ANTHEM

It is nice to learn from Graham Harman that his Bournemouth talk last year on Heidegger’s “origin of the work of art” essay has directly inspired this interesting forthcoming paper by Robert Jackson: “Heidegger, Harman and Algorithmic Allure.” That event was actually organised by Tammy Lu at the Arts Institute at Bournemouth (since then  renamed as the Arts University College at Bournemouth), although I was the one who took this crazy photo of Graham:

Three days later Graham gave another talk on “The Greatness of McLuhan” at the Media School at Bournemouth University. We posted the recordings of both talks on this blog and they both became quite popular, however the Heidegger talk has the edge: it has been downloaded 1,027 times since 8 February 2008, as opposed to the 884 downloads of the McLuhan talk.

Strangely, both of these talks are more popular than Harman’s first lecture at the LSE  “On Actors, Networks, and Plasma: Heidegger vs. Latour vs. Heidegger” on 29 November 2007, which has been downloaded 778 times, even though that was the event that launched the Heideggero-Latourian project most explicitly. I would have thought that the juxtaposition of Heidegger and Latour and the invocation of Latour’s concept of the plasma would be provocatively alluring (or alluringly provocative) enough to attract more attention. But the most popular Harman download (besides the respectable 1,688 downloads of the Harman Review itself) seems to be his “Assemblages According to Manuel DeLanda” from November 2008, with 1,385 downloads since then.

[Although I should hasten to add that these figures are somewhat misleading, as both the plasma talk and the Harman Review are also available on the LSE website, so probably just as many people if not more would have downloaded them from there. As for the DeLanda talk, it received a boost after being listed on Speculative Heresy.]

Jackson’s paper sounds very interesting though, so I’ll reproduce his abstract here:

Abstract for “Heidegger and the Work of Art History”

Session at Association of Art Historians (AAH) Annual Conference, April 15-17, 2010,

Glasgow, UK.

“Heidegger, Harman and Algorithmic Allure”

Robert Jackson BA (Hons)

School of Computing, Communications and Electronics

Art and Social Technologies

Faculty of Technology, University of Plymouth.

In recent years the contemporary philosopher Graham Harman has surfaced with a “realist” re-reading of Martin Heidegger‟s Tool-analysis, pushing it to its logical limits (Tool-Being – 2002). Dismissing Dasein as the root of truth for human beings, Harman instead argues that “Readiness-to-hand” and “Present-at-hand” are qualities available to all entities in the cosmos even if humans created such objects.

In January 2008 Harman‟s paper “On the Origin of the Work of Art (atonal remix)” attempts to perform an “object-oriented-philosophy” reading of Heidegger‟s influential essay on aesthetics, identifying Heidegger’s “strife” as a philosophical idea which escapes into the qualities of all objects and not just privileged artworks. But the extension of Heidegger’s strife hints to the idea of aesthetic “allure,” which Harman describes as “a special and intermittent experience in which the intimate bond between a thing’s unity and its plurality of notes somehow partly disintegrates.” “Allure” occurs when objects are split from their qualities, exhibiting tensions between its essence of “Being” and the way it has been described. Artworks, metaphors and jokes turn out not to be affecting features of human literary culture, but primordial constructions of the universe itself.

The paper will argue that these rich conceptualisations offer insightful commentary on technological artworks which utilise computational algorithms. I claim that artists such as John F Simon and Antoine Schmitt create generative and emergent aesthetic objects which display “allure” in all of their partial opacity, leading to the idea that technological artworks can propel vigorous independence, worlds away from superficial artificiality.