Empire's Hologram Eric.de Bruyn

14 -. 1j

"You bend over the hologram like God over his creature: only God has this po,v ,er of passing through walls, through people, and finding Himse lf immaterially in the beyond. We dream of passing through ourselves and of finding ourselves in the beyond: the day ,vhen your holographie double will be there in space, eventually moving and talk' ng, you v.1ill have realized this mira.cle. Of course, it will no 1 onger be a dream, so its charm will be lost.'; - Jean Baudrillard, "H .ologra1nsm

''I never had to follo,~l a ghost befo re ." - Ridley Scott, Prometheus2

r. Prefigurations

"There is no past,,;' Gene Youngblood states ,vith a confidence that bor ­ders on the foolhardy inExpanded Cinema, his f amous paean to the intermedia experiments of the neo ­avant -garde. 3 This assertion would lead many cultural critics to despair

llMPlllJ;'S flOUlORAM.

about the future ofhuman culture, but not Youngblood. He dcclares the death of history in the middle of a discus­sion of the merits of Stanley Kubrick's magnum opus, w01: A Space Ody,sey (1968), which Youngblood 2ccepts, if not without some hesitation , as articulating a mythology of hum•n progress that is propcr co chc cmcrging eN of information tcch nology or what the Americ•n cr itic prefers to call the Paleocybemetic age. One could say, thcreforc, that Yùungblood appoints Stanley Kubrick as the Richard Wagner of intermedia att, although E.,pa11dtd Ci11e111a makcs no actual reference to the German invcntor of chc total work of arc. Howcvcr, what this comparison might help to clarify at the outset of my argument is, first of ail, how cxpandcd cinema envisions an intcracdon bctwccn acsthetics and politics through rhc active rearrangemen t of the senses and , secondly, that the declaration of a rupture bctwccn pasc and present, which was so oftcn uscd to announce the birth of a ncw avanc-g~rde during the ~0 1

" century, did not prcempt the crcation of a ncw origin myth. In fact, it necessitated the invention of such a myth to "rehooc,n as it wcl'c, the connection bctwccn past and prcsent.

In the following, I shall address in parcicular this question of the political aesthetics of cxpandcd einema and I sha ll do so, largcly, in dialogue with Youngblood's text. However, it should be clear from the beginning that I do not take Youngblooù's hook as an authoritative account of a set of practiccs, which arc now assembled under the historical label of "expanded cinema," although Youngblood's tcxt is one of the carlicsc, and most informative to address the widc assortmem of multimedia screenings

1 performances

and installations chat wem by the namc of cxpandcd cinema since the mid-196os. No doubt this phenomenon forms a historical construct which does not possess an intrinsic, formai logic, despitc the multifarious attcmpts, such as Younghlood's, to dc6nc such a comprehensive logic in retrospect. There should be no need to point ouc thac expande d cinema - as the vcry ccrm implies-does not co nsist of a homogcnous and unificd set of practices although, as I will indicate, recem scholarship has es tah­lished a few b2sic, if divergent dùpositifi of cxpandcd cinema (not ail of which arc rccognizcd by Youngblood in his book). Furthcrn1ore, ifYoungblood 's text will have a promincnt

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presence in the following, 1 do no t propose to undertakc what would be a rather superfluous gesturc; namely, to perfo rm a critical cleconstruction ofhis argument for its own sake. What I propose to undertake is of a more speeula­tive nature, which rcquires that wc productively work through the "ideological materials" that are contained within Youngblood' s text, instead ofsimply dismissing its mctaphor of "expanded consdousness" as a false resolution of underlying social conflicts. Such a mode of ideological c ritique would serve no rcal purpose in the presem.

What I find compelling ahout Younghlood's text is its anliCifJatory value, the manncr in which it indi.cates â proccss of mediatization that has worked its way through into our own p rcsem, although not in the m,mner that the author predic ted. This historical dcvclopmem I shall auempt to grasp through the ambivalent figure of the holographie image, which must be understood here in a more allegorical chan technical sen se. lt is a gcncalogy of the hologram, in other words, chat will conecrn me here, but not in the sense of writing the hist()ry of a specific tcehnological invention. What I wish to sketch , in a prcliminary manne ,·, is th e genealob'}' of what \\t may call a hologra1mna1b,atib11 of thç spacc of politics.•

Hencc I shaU focus on the one phantom that haunts Youngblood 's text throughout , if only putting in a full appcarance at th e very end of the book. Yet, cvcn there, it shows up in a elusive mann cr, more drcam than tangible reality, as a kind of holographie spirit that announccs to Youngblood a vision of an utopian future. 1 propose that wc consider this holographie figure in two, complementary ways: on the one hand , as represe ntin g a political allcgory of cxpanded cinema, and on the ochcr hand as drawing a socia l diagram, to borrow Gilles Deleuze's phrase, of the latc.r 1960s. The hologram is more than a tecbno logicol device in Youngb!(,ocl's book, it exemplifies a spccific apparatus of power. To understand what is at stakc here, we nccd to rccall Deleuzc's crucial addcndum to Michel Foucault's concept . of a disciplinary socicty, in the "Postscdpt on a Con trol Society."' Since the Second \Vorld War, Deleuze contend s, wc have alrcady bcen moving away from a disci · plinary regimc of power, which confined people within the institutional sic.es of work, cntertainment, and education.

New forces have con1e into play, he insisted, constructing :.m informational society of communication and control, which is pcrhaps more open in character, but not less suhjec t t0 administration. Conunlled socie ties are organi zed by mca ns of a new bio -po litical tech nology <if co ntinuous monitoring and informati on feedback loops .6 Cybemetic machines are the hallmark of th is new soc iety of control, yet as Deleuze points out, machines do not explain anything. Rather we must always "analyze the collective arrangement.<; of ·which the machines are just one component."'

One such collective arrangement of information tec hnology was fantasizcd durin g the 1960s under the name of the "Global Village," and Youngblood wished to gather the tribal audience around its electronic heanh. In his opinion the creative media of the future would be formed by video, tclcvision, and comput ers. A new form of "synaesthetic'' and "cybernetic,, cincma would soon render narl'ativc cinema obsolet c. And thus Youngblood came tO pon ray expan dcd cinema in 1970 as emb'1rking on an adventurous mjssion to djscovcr and harness the "un.iversals of communication," drawing a parallel to the "inte rstellar morality play" of Kubrick 's 2001 : A Space Odyssey, in which the in trepid crew of the spaecship Diswvery travels into outer space to investigate a mystcdous signal emanati.ng from the cdgc of the solar system. Two decad es later, howcver, thi s journey into cyberspacc would corne to be viewed in a qui te dilferent light. As De leuze remarke d in 1991, any quest to estab lish ~ system of universal communicotion "ought co make us shudder."R

"Throug h the Holograrn Window"

To imagine a worJd of universal communication is co imagine the wor ld as a closed circuit in which ail c(mti n­gency-as an "extcrnal" dis turbance of the homcostatic balance of the system-has been submitt ed ro àlgori thmic cont rol. ln short, ail "noise" will be banned from such a reaJm. In such a wor.ld, wc: might imagine that information as such, which Gregory Bateson once defined •s • diffcrcncc that makcs a ditfcrenc e, would be red uccd co a single "l ive" signal, empticd of s ignification , coursing thro ugh the pathways of th e system. At this poin t we would enter

Jc•n Baudrillard's domain ofhyperreàli ty, or a world of total simulation. lndeed Baudrilla rd maint:tins that it is the aecelerating degree of informat ion circuh1ting with in the media syStem that causes informa tion to divcst of its ability to "make a diflèrence": "the lcl!:iS of mcaning is directly linkcd to the dissolving, dissuasive ~ction of information, the med ia, and the mass media ."9 And we may imagine how Deleuze begins to shudde r 21 the thought of Daudrillard's future society of univctsal communication, a hologcnic world thac consists of the "materialized projection of ~JI available informa tion on the subjcct:' leaving nothing bchind to be desired. Even the hand that passes through such a "ma tcria lized trnnsparenc y" bccomes unrea l. Indeed, not on ly is the hyperr cal popula tcd by holograp hie bodies, it is nothing but a holographie projection.

Thcrc are then two fatal stratcgics, rwo tra.nsgressive acts th ,u must be avoiclcd, according to Baudr illard , in one's interaccion with the rcalm of media tcchnology. In the first place, one must ncvcr try to t raverse the tra nsparent plane of the image. One must never yield, that is, to the tem ptation to pass over to the si.de of the real. For this would cause the image m disappear, and with the vanishin1;: of the image we would Jose our sense of sdf- idc nt ity as weU. To save our­selves, Bauclrillard implies, the imaginary must be protected ot all costs. Should our fan tas y of "seci ng ourselves" in a mirror or photog raph someh .ow be brough t to an end, the world as a wholc would dissolve into a shapclcss fog. Yct, RaudriHard contends, the opposite tcmpration is equally dead ly: we must also not try to pass over to the sidc of our own double or holograph ie twin. 'fo exte rnalize, that is, our idcal ego as a hologram. It may be hard, he writ es, t0

s hake the fascination of "being able to circle a round oneself, finally and cspccially of traversi ng onesclf, of passing through one's own spect ral body-and any holographed object is initially the lum inous ectop lasm of your own b1>dy."'0 Yct, should a laser beam, as it wcrc, be capable of cxcising ~ secret double from om· unconscious, crcating an ideal prosthesis of oursclvc s, wc would not be ~cen bending over our own crcacions 1'1ike gods.,,'fhe.~e morc-than-perfect holographie others-exis ting " therc in space, eventually moving and ta1king,,- would render our own bodies immatcrial in turn.

In short, Baudrillard emp loys the metaphor of the hologram-he is not speaking of any act ually existing teehnology - t0 descri be a process of spec1roge11esis." In purSllit of the status of a god, the human subject attempts to give autonomous life to the abstractions ofh is own though t. A process that, of course, Karl Marx had already shown to lie at the bas is of cap italist Society in his discussion of the commodity fetish. Only now it is the mind itse lf, no, the body's physical labor that •ssumes a spectral shapc. I shall dcvclop th is notion of spectroge nesis, but Youngblood was clearly not worried about the dangers of "passiog to the sicle of the hologram" in 1970. Further · more, he welcomed the accelerated 6ow of information and its cffcct of creating an "implosion of meanjng." This destruction of the social imaginary was ernancipatory in his eyes as it released us from the hold of the past : "tech nologies such as televis ion displace the individual from participant to observer of the human pageant, and thus we live cttèctivcly 'outside' of time; we external ize and objec tify what previously was subjectively intcgral to our own sclf­in,agc."u ln othcr words, the mass media produce as tate of rodical alienation in the speccato r, bue at the same stroke he is liber-ued from the specious images chat cns laved former gcneratîons: "As we unlearn our past, we unle-arn our selves."'3

By means of our mediatized detachment from history, wc arc aU bdng prcpared, like astronauts, to step into the beyond and to becomc a "child of the new age, a man of cosmic consciousness.,, In order to illustrate chis idea, Youngblood rcfers w a scenc in 2<>01: A Space Odysrey in which a crew member rece ivcs a birthday message frnm his Earthbound parents. The moment is infüsed with sadne ss, Youngblood observes, but not bccause he longs for a pas t. The astronaut is both physically .md mcnull y rcmoved from the social insti tution of the family. What significauce cou ld a birthday have to somconc who no longer shares his parent's comprehension of the difference between lifc and death? Are not his compan ions aboa,·d the Discovcry prescrvcd in a statc:. of cryogenic suspension? To this "child of the new age" who lives in a cybcmct ic symbiosis with the mach ine, the re exis,s only a continuous grodation betwcen the animatc and the inanimate.

JO U

lt is our current plight , therefore, to be filled with "<1n inevirnble sense of melancholy and noStalgia, no, for rhc past, but for our inability ro bccomc intcgra l with the present.m-1 Furdlermot'e, he continues, this is also not a nostalgia for the future, as "there arc no pammcccrs by which co know ic."1

} Youngblood pcrccivcd his own gcnern­tion, therefore, as living in the antechambers of time waiting ,o be reborn, literally, in t he art ificial light ofc hc clcetronic media, similar to chc face of the astronaut in 2001: A Space Odyss,:y, who "fonds himself in auscere .Regency chambers with an aqueuus vicfoo-like acmosphcrc, constructcd by whispcring on111iscient aliens." In dûs simulated environment or video-incubator. the ascronaut undergocs a ''se ries of sclf-confrontations,U continuously proccssing b.imself~s if hc has become trapped in an endless feedback loop.'6

Until, that is, the astronaut is reincarnatcd a$ the Star Child, "transecndi ng logic far bcyond human imelligence.'" 7 It is cle::1t wh~t Kubtick's movie, this "interst.ellar morality play,n has co oller Youngblood: he comprehends it as an allegory of human redemp tion by mea ns of tcehno logical dcvclop­rncnt. 18 Human consciousness is to ascend "beyond infinityl'I through t he admin istrations of an alien intelligence. Yet it is easy to grasp chat this "alicn" mind is ooching cJsc than an objcctification ofhuman thought . In tllis cominuous hypostasis of mental images into somc form of i.1alicn incclligcncc," Youngblood is, as it were, laying a holographie trap fo1· lùmse lf.

We might sense his holograph ie double alrcady smnding in the wings, waiting to step out onto the cenrntl stage. Dut there is a hitch. As Youngblood complains , Space Otlyss~r suffers from an ••unfortunatc syndrome,.; n,1m.c]y1

a discurbing lear of the dehumanizing efiects of compu ter tcchno logy. Once ar,,ain, a shudder is fclt. This time ic is causcd by HAL, the panoptic co111pme1· ofDiscO'IJery, who monitors every thought and action of the scarship crew. '[ù Younghlou<li HAL reprc:sents the "highcsc achicvcmcnt'' of arcificial inte lligence-a machine that not only thinks , but can sensc cmotion-yet it goes berserk and murders ail but one astronaut. Nevt:rthèles.s, Youngblood is willing ·co ovcrlook the "eonfusecl" thought ofc hc dirccr.or, preferrin g to see HAL not as an evil machin e, but as a metaphor of the "end oflogic" that relcascs the «cosmic mind" from ics

earthly bounds. Altcrnotivc ly, HAL might represent the necessary vicrim that necds to be s:1cril\ced ifYoungblood's myth of redcmpti cm is to be brought toits lînal concl usioo. T he ghostly HAL fonctio ns as the uncanny incarna tion of absrrac r, algorirhmic rhought, a product of the human brain, which curns against îts own creato r. And jus t as te levis ion exorcises the ghosts of e-hc past, humanity must now exorcise the ghos t of the furnre as well. But in this case, cxorc ism meons a flight forward or what Baudrillard described as a passage to the side of the hologram . This trajcc tory of sublimaricm runs from human imelligence to artificial imelligcncc to alicn inte lligence ro wsm ic intelligence .

Indeed we must "pass through " our holographie doub le, Youngblood implics. We must become more gbost ­like, not Jess, in ordcr to rcali,;c our full potcnti al as god-like <.:reacures. To quote :.csaint .M.ax," on1y "as .1 spcctcr has [the human subject] bcen rcgarded as sanctified!"9Which b.rings me to my next poin t: po litic-al theo logy masq ucrades as med ia thcory in fapa 11ded Ci11ema. As the author explains: «expan<led cinema does not mean computer films, vidco phosphor s, arom ic light , or sphc.r ical projec tion ." Ir is nota marrer of rechnology as such; rarhcr "likc Jifc it is a proces s ofbccom ing, man's ongoing dri\'e to man.üèst his conscious­ness oursidc ofh is mind, in front ofhi s eyes."' 0 Expanded Cinema pursues not so much ,1n expansion as an cxtcrnaliza­tion of consciousness. And onc.:e consciousness has assumed dûs autonomous, cxtcdor status, it be.cornes not simply alien, but angelic: a "star child .''

In const ruet ing this myth , howe\'er, Youngblood is acrually following the script of cybcrneti c thco ry. l'or the ((star chilù" is what Gregory Bateson, for insrnncc, would cati the "larger Mind," whieh as the latter ecmcedes might be caUed God by some people, but refcrs to the fact rhat the men ml world is not limited by th e envelop of our bodies. As a true cybcrnet.ician, Raccscm equates c..:onsciousness with the prot.essing of information and circuits of information rhat cxtcnd bcyoncl the sk in. The mind is not only immanent to the "wholc communicat ion syste m wirhîn th e body-t he autonomie, the habituai, ~,nd the vase range of unconscious· proccss." Suc.h a corporeal immanence of the mi nd, as Bateson nor.cs, was alrcady csrahlished by Freudian psychol­ogy. What is ttul y radical about t he notion ofr he "largc r

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Mind" is that it no longer considcrs human consciousncss as a mere epiphcn omcnon ofa bodily substratc, but os scamlcss.ly integ roted with in th e "rota i înrcrconn ected social sys tem and planerary ceology." This posthuman view of a non-anc.hropomorphic universe in which autonomous subjccts can no longer daim tu occupy ccmcr stage should teach us a certain humilie.y, Bateson üdvises. \'(te arc:: but cemporary pactcrns of data coalescing in a condnuous flow ofinfonnatio n. Yet, ir should also be ,·eoson to rejoice as cybernetic chcot)' proposes ch,tt we are part of somcthing higger than ourselves: "a part- if you v;rill- ofGo d.m1

I shall corne hack to th is quest ion of polirical theol­ogy, shortly, as thcrc is anorher issue tha t wc nccd ro scttle firsc. For som.eone who clajms th~t the patameters of the future c.innot be known, Youngblood seems quite eagcr to fulfill the rolc of a proph et. As a marre r of faer, hc activcli• secks out his own experiencc of ep iphany. In th e final ch:lpr.er of .Expanded Cine.ma. called ''Hologrnphic Cincma : A New World;' the aurhor consm1cts a memory of the preâse moment in time when be came to stand face-to .. face with infinity, sensing the. ctcrnity with.in aH of time:

ln April, 1969, overlooking the Poeifie from the cres t of Malibu Canyon in Southern Californio, 1 became one of the fcw persons to view the world's first successfol holographie morion pic rure . There ar Il ughes Research Labotaror ies one can look across the canyon to sec a Catholic mcmastcry . . . pcrche d majestically arnp its own moumain ... the temp les of science and religion separa ted by a canyon as old ;15

cime, c~tch in its O\\IO way cieùicatcd co the s:.une quest for God ... Through the hologram window we pecr into a future worJd t.hat defies the imagination, ;1 world in which the rcal and the illusory are one, a world at once heaucjfuJ ,1nd terri(ving.u

Looking b<ick, we mighr wondcr about You ngblood's cxcitcme nt about the medium of hologrnphy, which sti ll stood in its infancy in r969.lJ Yet at the timc::) the m:w 3D image cechnolog:y seemed to con tain an cndlcss promise for the future. Prac rical applicatio ns of holography in the liclcl of science:, mass culture, and artistic practice sc:cmcd to be

imrniacnt .'4 YoungbJoo<l had no douht: it wa8 certain, hc asserted in E:rpanded Ciru:ma, that hc)lngmphic cinema and tdevision wil1 be common fcaturcs by the year 2000:;

everthdess, . Younghlood clid misr .ead the:: paramete rs of the furnrt:·: holog;raphy would acquire · ts most widesprcad app licat ion dsC'\vhere, no t in tht'. dom:ajn of 1:m ..and entcr­tainmcn t,. but prima:rily in the sphere of mi litary surveilJance ;1nd comrot Which cornes a.s no big sul'prise, considering the fact th:;rt the principk ofholography was disc-0vcred as an off shoot of mil.ita:ry rescarch in the use:: nf radar and th:u YoungbJood himsclf, in llis que.qt to Ica 'Il more about the medium, would visit se\lc::rai l abs c.h:it were part of l e acrospace and ddensc c-ont.racdng syst -cm .. 2 ~

The mîlitary genealogy of holog .rnph will he of mor , interest to me hue r and 1 men.:fore, I shaU have fütk to say about the shor t-livcd iüstory of the hologram as artistic de,,.ice. 27 J am cven ]es inclined to engage in the :rathc frnidcss discussion of why the hofo gmm w11s ncvct · füll emhmccd by the an world.28 In passing, . it is in.tcrestjng to note tha t holngTaphy quickly escapc<l from the sec:red,,•c mifüa:ry la:b in the Jater 1960s, sprcading both tn the com -mcrcial world and the ar istic cornmunity. Hmce auman was one of the first a1tists to experimcn wjth the new medium, crcating bis .Malcing Faces sedes in t968. Soon th reat\:er the finit exhibitions with holograms were orga­nized at Cranbrnok Academy in Detroit (1969) and Finch Cullegc in -ew York City (1970). In 1g-71 the:: Scboo] of Hologrnphy was c::~tablished jn San Francisco (1971) and in 1976 the New York Mus.euro. ofHoJog.raphy was foundc-d.' 9

Howev er , wjth a few exceptions. such a~ the Simone Forti's Str-idùzg Cra,;vù:ng, the medium, in cnntrast to other new media tech110Jogiesi such as vidco, did not fully mcsh with th e dominant concems of advanced a.ni ··tic prn.ctice and it rem11i necl largdy confinecl te> the cultura] realm u f opt' ca] curiosa. Un il huel)\ that i s.Y-'

W11at i~ holognph y? In brief , a hologram is ~ three­dimensinnal rcpresematiün of an object tha t ii; crea cd when a hlsc::r hcam is spht, whh one pan of the beam rdkc-t ing off rhe objcct omo a. phutog:raphic plate and the othcr part­the refe rence hc::am- projected dircctl y omo the Jllatt: ,

'he plate.: l'cgis.ters the interf crcnce pattern tha.t is c:rnsed by the Jjglu waves frnm the two heam~, Subscquemly, by

tini ng the reference beam back onto the hologram ., a rtual, JD image of the object becomcs visible to the nakecl

, . In ; ssence, a hologram is an infonna tional storagc 1 ice, it encodes a ''wave front con.st:rnction" of the object.

'l'h resulting images, Ctrrtainly in the fa.ter 1960s, wcre far mn pel'foct, croating ghouliqh effigies clad .in shimmcring,

r inbow-1ike effects. As on e contcmpnrary c:ritic put it:

Three · dimensional holograp hie images were disturb­ingl.y there but not therc . They hcwered like ectopla.sm both bcfore and behind the transparent or rdlectiv ·e plates to which clcar ccUuloid shee ts beari ng bser-gc ncraoted interference patterns wcre a tt adied. ~1

• 'ilis unsettling confusion by the hologram bet een 1 r sencc and absence, inside and outsidc, appean, to have ~riggered an lùstor ical mcmory of the l9'h ~century slances , nd its conjming of ghosts. It is, then, not so much the ct.ual techn ique of holog rap l y that is at play here, but its

imaginary potcntial th-at is both foscinatin:g and "disturbing." Even Youngh lood admits that hùlog.raphy suffèrs from a popu lar misco ncept"on, which maîntains that it is possib1e r in temct wit.h the holographie itm ge-mov:ing arnu nd and through it. Howcvcr, he immedh1.tely adds that this mîscoo ccptinn may becorne real ity soon . When, succes ­sively, Baudrilhrd writ:c~~ in 1981 about ''the daywhcn your holographie double will be there in Spa.ce" and the "drc-am of passing through ourse l \•es and of fi nding ourselves in the beyond" bas bccomc reality, the confusion bc tw c:en the hologram and virmal reality (o , altt:matively ., voJumetl.'ic display technologies) is comp let . Of course , Ba.uc.lriUard is doing nothing lcss thau filling in Youngblood's drcamy vicw of the fo ture that was revealcd to the latter as he stood on the bluffs ovcrlrnlking the Pacifie Ocetm. Rut Haudrilfatd does so with apocaiyptic fi:rvm 1 converting Youngblood's vision of a pos thutnan future of immanen t being into a nightmarish sccnaTiu of tota l implosion. With Baudrilhrd 's concept of hypcrrcality, capitalist so ciety is i ndccd con -eeived as a vast ho]ograrn, which is inhabited by simu\acra of ourn;lves, pure inform:itiona 1 bodies which leave no rema.inder, no supplcmc::nt that escap es reprcscnt.ation. Ahst:racd on vanquishes the rcal, although in bis essay on

the hologram th e French theorist appea,·s to hedge his bcts_.1' Baudrillar<l displace s the actual kxhnological imple­mentation of titis nightmarish drcam to an indefinite future whcre it has become possible to send our holographie avamrs to crave! the worlcl in our stcad. The dialectic between the "non-li"ing" and the ''living,. would then he complete, che battlc dccided in favor of the former, and witl1 the establishment of a cot:.1.I rcgimc of simulation> human desire would itselfbecome an ext inct species.

Two wcalizing views of the future, one utopian, the other dystop ian, but both arc focuscd on the holographie image os an enti ty thot occupies a threshold spacc , whieh is mcsmcriz ing and tcrrifying due ro the manner i,1 which it allows the sensuous and the non-scnsuous, the abscracc an<l the concrcte, to become imertwined. Let us explore this strnngely cwistcd, topologieal rcalm a bit further .

"'A Matcrialist Below and an Jdealist Abo\le"

Let me now rcturn to the que.scion of political theology os it is raised in Exp,mded Cinema. According to Youngblood, wc arc no longer able to idcntify ourselves in the images of the past that are ,ransmittcd into the prcsent. And this radical uprooting of the comemporary subject, the author gocs on to argue, may sccm craumatici but it is, nevertheless, a blessing in disguise. Dut to what calamicy do wc owc this dcoch of hiswry? How did the calendar becom e rcsct to ycar zero ? Time w:lS ccrt:1inly not smpped by any human act of insurreetion, unlike those 191h-century rcvolutionarics chat ollcgcdly fircd on the dock t0wers of Paris du ring the first day of fighting." Our dctachmcnt from the past , Youngblood maintain s, is the inevitable result of our cxposurc to the "implosion of information" in the mass media. Television, as no ted above, is blamed for displacing the individual tO the sidelines of time. But what could this mean: to l.ivc "outsidc" of time ? Is Youngblood t<> hc considered guilty of an old perversion of the avam•garde project; namcly, to glorify in th e self-olienocion of the human subjcct? ls Youngblood a fucurist-in-disguisc who is enthralled by the spectacle of technological domination? Hos he not suceumbed to that old ruse ofhis tory: to confuse a polit.ical acst hctic of cmancipation with the politicizacion of aesthe tics?

AJlow me to suggest a more fnlitful mode of analysis. Perhaps it is more apposite to de fine Youngblood as "o materialist hdow ,md an idcalist abovct to borrow Friedrich Engels' fomous charactcriz:1tion of Ludwig Feuerbach.-" At this point , we may recall how the latter underwok a critiq ue of religion by accusing Chr istians of hyposta siz ing "cheir mcncol States into beings and qualities of th ù1gs, their domina.nt emotions into powers <lominating the world."" Rcligious tl,ought, in othct words, gave birth to a confosion between what is internai and what is externat to consc.iousness. :Mental abstractions wcre givcn a body as "sdf-subsi sti.ng bcings," and unlike the sensuous object that exists apart from man, 0 the religious object exists within him-l t is Îtsdf an inncr, inti mate objccr, indccd, the closcsc objcct, and hencc an object wltich forsakes hùn as little as his self-consciousness or consc ience." Like ghos ts, rhesc "sdf-subsisdng bcings" chat are cxposcd on the outsidc of chc subjcct consist of~ .senJuous nonJensuout nature: chcy are both spirit and bod)', living and nonliving enti ties. Feuerbach took it upon him to expel from human sociccy chcsc dcmons, which had sprung from the human mind, achieving an autonomous presence only ro enslave humanity in turn. The comp laint of Engels - as wcll as Karl Morx­was that Fcuerbach's exorcism had not been radical enough; he had left the idea of divinity intact hy reinscrihing it within the human "'essence." Man, in Fcucrbach's csc.im~­tion, was the equal of God.

Yet, the prob lem for Morx and Engels was not only chat Feuerbach injcctcd consciousncss with a spectrnl notion of divinit)' , As the rndical anarchist, llolax Stirn er, had already enjoined, Feuer bach's divine subjcct is derealizcd by his own ghosts: "the man identified bere with the unique, having first given thoughts corporeali ty, i.e., having trans­formed thcm into spcctcrs now dcstroys this corporcality og:1in, by ta king thcm back into his own body, which he thus makes into a body of specters."16 Like Baudrillard's holo­gram, which makes the hand chat passes through it unreal, f'cucrbaeh's living body bccomc s spectra l by absorbing its own phamomatic projections within itself. And thus the human subject becomes the ahsolutc ghost: "simuJacrum of s imulacra withouc end," as Derrida puts it."Yer even Stirner , in rejecting Feuerbach's anthropological critique of

the o]oro•, w.1s not sufficic:ntly dialc:ctical in h i.s thinking . lt i':l not possible, Marx maintaincd, to libcr-atc humanity from th ,e phantoms of thcir brai.ns by a. mere adjus tment of consdousness. Alienation cannot be annulled hy a shec:r act of contemplation. :i:s

The side ofYoungb]ood that is a "materfa list below"' wishes to expc:l the ghosts of the past by mans of mc:dia tee llology. Yc·t hc transforms ·nto he '"idealist above'' once he spec traUzes the world il'l th e name of sdence or, more specjficall}\ cybemeric theory. Scic:ncc: has rc:ached such a high dcgree of abstraction, . Youngblood maintains, that it has left the rea lm of visible, tangible reality behind. As a rcsult , thcn; is no finitc pc,spcctivc, no "prccisc focus ing" possible within the worldvi ,ew of modern science, Instead, the human subject has become an immanc:nt pan of a hrgc:r, cnvironrncntal system of information proccssing or, in Youngblood's terms, "we are confronted ith dyna.mk interaction bctween se eral unsfinite sp:tce systems." What scien .ce am] technology creatc:, in other words, is not so mucha transccndcntal "Subjcc , but an omnipresent one. Youngblood " ould agree, for instance , w.ith Marshall McLuhan's cybcrnc:tic vision of a man-machine symhios is accordi ng to wh:id our nervous system has b c-0me e tended imo a global closed circufr of communica tion . And he would hc: cqually draw:a to flatc:son' statcmc:nc that the ind ividual mi dis bu a ,csubsystem" of a farger Mind, which is itself comparable to God. Thus, Youngb lood proposes that whi'lc the: Palcocybc:rnetic Age wimcsscs the sccuJariza­tjon ofrdigjon tJ1rough electronics, it has also "corne doser to wha.te\·er God may be than has the church in all it~ tormcntc-0 history ." What modem scjcncc has discovcrcd, Youngblood concludes ., is th e exist ence of .. an a priori metaphyskal intdligencc: nm ni-o pc:rati vc: in the: univcrs,c:_''3?

Wc have now corne to d1e point that it is possible to comprehend dus cybernetic god or "large :r Mind" üs nothing othc:r than the "hologr,aphi .c projec tion " of thosc actual omni -opern .tivc minds, wh.ich Karl Marx denned as the ge 1ernl im eUect in the Grundrisse. 4" In this text, wh ich is a mainsta. of (post -)opemist theo ry. Mar-x foresaw a future wher e ahstract thought, rathc,r than physi,cal la:bor, would becorne the main ch'iving force of capitalist production. Whk h is to say, to a cenajn extent Marx antjdpated the

cmcrgence of a "postindus tria l" society that is ol'ganized ~J}' immarer~al, or informationaJ modes of labor. Tlte gencrnl 1 melJect rck r s to the e-:i.1crio1", coHectivc, :ind social .r.;harncter [)f intcUectual activicy,, which, ll1 t 1,e present, has becnme integ rnted withî.n the capi t.ilist syste:m of production; a system that is more eng1lged in the inycn'don of m.:w Life styles, affective cx:pcriences; and financiaJ deriva ti es than the repro du ctîon of the: ma teria] commodities of industriai soc ic:ty. According to post ·operaist ·theory. thc rcfore, the valorization of th e gcneral intc:llcct by capi tal h:is Jed rn an

propriat.ion of our own 1nenrnl facultics, bringing the bjopo litica ] COntrol. of Society to astate of nc:ar C011.lpletion_ 1 shall not be conoemed hc:I1c with the post-operafst :es ponse to tlüs dy~topian scenario- i.c .. , that the:: gcnern[ rntdl cct, as ernhodimem of th e multitude, con tains the ·ccds of resistanœ within itsdf. Rath ,er, I am imeTested in how c:xpanded cincma and, in par ücufar, Youn gb1ood's ho logl'aph ic dirpositif of a "cosm.ic consdousnc:ss /' c.rn bt: accommoda ted within the Marxis ·c concept of the general Î mcUec t. ln this manner, wc ma begin to ,compre hcn d how expandcd cinema was both "idc:alist ahove " and "nrnterial .ist bclow'' or, in othcr words, how it could upc::rate as both a critique and a prefiguratùm of a control society tha t c:xi sted at most 011 the horizon in 1970. Or, as Younghlcmd put it, the: holo~~:lphi~ wi ndow of c:xpanded cinema dd ivered a prc­monmon ol a fumr.c: that w:is both "hcaut:ifül and tcrl".Î{}ring ."""

nctwork Power

What are the fact s mat ba.ve bccn establ .ishcd chus far? Wc kn~w how cxpanded dncma ceJebratcd the Lfüc:ra ting potcnt1;:1l of the new ·occhnologic:s ofcommunïcation; tc~hno logies tlut oddfy enough were thrmsclves the product of th e military -industrfal complex. Ind ,eed expandcd cinema happi ly ransa .cked t.hc mfütary warcçhouses in se arch of surplus equipment. But we also know that a panicular technology does not cqut11.l an apparatus or dispositif of power : t~ch.nnlogy ~s not inhermtly ema.n~~ipatory or rr:prcssive, Expand ed cmema oppose(! the ncw mechanî:uns of social comro ] and surveiHance which , ere heing implemc:ntcd on a wodd ~11 ide hasis, and th.ereforc artls ts such as Stan V,rnDerBcck s.et out tu ibuild, as it wci:e, t.heir nwn

multi - media ~controJ rumns" w countcr those of the media cong1omcrates, finandal corporations, o-r the Penrngon . \Ve must trnn sforrn weaponry irito fü·:ingry, as the awkward slog-an of Buckminstcr FuUer put it, and cxpand~d cînc~a took tlù dcma nd seriously (cvcn more so than ful ler dtd). Eu t unfortunatdy, in its atten1p t to art.icuhue an alterna .tive, more dcmocratic rnodcl of medfa ecology, the practît' oncr s of ex:pandcd c:inema mor ofl:cn than not fai_lcd t_o ack.nowl­edgc th e concretc nature of the , power reiat~on~ 1t cngaged in. I a pe rverse twist on Foucault's panop tt c d1agmm, expcanded c·ncma imagined the centra l contrnl room to be ernpty, although ckarly th ere was the.: need for_sonu:one or something to twist d c dials and pu ll hc sw1tches; to keep, in short, the negentrnpic fet,ttbadt loop between sub jccts and images running and alivcY

And so we arrive at a familia r question t1f political thc:ory: Is it poss ible to conceivc of a crid cal positio n outside the ç1,1rrcnt system of socütl orw,mization? Once such a stn1tcgy might have sc:emed to be poss ible. As Michac 1, Hardt and 1.oni · egri asscrt in 1 .. mpire, the cmergence oi a modern, govern mcnta l system of 11ation-states cst ,ahl~shes a bou ndcd space of sovcrcignty where power alwa;s restdcs at the Hmit .H ~ "hich is .vhy, duTing modemity, polit ic.al cri iquc would foshion irndf 11pon a dial~ect:k ?f insidc vernis outs ide . The rcvo lutiona.ry dia lec ti cs oI fan:ism for ins tance , was grounded on the co ncept of an insidc that dc sirc·s to connect with an outside chrough the aboli tion of the na j on -stat e. Yet, if wc are tO take the premise of a con tro l society scrio usly. it 1nay be clear that the foi·me:r dialeet ic of in side versu ou tside no loni;er applies. As Alexander Trocchi put it alrc,.dy in 1963, Wl'iting: in the pages

0 f ihe Situatiomst International: ''Wc arc co ncerne d not wi th the coup d'êtat of Trotsky and Lenin, but with the cor,p ~u monde a mmsit ion of necessity more com plex, more: d1ffuse

t 1 . . l "44 th11n tht: mher, and so more graduai, ess specrocu ar. Wh at might cnn stimte an "ou tside" to the global closed circui ts of information? Ymmgblood h.imself secms co nfused by this quest.ion . On th,e one band hc: appears to cmhrnce t.hc socia l mode] of a ''dose d world " of co nt rnl ând comm u­n.icaüon, which has it.s ol'igin ·· in a milirnr y politics of ''containmem :" that was fi:rst devclopecl dur:ing the Cold War.fi On tht: othe r band, Ynungb lood is in thrâU of th e

:11 -J L

iclco.logy of the new spacc age where we wiH be free to

wander as astr(ma uts in the infin1te cxpansc of a cosm ic co nsciousncss: "we've Iell the boundaries of .arth and aga.in have emered an op c:n empire in hkh all m ann er of mystedes arc po ssible . Ile ond in fini , 1urk demons 1,vho gt1ard the secret s of tJ1e cosmos ,""'~ But v hat is it to be; ·loscd circuits or open empire?

Hardt and Negr i propo se:: that w gras p th is paradox in u::n11s of a "ne twork power. l.f.7 Wlrn.t is network power? In contras t to the tra11,-ccn dem charac ter of sovereign power, which determ ine d the .Europe an system of na ti on-sta~cs, nctw orl power operates in an inunane m fashion , consti tut­ing and redist ribu ting social relations from \ •it hi n th e vet1' fa.bric nf sociccy as such. Har d t and eg.ri state that nctwork power is bacSed on th wc principles: (1) the drn.wing of a ter rito ry which allows the "pro ductive synergjes of th e: mu lt itude " to cons tn u.:t it.s own poJi ti cal institut ions; (2) the t:stablisllment of an intc:ma limit to the conflictivc and plurnJ trnture of the multitude itsdf; and (3) the ma intenance of equili h rium between const ituent and cons d tu t ed forces h opcning up ever nc:w lincs of Hight. lt irnmcdîatel y foJlows fro n these threc prin c·ples th.àt a rc::publica 1 confedera tion of people will exist in a consta nt state of exodus, always l'l ·cki ng w popula t t: ncw tcrritories. Yct idcally, if not always in 1,1ctuality, this expansion takcs plac,c by mean.-. of inclusion, not rcp rcss io1 of th:u wh ich is fo ·eign. T his a:moun ts to saying thnt impe rial ,(but not impe rfa l-ùt) powel' worl.<S in , rnpo logical, ra her than a goomctdc foshion : it conccrns _ m;:w fotding of spa1..-,c. Of course, the Repub lic of the

nited Sta tes , wh ich Hard t and Nc:grî credit ith the i.n •ention of network power did not alwa.0 s ad.ht:rc w its orig inal prindples. Hardt and Negri poi n t, for inst.ance , to the Vietnam War as a symptnm of 1erica's occ asional lapsc înto colonialist bc;:havio ·. But, at tht: samc time, mis rcg ress ion was countcr ed b, th e risc of the ew Left "I J ich .reaffirm,cd rhe princip le uf consümem powe r withi

mcrican society. Therc c-an be no douht that the 1960s. wcrc chara.cter ized hy an 1.mbin ding of social cnergies, a d terr itorfa.liz.ation ofche social spac.es interna i t.o Amer ican sode ty . In a sim iiar fashio n the American co unte r-cult1.1re, to which expanded cincma was intima tdy lin œd, set a kind of intern ai nodus in motion , which attemp ted to rc::..'icttlc

EJdf'l E-16 JtOl,OGR ~

the countryside -with its dismountabJe. geodesic rlorncs ­Fulier's gifl: to the nomad ic gencration ofthe 1960s. But in seeking a mode of sdf -go ernancc, thcsc communes or "drop citie.'>" did not. simply i::ry tu carve out a nat ur.il pamdïs e, an - ,den of sexual innocence, from the derelict remains of industr· al snciety . The pleasurc domcs of the e ncw communes were activdy pluggeJ. into th e new informa­tion spaccs. Thc.:y funcdoned as a kind ofbiopolidcal laboratory of seU'..expcrîme ntation in which cybcrnctic as wcll as psychotropic modes · of foe.clback " ere exp1orcd in orderto open the stargates ofe xpandcd mnsciousness .. +'I

"Il e stm need to dc,tcrmine, however, what bcaring network power has one. panded cincma's project . In rece1 t years we have cstahlished a profound undcrstanding of th -t: way in which expandcd cinema -i in all its mutable forms and shape.s, is en:tangled ,,,rirh the agonistic sphere of di:e po litical. Ilow, that i:s, expanded cinem:i ar1icula1es, ofl:en unwitdngly , a set of variable and conflictcd relations ben een Jl't , tcc.hnology, and subj,cctivity. On the one hand, Bran den Joseph has ottèred the interpœratioa of the expanded cinema ,event as embodkd hy And W11rhol's E,.:pl<Jdùzg Plastic lnC'r.Jùable. f r996-r967 ], wh.ich attcn uatcs the disintcgratîvc effects of the multimedia performance: a scries of strobo ~ sco pie bla, ts drn.t aUo,,.v no mercy in breaking down the defenscs of the seJf. 4~ Or , as Jonas Md<as famo usl decfared, the sensory overload of EPI esrnb1ishes '"the last stand of the Ego, before it cit hcr breaks down or gocs to the other side.''>" On the o th-er hand, there is the psychede lic or mystical . ariant of C'.':;pandcd cinema, wlüch was pcrhaps the more dominant form, and which aimed to push beyond the harricr of the t:l:l"o, beyond the ' 'Cl'ccching, piercing pcrsonali t pa.in;' ( kk a,s) in order to a.ccompJish a rc::t.Tihal­ization of soc icty. This nlternati vc, imegrati11e pim1digm of expanded cîn -mais the one celebrnted by Gene Young:blood and cxemplHied in his book by such practiccs as Stan VanDcrlkdc's A,f(J't)w-Drome [1963~1965] and the road show lîeAreAIJOne, by t:hc: media an colJectivc SC0. 51 In thes e projects, the jmmcrsion of t he iewer in the flow of images and other sensory stimuli is mea:m to foduce a.n crasure uf aLJ distinctions hctween th e self and its enviromnent, . allowing one to bceome ahsorbed in an ecstatic "fü.,.v" of scns ~itions. Or ~1ccording to USCO, producing "a joumcy

J;l - .1~

of this bcing riding and fighdng the wa.ves from birch throu gh love's . hody, searching living currents, s;:impJing p aks of ilium ination, holdi g on and I t:tt · ng go of t he expericn ce of timc- sp ace~death, fi 11ding: p otent.ial rebinh in the conscicms ess WE ARE ALL ONE.">'

ln othcr words, expanded dnc:ma pursued a projcct of sm:ial reprogra.mming in 'i hich t hc hutnan subjcct was nu t only mlin.ed w master the accdcra ted pulse of informational prot.:esscs, but to shed his or ber former ideiu itv and fuse with.in the new nc::twodœd space of a global t r ihc , I t was VanDerDeek, in panicula:r, who estab lish.ed the link bctw ccn

pa nc.kd cinema and the huest frontiers of netw ork power . " lt îs imper-nive," he wro~e in his manifestn "-'Culture; Ituercom' and E pa.ndcd Cincm:i," "'tha:twc qukkly find somt" v,ay for rhe Jevd ofworld tmderstanding rn risc to a ne'tv hurnnn sca1c. Th.is scale is the vorJd ... ' Icchtùc al pùwcr and cu lt ural 'over -reach' arc pfacing the fukrnm of man 's !mdligcnc-c so far outsidc himsc::lf, su qukkl y, that hc cannot Jlldge the resuJts of his :icts before hc commi ts th cm ... the wor ld hangs by a th:read ofverb and noUR'l. It js imperatiyc lut the wodd s ardsts i'11vent a non-verbal imema t ional

langua~e.' '53 Ilence his proposai to construct a glohal system of MoY1e-Dromc s connectcd hy sat.elfües tha t would estab!ish an "image tlow and image density" (also to be caUed "visu..i.1 vdocity") "'borh to deaJ, ith lngical understanding imd rn p nernue tn uncons cious lcvcls, to r-each for the emotionaJ denominator of all men, th non.verbal b11sis ofhuman life, thnught, and u.ndcrstanding ,. and · o inspire all men to

goodwi.11." "J hc Movie -Drome was th11s mcl'ged , a.s .Beatriz CoJomina has argued :in a now d a~:k cssay, with a sel'ies of othcr comempnrary "spaces ." t ha · were the product of the new spacc age; the mission eomroJ and war contro l rooms to

which we may now also ::idd, the data cemers of the financial ind ustry antl dnme command sttes. si,

1 am not the first to poim out that cxpanded cinema stoncl in a highly amb îvaknt re lationship rn a nçw dispositif nf r.echno-sc icntific isuafüy,. one dt1t . is cnabled by the dame of communk 'ations satellites that began drcling the Eanh afler th e Russian Jaunch of the Sputnik: to the, tartlcd eyes of the West. In the;: 1960s network power had discovered

new frontie r , a new bound lcss space of expansion, which seemed to open up nc•w lines of flig:h-t even w hi k dosing

somc old fronders . Thus, Youngb lood's notion of an "'op en empïr e.''Ye t we might also listt:n to Marshall McL uha n , for instance, as hc wdcomes the dosure of Eart h from it s ou t:sidc: "Sin ce Spumik and th e satellites, the plan et js endosed in a man-m~tde enYironment that end s •Nature' and turns the g1obc into a repe rt ory thc atc:::r to be programmed ."5.~ Or, elscwhc:::re, "Fonhe first tim e th e natural wodd was completel y endo8td 1n a man-made conrni.ner. t the moment th.at th e Eard1 wc::nt inside this new -artifa.c , atur e end ed aod colog , was bo rn . Ec oJogjcal thi nk ing beca mc incv itâble as soon as th e plan et moved up into the statu.,; of a woi:k tif an.' JI, Tu tra n sfotm the Eart h into a work of an-i. e., an art.ifü::ial, self-cncl osed and con ro lled en viron ­mc::nt - is. to rcat it as a compu te r simulation on a planetary scale. The:: world as holographi e projection. Es spukt Zn der gmizen Wëlt-the world is itsdf an -apparitïon - evcr sin .ce

Sputnik was sent aloft.57

Wc have ~een how n ctwork powcl' not only urileashc s constituent forces; it ~lso sets an inte rnai limit to their expansion . This bc:oomes appa re nt when we consider how the global tech11ology of sa td lit e surveillance serves, in the word s of:EyalWcizman, :i ncw politics ofvert'cality which litcral .ly upsets the former horizons ofp oliticaJ thought and social comrol. ~ Hc11c is how another critic rephrnscs Wcizman's notion of a polities of vertic ality:

Evcrywhe re, th e symbulics of the top (who is on top) is re itcrat cd. Occupation of the skies the cfore acquires a critieal importance , sincc: most of the policing i~ do.ne from the air. arious ot hcr technolo ­gies are mobilized to th is dîcc t: senso rs aboa:rd unmanned air vchiclc:s (UAVs), acr ial rt:conntü sancc jet's, cady warn ing Hawkcyc plan es., assault hd :ioop ­tcn i, an Earth-ohs.t: rvation sate llite ) techniques of "hoi ogratmnatizat inn ." Kil ling bccomes preciscly

rnrgeted.5'.I

In d1e prc:sem te xt, I will nnt be -able to dcvdop d1is more letha I :g.enca lngy of the holognm, but what is import ant herc is th-at it shows anot ht:r aspect of the ooUective arrangements ofwhich the ho]og ;nun was part . On the one hand 1 we have Youngbiood cnca.sed withïn the tc::chnologica l domc ûf

com mu n_ication, )''t:t îmagtnfog this d oscd spac e, lik(; a plauet~uium, to be infinitely larger. On t'he othc r hand , we have th e ~,·n boJic:s of "w:ho is on wp ," which re lates to the:: actual situa tion of miHtary command ers look in g down on a mi.nfaturiz cd batdefield , rcndered with tn the sphere of a hcl lugraphk d ispfay.

The Real. Image

"The ncw consl:iousncss does not ,,vant to dr e~m its font.a-ie , it: wants to li7.!e tllem .. "

- Gene Youngblood 60

W have sccn howYou nghl ood d elupc:d a po litica l theology oft h c:: image in expand ed cinema, th ercby puuing a frcsh ·pin on Karl Man's fam o111s c.,.ummems about t.he mvsdcaJ h, ractc::r of the commodity feds h , ahounding in ~etaphys­ul subd eties and thcologi cal nicetics} "t., As a mattc: r of fact,

rhe substitu tion in clipand ed d nerna of tJ1e pr ese n tati on > art offectI by the processing and àr culating of images,

p, 1'takcs of a ii.1nher dcvclopm en t in the d iaiectics of apit:1li:st production, but I shall no d ell on th is to pic re.1>1 ln Ym,mgbfood 's view, c panded cincn1a's pu rposc

, ,ls to rcve:l] ~t supt:rs<:11sory, even mc taphysica l reali ty wavelen gths hLj'On d ordfnar y human percepti u 11 and the n,eans toward amiin.ing such are latory awarene ss would b provîded by nothing else than the "înstrummtcd and

oeumemed i11tdl,ec1 tllat wc; caU tech nolog y."6J

This rema rkahlc phr ase can. be found in the conclud · , 111 cc tion ofYo un gblood' s E1,panrkd Cinema, callcd u'r dmoana:n: hy; T he Open E111p.ire.:' Hc:1·c: the rhapsodie quality nfYoungMood's prose is dri, •cn up a ümhe r no tch .a he un fold s his ccst atic vision of the future: . '1 'hrnu ghout 1 ch apt cr, Youngblood FCCOlU'lts a mur hc made of hc rc::sca.:rch fa botàtoF ics of the a.erospa ce and cnm putcr

h dustry, aJluwin-!l h.imselfm hcco me enthrall ed by the phenomc non of hologr ap hie images . 'I'hc con ict ion of the

i,en tist ~, vthom Youngb lood reverentl y add resses by thci1· profossional tides, kav ,es no dm1ht ln Lus mind: th e rca lity of , ml partic ipato ry cinemai is imm in ent. T he medium mav

n t be qui te re-.i.dy w fuJfiU its prnrnise l'ighr here and now: bu Youngbl ood rcmains füll of anticipatio n ncvc rtheless.

As he e p1.ains. a hologram is mlt made ,,vhh len -c:s and thcrcfore it. çr,r;:ates a virt uai image th at appcars to cxist out tbere, on the other side of d c film from the iewcr. lt is as if the vie er lnnks th rnugh a winduw. Yet Ît is possibki he cxults, to develop an opdcal . system of pro jection th at will create a '''re al. ïmagc" on ibis side of the film; rh..t is to say, to prnduct:: a holograp hie image that assumes a three e dimensiona l, hodily form in act ual spacc. ln fact, a process for tl c creation nfsuch rcal images already cxists, hc assens , and has been pract.k-ed by magiürns for centurics.

This conjul'ing trick Youngblood cxpla1ns, is known as "The Illusion of th e Rose in the Vase" and aH th at is nceded to producc such a n:a l image in spa.ce is th e combi.­nado n of a lem,, a concave miri,or, and a pin hole hgh t . What the viewc · ex:periences when luo king at th e concave mirro r is a floating image or phantomat:ic object thàt seems to c:xist ü1 actual three-dirnensjonal spacc as th e focal point of rdlec t ecl light ra s lies injront of the rnirro r's surface, rather than beh· nd it as in th e case of à reg:ular, fiat n irrnr. Li ttl e did Yuungblood know thatjac quc-s Làcan had used ·the y4;.'.ry same mirrm· u.iek of the irn•en d bouquet o exp ose the self-dcception at work within the psych.ic processes of iden ti ficat ion .(,+ But mnr -e on th is below. The hologram,

oungblood maintained, s:tood jn service of tru th not decep ­tî on. IIolograph:ic tc-chno1ogy that would snon pnuluce rcal · 1uge ,~ that arc incapahle of telliog a lie. Just -ask the experts: as "Dr. Wuerker ofTRW Systems gru up " asscrts, \ hcn i'Oll wa.tch a holographie movie "'your own e". es arc the lens just as in reality ... [benccl holograms c.annot be doctored ... you won' t be able to puH the t ricks tha t are in movies or ~n T because holograp h is too dependcnt on ac.tu ality.~

Real images, indeed . Throughout thi; tex t, Youngbloo d sounds very

imp atient, but it appean; he had a va1id rcaso n to be so. Th futur e seerocd already in the m ake as hi s book wcn t te> press . On its l.ast pages hc describc s th e trial ru.n of an inflatable, mirrorizcd dome bat E;tperîmcnts in rt and Technoiogy ('E.A.T.) was deve loping for d c Pepsi -Cola Pavilio n at the fa:p o'70 in Osaka .r.5 ''An astonishing phcnom · cT1on occurst Youngbloôd writc~, ''insidc this bou m:lless spacc that is but one of many revcla d ons o rnm.e in the Cybcrnedc age: one is able to view actua l holographie

,;6- .11

im.tgcs of onesdf floating in three -dime:nsîonal spal:e in real tinic as one movcs abou.t the ,environm cnt.' 1 Wha t docs this epi pha:ny of the rea1 in1age sfgnify to Younghlood? That tech nology as such has becomc a mean:. of self- re,alizat ion: "on ly thm ugh techno logy is the ind ividmll free enough to

know himself and thus to ltnow his own rea lity." For h im tcchno log}' becon es a mea:ns toward lidf -rcaliza ti on (ic. the reaI_ ima_ge) bccause the apparnm s as such (the catop rica] devu;c) 1s able, or soit seems, to crea te alterriative wor lds. The tech nological medium functfons both 11s an e11viror1men1

tha t sust ai11s a way oflifc and an instnmtcnt that diifcrendates a forn,1 oflife. ln nthcrwo rd ~, Youngblnod conceives of t chnolog y as a dispositt:.f of su bjectivatîon that not only motlu latcs us, but somchow we arc able to modulate in tum .66 T his cdebration of in formatio n socicty as a kin d of :rnto -poietic 1a.chine might remintl us, once more, of Dde::uzc's physicaJ rcvulsion àt the notion ofuniversal communica tion. Yct let us look a bit doser at th c natu re of th· s loope d patbway, which E.A.T.'s pa.vilion, according m Youngblood, helps to ngrnve upon the circ uit board ~)f socicty. For wha·c is prese ntcd here in th e shape of an mfl:uecl, mirl'orized domc, de eloped from the "sync~·rgetic

chnolo gics of computer sdence:: llnd poJyvinyl chlodde (PVC) pfastics," is nothing lcss tha n th ~ social diagra m of its nwn historical moment.

The Pep si Pavfüon wa~ no revolution ary in alJ i.t .~ , pcc ts. Referrîng back to the eadier link drn t he ma de

bct veen e~panded cincma and the space p:mgram and their !oin t exploration of \he largc r spec tra nf cxperience," Youngbloo<l notes d1at NASAha d afrcady experimc nte d w.ith 1, onstruction of mirrodzed, A'.lylar sphe res i11 developi ng hc Pageos . and Echo satelfücs. Yet, afl:t:T c '<tabHshing -his ped .igrcc of til:e 11cpsi Pavilicm within the military and ·u~munications ind ustry, he hclieves it is nccessary to

pom t om the obvious: "onc could not enter rhem" (i.e. the teUites). Tndeed, th e Pcpsi Pavilicm conCla.te~ the outer

" 1 " f"' f, ' c omc · o m nrmat10n techn ologywi th th e interio r spacc n _ nccworked subjectivity: cnvfromnt:nt and instrument h · me frn;.cd widùn the "synerge tic efforts of an men , pp lying all dfadplincs."

It req uin::· no sue tch of om hna,gfoatio n to muvc rr. m oungbtoo d's con cept of the "synerge tk Pagcos ,"

cooperaûv e forces of menta l labor at wm:k in EA Ti s pr1)jc:ct to Karl Ma.rx's notion of the gc11cr:al int eUecr. Although in t aking düs stcp, . we will obtain a quitc dilferent perspective on Youngblood's position. A.-. not.ed abovc, the gcnera l intellect ·fer!) to the exterjor, social charnct.er of intellcctu al activity. which i~ the princ iplc source of cconomic pro ductiv ity in post ~Fordism. What is impot ·t.ant to cmp hasize is that. this noti on of the gencra l int d lect is n~Lued w the phcnomenon of ''rcal abstrac ti oni> whcre by an idea hecomes a thîng, a.s, for 1nsiancc, m one , And, sho uld add, a 1:cal abs t!"'Jction is not just an inel' · thing, but :also a thing that sccrns to be nrngically cn<lowed with age ncy, with hc power t o act indcpcndentl] t of hum.an bcings . Which, of

cou l'S \ i.s cxacdy how Marx descr ibed the commodit.y fetish . But how does the genc:ral i.t.1teUcct manifes t it seJfin con­tcmporary society? It does so no t mercly in the: objecdfied form offix d capi t al-say, factoTy mâchines-but in the comm u nicative pc:rfounanccs oflÎYÎng subjec ts who an:

involved in the productive c cles of immateria l labor. It fo I ows th at , e mu t consider infonn.uion tec hnology as h oth the protluct of th e pubrc intc:llect and the vcry mctlimn in whicb its dis tr iht1ted intelligence: operates . For Younghl.ood, as we have: sc:en 1 technology hai. indieed acquired somc of this independcnt power 1 it bas bccomc: spirit., in the s:.une v;ray tha t indus trial relat ions uf production had providcd the: conunodit , with a spectral pl'e-scncc: of its own.

So how might the Pc:psi l'avi lion be con ne.cted to thîs notion of the gcnera l imeUect? ln th e first p lace, chc Pc:ps.i corn.pan y was one of the first corporations to implement an advcnising campaign wilich levernged a lifc sty le-the famo1.1s "Pcpsi Generation"-rnthcr than seUing a product in the dà.sska l sensc. The: Pe1lsi Generadon commercfals were innovative in that th cy did not attempt , as pn .. -vious ad .... erds eme nt · did , to distinguis h the: produc t by mcans of it , pr ice or ta, te, This c~plainsi in part , why the aclvertis jng execu tivc · of Pc:psiCo were wîlling to t:ake .t dtancc with the pavilion, handing th e projcct ovc:r to a gro up of anists and composers, arnong which, erc Robert Breer, Robcl't Whitman and David Tudor 1 whni at the timc, wc:rc: com ­ple teJy unkno,vn tu the comp,any men .. What th esc indiv idu­ais had in common, howc:ver 1 \ as an intcil'cst in the stagîng

]8 - .19

of fo•ely, performative: c:vcnts, and th corporatc strategy of Peps iCo, as wc will sec, had becomc directed at the expl oitation of"experiences» in order to sdl the ir actua l product . 6i' More: imp9rtandy, howcvcr, the desjgn process and progranuning of the Pepsï P.lvfüon provides a good example of the co]faborn t ive, social nature: of the gencral intd lt:ct's mu de of producti .on , 6a N Ot only were various artists and musicfans involved in the design of the pa, rifüm ,

but al o an extensive: tc:am uf c:nginccrs, s.r.:icntists. and aTchi[ccts. T he des ign proccss was ope1 -ended, with no prcconceived goal. I.ndeed the plànning stage was organi:;r.c:d a,ccol'ding to the pmtocols of the so-callcd Ddph.i metho d, a system of forccasdng based on a coJlaborn.tive process of cfocision-making that was d c::vdup ed by Olaf Helmer ~t the Rlu"l'D corpor ati nn .6')

Apparcndy the system did no t opemte all too smoothly in the ease ofE.A.1 '.'~ projr:ct. Only aftcr scvcrnl incond11sivc meet ings of the înid:i l1 :pfo.ru1Jing group .vas it possible tu sc:tt k un a sh~-.:rcd concept; the Pepsi Pavfüon was to opcrnte as a kind of nudti -sensory, feedback appara­rns or a ''lh•ing rcspo nsive cnvironmc nt" to bQrrow a ph.rase of the cng inccr BilJy Klüver who was a cofounder of E.A. T.10

In od1cr ,,.vords, the do.me was concei ed as a sot:ial :lahora ­tory of affett-"' an cxpc:r:imcnt in indîvidual cxpel'Îence';_ su bmitting a stcady stœam of visitors to an end le. s modula­rion of audio -visual st imuli ?1 E.A.T.'s pfan was lo invite a-. ucces: ion of Japanc.:sc and Arn cr ican artists, ,choreogrnphers. and comp osc1-s to operate .as joint "p.rogrnm.mers" of th e: pace during a residem .. "Y period nf a few wccks.7'' They were

cxpc:cted to work in a collahora .tive fashion in order to dcvc lop a différent pro gram of events and performances every week. The prngrarnm~rs had the ability ton ~nipulate a. multi -ç h,;mnd light and sound system by mea ns of a conu ol console, pJaced w:ith i.n the domc, which was co:a­nc:cted tu a \\ias tcr progn:1mmcr'i- an 8~-ch ,rnneJ punch papcr tape n1achi nc in a separate room that wa. nor accessfüle to th e visiton;.

Unforrunatdy, tbcre is a lack tlfsubstantial infol'ma­tio n on what actually tr~nspil·ed in the dom e. Mer a mont.h.1

the contrnct with E.A.T. was canceHed b;; the executi,..cs of PepsiCo who had bc:comc alarmcd by th~ rising cos ts of the prnjcct, and, it scems, . the provocative nature of some of

d1e even ts taking place in the dome .'l 'What wc do lmow i tha.t the întcrior of the dome was cquippcd wid1 specific featurc.s and a.ppara tus which vrn.s rneant t.o excite t:hosc pan:faI drives rift be body that were symbolîzcd by La.can's «bouqu et of rcal flowers" [my emphasis] w:ith in his diagram of prim,uy ide ntification ?4 Fot· i s.u11ce, the center of the tloor was built of diflèrem materfa l~ such as rnbber, ood, k--ad, and stone. TI1e isiturs werc supplied ~ rith a. ha:nd-hdd device dtat emitted distinctive sounds ccmrdinated to the flour matcrial. Fore ·ample, abuv~ :i grassy segment, the vi sitor heard birds, cka das, or a lion ma.ring àbovc a tik section horses' hoov cs and shanering glass, and 11bove a.sphalt, trncks, motorcycles , a tra :ffk jam, and quealing brakes. Also a mu1ti-spcakcr sound s stem, us ing a .s,vjtching nenvork wa.s -able to · ·e11.te spatialized sound cnvironmen ts .. David Tudor, wl10 helped devdop th:e sound system, crcatcd oscillating pattern ,s t hat moved between the i:.pcakcrs, using c::nvironmcnrnJ and mkroscnpic s:nund~ uch as fog horns 1 a hc:etk walking, ultrasonic bat sounds, e:mh vibrations, heart beats, and ncrve impu lses. Thm the body became subjectcd to a micro~moduhtion of atfocti e expcricncc . But stimufated . in what djrect ion? And what wouJd be th.e equivalcnt ofLacaD's moment ofsccondary iden tification wi ltin the envirnnmcnt of the dome?

n his semina r, Lacan figmed d1is secondary process of ident ifü,-ation by visua]izing a spc::ctator th:it stood 'I it:h his/her had· to the convex mii-ror and looked at the rdlcc-ti on of the reaJ image:: œn a plane mirro:r (i.e. lookcd at a 'Virmal rathcr th~m a real image). 'l'hc rcsult of Lacan's nptic;;il expcri ments is to il.lut,t rat.c, as one comme ntatm · puts it, v.how the ego func ~ions at various k~·efa sîmultaneously-as containe r and thing containcd, as subject and ohjeêt, as a mechanism ohpatîal location and àS a di,~placcd ,:md djspbcing acw trapped jn its own idcntificatory mirage .~_,,,s Sccondary idendfica tion w.ithîn the Lacitnfan schcmc uf thiDgs signifies the origimtry alienation nfthc subj.cct hat be comcs expr 'Ssed in social rdationsh ips of desire aggres­sion1 and compct.ition. llu t in the case of the E.A..T. pavilion, it is the total imerior of the dome, and 't s cybernctic circuits of regu.lation, dut operme as a means of comain ­mem; that i s to say, the domc no t oniy replicr1tes the sphcrica] mirro r in Lacan's düigrnm of identificatî.on,

411- 41

but it abo fonctioricd, in~ more compkx and contrad.ictory foshion, a.s the cnYeloping ase within Lacnn's demonstra · tion. Althoug h one might imagine the dome to be houndlcss in scale, a.s an cc~tatic Klüve.r note<l, it alsn had the fonction LO enclose, in more sense th an one, the dispersive energies i t rclcased .

lf the domc's shell fünctione d as Lacan's concave mir, ·or, Ît djd so on a \...i.stly grande?' scal , comp letel n eloping a group of spcc ators and multiplying thcir :rcal

image~ scveral timcs over. The real images prndu ccd by tlle rcfkctive surface of the dmne arc invcrted, seeming to hang u pside down withi n the i tetior of the pavilion. The domc prnduoes image worlds to the füst, second, and d1ird order and in principle these image worl,di:; m11y extend indefin it dy, but the y bec.orne iricrcasi gly dHficult to identify by a spcctator standing in the spa.êe. More irnportamly, each specrntor sees the rcal image of another persan in a slightly dilli rent position duc rn i:hc effccts ofspherkal aber.ratina . Spec ta.mrs can walk a.round the suspende<l real im.agc of anothcr individ u al, hkh appears to matcfr,1Hze jn thin air, but the y cannot sharc the sam yjew of the bnd ily mira ge. ln fact, as one of the scientists in volvcd in the domc prnj ect nh.scrvcd: "jf n1any people on the PaviLion 8oor point to

the same man's image, they will find d1ey are pointing in diffcrcnt dil'cc ions . TI'lis fact, when app1'CC iated by the observer, lends an ai.r ofu:niqucne:ss and indi iduality tn hi.s imitges. Nu two people c-an have exactly the same image 'wc,dtl."i'li Fur hermore, due to the slopïng floor of the dome visi tors obsc ured eac h othcr ' v.iew of whnt v.ras happenin" on the fluor kvd . Tbey on] had direct acccss o the :rdkctions hovering above thei:r h eads l7 And, finaUy, it was possible to exclu de the point of VÎelV of other spectators altogedu:r by st.1ndi.ng .in the exact ccntcr of the dome: "no ma: ter where you look into the Mirror [sic] you see 011ly yonrself . , .. You sec a11 yonr own jmages and, in fact, no one eJse can stoc: thcm but you. Your image wodd is fiUed solely ,,.ith yourse lf.":;11, In mht:r wonis, the specu]ar P'topertics ofnc dome replicated L«can's tl csis ofsecondary idcni ifi­cation , according to which ''you never look at me from the place which r sec you,'' but it al:;o cnahlcd a subject pos ition of primat-y idendficatiun in which I rnn identify with the externalized image of my own body-as in the mous

E-lr'1P'JEI.El1S 110 1.0CJ'RA,'\!

"mirrnr stage" - without being conscious of the location of this 1' r•eal image" of mysdf wi tllin a visua l field that is dom in ated by th e gaze of a tra nscendent Other.

ln thîs scnsc, the dome does not conform to Baudr ilfard's totalfaing notion of a hul.ogrammatic spacc th at, as il: werc:; fuUy occludes the dimen sion of the rcaJ in th c Lacanî an d iag,ram of ident ificat ion, but i t aJso do es not füUy coincide with Youngb loo d's vision of a "hc:aven on earth " that , as hc:: writc at the vcry end of his final chapter on 'Tcchnoamuchy: T he Open Empire," is on th e erge ofbeing rea.liz:ed by the "art and technology of cxpandcd cinema."7') The sptit within the visua l field according to which, . as noted abmr.e, "no two people can ha ve exactly the srune image worl d." appc:ars to precmpt the singulat" cvcnt, which Youngblood dcsircd an d Baudrilla.rd dreaded, accord~ ing to wh"ch the real bodies and real images that com in gkd in th e c:ndosi:,d, simu latcd world of the domc became the -avatars of chat "concrcœ -a:hst act'' e11tit · of lf-reg:-ulating tho ught, which Bateson eaUed tbe "lar ger Min d ." Consider­ing E..A.T.' s aestheüc po lit i.cs of ctlopc:ration î t is p crha p · surp r i.sing t hat this fundamcm.al inability of the spec tators to sha_r.e an idendcal kw of the image wodd within the dome was ceJebrated by in their publication. As if ail smipicion had to be ren ovcd that the pavilion functioned -as a cybe medc ma,chjne of socia .l prog:rammi ng, it was th e; "uni4uencss" and "indivi.dual ity" of the vicwer s cxper ience within the domc that was stressed by most authors.

At the basjs ofE.A.T.'s prn ject, th c:::rc:forc, a basic c1mtrndictio11 cxistcd bctwcc a libcrnl concept ion of the hum:m subjec t as autonomous agent> whose indi,âclual li:eedom must be pror,ected aga inst extcrior forces of dominatio n , and a cybcrnctic conception of the human subje-ct ',Yho is onl "individua ted" as an imman ent part of the info rmatio nal loops of the sociaJ system. On the one han d the pavilion was conceivcd as a comp lex cybernetic machinewhich aUowed th e "progi':l mrning " of multiple, aud fo-v isu al fc:cdhack loops bctwccn the visitor and the enYironm cnt , whcrca · on the othcr ban d a.ny tota liûug cffcct ohhis progrnm was me,am. to be counterbalanced by the free moveme nt of th e aud icnce tl:mmgh th e spacc. Thcn: is, 1::hcn, a c.x.mflict betwcen he emanci pator y politics of c.he pa.vilion and jt s cybe metic tech.nology of control. Ho

et , thcre is a further differentfa tio n wc need to makc. I 1 so far as the:: pavilio n WllS conccivcd as an "open-cnded" xperiment wîth new forms of socfabi ii ty in a cyberne ti c age,

it upen1ted predomi narrtJy on an alîc::ctive., rathet t han "'ogni tive kveL

To illustra te t itis idea, wc may Cùnt:rast the manncr in which the Pe psi Pav:ilion {under the diœcwrsh ip ufE.A.T .) . •n •ed to crcatc a çorporeaI mode of shar ed, intcnsi e · 1. erienec w th e ·wd l-known examplc uf the IBM 'l'hink

T'a.v:ilîon i1t the N~vYorkWorld'.s Fa.ir of1964-1965, whid1 was desig nc:cl by Charles and Ray E:1mes .. ll1 The objective of the multimedia program of Think was no t only to cntcrta in th va:c:uioning vi ·it or to the fair, bm also to train t 1e future: irizens of an info .rmaüon .socicty, to teach them how to

Il vigatc the torrents of dat a Oooding their way. To think, in lÎs comex½ mc:mt to perform a spfü -sec ond, cogniti e act

of patte rn recogni ti on that · rans pired cm an almost iruu i.tî.ve l •vd, bdow the thte sl:mld of sclf· refiectivc:: conscious nc:ss. If the corporate medium of expa ndc:d cinema conraim;d a m · sage, th t:r ·fore, it was that the lrnman braiu had to

develop its own bio-rhythmic suhroutincs in order to kc p up wîth the vioknt speed of the: com mter's algodthn1 i.c process.ing of digit,al da.ta. 'l'hcrcfore, in th e: ,c;a&c ofThink, he in formatiza tiun of sode ty is JJreclon îoam ly lin ked o

the cognitive and linguis ti c facu lt · e.s of the hurnan su bjec t, t sd ng thcî r ad aptabifü:y to the 1ew forrns of 001.nmu nicatîvc 1, bor . Indeed, during the TbinJc JJrescntation, a live:: com-f ·nta tor was prcscm to hdp gujde the bew·itdcred specta­

through the fast-paccd screening. T he program of the E.A.T. Pavfüon, on the:: other

h nd ., 1,1..-as me an w resist any instJllCtiona.l (and therefo n::, iiscursivc) content. It was ·ntended to "tend to,vanl the ·al,'' as thei .r call for proposa i~ read, and th e inclus ion of

· ciopulitical commentary o · pedagogic pcrfonnances wc::rc ~crongly dîscouraged .tt2 As Klii.ver put it, introducing the hcme of ind ividualism tha.t nth crs wou ld c::mploy as weU:

"'Iïte Pavilion wouJd not tell a story or guid,c the visitor -1 roug h a didac ti c, aut horitarian experience. The visit or would be encouragcd as an ind ividual to explore th e cnvi­·unmem and con1pose his own experie ncc:;. As a wol'k of .rt, the: Pavilion and its opera.don would be an ope n- endc d

situation, an cxperimem in the: scie tt]fic sense of the word."*·1

The viewer \\•as not to be instructcd in the manner of Tbink, so much is c;,(ear, but \•vhat w~s so ncw ahout this openw ended situatio n chat Klüver announces? Wha, is the nonfinite charncter of the Pcpsi Pavilion? Klüver explains his intentions by making a striking observation that distin · guishes the Pcpsi Pavilion from its 191

h. ccntury precursors. \Vhcreas previous univcrs{II exhibitions functioned ~s :.1

showcasc for the in<lustrialization of soe icty, the f>epsi Pavillon consolida tes '"a change away from conccrn for the objcct- its engineering, opcnuion, and fonction~ and toward acsthcrics- human motivation, and involvement) plcas:ure) interest, excitcment."84 ln other words) Klüvcr­rhc-c nginccr appears to be bidding farewdl co the industrial fairgrounds of the past, ushering in {"I ncw cra in which a postindustrial economy is no longer dominat ed by the manufacture of durable goods, but is dirccccd at th e valori­zation ~nd governance of the inter•subjectivc facultics of''invoh'ement" -and "intcrcst" an<l the presubjcctivc sensations of ''pleasurc" and uexcitement."S>

Entrus ting these th oughts to papcr in August 1970, Klüver could not be aware of their full bearing on the future . Howcvcr, it is not difficult to comprc hcn<l from our prescnt viewpoint how Klüver's statement alrc:idy points to the emergence of a ncw stage of capitalist production; that is, to a biopolitical regime of immatcrial labor that succeeds, if not complcte ly supplants, a disciplmary rcgimc of indus ­trial production. At this point, life itself enters into the cap italist cycles of reproduction and it bccom es all the more rermrkablc that Klüver cven noted with satisfaction that social sciemists had exprcsscd an imerest in studying the reactions of the visitors to this constantly changing environ­ment, and he marvclcd at how "the Pavilion bccame theater conceive<l of as a tom) instrument, using every availablc technology in which the accumulated cxpcrie nce of all the progranuners cxpandcd and enriched the possibilit ies of the space!' 86 But before wc collapse the complex mome nt of 1970 aU too quickly within a li.near narrative of th e transition from • Fordist "' a post -Fordist society, it is csscntial to return to my previous comment about the cwo diffcrent modes of immaterial labor: a cognitive or informatized aspect versus a corporeal or allective aspect.'' With regard to

the latter •spect, the historical rise of an informa tion socic ty

revcals itself to have followcd a proc css of complcx strugglc and rcsistance. Ouring the 1960s, for instance, the nco­avam -garde, as embodied in the performati ve activities of Fluxus~ Happenings, the Situationist lnternational, Hi Red Ccmcr, or, in 011r presenr case, expanded cinema, practiced an aesthetic ofindeterminacy and immanence in or<ler to <lefcnd the potentiality of a "ludicn mode oflife , which mighr coumeract the excesses of instrnmemal reason by ca,e ring to the affective needs of the body. The nco-avanc­gardc undcrscood, if not aJways with equal clarity, chat an acst hetic politics of affect (rnther than mi ideological politics of representation) C.Cluld lea<l tO the formation of alternative, collec tive subjcctivitics chat arc no longer submitte d to

the dominant forces of administration and standardization. And to this end, as wc have sccn, some nco-avant-gardc groups would engage the new possibilities of sensorial micro-modulation that cybernetic tec hnology provide<l. Yet, as s<..-vcral crîtics have ':lrgucd, affèc,.ivc cxpericnce w0111<1

not be immune ro the capitalist proccsscs ofva lorization in the long run.88 lndeed, such was th e ultimate face of the pa\'ilion in Osaka, after the C.ûntract of E.A.'T'. was canccllcd. Subscqucndy, r.hc pavilion was converrcd into the pleasure dome of a joyfol, if vapid "Pepsi Generation ."

ln the end, it rcmains an open question ro what cxtcnt the cybcrnecic apparntus of the Pavillon further ed the emancipatory agenda of the neo-avant-ganJe or fore­sha<lowc<l the biopolitical rcgimc of immatcr ial labor. The Pavilion kept its underlying contradictions in suspension. \Vithin its seemingly infinite interior, aU spatiocemporal coordinotcs ofhabituol bchavior wcre mcant to fall away. Nevertheless, the programmers were requested to make sure that the visitors would not outstay their indivi<lual 15-minutc timc-slot: "To •id the programmers, a gniph in the concro l room will plot the number of people in the Pavilion at any givcn cime. A given section of the programming may be shortened or lcngthened by mamral controls. This will add llexibility in affecting the length of stay of the visitors.""' l'cpsiCo had to make sure th~ Pavilion woul<l not open a permanent hlack holc within the curvaturc of informationa l space, which would release time from ail means of measurement.

Yet de pite the inco nclusiveness ofE.A.T.'s cxpcl'i­ment in the prncluction of affective expcricncc, the m~in idea that J wish to get acros. is the following: the real images projccted in th e Pepsi Pavition figure as a ghos tly manîfcs ­tadon of the ""gcncrol inteHec t." The inycrtcd crowd of spcctr'3.I bodies ho •er ing at the top ofme mirrorcJ Jomc cxist as more tha n merc phantoms. Wbat the Osaka Pavîlfon prnposed was a hologrammatiza tion of lifc, an c:i:tcrnalizatirm of tc chno -sciemific conscicmsn css within the intetior of the dome. Yet 'Youngblood col.lld only i.ntecprc t th is biopolitical proce s.1s of controJ within a mystic frame-..vork. Fol' h im, technology formeti the noospherc or ('film of organizccl intel­ligence thà t encirdcs the p l:met, superposcd on the Jiving layer of the biosphere and the lifck ss layer ofinorga nic matcrial, d1e Hthospherc." ')" And hc continues to nn tc tha. the comb .incd minds of ail t he inhabi tan ts of th globe, which arrc djstribmed hy a grnwing intennedia netwoi:k , "nourish" thJs spir itu al noos-pbere of coHectiv•e, technologic al consciousness.

Surplus of che Inside

"Petfo rmcrs will move throug h th e Pavilion as a]iens in a human envirnnmem or as humans in an alien environ mcnt." · -A lvin Lucier' 1'

Wc have seen hO\ the P,cpsi Pavi lion bas assumcd the chamcter of a "rcal aUegory" in Younghlood 's thougbt, cumhioing in a paradoxica l fashion the notion of a "gl.obal dosed circuit" and an "open emp ire.," 1be mirrodzcd dome is a bo und e<l spacc, but due to the multîplica ion of re :flec­tiuns in its exterior it seems, . likc a pfanetariurn, to cxpand infinite ly ou tw-ard, In a psychological sensc th e inside ufthc domc scerns to surpàss it s act.ual perime ter in scale . Wc face, thereforei yct a:noth cr opo logica l puzzle in which the relation of insidc and oms ide becomcs confüsed, sim i lar t:o the manner i:n which the holographie tro pe of Ymmgb]ood hJs operatcd ail along.

Yet is th is psychological re ersal in scalc bctween jnside and ou ts i de not 1.11, ays th e case whcn we enter an archit.cc·tun:11 space, ifmlt in ~uch an intense man ncr as the Pepsi Pavil.ion made possible? TI1e interior of a build 1ng wiU

alway-s. see,ns . to us more expansiYc tl1:,m sccms poRi,ibl.e from the outside. T here is ah ays: a "surplus of the i ns~dc ,'' as Shwoj Zizck has pointcd out. Why this phenomenon occurs, , he attempts to illustrnte by means of the plot of a sci -fi novd by Rohcr t Heinki.n an.d it il only fitdng that I end dus ess1.1ywith a countcr-myth to Yuunghloml's o,;o;n aUegorica] take on 200I : A Space Odyssr:y.

The basic premi:,c of IeirueiJ1's tale is the notjon of the multiverse: our wodd .îs but 011c of 11umeruus, panJld worlJs that àre created by a set of t ·ansccndcnt bcings -as works of art. On occasion the.se odginators of all wodds, or "universa l • .utists,'; will dispateh one of thcir own kinJ to

vi sit a parti cular world and, acting as an art critk, to evaluatc its st:lte of aesthctic perfectio n. In th :is case, a foult has been found in th e design of the world mat dcrnand · n :pair. 'rhe divine art cri ti c informs two protagonists of th e story to step into their car and drive home:, but undcr nn ci.rcurn.~tance to open their window. When th e · wim ss 11n ac~ident, howcvcr, they are compe lled to roJl down thcir · de window imd are hoffificd u; sec absnl utd y nothing. Tha t i.s to say. "noth ing but a grny rrnd formicss mist, pul ·i11g slowly as îf with inchoatc lifo."'i~

1'hc moral oft h is story is appare nt to Zfzek: whiu ise cm this horrif}•ing, tluobbing miiasma .signify tha n the

Lacan ian rcal, "the pu.Ising of th e pres mbolic substance in its -abhorrem vitality?" 9J.Wha:t Hdnk in has dnne, in fact, is to intensify our basic ph enomenological cxperi,cncc of bcing insidc a car, which produc es a dfacord Ol' dispropol'tion beu een imerjol' and c ·tcrior . Once wc arc withdra wn wit hin the c-ar external objec ts appenr to tmdcrgo a muta-ion. They bc.::cnmc fun Jamen tally ''unrea]" and assume the

insubstami al charn.ctcl' of cîncmatic im,1gcs th.1t arc prn­jected onto the winJow shieJd. As a 1·esuh the wo rld outs.ide the car has bccomc " fictio nal," and it is th is very prnjec.t.ion of an omside reality tha t the final sccnc i:n Hcînkîn' s stn ry ruckly cfüturhs, emp ty:ing om the imagin:uy screen of fantasy

ith a roHing, gray fog. As Zizd, argues, in a phenumcno ­logical (and psycboiogical) 'cnsç thcrc is always a .rnrplus of the insiu!c:: in rdation to the outs.ide. By scclu ding oursclvcs wîthin an int çrior spacc; it wiU àlways seem to be lrrrge.r, more ivid tlrnn th~ugli t po ssible frorn the outs ide. Thi~ surp lus of the in te r ior is a strucrn.rnl eilect of the boundary

it'ldf. Once the barrier comes down, howcvcr , the insjdc­or fictiona l wodd-wil! beco me engulfcd by the o · .l]ess flux ofthe real. Accol"ding to psychoana lytic theory, of course, wc continuously dream th at we arc bchin d tlw whcd of a c...r. In oth er word s; wic mlwc thro ugh th is world a, if seatcd wic:hin the bubbk of an auc.omobUe. Hence, when wc thinkwc arc awake we are living an illusion ; "This social rea licy is then nothing but a fragile, symbolic cobweb that can at -any moment be tom asid e by an int ru sion nf the rcal.';94 hl other words, the psychoanalytic "vorldview is no t un1ike d1e ficd onal world of the t ·lcvision sci-fi series Uttder the D()me: wc arc all trapped with in a t ranslucc nt hcmisphcrc which appears to ha, •e a wiU of it s own, cvcn if the desires of th is domc, the dcmands it places on us, must remain opaque and mystcrious. 95

Curiously, th e extcrior of the Pcpsî dome was shroodcd in a white doud ofvapor . TheJapa n e.qe artist , Fujîko Nak:1y:1, h , d bee n emp loyed to trnnsform the geodesic dnmc into ti fog sculpture"; that is, to crcatc a " fog c.o w:1lk in, to foel and smd l, an d clisappcar in., 96 This is formJess mist , which, on occasion would drjft into other areas, C'Jusjng ne ighboring pavilicms to con plain. On he inside , everytlti ng was t.r-ansp:rrcnt . The învel'ted , holographie prnjcctions oft:ic viewers lloat:ing within a siivcry cxpansc, sul'rounded by the whispc r in g of alien voices, produced by a cnmputcriz cd sound syst em. Within the hc::misphcrc, if the vîsit ors tistened .lttentively enuugh, th cy might have recogni zed th e murmur ofRatcson' s " larger Mind" or wh-at I have callcd th e general int ellect as ift.hey in habi tcd the crnnia] dom e of th e control snciety as it slo,vly came to life, cr,eatin g spcc tcrs ou t ofus all.

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L:iut :.ï..l.so ÇMTl(lliilf.ii'hl,e, !Jlf'iltd.~.d or e, ·p:1ri1led cim:inil in:J\rgaic iu..a ur l:lr.J~i1. Hnw e-1,-er, d, is ·1,1,"t1uJd.k,1.d hr:yrmd 1ltc-frJme'l'l!Wk of .my pcr:~'ll l ~ umem. For muK c.umpcd l1.a1:-ch·c :'lti iempu c.o h.:isroridtc· th,c lit'k l of e<JWldc rl c:in,rnul, .,co Mou hi•• Mich• lka (cd.), X-Si,~= lilm /tr;riJIMdtw. i;,wl i~r.tfons ù, tk 196:-'r and 'l_ïj7"J, i..:xh1. ut. , ~ '•lchor Koc11tt; Vorlii, C.ntne,,c >003; A. [; fü,ç1, D nn eon Wh:itc:, B 'll. (eds·~l. Ex.J~-.an..k.:i (,ÏNt1>t.r-: AP11 Pt!,j'in'ifanœ, Fib.v,. 'htt·, l.c.JDJOn. ~UCj :1nLi! àr.d~ Urv5kk 1 J?~."'!!.U.11 t/N ll!,/.•k lia• irw.J t!,, lf !lvîr ùk .-f:.':,t,'fJnifM r;;,m,"r ond l l;!J'll.l!• .tir.", Cbi.a.:~u•~ n nr\~u i,J Pr ess., Clm.~ • 1r.,r+.

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Frt:.tlrk Jrn1Nof! ci:11,i 'hl~,shel 11ihree ,a..:.gcs. irt th . .:-.him.ll) ' (1f, ·is..'Ut1li·tJO IKÎCFG pÎ:tol.JS111. 1bc- Lioal, Lltird.u;:1g;i;,:is. wilC\J l-1 hy • i .,. ,p1rnri• of ni gli c« hfll>lngy propu, o œ l1.:bntt11iJ .1B1rr11.1ti.tm ul M.!lllC fli)8t•Mc.l. 1tl);mi~~ ',1i!riÎD.n nI ccilcme [C'lUlSD108tifü:d by COTDJKlh ::tt i.Jïd 1.:ybct.sp~." Fmlrl.e Jaoo~iOR, n, CwJr•-,•I Torn, St!<rt,à ll'i7ml'.;r •• tl, f'<m•oàm, , r,;S;-,ypN. Vm,i,, ~,, Jo~ .c998, ]>. rm. ~7• ••n i.:,ully HU.JI C-J]l<;tn(lçi1 çinem .. onco this , h istork.11 mo1u1,;nt o f't«ha, r i.:upburiil; bowc,·e;r. J ,Uî'1(;Klfl pi;-.inu . .our cbi t 11~ht rcfitç~i'IÎ:t)' impl icd hy dl!.! miittd -nLccli.1 t!r ccdnoo­r.igical WUO"l/> ~fut I> ~f ttl) ~r[e( J rJmi<>n fo,deo d . f rw •.. lllre 1'cty >pll>èt-C· .,f n ,lrntt itscl f li•t •"l'• n<i•d , hocnming cmfrm lni:rn,; lri ch mrul;t.:t wdnJ mn P:nid 1 ..i W'l.f tk tt tlii.: C1Jh1t.11.~I t1 IJO J001ii,Cr limi re, I. r,n •~ ~!ilcl.ll!r? n .. -dttio·no1L, ,rie expe rim.cmal fonns , bue i!I ·t.:U11Wlll'.t..:.cl tlitifùl!h•~ r iiply Ille ~tsclf~ fo :!hOf!pinE, fo prof 6;-i nna l ai.:cirit ii.:~. il'1 dlc \ '.1Ti1rus; (]flrn tdu i.·.Î5'1.1ill f01.1W O[ foll:!lli'C ,.,, 8flci J~ ifl :'ICI; I& il( 1V.• (:()IYl(llcu~ly fo'JHlr:Jted v;ich the cu l.o ne ar tloc. i111.1~c.• (p . 11u) .. J'lte-C.1Jl:J.t1dif'11l l\'ieldl (If cbt! c~1piir:1.li~c imag,c l~mes. :1pp,ueic. in the 5UC'{"C:lïsÎ\"C" Vt'1Jrld li ï'llnl of 1hc. t~&.,-}k;, \ '01k (196.1), M,mm• I !'9~~}. 1'n.d Osaka ('rg;o) wh.cK mutr.i·llL<:di., dl• J>I•)• b(comc !'10)(<;, oi,,L, n1uJ,t, ik!mi'l1M ! in ~he r\-1.tirmAI :md i00rp1ts:Jtt" .fliilYilÎoots, prta~ci. ng vi:iit,ut?li ,Ut .1uJ.iu,-'1o'1!i,..U1J "i.:xpc.ri,rncc;p :r:1.rtiher th"'n, CT.h.ibl1'in:1 o0111mcrci11I aod. tcch onf.og.k:.'JJ ubir:r:ts .

/ 6J J Yu<u,tlitu..d, J::Jr}>lfff/al C;.\11.r!.1.<,p. 4,R. 1 (,+ / ln nis p,.,,J', Pa;m •• 7',,:i,,,j'{,..,-. ,~.(t-1:P.fi, 1,/,(:;1111~ç~

rJtn d1at cbe p1il'l1:1ty !'.el-el offflel'lt iJic.uio.n .. the cgu iirl_,e:1L, j,; sicui:m;tJ ;rt d LC lnd uf tla.,c; '"l'<::iJ Îi:'113C.C.-v i.~ tlLc 1,;)~ th,~-• rOQFi~~irii;.1 m b.irirb. togl!cllcr I the b1.:1u..quct t if J3owi..:rs (whk JL K=jJml,.illt tlJ,(: Jiet.C/{ii;?Jîrr; ,jritre~ m-tJlC bOOy). lt Îlli imrioni. ·nc i111 d ri1 l. .c.1ninci sd 1t:111c of l&.1L1llk-JU10ll t.h-.L1· d1ç rçil im:1gie-c:m rml)' be cle~rl)' :s1.:c11 if t h;e v.il!"-a is JK]Htiun .cd â1 il tqKa fi.a:-tt:hulo11 L-0 ,hr; rn111.:;WC fl'lir«ir , Dy irirtili(hx iog ~ u:.can.cl, J11'.m11r:' mi.nD:r im o th.c d i:lg:t.lllL. Lai.:::ia th.en J1a.:J.kà:I ch.c -0,içry·1,ricm of ,be E-flt:i;, :'l~O-T ~ th.lrt ch.e fo::iM. lj)fTisLt!Jn IK]1t:mi.k:n t ljJlil ~ .. 1,·irwa l" wbjrt.1:-:.. d 1i:tiÛJl:f Yi)LK:l, Yti.e-;1rr."" - v.·'ho c,ci,;u

ol..!tt iak -0( IL,. Th.:i~ rirtll:d :1L1'hf,eca., or tr.m~1.:i.:1i:tJc11t L.'otl1cr .. di.:n:H'ù.111ct11 as. ~L \\He, ch.c in.cirle.ncl! oftlic mir roo .. cbercb! · deccrmiru ~ ltuw ,wtl ] tl,c ·c~" Ji. 3DI~ 1.0 ~ lti C•Y!n .. ·.retl.« 1inn"' :1nd!<J.Cd11g ::a:i. ch.,e 6LL:Utlim.,nftb i.: ~ ·m'lm] ic fiL:l.d DfC1Jr.i11.C't'ÔuiJS: 'Lrh'it.i:ir.li IU!fl 'l ,t,rL ticin~ . -«,'lt u Je:11r1 r1:1urtr ilhr d ~eerru. m ,;ugge:st ÎJJ bi!li tut IJïL

lrWU!fril.irlJI !8 tl\\!1 ·[°Jr~ $~111t,,,,J[c n>cdm:i na be cw.-o,. ÙK

ego icle•I oa~ t h.c "n rtu il l>J~~ · Ji. by-pMscd: •• ~ :-mhjccc ~n:ern:;d.iii:c, iuc Lfi111 th.o Jb rœ uf iam [çfoi'.11,. h1J.lo; rilrn:11._,.tk {·~o. thc-,.;bJ :1rinm11ing cbe F.l!ltcinacmy f'l(.)t:r~cic.m,; nf di i.: ii1rug:in~· . T,u cr.1JiJJoo .1l'I OfTC&elf imo ,1. J1oJ~ t1un 1 OT r.cal in'r'.\Z,,:1 LC:J.'il:,; nmh.ir .-g m, 'hc dcs.fo.:d.

/ 6_;) E-xpcrim.cm, io An ., ,d '1..J rnolOIU' Wti füu11de<I ,n ,9',~ hs •ëR.tir.i~~n:. lililly Klfü•.er ;m.d Fttcd Wll1.llHilUCT lJIÙ i'lftUn" J.wùc ct 11.iilllcoonl>crr. an•l• llQn• r• Wh i, m• B. ll1w m<1re inrctrm!3ti.on nn cbis mp11Wl cio11, M.:.C .lij1:p,;/Jw---wv,•,. ro,1,:1:itl<J11°l~ü~loi•,omhtrn l/f'/ f"J!"Cphp?NuntF,,g,. ~300 {t..st ooa,s0<'.il Joly w1slc l ,bal l. Mt iMJdr~1,9 chç ~j~1')ricil clccu~13 n,;cs nfcheWo rld's F11irol'O,alaut trnl:,tb lucr<:, TJ1.C" lici.:Ciltu:rc: u11 F...1.1it>'70 ls. l"Jpidl~ ,;,iip:mïfin.11 1:rm t:nr llMIU : in.f.:irmr.cicm o.n d u; pïlli"tii..:;.1 :uul lju1tunJ o1.:.u110iict:3 !!l..lr.ruiJGld'Jui; titis. cv~n1i-1 ~e ,. :llTI.Ong mbe:rs..., Yurika Œ?un1tu:t:1., "'"'-'l'ulù ,r..cdia En°l'm .. 11:'.lrL'K'.:_ftt.3 1'fid SOCllll'ÏI}' OJ•Cf'JÜ011.;5: l~ r_..-.,'i\1 lif:!i :.1 l .:100C':3toty (]r Gon:mi11t1·c}' Gir} '

Rœro, JIil. 54,. WÎl1t.i.:r :luJ41 p. .~Ni ;1ridl Ang ur. 'I' .ockyer, "Tite LoJr;iç !>rnpoa, d o, C . 'llï"·· Art HÙlli'7, \'UI, -y,, n~. 4, Septr:mb rr ~00)' , p, ~)'!-~~ ~. T1i~ ~· •fJ.,;.ouu, ôditin, mii.îoeiny, rrn. :13, Dt:i..:1.:m1Kr20 u 1 lic.Ji;:dli;::'!lt tL Jli .If!:,_ CJît Ü<::t)' l{I "2"J) Q',n uu l j::apùie:~ Art : Disso:11îl1Lt Yoices.""

[ {!l'J. J 'l11e :JC'.,f.lher içi; cif .r.:n'iimnmer ,1c-ilixm 111;rc:; scn::1"' i11 tbc fl(Js.t-0...è,"C,\UI CUILrt.~.U 1.J( tJ~ l\fill ~f'ie J H ~Çf,r ~,~m -p.r.tlt: ~ w.çll :1; ÇM'IU!mpnr.21),'] ap.uie sc ut. J11Jci:'ll tl 1i.;rt" Wtlfè' IEiîll)i' CCIIL11l'.l'.t1uü J b( ;[Ylffi11 ·'hC' Uf "O ficllrl:.ï Df(l~C cice '>Int i di e-y v.u ,c 111c!lrnt 1,u co:m.c tü1;çtÏLr.::I' J,, th;<: ;,nir.·t.ic pfûigt' .lJfî'fl!t.Îl'rfl nf , 'hc Pr.p;i P.:nili:araj h01YCnr ;d11.: pn,j1.:1,;t w~.s diK"lllmtÎlll.Wt.l. ~d'(!re ~t ~~ûi'llld be f11l!b• -e:u.,rm~ed. On d).;: c1wiron mcn.,:11: :i.e,;ch.e-rit.:,~, a[J-Jpil lt~ t.: .in ,. st:l'. ;.\,'l!ht{l ti

YuedcimMU~ .. 1,..rtnll Spaee to f.nvir,onrr1ell'n T he Otigios of "1.nK)·'- 11n..fl die Ercœr~cm.:tf.l u.fhttcrnKxl tJ.A..rc mJa pui.'I' Arljol<rno/, ,'<JI. ~,. IIJù, 3, Foll ~008, P·· •·4- 45.

[ 67 J 1''<:,'èrtl11dc '8, 1b,, ~oll•J,..roti<>n h, 1,.. era l'cps i ou l IL \. T. 11;n11Jd ·ne c lgst TtJJ 1uas. WMclo ;1 1éOi:ltb of ,ti c ope11ing -0{ El p<i110~ Poe11Eii e:1n.œ le1L t.he-a m1crilt: t illt.t1 E.A.T. lud tO cn, J iu sc h.« hdeLI pcr.form~11.tu , ÙJt ·1]1c ibo • rcrl pr~ nm ~f!k f'( l' SÎ P;»•ili~n, w n, nl'c llilly Klüvcr et al., P""'1'1i,-..· lI~,;,.,,,1,;.. ,'lrt~oJ 1i'rJ\tt~ , Dmio:n, N~"' YB,l: 'WJ, i:ind F..-ed TLlr D~I;' . ... f'b l:! f'.A1rp1)J1:tion 11ml tlut Cciu1:1tcc­"llitll<l'o: ~l'l& Îti11111hc l'çpsi i?-J.ri li"" o:nd cbo Pu!ick" o.r C.nl<i Wac Mulcém<,li•: 1ru I\Wr~1 Lit)I Tl;r,½ 110. n ~[nÎil ~ WLI, p, t.!',-7:l.

j 681 The i.dc~ m a mn r-ur:t " bi.;rDlt-pbttT~I: fl\ÎO'f1F C."lmc fro:m .Kobçn Wh_;cnn nN t.lc llt-'fl: hl!c:11 im·.cn~a.tias d:11..: l"1er.1oon­œno:1t or n:ul ircilg'rt by Ltlpltrnen Li~ r.o.nc:H'>Ç mirr.rmr; in,<1,herin,;N-fü1cions of die pt:riud. lbu .:m.hu1J,usq-1b t.'iki! t

\Jp 1 oor:11pm bl:c , hcrnc: Qf ch.e :1pec cn1I in Hhilti.on tu , Rono, , Wl,icr:non"s ,...,,1, j,; '·fl à&tic l:.m,pad1)': Th~ G),Q"

(.If tlcibcri "àl'Jiirm.:Jn,"' Gt"9' R!A'l.w, ne. 25, l i'alt .mu6, I'· ~5n9J.

[ ~~ 1 'f1;c Dcl;phi medioo rcl iod oo, • pcOC<lllucc o.f ,.,o,Ctllù! ­lmikling 11ith.fa 1.:11 eUtr if,A,OCG (if ~(!çhnm:r:J~Ï.i: "'ie-:qicrt,o" ,1inçl rh is mer.Md h.cl r,.zd fuam.l di e nL·w prug111)3tlc 1111dt: .i1.ca.-'-1 of f'1w:rol'on:y1 which e mergcd ;n chic ·n:nmi..: cbnt' dut dte Farcfürt IJJP,llÏi:Cilt Îiuâ 00 soi,:k:1.y ""&. :r~s.5iog imo l; li.u ,,y, [l;l n,iel llelL, che idenlagµo .,j pllOc-iilœ lot;y., ,,. .. Dnc ,:1( et-""· spuiu':m111::11 füt ~bl8 f!.(!'il,' •~li$Cipli:ne 1hin v.":l,:;

irne11a:Je.d Hl· :1SJiiJït 6Jrle rnmamill ~ m::ili:ruy r,ï.m:! i..:ülj)OHit(: in~ti.1:utl.011~ in tt ,i:.U' Joo11- tc rrn p lannin g n.e-ettJi..

/7nl T!illy Klii, 'C.T., '"Th., Tu, ilio:n.." i.nPJ,oiii;,,,; P• " • [~L) Md., p. ~jy- ~. / 1, J A.1 Ililly Klim :.r «phd, .. , "'il Glltnglni ~ro rrr orfo11r on:im

(WDl ~){i@er:$., d,:.mer.r,;, plln.r. en: .. 1t1 sci.cnti5t ·s:) "' nç ttJ ,

ra ide ilt t ll.C' Pi11.vilio:11 ;U ail. •Jœtei,~ 'Klruv-er, "'Th,e P-.ililion~P' 111· ;..-ji-i di i.

[731 'Nàkt )tJ fll jil:,i, mm ÇTeJ.<6,i • fog seuilptufC' for ,be a tt::ri(lr or tJ1.1: JJil\11lfo11,, lii'!î dt.itt.:tcd: lh:1~ ,::lie T'tfl~C a n; p1e~e11ci;,ci1"C,:; ll'l!K part OOuW']y -shudictl b:y th C' Btn.oh. µc rfonu.lûCC ofTo ~su111i Hijû'kJ:1[lil. Fo.r more on die pe-rf<imi•necs in. tlic P"' 'ili,.m, loudr C.'.<.CCUL<'d wd )lb.nnerl:, s-.tt .Hfro...l:o fkç~rni 1 H'W'Mld 'W:icbrnuc :Bt1lln.,lilrû.:s1? IL \. T . ·~11d cbt.: i11.:p:sL P'.1itUloJi :,u . .E,ci,1l70 1 O:u1l:r.,, B~·c•ittm

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:r~;w11!# C.1,'JIJt .rNJ &,,.il'I}', no, "' ' [t«t;n 1tic1 2o>11, j>,-JSI. Klih·,c:r p-ru,vidc,. "VCI'}' briLS dcs,;,:r.iptlo.ms i.J .i (1JV1· J1L:a.lUc-d prngrn..m,; Wf~ :Hnc:ing mtu:1:1.1 T~u .um i J1ij5klilt :l1 ;Rik:1IJ"fl. ML)'Jl, l '~ul1"'° ot11-cr"", alilJ Da,W 1\Hk;r, alilJ ~ m111iiboer 1Jifpro11cu1l,; ·f~r fü'I! prn~m.1nfo.g-uie -u;g,mblcd in die oock of 'IŒlv~r et ~I\ lmii'k.tl,

l 74] Jwq= !Ac-oc, 7'« S,iui!Mroff"'l""" l.sro,r, buuk" l'm.,f~ .~m ~• '1«1'1/~:;,, 1!ls:J-S1, cd. J"°'1.= ·!\.l~i~ Mille r, C1:11J.l,fÙJ~ë U11IM:1iihJ' l 't, ,!ll, C.,ïlb rixlse l~H . ji , 79.

[ 7_;. J l\amo ro r-cecllm,m, St,w.OJ& th, Gau, & tuwmrimr , f~Jî»M~Ji~ 111111 Sl!.tl<NJ.v,frt,ffl Ol!til"i[J/, Cu~nell Üllil'cfeit)' Jtrcis~ hh2.ca , Nc.Tl!'Yurk l!J!Jl~ .P.. 34-

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1hç ;'ll~Jl~rtrl(il li'itrricl~ CJf :c;mnh: ic wm,:ild ·t,e J!Otïf.iDlc fn1r .. 11 !l)CCtkl"l'll to sl~;re rh,o 1~1fü, i ffi;l~,e. In thât c;1se, tbc d1mœ woold c1mvcct. :int,n du: rtiml r!lf,"Clhnn.t:·cri..c di.."lip.liilJ 1hat 1i,1lldrill~m desc, itx,i (~.nd ,.a~ flm fi<:1 iB:nal~ in '974 •• ·t lfo loocck .in cl>c Stu "l'rck ,dc ~·.iriun 5l:rics).

1 ~A j G,irmi~, •o ,·t.rvicw," p, ~0,1, ln•·J "fbi:: '\'l:.r)' .hut ~L:1Ltç 11.cC' .ufl 'ou11i::bl1x nl 't1 budk p.rud il.11m

fil,:1~ c:i;:p.i:ndc1I: ~inerm. fflll ,ei:;~1,1:i~h h.e-.i,\îl: ri i,n e:-in h . [80 J Fred ·n ,r~cr l•;a aloo dr11wi; ;tMCfl!l(oil to ~(,Ui' d ie 1)3Ylllo

'fflilS. l ibl'.r.rtllrJ in ics ~.n ch.cniL:s., b.1.ic L:ootHflllin,s in its. ~0l i1ics, "T~ frcc i,-;i vi~icnri, rhe ·r.AT ~• ~in~r.rs IM;1il 1 ~ wooJLI "1YL!r wJ1icl 1, tlu.:y i.:Dut<l t:t.e['I[ run-nu 1rt 1.:uJ1trnL ,\ ~ ~hc ~me monv.:nn-~rt 'nïhi.;.f:i .t\mç ril;afl ,:;.nl'1î.cu wr.re tJ~rt.; ulcctnmtli.: sa 1001H 3n,;;J êô 1CIJ1JJtrt$ t ,o, 11Ll!J11tltur traiîh.: <flm ch.-,c Hci r'.hi Mi11b Tn1iJ, ch~ sirthim .. i:irul! c ng'Îrr.eers, '"' Ei iT'We'l"C lfc:pl,nyi11g a1rnrnL:n1.ic.niou :a 1d t.:1mipLm:1ci.0111 1.«h~o:toglcs •~ moof1-0r ~11d 11•1n~~<' 1bc bcl,~vior of 'il11LliL:r.,1:..r.l lilC cbi.: 111.:p:s~ .P:.i:ri fo:m .N. Wh.cJ1 d 11.:y Lmm.:n.:d chc .,.,.(le.rnro~~d ~,~, n ç,11lc(I rhc Cl'oon Rnom (für i1s ct.m , :sbdl t:iih.:~pui z .p~t.:h1:1md )JIJILC"ll pi.11êr UlfJL~ mi1dd11,c.;-1 fcirm eif or11np.mer- cflrn,rl:in,;3ud tbe p:1utt n,; r>f1lic h::;çr 111# · •IL<JW th~t sutruw11.<kJ tl>t11l, Wbu11 tl,q' <tCf>l'é.l 11J> iam th .c maln, nr irTOred LJt1mc~ ris iu1c,:; 1.:1tct1U(JU.e=rcd J n :ln!"JY ofM•tJmd •Y(lt::fol-fro m immçlr'fjiY-e, 1,)1Jil1f in;i;ci(ln,1P tnsn.:s tu 1100!u mu'9'ÏJ1g ,lru 1J1 pu11u:: t,u pum.t_ 11u.:~ ' ·rno v.~~ Çfl.JIHOIIC'fl hy :.1 oor11p11~ing n;.çlinn!n gy- jn, ,,.hiç ,L-;1,::11.:, Hu1h.:11tlL c.:ud~. liÎJ1.ilt:r. ,1. ~llli,:Lit~ H:Ï·t:h.11ïmd 1:-'undi, p,:1pcr rnpe :rrud1 ine c:1llefl t lir! i.\izr cr Prosrnmmn ~o-,e1'1i<:d an~ · <•li o:,tlit r li)~iem, 1t1d11n clic p~,·llfo,;, ll'um1 di i.: tapit, Joopj ilL th .c Jlll!l\'jl!J~ 1.:i1JÎl'!ÎUks oURsidc m r.h.c li:1r..d:;~1 l~ h1: :i;ip;n:11::;." 1't.nBer1 ''T lt~ Cctrp n,-.u ·ioJl :1ml t ll.(': CC!u11tcrr.:ultur.c,tt-p . i~~--ï+

f~r J $e,e C'.tllom irn, "l'-" r.l<;>,~d b)' Tmo~ ." [ <82.J fillwLyll1L"U5., '''l . .r\"C Pci,,sr.:nmmlm~ Cur tl1i.: l::ltp~ 11·a,•lüu:n!

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ccliuîoc tui th e g<,1Lcml i.:oom::u: oar tll(" O~k ·,1. E-xp1.> 'l'fbh:b p,r~me d 11 mOOd &ir :1.11 Mjn,form11cieini ,ciry"' af cbc fu.HJrC, "floc. .111r.i.l1t ·ud 111t1.:t (>f d ie fu_µ<!, KotltO 'l , ,1i:,è. cxplït.iDCrl. 'l'li!.lc, "h!ii rdlK:u, ~· ex'hihi:1'."i s.11ch u n rock from t h(: M!i"M.11}1 r} P i'( l(~ l~ 1 l,M'(: ll11r m ]"ll''lrf'i,f 1t . f(rr ~l1i: &'(l (~ :l~Oi' .S.

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[Bs], lro d1i~ req:,ccc, tl1e Ptpii r•11füon fiuç,hri 1hin,1l1c tnger i.:umtcxt ,Ur Expo7\I, wltidl )Jmll. '.Rt-Q&J;. nw.Jc.] oft lhc "i11fonn::i.üna city..., ah lie fucu.re by e:ii(lcrimenring., for lnJit~=, wMi .1meolli"L1~ 8)-S!om; -Of crernd comrol. lixpo '7n, m:ul. s the c1Jl1J1inDcion ia a di itt t.:ifdic w111dd cxhibiti<,os frorn 11\e p=co t,1,ri~ ~f irod:u~iri~I ~!"Odocr" CO elle lClil~i:ng or i11Curmo1cOOoi.l Ct.:t.:bn.(J(o~y. Sicm.: doc pn;viow; wn, ld f~.ir• nf Ne,, ,Y~i k (r9~ - 1,;,{,;) •n rl i\lonu•e,J (196?) tbo (ûcù3 ,;f tl,e fütt t.od «)ï'llé w rc;;ld., o:n nw ld- m1;d i.a pcB)OCtiom; 1.TI.d cbe pr1~11CtÏlm of ùtcaonibtc "c:q,ctic11cci.:' rn11>cr thin ,Ji~ c."diibi1~11 of php k ;al corcmucliitœ:5. Kcm:o ·nœsc. tlLC ~t.: r .irdllu :ct off.'.xr,11,~ 1 f.l~.1ttl 1h11 ,,~ (MIJrr,m:;ç nf rlie f~i, WL'S ~,-. .. lbipl.iy '&JL c nYi:roarmt.:n.t tL'/UaiWoL·t1.aJ. v,Î:tl 1 t:iiOOl" 'illt~ Ci1th,,:-r 1h!iin diti" h~· r,mrely phi!,i.i~al h :ndwJ~ _..., Mc wi!.li«I. ,rnere~ fore, 10 [)JOOU.:C ~ ~JJ<JCC wl d !NI ! foc.cd fot•n" 1h~1 " "OUI<! bi.: likc .. 5'JIJ11.!Chias rcsc.:m'bl::ing doud s..p Toa cbis c ncl bt.: 11roil11cc;I th.e '" .,.u«J S('!ce lflm.,-, ~ crwilJll l•tcd . ~,,. ,.e fr.1mi.: stcix:tuK , i1S chi.: ;in.,c..·J1or pub 1t oC ch-c , oNL:.tÎÎ.ctÎ SymOOI 7.on,e., irii icb V.':1$i r,n lioll l.C chie r:.e,u r.al (CJ-cÏl.;ciei. .,f ,1..., fuir, Upuil tbo ccquc;~ ul l'ànto, i.ooalJ Arota imnl: on tlie. :i~ ipimemc co d~'Hflp che ccclmicil d.e,;ign <-f th:,c P:e.n~"\'"Jl l;'lni, an, .npcn t t:1Re 11l:1çcd nnàc r i:lW'! 5p..-c.:c: i•r.imL:. hm:t:1ki h.1d bcè-:r1 L-fusc:ly Îm'1.ll'Vt'd wicb tll(" :1Y:1nc·g.1rcle grm1p, F.rniÏ mnm em Society (K:111kyo oo k'.li). ·u.i 1kh s.li..m:d tbL" l,X!*~"C"' JI I a1.:.~t111.:tbca ur K.ijirn~' a lfappen ing< •nod Fl nn,, .,. -cms. 'l'.hc Fe«ivo l l'b2< " 'L<

.11\C1:i11 UJ p,O'>'ld~ ~ platfotJ1l fot &ueh ~ ik lllOCi"Jtlt ilpproo.i::b co cuh uR"~ J\s Taosc put it ! "°W'C" vtimtcd 11:bc Phan t1> lbc u S)Jilt.:c ofspocti:n city, cm <1oc "iiit.:rc d u.: r;pn11E,&"111t ~lom: wnLJl(I h:1-.e, .;ampl,e:1 c ço,m m l, liur ~ pb ,oe wJn.:rc cllC' ro1.\1Llic11,,('.c.· tuu t.:zn p.irul·lp ·.1.rc .1.nd l~:.ll) c.:n :1tç 'Il feel ia y c,f r;well:inj n}(l\'Cmcn.i;" 1•same Th(t11g}m; :ibnuc Ecq,ù'~: JJi:il..i;.,,,: ~cl"ltn:a K.elU<J ·rarq;r .,i.J l'/o l><m, """'"zoe ," in Th,-Ja/!IVJAn:M,•«145, m,r 5/6 (M•y- Jone 1970), p. Ji ,l l>ellpitn t.c ,hc101ic-..,r ~po,1tafl(;irpind &.cimy c 1aJ'5uyc~ ùy clx· E.q,o org-.iÜLCn, tl,~ Faitl .val Pl:1x:1 '\\Y1lll1l he 11crcci ,,-ed in :.1 mm~ ncfin iam; liglic hy it~ i.:i;ltic~ In, t11u1~um~ Clru;s. di.:K·rlptlOrt ""'tl1i.::.1-·c$t:I,·~ Pl:1H '\\":JJ; le,;J lJ canYcmion:11: 1l11Jil.ding r1il3D ,an ücmn:BiJ1 J a111t,ia,,"" i ,1 >1blcll •-lsittoiil coold bt i,rurtC1ilcJ j!'J ~ ~;t 1 lic]di ,nr pcrcepcual ,i;p.1ce of lighc~ cnlnr~ Jou mtll, :.md ,b'llamic l!l()Veme11.1, 'l'\,"0 11.Îlm r~l)m , cqrnprie;J wiilh Scnwry !li)~t i.:cm. ,~ 1mn:tnl to a 1oiUc i.:omrti l cûlll])\Jtl'.t ,. klnn.ed ch~ mJ1i11 1lnrnccioni flf tbc Feu.i,~ 111:t:tA 111:!i cbc,Y ,oJlcd accw, tl,~ ot~~ L>luwl,,~ atcam, là td..tlom 10 tltc c~'hern e:1:ic Larb-.im m1Klcl •af chie Peui\":21: Plau , " i'! oouJtlt be ILf.llUNI; Cllo Wftl·e!, tl1;11 tll~ "f."ct LiY~J l'i>ua fü'!le­ciorocd 1,15 ;a , ·11n rnmrul l~"?Çct.:m." Jmkt.:d, ISC1u'k i hi:m~df w.ni1ld hHcr dist'1tnc.e, hi m~elf fr()-m tl1c, 11rcrjcçc. f.-1mB'.(1~1y dabm11~ tlrtt ~1 fd t •I tb.w~b 1 ~.d partitip11ctl fa; cxecui:ir..A;g -a W:11'." Dej,j,pit,e ciM! m:aau..i\'C! pBricip:rc ion oo a,ant · i!atede rn l~ti J11 tl,e JJl<!l)t'ilrntrttll~ ~r 11,c ,,iliou~ p1Tiliaru , lfapu,~70 'fflls.lhig'h~· crjd c iZt.:11 l'rithin ut:ist çifçl~s. :J8 fur,1l1erjn:,; .ti :sc:nc•endo,r;tied ~ erui:1 of 4lflt;1liq.((11

wci.1L l-"OctruJ by mcum oC c~'bcrnc uc sy~'k.rm. Uo lc~ om:ed orh e.rv.-i5.e-~ '111 qnciu•-' :1re frn rn Hy11J1j,1.1ms Ohn, "f.tpo'J<,: ·n ll(S Mo.loi l.:lt) ' of m lnfo.rmttion So.foty," Knii !"'l!lef'.fe,i<J~ Cuit11nfiJJ1.Sxiny, a1,o_ 21,, l)ooc n~liEI' 2i)J"l, p. 5'7-;,I,

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ju,, j \'0 1111~blood, p. Si'· "làc •"-"f.b="' au ille,tlol! r,~5 fll"lll l~trn,tl110ert0 nf "°""", hy Tc iL~ord ile Chonfilo.

j iil I M i rL Lu.c~:r, '·t•ro,s~nl i1to 1•00~ fo• 'PCfi1i, ('.(11:1 P:1vil.im;Ç 111 J{r,;ili"11', I'· ,99 ~ J.011

1~1.J lkli, kl11 ao~ootcd b)'Sl·~mj Zixe~ iri 7/.,,.l-iu,t.~-''J" ,t n fNl,,..W:rnm ta .l',p .Y/or C,-,'i,,n, tlmr.,,f farvm ' i..rolrt, ~Ul ' l' l',:'lS, C.mbri.dgc, M~!!>i.clm.,cccs ,991, I'· 14.

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nm-d 1 chc iJ1b1.bitimts Ual)pcd by di e duo 1c Jmmi.~J.liiti'ly l1q:i1L t\! ll13p tlle Ïf1fC~plie~l11\e plicnmn .et1Dn, liui Miing ~ c ru.1.'1c cn1.>dcl ,uÎ cbd J' ncw ~1Jrru1J1Ldli1~fs, Uc,Vt\CL'Cr, =lt ,1'he: •cùf)' p'1-0Ç~5e:~, ~hc ~çr,wJ 1.:::1le: <flf c~ de mi.: lx-c.."C1111cs 111111'C' .uni mure uad Cilr. ub id 1 t~ Erne Of~]~· 1bu; ~o chic fJJ..'T tfou dnrne ,;lLav.'.s D cap1city t u, rorrt rK;t t 11.d e,;pan.d,

1 liujlku NAka .. ,'"J-t K.M,,1il;i11g {1f 1r.l! ' M T .rm--Himi;ing Sc.-..uus; Chrud:i" p. 2117.