Art et
Internet. Les nouvelles figures de la
création
by Jean-Paul Fourmentraux
CNRS Éditions, Paris, 2005
224 pp., illus. 20 b/w. Paper, 20 Euros
ISBN : 2-271-06353-1.
Reviewed by Jan Baetens
Instituut voor Culturele Studies &
Lieven Gevaert Research Centre for Photography
and Visual Studies
jan.baetens@arts.kuleuven.ac.be
Modern sociology
of art has been defending for several
decades a strong anti-subjective and anti-objective
stance that helped it to institutionalize
as an autonomous discipline besides or,
rather, against art history, a discipline
accused by sociologists of the hypostasis
of the subject (the creative genius) as
well as the object (the supratemporal
work of Art). This Bourdieusian sociology
of art is defined by its double attempt
to disclose the social underpinnings of
the publics taste, on the one hand,
and the role of the networks that decide
what will be accepted or on the contrary
rejected as art, on the other hand. Reading
against the grain of this still dominant
paradigm, Jean-Paul Fourmentrauxs
book relies on a quite different perspective
that takes as its central issue the interaction
of subject and object. Clearly inspired
by the actor network theory (ANT) as promoted
in art theory by Antoine Hennion (author
also of an excellent introduction to this
volume).
Art et Internet is a fascinating
journey into a "hybrid" the
author calls "the artwork at work"
(or "in action", and in French
as well as in English to nod to Latours
"science in action" should be
clear). The main conviction of the book
is that Net Arti.e. art produced
not just by means of the new digital
media, but for those mediais
a complex structure in which the various
"actors" (some of them human,
like the software engineer, the artist,
or the museum curator; others not, like
the hardware, the copyright legislation,
or the available infrastructure of an
exhibit) are in a permanent relationship
of mutual reshaping and negotiation. Complexity
and hybridity, however, are not synonymous
of confusion and blurring of all boundaries.
While rejecting the myth of the autonomous
object and the autonomous subject, Jean-Paul
Fourmentraux analyzes what happens with
subject and object in the context of Net
Art.
His analysis combines two dimensions.
The first is syntagmatic and chronological
and divides the process of the work in
action in three major phases, which of
course never follow each other in a purely
mechanical or linear way (like in all
cybernetic structures, there is room for
feedback, loops, and internal redefinitions):
1) conception: how is the work
"invented", how do the first
ideas take form and what are the (creative)
constraints of the technological, cultural,
and social environment; 2) disposition:
how is the first draft implemented in
a material structure having its own software
and interface and how do interface and
software influence the very idea and form
of the work; 3) exhibition: how
is the Net Art-work communicated to the
public in an artistic context, and how
is it circulated in this material field?
The second dimension is paradigmatic and
examines the actors involved in the process,
and their ever-shifting relationships
(contrary to what generally happens in
"traditional" sociology of art,
these relationships are not simply thought
of as power relationships, they are seen
instead as interaction, i.e. a combination
of collaboration, tension, and negotiation).
The result of the inquiry is inspiring
reading, from the very first to the last
page of the book. Art et Internet
is a perfect mix of methodological clarity,
conceptual sharpness, theoretical finesse,
and intellectual challenge. Jean-Paul
Fourmentraux describes in full detail
what occurs in the "expanded studio"
(to paraphrase Rosalind Krausss
famous expression), without ever taking
into account the completely different
questions of aesthetics, of value judgments,
and subjective appreciation. At the same
time he also introduces a double theoretical
rethinking of the work of art in action
on the Internet. First, by proposing at
each of the three levels of his analysis
a taxonomy of actors and operations that
is incomparably richer than what had been
done until now. Exemplary in this regard
is the rereading of notions such as interaction
and interface. Second, by focusing
on the complement "in action"
or "at work" rather than on
the word "art" itself. The versatility
and complexity of the artwork on the Internet
is not projected on the work itself (this
might imply the danger of an essentializing
vision of these new art forms). Instead
it is the work itself that slowly fades
away. More precisely, Fourmentraux argues
that the work as the focus of both the
action as the attention is replaced by
something completely else, namely the
ongoing and never ceasing treatment of
the artwork by many actors in multiple
contexts that are mutually interacting.
In short, a major contribution to the
transfer of ANT theory to the sociology
of art, and a book which one hopes to
see soon in English translation.