I've been saying that I would leave Drupal for a few years now and today I took some steps in that direction, putting together a new front end to varnelis.net. It took two hours to produce a site with the Kirby CMS and it will take a bit longer to add the content. Eventually, I will integrate all of the content from the blog (as well as my articles) into Kirby or maybe update the Drupal side of this site, but for now, I'm thrilled that I will have a modern image-rich, mobile-friendly site for my practice.
On 30 June, Optics & Structure: Works by Kazys Varnelis, 1966-1976 opens at the National Gallery of Art in Vilnius, Lithuania. This show, which runs through mid August and which I am curating, surveys the key decade when my father developed his distinctive approach to painting and experimented with constructions in space.
During this period Varnelis explored the possibilities of light and shadow in monochromatic canvases rigorously divided into geometric shapes inscribed with smooth gradients of shadow. These works are the mature product of Varnelis’s experimentation with acrylic paint on canvas to explore the interplay of flatness and depth, the illusion of concave and convex surfaces and the production of striking optical phenomena.
Living in Chicago and sympathetic to the Miesian architecture then being built in the city, the artist intended these paintings to be exhibited in large, modern spaces, notably art galleries, museums, and public buildings, with plenty of room for the works to be seen both in isolation and in juxtaposition.
Displaying some fifty-six paintings from the collections of the Kazys Varnelis House-Museum as well as some little seen works now in the Ellex Collection, this exhibit marks the first time that a significant number of these works will be shown together in the sort of setting they were designed for since the small number shown in the “Three Agendas” exhibit in Vilnius, Budapest and Tampere twenty years ago and the first time that the majority of Varnelis’s classic works will be exhibited in one exhibit space since his 1974 one-man show at the Milwaukee Art Center.
Accompanying the exhibit of Varnelis’s paintings will be reproductions of the artist’s experiments in space (constructions or sculptures), a reconstruction of a three-dimensional model that the artist built to show how his work might appear in the “documenta 6” exhibition, as well as documentary material demonstrating how Varnelis, along with the curators and architects of his day, thought about exhibiting his work.
It's a chilly, rainy Monday, the kind you might have in Western Ireland, not in Northern New Jersey, and since it's not yet June I feel justified in having a fire in my Morso insert while I listen to synthesizer music on the stereo. The cat just settled down, half on the couch, half on my left arm. With my typing somewhat disabled by an aging feline seeking warmth, maybe I'll even try blogging again.
It's been nineteen years since I started blogging, twelve since I switched to Drupal, four since I became completely frustrated with Drupal and decided it was time to move on. I still haven't. I don't blog much anymore and when I do, I talk about how I don't blog much anymore. I mention these dates sometimes and I make plans to update the site, slow plans.
In the meantime, I thought I'd update anyone who wandered by here as to what I am up to these days.
I'm on extended sabbatical, perhaps a permanent one, having all but retired from academia. You can read about it in my post on the academy, but the crux of it is that like Drupal, the academy became too complex, too slow, too bloated, too bogged down in internal administrative trivia to notice that it had become irrelevant. I doubt any of this will change soon either. The smartest friends I have in the academy want nothing to do with administrative roles. Such positions lead to little more than overwork, frustration, and bad health. If you're lucky enough to shape a school with a vision, you'll find it undone when the university introduces a new round of budget cuts.
But this sickness is deeper, for reasons that are not entirely clear to me. In my last years of full time teaching, starting around 2012, I began noticing that the quality of students was dropping off precipitously. In the space of a couple of years, top students vanished and even passable students became rare. Students increasingly demanded praise for work that should not have received a passing grade. First students lost the ability to write essays with thesis sentences, now even basic literacy is in question. Instead of making an effort, students complained. It was bizarre, disheartening. Oddly, every faculty member that I have spoken to about this agrees. Although I still see remarkable efforts in some places—notably NJIT where I have seen some of the best work done in recent years—student work seems to be collapsing irregardless of institution and, judging from my conversations with other faculty, irregardless of field. In casual conversations with professors in fields from the design fields to chemistry to law to English, it seems that something bad is happening in universities. The most widely held theory seems to be that students are so addicted to social media that they can't think for themselves anymore, but something is causing a collapse. Much as I'd like to believe that I could make a difference, the bad taste left in my mouth by the last studio I taught means that I need to stay on sabbatical for a while longer, maybe for good.
Instead, I have been doing a lot of planting lately. This site on the first Watchung Mountain was terraced in the 1980s then over the years the sort of plants one sees everywhere—euonymous, berberis, forsythia, pachysandra, and other invasive species—had been planted in an attempt to make the terrain conform more with traditional ideas of what a suburban yard should be. This spring we have begun undoing this in order to create a more sustainable landscape.
I am well aware that planting native plants won't restore an ecosystem destroyed a hundred and fifty years ago, but at least it can lead to a more sustainable condition that won't require me to water it frequently, nurse it along, or be concerned about what will happen during major storms. It's meditative to work in the garden—although not perhaps so much when I brought twelve tons of soil down a flight of stairs wheelbarrow by wheelbarrow—and centers me. It's a small legacy, the individual act of one family in an era of climate change and mass extinction.
As I do this, I have some big, public projects under way as well. This year is the 100th anniversary of my father's birth and the 50th anniversary of my birth and with that in mind I am working on a show on the essential, late modern period in my father's work, e.g. 1967-1977 that will open at the National Art Gallery in Vilnius one month from now, on June 30. Afterwards, I think it'll be time to edit a book on that period of my father's work and produce book on ten years of work at the Netlab. And in the meantime, I'll be seeking venues for my work with the Netlab, AUDC, and independently.
Half centuries are a funny thing. My father operated a church interior design studio between the late 1940s and early 1960s when Vatican II and dwindling churchgoing led him to conclude that this project was over. At 50 he started teaching—oddly he is called "the Professor" in Lithuania even though he taught full time for only ten years and I taught full time for twenty years—and pursued his vision of modern art. This lasted a good ten years before he got burned out again, this time by the fashion system of art, and moved to Western Massachusetts where he established a gallery of his own works in a nearly ruined Berkshire cottage.
With my half century mark looming ahead of me, I'm curiously optimistic about the body of work I am refining at present. Like a garden, it's a matter of planting in the right place and tending to things as they mature. Maybe when my landscaping here has reached a state I am happy with I'll buy a property somewhere upstate with a large barn and start installing my art in it. It'd be an interesting project.
The Netlab's exhibit in the Contemporary Art Centre in Vilnius, Lithuania, Detachment [Atotrūkis], opened on Friday the 17th with work by Leigha Dennis and myself. There is a lot to say about it and I'm afraid it isn't really designed around sound bites. That'll probably turn off a bunch of you right away. Sorry (not sorry).
This show is the first of my ventures after I have (at least temporarily) retired from full-time teaching. While I remain at the University of Limerick part-time, teaching in the United States just doesn't make sense to me presently. Conditions have changed—not only for me, but in the institutions themselves—and the opportunities outside the university seem much greater than the conditions inside. Architectural education, constrained by financial limitations, accreditation, and vested interests, is becoming stagnant fast. Exhibitions allow me to get my thoughts out there to more people and with greater intensity.
So what is this show about? We begin with the following statement:
How do we break from the frenzy of oversaturation? With a wealth of information at hand, we find no time to reflect upon it. Connected to everyone at all times, always aware of the latest news, able to share our thoughts at any moment, we find ourselves unable to engage in meaningful political thought and discourse. Have we traded the feeling of alienation for a hyperkinetic frenzy? Does having more information that we could process in a lifetime available at our fingertips result in an utter lack of meaning?
"Detachment" (Atotrūkis in Lithuanian) refers to two processes. The first is the detachment that mobile networked technologies allow us to make from both the enviroment and the individuals around us. For the first time since the Middle Ages (if not before), we dwell in a world in which we divide our attention between the physical world and an entirely different, invisible but equally omnipresent and real realm. Our religion, however, is technology and the Ether that surrouds us.
The second is a detachment that we may make from the noise that technology produces in our environment, a detachment that can be useful, even critical, in social and political matters. Detaching or disengaging from noise allows us to re-engage with something in depth. Taking time outs from technology, for example, allows us to read more thoroughly, to engage with our friends and family more intensely, and even to sleep more deeply. This sort of detachment is especially critical for politics. As Merlyna Lim and Mark Kann uncovered in the Networked Publics book that I edited, new forms of technology make political mobilization easy (how hard is it to sign a petition at change.org, agree with your friends on Facebook, or get conned into voting for Brexit), but they have as yet been unable to promote democratic deliberation. In this model, Trump is the perfect networked candidate, living in his own Twit-bubble, ignoring anyone who doesn't fit his myopic view. This second meaning of detachment encourages us to pause from the relentless circulation of information around the globe at light speed in order to give considered thought to issues that matter to us.
Two photographic components document these conditions and their effects. The first set of photographs is inspired by Manwatching, a 1977 book by Desmond Morris, the curator of the London Zoo and surrealist artist. We were struck by the new gestures that individuals make when they use their mobile technological devices and have documented them in the streets of cities worldwide since 2009. This set of photographs underscores the detachment produced by technological devices.
In contrast, a second set of photographs documents conditions in which detachment from the noise of technologized life brings heightened awareness. These photos look at the National Radio Astronomical Observatory in the United States National Radio Quiet Zone (where cell phones, wifi networks and even digital cameras are banned to allow radio astronomy to take place), the Kerry International Dark-Sky Reserve in Ireland (where lights are restricted in order to allow individuals to enjoy the only "gold star" dark sky reserve in the Northern hemisphere), and the Murray Hill Anechoic Chamber, Bell Labs in New Jersey (the first anechoic chamber ever built, which sucks up echoes in order to allow researchers to better understand the characteristics of sound).
The photographic exhibits are complemented by two installations. The first is Perkūnas [the Lithuanian name for the (god of) thunder]. Perkūnas is a large structure built of commonly available sheet-metal ducting used for ventilation. It is both a found object and the product of architectural design. A ventilation fan, installed outside the room in an alcove, passes air through the duct, producing noise. A microprocessor secretly sniffs for active wifi enabled electronic gadgets and controls the amount of air and noise produced by the duct. If there are no gadgets present, the duct makes little or no sound. With a couple of gadgets, it will make a louder sound. The more gadgets, the more sound. Our ability to communicate verbally is directly affected by the amount of gadgets. If we leave our gadgets behind, Perkūnas will stay quiet, although it also reacts to the electromagnetic weather produced by stray signals in other parts of the museum and the street outside. Perkunas is neither art nor architecture. Like Aleksandra Kašuba’s curved surfaces and Valdas Ozarinskas’ installations, it occupies another conceptual space. Like Vladas Urbanavičius’s “Krantinės arka (Arch on the Quay),” it occupies a position between infrastructure and art. No matter that this exhibit is entirely about technology, this is not a work of new media. There are no screens to look at, there is no interface to play with. Invoking the name of the Perkūnas suggests an affinity with magic; in a world of technology, we once again believe things have spirits.
The final component is two instances of Leigha Dennis's Pleasure Box, a project that she previously developed as a fellow at the University of Michigan. These boxes are steel lockers similar to those found outside embassies, government offices, and other secure zones into which individuals can place their networked devices. Pleasure Box is an installation that gives users a choice to disconnect, creating temporary relief from the oversaturation of network culture. By locking smartphones and other gadgets inside, users are detached, left to ponder other pleasures including the exhibition.
After eleven years of Drupal as the content management system for this site, it's time to call it a day. The inexplicable loss of the front page just underscores that to me. I've written about the dangers of complexity many times and it's time to take my own medicine. It's madness to try and maintain a system in which everything breaks constantly, whose sole advantage is a wealth of themes and modules that every new major release breaks completely.
I've known this for some time now and have been searching for a replacement. The Networked Publics, AUDC, and Netlab sites all left Drupal a while ago, the former becoming a static HTML site, the latter two becoming Indexhibit sites prior to transitioning, in turn, to static HTML and Kirby, a static CMS.
I'll be making another post or two on this system, but an update is in the works as soon as I'm back from Vilnius. If you can't wait for my next post, which will explain what I'm up to in Vilnius in some more detail, stay tuned to my Instagram feed (kazys_varnelis).
I will be talking about the work of Lithuanian-born artist Aleksandra Kasuba at the University of Limerick School of Architecture on Wednesday, 24 February at 5pm. You can see her work at Kasubaworks.
Yesterday, I discussed Bowie and his prescient understanding of network culture. But what of Bowie and architecture? Shouldn't I say something about that?
Generally speaking, architects have been unwilling or unable to learn Bowie's lessons, stuck in an idea of branding borrowed from business books from the discount table at Barnes and Noble and history borrowed from art historians seeking the hand of the master. Many of the architects who would be the easiest to compare to Bowie in the way their were able to put on different masks—Charles and Ray Eames, Erik Gunnar Asplund, and 1950s Corbusier—preceeded him.
So what of Johnson and Bowie? Of course there is a similarity in that both had a flirtation with fascism in their youth, but in Bowie's case there is no evidence of any actual political involvement. Bowie's coked-up ramblings were meant to scandalize and were dropped soon enough. Johnson's political activities lasted the greater part of a decade and he never rejected them as bluntly as Bowie did in his derision of fascists in Scary Monsters or criticism of imperialism in Let's Dance. But the issue at hand would be the ability to transform. Johnson likely learned from Bowie's shape shifting as he returned to prominence to the 1970s, but in fairness, Johnson was more like an aging crooner and if, like Bowie, he was always a provacateur, he lacked Bowie's technical and formal instinct. With the exception of the AT&T Building, none of his works after his return in the 1970s were "hits."
Then there's Koolhaas. Jeffrey Kipnis mentions Bowie in a reference meant to contextualize Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp, and Zoe Zenghelis's Exodus or the Voluntary Prisonerso of Architecture: "London's Architectural Association 1970-72: a school awash in sex, drugs, and rock and roll. David Bowie hanging at the bar. …" But this is hardly history, rather it's name dropping meant to build up a myth. Even so, it deserves mention. At one point Koolhaas did seem like Bowie. The early 1970s work followed by Delirious New York, a bad period of terrible work in the 1980s, then a comeback in the 1990s with works like the library at Jussieu, the TGB, the Kunsthal, and Zeebrugge. For a time, it seemed like Koolhaas might wear many masks, but by the early 2000s, his career became less like Bowie's and more like Johnson's. Where Bowie repeatedly put his career at risk to pursue his artistic vision, Koolhaas has been in a nihilist death-spiral for 15 years, out to produce more junkspace than anyone else. No way would Bowie have ever put out a clunky salute to authoritarianism like the CCTV building.
I don't feel comfortable adding myself to this mix, but as I've already publically stated that I've been influenced by Bowie, I suppose I have to. Simply enough, early on in my education I realized that architecture—as conventionally practiced—was too slow and too tied to capital to keep pace with my ideas. Influenced a bit too much by Manfredo Tafuri on the one hand and reluctant to call myself an artist when my father had that market cornered pretty well, I began as a historian of architecture. After about four or five years, I set out to look at urban infrastructure and work with the Center of Land Use Interpretation. Toward the end of this period, I began to work with Robert Sumrell to create AUDC and our Blue Monday project, a book that we consciously conceived of as a sort of historical-philosphical LP.* From 2008 to 2015, I was engaged with a number of participatory projects under the guise of the Netlab at Columbia, such as the New City Reader. Over the last year, with the labs experiment at Columbia's GSAPP—which one day will be seen as a formative moment for architectural education—drawing to a close, I've rethought the Netlab's role as an independent entity and shifted the focus of my attention more toward Europe and less toward the US. There will be new work, which I hope you will find as compelling as I do from Leigha Dennis and myself, operating as the Netlab on exhibit in from early June to August at the Šiuolaikinio Meno Centras/Contemporary Art Centre in Vilnius, Lithuania. The focus of my contribution to this exhibit will be large, physical, constructed and something that I think hasn't been seen yet. I'm not suggesting that I'm living up to what Bowie did by any means. But rather, that his ability to transform himself is something that has remained intriguing to me over the years.
As Simon Critchley points out in his book on Bowie, this re-invention was not a lack of authenticity, but rather an understanding that authencity lies at a deeper level than style. It's unfortunate that in instead of being taught to experiment, architecture students are urgerd to relentlessly hone a particular look and even hired on that basis: being able to sum yourself up in a one-liner is more important than depth and the ability to come back and reinvent yoursef. The latter is what network culture demands and the inability of architects to do so is quite boring, isn't it? *Which is not to say that there won't be future AUDC books. Far from it…
So much to say and not enough time. Never enough time. Bowie's dead. I hadn't expected this would happen. I've been trying to finish this post all day.
I had hoped to make a year end post, just as I had hoped for the last four years, and failed again, just as I have for the last four years. The last year was a tough one, with my mother passing away in September with my transition from full time teaching in the United States to focus on the Netlab, and now this.
Perhaps it's odd to speak of the death of a pop star and of the last of one's parents in the same post, but perhaps not.
In the case of Bowie, I always thought that while he was alive, I would still be young. With my mother passing and Bowie's death in quick succession, it's become suddenly clear that I am no longer young. I guess to anyone else, it should be obvious, but such things are rarely obvious.
The death of my mother was a largery a matter of private mourning for my family and those who joined us in Vilnius at her funeral. She was hugely important to me and my father's work would have been inconceivable without her and a discussion of her life would pit the decline of sociability today against the role of the salon for earlier generations of artists, something rarer and rarer today. But that remains a matter for another day, for working through over time.
In the case of David Bowie, the death is public and epochal. I feel the need to go through the cultural implications on this obsolete medium.
Its clear to me, and has been for some time, that Bowie was the most important living cultural figure. There is no one comparable to him. Bowie redefined not only rock music, but also fashion and gender, even science fiction. Some of the points being made about Bowie today on the Net surprised me. He was—and once I saw it, I was reminded of it—a pioneer on the Internet, possesing an email address in 1983, and creating not only the first downloadable single, but also Bowienet, an online network launched in 1998, a community where fans could interact with each other. Bowienet was remarkable as it was one of the earliest networked publics based on culture, not technology.
More than that, Bowie understood the deeply transformative effect that networked publics would have. Check out this 1999 video with BBC interviewer Jeremy Paxman.
Here Bowie states that he became a musician because it "was subversive in the age before MTV, before wall-to-wall blanket music.…It was very hard to hear [rock and roll] music" but that he was drawn to it because understood that "this is the thing that will change things."
But, Bowie observes, that world was gone, "music has become a career opportunity. … The Internet is … now carries the flag of being subversive and possibly rebellious, embodying the chaotic, nihilistic…"
Bowie understood that there would never again be individuals like himself, "I embrace the idea that there is a new demystification process between the artist and the audience…The point of having somebody who led the forces has disappeared." This is, he stated, "personified by the rave culture of the last few years, where the audience is at least as important as who is playing at the rave."
Paxman responded to Bowie's prophecies about the Internet saying that there wasn't anything cohesive about the it and that it wasn't as radical as the youth revolution of the 60s. Bowie, who in the video has begun to lose his patience, explains that in the 1970s there was a "single, absolute, creative society … an era of known truths." With the "singularity" of culture gone, "we are living in total fragmention." For Bowie, the Internet had the capacity for being both good and bad, wonderful and terrible, "we are actually on the cusp of something exhilirating and terrifying."
Still unconvinced, Paxman said the Net is just a tool. Bowie lauging, responds, "No, it's not, it's an alien life form."
And that's what it was. Where better to see the fragmentation not just of culture and the concomitant fragmentation the self than in the below scene from the Man Who Fell to Earth?
I turned on the television this morning to reach out to some kind of greater community, but there was nothing about Bowie on the network morning shows, MTV or VH1. 1,000 channels of garbage. I was horrified, and I guess I still am, but eventually I realized that, for better or worse, that was the condition now, and that there was a community of other people out there who were sharing their grief on social media. This is the world that Bowie predicted and if we can be thankful for anything, it's that we're lucky enough to be able to see a little bit more of its inscrutible alienness…
Some recent links on oversaturation: tourist attractions that we are literally destroying with our love (how did they forget Venice?), how nobody goes to Barcelona anymore because it's too popular, Martin Parr on how too much photography blinds us, and the endgame for collectors of matchbooks. I'll leave behind observations today as to avoid oversaturating the net on oversaturation. After all, the net is oversaturation at its purest, a Slashdot effect for the human race.
I ran into the following article by Michael Hanlon recently, "The Golden Quarter. Why has Human Progress Ground to a Halt?" Hanlon's thesis is that even if we all have supercomputers in our pockets, the big advances—landing men on the moon, computers and the birth of the Internet, the Pill, feminism, the gay rights movement and so on—all happened in the 25 years from 1945 to 1971.
This is true enough, I suppose, although we could argue that personal computing, smart phones, self-driving cars (which I believe will be common by 2020), cellular phone access for the entire world, and the (largely illicit) digitization of much of the world's knowledge into freely available libraries are in fact radically new. If Sputnik and Viking were important, the Mars Science Rover is a massive advance as is landing Philae on Comet 67P/Churyumov-Gerasimenko and (we hope) flying New Horizons past Pluto. So, too citing the birth of the women's rights movement may be disingenous, its seed having came much earlier, in the suffragete movement. The advances in gay rights during the last five years have been massive. The networked publics that have emerged in the last couple of decades are an unprecedented shift in how we relate to each other and our own decade is likely to be remembered as the one in which knowledge-based artificial intelligence has spread into everyday usage in the developed world, not a minor point in human history.
But what's interesting to me about this article is that it is so applicable to the humanities. When I went to graduate school, it was an incredibly exciting, even revolutionary time, when French theory was making massive headway and every visit to the academic bookstore promised something new and cutting edge, if sometimes impenetrable, to read. But the humanities have come to a crashing halt. When theory is talked about anymore, it is in terms of concepts like "biopolitics," "postcolonialism," and "the control society," formulated long ago. Maybe I'm grumpy or these fields are no longer new to me, but I suspect something is up.
Here I think that Hanlon's point really does apply, and that academics in particular has become risk averse. The biggest innovation in academics during the last decade hasn't been in theory, it's been the development of a digital humanities that has largely traded scholarly advancement for funding. With universities increasingly corporatized, academics are expected to fundraise, not to take risks or create innovative theories. Stories of brilliant scholars who don't get tenure due to taking risks and programs being shut down for being too edgy are common.
Moreover, theory itself has become quite conservative. To talk about "accelerationism," for example, or even suggest that we are no longer under a postmodern condition, is widely met with derision by tenured theorists who might otherwise expect to have sympathy with such experimental thought. But no. Take architecture, where a rather pat formula has emerged that everyone seems to follow: find a largely obscure architect or event from the 1950s or the 1960s, head to the archive, make a few conclusions invoking French theory (generally Foucault), and you're done.
What to do then? Being Samogitian, my natural demeanor is gloomy rather than optimistic. But I'd like to suggest, optimistically, that leaving the academy may be an opportunity, or at least another possibility.
Marx, Freud, and Benjamin, to take only three key intellectuals operated primarily outside the university, as did Clement Greenberg, Le Corbusier, Donald Judd, and Robert Smithson. This isn't to say that it would be necessarily easy outside the university—for one, the conditions of journalism today have become quite difficult as well, so that route is a problem—but it points to a line of flight that it seems to me most worthwhile to explore these days.