Page 67 - Studio International - March 1974

Nevertheless Stezaker is not misguided in his criticism and reductionism is endangered by the
observation that the 'art' of this century (and possibility of forwarding a wholly honorific
before, I would argue) has thus far had the thesis, there are still some question-marks
common denominator of 'reductionism' as a regarding the divisions of labour traditionally
parameter for the bases of its manifold activities encompassed by the notion of 'criticism'.
(as endorsed by the 'more is less' motto). The Finally, I would like to make just one point
upshot of all this has been a persistent and concerning the incipient Functionalism
dogmatic preoccupation with 'means', which postulated in this eximious work, and hopefully
in turn has only contained the 'battleground of without extending an existing polemic. The
competing groups' by the admonitions of main drift of Stezaker's art has been putatively
pluralism's champions on behalf of the held apart from certain aspects of Art Theory
ubiquitous call for tolerance — (which in operating from an analytical stance. In respect of
practice, according to Wolff, simply means that this difference, it would now seem that the
those who have a voice are tolerated, while those functionalism advocated in 'Beyond "Art for
who haven't are doomed!). What is sadly Art's Sake" ' can best be summed up in
lacking — according to Stezaker's call to arms — contrast to the 'analytical' work, by asserting
is a conception of the common good. A not-too- that the latter, though radical in method, has a
distant political analogy can be noted here in tendency towards conservatism in effect,
reference to Russell's quotation from Nietzsche whereas the possibilities of Functionalism,
with regard to the latter's opinion that a though in some respects conservative in method,
societal cross-section is much more of a means have the potential of becoming radical in
than an end . . . that mankind is merely effect. q
experimental material (cf. 'The Ancestry of PETER SMITH
Fascism'). The defenders of art as a process,
and art as a means, in their lack of enthusiasm
for the telos of a common good are similarly, if AI without D
unknowingly, subscribing to the same doctrine Artificial Intelligence: a paper symposium
of unreason — a doctrine, indeed, which in by Professor Sir James Lighthill, FRS, and
practice has only one aim, and that is the others. Science Research Council, free.
appropriation of power for an elect. The Conscious Brain by Dr Steven Rose.
Thus we see in this exposition, as a 352 pp, 67 illustrations.
consequence of the developed strategy for an Weidenfeld and Nicolson, £4.95.
`ends' logic, a structure encompassing The Pleasure Areas by Dr H. J. Campbell.
reduction, criticism and construction, whereas 272 pp, 2 illustrations.
previous manifestations have in general held to Eyre Methuen, £2.50.
an ontology of negation, that is one which gives Speaking and Language/Defence of Poetry
priority to the excluded. But, as Stezaker has by Paul Goodman. 242 pp.
noted, despite the notion of 'evolutionary- Wildwood House, £1.50.
reductionism' being a contradiction in terms, it
is not enough to simply denounce 'reductionism' For more time than one cares to remember the
out of hand. As pluralism in the past has served language model for art has been knocking
its time well in supererogating various around with greater or lesser consciousness and
essentialist theses, variations on the theme of rigour. It is really even the basis of Gombrich's
reductionism, and 'conceptual' art particularly, theories and history. In its most jargon-ridden
have served to expose the bankruptcy of version it underlies the loonier fringes of
inveterate determinism, by means of an conceptual art. I hesitate, therefore, to discuss
`hypothetical extrapolation of existing norms some of these books in an art context for fear of
and presuppositions . . .'. As is pointed out, it is setting a new cant among the pigeons, but the
for this reason that 'conceptual' art can be topics are relevant and should be discussed.
regarded as useful — that is, by exhibiting the From the moment Information Theory burst
absurdities that are possible within pluralism. out of its original disciplinary constraints, not
The fault with 'conceptual' art is, of course, the so many years ago — the Independent Group
fact that — as Stezaker observes — too much of at the ICA being among the first to confront its
this kind of work has been reduced to absurdity implications for aesthetics - it was necessary to
by taking itself too seriously. However, the consider what was meant by 'language' if ever
reason for including reductionism in a the apparently rigorously formulated theory
theoretical basis for functionalism is an were to find an application other than as an
acknowledgement of the fact that in elaborate metaphor. Unfortunately in the
transcending this determinism we have to hurly-burly of contemporary art theories, such
remind ourselves that the process of refinement was rarely demanded; and the most
transcendence is as much an incorporation as a that Information Theory brought along now
rejection. seems to have been a few terms like code,
The point about Stezaker's tri-modal channel, redundancy and feed-back; and very
heuristic is that it is a constructive programme. pretty metaphors they have sometimes been,
However, with respect to the numeration of but for the most part they have confused the
criticism in this triad, and the justified issues.
contention that the exclusive operation of Steven Rose's book is a useful antidote to
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