Ars Combinatoria: Or, Hegel’s Logic as Chronotope for the Digital Age
The combinatory is an idea whose time, once again, has come. In The Language of New Media, Lev Manovich argues that the database is one of the primary apparatus of the new media age. He cites Dziga Vertov’s use of this form to ‘digitize’ the visible world, in films such as Man with a Movie Camera (decades before the advent of the digital computer), as a key precursor of the mode of de/reconstructing the world in the age of computerized media. And yet we can go back further – Leibniz, widely considered one of the forefathers of the modern computer – was himself fascinated by dream of a ‘universal characteristic’, a combinatory which could translate human thought into a series of symbols which could avoid the ambiguities of human language. Combined with production of the first binary numeral system, as well as his attempt to produce a mechanical adding machine, Leibniz’s desire seems fulfilled in the contemporary form whereby inputs hit computers, are metabolized into numerical codes which are stored in database grids, then to be read and output in cybernetic loops with us, their human relay centers.
Manovich has argued that time itself changes in the digital age, it ceases to be the linear time of modernity (which for Vilem Flusser was prompted itself by the linearity of the sentence as promoted by the ‘Gutenberg revolution’), and rather is spatialized by the very form of the database grid. In database time, each cell in the grid contains a moment, retrievable at random, not necessarily placed in the order of temporal flow. Thus, you open one cell and the grid and see yourself as a child, in the one nextdoor, as a geriatric, and in between as split between ovum and sperm. Certain experimental films and books, particularly hypertext fictions, pursue a related notion of temporality which Gilles Deleuze, Cinema II: The Time-Image, calls crystalline time. In crystalline time, there is still a flow of present to past at the level of the observer, but this observer moves continually amongst a series of ‘cells’ of the past and future, thereby combining the linearity of modern temporal flow with the spatialized time of the computer database. A film such as Federico Fellini’s 8 1/2 is an example given by Deleuze of the manner in which ‘time is out of joint’ in the post-war world, producing an interpenetration of memory and imagination, desire and anticipation, all in a multi-temporal present which explores time as one explores a house whose labyrinthine structure is crystlline, and whose rooms indicate moments of time. A film which takes this to the next level, for Deleuze, is Alain Resnais’ Last Year at Marienbad, in which the protagonists explore a variety of virtual scenarios, what Leibniz would call ‘incompossible’ combinations of events, each of which present alternative futures and pasts, many of which could not exist at the same time. For Deleuze, Resnais’ film presents us with one of the most advanced images of the crystalline form of time appropriate to the postwar age.
Videogames present perhaps some of the most advanced forms of crystalline narration available today, in forms which go beyond the inherent linearity of time within film. Many contemporary videogames present the player with virtual worlds which are like Leibniz’s combinatory of possible worlds as presented in his Monadology (leading Ken Wark, in Gamer Theory, to refer to Leibniz’s God as a sort of cosmological video-game programer).. Key events lead to forking paths which separate the world of play into parallel realities, only one of which the player can follow at a time, but which by playing multiple times and making multiple choices, allow for an exploration of incompossible parallel realities. Such an approach uses a linear formation to explore the potential permutations of time as algorithm, as spatio-temporal crystal. What’s more, on the level of the code whereby the game itself operates, the form of the database generates this time-as-crystal via a mode of production whose form is analogous to its content. The crystal is in many senses the form of time, or as Mikhail Bakhtin would say, the ‘chronotope’ of our networked digital age.
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