"Vetter's work is a timely inquiry into the dynamics of power associated with techno-Panopticism." - Mark Poster, author of Marxism and Foucault.
"Grant Vetter's book is remarkable not only for its brilliant mapping of neo-Panoptic architectures and the evolution of intensive controls over life and social energies, but for its deep and sustained meditation on the historical relevance and potential of Feng Shui as a creative and practical mode of resistance." - William Bogard, author of Simulation and Surveillance.
"Confronting cartographies of subjectivation, Vetter presents an exciting and timely series of meditations on the development and implications of surveillance architectures. Guiding the discussion is a quest for emancipatory potentials in the relationships betweeen people and the architectonic forces shaping contemporary life. In this book one will encounter the obvious figures, such as Bentham and Foucault, as well as Batman and Japanese horror films. An important discussion of how subjectivity can be understood and how that can be controlled is opened here." - Paul Boshers, Co-editor of Continent Journal
The Architecture of Control: A Contribution to the Critique of the Science of Apparatuses.
I have written numerous catalog essays over the years. Here is just a brief sampling of some of my recent work.
I do freelance writing for a dollar a word.
I typically write essays, art reviews, book reviews and pieces for art monographs.
The kind of writing I do is a type of art criticism that is grounded in theories about aesthetic experience from the tradition of continental philosophy and contemporary theories of art production.
Back Cover: Through six meditations on the ideology of architecture, Grant Vetter is able to give us an entirely new set of coordinates for understanding social control in the 21st century. Moving between historical precedents in the east and the west, Vetter's work reveals a hybrid order of architectural power that acts on subjectivity from within rather than without. Whether characterized as a process of indo-colonization, social ionization or a sub-atomizing social physics, Vetter's account of architectural subjectiviation requires a complete rethinking of power/knowlege as invested in producing 'perfected' subjects rather than 'normative' ones. This new paradigm can be described as a soveriegn power inasmuch as it acts directly on the body through enterrogatory discipline, inferrogatory infomatics, modulated (in)dividualism, auto-effective attunement and incentivizing injunctions. As a critical rejoiner to the discussion of Panopticism, The Architecture of Control is essential reading for everyone who is interested in new modes of resistance to the designs of biopower and imperial democracy.
"Wanted to thank you for 'getting it', seriously, you nailed it - did you secretly crawl into my head and pour over my files? The art theory, philosophy and art mags come in and out of my life - I read and listen and challenge myself with their thoughts - put them down and then come back. The visual life is a constant and like you implied in your piece, I'm constantly playing with the 'handmade' and the 'machine made' worlds, testing where their edges overlap... So thank you again for your thoughtful peice, I'm looking forward to reading it again!"
Art critic, curator
In philosophy I was a student of Slavoj Zižek, Alain Badiou, Jacques Rancière, Michael Hardt, Gorgio Agamben, Judith Butler, Avital Ronell, Brian Massumi, Manuel DeLanda, Simon Critchley and many other noteworthy theorists.
In art I had the honor of studying with Daniel Joseph Martinez, Richard Jackson, Rachel Lachowicz, Kevin Appel, Yuhee Min, Monica Majoli, Adam Ross, John Millei, Tom Knechtel, Scott Hess, Connie Samaras and Miles Coolidge.
In video and film the instructors who had the greatesrt influence on my thinking about the language of the moving image were Kerry Tribe, Bill Jones, Bruce Yonemoto, Peter Greenaway, Barbra Hammer, and the Brothers Quay.
Art critics such as Jeremy Gilbert-Rolfe, Jan Tumlir, Simon Leung, Juli Carson, Martha Gever, and Terry R. Myers all played a decisve role in helping me to find my direction and voice as an art writer.