Art, Time,
and Technology
by Charlie Gere
Berg Publishers, Oxford and New York,
2006
240 pp. Trade, £50.00; paper, £16.99
ISBN: 1845201345; ISBN: 1-84520-135-2.
Reviewed by Jan Baetens
KU Leuven
Faculty of Arts, Blijde Inkomststraat
21, B-3000 Leuven, Belgium
jan.baetens@arts.kuleuven.be
I have read Art, Time, and Technology
with permanent and increasing admiration,
pleasure, and excitement. Charlie Geres
book is, without any doubt, a major contribution
to the field of "art and technology"
(and sometimes even "art and science")
studies, which it innovates in very stimulating
ways. Moreover, the author has a straightforward
yet very elegant and well-timed style,
with a perfect balance between historical
precision, social relevance, and critical
reflection.
The starting point of the book is triple
statement borrowed mainly from the anthropologist
Leroi-Gourhan and its further readings
by Georges Bataille and Jacques Derrida
(although Charlie Gere makes a cautious
and, therefore, very clever use of deconstruction):
1) It was not man who invented technology,
but technology that created man, 2) This
creation of mankind has meant also the
birth of history, i.e. of culture, the
basic issue being the impossibility to
ever bridge human finitude and times
infinity (the notion of speed and the
perception of a permanent speeding-up
of history is just one of the symptoms
of such this gap, whereas the notion of
gap is of course highlighted and theorized,
but never in a dogmatic manner, within
the Derridean framework of différance),
and 3) Art is not an ornament but a social
and cultural necessity, which man is using
as a way to come to terms with the problem
of time.
In a certain sense Art, Time, and Technology
tells a great narrative, that of the attempts
in modern Western culture from Morses
telegraph (an acceptable "alpha"
for a study on the intersections of art
and technology) to the visual aftermath
of 9/11 (an even more acceptable "omega"
of a sometimes wildly utopian, sometimes
grimly apocalyptic history) to achieve
a coincidence ("time") between
culture ("art") and media infrastructure
("technology"). Real-time
artistic expressions are then seen
as the horizon of such a craving, which
aims at blurring the very boundaries between
the various dimensions of the cultural,
the technological, and the temporal.
Yet the major quality of Charlie Geres
work is not only to give a well-structured
and concise historical survey of some
of the landmark events, works, artists,
and thinkers of the period under scrutiny,
but also to do it in a very special way,
which opens room to discussing time in
two different ways. First of all, Gere
is a wonderful storyteller, who appears
able to situate his objects in the density
of their historical environment. At the
same time, the stories told are never
suffocating the reader with an excess
of archival material: Geres evocations
are both "thick" descriptions
and "light" narrations, and
I dont know many other examples
of authors who are able to tell so many
things in so few words and without becoming
either pedantic or formulaic. Second,
the author follows throughout the whole
book a double interdisciplinary thread:
On the one hand, the examples chosen make
us travel from one domain to another (although
Art, Time, and Technology is limited
to the field of visual culture, each chapter
succeeds in revealing a completely new
aspect of it); on the other hand, the
discussion of each subfield gathers material
from very different horizons (Gere is
not afraid of relying heavily on biographical
data, which may seem anecdotal at first
sight but whose pertinence is always made
perfectly clear).
After an extremely useful and illuminating
introductory chapter in which Charlie
Gere sketches the global intellectual
and cultural background of the artistic
and communicative phenomena he plans to
tackle, Art, Time, and Technology
proposes seven chapters that each in their
own way offers a key issue of the relationship
between the artistic and the technological,
from the viewpoint of their longed for
but impossible reconciliation in a unified
culture: the invention of the telegraph,
which Gere analyzes as one of the most
surprising consequences of Morses
ambition to become a history painter (his
failure as a traditional artist pushed
him into this alternative direction, more
appropriated to the dissemination of his
quite conservative message in contemporary
life); the career of Van Gogh, as the
first artist of a technological era in
which communication was becoming more
important than art, or rather, in which
art itself had to transform itself in
communication (hence a very clever analysis
of Van Goghs specific style in terms
of "writing"); the importance
of space technology and aerial viewing
for new ways of painting (from Cubism
to Suprematism); John Cages famous
433" so-called "silent
piece", which Charlie Gere reinterprets
very convincingly as an echo (pun not
intended) of contemporary experiments
with radar and surveillance techniques,
in which the large public was invited
to look for signs (in this case of a Soviet
nuclear attack) in an environment deprived
of signs; the rise of cybernetics, telematics,
and new media since the fifties, which
the more utopian thinkers and practitioners
of these days saw as a decisive step toward
the replacement of art as well as communications
by an ongoing and universally accessible
"experience" (inclusive those
produced within the human body, thanks
to new drugs like LSD); the transformation
of the official art world and its institutions,
now taken over by postmodern structures
and environments that privilege a mix
of chaos and knowledge to the expense
of the traditional work of art (the example
here is of course Les Immatériaux);
and finally the temporal complexities
in new media art that definitely resist
modernist dreams of temporal stillness
(or, in the vocabulary of Michael Fried,
of "presentness", i.e. of "grace").
The biggest merit of Art, Time, and
Technology is, however, that this
book has been written by just one author.
If this would have been an edited collection,
one would have praised the exceptional
coherence as well as the brilliant diversity
of the work. Since all this is the work
of just one man, it is only right to double
the praise. As it is, one can only admire
the breadth of the authors interests
and the depth of his insights, the clarity
and sharpness of his working hypotheses
and close readings and the politeness
that enables him to invite the readers
to continue their reading instead of claiming
the last word.