on February 16, my movie The Kodak Moment will have its European Theatrical premiere in Selection XVII of Director's Lounge.
The 10th Berlin International Directors Lounge
Naherholung Sternchen (behind the Kino International)
Berolinastr. 7, 10178 Berlin-Mitte
U-Bhf. Schillingstrae
The reductive abstraction common to the twentieth century, from the form is function of reductive formalismboth Adolph Loos and Clement Greenbergmirrors the demands of early capitalism for efficiency and speed of manufacture by unskilled labor. The elimination of features dependent on personal training and their replacement by the industrial assembly line (by Andy Warhol as much as Donald Judd) demonstrates how abstraction embraced the deskilling common to capitalism first noted by historian John Ruskin in the nineteenth century. With the development of digital technology, and the shift from production to replication, the formal protocols of earlier abstraction (especially the geometric formalist work of the 1920s and 1930s) were embedded within the digital itself. The digital automation foregrounded in the more contemporary work of Roxy Paines Painting Manufacture Unit makes the link between contemporary industrial production and abstract art into a subject of the work: instead of challenging capitalist processes and demands, abstract art instead acts to affirm them through the adoption of forms that are deskilled (i.e. not requiring human agency); at the same time, digital technology collapses the assumed distinctions between the abstract and the not-abstract, a factor that becomes apparent in Wade Guytons digitally produced works. This elision of distinctions is a feature of digital capitalismvia the serial generation of commodity formswhere permutation ignores all differences, enabling the valorization of what were historically contradictory domains under the rubric of novelty; the elision of distinctions reflects this protocols dominance. Abstraction is thus simultaneously symptomatic and descriptive when confronting digital technology, a duality that is reflective of how both forms have historically emerged within capitalism. The problem both pose is therefore identical: engaging the contradictory demands of this historical foundation.
Bright Lights Film Journal no 82 has my new article: The Horror of Origins in Ron Honthaner's The House on Skull Mountain examines the emergent form of a death's head that appears graphically on screen in a way that is both inherently a part of the action (emergent from the composition itself) and a presentation of what is not (cannot be) shown on screen: Lorena's thoughts her fear, signified by the voodoo drums, becoming manifest as the superimposed skull.
