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Becoming-Objects: Gregory Minissale
Becoming-Objects: Gregory Minissale
Becoming-objects
Gregory Minissale
The properties of the object and the intentions of the subject . . . are not only inter-
mingled: they constitute a new whole.
~Maurice Merleau-Ponty, The Primacy of Perception
4 GREGORY MINISSALE
and the blanket itself, a lifetime thrown away. The molecular view threatens to
overrun measurement and conceptualisation; a perceptual drunkenness turns into
an abject sublime.
These contemporary artists disturb the normative psychological mechanisms
employed by the visual system in scene and object recognition, interrupting their
seamless functioning with political and cultural interventions that concern
globalisation, ecological politics, and systems of power. Many of these artworks
suggest that returning to an idyllic traditional cultural authenticity is highly
problematic. Yet out of the detritus of globalised capital, commodity culture, and
consumables, ‘local’ creativeness and ingenuity emerge in these works to create
eventful singularities. Offsetting stereotypical, traditional images of authenticity
are the fragments of contemporary manufactured goods that have been dis-
assembled and reassembled for creative practice and ‘emancipated’ viewing—that
is, more active, problematic, and critical viewing. This emancipation not only
subverts automatic psychological response but also allows a critical appraisal of
these hybrid objects and their embrace of heterogeneous materials and origins,
which complicates assumptions about cultural identity based on instant object
recognition.2
Such artworks may eventually condition us to have appetites for even more
2
Perhaps a more philosophical appraisal of this shimmering of global and local aspects of
the object is Levi Bryant, Graham Harman, and Nick Srnicek’s (2011) notion that differences
produced by an object can be inter-ontic (made with or in relation to another object) or intra-
ontic (a part-whole series of distinctions premised on the internal constitution of the object).
An interesting parallel with the global and local aspect of the artworks I mention is their
notion of a ‘local manifestation’ of an object’s powers or properties in the here and now. One
would assume that, in this schema, global aspects are those things that subsist before or
after its assemblage but may still be congruent with it in any given situation. These artworks
also show that they have virtual dimensions (they once were, they will become) and actual
manifestations (what they are at a point in time). Although speculative realism suggests that
the object or artwork is in excess of its relations, and, as Bryant (2012) suggests, “can no
longer be thought as having a meaning . . . . because the meaning of the work itself is
indeterminate,” it is important to remember that this should not prevent us from exploring
this indeterminacy and polysemy, even if this polysemy becomes a kind of Heideggerian
strife between earth and world, acknowledging the essential undisclosedness of the object’s
materiality.
BECOMING-OBJECTS 5
multiplication of possibilities that these artworks encourage resists a univocal
interpretation and, to a certain extent, any settled kind of subjectivity in response
to form. They suggest that our identities and what we see are both processes that
are intertwined in flux rather than fixed in the cold stare of a positivist unveiling.
These rational, psychological approaches to explaining how we understand
objects may be ‘modal.’ This involves identifying an object with our spatial and
sensorimotor systems so that we may grasp, or imagine grasping, a hammer: the
object is immediately identified for action. Yet we may also have certain emotional
predispositions of aversion or reward that influence such processes. It also seems
that there are ‘amodal’ ways of understanding objects beyond sensorimotor sys-
tems, whereby we understand a hammer to be part of a complex cultural category
of tools we associate with situations (building a house, mending a fence, cracking a
macadamia nut), or even part of a group of cultural artifacts identifying mytho-
logical gods. These understandings and inferences are more like linguistic exercises
that rely on semantic and cultural memory, and may or may not rely on sensor-
imotor action or simulations to ‘grasp’ the concept ‘hammer.’ A more thematic
involvement with feeling the hammer—its weight and design—would lean on
phenomenological approaches to understanding objects.
Illustrating how the human brain integrates multiple types of information for
ordinary object identification to take place are well-documented cases of brain
lesions (apraxia) that do not allow patients to use sensorimotor knowledge in order
to use a hammer or any other tool:
6 GREGORY MINISSALE
and its relationship to the constitution of subjectivity can be challenged, which, I
argue, is an important way that these objects ‘work’: by problematizing objecthood
through objects.
Is it possible for the art object to be complicated in a way that is not primarily
meant to integrate the self as part of the experience of object identification (“I see
therefore I am”)? It seems important that art objects should create a difference, a
momentary rupture in habitual being in the world yoked onto a default anthro-
pocentric view of objects. I want to suggest that helping us to move away from an
automatic humanist viewpoint in the structuration of objecthood are aspects of
Deleuze and Guattari’s ‘becoming-imperceptible’—which adapt Whitehead’s
process philosophy—but with the important caveat that it is not the human subject
who observes such fluid processes from a detached position, but is in itself involved
in these very processes of change. Even my understanding is contingent upon these
flows and connectivities. With this view, it is possible to understand objects as
moments of relative stability within broader processes of entropy or trans-
formation, with my body and understanding also subject to various different
speeds and qualities of change in complex networks. These processes are greater
than me; perhaps I will outlive some of them, yet many of these processes will
continue without me. This understanding presents an important opening onto a
wider ecological context. This is what Deleuze and Guattari suggest is part of
becoming-imperceptible: the death of the author and the transcendent ego observ-
ing contingencies from a detached vantage point. What is normally imperceptible is
the simple fact that we are already always immersed physically and temporally in
processes of transformation.
Deleuze writes that the world is “a wall of loose, uncemented stones, where
every element has a value in itself but also in relation to others” (1997, 86). This
configural viewing, which disintegrates the semiotics of the wall for a glimpse of an
ontological flux, is what we see in Olafur Eliasson’s (1994) Moss Wall. This is an
enormous wall set up to look like an abstract painting, with a soft and immersive
olive-green colourfield. On closer inspection, this percept dissolves into a million
tiny focal points, for these are thriving mosses; their slender rootlike filaments hook
into the concrete substratum of the gallery wall. It is a massive living organism, one
and many, taken from the environment outside the gallery, here growing indiff-
erent to the presence of the viewer.
Another work by Honoré d’O (1996-2012), Air and Inner, shown recently at the
Sydney Biennial, consists of many rolls of blank white drawing paper hanging from
the ceiling. These create a maze brushing against the skin and obstructing passage.
Nested amongst these hangings is an old timber log. Outside the maze, dozens of
chairs invite viewers to sit and draw on pads of paper or leave messages. The
gallery is turned into a drawing lesson of sorts—but what are the objects viewers
should draw? The installation suggests timelines that come together outside of the
installation, a virtuality—the paper was once a tree, and it can become art. What
will I draw on a piece of paper with a pencil (that was once also a tree)? What will I
BECOMING-OBJECTS 7
imagine: a tree, a forest, or a field of seeds? Thinking beyond the retinal object or
objects frozen in one time frame in the gallery installation, we experience the time
of becoming, of creativity and potential, and new possibilities—a wider physical
and temporal ecology).
It is interesting that in many of these artworks, consciousness of the molecular
view questions a strong sense of subjectivity (as well as the object first identified)
by revealing macropolitical systems of power and non-human duration. The
‘becoming’ of the art object consists, first and foremost, of its indiscernibility: not
only that it is a neither/nor but that it is also a bit of this and a bit of that. It
straddles various worlds; in its facture it discloses something of its origins and also
something of its future trajectory. This is important because by having a ‘life-cycle’
of their own, these objects prefigure, and will postdate, the viewer’s experience,
suggesting that there is a process not dependent on the viewer’s subjective
engagement with it. This encounter with the object is one small part of the object’s
history, in which my certainty of knowing, possessing, or fixing, is undermined.
Rather than walking away from such artworks unaffected and detached, the viewer
could go away and convert energies, neural plasticity, and affects into new
configurations of matter; writing on a page, painting a picture, or having a
conversation all continue to transform this process of becoming and differentiation.
Such a continuation overlaps the artificial beginning and end by which we parse
the event of the encounter with the art object.
We favour perceptible objects over imperceptible processes even though every
object undergoes imperceptible processes of change that constitute the object. We
favour identifiable percepts with detached contours and the divisibility of things
not within the continuum underlying these folds. We favour an anthropocentric
view of existence projected and reflected back by these segmentations of object-
hood. Yet the artwork, when configured to reveal fine-grained details, dis-closes
something of its own phenomenology; it anticipates and sometimes scuppers my
attempts at intelligibility. These artworks and their molecular loosening of the
molar object into seriality (or a formlessness) intimates an always seething flux of
materiality underlying the temporary aggregation of objecthood that is held
together by willpower, gravity, and rational constructs. As I have said, objects can
‘shimmer’ between “the no longer and not yet” (Braidotti 2006, 147).
Deleuze and Guattari’s ‘becoming-imperceptible’ works both for the object and
the viewer of the object; it works against perceiving objects with common sense.
We are encouraged to understand them beyond perception (becoming-imper-
ceptible), which also encourages us to go beyond the model of ourselves as
constituting and constituted by these perceptions (becoming-imperceptible to
oneself). For Deleuze and Guattari this is ‘molecular’ because it undergirds the
‘obviously’ visible, organised into discrete molar objects. The art object suggests
that objects are generally aggregates of particles that are joined together by a criss-
crossing series of events, forces, and affects between bodies. Objects only appear
8 GREGORY MINISSALE
stable from a fixed viewpoint. These objects are imperceptibly in flux in terms of
time and physics, eroded by the air, sunlight, and micro-movements in the density
of matter, and always in the changing environmental and political contexts they
find themselves in. An object can then be thought of as bringing together different
speeds of change, both external and internal, to the object. Art objects are part of
this process, yet somehow they are also able to make this manifest in unexpected
ways.
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