Tag Archives: unprofessional

Societies of Out of Control

Ryan Trecartin likes to play with language and a bit of wordplay that recurs in his work—sometimes in the words of the scripts, but more frequently in the way characters and scenarios are constructed—is a confusion of the corporate and the corporeal. It’s like a folk etymology or a pun in the way Trecartin exploits a superficial resemblance of two words to generate idiosyncratic connections between them. But there’s a real etymological connection at the words’ root, and Trecartin’s play animates the forgotten bond between the corporeal reality of a person and the social body of a corporation.

Vocabulary review: Corporeal means “of a body.” Corporate means “united in one body.” To incorporate is to “to put (something) into the body or substance of (something else).”

“Corporations are people.” The corporation is the instrument by which a group of people act together as one in order to to make money, to make things happen, to create changes and disturbances in the world and in the social world. How does the corporation do it? How does the corporation unite so many bodies in its one to achieve its ends? It does it with corporate culture, with human resource management, with guidelines of professionalism—all techniques for controlling behaviors and actions and bodies. Corporations are people but their bodies are huge and grotesque—its avatars have stunted bodies, their impulses and affects are subjugated to the fluid discourses of a brand identity, they speak the stilted business tongue of PowerPoint slides and memos. We live in the time of corporate personhood—when corporate bodies and perlocutionary corporate speech make the models of how a person should be.

Look at K-Corea INC.K (section a)—the title of Trecartin’s video is a corporate name, taken on as a collective name by a bevy of career girls. (What does K-Corea INC.K produce? Nothing, other than its own collective subjectivity.) Korea is a geographic entity; it is a place name—a word that transforms a mass of land into a concept, making the substance of Earth legible in discourse and politics—and it is a near homophone of career. Korea, career. A career is a social concept, a technique by which a person identifies as an avatar of his profession and obscures his individual body to merge with a corporate one.

All the Koreas—Argentian Korea, Iran@-itzerland Korea, French adaptation Korea, Post-Canadian Retriever Korea, Another Greek Korea, Mexico Korea—are dressed identically. They must have gone shopping together for ladies’ business casual at Kmart or T.J.Maxx: white blouses, dark skirts, blond wigs. The clothes and the white pancake makeup makes them identical, in a way, but the forced identity just makes the differences of the individual bodies pop out: this Korea has a moustache, that Korea has real female breasts; this Korea has big biceps, that Korea is paunchy. Traits of individual bodies betray the unity of the incorporated one. But they try their best not to let them! The Koreas are mostly silent, or their speech is an inaudible whispered conversation between co-Koreas. Global Korea is the boss; she’s played the charismatic Telfar Clemens, and she speaks for them all. “We had a meeting,” Global Korea says. “So Lets Have A Meeting!” And the avatars of K-Corea INC.K assembles around a picnic table, outdoors, at night. Having meetings is a habit of the corporation’s inner life, and the word “meeting” has accumulated an array of associations: the conference room, the conference table, the hierarchies of who sits where at this table, a water cooler, an agenda, items, goals, objectives, directives… (Etymology facts: The Old English metan meant to encounter or to find; the “meeting” became an assembly in the sixteenth century.) The way K-Corea INC.K has meetings evokes the contemporary corporate usage while returning the word to its most basic bodily meaning: the simultaneous presence of two or bodies in spatial and temporal proximity to each other. What’s more, at K-Corea INC.K the meeting never ends. This corporation is nothing but a meeting: “We had a meeting. So Lets Have A Meeting!” In the script, when it doesn’t matter which of the Koreas speak, or when many of the Koreas are to speak at the same time, the speaker of the line is given as “Meeting.”

Besides Global the company has a few other very important avatars, including Trecartin as USA Korea, who interviews a wannabe career-girl named Jessica. She’s dressed like the rest but she doesn’t have a Korea name. She’s an intern, an outsider on the inside. She’s a slut: interns are promiscuous, commingling with the corporate body for a limited time, unpaid. “Contemporary Slut!” Mexico Korea (Raul Nieves) rages at Jessica/Cindy. “Every Body’s’ Got the Agenda!” Note the split of “Every Body’s” and think about how a collective is named by indicating its constitution in all of its individuated bodies. And this is important to the business of K-Corea INC.K, which produces a group body that is mobile and communicative and regularly grooms itself by designating its avatars and its Others as hires and fires. This meeting of drag queens and their gofers incorporates—incarnates—corporate corporeality.

And what does “corporate corporeality” mean?? Incorporation is the realization of a dream of a body that can be bigger, more powerful, more durable than a human body—better than the gross animal vessel our spirits carry around. But with the new spirit of capitalism the corporation aspires to be flexible, mutable, and fluid, unlike the old kind of company, the generations-old family business, with its rigid mimicry of aristocracy and sturdily pious Protestant values, its emulation of king’s immortal body. In a time when corporations are people, the incorporated body is more like a real one—or at least the model it sets for how a person should be is gross. The corporate body (or its avatar) lives in a state of precarity, much like the real body is vulnerable to disease and mortality; it leaks, strains, and bulges. It screams at the world and it can’t make sense of itself. It is like K-Corea INC.K.

Look at another Ryan Trecartin video, Roamie View (History Enhancement), from the Re’Search Wait’S cycle. In this one, stock video is a stunt double for the idealized corporate body and it is cut with shots of the weird real thing. Glistening skylines and pristine office corridors of stock footage give way to the plain bodies and grotesquely made-up faces in Trecartin’s own footage. Pseudo-corporate business calls between Trecartin’s players are interposed with stock views of suited corporate employees in a brightly lit office corridor; the speech in the handheld devices gets implicitly compared to the bodies in the office, and both sets of footage are juxtaposed to a tracking shot of a big city’s waterfront, apparently shot from a boat: as the camera moves it shows the glass pavilions and twinkling lights around a port, the node of an international trade network. One thing that all of these pieces of footage share is the color blue. Blue is a soothing decorative element in the stock corporate corridor. Blue illuminates the buildings by the waterfront at night, and blue is the color of the water in front of them. Blue is in the streaky make-up and the cheap fabric of the attire on Trecartin’s players—like the white T-shirt emblazoned with a gridded blue globe that brands the body of the player who wears it with global aspirations. Blue represents water, a substance that enables vessels to be transported from one place to another, a substance that takes the shape of the vessels that it is in. Blue represents the values of fluidity and adaptability; it’s in the branding of Chase and Citibank and it’s the new spirit of capitalism.

So much mobility! And yet—have you ever noticed this?—bodies never move very much in Ryan Trecartin’s videos. (The Re’Search begins with a dance number by the pool—moving bodies, still water—but this is an exceptional scene, not a normal one.) Bodies are meat that sits around—but it sits around expressively! The physical movement in these videos is about gestures and facial expressions: grimaces, turning heads, cocking heads to the side, fidgeting in swivel chairs, waving arms, moving mouths to make words. If people are going somewhere, they’re sitting in cars—and sometimes they’re sitting in airplane seats that have been removed from an airplane, pretending to go somewhere but actually going nowhere, talking into their phones and at the camera lens the whole time. The absence of bodily mobility even applies to the stock footage that Trecartin uses in Roamie View. In one sequence, a man stands with a stoic look on his face; he doesn’t move as his colleagues’ bodies (which are depersonalized as a metonym of the bustle of office life) flow around him. In another sequence, the stock models are all frozen in place as the camera twists around them, exploring the corridor. Bodies don’t move much in Trecartin’s videos yet the videos are characterized by a feeling of constant movement. What makes the movement is editing. Movement is reserved for speech and for technology; bodies move thanks to these things, or as them.

“Neoliberal subjectivity,” the way that bodies behave (are handled) because of (by) the late spirit of capitalism is about subdividing the individual into nameable affinities (Facebook likes, dating profile stats) or competencies (the school assessment report, the HR office review), in order to incorporate bodies as other, more usable substances. Networked social being and bureaucratic procedure reify personal attributes and redefine subjecthood as situational and mobile—but the mobility is a characteristic of the attributes and the tools and technologies that move them, rather than of the bodies they came from.

Bodies become objects of operations. Trecartin, as J. J. Check in Roamie View: History Enhancement, says: “I thought it would be neat and cute if someone took out all the times they say ‘people’ or ‘humanity’ [in the U.S. Constitution] and replaced it with ‘situations.’” Meetings are situations (bodies meet because they are situated in the same area). Situations are states of people. Veronica Gelbaum, as North America Korea in K-Corea INC.K (section a), says: “The New Look for This Company, IS re-Thinking the Word |Humanity| as an Object with a (Goal).”

All of these innovations and disruptions, these subdivisions and operations, are related to everyday techniques of control, but their representation in Trecartin’s videos suggests obsessive-compulsive disorders or cases of borderline schizophrenia. When manifested in the corporate body they are normal and acceptable. But when they return to the individual body they appear as psychic maladies. Recall Melanie Klein’s observation that conditions like schizophrenia, narcissism, and so on are considered psychotic when they manifest in adults but the same conditions are normal stages of infant development. Thus the conditions that are normal to the corporate body appear as psychotic when embodied in Trecartin’s individual players. Trecartin often casts children and teens in his videos, as living reminders of how the body grows and changes—as as implicit suggestions of how the body might grow further, in incorporated bodies, and how all of these kinds of bodies have conditions that inhere in them, and look weird when transported to others, when people behave in a way that might not be suited to their bodies, in order to be part of a bigger one.

Does incorporation MAKE people the way they are? Or is incorporation a manifestation of how people ARE already—of their pull toward the whole? This is one of the antinomies that Trecartin presents, and of course there is no way to resolve it.

People like to say that Trecartin’s work is about contemporary networked technologies. OK fine. But only insofar as these technologies are integrated in the array of social techniques and habits characteristic of human life at this point in time. THIS IS ART ABOUT THE HUMAN CONDITION!! Trecartin’s players hold Blackberries—but they’re just as likely to be hold a sledgehammer, or a flute. Any object implies a use but it doesn’t have to be used in that way.

Any system has an organizing principle, and any organizing principle can be broken. It creates a system of control—and at the same it creates ways of how that control can be defied. (When J.J. Check reads the Constitution he gets talking about how the law can be adapted to suit situations.)

Trecartin’s world is a carnival and it shows everything as it could otherwise be. If a tool can be used to make something it can be used to break something. If a technique is applied to achieve an end it can be applied wrongly, to fail. If telecom technologies enable communication they can also be used to disrupt it. Every ideology opens itself to misinterpretation, abuse, and defiance by any individual. Where there are societies of control there are societies of out of control. Ryan Trecartin knows this and feels this; he likes to play with language and so he knows how any word that means one thing can be misheard, misread, misused, made to mean something else.

Tools, techniques, technologies, ideologies are like language. And in language where there’s a right syntax there’s a wrong syntax; grammar begets mistakes. (Look at how Trecartin tweets: “I publicly believe that cardio clot & your god ends with you.  Let’s go on a hike mudda cutta ,” he tweeted in September 2012.) Moreover: language is the medium of incorporation (and other types of transformation). Language provides the techniques by which one substance can be understood as another one. Even if bodies are separate from language and all the things that are like it—and I’m not sure that they are!—language opens up the possibility that they are not. There are languages and there are bodies, and Ryan Trecartin makes videos about how one makes the other, and the other way around.

8==>

I don’t have a LinkedIn page but if I did it would be filled with dick jokes.

When you get a LinkedIn page you get a LinkedIn Body—it’s you, reconstituted as a linear aggregate of achievement. A LinkedIn Body is made of the ways in which you’ve made money. A LinkedIn Body makes you into money—the contacts and connections are the lubricants of your professional mobility, and you, as a LinkedIn Body and a product on a networked market, are easily exchangeable, measurable in value. LinkedIn contacts aren’t people; people on LinkedIn are contacts. The LinkedIn Body doesn’t sweat or piss but it does shoot out bots—via email—to invite more contacts. The LinkedIn Body is a vessel that incubates new connections in the big collective networked body of LinkedIn.

The LinkedIn Body is promiscuous, and its promiscuity is purely professional—professionally pure. The LinkedIn Body is clear and flowing, transparent, flat, eager to link in to networking opportunities, to register presence in the mobile zones of white-collar labor. The LinkedIn Body is shaped like a slender strip of netting—the more connections it has, the longer and stronger it gets. Its health is measured by its number of contacts. Its orifices are hermetically sealed but its fingers branch out, offering a slim handshake in all directions. Its arms flex the clout of its connections. Its mouth is impenetrable; it shows a tight mesh of white teeth that circles the whole head, its gleam pinging back the query—Are we connecting?

I don’t want to have a LinkedIn Body and this is why I don’t have a page on LinkedIn. This is why, if I did have a page, it would be filled with dick jokes—to poke holes in the fabric of the LinkedIn Body, to peek through its undone flies, to be reminders of the real, pissing body beyond bloodless LinkedIn one: 8==> HI !!

The LinkedIn Body’s look persuades follow professionals that it never has funny thoughts about dicks. Or if it does it keeps them hidden, just as—on the streets or in the office—it conceals its dick in khakis. The LinkedIn Body’s dick fucks its wife and doesn’t try anything funny. The LinkedIn dick—encased in pleated khakis—only shares its funny dick thoughts in an AFK location like a men’s room where the only ones who can hear them are a couple other LinkedIn dicks who can be trusted not to perforate the condom of integrity encasing their LinkedIn dick buddy.

What does Mark Zuckerberg, founder of Facebook, have to say about this? “You have one identity,” says Zuckerberg. “The days of you having a different image for your work friends or co-workers and for the other people you know are probably coming to an end pretty quickly… Having two identities for yourself is an example of a lack of integrity.”

What Zuckerberg is saying here is that he thinks we should all have LinkedIn Bodies. No—he thinks the LinkedIn Body should be the only body we have. Co-workers—no, “work friends”—might as well be the only people you know. LinkedIn makes everyone a “contact”; Facebook treats people the same way but makes them “friends.” Friends are friends, kin are friends—you can identify husbands, wives, siblings, cousins on your profile to single a few people out as more than friends but they still count toward your total number of friends. And Facebook connects you to hundreds of friends. Facebook dresses up the strangeness of LinkedIn Bodies in the gooey warmth of friendship. But in spite of that it still shapes bodies as flat, grasping, eager—monstrous.

What does Chris Poole, founder of 4Chan, have to say about this? “Google and Facebook would have you believe that you’re a mirror,” says Poole. “But in fact, we’re more like diamonds.” He means we have a body that’s not a LinkedIn Body—but we have to hide parts of it at times. We’re like diamonds, he says, but Poole’s diamonds oddly reflect light from only one facet at a time: a facet for Facebook, a facet for 4Chan, more facets for other places. “Anonymity is authenticity,” says Poole. “It allows you to share in an unvarnished, unfiltered, raw and real way.”  The truest facet is the hidden one—the dark side of the moon.

4Chan is a community of affinities of what the LinkedIn Body holds in privacy—a water cooler in the dark. 4Chan lives in symbiosis with the LinkedIn Body. It is the private parts of social media, or a glory hole for them. On 4Chan the dicks aren’t in the khakis. They’re out there! It’s the faces that are clad—in Guy Fawkes-type masks.

Both Zuckerberg and Poole are interested in preserving the social status quo through online communities. If one of them is radical it’s Zuckerberg, who wants to eradicate privacy and make public life—professional life—the whole life.

Zuckerberg’s “integrity” and Poole’s raw and real authenticity are spatial conceptions of selfhood derived from the liberal ideal of the subject—an autonomous agent within a bounding line, acting consciously and consistently as the embodiment of principles. Mirrors or diamonds, the pictures of the self that Zuckerberg and Poole like have hard, definite edges—inorganic and discrete.

A LinkedIn identity—Zuckerberg’s integrity—accommodates growth and change but only along a linear path. The change allowed is change in the sense of professional development, or the stepwise movement down the drop-down menu’s options from “single” to “in a relationship” to “engaged” to “married”—it’s better not to muck around in the grab bag below! Facebook’s Timeline tracks life as a chronicle where, when viewed retrospectively, one thing led to another with the inevitability of linear progression. It disposes with the narrative possibilities of biography that can be open to contingencies and the past possibility of other stories, other paths. The Timeline, like the pruned achievements of the LinkedIn page, is a bounding line, delineating people as agents within a nicely rounded public sphere.

But the remarkable thing about social media is its potential to undermine old conceptions of selfhood, by making space for a record of utterances and images of the body that are immediately public and visible, revealing change and the contingency of selfhood is an unvarnished, unfiltered way, as Poole might say. Social media turns the public sphere inside out, collapses and deflates it—the private mingles with the public in the leftover mess. Zuckerburg would clean up that mess by vacuuming the private parts—my dick jokes!—and discarding them; Poole would like to sift the public from the private and glue them to facets of diamonds to keep them apart. But what’s wrong with being real and raw without anonymity? What’s wrong with the real and raw abject dreck of bodies (selves) being with and changing with one another? “You have one identity,” Zuckerberg says, and he’s right—what he’s wrong about is the shape of it; what he misses is its shapelessness.

You only live once. You have one self, one body—and the contact of your self with the world is bound the position of its body in space in time. But singularity shouldn’t be mistaken for stability or solidity. Positions in space and time are always changing, and the self and the body—though one—are always changing with them, always changing with others. Authenticity is bound up in ideals of stability and consistency, but real and raw authenticity is the truth of change, the reality of multiplicity within singularity, the contingency of life.

Life is what happens around LinkedIn but LinkedIn makes it look like the bit of life it records is the one that matters. Facebook adds a film of friendliness to make it feel like LinkedIn living is all there is to life.

Lots of people feel good about their LinkedIn Bodies; lots of people are fine with Facebook.

Lots of people out there hate Life.

***

APPENDIX: Sample CV

1984: Made applesauce in pre-school; teacher said not to put plastic knife in mouth; put plastic knife in mouth to eat a tiny bit of apple; cried, not because cut self but because disobeyed. Skills utilized: Yielding to temptation, crying

1994: Viewed mother’s emaciated corpse. Skills acquired: Skepticism toward medical knowledge, indifference regarding death

1997: Saw therapist weekly; therapist said I only had to talk to him if I wanted to; sat through all sessions in silence; therapist said I didn’t have to keep coming. Skills utilized: Skepticism toward medical knowledge

2000: Did not have sex in twentieth century. Skills acquired: None

2005: Slept with friend’s ex; made people angry. Skills acquired: Rudimentary understanding of emotions associated with romantic relationships

2006: Invited friends over for a small gathering; three guests arrived early and proceeded to have threesome in my bed; tried to get them to stop but could not until other guests rang the buzzer; one of the sex guys ran into bathroom naked and vomited in tub. Skills utilized: None (someone else cleaned the tub for me)

2007: Black eye obtained when beaten by Miami Beach police officer. Skills acquired: Don’t spit at cops even when repeatedly asked: “Do you have AIDS?”

2012-present: Took many selfies. Skills utilized: Social media optimization

Yelp and Criticism

As I see it, there are three things that art criticism can do:

1) Art criticism can measure a work of art against critical and philosophical principles (which can include ideas about art’s progressive historical development) to determine its worth. This is considered the ideal form of criticism, the task it performed at its origins in a hazy heroic past. When this kind of criticism is written today it usually involves determining whether art is politically progressive or reactionary, and often applies critiques that have been around for forty years.

2) Art criticism can give a detailed description of a work’s appearance (or, if it is a performance or a video or something else that changes over time, an account of those changes), elaborate the artist’s intent and references, and suggest the work’s implications for its social and cultural contexts. Now that holding firm, unwavering philosophical and critical principles of aesthetics (or subscribing to a viewpoint of a linear progression of art history) is considered reactionary and elitist, this is the form that art criticism takes in periodicals (newspapers, magazines, semi-professional blogs). This is also the preferred mode of discourse for press releases, museum wall texts, and other printed matter that officially accompanies exhibitions. When the main task of this kind of criticism is to index an artwork, the writing is bland. When its main task is to describe, it is didactic. It is often a mix of both.

3) Art criticism can take the form of narrative. It can be a story about the contingencies that cling to a work when art meets life. This is the critical biography, the monographic study of an artist’s life and work and the effects of the two on each other. In shorter forms this is some of my favorite art writing—the writing of Chris Kraus, John Kelsey, and the people who invented Scene & Herd (Jack Bankowsky, Rhonda Lieberman, David Rimanelli) as feuilletons about art and its social contexts.

Narrative is pretty cool. Narrative sits next to (ahead of?) quantification/rationalization as a basic (the basic?) means of understanding the world. It situates perceptions in space and time and makes it possible to share them. Narrative is so basic that it’s the default mode of discourse for all the non-art, non-professional criticism found on Amazon, Yelp, and other sites that solicit reviews and ratings. People don’t just evaluate the goods and services and give detached, principled reasons for their ratings. They tell stories—to no one in particular—about their experiences of consumption. They tell stories that incorporate all the contingencies and particularities of an individual life, numbed by the anonymity of the generalized design.

What does Yelp do to art? It is a medium for translating the experience of seeing art into the internet vernacular of consumption narratives. Why Yelp art? The art world has expanded rapidly in the last decade. So many artists! So many galleries! So many non-profits, vanity museums, museum expansions—so many visitors! What is the art critic to do? He has three choices. Art Criticism #1 provides a reusable template. Just figure out your standards, measure any work against them, and BOOM!—you got a review! But this easily descends into hackwork and bloviation, especially in these times, when the rigid position of Art Critic #1 is undermined by the plurality of voices and viewpoints in the inclusive art world. Art Criticism #3 still works but to be really good it requires sustained close attention to a very small number of artists. So you get accused of only writing about your friends, and you can’t write about them often enough to get published regularly. Art Criticism #2 is the reasonable response. It is also the boring response. Art Criticism #2 is so boring that few people read it seriously, let alone remember it. It becomes decorative—filler for CVs, reasons for selling ads, the textual support for reproductions.

I’m interested in what it means to be an unprofessional art critic. Not an amateur but someone who would be a professional if he didn’t reject the codes and standards of professionalism. So what does it mean?? Some ideas: Writing about a lot of art, in all its variety, like a newspaper critic. BUT. Writing about art quickly and badly, like a hack. Writing about art honestly, like a baby. Writing for no money, like a poet. Writing for no one (and everyone), like a regular user. Yelp is a format that welcomes and encourages all of these kinds of writing. It also offers a way of writing about the explosive growth of the art world that doesn’t take it for granted. It offers a way to address it obliquely—by wearing the skin of a consumer navigating a market of great plenty, with the wonder of a browser who can’t buy any of it. That’s an easy skin for me to wear because that’s how I already live.