Andreas Broeckmann

"Postmedia" Discourses. A Working Paper.

1. Introduction, Two Hypotheses, Summary
The notion of "postmedia" has been the subject of debate for several decades.
The following text will try to highlight the main trends of those debates. My
first hypothesis is that there are three different conceptions of "postmedia"
which need to be looked at separately and which have to be understood as
distinct the notion of "post!mass media" "as conceptualised by #$lix %uattari&
'oward (later& a.o.)& the notion of the "post!medium condition" of
contemporary art "*osalind +rauss& ,icolas Bourriaud& a.o.)& and the notion of
the "digital as post!media" "-eter .eibel& /ev Manovich& 0omenico 1uaranta&
a.o.). These three discourses will be introduced in the following sections& not
with the aim of offering full& let alone critical analyses& but in order to facilitate
a more differentiated approach to the notion of "postmedia". My second
hypothesis is that there are significant interferences between the different
conceptions of "postmedia" and that interesting insights can be gained from a
comparative reading of the three discourses. At the end& 2 will hint at some of
these interferences in order to suggest epistemological vicinities and
distinctions between the three concepts& and in order to mark potential starting
points for a discussion between the three rather separate discourse
communities.
. Post!"ass "edia
2n the short history of "post!media"& the term was probably first deployed
around 3445 by the #rench psychiatrist and philosopher #$lix %uattari who
used it to call up the image of a "post!mass media age" in which the regime of
the mass media of the 3465s and before& would be overcome and replaced by
a situation in which individuals and groups would have access to their own
multiple channels and means of expression. %uattari had this vision even
before the arrival of the .orld .ide .eb& but based on his experiences with
2talian and #rench pirate and community radio& and the #rench proto!2nternet
Minitel system. %uattari7s discourse on post!media forms a relatively small part
of a broader& "ecosophical" conception which pleads for a combined
transformation of social& psychological and environmental aspects of the
contemporary condition. 2mportantly& %uattari connects the notion of post!
media to forms of subjectivation that are not tied to the mass media7s
commercial mega!structures which construct homogenised media consumers&
but to a heterogeneous media ecology in which diverse and singular
subjectivities and collective assemblages can emerge.
Throughout his writings& %uattari refers to the mass media with contempt&
8ualifying them as a stupefying machinery that is closely wedded to the forces
of global capitalism& and that is co!responsible for much of the reactionary
hyper!individualism& the desperation and the "state of emergency" that
currently dominates "four!fifth of humanity" "%uattari 3449& p. 4:). %uattari
makes a passionate plea for a new social ecology and formulates& as one step
towards this goal& the necessity& "to guide these capitalist societies of the age
of mass media into a post!mass medial age; by this 2 mean that the mass
media have to be reappropriated by a multiplicity of subject!groups who are
able to administer them on a path of singularisation" "344<& p. =<). To induce
this "shift away from oppressive mass!mediatic modernity toward some kind of
more liberating post!media age in which subjective assemblages of self!
reference might come into their own" "3464& p.46)& %uattari explicitly
mentions the "technological development of mass media& especially their
miniaturisation& the lowering of their costs& and the possibility of using them
for non!capitalistic ends" "344<& p. =9). The "age of planetary computeri>ation"
"3464& p.35?) is an era of "a monstrous reinforcement of earlier systems of
alienation& an oppressive mass!media culture and an infantalising politics of
consensus" "ibid.)& but more than the previous historical phases& this age also
holds the potential of radical change for the better. "All of this& 2 repeat&
provided that society changes& provided that new social& political& aesthetic and
analytical practices allow us to escape from the shackles of empty speech
which crush us& from the erosion of meaning which is occurring everywhere
"...)." "3449& p. 4:)
A decade later& around 3446& and already under the impact of 2nternet! and
digital media!based communication and distribution media& this motif was
developed further by the British cultural theorist 'oward (later who described
"post!media operators" as the media practitioners and activists who work in
the dispersed field of independent music& print& image and online production.
/ike %uattari& (later defined post!media practices or post!media operations in
opposition to the mass media. 2n his attempt to describe specific practices&
rather than pointing to a general media!ecological situation& (later claims that
post!media practices are characterised by small& diverse& distributed networks
of operators who make use of the then new& digital means of production and
distribution. -ost!media practice grows out of the networked activities of
passionate individuals and groups working in local and translocal contexts and
using such media as maga>ines& record labels& websites& club events& mailing
lists& etc. 0ifferences in these networks are not eliminated but relished. -ost!
media practice is characterised& according to (later& by a critical attitude
towards the media in use& acting in lateral rather than vertical configurations&
and an acceptance of the processuality and continuous transformation of
context and practice.
%uattari7s understanding of a post!media age as an historical context for
political media activism and for the concept of "tactical media" has recently
been re!appraised by @lemens Apprich. 'e refers to the history and theory of
media activism as it was pinpointed by the positions of 'ans Magnus
An>ensberger and Bean Baudrillard around 34:5& harking back to Bertolt
Brecht7s "*adio!Theory" of 34?C. .e might add .alter Benjamin7s
considerations about new forms of authorship and of participation in his 34?<
essay& "The Author as -roducer"& to this genealogy of post!media practices.
Apprich suggests that in the post!media times of the early C3st century& when
electronic and digital media increasingly permeate all walks of life& the
practices that were understood as distinctly "activist" or "tactical media" in the
3445s& have become part of "everyday "post!media) life". 2n media theory&
writes Apprich& the "transformation of classical media structures towards new
collective assemblages of enunciation "...) was accompanied by a dialectical
movement first in the 3465s& postmodern media theory jettisoned +arl MarxDs
criti8ue of ideology and abandoned all hope of an emancipatory use of media
technologies& and& subse8uently& the tactical media movement of the 3445s
rejected this 8uietist standpoint of "academic) media theory in order to re!
invent new forms of media activism. This Edouble disengagementD ultimately
opened up new fields of counter!hegemonic agency& thus enabling a variety of
media practices that are still valid in a post!media era."
#. Post!"edium $ondition o% Art
At the end of the 3445s& F(!American art critic *osalind +rauss used the
notion of the "post!medium condition" to point to a shift in the production of
art that took effect around the 34:5s and that meant the undermining of
"medium specificity" in contemporary art. The artist through whom +rauss first
analysed the post!medium condition in 3444 was Marcel Broodthaers& to whose
work "Goyage on the ,orth (ea" she devoted a notable essay. 2n a more
recent volume from C533& called "Fnder Blue @up"& +rauss picks up the theme
again and develops her criti8ue of post!medial art practices at greater length&
critically contrasting post!medium practices with the work of several artists H
like .illiam +entridge& Bames @oleman& Ad *uscha& @hristian Marclay& (ophie
@alle& or 'arun #arocki H all of whom +rauss ennobles as& literally& "knights of
the medium".
+rauss develops her argument with reference to the art critic @lement
%reenberg who had infamously insisted on "medium specificity" as the
hallmark of modern painting. "#or %reenberg& the nature of a medium was
established by brute positivism painting is flat; sculpture is three!dimensional
and freestanding like an object; drawing is the cursive tracing of edges and
boundaries as opposed to painting7s access to color and penumbra.
%reenberg7s specificity is empirically tied to a physical substance." "+rauss
C533& p. :) *osalind +rauss seeks to establish a criti8ue of artistic practice that
uses a more complex notion of "medium" on the one hand& and that on the
other hand holds on to a conception of specificity which she contrasts with the
notion of a "post!medium condition". 2n order to gain such a more complex
understanding of the mediality of art& she introduces alternative concepts like
"technical support"& "automatism" "(tanley @avell)& or expressions like
"figuring forth". The post!medium condition& "characteri>ed by the term
installation art& is engaged in the constant rehearsal of 0uchamp7s inaugural
gesture H the entry of ordinary components into the context of some form of
aesthetic institution& whether museum& gallery& or art fair H in order to ask&
once again& the general 8uestion H ".hat makes this artI" H rather than the
specific one of the medium." "C533& p. ?C) 2nstead& +rauss focuses on
artworks and settings of their presentation that support the possibility of
"perceptual judgement" "The white cube is the base we touch with our eyes&
the way the edge of the pool is the surface against which we kick in order to
propel ourselves back through the water." "C533& p. 6=) 'er heroes are the
"knights of the medium" whose works she analyses& teasing out the ways in
which they re!invent what art can achieve through a particular medium "The
inventors of technical supports as a new form of recursivity are challenging the
post!medium insistence about the end of the space specific to art7s autonomy&
what conceptual art dismissed as the white cube; instead they rely on the
resistance of its walls to penetration& the way the sides of a pool provide the
swimmer with a kicking post against which to propel himself in a new
direction." "C533& p. C9)
+rauss critically comments on the discursive shift from "medium" to "media" at
the hands of C5th!century media theoreticians who she calls "@assandras of
the medium" "Fnder Blue @up has relied on the historical importance of the
aesthetic medium as the specific support for a given practice H artisanal&
academic& industrial. .ith the advent of modernism& this insistence on specific
mediums H as the recursive source of the object7s meaning H became absolute.
Absolute then became obsolete at the hands of the media7s most famous
theoreticians& Marshall Mc/uhan and #riedrich +ittler; for the former& media are
modern communication vehicles& while they are technical storage& translation&
and transmission systems for the latter." "C533& p. ?9)
+rauss7 analysis of the post!medium condition of contemporary art was
affirmatively 8uoted and shared by the #rench critic and "*elational Art"
curator ,icolas Bourriaud. Bourriaud& however& draws radically different
conclusions from this analysis while +rauss insists on the artistic inferiority of
works that do not display and reflect their own medium specificity& Bourriaud is
convinced that the "post!media condition" is part of a liberating transformation
of the arts& away from the modernist corset towards what he calls "alter!
modernity"& a modernity not in the hegemonic .estern tradition& but one that
mixes its themes and theatres as much as it mixes its styles& materials& and
media. Bourriaud suggests that the "post!media condition" should be whole!
heartedly embraced& instead of H like +rauss H holding on to an obsolete and&
as he suggests& +itsch understanding of medium specificity. Bourriaud reverses
the %reenbergian thesis and asks ".hat if the contemporary form of +itsch
was nothing but the enclosure of artistic theses in the golden frame of
traditionI And what if true art was defined by its very ability to escape the
determinacies of the respective mediumI Jr put differently& it is today not
necessary to fight& like %reenberg& for the preservation of an avantgarde that
circles around the specificity of its means& but for the indeterminacy of the
source code of art& for its dissemination& so that it can prove to be
unassignable H in contrast to the hyper!formating which paradoxically
characterises +itsch." "C554& p. 395)
&. Digita' as Post!"edia
2n a discourse that presents itself as unrelated to either %uattari7s or to
+rauss7& artist& curator and theorist -eter .eibel proposed in C559 a
conception of the "post!media condition" that is less aesthetic than
technological and social. 'e describes an historical lineage in which the applied
and media arts have inherited a subaltern status from the %reek techn$ and
the *oman artes mechanicae. .hile the techni8ues of calculation& automation
and the machinic were& until recently& derided just as manual labour and crafts
were in the past& the success of digital technologies has brought about a
revaluation of these techni8ues also in the arts& analoguous to the liberation of
people from the lower orders of society through the social revolutions of the
34th and C5th centuries.
.eibel describes the historical process which led to this revaluation and in
which 0iderot7s Ancyclop$die and later the new "culture of materials" triggered
by -icasso& Tatlin& Aisenstein and others& played a crucial role. 2mportantly&
.eibel claims that the traditional media of the fine arts only became
recognisable as media under the influence of the technical media ".e have to
distinguish between old technological media "photography and film) and new
technological media "video and computers) on the one hand and the arts of
painting and sculpture on the other. Fntil now& the latter were not considered
to be media at all. Fnder the influence of the media& however& they came to be
regarded as such& i.e. as non!technological old media. .ith the experiences of
the new media we can afford to take a new look at the old media. .ith the
practices of the new technological media we can also embark on a fresh
evaluation of the practices of the old non!technological media. 2n fact we might
even go so far as to say that the intrinsic success of the new media resides
less in the fact that they have developed new forms and possibilities of art& but
that they have enabled us to establish new approaches to the old media of art
and above all have kept the latter alive by forcing them to undergo a process
of radical transformation."
.ithout mentioning %reenberg& .eibel goes on to describe the process
through which painting conse8uently receives attention as a medium with
particular aspects and characteristics which result from its material and
technical specificities "like the technical dispositif of canvas and frame)& or
from competing conventions of representation in the technical media& like
photographic realism. More recently& the digital computer is further
transforming the conditions of making images or sculptures ",owadays all of
art practice keeps to the script of the media and the rules of the media. This
notion of the media comprises not only the old and new technical media& from
photography to computers& but also the old analogue media such as painting
and sculpture which have been transformed and influenced under the pressure
of the technical media. This explains why we can rightly say that all of art
practice keeps to the script of the media."
The post!media condition& according to .eibel& not only brings about a
transformation of the meaning of individual media& but it also leads to new
combinations and mixtures of artistic media "The secret code behind all these
forms of art is the binary code of the computer and the secret aesthetics
consist of algorithmic rules and programs. "...) The computer& as it were& can
simulate not only all forms and laws of the universe& not only the natural laws;
it can also simulate the laws of form& and the forms and laws of the world of
art. @reativity itself is a transfer program& an algorithm. #rom literature to
architecture& from art to music we are beginning to see more and more
computer!aided transfer programs and instructions& control mechanisms and
guidelines for actions. The impact of the media is universal and for that reason
all art is already post!media art. Moreover& the universal machine& the
computer& claims to be able to simulate all of the media. Therefore all art is
post!media art."
The idea of a retrospective transformation of the understanding of "old" media
through the experience of "new media"& was also put forward by /ev Manovich
in a rather tentative text of C553 that proposes the notion of "post!media
aesthetics&" i.e. the application of concepts derived from digital media "data
organisation& storage& software& interactivity& information behaviour) to the
history of art. More radically than .eibel& Manovich claims the possibility to
review historical art practices through the lense of digital technologies& though
the focus of his argument lies on the suggestion to develop a set of aesthetic
criteria that are suited to the structures and affordances of digital media.
This technological understanding of the media also motivates the more
moderate position taken by (iegfried Kielinski who sees "art after the media"
as something that is still in the making& as "an art of experimentation which
needs the media neither as legitimation nor as special sensations& but which
neither blocks its eyes& ears and cognitive tools from them." "C533& p. 3C<) 2n
his book entitled "After the Media"& Kielinski presents something of an
intellectual biography in which contemporary art seems to have played only a
secondary role. 'is comments on "after the media"!artists like Armin /inke
and& as the only more extensively discussed example& the @hapman Brothers
"p. 396!3=<)& are rather cursory and do not match Kielinski7s variantological
contributions to an understanding of the "media before the media".
An argument that combines .eibel7s argument about the struggle for social
recognition of media art with Manovich7s claim for new aesthetic parameters
deriving from digital technologies& has been put forward by 2talian critic and
curator 0omenico 1uaranta who was also the first to juxtapose the
"postmedia" notions of +rauss& %uattari and .eibelLManovich. 1uaranta7s main
focus though lies on the relationship between the ",ew Media Art world" and
the "@ontemporary Art world"& and on reasons for the lack of recognition of the
former by the latter. This theme has also been analysed by Adward (hanken
who more explicitly looks at the historical development of what he regards as a
split between "Mainstream @ontemporary Art" and ",ew Media Art". 1uaranta
raises important 8uestions about the necessity to open up the discourse about
artistic media towards practices that engage "the media". 'owever& it is
8uestionable whether the emerging media ecology under the "post!media
condition" H whichever version you go by H is well described with the 3445s
concept of "the information society". 1uaranta writes "our postmedia world
"...) in which it no longer makes sense to distinguish "...) between art which
uses computers and art which doesnDt; a world in which on the other hand it
increasingly makes sense to distinguish between art that acknowledges the
advent of the information society and art that retreats to positions typical of
the industrial era we are moving out of. 2t is according to this distinction that
in a few decadesD time we will be able to identify the academia and avant!
garde of the present day." "C53?& p. C3C) Aven .eibel cautions against an
overestimation of the impact of media art in the art world ".e could therefore
be tempted to ask whether the effects of the new media on the old media have
actually been more successful than the works of the new media themselves."
(. Inter%erences
The previous sections have offered no more than superficial scans of complex
and diversified discourses which would each deserve further attention. 2n the
comparative effort of this text& 2 would like to point to at least a small number
of instances where interferences between the three discourses can be
observed& instances which hint at articulations& connections and divisions
between them& and which would each re8uire a much more elaborate
discussion than 2 can provide at this stage.
+rauss vs. media theory *osalind +rauss epigrammatically identifies "three
things" which occurred around 34:5 and which jeopardised the "specific
medium" "postminimalism and its rejection of the minimalist literal object
"...); conceptual art and its declaration that the object was now supplanted by
the dictionary definition of art as such "...); and 0uchamp7s eclipse of -icasso
as the most important artist of the century." "C533& p. C5) (he fre8uently
returns to these pivotal three things and adds two more in the course of her
argument the rise of poststructuralism and deconstruction as a fourth "p. C<)&
and "media" as a fifth "p. ?:). Anigmatically& +rauss had suggested that her
book& "Fnder Blue @up&" might itself be such a fifth thing "p. C9)& but this
denotation is then left to the impact of the "@assandras of the medium"&
Mc/uhan and +ittler "cf above). The discourse on the "post!medium condition"
of contemporary art is thus& according to +rauss& tangentially implicated by the
media theoretical discourse that fuelled .eibel et alii7s conception of the
"digital as post!media".
-ost!media as hybridity Buxtaposing .eibel7s "post!media condition" and
*osalind +rauss7 "post!medium condition" elucidates how .eibel looks at the
technological development and focuses on the technical aspect of artistic
practice which& under the condition of the digital "post!medium"& takes place in
a medial continuum. 'e writes "@onse8uently& this state of current art
practice is best referred to as the post!media condition& because no single
medium is dominant any longer; instead& all of the different media influence
and determine each other. The set of all media forms a universal self!
contained medium. This is the post!media condition of the world of the media
in the practice of the arts today." +rauss& in contrast& looks at individual
artists& their practice and at the way in which they deploy "technical supports"
and invent aesthetic concepts& shoring art up against the indistinct post!medial
flood that .eibel embraces. +rauss and .eibel have different conceptions of
mediality and of materiality& which also means that not only their respective
appraisal& but also their very understanding of what constitutes "hybridity" is
different& a concept which has yet another inflection in the writings of ,icolas
Bourriaud.
*ecruiting Bourriaud ,icolas Bourriaud7s metaphoric references to network
and computer culture as inspirations for his own curatorial work& are 8uoted by
0omenico 1uaranta in an attempt to recruit Bourriaud and his anti!+raussian
position into his own argument about postmediality. .e should be wary though
that Bourriaud would have rejected the technologically determinist
understanding of post!mediality that 1uaranta adopts from .eibel and
especially Manovich. Bourriaud has been avoiding the notion of "medium"
altogether and instead developed the non!technically determined notion of the
"radicant" H a tactical rhetorical move not dissimilar to +rauss7 adoption of
terms like the "technical support" and "automatism".
+rauss& .eibel& and the medieval guilds *osalind +rauss seeks to extract her
own conception of the "medium" both from the %reenbergian modernist
understanding of the self!referential art object& and from Media Theory7s empty
vessel. 2nstead& she suggests& as a model for her medium& the understanding
that the medieval guilds had of the affordances of their materials and objects&
and the rules that applied to their production. "C533& p. ?!:) This image of a
collectively held conception of the medium resonates with .eibel7s appraisal of
craftsmanship and the tradition of techn$ and artes mechanicae which&
according to .eibel& are rehabilitated by the emergence of the technical media
in the arts. 'owever& what mainly attracts +rauss to the guilds is the dialectics
of material& processual and symbolic difference which gets executed in the
process of art making& whereas .eibel is fascinated by the historical
breakdown of social hierarchies in the process of technological progress.
(later& %uattari and conceptual art .hereas #$lix %uattari speaks about
contemporary art only superficially& 'oward (later has occasionally written
about contemporary music and art& especially conceptual art& in order to
develop a discourse that takes the %uattarian ecosophical thinking as a
framework for thinking through artistic practices. 2n this vein& he has sought to
rescue a particular political strand of conceptual art which (later "C555) has
contextualised with the debate about post!media& without& however& making
reference to the prominent position of *osalind +rauss.
(ubjectivities The three discourses on postmedia speak of significantly
different notions of subjectivity. #or %uattari and (later& post!media practices
and the age of post!media are associated with subjectivities of groups& of ever!
unfolding differences& of heterogenesis and collective assemblages& signified by
the hori>ontal distributions and connections of networks. +rauss focuses on
practices of the autonomous individual& whether this individual is acting as a
self!conscious artisan among artisans& or as an artist inventing and deploying a
medium. Bourriaud conceptualises the notion of the "radicant" in opposition to
both the "radical"& rooted in the notion of the modern individual& and against
the "%uattarian) "rhi>omatic" notion of a heterogenic& distributed subjectivity
instead& the "radicant" is a trajectorial subjectivity& it is singular& yet without
local roots and under constant negotiation. "And& like +rauss7 knights& the
radicant is probably able to perform as an actor in the art market...) #inally&
.eibel7s conception of the subject is probably best described as social!
democratic "The ultimate effect of all this is to emancipate the observer&
visitor and user. 2n the post!media condition we experience the e8uality of the
lay public& of the amateur& the philistine& the slave and the subject. The very
terms Euser innovationD or Econsumer generated contentD bear witness to the
birth of a new kind of democratic art in which everyone can participate."
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+ote
This paper is a work in progress. (ome of its ideas were first presented in a
seminar at /euphana Fniversity of /Mneburg in the spring of C53C and at the
"Fnneeded @onversations" symposium at the #aculdade de Belas Artes da
Fniversidade do -orto "#BAF-)& in May C53C. The text will be included in
Fnneeded Texts& Gol.C& -orto& iCA0(& C53< "forthcoming)
2 am grateful to the students who contributed to the discussions in /Mneburg&
especially to Anne +omischke for her suggestion to knight ,am Bune -aik& to
Miguel /eal for the kind invitation to -orto& and to Wvonne .ilhelm& 0omenico
1uaranta and @lemens Apprich for their comments on earlier versions of this
text.
BerlinL/Mneburg& : Buly C53?