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The Poetry of Feedback


#1

Today, outside of a few specialized applications, the would-be metascience of cybernetics is remembered, if at all, only as a hazy prelude to modern computing and information technology. But in the United States during the 1950s and 1960s cybernetics was popular on a scale that might be difficult to appreciate today and enjoyed a nonspecialist audience that extended far and wide from the academic centers and military-industrial research centers where it was born. Books like Norbert Wiener’s The Human Use of Human Beings and Gregory Bateson’s Steps to an Ecology of Mind sold hundreds of thousands of copies, while cybernetic theorizations made plausible and significant contributions to economics and anthropology, business management theory and art criticism, psychoanalysis and linguistics, as well as core areas in the applied and theoretical sciences, which everyone expected would soon be completely transformed by such research. The status of cybernetics as the overarching future framework of not only the natural but also the social sciences (and even the arts) seemed virtually assured, even to its enemies. Martin Heidegger, for instance, thought this product of Anglo-American technocracy, born from the crucible of World War II and its rationalized barbarism, threatening enough that he would answer curtly with the single word “cybernetics” when asked by a Der Spiegel reporter in 1966, “And what takes the place of philosophy?”

American literature during this period was saturated with cybernetic metaphors, concepts, and themes. In fact, many of the novels that would later come to form the canonical instances of postmodern literature are essentially built around cybernetic concepts such as information, entropy, feedback, and system—from the allegories of control in William Burroughs’s Nova trilogy and Kurt Vonnegut’s Player Piano, to the melodramas of heat death and entropic decay in Philip K. Dick’s Ubik and A Scanner Darkly and J. G. Ballard’s short stories (to name a British writer); from the paradoxes of information and entropy in William Gaddis’s JR and Thomas Pynchon’s 1960s novels, to the thought of feedback and system in John Barth, Donald Barthelme, Robert Coover, and, later on, Don DeLillo. If you were a white man and interested in experimentation in prose fiction in the 1960s and 1970s, then you were probably writing about machines, entropy, and information. Beyond the domain of the novel, the breakdown and efflorescence of neo-avant-garde art in the late 1960s was in some sense superintended by a popular reception of cybernetic ideas as well as a more general worrying about media and medium. The 1970 “Information” show at MoMA, including work by many of the most recognizable figures of this period, is an index of the broad distribution of the cybernetic imaginary, which provided a primary conceptual framework for Robert Smithson, Hans Haacke, and Dan Graham; Vito Acconci, Allan Kaprow, Adrian Piper, Hélio Oiticica, and Yvonne Rainer, to name just a few, as well as the poets and writers of the period who were, in some sense, understood as conceptual and performance artists: Hannah Weiner, Madeline Gins, and Bernadette Mayer. Charles Olson made “feedback” a guiding metaphor for his compositional process, as did A. R. Ammons. Beyond the American literary and art scene, French structuralism and poststructuralism were, in many regards, elaborated through a reception of Anglo-American cybernetics—Jacques Lacan writes famously about cybernetics in his second seminar, as do Claude Levi-Strauss and Roland Barthes, and as would Jean Baudrillard, Jean-François Lyotard, Jacques Derrida, and Gilles Deleuze and Félix Guattari later on. Indeed, as Bernard Geoghegan notes, one of the explanations for the precipitous disappearance of cybernetics as a referent was its replacement by a set of poststructural concepts that were, to some extent, its progeny.

In a section of the The Human Use of Human Beings, Norbert Wiener bemoans the lack of a contemporary humanistic and scientific lingua franca of the sort that Latin once provided. The implication, throughout the book, is that cybernetics might provide this new common tongue for the complex, technological societies of the twentieth century. And although this vision never came to pass, among the conceptual artists, performers, poets, musicians, and dancers of downtown New York in the late 1960s and 1970s, cybernetic concepts functioned as a kind of lingua franca and were, in part, what enabled a person to write a poem one day, make an installation the next, and design a performance the day after that. Just as cybernetic concepts emerged at the boundaries of mathematics, physics, engineering, and biology—from the common efforts of various researchers brought together in government-sponsored research programs and conferences—cybernetically inflected concepts such as “system,” “process,” and “information” provided an interart grammar that allowed conceptual artists, musicians, dancers, and poets to engage in common projects, developing new aesthetic categories, such as “the happening” or “environment,” by which these projects could be received.

How do we explain this development? How do we understand the broad appeal for artists of this “science of everything,” gaining in popularity and clout such that, by the mid-1960s, it provided key conceptual frameworks for both the counterculture and the corporate, political elite, for neo-avant-garde artists, and government technocrats? Cybernetics is, in the formulation Norbert Wiener gives it, defined as the scientific study of “control and communication in the animal and machine.” Its central concepts emerge, in part, from attempts by Wiener and others to develop self-correcting antiaircraft guns—in other words, guns that could track the movement of a plane and predict where it would be by the time an artillery shell reached it. This required a certain form of feedback whereby information received from an object—in this case, the target—produced a self-adjustment and a change in the “behavior” of the gun. Although the techniques for mechanical self-regulation date from the invention of the water clock and feature in devices as familiar as the household thermostat, one of the best examples of the servomechanical union of communication and action is cybernetician W. Ross Ashby’s “homeostat.” This is a device made from four interconnected electrical transistors such that the electrical output from one transistor becomes the electrical input of the other three. Each one of the four transistors has a number of settings that determines how it modulates inputs and turns them into outputs, and thus the number of possible combinations of inputs and outputs the machine can produce is exceedingly complex, yielding up tens of thousands of results. Despite their complexity, the results divide rather simply into either stable or unstable patterns. The input voltages for each transistor either settle around a single value or, alternately, fluctuate back and forth wildly, producing fluctuating outputs and a chaotic set of feedbacks between transistors. What makes this machine seem a plausible model for homeostasis and self-regulation, however, is that the thousands of possible unstable states lead, by design, to a stable one. If after a period of time the input voltages fail to settle on a single value, the transistor resets and randomly tries a new setting. It continues to reset until it finds a setting that leads to a stable input voltage. All of the transistors continue to reset until they find a range of settings that leads to stable inputs and outputs for each other. Thus, this is a self-stabilizing machine, what cyberneticians call a “hyperstable” device, capable of self-modulating through the mechanism of feedback, in response to changing inputs. Such devices provided, for many cyberneticians, a plausible portrait of how the body regulates its own temperature, how an animal learns from its behavior, how a corporation adapts to changing market conditions, and how a national economy corrects itself in the face of trade imbalances.

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