unpublished scrapbooks, Burroughs constructed thousands of collages which he used to think through simultaneous associations. Sometimes commenting directly on his writing, sometimes reworking themes from his books or providing images for them, and sometimes existing as purely independent works, these visual collages provided Burroughs a new means of thinking, but one that is often more reminiscent of newspapers, illustrated magazines, and their ubiquitous advertisements than of the Egyptian hieroglyphics he often invoked to explain the idea of associational blocks.

     
    Much of Burroughs’s visual art remains to be published, but Ports of Entry: William Burroughs and the Visual Arts provides beautiful reproductions of some of the most suggestive collages Burroughs created. Quickly glancing through the reproductions, one is immediately struck by the fact that Burroughs constantly made use of media forms, parodying the layouts of newspapers and illustrated magazines, even going so far as to make treated copies of Time (see Figure 11) as well as many pages of his fictional Coldspring News (see Figure 12), whose slogan he invented as a parody of The New York Times, “All the news that fits we print.”

     

     
    Figure 11: A treated copy of Time
    (Ports 36)
    (Click image for larger version)

     

     
    Figure 12: A page from The Coldspring News.
    (Burroughs File 171)
    (Click image for larger version)

     

    In addition to his own writing and personal photographs, Burroughs based most of these collages on ready-made materials from advertisements, and often created collages inspired by advertisements. Many of these collages are critical interventions into the public discourse of the time, operating in the same critical modes in which collage has been used since the earliest days of Dada photomontage. Like a Heartfield montage, a Burroughs collage cuts and parodies the mass media, continuing visually the critique of power and ideology developed in his cut-up trilogy (see Figure 13). Clearly, “Mr. Anshelinger, Hurst, Ford, Rockefeller, and you Board members” is a powerful indictment of these tycoons, associating their names with apocalyptic disaster (68). Burroughs is presented as a witness of the damage that these powerful establishment figures have perpetrated, as he stands in a personal photograph before a derelict. The edges of this collage are jagged, and some singed, suggesting that they have been recovered from some violent disaster, such as the sinking of an ocean liner, the other major image of the collage. There are a significant number of these collages in both the scrapbooks and The Third Mind, taking on interests from oil companies (the Esso logo making frequent appearances) to parodies of the sensational appeals of tabloids. In one collage, disaster headlines containing the number 23 cover an entire page (see Figure 14) (69).

     

     
    Figure 13: William Burroughs, Untitled Collage
    (Sobieszek 70)
    (Click image for larger version)

     

     
    Figure 14: William Burroughs, Untitled Collage
    (Ports 60)
    (Click image for larger version)

     

    Collages such as these, which operate with clearly legible critical agendas, fit comfortably into the conception of the avant-garde as an oppositional force operating within yet against a media apparatus that does little more than disseminate dominant ideologies. Yet, beside these collages frequently appear other collages which present no such critical agenda.

     

    In many of his collage creations, Burroughs seems to be doing all he can to take advantage of the fragmented, chance-ridden, and immediate forms of mass media. Consider the following untitled collage on which he collaborated with Gysin in 1965 (see Figure 15). Indeed, rather than a critique of mass media, this collage invokes its power. The collage is laid out in the form of a newspaper’s front page, or perhaps that of a regular feature in an illustrated magazine, entitled “España Sucesos.”

     

     
    Figure 15: William Burroughs and Brion Gysin, Untitled Collage.
    (Third Mind 60)
    (Click image for larger version)

     

    The headlines, cut from Spanish papers, refer to the deaths of four soldiers. Three of the four cut-up fragments of prose refer to either created or predicted future events: “you are reading the future.” Burroughs provides the image of several trains, taken from a newspaper, which he coordinates with the title of his novel, The Nova Express. Burroughs includes a photograph of himself in the lower corner, preparing proper English tea. There is no absolutely clear or legible relationship between the elements of this collage. In The Electronic Revolution, Burroughs argues that the mass media can make events happen, and in his scrapbooks Burroughs would often try to coordinate fragments of his own writing with chance events. In some instances, Burroughs believed that his own writing was responsible for these events in the same way that the media functioned (Morgan 323). Perhaps Burroughs believed that in this case the four deaths from the headlines were again evidence of the power of his writing. Just as newspapers and advertisements worked through the assemblage of fragmented words and images, this collage operates by bringing together a heterogeneous selection of materials into paratactic relationships. For Burroughs, creating a collage like this as an associational block provided the possibilities of new powers and insights.

     

    Burroughs’s concept of associational blocks, and the collages that he created based on this concept, are deeply indebted to the procedures of advertising. In another scrapbook collage (see Figure 16), Burroughs brings together two moonscapes, a fragment of prose, and an image of the Mary Celeste, the nineteenth-century ghost ship made famous by Arthur Conan Doyle. The upper panel in Burroughs’s collage has pasted onto it Michelangelo’s David, while the bottom shows an astronaut confronting a gigantic rock.

     

     
    Figure 16: William Burrouhgs, Untitled Collage.
    (Burroughs, Burroughs File 183)
    (Click image for larger version)

     

    The sources for the images are all from the mass media. Throughout the late 1960s and early 1970s the moon had become invested with tremendous cultural power, and the 1969 moon landing represented the fulfillment of the space age. Images of the moonscape peopled with incongruous images are not difficult to find. For instance, an ad for United Aircraft (see Figure 17) explains how the company’s development of air supplies for spacecraft translates into the technology for better health care on earth.

     

     
    Figure 17: United Aircraft advertisement
    (Click for larger version)

     

    The image they choose to illustrate this claim borders on the surreal, as a fragile patient and his nurse find themselves in a forbidding situation. Like ads from earlier in the century, these two incongruous images meet with no attempt to present them as anything other than a collage. It is obvious to the reader that the nurse and patient are not on the moon, but are being brought together conceptually. The text of the advertisement attempts to contain the possible meanings of this image, associating it simply with a better life through space. The image itself carries no such guarantees. Indeed, one might read it as a signal that the space age itself is dying, or that the entire culture has fallen under a moon virus. It short, it is unclear from the image itself if the moon is responsible for greater health or for illness.

     

    Burroughs’s collage (see Figure 16) is hardly more legible than the advertisement, and more significantly it clearly operates using the same principles. Instead of the image of the nurse and patient, Burroughs has placed Michelangelo’s statue on the moonscape. This placement is mirrored below by the image of an astronaut confronting a large moon rock. Does this image suggest that, just as the artist saw in the stone an ideal human form, so too the astronaut might see similar ideal possibilities in the rock he confronts? Does the image suggest that humanity has attained an artistic ideal simply by arriving on the moon? Such readings are all possible but must be tempered by the other image in the collage, that of the Marie Celeste. The prose cut-ups in Burroughs’s collage all deal with what seems to be a sea disaster. In the fragments he presents we see gulls circling, as well as images of blood and starvation. Yet how should we make sense of this in relation to the moonscape? Is this to suggest that a voyage in space is a similarly doomed endeavor, or that either the moon or the earth itself should be seen as an abandoned wreck? Burroughs’s choice of these images and words suggests a deep caution about the moon shot and the space age. Yet is there substantially more caution or criticism in Burroughs’s images than in those of the commercial advertisement? Both present deeply ambiguous images through virtually identical means. While the advertisement is arguably more legible, leaving less room for critical play, the same is certainly true of Burroughs’s more explicitly critical collages as well, where its targets, from tycoons to tabloids, are clear. Similarly, there are many deeply ambiguous advertising images which are quite difficult to read. While advertising and the avant-garde hardly share the same rhetorical aims, the former has had a large influence on the development of collage, providing not only a great deal of the raw material, but more often than not pioneering the techniques of which the latter takes advantage. In large part, this is because advertising itself is animated by a critical dialectic between the instrumental management of desire and carnivalesque excess.

     
    What Burroughs’s collages show so clearly is that avant-garde practice and advertising are not so far apart, and neither comes with any guarantees. Burroughs’s belief that it was necessary to “rub out the word” and find a new way of thinking bears more than a passing resemblance to Jackson Lears’s analysis of advertising in Fables of Abundance: A Cultural History of Advertising in America. According to Lears, America’s Puritan roots instilled in the culture a strong distrust of images, which depend upon the immediate play of surfaces, and promoted a preference for the depths of words. Throughout the nineteenth century, advertising grew in sophistication, reinforcing the need for the educated classes to make distinctions between the superficial play of advertising images and the deeper truths of serious literature and art. As Lears argues, “the puritanical tendency to prefer depths to surfaces survived in secular idioms and shaped Americans’ perception of a novel situation: the emergence of art in the market place, the development of graven images as mass-produced commodities” (323). This fundamental split would remain throughout the twentieth century, animating the modernist hostility toward popular culture, the critical desire to distinguish the avant-garde from the mass media, and culminating in a situation where “dualism has inhibited the free play of ideas by implying the existence of only two alternatives: to relax our critical sensibilities in a warm bath of floating signifiers, embracing the emancipatory potential of commodity civilization; or to base our critique in a an attitude of renunciation, devaluing the here and now of immediate sensuous experience” (263). Lears chooses Joseph Cornell as the exemplary artist to bridge this divide, for Cornell’s surreal boxes were more often than not financed by his work as a freelance commercial artist at Vogue and other popular magazines, and depended largely upon the images and object of consumer culture. Yet he might just as well have chosen Burroughs to make much the same point. If the avant-garde uses collage techniques as a way to cut the control lines of larger ideological forces, advertising and the mass media have themselves had more complex relationships to those same forces than most critics typically acknowledge. Both formalist accounts of collage techniques and postmodern analysis of media spectacles must be rethought with a clearer eye toward the relationship between avant-garde collage and mass media and advertising techniques and images.

     

    Notes

     

    1. However, even at the beginning of the nineteenth century, newspapers were still distributed irregularly (usually weekly rather than daily) and were still too expensive to have a mass audience. There were a number of technological reasons for this. Prior to the introduction of the steam-driven cylinder press, the printing time for even a modest newspaper prevented a daily circulation. In addition, even with the introduction of the steam press, the time-consuming art of cold typesetting remained both costly and slow, usually keeping papers to eight pages or less. Though job printing and newspapers continued to become more important throughout the nineteenth century, it was the invention of the linotype machine in the early 1880s that made the newspaper a mass medium. According to Meggs, the introduction of the linotype machine fundamentally altered the place of the newspaper: “the three-cent price of an 1880s newspaper, which was too steep for the average citizen, plunged to one or two pennies, while the number of pages multiplied and circulation soared” (199).

     

    2. An account of Burroughs’s paranoia and the role of cut-ups can be found in Miles.

     

    Works Cited

     

    • Ades, Dawn. Photomontage. London: Thames, 1986.
    • Bürger, Peter. Theory of the Avant-Garde. Trans. Michael Shaw. Minneapolis: U of Minnesota P, 1984.
    • Burroughs, William S. “The Art of Fiction XXXVI.” Interview with Conrad Knickerbocker. Paris Review 35 (Fall 1965): 13-45.
    • —. The Burroughs File. San Francisco: City Lights, 1984.
    • —. The Electronic Revolution: 1970-71 . Cambridge: Blackmoor Head, 1971.
    • —. Treated Copy of Time. Image. Ports of Entry: William S. Burroughs and the Arts. Ed. Robert A. Sobieszek. Los Angeles: Los Angeles County Museum of Art, 1996. 36.
    • Burroughs, William, and Brion Gysin. The Third Mind. New York: Seaver, 1978.
    • Calinescu, Matei. Faces of Modernity: Avant-garde, Decadence, Kitsch. Bloomington, IN: Indiana UP, 1977.
    • Charron automobile. Advertisement. Le Figaro Illustré 246 (September 1910): n.p.
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