Between Limit and Transgression The Play of Meaning at the Image’s Edge ----- Matthew Lee [email protected]Chapman, J. & Chapman, D. (2000) Exquisite Corpse. ----- MA DIGITAL ARTS (VISUAL ARTS), 01 DECEMBER 2010 Course Leader: Jonathan Kearney Supervisor: Andrew Stiff Camberwell College, University of the Arts London
MA Paper, Camberwell College of Arts, University of the Arts London, 01-12-10.
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Here Deleuze presents a potentially unlimited process for the framing and continual reframing
of space: ‘The closed system refers in space to a set which is not seen, and which can in turn be
seen, even if this gives rise to a new unseen ‘set’, on to infinity’ (Deleuze, 2005, p.18). When the
photographic apparatus comes to incorporate a larger ‘set’ of visual information, the meaning of
the in-set becomes recontextualized, forming a continuity with the larger ‘set’ that was previously
unseen. This process can be seen in Takashi Homma’s series of five photographs for Jesus Jones’
Perverse album artwork, which operate as an example of how a meaning of a ‘set’ is affected
when space is dynamically framed and reframed. Homma’s first photograph in this sequence
presents a close up of two formidable masked wrestlers. In the second photograph the ‘set’ is
extended to show that the wrestlers are in fact holding hands. In the third photograph they are
shown to be standing in a front room, joined on either side by two women in pink leotards. When
the ‘set’ extends again, a tripod comes into view, foregrounding the artificial and self-referential
nature of the setting. In the fifth and final photograph the scene is framed by another in-set frame
– the outside brick wall and window of an English Victorian house.
Homma, T. (1992) Perverse.
Across Homma’s series, the four delimiting edges of each photograph are decisive in the
contextualizing and then recontextualizing of content. The work operates as an example of how
‘the value of a sign is affected by the presence of other signs around it’ (Crow, 2003, p.48), with
our perception of the scene changing each time a new set of visual signs comes into view. When
space is continually reframed, the meaning and context are also in constant transformation. In
Homma’s series this transgressive process stops at the fifth photograph, however it is conceivable
to imagine a process that continues to add larger and larger ‘sets’, recontextualizing meaning and
reframing space, onto infinity. This idea finds its theoretical correlation in Charles Sanders Peirce’s
concept of ‘unlimited semiosis’, a semiotic process where the interpretation of one sign leads to
another sign, onto infinity. As Winfried Nöth explains:
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Since every sign creates an interpretant which in turn is the representamen of a second sign, semiosis
results in a “series of successive interpretants” ad infinitum. There is no “first” nor “last” sign in this
process of unlimited semiosis…The continuous process of semiosis (or thinking) can only be
“interrupted,” but never really be “ended”. (Nöth, 1990, 2.4.2)
In his essay, “Structure, Sign & Play,” Jacques Derrida also discuses a semiosis of infinite play
that precludes fixed meaning, stating that: ‘the absence of a transcendental signified extends the
domain and the play of signification infinitely' (Derrida, 1980, p.280). Put simply, there can be
neither ultimate presence nor fixed and final meaning in a semiotic process that is in continual
transition. In such a process there is a ‘play of presence and absence’, between all that has been,
and all that is yet to come (Derrida, 1980, p.292). Derrida calls this operation a ‘movement of a
chain’ (Derrida, 1980, p.292), which evokes quite literally the process–based mechanism of the
collaborative Exquisite Corpse game. The Exquisite Corpse drawing continually extends its spatial
frame, incorporating more and more disparate visual material to a potentially ever-expanding
composition. Each time an artist adds a contribution, a meaning is unpredictably transformed –
‘the turtle becomes a jigsaw becomes the loin of a beast’ (Laxton, 2009, p.34).
This game however, is essentially comprised of a series of repeated gridded (folded) sections,
which are the underlying framework for ordering and sequencing the collaborative activity. The
grid does not formulate an image with a center or a privileged hierarchical order, but a list of
visual parts, which generates ‘an arbitrary assemblage of attachments from one signifier to
another’ (Kern, 2009, p.7). The divide between sections marks differences between parts,
however, these parts are also joined together by the ‘smooth transition of line’ that moves across,
from one section to another (Laxton, 2009, p.32). The string of connected visual parts then works
in compliance with a gridded mechanism, which structures and paradoxically orders the play it
simultaneously allows to happen. In the context of this investigation, “play” refers to a meaning,
which is in constant movement – in either a dialogical tension, or in boundless, ever emerging
transformation. In the Exquisite Corpse there is a dialogical play of meaning between gridded
parts, and also a transformative play of meaning along a linear sequence.
Breton, A., Camille, G., Prévert, J. and Tanguy, Y. (1927) Exquisite Corpse Drawings.
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The Exquisite Corpse, with its gridded repetitions and transitional visual elements would then be
an example of a ‘smooth’ form, which moves through ‘striated’ gridded space. In their essay
“1440: The Smooth and the Striated”, Gilles Deleuze and Felix Guattari discuss these notions of
the ‘smooth’ and the ‘striated’ space:
The striated is that which intertwines fixed and variable elements, produces an order and succession of
distinct forms, and organizes horizontal melodic lines and vertical harmonic planes. The smooth is
continuous variation, continuous development of form; it is the fusion of harmony and melody in
favour of the production of properly rhythmic values. (Deleuze & Guattari, 2004, p.528)
Deleuze and Guattari examine these ideas of ‘smooth’ and ‘striation’ in relation to the
patchwork quilt, which, like the Exquisite Corpse, consists of repetitions in structure (striation)
and continuous variation in its visual elements (smoothness). The patchwork quilt is made up of
material fragments that vary in size, shape, colour, pattern and texture. These juxtaposing
elements are sewn together to form a square, which is then stitched to other opposing squares to
form a grid. As Rico Franses explains: ‘it appears that the vast majority of quilts evidence a
careful play between order and random “unstructure.” Straight lines and squares often lurk
beneath the visual turbulence above’ (Franses, 1996, p.316). Like the Exquisite Corpse, the quilt
has no center or hierarchical order; each square has the same value as the next. The grid
spatially organizes and structurally frames the material fragments, but as the quilt maker keeps
adding more and more squares to the extending grid, there is also clear potential in the quilt for
infinite spatial expansion. As Rico Franses again explains: ‘It is the endless nature of the grid that
allows simultaneously for a framing function of individual units (the squares), and the infinite
replication of these, which leads not to chaos but to boundless structure’ (Franses, 1996, p.259).
Like the Exquisite Corpse then, the patchwork quilt is both framed and frameless. The grid is the
necessary ordering mechanism of these procedural activities, which structures a ‘dynamic tension’
between order and disorder and ‘rules and transgression’ (Kern, 2009, p.5).
Barnes, N. (1900-1920) Crazy Quilt.
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These characteristics of ‘smooth’ and ‘striated’ space can also be evidenced in the two-
dimensional digital raster image. At the micro level, the digital still image consists of pixels
(picture elements) – a finite number of abstract squares, each with its own ‘distinct color or tonal
value’ (Manovich, 2001, p.53). These single point units of information form an underlying grid for
an image composition, which at ‘actual size’ may appear smooth and seamless. Framed
microelements then exist within the virtual frame of the digital raster image:
Visually, these computer-generated or manipulated images are indistinguishable from traditional
photo…images, whereas on the level of “material” they are quite different, as they are made from
pixels or represented by mathematical equations and algorithms. (Manovich, 2001, p.180)
As Lev Manovich notes, pixels are numerical representations of an algorithmic code. These
mathematical equations can be altered; which means that each individual picture element, which
comprises the digital image, is ‘subject to algorithmic manipulation’ (Manovich, 2001, p.27).
Digitization then allows a flexibility or variability that is not possible in traditional still image
media. For example, The GUI (Graphical User Interface) actions and commands of Adobe
Photoshop allow the user to continually modify the image composition: content fragments from a
variety of sources can be added, deleted, combined, manipulated, layered, cut, copied, rescaled
and rearranged. The image file can then be reworked an infinite number of times, and saved in
limitless versions and in a variety of file formats. This technical and material flexibility within the
representational field also extends to the compositional frame itself, which can be proportionately
resized, or an area of the ‘set’ selected and cropped. Furthermore, canvas space can also be
adjusted, reshaped or the amount of picture elements extended, thus giving the artist choices
through which to modify what is seen or not seen in the picture plane. The computer display
window, which is the frame around the canvas, also allows for mobility: actions such as zoom-in,
zoom-out and scrolling, allow for an image to be viewed as a whole, or in fluid, dynamic parts.
These navigational capabilities then fundamentally change how an image is read or explored by a
‘viewer-turned-user’ (Friedberg, 2009, p.232).
What is essential is that these variable and mobile characteristics of the digital still image allow
both the artist and the viewer/ user to explore a variety of open compositional framings. The
edges of the digital image are still essentially a boundary, which orders and demarcates inside
from outside, however, unlike the frame of the traditional painting or photograph; the digital
image is ‘not something fixed once and for all’ (Manovich, 2001, p.36). The implied action ‘out-of-
field’ can remain permanently outside the frame, but in some instances it can also be revealed. In
New Philosophy for New Media, Mark B. N. Hanson discusses this capacity for the digital image to
transgress the fixity of the frame:
the set of elementary numerical points comprising a digital image contains within itself, as alternative
permutations of these points, all potential images to follow, and since therefore, any point whatever
can furnish the link to the next image, the digital image explodes the frame. (Hansen, 2004, p.35)
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The numerically constructed and gridded digital image then has the potential for infinite spatial
and compositional transformation. This idea of a dynamic space in which an image’s meaning or
context is in constant process is again reminiscent of Peirce’s concept of ‘unlimited semiosis’ or
Derrida’s ‘movement of a chain’. These ideas can in turn be seen in Gridcosm, an online
collaborative project set up by Ed Stastny, founder of SITO art collective in 1997. The process for
this participatory activity is explained on the project website as follows:
Gridcosm is a collaborative art project in which artists from around the world contribute images to a
compounding series of graphical squares. Each level of Gridcosm is made up of nine square images
arranged into a 3x3 grid. The middle image is a one-third size version of the previous level. Artists add
images around that center image until a new 3x3 grid is completed, then that level itself shrinks and
becomes the "seed" for the next level. This process creates an ever expanding tunnel of images, the
newest level a direct result of the previous level which is a result of the previous level...and so on.
(Gridcosm, 1997)
Stastny, E., Oast, E. V. & Oast, J. V. (1997) Gridcosm Levels 3491, 3490 and 3489.
Each Gridcosm level consists of 450x450 pixels, which is divided into a 3x3 square grid. Again,
the grid is the underlying mechanism for ordering and sequencing this process-based, activity.
Each individual contribution is first created in an image editing software to a scale of 150x150
pixels and is then uploaded to its designated grid position on the project website. When all nine
squares of a level are complete, the overall effect created is one of ‘shared difference’: fragments
of photographs, drawings, text, appropriated material and individual graphic styles appear to both
‘join and separate, couple and divide’ (Laxton, 2009, p.34). Sometimes there are unexpected
juxtapositions between distinct squares, while other times there is a unity, especially in instances
where artists have attempted to blend their delimited section with that of the surrounding, already
completed sections. Regular collaborators often work together, in an attempt to make the overall
image appear ‘smooth’ and seamless, continuing the theme and colour scheme, sometimes across
several levels. In these cases, ‘striation’ acts as a restriction, but also a challenge to overcome.
Gridcosm then, is comparable to the Exquisite Corpse game; both are collaborative activities
that operate through a gridded mechanism, with inherent possibilities for infinite spatial expansion
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and compositional transformation. However, unlike the Exquisite Corpse, this project does not
extend its spatial frame at the four outer edges, but rather forms a tunnel of images, that recedes
towards a single (vanishing) point at the image center. What marks Gridcosm as fundamentally
different from the Exquisite Corpse is that the viewer is able to witness the collaborative process
in real-time, as artists add their sections, and as the meaning and context of the work changes. In
the Exquisite Corpse one only sees the drawing at the end of the activity, when the work is fixed
and bound within its final frame. In contrast, Gridcosm allows the viewer to navigate through its
levels, traversing through space and time, clicking on each compounding layer. In this way, the
viewer/ user is able to see a ‘chain’ of meaning production as it has been unfolded and will
continue to unfold.
The traditional Exquisite Corpse, as played by the Surrealists, involves a set number of players,
working in one location, on a single sheet of paper. In contrast, there are currently 3491 levels in
Gridcosm, created by over 300 artists, across a span of 14 years (Gridcosm, 1997). These
material, time and player limitations do not apply to this online platform, which allows for
continuous and open collaboration over distance. These technical and material differences
between the Exquisite Corpse and Gridcosm prove that the digital domain is not just another
medium, but the next logical step for further enabling a potentially limitless transgression of the
frame. It is this theoretical idea of infinity, which is fundamental to the transgressive process.
However, there still remains the practical impossibility that anything human-created can ever
really be infinite. There may be no foreseeable finality to Gridcosm; but if (or when) the
collaborative project becomes inactive, the work will then become fixed and bound to a frame
that, by conventional definition, delimits inside from outside and presence from absence.
In closing, it is also important to recognize that while the digital image has the inherent
capacity to transgress the fixity of the spatial frame within the computer window, it is still
however inset within the four fixed material borders of the computer display screen. This master
frame is a necessity for ordering and demarcating real material space from the immateriality of
virtual space (Friedberg, 2006, p.6). However, even then, according to Mark B. N. Hansen, the
digital image ‘need no longer be so bounded’ to the screen (Hansen, 2004, p.31):
Regardless of its current surface appearance, digital data is at heart polymorphous: lacking any
inherent form or enframing, data can be materialized in an almost limitless array of framings; yet so
long as it is tied to the image-frame [screen]…this polymorphous potential will remain entirely
untapped. (Hansen, 2004, p.35)
Hansen’s assertion that the digital has ‘polymorphous potential’ presupposes the fracturing or
dissolving of divides between dualities of inside/ outside, real/ virtual and sender/ receiver. This
raises interesting questions in relation to framing, which becomes invariably complex in the
dematerialized, multiform and multidimensional digital domain.
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Conclusion
---
The four edges of the still image are a necessity, required for structuring, limiting
and closing the field of two-dimensional representation and also for distinguishing difference,
between what is included and excluded from the visual plane. The image frame’s purpose, then, is
to display the artwork as ‘unproblematically present’ (Duro, 1996, p.5), with the intention to fix
meaning and context neatly within its demarcating borders. Deleuze’s concept of the ‘out-of-field’
however challenges this notion of fixity; while the frame presents a still image within its
boundaries, it is unable to present a fully-fixed and unequivocal meaning (Deleuze, 2005, p.18).
Instead, meaning is able to transgress the formal and material limitations of the frame, by
signifying a “somewhere else” in space and time. The ‘out-of-field’ also has semiotic value; it
operates in dialogical relation with the image and is open to a degree of interpretation. The edges
of the image then, provide an array of opportunities for visual artists to foreground the frame;
using its restrictions purposefully, to support a dialogical play or irresolvable tension between
what is present, in the image, and what is absent, beyond its borders.
The Exquisite Corpse and patchwork quilt exemplify a frame or grid with possibilities for
limitless spatial expansion. In these procedural activities, the grid is the underlying ordering and
sequencing mechanism, which structures a ‘dynamic tension’ between order and disorder and
‘rules and transgression’ (Kern, 2009, p.5). In the example of the Exquisite Corpse, the gridded
mechanism facilitates a ‘movement of a chain’, a transformative process in which meaning and
context are in constant spatial development (Derrida, 1980, p.292). This is then comparable to
the numerically constructed digital image, which has an intrinsic flexibility or variability. The
digital image may still adhere to the basic principles of framing, but it also has the capacity to not
be so limited by a rigid, fixed frame. The implied action ‘out-of-field’ can remain permanently
outside the frame, but in some instances it can also be revealed.
The technical and material flexibility of digital space enable individual artists or collaborators to
create process-based works, where space is in dynamic development, and where meaning and
context are in infinite transformation. It is this theoretical idea of infinity, which is fundamental to
the transgressive process. However, there still remains the practical impossibility that anything
human-created can ever really be infinite. Even in the digital domain framing limitation is enforced
when the project is no longer active, the image file closed, or printed on a material surface. The
play between limit and limit’s transgression then comes to an end, and the artwork becomes
bound by a fixed frame, which by conventional definition, delimits inside from outside and what is
present from what is absent.
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