(There are probably a lot more i could have talked about, some of it left out purposely, some not. i want these piece to be, ideally, between 500-1000 words, i failed this time, but i am trying. i want them to be diving off points for extended dialogue with those interested. It is odd though that as these ideas for think-pieces arise, a whole synchronicity of material unfolds & tidally moves toward me, making it hard to ignore & so the pieces expand.)
Our HD nature
There was not long ago (i think it is still played sometimes) an advertisement on TV, here in Korea (& perhaps elsewhere; maybe you know it) for a new fandangled HD-flat-curved-screen-Oled-TV.
Much to my embarrassment, i don’t recall if it was Samsung or LG, the model or any of that stuff i neither need, watch nor have the money to buy. i tried to search Youtube so you could watch the advertisement & i could prove its existence, but i failed so you’ll just have to take my word for it.
What interests me, is how the company tacitly express a lot about the relationship between nature (or what Tim Morton would term the symbiotic-real, which i’m quite fond of) & man (or maybe culture might be a better dichotomy)— perhaps not even tacitly, as the indelible aplomb of marketing attempts to sell the product by illuminating the crossing triumph of man’s organic threshold with technology.
The advertisement’s music is a piece i recognize, on the tip of my tongue, but for the life of me… It is rooted in African tribal chants & drums, it has an epic, authentic sweep to it, but not quite, there is something just slightly off about the authenticity.
This music plays in tandem with wide vistas of various terrains: the dorsal fins of sand dunes, rain-forests dripping in beads of rain just after rainfall & verdant valleys goose-stepping into snow-capped mountain ranges. Among these grand landscapes, a solitary figure gives the spaciousness depth, complementing the mass of saturated colours & naturalness: a Masai (i think) warrior searching distances; a Native American on horseback riding away from us; a Peruvian profoundly opening their eyes (i made this one up)— people whose authenticity means they’d never be able to afford such a technical feat as a convex TV; they’d have nowhere to plug it in for a start.
From the comfort of suburbia, white, rich people, with houses seemingly made of nothing but glass which opens out onto a curated nature— even those cooped up in expensive apartments— taste authenticity, they become endowed through their attention of authenticity, more authentic themselves, through a sympathetic effort, so long as they own this TV. Dressed in their purified white linen & cashmere, matching their mother of pearl teeth, they are an embodiment of betterment through symbiosis with authenticity.
Woven in this woof of superficial authenticity, is a leopard in its natural environment, which walks across the façade of the TV inexplicably planted there, paying no mind to it, until it flicks on suddenly with an image of a leopard almost identical, if not the same leopard, causing the leopard to jet out a terrified, defensive roar.
The TV is set into the natural environment, a picture of the environment on its screen, camouflaging it, symbiotic in its relation; an inevitable outcome, man’s emergence from the organic, via his technological triumph; boasting a clarity the eye can see but not replicate itself. There are no borders on the TV, suggesting no borders with nature (the symbiotic-real), freed from the demarcations of technology, yet containing nature, creating new demarcations, or rather toppling old barriers, long overdue a kicking. We can have it all.
But it isn’t symbiotic with nature, nor is it the symbiotic real realized in an object that entertains & informs. The TV’s commercial & the TV itself, tacitly boasts the besting of nature, because it functions, through its crystal-pristine-pixels, its HD-fat-saturation, to be an improvement on the quality of what the eye perceives. This damages our expectation of what reality delivers, it is a divorce from what the eye perceives; it is like arriving on that beach in Bali you saw in the tour guide, or on that travel blog & finding the susurrus waves scrumming beer cans & condoms.
The tech is not imitating nature, it is taunting nature to catch up with it, else risk obsolescence.
But we are, vicariously, the eyes for & of nature: nature substitutes a consciousness that is aware of itself (for itself) & allows us to maintain exclusivity of that consciousness & with this, as we stack our limits for advancement, have gotten around to creating what the eye cannot itself do. This is a form of evolution, i suppose. If we cannot improve the function of the corporeal, let tech do it; even in the minor annex of entertainment. The microscope enables us to peer into the microscopic as the telescope does the opposite. Tools are one thing, entertainment is quite another. Are these companies telling us they can sell us a reality realer than reality because we don’t have the technology, in the flesh, to see as well as their technology can?
That is what i am saying.
It is the technological boast of an advancement, missing the mark because, the purpose, the selling point—that the TV can give us an accurate, if not better appreciation of our environment through greater pictorial clarity— is, simultaneously, deriding the environment & even our tools of perception (our eyes) as inferior compared to the product’s achievements. A result of this is that our expectations can never match what the TV is alerting us to. The TV is representative of a significant amplification of authenticity, yet in the process it devalues, through excess, the authentic. It has shit where we sleep.
We see something similar in tourism. Foreigners want to escape to an ideal of paradise they have resolved themselves to, erroneously, from what they are told constitutes a paradise, which is in fact not the actuality. However, the reality is sustainable so long as the illusion, the amplification, persists. But if one understands the realities of a paradise: the excesses that strain the local populace, access to water being one; the buildup of unrecycled waste, due to the stretching of a paradise’s limits in answering the call of foreign desires; the lack of prospects for locals other than crap jobs in the tourist industry; the exorbitant increases in rent & land costs, owing to hoteliers with huge capital moving in, meaning locals can’t afford to live comfortably, having to secure second jobs to make ends meet; sometimes, a large percentage of facilities are tailored for tourism, locals uncomfortable or simply seeking a rest from the touristic, find it difficult to do so— i think i read that there was only one cinema in Venice.
Paradise under these considerations, becomes more problematic & less appealing.
What i can’t resolve is, if an artist or poet is guilty of the same mistake, or if this even is a mistake or simply imminent? i don’t know if i want to be judgmental & risk hypocrisy. i am being deliberately ambivalent as to how i feel about all this.
In painting a landscape or depicting it in language, there is distortion, there is a stylistic element brought in to form the content of the work, to elevate the thing in itself to artistic expectations.
If we were to be simply, natural, organic entities, existing without attachments, in our environment, we’d find less usage for technique or technology. Yes, it exists, it is of use, it is even essential, but has fundamentally practical necessities. It is not abundance but need that the tool or the artifice provides for the integrated, practical human. The artist in this system would observe & leave it at that, it would be enough, wouldn’t it?
Well, probably not. Because to see is to test the instinct to reproduce. The artist isn’t just content with mimicry, it is the skill that it takes. There is always a certain egotism between the artist & their subject.
So what of the cave paintings found across the globe? Is the authenticity in the primitivism of the style? Were their reasons any different from our own? Was there egotism in their endeavor, a quest for a transference of mortality into immortality, or just an attempt to quell boredom? As we come closer to more absolute correction of the thing itself through style, do we actually inch further away from accuracy because we are over-compensating, in an ego tousle with the organic, as with the exorbitant saturation of TVs & digital cameras?
The poet is under similar pressures. The word in itself is a poor replication of the thing it represents. Take any word & line it up with its object or subject & it has little substance without the a priori knowledge that comes with knowing the semiotics of the language the word comes from. If i write the word 사랑 & ask you to, from the physicality of it, determine its meaning, it would be but a guess, unless you read Korean & have a basic vocabulary set. This word is an emotion we all know, all struggle to interpret or rather, interpret based on the context of our experiences— it is the word love. Yet we receive it as an ambiguous symbol because we are ill informed by the physicality of it in space.
But none of this matters: humanity is the great anomaly from the offset. As soon as we attempted the replication of that which we witnessed, we parted ways from nature, in some sense, because it became a form of domination over our environment; a form of taking the environment with us where we move & reproducing it through memory into art.
Any imbalance has been countered by the very act of replication. In our replication, in the evolution of representation, we remain tethered in some way to our origin, to that which delivers us from starvation & gives life meaning. Just as our dreams, when we give them our attention, are founded on very old symbols & stories, so our attention to representation through art & tech & whatsoever, is an attempt to maintain a bond with something inching further away in actuality, but maintaining a hold subjectively.
We cannot escape the hold the ecosystem has on us, because, taken for granted or not, we know sustenance comes of the soil, all the ignorance coalesced into its most disastrous form, cannot separate use from this truth; it is pushed deep down at an instinctual level, where the will cannot touch it.
i imagine a distant, dystopian future, where there is no longer a nature, or rather, it is so removed from the city it is unknown to its denizens who have become nigh digitized. Children, inexplicably, doodle extinct animals & plants, even flowers they’ve never seen on the new iPad & show them to their dumbfounded parents who remember something & call them beautiful.