## Charlie Gere (2016). *The Hauntology of the Digital Image*. : John Wiley & Sons Inc. > [!INFO] > Type:: [[article]] > Title:: The Hauntology of the Digital Image > Author(s): [[Charlie Gere]] > Year:: 2016 > Tags:: > DOI:: > Citekey:: gere_hauntology_2016 > ZoteroURI:: [Open in Zotero: The Hauntology of the Digital Image](zotero://select/items/@gere_hauntology_2016) > ReviewedDate:: [[2020-03-27]] ## Citation ```latex [@gere_hauntology_2016] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@gere_hauntology_2016]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation ### Bell Labs, Ken Knowlton and Leon Harmon’s *Studies in Perception* #### 203 - Digital image as a form of writing. - 처음으로 데리다에 의해서 articulated 되었고 아방가르드 아티스트들과 James Joyce에 의해서 examined 되었다. - The work at Bell Labs also parallels and connects with contemporary developments in avant‐garde art and literature, which in turn resonate with poststructuralism. #### 203-4 - 디지털 I’magery가 부슨건 이미지가 sense of immediacy를 제공한다는 (혹은 커뮤니케이트를 다이렉트로 한다는, also do need an intervening or mediating agency in order to do so 한다는 것이었다.) 이 센스는 이미지는 다이렉트한 visual encounter 에 의해 제작되어진다는 믿음에 의해서 reinforced 되었다. - 디지털 사진과 아날로그 사진은 둘다 빛을 이용하지만 involve the fall of light onto a surface. (Chemical for the former and electronic for the latter) **there is still a profound ontological difference between the two.** - 찰리 기어(글쓴이)는 디지털 이미지의 가장 큰 차이로 circulation 을 지적한다. - 픽셀 (discrete picture elements) - 더 자세히 살펴보기 위해서 가장 처음 디지털 이미지 ➡︎ Leon Harmon and Kenneth Knowlton’s *Studies in Perception* mid-1960s ➡︎ composed of “glyphs” - ![[P2014_002_o2 2.jpg]] - ![[page5image12928640.png]] - 찰리 기어는 앙드레 바쟁의 “The [[Ontology]] of the Photographic Image” (Bazin 1960) 를 암시하는 타이틀을 붙였으나 [[Ontology]] 가 아닌 hauntology를 통한 해석을 시도한다. - **Hauntology** 는 처음 데리다의 *Specters of Marx*(1993) 에서 쓰였다. 프랑스어에서 Hauntology는 Ontology과 정확히 발음이 같게 발음된다. - “neither living nor dead, present nor absent: it spectralizes” (Derrida 1993, 51) - He sees the hauntological at play in the “medium of the media themselves (news, the press, tele‐communications, techno‐tele‐discursivity, techno‐tele‐iconicity …)” (Derrida 1993, 51) - For Derrida hauntology is another of the many terms he has employed, including “trace,” “pharmakon,” “differance,” and “logocentrism.” - **…always a trace of something either potentially or actually absent, all representations are hauntological.** ### What is Hauntology—Death, disavow death or mummification—technicity #### 205 - As its name suggests, hauntology indicates the degree to which representation is bound up with death. - 바쟁과 롤랑 바르트가 사진에 관한 분석에서 내놓았듯이, “practice of embalming the dead” might be a “fundamental factor” in the creation of the plastic arts. - “at the origin of painting and sculpture there lies a **mummy complex**,” a need to preserve the living body against death and the flux of temporality. Over time this need attenuates from a magical attempt to preserve the body itself to that of preserving its image in the form of a painting or a sculpture (Bazin 1960, 4). //:==결국 이벤트(사람의 존재 이벤트를 including) monument로 만들고자 하는 움직임, 이에 더해서 아카이빙은 처음부터 monument 였지 않은가?== - Hauntology is closely related to another important idea emerging out of Derrida’s thought, that of “originary technicity.” - As [[Bernard Stiegler|Stiegler]] puts it, the technical invents the human as much as the human invents the technical (Stiegler 1998, 141) - As such, technicity is hauntology, in that technical artifacts haunt their users with the **possibility** and **actuality of absence**, of both their creators and of other users. This is also true of language itself, which is always inherited. ➡︎ most hauntological or haunted genres of representative image making is the erotic or pornographic, inasmuch… it bring to presence what is absent, the desire body of an other. - ==에로 이미지 레퍼런스== ➡︎ Edwards, Benj, ‘The Never-Before-Told Story of the World’s First Computer Art (It’s a Sexy Dame)’, The Atlantic, 24 January 2013 <https://www.theatlantic.com/technology/archive/2013/01/the-never-before-told-story-of-the-worlds-first-computer-art-its-a-sexy-dame/267439/> [accessed 28 March 2020] - ![[us__en_us__ibm100__sage__sage_radar_screen__480x360.jpg]] - ![[440px-SAGE_console.jpg]] - **SAGE** (The Semi-Automatic Ground Environment) late 1950 to early 60s ### Harmon and Knowlton’s “modern art mural” #### 206 - Knowlton의 “glyphs” 작업 ➡︎ op artist Victor Vasarely ➡︎ 의 영향을 받은 1960 Groupe de Recherche d’Art Visuel (GRAV) ➡︎ *Applied Grammatology*, Gregory Ulmer 의 책은 op art와 데리다의 op writing을 직접적으로 연결한다. - 데리다의 **op writing** 에 대한 Ulmer의 해석 = “grammatical equivalent of the geometrical experiments of the constructivists working at the limits of optical perception” (Ulmer 1985, 40). #### 208 - The first image, that of the nude, made by Knowlton and Harmon was, according to Knowlton’s account, originally made as a prank, in which Knowlton and Harmon sneaked into their colleague E.E. David’s office to place the image on the wall (which was apparently in black and day‐glo green). #### 209 - 그들의 작업은 모마 Museum of Modern Art 1968/69 *Information: The Machine Seen at the End of the Mechanical Age* 에도 전시되었다. (1968 ICA에서 *Cybernetic Serendipity* 란 이름으로도 전시되었음) - ![[W1siZiIsIjM3NjkzMCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM3NjkzMSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM1NyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM1OCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM1OSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2MCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2MSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2MiJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2MyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2NCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2NiJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2NyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM2OSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM3MiJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM3MyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM3OCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM3OSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjQ1NjM5MCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM4OSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzM5MyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjIxMDQzMiJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjIxNzY2NSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzcxNiJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzcxOSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - ![[W1siZiIsIjM1NzcyMSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MjAwMFx1MDAzZSJdXQ.jpg]] - [First computer to sing - Daisy Bell_360p.mp4](First%20computer%20to%20sing%20-%20Daisy%20Bell_360p.mp4) - 테크놀로지의 연결은 아방가르드 (musical 아방가르드 including Pauline Oliveros, Alvin Lucier, and Terry Riley)와 op art and the work of the Groupe de Recherche d’Art Visuel (GRAV) 으로도 연결된다. #### 210 - In his book *Applied Grammatology*, Gregory Ulmer makes a direct comparison between the work of GRAV and that of Derrida (Ulmer 1985). - He sees Derrida’s textual experimentation and the geometric strategies employed by GRAV as **engaging in the “nonobjective,”** since they are both concerned with “defining relations among objects or words without regard for their specific embodiments or meanings.” - ==Ulmer, Gregory L., *Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys* (Baltimore: Johns Hopkins University Press, 1985), 38-9== - Thus Ulmer declares that what he calls Derrida’s “**op writing**” is the “grammatical equivalent of the geometrical experiments of the constructivists working at the **limits of optical perception**” (Ulmer 1985, 40). - moiré effect alone serves not only as a didactic model for “solicitation,” but consti- tutes—by virtue of its peculiar feature of being a static form that produces the effect of motion—an emblem of Moira, destiny, whose nature is to be once the motion of [[Becoming]] and the rest of Being. (Ulmer 1985, 41) - ![[moire.gif]] #### 212 - [[202101051548—Discourse Networks, 1800_1900]] - The discourse network of **1800**, making Romanticism possible and relying entirely on writing, privileges the voice, particularly the maternal voice, and thus poetry. - The discourse network of **1900**, with the invention of the typewriter and the phonograph, **destroys writing’s monopoly of media**, **and also the privileging of the voice**. Writing now becomes technologized, as one media channel among others. The printed page is reconfigured as a two‐dimensional, inscribed surface, generating meaning through the difference of typewritten symbols—mechanical marks on the page—rather than the locus of the transcendent voice of poetry. This produces a new focus on the materiality and opacity of the sign. #### 213 - 20세기 프로이드, 소쉬르 등처럼 스트럭처리즘 It was also about this time that Ferdinand de Saussure started on the work that would lead to the *Course in General Linguistics*, in which language is understood in terms of difference without positive terms, and which would lead to numerous developments, among them structuralism, later in the 20th century. - As Donald Theall puts it, Joyce realized that the arts and communications of his period “involved new modes of social organization and technological production, reproduction, and distribution” (Liu 2010, 103) ### James Joyce as a prefigure postwar technological advances in information communication technologies. #### 214 - In the postwar era media theorists, such as [[Marshall McLuhan]] and Donald Theall, scientists including Claude Shannon, Richard Ogden, and John R. Pierce, and theorists such as Jacques Derrida engaged with the implications of Joyce’s work for understanding of the emerging world of new infor- mation and communications technologies. - 데리다가 캐릭터라이즈 한 조이스의 프로젝트의 quivocity - utilizing a language that could equalize the greatest possible synchronicity with the greatest potential for buried, accumulated, and interwoven intentions within each linguistic atom, each vocable, each word, each simple proposition, in all worldly cultures, and their most ingenious forms (mythology, religion, sciences, arts, literature, politics, philosophy and so forth). [] - ==Derrida, Jacques, *Edmund Husserl’s Origin of Geometry, an Introduction* (Lincoln: University of Nebraska Press, 1989), p. 102== - 이건 데리다의 grammatological reading을 설명하기도 한다. - 그리고 이 후에 - the introduction to *The Origin of Geometry*(1989) - *Speech and Phenomena* - *The Post Card*(1987) - “Two Words for Joyce” (Attridge and Ferrer 1984) - “Ulysses Gramophone” (Derrida 1992) - 들을 비롯해서 제임스 조이스는 지속적으로 데리다와 연결된다. #### 215-216 - 이 글에서도 데리다와 조이스의 연결지점을 지속적으로 설명한다. #### 217 - Joyce was a crucial component in his[Derrida’s] analysis of language’s technical communicability, especially in terms of redundancy, Shannon’s term for the elements in any message that are not strictly necessary for its successful transmission, in an ideal communication situation (but are however often needed to overcome the problem of “noise”). - Knowlton과 Harmon, 그리고 조이스와의 관계에 대해서 글쓴이는 - By using glyphs, and thus imbuing their images with considerable semantic com- plexity and ambiguity, Knowlton and Harmon produced images that are arguably Joycean, inasmuch as they evince the “greatest potential for buried, accumulated, and interwoven intentions within each linguistic atom” (especially if one substitutes the word “linguistic” with “visual”). ### Various developments were important for the emergence of bitmapping, hypertext, word processing, and other phenomena connected with the rise of personal computing in the 1980s. #### 218 - Cybernetics is, at its most precise, the word invented by Norbert Wiener to denote his “scientific study of control and communication in the animal and the machine” (Wiener 1948). More generally it can be taken as an umbrella term to cover the range of techno‐scientific discourses that proliferated in the postwar era, including Wiener’s cybernetics, but also Claude Shannon’s information theory, and van Bertalanffy’s systems theory. - Freud’s work on the unconscious also anticipated the idea of **mental processes** as machine‐like. - ==Martin Heidegger== employed the term “cybernetics” in a more critical vein as another name for the relation between technology and metaphysics, which he also described as “enframing” or “gestell.” #### 219 - Derrida points out how **“writing” has come to exceed and comprehend language, and is now used for phenomena once described by language**, such as “action, movement, thought, reflection, consciousness, unconscious- ness, experience, affectivity, etc.”: - we say “writing” for all that gives rise to an inscription in general, whether it is literal or not and even if what it distributes in space is alien to the order of the voice: cinematography, choreography, or course, but also pictorial, musical, sculptural “writing.” (Derrida 1976, 9) - For Derrida, following Leroi‐Gourhan, the “graphie” (the inscription or mark), is not merely something human, but a stage or an articulation in the history of life itself; in other words, it is “differance,” as the history of the grammè or written mark. - “Protention” and “retention” are terms Derrida takes from Husserl to describe how our consciousness of the present is structured by both the memory of what has passed, and anticipation of what is to come. #### 220 - It is what “goes far beyond the possibilities of the ‘intentional consciousness’ that makes the grammè appear *as such*,” and leads not just to writing in the narrow sense, but from the “genetic inscription” and the “short programmatic chains” (regulating, for example, the behavior of the amoeba or the annelid) to “the passage beyond alphabetic writing and the orders of the logos of a certain *homo sapiens.*” - Read against the grain of the humanist context in which it emerged, cybernetics can therefore be understood as a kind of grammatology in so far as it understands all phenomena in terms of the pro‐gram. - The trace is necessarily spatial, since spatiality is characterized by the ability to remain in spite of temporal succession. Spatiality is thus the condition for synthesis, since it enables the tracing of relations between past and future. **Spatiality, however, can never be in itself; it can never be pure simultaneity.**… A trace can only be read after its inscription and is thus marked by a relation to the future that temporalizes space. ==Hägglund, Martin, *Radical Atheism: Derrida and the Time of Life*, Meridian, Crossing Aesthetics (Stanford, Calif: Stanford University Press, 2008), 18.== ### After ubiquity of the Internet 1990s onward. #### 220 - In a sense the bitmapped image exemplifies this notion of spacing, not only since it is composed of discrete elements, but also because they are discrete by virtue of their difference from each other, defined in mathematical terms. This difference is particularly obvious in the case of early “one‐bit” displays, in which every pixel was either black or white. #### 221 - Hypertext was the idea of non‐linear texts developed by Nelson in the mid‐1960s, at the same time as Bell Labs researchers were pioneering computer graphics. Hypercard was based on the metaphor of a Rolodex, and allowed the user to link different virtual cards. - 이 하이퍼카드를 이용한 맥의 인터렉티브 게임으로는 *Cosmic Osmo*(1989) ![[201410-CosmicOsmoandtheWorldsBeyondtheMackerel.jpg]] #### 222 - Derrida’s main premise was that, against the grain of neoliberal triumphalism, the spirit of Marx and Marxism still haunted the world, not least because of the continued prevalence of the same issues that had animated Marx’s thought in the first place. Derrida points out that Marx, among other things, was the first thinker of technics as well as deeply concerned with the spectral and ghostly (Derrida 1993). #### 223 - 이어서 데리다의 deconstruction에 대한 이야기 ➡︎ Summing up near the end of the book, Derrida lays out what is at stake in contemporary politics understood in relation to Marx’s legacy: - also at stake, indissociably, is the differantial deployment of tekhne, of techno‐science or tele‐technology. It obliges more than ever to think the virtualization of space and time, **the possibility of virtual events whose movement and speed prohibit us more than ever (more and otherwise than ever, for this is not absolutely and thoroughly new) from opposing presence to its representation, “realtime” to “deferred time,” effectivity to its simulacrum, the living to the non‐living, in short, the living to the living‐dead of its ghosts.** It obliges us to think, from there, another space for democracy. For democracy‐to‐come and thus for justice. We have suggested that the event we are prowling around here hesitates between the singular “who” of the ghost and the general “what” of the simulacrum. In the virtual space of all the tele‐technosciences, in the general dis‐location to which our time is destined— as are from now on the places of lovers families, nations—the messianic trembles on the edge of this event itself. (Derrida 1993, 169) - 힐리스 밀러의 텔레커뮤니케이션이 부셔버린 안/밖의 이분법 ➡︎ [[202101051721—안과 밖의 모호해진 구분과 고스트같은 새로운 regime]] [[@miller_stay_2000|Stay! Speak. Speak. I Charge Thee. Speak: An Interview by Wang Fengzhen and Shaobo Xie (2000)]] ### Footnote