Thermodynamics of the Visual-Aural-Artifact: A Proposal

Greg Delapaix October 2015

Introduction:

Appropriating a conversation between the great sculptor Auguste Rodin and one of his

protégés, Paul Virilio in his book The Vision Machine points out an argument for truth in art as

opposed to the ‘lie’ in photography, namely that time does not stand still. Because of this, works of

art are witnessed within the depths of a material time which they share with us (2). Photographic

retention vis-a-vis photosensitivity to light traveling through a lens in order to “capture a

moment” is a far different thing than the subtle retinal movements of the human witness,

occurring within a time-space holism. Photographs are a sampling of a brief moment, perceived

in the same (i.e. analog) way by a human witness whether the photograph translates the capture

of light via electronics or chemicals. Our digital culture gives us visual and aural versions of “real-

time,” as opposed to virtuality. As a human organism, we cannot truly circumvent “real-time,”

despite our newly extended techno-sensibilities and the human attributions we conceive in

conjunction with them. For Virilio, real-time is politically charged–a destructive type of social

tyranny brought about by an optically dense “pollution of the expanse” (Open Sky, 33-4). Paul

Virilio is chosen here as a textual lightning rod for the deeply political nature of the concept of

real time in a visual sense, made even more clear in his War and Cinema, the Logistics of

Perception, where innumerable dependencies between the world of war and the world of cinema

are clearly demonstrated.

In his illuminating work Sonic Warfare, author Steve Goodman forms a kind of sonic

counterpart to Virilio, as he sketches out a politics of frequency–what he calls a missing

dimension within existing studies of the relationship between sound and music to systems of

power (xiv). Frequency here operates in a pivotal sense, as adjective or noun, and where it may

intersect with tyranny or war or systems of power, it functions as an aspect of tactical deployment,

whether musically or militarily.

In his introduction to the most recent edition of The Visual Culture Reader, editor

Nicholas Mirzoeff states that critical visuality studies should be the place of intersection for

analyses of techniques of visuality, media studies new and old, postcolonial studies, gender

studies and queer theory. Mirzoeff also asserts that ethnic and legal studies should also be

included, along with iterations of the critical visuality studies paradigm (xxv). Based on the

urgency present in the ongoing works of Paul Virilio and Steve Goodman, it is gratifying to see

that Mirzoeff places globalization, war, and visual economy as the theme for the second major

section of the third and most recent edition of The Visual Culture Reader. More importantly,

Goodman’s reference to the creeping military urbanism of the audiosphere (xv, 6), coheres

strongly with Virilio’s analysis of contemporary visuality. Without disparaging the glaring

omission of the audiosphere as a component of the third edition of The Visual Culture Reader,

where visual culture studies is shown to have evolved toward strategies of critical visuality, this

cohesion offers avenues to new areas of knowledge and a synthesis of the visual and the aural into

a more integrated field of interrogation. The use of critical visuality studies as the basis for a more

expanded critical “visual-aurality" which takes into account these relational systems of power in

contemporary society is more than warranted. A now distant echo of the Futurist manifesto has

sprung into contemporary viscerality, and it is available for questioning.

The notion of relational systems of power translates into open systems of energetic

exchange, within which the militarization of the visual and the aural form one of many multi-

faceted contextualizations. My interest is in how these macro and micro systems of power

translate into energetic exchanges and operate within and around visual-aural creations, their

creators, witnesses, and the real-time environments within which they operate.

Focus of the Study

Notwithstanding mid-twentieth century assertions by notable artists such as James

Turrell, who said that “there never is no light,” or John Cage, who said that “there is no such thing

as silence,” or Robert Barry, who said that “there is nothing that is not energy,” luminaries of art

theory, philosophy, and art history have framed analyses of their subject matter well outside the

realms of these ever-present forms of energy. At the front end, the focus of my study is an

interrogation of visual-aural creative works within a critical audio-visuality strategy, reframed in

terms of energy and quantum entanglement. A new age has come rapidly upon us, one where the

very air we breathe is an ionized medium of digital communication and control, and where we

move through seas of wave and particle, these acting in concert to affect our minds and bodies in

ways not sanctioned by individuals, yet propagated by the collective. Beyond this, it is becoming

increasingly clear that just beyond what the Buddhists might call the “stillness within the motion,”

or the “silence within the sound,” is a sea of energy and potential, where the conscious mind

meets the quantum field, where purpose and intention activate the zero point nexus. It is this

nexus which plays an important part in the focus of my study. Quantum physics has verified

through experimentation that observation and agencies of observation cannot exist

independently of one another. Physicist Niels Bohr probably put it best, when he noted that since

subatomic particles only come into existence in the presence of an observer, then it is meaningless

to speak of a particle’s properties and characteristics as existing before they are observed (Talbot,

35). In seeking to understand art and culture in terms of energetics, an understanding of how

agencies and agencies of observation cannot be independent is essential. It follows that issues of

ethics cannot be segregated from art any more than they can in science, since matter and meaning

are inseparable. Thus in essence the focus of my study in another light will be to interrogate the

idea of entanglement, wherein differences, dependencies, corollaries, affectations, semiotics,

phenomenologies, transductions, modulations, and many others all play a part (see theoretical

and methodological framework). This interrogation activates an energetic paradigm which moves

from the individual, to creators and the materials they employ along with final products, to

individual, group, and collective audiences along with the larger cultures all of these move within,

as agents and agencies. The same interrogation operates within the synthesis of a new

understanding of visual-aurality based on criticality as described above, along with an analysis of

culture as a thermodynamic system subsuming “the market” and the various economic valuations

it may fluidly encapsulate.

Theoretical and Methodological Framework

During coursework over the previous three years, I was exposed to philosophy of the arts

as a historic overview leading up to our contemporary era. Additionally, coursework involved

exposure to contemporary art theory and critical methods, with emphases on the impact of the

post-structuralist critique(s) on representation encompassed by deconstructionism, aspects of the

gaze, intersections with technology, and phenomenology ranging across a spectrum of early

psychoanalysis to post-humanism. Additionally, modernism as various flavors of historic dialog

across culture and various art forms from music and drama to the plastic arts and even literature

was analyzed. Major theories and methodologies in theater, music, and the plastic arts have been

presented and apprehended in historical and interdisciplinary contexts. Independent studies in

music technology and composition, relationships between energy, music, and visual arts have

been undertaken, along with supplemental coursework in various art historical periods, literature

and film/television studies, feminist topics, and aspects of the spectacle, iconology, media

historiography, and technology across the last two hundred years. Understandings and fresh

inscriptions of this symphony of material provide a fertile field upon which to build new

understandings based on new models of contemporary thinking, which is what I intend to do.

At the heart of my approach is a methodical synthesis of visual and audio culture,

centered on energy. This draws heavily though not entirely on contemporary feminist writers

such as Karen Barad and Donna Haraway who eschew romantic notions of strong knowledge

claims while not sidestepping complex issues of agent and agency in contemporary science and its

intersections with culture. This is simply a choice based on extensive readings- the feminists seem

much better able to articulate ideas revolving around matter and meaning, causality and

discourse, and in the case of Karen Barad in particular, a valuable and potent alternative to

representationalism which seems to permeate non-feminist writings in areas of qualitative science

studies and its relations with culture. Barad offers an understanding of quantum entanglement

which realizes that the most objective is the least present. Critical distance is not always the best

approach– this is something that feminist writers have helped me to realize. Since understandings

of audio-visual works in terms of energy also intersect human energies, subtle energies,

cognitions, and mind, aspects of visual and aural culture can expand into very wide areas from

the metaphysical to the measurable. These energies operate across differences. How can some of

these differences be analyzed? In her book Aurality, Ana Maria Ochoa Gautier offers one way into

this area, locating sound at junctures of the human and nonhuman, and demonstrating politics of

life and expression as entanglements of the musical and the linguistic. She utilizes tactics of sound

culture which acoustically analyze varieties of textual material. Contrast this with a more

environmentally focused aspect of sound as energy as seen in the writings of Douglas Kahn.

Aspects of scale, simultaneity, transduction, and transception are mapped out via affectations of

materiality in artworks and technologies within the expanded earth-nature-human biosphere in

his Earth Sound Earth Signal as well as his Noise, Water, Meat. These along with other theorists

can inform a synthesis of visual-aurality as multi-modal entanglement.

An expansion of energetic ontology into larger aspects of culture and marketplaces

requires an understanding of creative works functioning within a thermodynamic system. This is

an application of theories provided by economists such as John Foster from the University of

Queensland in Australia, Andreas Pyka, Professor of Economics and chair of innovation

economics at the Business and Economics Faculty of the University of Stuttgart-Hohenheim

Germany, and Andrea Schamhorst, Head of e-Research at the Data Archiving and Networked

Services (DANS) institution in the Netherlands. These authors write extensively on networked

systems, along with creative works as forms of knowledge currencies in networked systems and

evolutionary economies. In a sense, I understand networked systems as a physical manifestation

of entanglement, though in some cases this operates as more of a metaphor. Much of my

proposed work involves what I refer to as “triangulated refractions,” a term similar to what Karen

Barad refers to as “diffraction gratings,” and where various theorists operate as lenses or gratings

through which related theories are analytically suffused and reciprocated. In relation to valuations

of creative works as energetic translations, works such as Rubbish Theory- the Creation and

Destruction of Value by sociological theorist Michael Thompson, and the identically subtitled

Culture and Waste, edited by Media Studies lecturer Gary Hawkins and professor of cultural

studies at the University of Sydney, Stephen Muecke are a starting point. The field of visual

culture, which has come to be known as critical visuality, offers wide avenues of literature and

bibliographic material to draw from, for help in this synthesis. The first three editions of The

Visual Culture Reader, published by Rutledge University and encompassing more than two

thousand pages, in conjunction with the more traditionally situated yet artist-focused Art in

Theory, (also published in three volumes at this point) by Blackwell press and edited by art

theorists Charles Harrison and Paul Wood are starting points for identifying contemporary

realizations of energetic translations in the form of visual-aural works.

Metaphysics as a field of knowledge informed all of our current understandings of physics.

Some of this material in its contemporary form can be useful in tracking understandings of

energy in the (loosely termed here) networked systems of human subtle energy, body, mind, and

cognition.

General Statement of Concerns

Audiovisual works and contextual spaces wherein they are apprehended are subject to the

persistence of sound and light and energy within and across varied densities. A qualitative

thermodynamics of the creative artifact articulated in terms of energetic ontologies might see

creative works as transcendent protagonists operating within a radicalized cinema. A general

statement of one aspect of this project involves how to delimit these various energetic

designations within a thermodynamic system. The art market is one aspect of this open

thermodynamic system, as pointed out by economist John Foster in his paper “Energy, Aesthetics,

and Knowledge in Complex Economic Systems” wherein lie indexes of valuation. A portion of the

context is thus a synthesis of sorts, where a systematically unifiable criteria can be implemented,

one which can objectively interrogate audiovisual works within various channels of energetic

fabrication, presentation, apprehension, movement, and dynamic fluidity as dissolutions within

the societal fabric.

Audiovisual works are deployed and function within sociopolitical, socioeconomic, and

socio-energetic nexuses. With regard to energy, these functionalities operate within a spectrum

that spans human subtle energies, vibratory transductions and related shared or transpersonal

experience, through to larger open systems of thermodynamics. In a larger sense too, there are

reconciliations that must be addressed. These involve the energies associated with creative works

which are not directly connected to the works in question. A good example might be the so-called

“carbon footprint” of international art events, and the massive amount of related artifacts which

attend them– articles, essays, attended lectures, etc.

In short, a detailed comprehensive and quantifiable analysis, while interesting in its own

right, is not the goal.What is desired is a mapping of energetic movements resulting from a

dissolution of creative works into the social fabrics wherein those energies operate. In looking at

the movements of energies within various spectrums, notions of direction, source, and attractors

(as destinations of sorts) also come into play. There are no mappings without directions. As such,

the fabrication of creative audiovisual works is itself a kind of energetic metabolism which does

not end subsequent to an artifact’s emergence into matrices of societal systems, nor their itinerant

interactions and reciprocations with systems of economy and affectations thereof. With this in

mind, the context of the problem may best be understood as a kind of mobilized multi-

dimensional architecture of applied energetic analysis, situated within strategies seen in visual

culture studies, along with its more expansive critical visuality, conjoined with a clearly

articulated science studies backdrop. This strategy seeks to be inclusive of the audiosphere and of

feminist approaches to science. I use the term mobilized here, because this architecture must

function in a way similar to an object-oriented software programming language, whose

components or “objects” are multi-functional and modifiable “classes,” or units which are

polymorphic, and can encapsulate and inherit functionalities from one another (more precise

definitions of terms will follow).

Beyond this, all creative works come into being, are deployed, and operate as agents of

energetic modulation and artifactual generation within the cultural mediums which they move

through, and within emergent systems of interdisciplinary knowledge— from the mundane to the

cosmological. Mapping these deployments and subsequent movements, or dissolutions into the

greater cultural fabric, based on energetic classifications ranging from the metaphysical to the

measurable, allows the works themselves, whether they be visual or auditory, or audio-visual, or

literary or cinematic, to be clearly placed into the context of an open system, one in which context

becomes as reflexive as the itinerant creations under consideration.

A kind of new knowledge emerges, one where audiovisual and other creative works are

approached as energetic deployments enmeshed within a kind of energetic physiology. Within

this conceptual physiology, the understanding of creative works moves toward a more global and

fluid objectivity, one which can better inform those seeking to understand creative works in all

their variety, together with those intimately involved in the creative process. The project as it is

being delineated here thus demands a level of open-endedness, grounded in a contemporary

strategy in which a multi-modal thesis will appear as the work progresses.

The theoretical physicist Albert Einstein built his ideas of relativity upon the celestial

mechanics of Isaac Newton – these in turn were built upon the Cartesian paradigm, which locates

discreet objects within three dimensional space. As scientists now know, the ability to reconcile

observed data with relativistic science grows more untenable by the day. A mechanistic approach

cannot hold up under inquiries into the nature of agent and agency. Both the fields of art and

science seem to be in a theoretical sense, moving from a mechanistic approach based on discreet

objects in space and time, toward a more organic holism. The philosopher Michel Foucault

anticipated this expanding contrast very clearly, writing well before the digital age was even upon

us: “We are at a moment, I believe, when our experience of the world is less that of a long life

developing through time than that of a network that connects points and intersects with its own

skein. One could perhaps say that certain idealogical concepts animating present-day polemics

oppose the pious descendants of time and the determined inhabitants of space” (Mirzoeff, Visual

Culture 1st ed., 237). Therein lies a portion of the concerns involved here.

What I propose to do is to dissolve chosen cultural visual-aural artifacts into the open

ended systems of culture within which they function, and focus within that dissolution on multi-

modal expressions and interplays of energy among materials, individuals, cultures, and the

variable environments within which they all operate. This best describes what I mean when I use

the term thermodynamics. Because of this, many anachronistic reconciliations are required. As

such this is not a historiographic approach, rather an enhanced visual-aural culture study, which

loosens the pious and determined bonds of the cultural artifact from within the space-time

continuum of history. A scholarly approach to this kind of project is not contained in whole by

the text which expounds upon it, nor upon exemplary practice-based components which may be

employed. It is thus not fully comprehensive, nor can it be expected to be so. Gérard Genette

defines transtextuality as an umbrella term encompassing hypertext, intertext, and metatext

among others, in his book Palimpsests: Literature in the Second Degree (1-5). These can be thought

of as textual metaphors for aspects of entanglement.

Though diminutive in relation to a written exercise, products of a practice based

component can themselves be interrogated in relation to functionality as energetic node and

nexus, rendering my project both “transtextual” and “super-textual.” A practice-based component

produces and deploys visual-aural creations as first hand super-textual witnesses. The proposed

dissertation to follow is therefore immune to the somewhat famous and controversial remark by

French philosopher Jacques Derrida: “There is nothing outside of the text” (Of Grammatology,

121). In the case of the project proposed here, it should be added that that is not always to be true,

nor is it not always not to be true.

As mentioned in my response to qualifying questions, understandings of energy as it is

apprehended and measured in its various forms through mainstream science complicates

knowledge of the myriad and subtle ways that energy can affect human beings by means of audio-

visual artifacts. Many of these affectations are currently immeasurable, yet experienced

nonetheless. Illuminating, rather than eliminating or ignoring the experienced yet immeasurable

aspects of an analysis of creative works within models of energetics is the best way to alleviate this

complication. Mathematics is not the only tool of objectivity. Additionally, in the field of science,

it can be shown there are numerous examples of mathematics being employed to “prove” certain

theories, based on false assumptions brought about by misunderstandings of observed physical

data. The objects which we are told by scientists populate our universe– things such as black

holes, dark matter, dark energy, and other objects and forces all have one thing in common– they

remain unseen and unapproachable within known laws of physics (Thornhill and Talbott, 2). I see

the creative realizations of audio-visual works as a viable interrogative arena perfectly suited for

crossing some of the operative yet occult boundaries created by these kinds of dichotomies.

Among other things, my proposed course of research and writing subsumes the visual and the

auditory within ontologies of energy, expressed and measured in variegated but intersecting

modalities. In a larger cultural sense, and centered on the idea of energy as a highly varied feature

of both artistic works and the cultures they engage with in a reciprocative sense, I strongly believe

that new territories of knowledge can be better ascertained and developed, if one does not limit

theoretic considerations to those sanctioned by any one culture, whether academic, geographic,

or otherwise. Where it may be occasionally useful to employ those sources which lie outside of

normative academic practice here, those sources can be identified as such.

Culturally, it may be that the failure of visual strategy lies within its very self-privileging,

yet in light of a more holistic analysis, this should not be construed as a segue into ways that the

visual and the auditory (or other aspects of an energetic ontological spectrum) can be

dualistically segregated into their respective aspects toward each other. Certainly the singling out

and ascension of a human sense such as sight seems a likely suspect for the way particularities are

universalized and universalities are particularized, but not necessarily the only one. When the

most objective is the least present, disparities may breed. This can be ameliorated by a cross-

referencing of abstract particularities mapped out as a kind of energetic speciation. In a sense,

both space and optics can become metaphors for energetic modalities.

More than a contrivance, the audiovisual artifact is indeed a radical object, made so by

what media theorist K.J. Donnelly in his book Occult Aesthetics deems a heightened aesthetic

brought on by mutual implications of the seen and heard. Beyond the synergism of audio and

visual as components of a radicalized cinema are additional particularities of synchronization and

lack thereof, contributing to the overall human effect. Even here the human mind finds ways to

perceive cohesion or universalize particulars, where neither may be intended by the creators. How

do these affect modes of entanglement?

At this point also in a cultural sense, a focus on creative audiovisual works within nested

matrices of energetics demands a more specific loosening of geocentric academic constraints. In

other words, what is sanctioned and accepted by Western scholars, particularly in the realm of the

more subtle human energy fields, is distinctly different from what is sanctioned and accepted by

Eastern scholars. Since subtle human energetics in relation to creative works are not by nature

narrowly definable any more than thermodynamic or even measurable transductive (modified by

conduction material) energies are, the overall methodology and scope of interdisciplinarity for

this kind of study demands a fluidity in order for a long-term successful model to emerge. As I

have stated previously – to apprehend a creative work utilizing philosophic models at odds with

what the artist employs is to misrepresent the work. In conjunction with this, an approach to

creative works from within any certain political or philosophical stance which may at some point

or other be foreign to the political or philosophical currents within which the creative works in

question may operate, whether or not those currents are sanctioned by the creator of the works,

cannot be effective, due to an ensuing lack of intellectual resonance. More succinctly, real

discovery may be obscured by an illusion of objectivity or knowledge engendered by arbitrary

consensus. This is especially true today, where the works in question are itinerant by nature, and

by the conditioning of the fields from which they emerge and within which they move, greatly

varied in an energetic sense. Another concern seeks to foster inclusiveness in my project, without

sacrificing academic rigor.

Limitations of existing theory or knowledge regarding the problem

As ongoing reconciliations between the digital and analog aspects of our culture continue

to unfold, it is no longer possible to apprehend creative fields in clearly circumscribed ways. All

characterizations of the so-called art world and/or spheres of audiovisual culture are now

hyperlinked, whether literally or metaphorically, within and across innumerable features of the

global marketplace and the various depths of all of its cultural fabrics.

In the expansive appropriations of visual and auditory culture occurring across disciplines

and applications, the borders of audiovisual culture no longer lend themselves to functional

delineation, if they ever truly did. Additionally, the models by which we understand and within

which we might place such borders are themselves subject to a perpetual shifting. In other words,

we are no longer dealing with closed systems of knowledge, but with open systems of knowledge,

operating in mutually non-exclusive ways. Because of this, discrete mental concepts and

constructs once functioning as components of disciplinary models which allowed for movement

toward a more “cooled” objective thermodynamic entropy (disordered state), now remain “hot,”

and thus less likely to allow for states of conceptual equilibrium to emerge. Additionally, due to

the arbitrary privileging of methodologies, existing theories related to what is described here may

be limited in their interdisciplinary scope. Except in cases where it is not possible to use them as a

lens through which other theories can refract (or vice versa), these theories can still be quite

useful. For example, the writings of Yale art historian George Kubler, particularly his book The

Shape of Time, where he classifies creative products in relation to their influence upon one

another across time, seek to move toward this cool equilibrium, yet the digital society renders this

impossible, and Kubler’s model now functionally unworkable on its own terms. It is as if coupled

pathways of transmutation are now being generated in ongoing and multi-variate ways, as we can

see for example, in the ways that the institution and the market are integrated today in ways

which were not imagined in the 1920s or even the 1960s when Kubler was writing. Nonetheless,

Kubler offers encapsulations of ideas which can modulate the ideas of other authors by means of

an interdisciplinary approach.

Building upon some of Kubler’s ideas in The Shape of Time, David Summers in his book

Real Spaces, seeks to create a more globally functional methodology (albeit quite generalized

within this example) for a history of visual art, framed by the spaces within which the works are

received, along with a bifurcation of notions of optics into two main areas. While these authors

are centered within studies of art in a historiographic sense, what I am calling a “thermodynamics

of the creative artifact” allows for a reframing of some of their ideas in an energetic sense.

Similarly, existing knowledge or theory based on iconography/iconology, formalist, semiotic, or

anthropologic approaches, can be approached with similar strategies. Strong knowledge claims

made within existing theory would only be useless if they demanded to operate within a closed

system. The biggest limitation lies in the reliance on reductionist thought in order to apprehend

creative works which are operating on metaphysical levels, or based on metaphysical thought.

This kind of reliance produces only partialities. A way around this is to utilize reference materials

which are not academically or scientifically sanctioned where necessary, identifying them as such.

Additionally, theoretical writings by artists themselves can provide valuable insights.

As an example, in some cases, particularly where theoretical aspects of human subtle

energies are involved, it may be necessary to link Eastern metaphysical thought with newly

emergent (or existing) non-academic Western thought. As in other examples given, here might lie

a spectrum of semiotics requiring the kind of transtextuality which produces what feminist

science studies author Karen Barad calls a “diffraction grating.”

Artists of all kinds have consistently crisscrossed theoretical divides throughout our

modern and contemporary eras. Simple differentiating protocols as mentioned here can allow

textual apprehensions of these works without the self-imposed constraints of a more “traditional”

approach. Though cognition, human psychology, perception and phenomenology all play into the

overall study proposed here, they will be approached in ways that are constrained to supportive

and essential roles, rather than in an expansive periphery.

Relevance to existing fields/suggestions for further inquiry or practice (to be further expanded)

The following is a brief list of how this project may intersect with other fields or further

inquiries and practices:

The relevance of the creative work and related artifacts as a functional component of economic

thermodynamics.

Relationships between art and quantum physics, especially with regard to philosophy and science

studies.

Functional energetics within creative works, architectural and/or environmental or natural spaces

Alternate systems of valuation

Frequencies in music, tuning systems, and cognition

Sound and colors in relation to Eastern conceptions of human subtle energies

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