Translated from the Brazilian – Portuguese by Rodigo Maltex-Novaes
Vampire squid
- vampyroteuthis infernalis
- “the only surviving member of its order”
- exhibits a bioluminescent – counterillumination behavior that “cloaks” it to animals swimming below it.
- “threat response called “pumpkin” or “pineapple posture”, the Vampire Squid inverts its caped arms back over the body, presenting an ostensibly larger form covered in fearsome-looking though harmless spines”
Vampyroteuthian Art
- Compare – men to vampyroteuthes:
- “engaged against oblivion” – i.e.: they want to live
- both communicate
- both are historical
- both are creatures of memory
- DIFFERENCE: the methods we use to store memory
- Man’s memory / information:
- imprinted upon objects – “objectified”
- we trust the “relative presence” of objects (relative to what? suggests that there is some other presence – metaphysics?)
- humans hope to possess two types of data storage:
- the egg (genenics) – biogenetic – species
- the object (books, buildings, paintings) – technogenetic – individual
- Vampyroteuthis’ memory / information
- this trust of the object seems “ridiculous”
- only puts trust in the “egg”
- Genetics are aere perennius (more lasting than bronze)
- The “problem of historical engagement” is to elaborate methods for moving “acquired data” (individual) to “inherited data” (genetics, species)
- Trust is always towards the permanence of the species and not in the permanence of the objective world
- Sometimes we use objects for this transfer – making them not storage objects, but objects of transmission: MEDIA
- But is this really saying anything?:
- Men treat objects as media, and Vampyroteuthis uses media (light, colours, etc.)
- The difference is that men express themselves through objects
- Whereas Vampyroteuthis express themselves in others through objects
- These are two different types of art
Man’s art:
- When man expresses himself – he does it “in function of a particular object”
- EXPERIENCE AND OBJECT ARE INSEPARABLE FROM EACH OTHER
- everything man experience is for a particular object – for marble, for language, for music, for film
- every object implicitly contains categories that allow articulation – for a sentiment, a value, a desire
- “It is not the case that man has experiences first and then seeks an appropriate object through which to express it”
- Man experiences the world in function of a particular object
- objects can be immaterial or material (what is the immaterial object here? math?)
- objects are perfidious – treaters, deceitful, untrustworthy – they evade our attempts to inform them
- it is through attempts to inform them that their resistance is revealed – discovery of structure
- this violence changes man himself
- the discovery of structure takes place when man attempts to imprint knowledge
- but this new discovery changes man’s knowledge – which in consequence requires new imprinting in order to transmit these acquired experiences
- feedback loop: man imprints knowledge in object, discovery of structure occurs, man is altered, man imprints new knowledge (further?) into object
- This ‘feedback’ is human art
- Resistance of objects provokes man –
- “whoever does no discover the object of his vocation will live in frustration”
- an invocation of flow?: “this feedback between man and object is so passionately engaging that it leads man to forget his original purpose – that of informing objects so that the infoation can continue to be available to other men.”
- man forgets that his original purpose is to inform other men – that the art is to communicate, to translate through objects
- instead man is consumed into the object – becoming “sculptor” or “writer”, not simply “man” communicating to another “man.”
- the object concentrates passions and the artist winds up informing the material – probing its existence
- “No longer does he speak through the language, but against it”
- “The poet’s vocation is to inform lanugage”
- Human art is not the fabrication of beautiful objects
- so anything we inform is ‘art’ – math, politics, symphony
- all things also have aspects of the scientific the political and the artistic:
- knowledge
- value
- sensation
- “every human work is art, an answer to a provocation by a particular object.”
Vampyroteuthian art
- objects do no provoke Vampyroteuthis…
- more interested in the other
- beyond objects – towards the other
- his creation is not ‘performed’ but ‘perfected’
- there is no resistance – calling – of the object… only of the other (the message’s receiver)
- feedback between sender and receiver is the essence of vampyroteuthian art
- Phases of vampyroteuthian art:
- experience occurs
- vampyro searches its memory for a model of this experience
- the absence of this model is verified – no such experience to compare to
- the arresting experience goes beyond the organism – to the brain – to the chromatophores
- chromatophores transcode into “skin painting”
- this new experience provokes and calls another vampyro
- the sender seduces the receiver and copulates with it
- this creates a model for the copulation of vampyros – it is now part of their dialogue
- it is now stored – eternal – genetic information
- sepia cloud – ink cloud – is ‘shaped’ or ‘sculpted’ by vampyro, but this is different from man’s shaping of marble, because the sepia cloud is not foreign/strange to him
- vampyro’s only fascination with the object of the sepia cloud is about the effect it will have on another vampyro
- the sepia cloud must not only divert an agreessor, but “epater les bourgeois” (shock the middle class)
- what is stored here as the dialogue of vampyroteuthians is the ability to decieve (“i am not where i have indicated i am”), to lie, to make art.
- Vampyroteuthian art is pure art – the effect on the other (not on the object) is the intention
- science, politics, etc., are just strategy
- the raw materials of vampyroteuthian art is not objects – but their society as a whole (resonates with Kaprow, total art, Systems Art, Burnham)
- “Vampyroteuthis is an artist that chisels into society to immortalise himself in it.” – his motive is “his spite for the other” (desire to offend)
- valuing of vampyrotheuthian art by Flusser:
- human art is a “confused and undisciplined” enterprise
- as human art becomes more “self-awareness and discipline,” it moves towards a convergence with the art of Vampyrotuthis
- man’s purity (of science, of art, of politics) will reveal itself to be DIRT
- dirty stone (artist), dirty equation (scientist), dirty objectified subject (sociologist)
- “The artistic gesture reveals itself as an embarrassing gesture, as when a chicken pecks for grain when it doesn’t know whether it should flee or attack the enemy.”
- Communications theory – consists of a diversion … back to towards the other
- we are on “a vampyroteuthian path”
The vampyrotheuthisation of our art
- before industrial revolution – blacksmiths, cobblers – we were all craftsmen
- information, value and artwork – were indistinguishable and constituted “culture”
- industrial revolution – divides craftsmen and artists
- industrial revolution began the era of the ‘tool’
- the tool stores value
- the tool transmits information to the object (so the object’s value becomes less and less)
- the industrial revolution creates the seperation of ‘object’ and ‘value’
- it is the printing press, and not the book that stores the information (writer becomes tool maker)
- most of creative process remained object-valued, because the new methods of production were kept of the “ghettos called ‘exhibitions and museums.”
- the second industrial revolution
- information is not inside tools, but inside cybernetic programmes
- cybernetic programmes which produce tools
- toolmaker becomes programmer
- “Programmed Culture” – valueless culture – pens and houses prefabricated
- these are uninteresting to possess – no longer objects that ‘call man’
- objects to information – less and less interested in the consumption of goods
- intersubjectivity – “a society of Vampyroteuthes”
Man was a worker – Now a programmer
- private property / production will not be morals any longer
- total artists – trans-subjectively communicating outside objects
- photography – for example
- the individual photograph is not valuable
- the “image” is what’s important – the negative, the prototype
- the photographer does not work but functions within the programme / apparatus of the camera
The vampyroteuthian future?
- will the society of the future necessarily become one of hatred, lies
- we may come to despire the obective world as much as Vampyroteuthis despises it… but will always have the hangover of our history with objects
- vampyroteuthis don’t have the history we do with objects, so their unconcern with them is not a refusal (it’s just the way its always been for them)
- man has come together in objects – i.e.: the other for us is not just an adversary – we have created information (informed objects) together in our past
- we must remember this “primordial alliance” during this “second industrial revolution” which would have us be “heirs and transmitters of programmed information”
- In vampyroteuthis – information can dismiss the need for apparatus, organism can function as apparatus
- “The contemplation of vampyroteuthian art prevents us therefor from glorifying the total work of art, the artificial, artifice and deception. So that we shall avoid every form of romanticism, because Vampyroteuthis illustrates the essence of romanticism: Hell.”
Notes
- the initial difference between man / vampyro in their use of objects is not that clear to me – is it one of intention? one of method? (i.e.: there is the invocation of the other in both cases…and both use matter articulated in some way)
- best i can make out is that humans are different as they become absorbed in the object (they become “writers” and “sculptors”), instead of using a media to objectify the other
- so the ‘pure communication’ is at once a positive force (for getting our heads out of objects) and a negative one, which renders the inter-subjective artificial, artifice and deceptive.
- vampyroteuthian – devil
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