patternsthatconnect

abstract art, a systems view

Archive for December 2011

George Shaw’s ‘The New Houses’ at BALTIC presents Turner Prize 2011

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George Shaw says he wants ‘non-art audiences’ to appreciate his paintings, and I can see how they would (despite the Daily Mail who could only note that one included a dog-shit bin). There is a real sense in which they document what the Coventry sub urban landscape has looked like, and really looks like now. So there is a sense in which they are not paintings about painting. Maybe it is because I am filtering for it that I do find lots in his paintings, (showing at BALTIC presents Turner Prize 2011, until 8th January 2012) about the process of painting.

George Shaw The New Houses 2011 BALTIC presents Turner Prize 2011 © BALTIC & the artist Photo: Colin Davison

Am I wrong to see in ‘The New Houses’ a painting of nothing, much in the same way that some abstract painters have painted ‘nothing’?

And I must be reading in the metaphor of a blank canvas as I view the muddy ground where further new houses will be built, and consider the way in which the barriers around the building site create frames and therefore paintings within a painting, the whole becoming a meta-painting. ‘Meta’ in the sense that it is a painting that includes the smaller paintings that are held within the overall frame, and ‘meta’ also in that it is a painting about the subject of painting, a comment on painting as an act of construction, built on the razed ground of whatever was there previously, painting possibly even as a counter-creation, replacing the ‘natural’ with the artificial.

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Written by Andy Parkinson

December 12, 2011 at 10:02 am

The ultra-Taylorist Soviet utopianism of Aleksei Gastev (including Gastev’s landmark book <i>How to Work</i>/<i>Как надо работать</i>)

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Brilliant exploration of the patterns that connect industry, technology, scientific management and modernist art.

Written by Andy Parkinson

December 9, 2011 at 7:36 am

Metamodernism, Oscillation and the Beer Game

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In Luke Turner‘s Metamodernist Manifesto he says “oscillation is the natural order of things” and he, along with Robin van den Akker, Nadine Feßler and Timotheus Vermeulen, sees this oscillation ( “between a modern desire for sens and a postmodern doubt about the sense of it all, between a modern sincerity and a postmodern irony, between hope and melancholy and empathy and apathy and unity and plurality and purity and corruption and naïveté and knowingness; between control and commons and craftsmanship and conceptualism and pragmatism and utopianism”) as an indication of the emergence of a new cultural dominant – metamodernism.

I feel sure that I am mixing metaphors as I attempt to question the naturalness of oscillation by referring to a business simulation known as the Beer Game, invented, I believe, at M.I.T by Jay Forrester and referenced by Peter Senge in the opening chapter of his book The Fifth Discipline.

Four ‘players’ take up the positions of Factory, Distributor, Wholesaler and Retailer, making up a production and distribution system, the product being crates of beer, represented by coins or counters, that make their way from the factory, to the other sectors and ending up as sales to external customers.

There are some system conditions: no communication takes place between the sectors other than the placing of orders and the receiving of product (silence), and there are delays in production and  transportation as well as in processing the orders. Orders are made by external customers and they are re-acted by each sector concluding with the factory that places orders with its own workforce. The decision-making required by each sector, at the end of each week, is how many crates of beer to order from their supplier upstream.

The activity spans a simulated year, at the beginning the system is stable, customers are ordering 4 crates of beer per week and each sector has 12 crates of beer in their respective inventories. Each sector aims to minimise costs by keeping inventory down at the same time as preventing backlog.

In conducting this simulation (as I have done with groups over 100 times in the last two years) we always find that when external customer orders are stable, the system becomes unstable, with sometimes wild oscillation, (as well as amplification: the oscillation pattern becoming more pronounced the further upstream you go).  A flat line could represent the orders from customers whereas this graph shows the oscillating pattern of orders placed within the system.

Getting back to the Metamodernist Manifesto, if we were to think of orders from customers as the external environment or  ‘nature’, we might conclude that oscillation is an artificial experience. It is not the ‘natural oder of things’ so much as the invented and exaggerated response to external stimuli. We do it to ourselves (that’s what really hurts, apologies Radiohead).

Then again, we could say that it is ‘natural’ in the sense that it is the repeated and predictable response: it seems to come naturally to us.

Maybe what I am saying is that although oscillation may indeed be ‘the natural order of things’, the natural order of things is not itself natural. Whilst the territory is flat, our maps oscillilate wildly.

More on ‘what is metamodernism?’

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What is Metamodernism? is a question asked at Notes on Metamodernism, edited by Nadine Fessler, Robin van den Akker, and Timotheus Vermeulen. Here is part of their response to their own question:

We understand metamodernism first and foremost as a structure of feeling, which can be defined, after Raymond Williams, as “a particular quality of social experience […] historically distinct from other particular qualities, which gives the sense of a generation or of a period.” Metamodernism therefore is both a heuristic label to come to terms with recent changes in aesthetics and culture and a notion to periodize these changes. So when we speak of metamodernism we do not refer to a particular movement, a specific manifesto or a set of theoretical or stylistic conventions. We do not attempt, in other words, as Charles Jencks would do, to group, categorize and pigeonhole the creative work of this or that architect or artist.  We rather attempt to chart, after Jameson, the ‘cultural dominant’ of a specific stage in the development of modernity.

Having said all that about not a particular movement or a manifesto, artist Luke Turner has written a Metamodernist Manifesto as follows:

  1. We recognise oscillation to be the natural order of the world.
  2. We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.
  3. Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating polarities of some colossal electric machine, propelling the world into action.
  4. We acknowledge the limitations inherent to all movement and experience, and the futility of any attempt to transcend the boundaries set forth therein. The essential incompleteness of a system should necessitate an adherence, not in order to achieve a given end or be slaves to its course, but rather perchance to glimpse by proxy some hidden exteriority. Existence is enriched if we set about our task as if those limits might be exceeded, for such action unfolds the world.
  5. All things are caught up within the irrevocable slide towards a state of maximum entropic dissemblance. Artistic creation is contingent upon the origination or revelation of difference therein. Affect at its zenith is the unmediated experience of difference in itself. It must be art’s role to explore the promise of its own paradoxical ambition by coaxing excess towards presence.
  6. The present is a symptom of the twin birth of immediacy and obsolescence. The new technology enables the simultaneous experience and enactment of events from a multiplicity of positions. Far from signalling its demise, these emergent networks facilitate the democratisation of history, illuminating the forking paths along which its grand narratives may navigate the here and now.
  7. Just as science strives for poetic elegance, artists might assume a quest for truth. All information is grounds for knowledge, whether empirical or aphoristic, no matter its truth-value. We should embrace the scientific-poetic synthesis and informed naivety of a magical realism. Erroneousness breeds sense.
  8. We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition that lies between, beyond and in pursuit of a plurality of disparate and fragmentary positions. We must go forth and oscillate.

I love the (im)possibility of it, and that it leaves me feeling unsure about whether to take it seriously. It is almost as if the manifesto could itself be seen as an example of the metamodern. It seems to oscilate between sincerity and irony, setting out on a course that is destined to failure but doing it anyway. I think it may offer a basis for further consideration, debate, and practice, and in future posts I will act as if it does, and see what happens.