Deleuze And The Map-Image: Aesthetics, Information, Code, And Digital Art

225 Pages·2019·3.545 MB·English

by  Jakub Zdebik

Deleuze and the Map-Image
ii
Deleuze and the Map-Image
Aesthetics, Information, Code,
and Digital Art
Jakub Zdebik
BLOOMSBURY VISUAL ARTS
Bloomsbury Publishing Inc
1385 Broadway, New York, NY 10018, USA
50 Bedford Square, London, WC1B 3DP, UK
BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo
are trademarks of Bloomsbury Publishing Plc
First published in the United States of America 2019
Copyright © Jakub Zdebik, 2019
For legal purposes the Acknowledgments on p. x constitute
an extension of this copyright page.
Cover design by Maria Rajka
Cover image: Geological timescale © Mary Evans / Natural History Museum
All rights reserved. No part of this publication may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including
photocopying, recording, or any information storage or retrieval system,
without prior permission in writing from the publishers.
Bloomsbury Publishing Plc does not have any control over, or responsibility
for, any third-party websites referred to or in this book. All internet addresses
given in this book were correct at the time of going to press. The author and
publisher regret any inconvenience caused if addresses have changed or sites
have ceased to exist, but can accept no responsibility for any such changes.
A catalog record for this book is available from the Library of Congress.
ISBN: HB: 978-1-5013-4678-1
ePDF: 978-1-5013-4680-4
eBook: 978-1-5013-4679-8
Typeset by Integra Software Services Pvt. Ltd.
To find out more about our authors and books visit www.bloomsbury.com
and sign up for our newsletters.
For Eliot and Helena
vi
Contents
List of Figures viii
Acknowledgments x
Introduction: Map as Fluctuating Image 1
1 Deleuze’s Vermeer: Maps, Art, and Information 21
2 Map and Code in A Thousand Plateaus: Savard, Lagrange
Paquet, and Data Art 37
3 Celluloid Film as Digital Art: Translation, Information, and
Intermediality in Cory Arcangel 73
4 Virtual Images of Swarms and Grids: John F. Simon
Jr.’s Posthuman Aesthetics 107
5 The Island/Image Apparatus: Virtual Networks in Kerbel,
Bartholl, and Scott 137
6 Surveilling Aesthetics: Waheed’s Overhead Images and Farocki’s
Operative Image 175
Conclusion: Tracing on the Map 195
Works Cited 198
Index 207
List of Figures
1 Francine Savard, Dépôt de peinture (2000). 125 éléments.
Acrylique sur contreplaqué russe. Diamètre: 240 cm,
Collection Musée d’art contemporain de Montréal Photo:
François LeClair. Courtesy of the artist 60
2 Francine Savard, Neige fondante (Précipitations 4), 2013.
Acrylique sur toile marouflée sur structure de contreplaqué.
37.5 × 49.5 × 24.8 cm (14 ¾″ × 19 ½″ × 9 ¾″), Collection
privée, Toronto Photo : Guy L’Heureux. Courtesy of the artist 62
3 Francine Savard, exhibition view Weather (2013), Diaz
Contemporary, Toronto Photos: Toni Hafkenscheid. Courtesy
of Diaz Contemporary, Toronto 63
4 Emmanuel Lagrange Paquet, Histoires d’interactions (2014). Courtesy
of the artist 64
5 Emmanuel Lagrange Paquet, Les cosmos imaginaires (2014). Courtesy
of the artist 66
6 Cory Arcangel, Super Mario Clouds, 2002—. (Installation view,
Synthetic, Whitney Museum of American Art, 2009.) Handmade
hacked Super Mario Brothers cartridge and Nintendo NES video
game system. Edition no. 2/5. Whitney Museum of American Art,
New York; purchase with funds from the Painting and Sculpture
Committee 2005.10. © Cory Arcangel. Courtesy of Cory Arcangel 74
7 Cory Arcangel, Untitled Translation Exercise, 2005.
© Cory Arcangel. Courtesy the Artist and Lisson Gallery 76
8 Cory Arcangel, Colors, 2006. © Cory Arcangel. Courtesy of the
artist and Lisson Gallery 86
9 Cory Arcangel, Structural Film (still), 2007. 16 mm film.
6:15 minutes. © Cory Arcangel. Courtesy of Cory Arcangel 95
10 John F. Simon Jr., Swarms, 2002, Software, Macintosh G4,
two screens, runs continuously, never repeats. Courtesy of the artist 116
List of Figures ix
11 John F. Simon Jr., aLife, 2003, Software, Macintosh
G4 PowerBook, and plastic acrylic, 21 × 17 × 3 inches,
runs continuously, never repeats. Courtesy of the artist 118
12 John F. Simon Jr., ComplexCity, 2000, Software, Macintosh
G4 PowerBook, and plastic acrylic, 15.5 × 17.5 × 3 inches, runs
continuously, never repeats. Courtesy of the artist 128
13 John F. Simon Jr., Every Icon, 1997, online artwork. Courtesy
of the artist 132
14 Janice Kerbel, Bird Island Project, 2000 location map
(digital print), Digital print: 26 × 32 cm (10 ¼″ × 12 ⅝″). Courtesy
of the artist; greengrassi, London 143
15 Janice Kerbel, Bird Island Project, 2000 website (digital print).
Courtesy of the artist; greengrassi, London 144
16 Aram Bartholl, Dust (2011). Sculpture, Alumide 3D-print,
36 × 33 × 4,5 cm. Courtesy of the artist 150
17 “PROMETHEUS.” ©2012 Twentieth Century Fox. All rights
reserved 164
18 Hajra Waheed, KH-21, NOTES, 22/32 (2014). Cut Photograph
and ink on paper. Courtesy of the artist 177
19 Hajra Waheed, FEAR BRINGS ABOUT, 4/5 (2010). Collage,
acrylic, ink, and pencil on graph paper. Courtesy of the artist 178
20 Harun Farocki, “Eye/Machine II.” © Harun Farocki, 2002 189
21 Harun Farocki, “Eye/Machine III.” © Harun Farocki, 2003 189