Theory of the Image is now available on audiobook

We live in an age of the mobile image. The world today is absolutely saturated with images of all kinds circulating around the world at an incredible rate. The movement of the image has never been more extraordinary than it is today. This recent kinetic revolution of the image has enormous consequences not only for the way we think about contemporary art and aesthetics but also for art history as well.

Responding to this historical moment, Theory of the Image offers a fresh new theory and history of art from the perspective of this epoch-defining mobility. The image has been understood in many ways, but it is rarely understood to be fundamentally in motion. The original and materialist approach is what defines Theory of the Image and what allows it to offer the first kinetic history of the Western art tradition. In this book, Thomas Nail further develops his larger philosophy of movement into a comprehensive “kinesthetic” of the moving image from prehistory to the present. The book concludes with a vivid analysis of the contemporary digital image and its hybridity, ultimately outlining new territory for research and exploration across aesthetics, art history, cultural theory, and media studies.

“This is an engaging book with a fascinating argument. Thomas Nail stakes out new territory, building a theory from the group up of the image as kinetic” — David Morgan , Duke University

“Thomas Nail’s Theory of the Image is an ambitious and original attempt to re-theorize the material and cognitive dynamics of the image. In this respect, his model is kinetic as opposed to representational, mimetic, or hermeneutical. The book is eminently suitable for use on a range of undergraduate and postgraduate courses, in particular, philosophy, cultural theory, and art history.” — John Roberts , University of Wolverhampton

Listen now on Audible! 

 

 

 

 

What is the Philosophy of Movement? IV

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This is a short excerpt on the philosophy of movement from a recent interview I did with Nico Buitendag for Undisciplined Podcast.

Nico Buitendag: When we first begin to look at the world through motion, what are some of the first things that were previously obscured that suddenly—at least then for you when you started this project—what were some of the things that quickly sprang up for the first time that became very obvious to you that you didn’t expect?

Thomas Nail: To qualify very quickly: It’s not like nobody’s ever talked about motion. Everybody has talked about motion. There’s not a philosopher or theorist, or anybody who hasn’t said something about motion. The difference is whether motion is ontologically primary, whether that’s the starting point of analysis or whether that’s a secondary, or derivative feature. In my view, almost everybody in the history of Western thought at least has treated motion as a secondary thing: something that happens to what is already primary, some substance, or eternal form, or vital force, or temporal a priori or whatever.

But to answer your question, some of the first things that I found to be very shocking when I started looking at this was that: 1) Movement was a subordinated term, but also movement was actually the primary ordering structure of things. Matter is moving around, and that all these other things get built on top of it. And so the interesting question to me—which it’s taken me a lot of years trying to get the answer to it—is if being really is in motion, then how could we have missed this for so long?

What are the techniques and tools…how do we perpetuate other perspectives that cover over that movement? What are the techniques of explanation that obscure the movement of matter and convince us that it’s not actually important or primary? And that has all kinds of answers in aesthetics, in politics, in ontology, and so on.

One of the answers, with respect to ontology, actually has to do with the material techniques of doing ontology, of writing. We don’t know what anybody thought. We always say “so and so thought this,” “so and so thought that,” but we don’t have access to anybody’s thoughts. What we have access to are the residues of historical practices, material cultures, and writings and texts, and all kinds of stuff, but we don’t actually have access to the thoughts of dead people, of what people have thought in history.

So the challenge, at least in Being and Motion, was to go back and say “what are the material techniques?” For example writing, books, printing press, typewriters—what are the material techniques, and what’s their structure of motion? What is the form of motion that covers over the fact that they’re using a material motion in order to generate some thought of the ideal, of the abstract, of the universal, of time, of space? What are they really doing? So there’s a kind of media archaeology that goes along with that from a materialist perspective.

And the second thing I saw, and this is maybe the major thing I found I suppose, are these patterns. Kinetic systems are systems of motion, patterns of motion. These are centripetal, centrifugal, tensional, and elastic. These are major patterns of motion in physics. Obviously, there are subtypes, combinations, and hybrids, but these are the four kinds of patterns that are going on in each of these different historical periods, and these patterns take on a kind of dominance in each period. All of them are always happening, but in some time periods, one of them really takes hold and becomes a guiding structure, and that happens across disciplines. It doesn’t have to do with just politics or ontology, it’s historical. It’s really the way that matter moved and circulated in a given time. So to me, those four types of motion were really important discoveries, and I’m very curious to see how people will respond to those. It’s an empirical kind of argument so I’m open to being wrong about those patterns, but it was quite a discovery. 

Sigurds Vīdzirkste: A Little-Known Contributor to Cybernetics in New York

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While I was giving a talk in New York the other week I had the chance to see a preview of this incredible exhibit on Latvian migrant exile artists working in New York in the 1960s (thanks to Andra Silapetere). I was really struck by the mysterious work of one artists in particular: Sigurds Vīdzirkste. The patterns are clearly not random and yet no one knows the cipher for them. Oddly enough looking at his work one feels that something is being communicated at an almost unconscious level—just based on the material pattern and shape of the burnt lumps of metal bulging from the canvas. There is clearly a visual language of some kind but in the absence of representation it becomes irrelevant and one just feels the brute order and material pattern in its immanence. Looking at his work is like being able to look at one’s own language as if it had no representational meaning. So strange. That is, as a material, graphic, sculptural, textual, process. If you are in New York check out this exhibit at the CUNY gallery.


Sigurds Vīdzirkste: A Little-Known Contributor to Cybernetics in New York

The painter Sigurds Vīdzirkste is another example of an artist in exile responding to the environment of the New York City art world by developing ideas outside of it, while nonetheless participating within it. Vīdzirkste constructed his artistic language by reacting to the rising interest in technology at that time, and through that, bringing artistic production to a new level. After his studies at the Art Students League, he developed a unique style of painting that he called “cyber-painting,” in which he synthesized his interests in mathematics, chemistry, and music. He first exhibited this work in 1964, in a solo show in his studio at 148 Liberty Street, where, next to abstract compositions of circles and stripes, he displayed canvas with dot-like reliefs, callous clots, and metallic-powder compressions organized in different rhythms.8 This show was followed in 1968 by a solo show entitled Cybernetic Canvases, which, held at the Kips Bay gallery at 613 Second Avenue, was the first time Vīdzirkste publicly used the term “cybernetics” in relation to his work.9 All of the exhibited canvases were composed of relief dots on monochrome ochre or grey backgrounds, and they were untitled, undated, and unsigned; only a number was assigned to each work.

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Sigurds Vīdzirkste in New York, late 1950s. Photo: unknown photographer. Private collection

After Vīdzirkstes’s death in his studio in New York, different pots with metallic powder and toluene were found, and after his paintings were brought to Latvia, a chemical analysis of one of his works revealed a mixture of pigments—metal particles soaked in a chemical substance and mixed with resin and resin lacquer.10Such combinations and experiments with pigments were most likely stimulated by his chemistry studies at the Riga State Secondary School before his emigration in 1944.

It is hard to trace a definite theory behind Vīdzirkstes’s dot paintings as he did not expand on his ideas in writing; but from sources available, we know that each work was created as an information system similar to that of punched cards for early digital computers.11 With each new painting, the artist organized dots in different rhythms and sizes and, as Voldemārs Avens (born 1924), another member of the Hell’s Kitchen group, remembers, he used precise calculations to create each system.12 As part of his process, he layered dot drawings done on transparent plastic sheets to create variations of patterns that could later be transferred onto canvas. This brings us back to his 1964 show, in which he also exhibited three drawings, which according to Vīdzirkstes’s letter written to his parents, formed the base of his information systems. Unfortunately, only one of them can be found in his archive, making it impossible to break his code.

With the development of technology after World War II, the use of cybernetics in art was prevalent in Europe,13 whereas in the United States, this was not the case. Even though one can map out early experiments linking art and technology, cybernetic and computational thinking in artistic production did not become widespread until the 1970s.14 Given this, Vīdzirkstes’s works developed in the 1960s, which demonstrate a unique and alternative system of visual signs bridging computing technologies and art, can be interpreted as a pioneering praxis that introduced the idea of programming to painting as a way to reconsider artistic production of the time.

 

Reposted from: https://post.at.moma.org/content_items/1271-baltic-exile-and-emigrant-communities-hell-s-kitchen-collective-in-new-york

 

What is New Materialism?

What is New Materialism?

Christopher N. Gamble, Joshua S. Hanan & Thomas Nail (2019) WHAT IS NEW MATERIALISM?, Angelaki, 24:6, 111-134, DOI: 10.1080/0969725X.2019.1684704

The increasing prominence of “new materialism” signals a growing cross-disciplinary effort to challenge longstanding assumptions about humans and the non- or other-than- human material world. This paper argues that there is currently no single definition of new materialism but at least three distinct and partly incompatible trajectories.1 All three of these trajectories share at least one common theoretical commitment: to problematize the anthropocentric and constructivist orientations of most twentieth-century theory in a way that encourages closer attention to the sciences by the humanities.

The common motivation for this “materialist turn” is a perceived neglect or diminishment of matter in the dominant Euro-Western tradition as a passive substance intrinsically devoid of meaning. In what has become a kind of de facto motto, new materialists routinely emphasize how matter is “alive,” “lively,” “vibrant,” “dynamic,” “agentive,” and thus active. As we will argue, however, while new materialist scholars tend to use them interchangeably,2 such terms nevertheless take on sharply divergent meanings across the three approaches we identify. Likewise, as we examine below, this same divergence also underlies new materialist efforts to problematize anthropocentric binaries (e.g., “meaning and matter,” “culture and nature,” and “gender and sex”).

Alongside the rise of new materialism, there have also been numerous critiques. For example, new materialism has been criticized for exaggerating the extent of earlier feminist scholarship’s “biophobia” or neglect of matter;3 for rejecting Marxism and cultural materialism on mistaken grounds;4 for uncritically embracing and conflating the scientific study of matter with matter itself;5 and for overstating its alleged “newness.”6 Unfortunately, however, these critiques have largely placed all new materialists under the same umbrella and thus have often misidentified their target. At least, this is what we hope to demonstrate.

This paper emerges from our desire to offer a response to such criticisms but not in order to defend new materialism in general. Instead, we hope to help redirect each arrow of critique toward its proper target, and on this basis to advocate for the approach we call “performative” or “pedetic” new materialism. We think this approach has the greatest value and potential for future development but has unfortunately been badly misunderstood and wrongly conflated with the other two types of emerging new materialism. We therefore aim to illuminate how “negative new materialism,” “vital new materialism,” and “performative” or “pedetic” new materialism are simply not compatible.7 Even if their motivations are similar, their basic guiding premises are not.

More specifically, although each of the three types of materialism seeks to critique anthropocentrism’s presumption of matter as inherently passive and devoid of meaning, we argue that only the performative new materialist approach radically undermines a discrete separation between humans and matter. In distinct ways, both negative and vital new materialism continue to foreclose an appreciation of the truly performative movements of matter. On one hand, negative new materialism embraces either a radical division between human thought and inorganic matter or a “withdrawn” essence, both of which we think persist due to its uncritical embrace of an external, human-observer perspective.8 On the other hand, while vital materialism explicitly rejects any form of essentialism, we think it nevertheless manages to sneak back in through a metaphysics of life projected onto inorganic matter.9 In these crucial ways, as we elaborate below, non-performative new materialist theories continue to implicate certain objectivist, non-relational and, thus, idealist assumptions or residuals.10

The performative approach to new materialism, however, successfully eschews discrete separation by refusing any presumption of something external to matter – including human meaning – that guides, structures or grants meaning to its behaviors. In such a view, matter simply “is […] a doing,” as Karen Barad puts it.11 Matter is what it does or “how it moves,” as Thomas Nail puts it.12 And since the performances of humans are not external to those of the rest of the material world, this view also leads, importantly, to a performative understanding of science in which every act of observing also constitutes, at once, a transformation of what is being observed. Such a view enables the following responses to the criticisms of new materialist work we mentioned above:

(1) The neglect of matter. While we agree that some new materialism work does unwittingly reinforce the binaries it seeks to problematize,13 we believe this criticism does not apply to the performative approach. For example, when the latter speak of a prior “neglect” of matter they do not mean that previous theorists did not talk about matter but rather that those theorists neglected or discounted matter as inherently dynamic and meaningful (precisely due to the anthropocentric presumption that meaning, and whatever else might make humans exceptional, is immaterial).14

(2) Science envy. While we also agree that some new materialists have embraced science uncritically in ways that conflate its findings with matter as such, in a performative account scientific practices and discourses are just as productive of the very world they describe as is any other action, human or otherwise. Such an account therefore agrees with poststructuralism and science-and-technology studies that all human discourses are constitutive. The novel argument, however (at least within the dominant Euro-Western tradition), is that those discourses are themselves also – and only – particular configurations or performances of matter.

(3) The fetish of novelty. Although we fully embrace historically oriented work questioning the alleged newness of new materialism, we again do not agree that this critique applies to the performative approach. Matter always has been in motion. We have shown elsewhere how the creativity of this movement has been erased or excluded in the Western tradition.15 Furthermore, arguably the most important historical Euro-Western precursor to performative materialism is the ancient Roman poet Lucretius, whose philosophical poem, in many ways, is connected to a performative materialist understanding of Homer.16 In addition, we also find a great deal of merit to the recent call for greater recognition of and sustained engagement with the affinities (and differences) between a performative “new” materialism such as Barad’s “agential realism” and the many and varied agent ontologies discussed in indigenous studies literature, which in some cases can be traced back many millennia.17 We thus understand performative materialism as a recovery in novel form of older subterranean or largely disparaged or disregarded materialisms and certainly not as an ex nihilo appearance.

The aim of this paper is to clarify what distinguishes a performative or pedetic approach to materialism by illuminating its differences with both older materialisms and other new ones. The general aim of Part 1 is to develop the former distinction.

Read on!

The Nature of Digital Image: A Conversation with Thomas Nail (transcript)

B.A. Gonczarek

I’m here with Thomas Nail,  the Associate Professor of Philosophy at the University of Denver and author of recently published book Theory of the Image, welcome Thomas.  I must admit I was really looking forward to our discussion. When preparing to our conversation I did my research online and I was taken by how well you’re received by your students. You students describe you as very knowledgeable and approachable. Your openness is something I experienced myself, so thank you for the opportunity of doing this podcast together. And to explain to our listeners  – what we’re trying to do here is to (possibly) bridge the gap between abstract thinking and acting, between thought and execution by an exchange between you, as a philosopher and me, as digital toolmaker on a topic of digital image.

My main goal for today is to hear your point of view on the future and possibilities that technology gradually unlocks.  Now, I’m aware that the digital image is only a short chapter of your recent publication but I believe that limited scope of our discussion is enough to inspire our listeners. After all, we’re all users of digital devices don’t we.

To begin, describe to us, if you will, your way of working. What is New Realism and what is your method of approaching problems?

Thomas Nail

If I had to sum up main findings of the book that guides the whole project is that the image we often think about as a mental representation, something as in our brain (in our minds) which is a copy or resemblance of the world outside. I think that’s not right, there’s definitely something going on but that’s a very narrow way of thinking about what an image is.

An image is a real thing, it is something that happens in our eyes and in our brains, that is related to the external world, but that is a tip of an enormous iceberg. That’s the part that we see on the surface.  Below the surface of the water is this enormous process of the rest of the world, of the enormous processes that we don’t actually see which are part of the fabric of the world and forms and media that we use, and it’s very active. What we have in our brains is not a copy of the world, it is the world itself just by other means. It is a continuation of the world inside of us just. It’s not a question of resemblance but interactivity, of performativity. We are interacting with the world when we see, although we often experience vision as a passive thing that sort of happen to us, but that’s actually very active both in our bodies (in our eyes the way they seek out, move and follow and respond to the world). One of the main takeaways was to think about much larger context what an image is but also what the world does. Whether are humans there, or not, there are images, as they sort of they engage each other. The way we interact with the world those images interact with themselves and that interaction is what produces an image. That’s a broad definition of an image but the shift is from thinking about images as representation to thinking about images as processes with their own habits, cycles, they sort of interate and respond to each other to produce meta-stable states. They are flowing and moving, but they are also stabilized, so they look static. If you look at an object on a table – it looks like it is just sitting there but it’s not. And even when we weren’t looking at it, the image is still because the image is real and material whenever we think about that. We’re part of it when we view it.

B.A. Gonczarek

As you describe in the book the image is a process by which matter twists, folds, bends and reflects itself into sensations and affections. What was the inspiration to arrive at such viewpoint on the image itself?

Thomas Nail

It’s an old inspiration actually, it goes back to the Rome and poet Lucretious. We only have one book of his philosophical poetry – De Rerum Natura. In the book, inspired by Epicurus, who said that the earliest Theory of the image as a material process that we have in the history of the west and it’s since been transformed by other ideas, but I do think there’s something to go back to. For me the inspiration was his poetry and ‘Simulacra’ – Everything in the world is radiating out images. Images are bouncing off each other, eventually they get to the exterior and fly off to collide mid air with other images. Some people interpret it as there’s ghosts flying off of things, but that’s not what he says at all, it’s actually closer to modern physics and light. He didn’t use the language of photons, he used language of simulacra but that’s essentially what it is  – that things inside of themselves are vibrating with photons. Photons are heat, photons are light, they are constantly vibrating and release waves of photons, and photons collide in mid-air. And for that reason at every stage they actually are making something, they performing and producing. There’s no resemblance, but no genuine copies, no originals, there’s just these singular processes that refract  (like you drop two paddles into a pond and the ripples would key each other and make a new pattern – at every stage you’re always looking at some specific pattern of the photons  interact with each other. So it’s a very materialist way of thinking about what an image is as opposed to the idealist way, which is – it’s an idea I have in my brain. And if that’s what you think an image is then only humans have them, only humans can sort of talk about them and they always will fail in representing the original image. There will always be some poorly construed copy of what’s out there. If you think of an image of a real, material, singular process, then it changes the way you think about what an image is. What an image is is what an image does. It doesn’t represent anything, it moves, it does. So the question is – what are the patterns? That’s why I think the visual aspect makes a lot of sense because to understand what images are you need to have an interactive and visual tools to map out what that image is doing.

B.A. Gonczarek

And I believe that’s also applicable to the digital world. I found it actually fascinating of how you’re shifting perspective here.  You name three features of mobile nature of the image and I’d like to ask you about hybridity that you list as one of those defining features. You call it a pinnacle of fragmentation, I’m curious what opportunities fragmentation opens`?

Thomas Nail

When I say fragmentation I don’t necessarily mean complete isolated fragments. They are little knots and pieces of strings, always related and connected with another pieces so that the pieces are never fully cut off from one another. This is the way people tend to think about digitally as just fragmented bits and bites, ones and zeros – but there are no fragmented ones and zeros that are fully cut off. That sounds opposite to the definition of what we think of binary. The truth is if you just dig below that level – is a signal on or of (basis of digital communication) and look at the material structure of transistor – it doesn’t work like that. There is a constant flow of electrons and photons moving through that transistor and they do not always stop at the gate when the signal is supposed to be off – they jump the gate. It’s a quantum effect called tunneling in which electron movement actually passes the barrier. The smaller technology gets, the more data we can store, the tinier the gates get. And the tinier the gates get the easier it is for the flor of electrons to pass through the gate and then you get an error, and your computer crashes. And these are happening more often than used to because of the technology. When your computer crashes there’s a good chance that’s because of the quantum effects of the material movement of the electrons. So thinking about all these pieces it really draws your attention to the creativity and the agency of the matter itself that we’re dealing with. We try to represent things of ones and zeros but what we’re often encountering is this very fascinating resistance of the matter itself and that opens new possibilities of working with that matter as opposed to trying to dominate it and trying to stick it into a binary code. Oneinteresting question for the digital age and XXI century is what new things might we discover? What new visual or communication aspects if we let the materiality, if you will, to play a role and speak instead of trying to silence it or make it your bidding. What might it say to us? How might we use it by working with it as supposed to trying to master it.

B.A. Gonczarek

Absolutely. I remember from your book when speaking of hybridity you touch the digital foundation of the image saying that

Anything that can be coded can be transcoded and then turned into a hybrid of something else.” So the beauty of transformation and allowing for new thing to arise from something that preexisted before opens a lot of new possibilities. 

The other defining feature of Digital Image that you write about is the Kinetic feedback. The way I ready it, is that the matter interacts with itself to form of a feedback loop. I kind of understand that when thinking of computer software opening greater degree and range of aesthetic transformation, but what about a kinetic feedback when, let’s we say passively consuming content, by looking at a paining?

Thomas Nail

One of the interesting things in the book that I figured out by researching material structures is that some of the features of the digital images are common to the analog things, there not really this absolute division. If you think about digital culture as immaterial, in the cloud, virtual – it’s not. It’s fully material. A “cloud” is a huge building filled with hard drives. This vast Internet infrastructure all have material basis and in that sense it is still very analog. And in that sense analog still has many of these features as it has aspects of hybridity. An collage is an instance where you can break things up and reassemble it. You have a kind of hybridity in analog things. But as just in your example in looking at a painting there’s a feedback that happens, but we don’t often think of it as a feedback. We think of it as a noisy signal on a digital level, a negative feedback loop where we don’t want it to go. But that’s partially what interesting in analog and digital feedback is that it is taking us somewhere. There’s a feedback happening between two systems where both are sort of in control but neither are in total control, and the result is something genuinely unique (kind of simulacra experience, simulacra are meeting, refracting and making something new. When we think about looking at a painting we think of that as a passive reception of an external object. But the viewer is participating in that work of art just by being in that room, even if we’re talking at basic photodynamic level of photons radiating off your body as heat, and they are heating up at a very small level that painting. Light is reflecting off that painting and degrading it. By looking at a painting with light we’re destroying that paining at a very low level and over time it ends up totally destroying that painting and that’s why we have curation. Curators are in this unique position to really see and feel and understand the materiality of works of art. That’s a lot of what museum goes don’t think about. They feel like these are preserved work with ethereal structure to them. But the preservation process never ends, it’s ongoing. It has to constantly struggle agains the effects of decay, heat, and light-destruction of the painting. So I think they realize that the paining is more of a feedback loop that you think it is. And it’s also affecting you that you’re not fully aware either. Its light and coloration is making you more sensitive to subtle differences in light and coloration. Even if you think that you’re thinking about the symbolic meaning of such and such. A man by a river or something like that, or narcist looking at himself in the pond were thinking about symbolic representation of the paining yet there is a material basis that is also working on you that you might not be even thinking about, but it’s affecting you. And it is the same way with digital culture and the studies are now accumulating on that for sure. What is the Internet is doing to our brains? What is digital culture? How is it changing us? We’re using it for symbolic and representation purposes, but there is wast iceberg of material consequences to the environment, to our bodies, to our brain. To undergo the performance and the feedback that we enter into when we look at the screen and use some kind of digital device.

B.A. Gonczarek

When speaking of affecting and changing us by exposure to images, you see I’m in a business of supporting understanding, you can call it knowledge communication with the use of interactive whiteboards. And I have a front seat view on feedback loops and transformations of the content. I see how those work as a key to unlock human understanding.  In the past the knowledge or concepts were conveyed by text paragraphs and static slides. Now those turn gradually into more visual forms, animation,  ad-hoc drawing, into whatever works. So the way I see it, is that we’re on a path of getting away from the rigid, formal representations into a realm of smashing bits and pixels, so to say,  to form new perspectives and gain new insights. I guess that’s in line of your thinking?

Thomas Nail

I think that’s right, I think that communication has significantly changed such that it is absolutely much more about feedback and with that feedback comes novelty. Feedback isn’t always what you want it to be. And with that what is interesting to me is that when images and words and material structures of how those are communicated – when you get all of those mixed together, when you have text, with digital speed of social media and users – when you get all of that together you’re getting some serious feedback transformation in which all of those are kind of pulled out of their original context and make possible new ideas that aren’t necessarily what we originally planned them to be. I think the feedback, even being explicitly interactive process, the interactivity makes us realize that we’re performing, that we’re doing something, not passively consuming. Even if we think that we’re passively consuming you’re actually generating something to. I think it makes us think deeply about the participatory nature that has always been the case with communication, visual or text-based that we’re involved in it, and that makes us responsible for intentionally shaping it, and not thinking that it’s this big structure and we cannot do anything. The mutability of communication is higher and more diverse that has ever been.

B.A. Gonczarek

Absolutely. The way I see feedback is that we always thought of the feedback on the cognitive level what worked? What triggered understanding? Was it a (so called) picture superiority effect where visuals work better then words, or spatial processing evolved in understanding of a concept or visual metaphors. But I guess thanks to your insights, I see that it’s possible to go deeper, beyond sensations to see the inner-working of three distinctive features of the digital image that you list: kinetic feedback, random motion and hybridity.  So I wonder, from your perspective, do you see technology a one-directional enabler that gets us closer to the understanding of reality? Is it so?

Thomas Nail

That’s such a great question. On a one hand I want to say – it just depends on how you define digitality? But I think that the other definitions are typical ones of binary structure, so let me give you two answers to that question:  Yes, digital world gets us closer to objective knowledge, more communication, transparency, more accuracy. Our pixels get so close now. The term ‘Retina’ it’s such a great term because that’s the limit where they eye can no longer distinguish the pixels. So what you could say on that front – yes, we’re definitely getting closer. Look how small the pixels are now, we are getting higher resolution and better accuracy on the world. If that’s a description – I disagree with that, i don’t think that’s why digitality is getting us any closer to reality or anything like that.

My answer would be – yes, I do think that it actually is but not in that way. I think that the thing that getting us closer to really thinking about reality in a different way, is that it’s forcing us to realize something that always been true about the nature of the image (whether analog or digital). The closer we get the closer we drill down to that binary structure of ones and zeros the more non-binary processes we start to discover. That’s what’s interesting about digital. It’s the actual conclusion that if we push it far enough we see it break down and see that below that it’s actual continuous fluctuation of quantum processes that are not under control. And this reveals to us something novel about matter itself. Something that always been novel, but we haven’t comforted it in that precise way. The history of art and media is typically Humans trying to control the world and make it look their way, and do it certain something. There is a minor history to be said there, but for the most part the western history of media and use the technology is to control the nature. But what’s interesting to me is that we’ve reached limits of that control and we’re forced to realize that it is impossible project and what we’re really have been doing is not successful domination to completely get access to objective reality but that we’ve been engaged in this kind of feedback look where materiality of media has shaped our bodies, our senses, our brains just as we’ve been shaping the world thought all of this media – and that’s what I think the truth is to be realize in the digital age. It’s not the superiority of the digital image but precisely what the digital image is exposed to us explicitly. So we have to confront that fact.

B.A. Gonczarek

It’s certainly getting our thinking less infantile, but do you see any risks that we might not be aware on this path?

Thomas Nail

For sure, the risk is that we will keep trying to find the ultimate way to bypass material processes and the performative act of interpretation. What I mean there is that if you think you can break down the world into totally discreet bits and bytes – that’s the danger, because it will drive you absolutely mad trying to produce a clean-cut distinctions between ones and zeros and not realize that there is this material process that will always spoil this effort. The danger is to use technology and media to try to control and essentially dominate meaning and leave out interpretation. Some philosophers that really herald the digital age they imagine – oh, we’ll just put jacks into our heads and we will just communicate with binary code, and that we’ll bypass all of the messiness of the language. I said this word that might mean something different to me than it means to you and we have base for this messiness which is, in truth, the beauty of poetry and literature. We can just get rid of all of that and just have purely objective truth with binary code. And I think that is the danger, thinking that you can avoid the material and what we call ‘an interpretation’ but it’s essentially performative, collective feedback that is generating something news not understanding some objective state of the world

B.A. Gonczarek

Before we close, what you see as a possible outcome of increasing software capacity in transforming digital images? Given the nature of digital image, what do you expect to happen in the near future?

Thomas Nail

Guess this depends how pessimistic or optimistic I am.

B.A. Gonczarek

Give us your best shot.

Thomas Nail

I’ll give you both. What I expect when I’m feeling pessimistic is that we will continue with quantum computing to try practically to keep pursuing to break world down into ones and zeros and master quantum flaws and erase any errors, any noise, any fluctuations which we don not want to happen in electron flow. That we will keep on that path and try to continually break things down in an attempt for absolutely non-interpretive objective reality. To think that we’re getting closer to that is to me absolutely the danger when I feel pessimistic.

Optimistically I think that technologies that emphasize and take seriously the materiality of the media that they using, (not just as a neutral media to facilitate communication, but as itself a creative thing, something that is changing the world).  To recognize the changes that it’s having both on the environment, on material world, but also changes that it’s producing in us, in our bodies – and to take that seriously and ethically to treat it more as a work of art. The sharing of images, the sharing of text is not neutral communication, it’s transformative, it’s doing something to us. I think that if you think that’s its neutral communication that’s subjective you’re going to miss that ethical moment. So you’re really need to think about that ethical moment. We’re responsible for what we’re doing to ourselves and what we’re doing to each other, and what we’re creating. So taking ownership of that essentially and we supposed to be being serious and intentional of what that is the optimistic outcome

B.A. Gonczarek

And I join you on this optimistic end. Listen Thomas, it was a great pleasure to talk to you today. It certainly helped me in my exploration of verbal-visual field of communication. But I also believe that your perspective is fresh to anyone that is trying to understand the direction that technology is taking. Many thanks for sharing your insights with us today! And good luck shaking off human’s immaturity of perception!

Thomas Nail

Thank you.