{"id":88240,"date":"2015-07-27T19:37:47","date_gmt":"2015-07-27T23:37:47","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=88240"},"modified":"2015-09-09T12:06:14","modified_gmt":"2015-09-09T16:06:14","slug":"a-cybernetic-meadow","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/07\/27\/a-cybernetic-meadow\/","title":{"rendered":"A Cybernetic Meadow"},"content":{"rendered":"
\"MURPHY_SunriseSequence_2015_JCG7969<\/a>

Brenna Murphy, SunriseSequence<\/i>, 2015, archival-pigment print mounted on Dibond, 35″ x 30″. Courtesy American Medium<\/p><\/div>\n

In 1967, while he was a poet-in-residence at the California Institute of Technology, Richard Brautigan wrote \u201cAll Watched Over by Machines of Loving Grace<\/a>,\u201d a gamboling techno-utopian vision that reads, nearly fifty years later, as farcically, hauntingly naive:<\/p>\n

\n

I like to think (and
the sooner the better!)
of a cybernetic meadow
where mammals and computers
live together in mutually
programming harmony
like pure water
touching clear sky.<\/p>\n<\/blockquote>\n

And that\u2019s just the first stanza. Brautigan goes on to imagine \u201ca cybernetic forest \/ filled with pines and electronics\u201d; \u201cit has to be!\u201d he writes of \u201ca cybernetic ecology.\u201d One imagines he was not too gung ho on Blade Runner<\/em>. <\/p>\n

But it\u2019s cheap, in these dystopian times, to laugh at someone who was once optimistic about technology. \u201cAll Watched Over<\/a>,\u201d a show at James Cohan Gallery curated by Tina Kukielski, takes a more empathetic approach. The works all summon, or come from, a glorious postwar age when the notion of networked computers held enormous promise. Instead of the incremental gains we ask of our devices today\u2014wouldn\u2019t it be neat if I could caress the screen of my iPhone without thinking of dying?\u2014\u201cAll Watched Over\u201d dreams big. It dares us to suspend our cynicism even as it reminds us of how wrongheaded Brautigan\u2019s poem continues to be.<\/p>\n

You\u2019ll find some of the show\u2019s standout pieces below. Among them are Brenna Murphy\u2019s new archival-pigment prints, in which lush, bucolic landscapes are fashioned into a latticework of slick textures and colors. Slabs of sky meet shards of pine. Teeming with the eco-electro harmony of Brautigan\u2019s fantasies, the prints look like futurists\u2019 vacation homes or the screensaver of a benevolent self-help guru.<\/p>\n

Paul Laffoley\u2019s\u2028 Alchemy: The Telenomic Process of the Universe<\/em>, a formidable square canvas from the early seventies, provides a recondite flowchart with instructions on such matters as The Crystal Vision, The Divine Goal, and The Alchemical Fire. Laffoley\u2019s work has always taken a procedural, diagrammatic approach to the cosmic\u2014transcendence is possible, it suggests, if you follow the schematics exactly enough.<\/p>\n

Looking at these I thought not just of Brautigan\u2019s poem but of Donald Fagen\u2019s song \u201cI.G.Y.<\/a>,\u201d a gee-whiz tribute to the fifties-era boosterism that promised us flying cars, solar-powered cities, and a sleek transatlantic rail system. Fagen wrote these lyrics in 1982\u2014the same year Blade Runner <\/em>came out\u2014with the full weight of dramatic irony behind him. The efficient paradise he sang about had failed to obtain:<\/p>\n

\n

This dream\u2019s in sight
You\u2019ve got to admit it
At this point in time that it\u2019s clear
The future looks bright
On that train all graphite and glitter
Undersea by rail
Ninety minutes from New York to Paris \u2026
(More leisure time for artists everywhere)
A just machine to make big decisions
Programmed by fellows with compassion and vision
We\u2019ll be clean when their work is done
We\u2019ll be eternally free yes and eternally young<\/p>\n<\/blockquote>\n

\u201cAll Watched Over\u201d draws its strength from the same dramatic irony\u2014to see it is to recognize that tech prophesying is no less rampant now than it was in Brautigan\u2019s day. Indeed, it\u2019s considerably more insidious. Uber is unconcerned about automating their human drivers out of existence<\/a>. In Amsterdam, an institution called Singularity University recently offered a $30,000 \u201cSingularity Summit\u201d<\/a> that promised \u201cto totally rewire your brain\u201d; it advocated augmenting our minds, suggesting that \u201ca superintelligent artificial neocortex the size of a planet\u201d could automate all work. People paid to hear this. The new cybernetic meadow is flooded with capital.<\/p>\n

\"\"<\/a>

Shannon Ebner, Electric Comma Four<\/i>, 2013, archival-pigment print, 43″ x 60″. Courtesy Wallspace<\/p><\/div>

\"MURPHY_Daytime-Corridor<\/a>

Brenna Murphy, Daytime~Terrace<\/i>, 2015, archival-pigment print mounted on Dibond, 30″ x 30″.<\/p><\/div>

\"\"<\/a>

Michael Riedel, Untitled (Form)<\/i> (installation view), 2014, silkscreen on linen, 90 1\/2″ x 67 x 2 1\/4″. Courtesy David Zwirner, New York\/London<\/p><\/div>

\"\"<\/a>

Michael Portnoy, Kalochrome 1A<\/i> (installation view), 2014, screen print on canvas, 49 1\/2″ x 44″. Courtesy Ibid. Projects<\/p><\/div>

\"\"<\/a>

Lee Mullican, Untitled<\/i>, no date, oil on canvas, 50″ x 40″. Courtesy Marc Selwyn Fine Art<\/p><\/div>

\"\"<\/a>

Nongirrnga Marawili, Baratjula<\/i>, 2014, paint on board, 94 7\/16″ x 47 3\/16″.<\/p><\/div>

\"\"<\/a>

Paul Laffoley, The World Self<\/i>, 1967, oil, acrylic, and vinyl press type on canvas with a magic mirror, 61 1\/2″ x 61 3\/8″. Courtesy Kent Fine Art<\/p><\/div>

\"\"<\/a>

Paul Laffoley, Alchemy: The Telenomic Process of the Universe<\/i>, 1973, oil, acrylic, ink, and vinyl press type on canvas, 73 1\/2″ x 73 1\/2″.<\/p><\/div><\/p>\n

\u201cAll Watched Over\u201d is at James Cohan Gallery through August 7.<\/em><\/p>\n

Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

In 1967, while he was a poet-in-residence at the California Institute of Technology, Richard Brautigan wrote \u201cAll Watched Over by Machines of Loving Grace,\u201d a gamboling techno-utopian vision that reads, nearly fifty years later, as farcically, hauntingly naive: I like to think (and the sooner the better!) of a cybernetic meadow where mammals and computers […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[18930,35,18923,18932,18929,12883,14425,18925,18926,18927,18924,4154,18922,10618,18928,18931,18933],"class_list":["post-88240","post","type-post","status-publish","format-standard","hentry","category-look","tag-all-watched-over","tag-art","tag-brenna-murphy","tag-cybernetics","tag-donald-fagen","tag-futurism","tag-james-cohan-gallery","tag-lee-mullican","tag-michael-portnoy","tag-michael-riedel","tag-nongirrnga-marawili","tag-paintings","tag-paul-laffoley","tag-richard-brautigan","tag-shannon-ebner","tag-techno-utopia","tag-tina-kukielski"],"acf":[],"yoast_head":"\nLook: Richard Brautigan\u2019s Poetry Inspires Techno-Utopian Art<\/title>\n<meta name=\"description\" content=\"\u201cAll Watched Over\u201d at James Cohan Gallery\" \/>\n<meta name=\"robots\" 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