the singing of the real world

‘If I could catch the feeling I would: the feeling of the singing of the real world …’ (Virginia Woolf)

At times like this, when so much feels divided and broken, when public discourse has dissolved into a cacophony of colliding opinions, and our politicians seem to have ground themselves into an acrimonious stalemate, there is something genuinely necessary and moving in Action Hero’s intimately epic project Oh Europa. In a gently playful and invitational way, their reimagined mapping of Europe in a time of apparent unraveling seeks to affirm connections and exchanges between people, through an affective cartography of places, encounters and feelings given resonant body in hundreds of love songs. All of the materials in this multiform art work – the 6-month journey undertaken by Gemma and James in their motorhome last year, the songs they collected, their video ‘postcards’ along the way, the live performances after the journey’s end, and this video installation with its ‘atlas’ detailing the location of the 41 beacons transmitting songs across Europe – all of these things celebrate our differences as well as a deeply felt sense of what we have in common, across borders and languages. The event of love, and the resilience and compelling mystery of its deep currents. Longing and its tangled relations to belonging and to ‘home’. The courageous intimacy of song as an embodied address to others: singing as soul-portrait, a gift of oneself in which breath becomes music and calls us together in the heart-land.

The choice of locations for the beacons was determined by a number of different conceptions of threshold, border and edge. To date beacon placements have occurred at sites of current administrative, political or cultural divisions, or of disputed territory; liminal spaces, hovering between territories; sites of encounter, blurring, mixing or integration – of rivers, seas, cultures; deep-time geological structures or rifts; sites of historical protest or activism in the emergence of democracy; redundant historical borders and archaeological remains at places of past conflict; sites bearing traces of cultures no longer in existence, or of unfinished projects (the disappeared ‘dreams’ of the past); rivers and former connective routes between zones, now disappeared or closed; and territories with mobile, fluid or indeterminate boundaries (notably, in the far north of Europe, the shifting position of the Arctic Circle, and the uncertainty of the Sami people’s geographical terrain).

The beacon locations detailed in this atlas offer an alternative mapping of Europe that is off-centre, and complexly layered in time and space. Conventional fixed notions of ‘centre’ and ‘edge’ are reconfigured here; old hierarchies of place give way to something plural and in flux, and many supposed edges reveal themselves to be singular and interconnected centres in their own right. Cumulatively this mapping produces layered networks of places and people in relation, rather than the fixity of discreet territories. Some of these places are ghosted by their social and political histories, but without melancholy; for alongside the presence of the past – the re-membering of conflicts and divisions, ancient and recent – there lies a quietly insistent invitation to actively imagine other possible futures. Other ways of being in relation to others. The journey, the sharing of songs and the placement of the beacons are all interwoven elements within an art project that is both poetic and political; they each perform the possibility of connection, passageway, repair, change and exchange. Like acupuncture points on the body of the land mass of Europe, marking a diversity of thresholds, fault lines and pressure points, the beacons seek to vibrate and reanimate circuits and flows that risk becoming blocked, forgotten or overlooked. In this way, sites of separation can become contexts for the staging of reparation and free, unimpeded movement.

After watching the video from each of the beacons in turn, I was struck by the dynamic presence of different kinds of water in so many of these contexts, and the degree to which landscapes are sculpted and territories defined by bodies of water and their flows. The videos invite us to contemplate various seas and inland lakes (Lake Virmajärvi, for example, on the border of Finland and Russia), as well as watersheds, confluences and many individual streams and rivers that ultimately find their way towards the seas, and wider connections and dispersals. All four of the cardinal points in this atlas – the extreme north/south/east/west edges of Europe – are liquid, as is Europe’s epicentre. Fittingly, Action Hero placed a beacon at the very heart of Europe’s land mass, beside the triple watershed of the Lunghin Pass in Switzerland. From this point on the so-called ‘roof of Europe’, invisible streams from melt water eventually grow in size to become the Rhine, the Po and the Danube, major arteries which run their meandering courses through different countries to three different seas: the Atlantic, the Mediterranean, and the Black Sea. The transmission of songs from beacons in these watery contexts, and others in this atlas, brings to mind the astonishing gesture of Tibetan Buddhists releasing material from their exquisitely crafted sand mandala paintings. Once the painting is complete, the monks dismantle it by sweeping up the sand and releasing it into a neighbouring river. These particles are carried away by the river’s gravity-fueled flow to be dispersed in the world’s oceans. For the monks, each grain is animate and continues to pulse, containing as it does the full image of the original sand painting in miniature: a peaceful, reverberant anti-toxin or prayer circulating forever in the world’s blood stream.

Like the songs themselves, the videos are also invitations to an attentive listening that is actively receptive. Each of the videos registers a still point in which everything moves: the sky and its weather systems, vegetation, animal and human life, vehicles, light. Each sequence reveals a place to be a complex world-in-process. The only video which comes close to immobility presents us with a surviving section of the Berlin Wall in close-up. However, the wall’s apparently immutable inertia is offset and destabilized by the layered background dynamic of bird song, human conversation, slowly drifting clouds in the small strip of visible sky - and of course the knowledge of the wall’s ultimate demise as impenetrable barrier. Its residual survival here acts as memorial and hope-ful testament to the ephemerality of imposed division.

In addition, the ambient sounds recorded by the camera reaffirm the complexities of place through the dynamically layered ‘songs’ of ongoing life. Each video offers us an auditory ‘situation involving multiplicity’, as John Cage said of Robert Rauschenberg’s combine paintings. Chance compositions draw on wind, sea, river, trees, birds (almost always there), insects, traffic, sometimes voices and fragments of passing conversation in different languages. We hear the sounds of the rural, the urban, the littoral, the elevated, the remote, the ongoing and the fleeting. A chorale of the world’s vibrant murmuring.

Listen, for example, to the dense overlay of city, traffic, riverboats, human voices and lapping river water at Margaret Island in Budapest. Or the chance aeolian percussion of flags and their guy ropes in the breeze at Juoksengi in Sweden. Then there’s the haunting spiral of bird song at the woodland ‘language border’ between Wallonia and Flanders, in Belgium, or the dog bark from a passing vehicle in Beremend, Hungary. Or listen to the brilliantly unself-conscious bee that buzzes the camera, then lands and explores the frame of the lens in the meadows at Trójstyk Granic, near the border tripoint of Lithuania, Poland and Kaliningrad. The placement of a beacon at this and other policed border zones enables the love songs to be heard in different territories. In this way the ‘travel’ of the songs, their reach as transmissions, renders such political separations porous, permeable, insubstantial – as does the movement of birds, or bees, and all such creatures whose passage ignores the arbitrariness and artifice of human borders.

To date this atlas remains unfinished; perhaps it is unfinishable, like all of the richest art and life projects. Further journeys, encounters, recordings of songs, beacon placements and video postcards ‘from the edge’ are planned. The travel/travail of mapping, tracking ‘the feeling of the singing of the real world’, placing matters of the heart at the heart of the matter, continues …

Text published as 'Mapping the heart-land', an introduction to Action Hero's book Oh Europa: Postcards from the Edge, an annotated 'atlas' accompanying the Oh Europa installation, alongside performances of RadiOh Europa. On tour in the UK and Europe from May 2019: premiere at Transform Festival, Leeds

For further details of Action Hero's Oh Europa project, and touring/performance details, see here and here

For a Guardian interview with Action Hero about Oh Europa, 'A Love Song for Europe', see here

Photographs by David Williams  

birdland (patti & max)

'But if I see before me the nervature of past life in an image, I always think that this has something to do with truth. Our brains, after all, are always at work on some quivers of self-organisation, however faint, and it is from this that an order arises, in places beautiful and comforting, though more cruel, too, than the previous state of ignorance. How far, in any case, must one go back to find the beginning?' (W.G. Sebald, 'Dark Night Sallies Forth', After Nature) 

On Saturday, after the funeral of an old friend in a witheringly cold north Norfolk, we drove to Aldeburgh to see Patti Smith at Snape Maltings. She was performing 'Max', a spoken word and song tribute to WG Sebald, as part of a symposium to mark the 10th anniversary of Sebald's death - with Richard Mabey, Rachel Lichtenstein, Robert Macfarlane and others - and the launch of Patience (After Sebald), Grant Gee's new film essay in response to The Rings of Saturn (which includes contributions by Tacita Dean, Iain Sinclair, Adam Phillips, Dan Gretton etc.).

Patti was astonishing. At the age of 64, in white dress shirt trailing cuffs, black jacket, jeans, boots, and Lennon glasses, she looks like a cross between Keith Richard and an Easter Island statue, her long face breaking into a disarming smile, her voice a blowtorch. Her marshaling of blooded energy in songs that she heats over time and brings incrementally to a shamanic boil wholly belies her apparent 'age'. At times she vibrates and burns like magma, at others she's like a wistful kid, then in a flash ancient, weathered, beyond the clumsiness of gender, a voice from elsewhere.

'Whispering madness on the heathland of Suffolk. Is this the promis'd end?' (Sebald, After Nature).

At one point, a woman near the front shouted, 'Patti, you're a goddess!' 'A shabby one', she replied, with a quiet laugh. ('With a laugh that's a rustling turned inwards', Sebald, After Nature). At another point, a young pissed guy shambled up to her at the lip of the stage, shouting and flicking v-signs: 'This is shit, man. And your audience is shit!' With an exquisite softness and without judgement, she tried to give him his money back. The young punk and the mother of punks; it was clear where the radical energy, openness, humanity and attack lay. After he left, bundled unceremoniously out of the door by an unnecessarily assertive punter, she said: 'Too bad he left when he did. Cos the next song features 27 punk guitarists, and it's specially for him'.

She combined readings from Sebald's associationally layered meditation/poem After Nature ('what is this being called human?') with accompaniment from her daughter Jesse on piano and a young composer Michael Campbell on guitar and vibraphone, with songs (including the song she wrote with Springsteen, 'Because The Night', 'Pissing in a River' and 'Ghost Dance', and a startling cover of Neil Young's 'Helpless' - 'Big birds flying across the sky / Throwing shadows on our eyes'). In addition she read a poem she'd written about Sebald, and shared musings on her own circuitous links to this place via Herman Melville and Billy Budd, Benjamin Britten, her Norfolk ancestry (the Harts), her love of Sebald - her friend Susan Sontag had first recommended him to her - and of the sea.

She opened up the quiet apocalypse of Sebald's poem, made it immediate, available, pulsing, an animate and fluid landscape of memory, illumination, displacement and loss edging towards lament and song. And - a white-hot highlight for me - she sang a staggering, ecstatic version of 'Birdland' from Horses, her wing-flutter hands articulating and sculpting space, taking flight, lifting us all up up up in to the belly of the spaceship within a theatre whose beamed roof mirrors the ribcage of some vast upturned sea vessel:

His father died and left him a little farm in New England.
All the long black funeral cars left the scene
And the boy was just standing there alone
Looking at the shiny red tractor
Him and his daddy used to sit inside
And circle the blue fields and grease the night.
It was if someone had spread butter on all the fine points of the stars
'Cause when he looked up they started to slip.
Then he put his head in the crux of his arm
And he started to drift, drift to the belly of a ship,
Let the ship slide open, and he went inside of it
And saw his daddy 'hind the control board streamin' beads of light,
He saw his daddy 'hind the control board,
And he was very different tonight
'Cause he was not human, he was not human.

And then the little boy's face lit up with such naked joy
That the sun burned around his lids and his eyes were like two suns,
White lids, white opals, seeing everything just a little bit too clearly
And he looked around and there was no black ship in sight,
No black funeral cars, nothing except for him the raven
And fell on his knees and looked up and cried out,
"No, daddy, don't leave me here alone,
Take me up, daddy, to the belly of your ship,
Let the ship slide open and I'll go inside of it
Where you're not human, you are not human".

But nobody heard the boy's cry of alarm.
Nobody there 'cept for the birds around the New England farm
And they gathered in all directions, like roses they scattered
And they were like compass grass coming together into the head of a shaman bouquet
Slit in his nose and all the others went shooting
And he saw the lights of traffic beckoning like the hands of Blake
Grabbing at his cheeks, taking out his neck,
All his limbs, everything was twisted and he said,
"I won't give up, won't give up, don't let me give up,
I won't give up, come here, let me go up fast,
Take me up quick, take me up, up to the belly of a ship
And the ship slides open and I go inside of it where I am not human.
I am helium raven and this movie is mine",
So he cried out as he stretched the sky,
Pushing it all out like latex cartoon, am I all alone in this generation?
We'll just be dreaming of animation night and day
And won't let up, won't let up and I see them coming in,
Oh, I couldn't hear them before, but I hear 'em now,
It's a radar scope in all silver and all platinum lights
Moving in like black ships, they were moving in, streams of them,
And he put up his hands and he said,

"It's me, it's me, I'll give you my eyes, take me up, oh now please take me up,
I'm helium raven waitin' for you, please take me up,
Don't let me here, the son, the sign, the cross,
Like the shape of a tortured woman, the true shape of a tortured woman,
The mother standing in the doorway letting her sons
No longer presidents but prophets
They're all dreaming they're gonna bear the prophet,
He's gonna run through the fields dreaming in animation
It's all gonna split his skull
It's gonna come out like a black bouquet shining
Like a fist that's gonna shoot them up
Like light, like Mohammed Boxer
Take them up up up up up up
Oh, let's go up, up, take me up,
I'll go up, I'm going up, I'm going up
Take me up, I'm going up, I'll go up there
Go up go up go up go up up up up up up up
Up, up to the belly of a ship.
Let the ship slide open and we'll go inside of it
Where we are not human, we're not human".

Well, there was sand, there were tiles,
The sun had melted the sand and it coagulated
Like a river of glass
When it hardened he looked at the surface
He saw his face
And where there were eyes were just two white opals, two white opals,
Where there were eyes there were just two white opals
And he looked up and the rays shot
And he saw raven comin' in
And he crawled on his back and he went up
Up up up up up up
Sha da do wop, da sha da do way,
sha da do wop, da sha da do way,
Sha da do wop, da shanna do way,
sha da do wop, da shaman do way,
Sha da do wop, da shaman do way,
We like birdland.

A spirit passed, and the hair on my flesh stood up.

Yes yes, my god, we like birdland too. A (not so) shabby goddess took us there by the hand, a force of nature, an old old soul.

This being called human.
___________________________________________

W.G. Sebald, After Nature (trans. Michael Hamburger), New York: Modern Library, 2002

For Aida Edemariam's Guardian interview with Patti Smith (22 January 2011), see here. For Stuart Jeffries' Guardian article (25 January 2011) about Patience (After Sebald), see here. For a Guardian podcast of a conversation with Grant Gee about Sebald, see here. For the original 1975 recording of 'Birdland', see here

Photo of Patti Smith by Annie Leibovitz

Text first written in January 2011

visible daydream

time for a break / a break in time

 

In memory of Rodney Graham

 

Working notes from my weekly ‘spotlight talk’ in the Rhoades Gallery, during the Rodney Graham exhibition 'Getting It Together In The Country', Hauser & Wirth Somerset, Feb-May 2023 

'Four seasons circle a square year', Lyn Hejinian, My Life

 

In what follows, I will focus on the “smoke-breaks” in Rodney Graham's lightboxes as moments of pause or interruption in work (productivity), identity (one’s role), and in particular time (space).  And then I’ll open this up to the wider series of images in this gallery, collectively called ‘The Four Seasons’. At the outset, I had one question in particular in my mind: what does a break break, and what does it produce?

 

First of all, two images that Rodney Graham formally titled ‘smoke breaks’: the cigarette break - Light up / Time out / Space out … in some ways like our moments of encounter with these images as viewers: we’re invited to have a kind of ‘smoke break’, to pause and ‘kill time’ in the presence of this image-world, to allow another space-time in our imaginations to open up.

 

These are images of in-between moments of suspension – moments of inactivity, private reverie, reflection, contemplation. They also represent moments of a heightening of interiority that is not accessible to the camera - moments of absence and of an ‘elsewhere’ made, at least partially, visible … Most of these lightbox self-portraits might be thought of in terms of moments of suspension, both out of time and woven into particular layers and cycles of time.  

 

 

1. ‘Betula Pendula ‘Fasigiata’ (Sous-Chef on Smoke Break)’ (2011)

 

 

A pause in the performance of a role, the sous-chef costume still in place, but the work itself is interrupted, on hold. Just a tired worker having a quiet reflexive break outside of the heat of the kitchen. A still-point in time, a suspension in the past and future of his role at work. 

 

The title tells us that the weeping white birch is the main subject, the sous-chef is secondary (he is literally ‘sous-arbre’, under the tree). So something of the hierarchy from the kitchen lingers.

 

It’s summer, everything’s in leaf, but it’s a ‘weeping’ tree – and there’s a certain melancholy in the chef’s exhaustion: he’s tired, stained, wounded (the punctum of the plaster/cut on his finger), he’s unraveling, and internal.

 

Smoking as unproductive wasted time (in labour/work terms): ‘time-waster’.

 

Paradoxically, this moment of ‘in-spiration’ opens up another unstructured internal space - although the escape is only temporary.

 

A cigarette also has its own dimensions of time: it is sometimes used as a kind of timer by smokers (‘time for a swift smoke’) – and indeed the Hungarian-French photographer Brassai, celebrated for his night photographs of Paris street life, used the time particular brands of cigarette took to burn to measure (roughly) the required duration of the photographic plate’s exposure in different levels of low light: a Gauloise for this kind of light, a Boyard for this even darker light (a slightly thicker cigarette) …

 

 

2. ‘Smoke Break 2 (Drywaller)’ (2012)

 

 

Another image of something seen by chance by Rodney Graham in Vancouver: another slightly comic and melancholic image of a worker at rest, still in ‘costume’ but out of his ‘role’ – both are images of affectionate compassion, and of a gentle surrealism in the everyday. (Cf. ‘Dracula’ having a coffee and a smoke, Las Ramblas, Barcelona, mid-1990s). 

 

Again, we see a moment of exhausted pause in the time of work: physical labour is temporarily on hold, allowing for a compromised moment of ‘freedom’ (‘time out’) - a private daydream escape into an ephemeral landscape of the imagination: an internal landscape, a psychic topography if you like  (space out) - winter, snowfall, the great outdoors, a campfire, animal tracks, perhaps skis – a dream of wilderness white-out far from everyday work – a ‘visible daydream’ (in the words of Théodore de Banville, the 19^th century French poet, writing about smoking and the aesthetics of the exhaled smoke’s fleeting, sinuous dance & disappearance).

 

Luc Santé, ‘Our friend the cigarette’ (2004 essay, from his book Kill All Your Darlings, writing about solitary smokers, waiting): “A cigarette is a friend that helps pass the time, sharpens memory and concentration, channels inchoate emotion, sands down rough edges, blurs things when need be. Cigarettes occupy the hands, occupy the mouth, segment passages of time like ritual observations, fill the room with a screen of smoke on to which anything can be projected” … (light up / time out / space out).

 

Cf. Renaissance painting – diptych portrait and allegory: music, fire/hearth – perhaps also the cigarette as a memento mori, an intimation of the finite in the ephemerality of this suspended time (half of the cigarette has already disappeared), an intimation of time’s passage and of mortality. Like performance, which might be defined by its disappearance, cigarettes entail practices of an ‘active vanishing’.

 

Also a reference in the pattern of these marks on the plaster (covering nail holes) to the abstract Swiss painter Niele Toroni, and his recurrent working method: regularly spaced paint marks/daubs, at intervals of 30 cms, using an identically sized brush (no. 50): a practice he called ‘Travail-peinture’, ‘work-painting’ - freeing painting from authorship, subjectivity, representational prescription > an infinitely repeated gesture of material mark making / a touch on walls and other surfaces, usually white surfaces. Like plastering, or smoking, or indeed Rodney Graham in his self-portraits - always the same, always different (Toroni: ‘You can look at the ocean every day, but it is never the same sea’).

 

These two ‘smoke break’ images were the initial trigger for this wider series of four images: ‘The Four Seasons’: summer, winter, autumn, spring. Each of them a moment of suspension, out-of-time, still points, a vertical cut in the ongoing, unstoppable cycle of time - and it is unstoppable: the cycle of the seasons, of a life, of the earth itself …

 

 

3. ‘Paddler, Mouth of the Seymour’ (2012-3)

 

 

A layering of times/spaces – it’s a version of Thomas Eakins’ 1871 painting, Max Schmitt in a Single Scull (resting after a race), in the Metropolitan Museum of Art in NY. Here a single kayaker, in the ‘autumn of his life’, apparently interrupted in a solitary moment of repose by an unknown photographer. He looks out directly at us, the only figure in the series to do so. So it’s a different kind of pause, rupture, interruption – as if the moment of rest and private reverie has been interrupted / broken by the photographer, or the viewers of the image. 

 

Spatially, a displacement from the original river in Philadelphia to an early 21^st century post-industrial context near Vancouver.

 

In the original painting, there are several other rowers in the background, the closest of whom is not far behind Max Schmitt (and it’s a self-portrait of Eakins). In Graham’s version here, it is collapsed into one self-portrait figure at the centre of the image. One of Eakins’ core influences was Diego Velazquez; and the portrait of Rodney Graham directly references certain self-portraits by Velazquez, including his self-portrait of 1630 – the hair, beard, angle of the head, direct gaze …

 

 

4. ‘Actor/Director, 1954’ (2013)

 

 

The final image in this series, an entirely artificial ‘spring’.  The sky/backcloth, the artificial cherry blossom, the fake trappings of a French chateau gardens – the costume, the camera, the giant eye-like film light … it's a film set (or the pretense of a film set, constructed in Graham’s studio in Vancouver). 

 

Inspired by a photo of Austrian-American actor/director Erich von Stroheim, filming Blind Husbands (1919), smoking in costume while standing behind the camera.  Further allusions to Rudolf Valentino film Monsieur Beaucaire, and its comedy remake in 1946, with Bob Hope ('one of my favorite films', RG).

 

This version comprises three layers of time: this lightbox image was realized in 2013; it represents the filming in 1954 (when this kind of camera was still in use), of a fiction set in 18^th-century France (Monsieur Beaucaire), The costume of the actor/role is in place, but it’s redundant for a moment: the gaze of the director, lost in thought

 

The card on the camera identifies the shot as ‘Beaucaire hat insert’: a still cutaway, a slice out-of-time, a pause (like the smoke break). So, vertical time (the moment, a still point held in suspension), set alongside cyclical time (the film / the ongoing seasons).

 

Here's one way to picture it: When you walked into the gallery, you were moving at about 2 or 3 miles per hour. And everything seems relatively still in here. But as we stand here, in fact the earth is continuously spinning around its axis at about 650 mph (that cycle takes a day). And at the same time, the earth is rotating around the sun at about 67,000 mph; that’s its orbital speed (that’s a year, four seasons).  So, our lives are inescapably at the intersection of still points & perpetual cycles and movements. In reality, the still points are perhaps illusions …

 

> Light up – time out – space out  <

 

 

5. Postscript: ‘Media Studies, ’77’ (2016)

 

 

Media studies draws on a wide array of disciplines – including philosophy, sociology, anthropology, linguistics, semiotics, critical theory, and film studies. Broadly, it’s the study of how we make sense of media ‘texts’; and it focuses on the entanglement of culture, technology, representation, identity (remember these lightboxes are a series of self-portraits of ‘possible selves’, fluid temporary identities) and audience (modes of communication, reading, meaning-making).

 

It’s 1977, the early days of media studies as a subject in universities and colleges – a new discipline that was suddenly very hip in the mid-‘70s. This precise moment in time is reflected in the architecture, design, clothes, materials, style; the technologies (the U-matic video – Sony’s ‘state-of-the-art’ new format released in 1976; the analogue remote); the styrofoam cup, the Philip Morris cigarettes. We see a lecturer either ‘holding forth’ (Rodney Graham’s words), or having a reflexive pause in the wake of a seminar class (this was my initial response). The video is turned off, blank; the blackboard erased, almost all traces of language have disappeared. One word I can find, only just visible and legible: VOILANT – ‘obscuring’, ‘veiling’, ‘masking’; ‘making hazy or cloudy’, ‘misting over’. The board now a kind of indistinct smoke screen, into the surface of which a wisp of cigarette smoke dissolves & disappears (some have compared the patterned swirls of this framed surface to Cy Twombly’s ‘blackboard paintings’ from the late 1960s). Even the lenses of his glasses are ‘smoked’, tinted. Time stands still (the clock).

 

A kind of gently comic homage to all those smoking French cultural studies academics and philosophers who were at the very centre of media studies (Louis Althusser, Roland Barthes, Jean Baudrillard, Gilles Deleuze, Michel Foucault etc. – online, one can find countless images of them puffing away in a lecture theatre in front a blackboard – cf. my own memories of Deleuze seminars in St Denis, Paris in the early 1980s: the impenetrable fug in which everyone smoked, it was obligatory). Smoking here in this image seems to be part of a ‘style’, a gestural repertoire, a performance, with the cigarette as a core ‘prop’ - and an object that in its own right has been a topic for cultural studies, film theorists, etc. Here Graham almost looks like a parody performance of the dandy smoker-intellectual Roland Barthes.

 

‘Media studies’. How many media are represented here? It’s a complex multi-media environment. The video/TV, the blackboard, the screen for projections, and of course the lightbox itself are all technological mediations.

 

‘The medium is the message’ - Canadian media theorist Marshall McLuhan’s celebrated slogan/concept, originally illustrated with reference to an electric light: pure information without message. (McLuhan, who smoked a pipe, died in 1980; in 1977, he appeared in Woody Allen’s film Annie Hall). The ‘content’ of a medium, McLuhan said, is always another medium: e.g. the content of a book is language – and the ‘content’ of light here is this photograph (via the technologies of camera, computer, printer), an artwork that reproduces a simulacrum of the surfaces of a style (the architecture, technologies, design, fittings, clothing, of a particular historical time and a particular set of practices). The ‘content’ here is also media studies itself (the teaching/studying of different media as cultural practices, and the process of thought as both illumination (enlightenment) and uncertainty (the erasure of language, its transformation into indistinct smokescreen).

 

In McLuhan’s terms, this work combines instances of both ‘hot’ & ‘cool’ media. Broadly, ‘hot media’ encourage passive consumption; ‘cool media’ encourage active participation. The lightbox (and photography itself, one of McLuhan’s core examples) = ‘hot media’: high in information (high-definition). The blackboard and its abstract patterning + the U-matic video/lo-definition TV screen + the seminar itself (again, one of McLuhan’s core examples): a conversation > each of these is a ‘cool medium’: lower definition, less closure, more effort required to determine meaning, more active participation required. So this work is a kind of staging of some core themes/tropes of media studies itself, with you the viewer invited to navigate these different media and their mediated ‘messages’ (like a student in the seminar). Ultimately, for McLuhan, the real contents of any medium are the users and the meanings they make.

 

Finally, notice the layered relationship between idealised hyperreal surfaces / disembodied ‘style’ & the mess / movement of bodies / embodiment: the grubby fingerprint smears on the video player controls, the scuffed soles of the shoe, the worn chair on the left, the work of erasure on the blackboard.  Pristine rectilinear surfaces in conjunction with dynamic particulate disorder (chalk dust, dirt, wear, smoke, ash) – structure & post-structure (Bataille / the informe) ...