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Beuys Don’t Cry: From Social Sculptures to Social Media

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The Digital Arts and Humanities

Part of the book series: Springer Geography ((SPRINGERGEOGR))

Abstract

This paper looks at the art and philosophy of German fluxus artist Joseph Beuys (1921–1986) and relates this to current debates in the Digital Arts and Humanities. Beuys coined a number of grassroots concepts, such as the “social sculpture.” With this he referred to (a) the potential of art to transform society, (b) art as a social product, i.e., sculptures in which the onlookers are part of the artwork, and (c) the potential of every person to be an artist. His often misconstrued punchline of “everyone is an artist” is an extension of Marcel Duchamps’ “Ready Made” art, in which anything can be art; i.e., what Beuys proposed was rather that “anyone can be an artist.” This chapter looks at the similarities between Beuys’ work and Social Media and Digital Humanities, in how far his concept of the ‘Social Sculpture’ can inform the two.

In the end indignation over kitsch is anger at its shameless reveling in the joy of imitation, now placed under taboo, while the power of works of art still continues to be secretly nourished by imitation.

(Adorno, 1978, 225–226)

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Notes

  1. 1.

    See https://youtu.be/t2j-579VznQ (accessed 03 Feb 2016) for a video of the performance.

  2. 2.

    As German playwright Bertolt Brecht already wrote in 1935: “The young Alexander conquered India./Was he alone?/Caesar beat the Gauls./Did he not have even a cook with him?” (Willett and Manheim 1976, 252). Similar challenges haven been made, and are currently underway, in the field of neogeography, which is the topic of the chapters in part IV. Wood (2006, 10) argues along similar lines when talking about map artists: “Map artists do not reject maps. They reject the authority claimed by normative maps uniquely to portray reality as it is, that is, with dispassion and objectivity [...]” (cf. Harmon 2009, 13).

  3. 3.

    http://historians.org/teaching-and-learning/digital-history-resources/evaluation-of-digital-scholarship-in-history/guidelines-for-the-evaluation-of-digital-scholarship-in-history, June 2015 (last accessed: 22 Feb 2016).

  4. 4.

    Wagner (1998), among others, gives a good overview of intellectuals and their reaction to the “Question of Technology.”

  5. 5.

    Indeed, Karl Marx, too, has written about alienation in labor to describe the loss of control of the worker over his or her labor: “in his work, therefore, he does not affirm himself but denies himself” (Marx 1974, 66).

  6. 6.

    See Lünen (2016) for a debate of this notion. Although that paper is about history and GIS, a lot of observations in it hold true for the digital humanities more generally speaking.

  7. 7.

    See Bullough (1966/67) or Masterman (1962) for such early encounters.

  8. 8.

    It is interesting to note that Heidegger saw art as an escape route to this computerization and technicity of life. Art would help to break this enframing and purchase “the dynamic of the poetic nature of our existence.” (Froman 1993, 346).

  9. 9.

    See more on Heidegger, math, time and GIS in Lünen (2016).

  10. 10.

    “We intend to sing the love of danger, the habit of energy and fearlessness.” As the Futurist manifesto heralded it (Harrison and Wood 2003, 147).

  11. 11.

    “Life appears as a simultaneous muddle of noises, colors and spiritual rhythms, which is taken unmodified into Dadaist art, with all the sensational screams and fevers of its reckless everyday psyche and with all its brutal reality.” From the Dadaist manifesto (Harrison and Wood 2003, 258).

  12. 12.

    There is an argument to be had about Malevich’s nationality. Born in the Ukraine to parents who were members of the Polish minority, Kasimir Malevich spent most of his adult life in Russia and is nowadays regarded as the standard bearer of the Russian avant-garde. Cf. Borchardt-Hume (2014).

  13. 13.

    Bergson (1988, 208) made a point similar to Heidegger’s homogenization in stating: “To perceive means to immobilize.”.

  14. 14.

    For a discussion of Bergson’s critique see Guerlac (2006, 100ff); for a discussion of Heidegger’s critique see Mulhall (1996, 160ff). For a discussion of Heidegger’s (1992) conception of time—particularly in regard to finitude—see also Alweiss (2002).

  15. 15.

    Says Bergson (1988, 191): “[...] language [...] always translates movement and duration in terms of space.” And Heidegger (1992, 18): “Time is irreversible. This irreversibility is the sole factor by which time still announces itself in words [...]”.

  16. 16.

    See also Pavlovskaya’s chapter in this volume for a related debate.

  17. 17.

    A point Olsson (1999, 141) makes about remote sensing and GIS: “For what is remote sensing, if not a human activity located in the interface between poetry and painting? What is a satellite picture, if not a constellation of signs waiting to be transformed into meaning-filled symbols? In the light of those questions, GIS stands naked before us, shamefully parading as a game of ontological transformations in which theory-laden observations are translated first into patches of color, then into strings of words, finally into purposeful action. Picture becomes story, ‘is’ turns to ‘ought’.”.

  18. 18.

    The original Dada Manifesto reads: “Have the expressionists fulfilled our expectations of an art that burns the essence of life into our flesh?—No! No! No!” Cf. Harrison and Wood (2003, 257).

  19. 19.

    Olsson (2007, 120) reiterates this notion, that maps (and thus GIS) require imagination: “Therefore it can now be said: without imagination there would never be any maps, for the characteristic which maps and imaginations share in common is that they let me know not only where I am but whence I came and whither I must go.” See also my interview with Olsson from 2011 (Lünen and Olsson 2013).

  20. 20.

    Just as St. Augustine (1853, 239) in the Middle Ages elaborated that there is only one time: presence. The past discloses itself through memory into a present, the present discloses itself through observation, and the presence of the future through expectation.

  21. 21.

    A point the biologist and polymath JBS Haldane made in 1932 in regards to history: “Every generation must rewrite history. New facts become available, and old facts are interpreted anew.” (Haldane 1986, 67).

  22. 22.

    See Verwoert (2008) for a broader discussion of ‘authority’ in Beuys’ work and persona. Beuys’ innate desire to teach everyone got him into serious trouble at one point in his career. On 11 Oct 1972 then minister for science and research of the state of North Rhine-Westphalia Johannes Rau dismissed Beuys from his post as professor for sculpture at the Düsseldorf Arts Academy for unlawful entry. Beuys had occupied and blocked the academy’s office together with persons whose applications had been rejected. Beuys declared that he would want to teach anyone applying to the academy, but the academy insisted on the law and proper procedures. Beuys saw his mission in forming society like one would form clay into a sculpture and pleaded to Rau accordingly, who replied that he cannot allow himself to be made into an object of art. Beuys’ dismissal lead to protests—including a protest letter from David Hockney—and a compromise was made in which Beuys would retain his title as professor and get access to his studio in the academy, but he would no longer be employed by it (Kipphoff 1974).

  23. 23.

    The 7000 Oaks project’s idea was that visitors to the Documenta 1982 could take one of the 7000 stone slabs, provided they would agree to plant an oak tree sapling next to it in a public space. Cf. http://www.7000eichen.de, accessed 29 Mar 2016. To fund the purchase of the stone slabs, Beuys convinced a pub owner in his hometown of Düsseldorf to sell him a replica of the crown of Ivan the Terrible, which Beuys would then smelter into an Easter bunny and sell on (see the Introduction). The pub owner had the replica of the crown manufactured for him to let the pub patrons drink champagne from it (for a price, of course), and the surplus that Beuys made from selling on the Easter bunny made from it paid for the stone slabs. Cf. http://www.7000eichen.de/index.php?id=28, accessed 27 Mar 2016. The bunny was sold to a collector and is now in the Staatsgalerie in Stuttgart, Germany. See http://limilee.tumblr.com/post/22383160547/berndwuersching-joseph-beuys-friedenshase-mit, accessed 27 Mar 2016.

  24. 24.

    On closer inspection, what has been trumpeted as “Big Data” in the Digital Humanities is actually not much more than old-school data mining. Big Data is not about size. (Jonker 2013).

  25. 25.

    Actually, after Beuys died, the Arts Academy in Dusseldorf removed the Fat in the Corner (it was installed in Beuys’ workshop from the time when he taught at the Academy). His former student Johannes Stüttgen then sued the Academy, as he claimed Beuys had given the sculpture to him as a gift on the day he created it. After Beuys’ death in 1986 the room was not used anymore and cleaners were asked by the dean to put the room into its original state. Which meant that Stüttgen found the fat in a bin, upon which he sued the Academy for 50,000 Deutschmarks, arguing that fat and room belong to one another as one sculpture and that the removal of the fat had thus destroyed it (Kirbach 1988).

  26. 26.

    See Bush (1945) for the Memex, a proto-hypertext system designed to store the world’s knowledge; and Fuller (1981, 163ff) for a sketch of his Geoscape where “The Geoscape’s electronic computers will store all relevant inventories of world data arranged chronologically, in the order and spacing of discovery, as they have occurred throughout all known history.” (Fuller 1981, 180).

  27. 27.

    As a matter of fact, the Digital Humanities Manifesto 2.0 (http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf, accessed 30 Mar 2016) may as well have been written by Joseph Beuys would he still be alive.

  28. 28.

    I have myself taken a “middle-of-the-road” stance in stating that Social Media can have their benefits, but are rather superficial most of the time (Lünen 2015).

  29. 29.

    Even more ironically, Yoko Ono’s Painting to Hammer a Nail In in Fig. 2.1 in the MCA exhibition had a little sign beside it saying “Please Do Not Touch.”

  30. 30.

    Bertolt Brecht, The Radio as Communication Apparatus, 1932 (Silberman 2001, 41).

  31. 31.

    The neologism “prosumer” was coined by Toffler (1980) to describe the merger between producer and consumer in media studies. The general idea had been discussed before in various contexts though, not least in Fluxus art.

  32. 32.

    The German physicist Erwin Schrödinger devised a thought experiment in the 1920 s to illustrate the tantalizing insights from quantum physics and to reason about the validity of scientific observations. He envisioned a cat being put in a closed, intransparent container together with a vial full of poison gas. The vial might be tipped over at any moment either by movement of the cat, by vibration from the outside, or simply because of a random molecular event—thus breaking and killing the cat. However, we would not know because we cannot see the cat in the box, and opening it might actually cause the event we are trying to check on (the toppling of the vial). The observer of an event is thus part of the observed phenomenon and the observation therefore not neutral/valid. As we can have no knowledge of the cat’s state, Schrödinger argued that it is dead and alive at the same time, as the likelihood for both is equally high, and there is no objective way of proving either way. (Cf. Davies 2003, 199–202).

  33. 33.

    There is yet another angle on the ephemeral nature in the Digital Humanities: sustainability. Too many projects/resources vanish after their funding ceases.

  34. 34.

    Ramos’ chapter in this book nicely demonstrates the linkage between the virtual and the physical world.

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  1. University of Huddersfield, Huddersfield, UK

    Alexander von Lünen

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  1. Trinity College, University of Dublin, Dublin, Ireland

    Charles Travis

  2. Division of History, University of Huddersfield, Huddersfield, United Kingdom

    Alexander von Lünen

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von Lünen, A. (2016). Beuys Don’t Cry: From Social Sculptures to Social Media. In: Travis, C., von Lünen, A. (eds) The Digital Arts and Humanities. Springer Geography. Springer, Cham. https://doi.org/10.1007/978-3-319-40953-5_2

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