Showing posts with label ben westoby. Show all posts
Showing posts with label ben westoby. Show all posts

20 Dec 2024

Philematology: On Kissing and Cannibalism

Daniel Silver: Kissing (2024) [1]
Statuario Altissimo marble and bronze,
with a stainless steel baseplate

 
I. 
 
It wasn't until I saw Daniel Silver's sculpture of bronze lovers "'stuck together like two jujube lozenges'" [2] that I realised the full horror of an oft-quoted remark made by Georges Bataille: 
 
A kiss is the beginning of cannibalism ...
 
 
II. 
 
What this means is that there's an accursed link between eating and eroticism. 
 
For consumption, like sex, is a way in which separate beings not only communicate, but fatally come into touch, enabling the self and non-self to bridge their discontinuous existence as individuals [3].  
 
Or, to put it another way, sexual desire that drives us to press lips together and insert tongues in mouths (and other bodily orifices) and the voracious desire to devour the other, are as closely connected as Eros and Thanatos in a general economy in which non-productive expenditure (via acts that often violently transgress social norms) is key.    

Herman Hupfeld may insist that "a kiss is just a kiss" [4], but, as a matter of fact, nothing is ever so innocent or free from context (i.e., a whole network of meaning and significance). 
 
 
III.
 
Apparently, anthropologists disagree on whether kissing is instinctual or an example of learned behaviour. 
 
Those who favour the former point to the fact that other animals appear to kiss (whilst ignoring that not all humans engage in the activity) [5]
 
Those who favour the latter, argue that kissing in its modern (romantic) form has evolved from activities such as suckling or premastication in early human cultures [6] and there is certainly evidence to support the claim that cataglottism [7] has developed from mouth-to-mouth regurgitation of food - or kiss-feeding - either from parent to offspring, or between lovers.
 
 
IV.
 
It might be noted in closing, that man's will to merger or primal unity - be it via the sexual penetration of a lover's body or the consumption of their flesh - is what some describe as a death instinct, seeing as it conflicts with the "central law of all organic life"; namely, that each organism is "intrinsically isolate and single" [8].  
 
The problem, of course, is that another vital law is that we need and desire one another; that each organism only thrives via intimate contact with others.  
 
Fortunately, coition is only ever a coming-close-to-death; a meeting but not a mixing of separate blood-streams. There is no real union during sexual intercourse and, once the crisis is over, the sovereign individuality of each party remains intact. 
 
However, that's not the case in cannibalism, or what might be called a hard-vore scenario, wherein at least one party is going to be semi-digested and certainly won't be able to enjoy a cigarette afterwards as a singular being.   
 
 
Notes
 
[1] Daniel Silver's Kissing (2024) - in part inspired by Constantin Brâncuși's famous sculpture, The Kiss (1907-08) - features in his Uncanny Valley exhibition currently showing at the Frith Street Gallery (Golden Square, London), until 18 January 2025. The photo is by Ben Westoby, courtesy of the artist and gallery. For more details visit: frithstreetgallery.com
 
[2] This humorous remark is made by Rawdon Lilly in D. H. Lawrence's novel Aaron's Rod, ed. Mara Kalnins (Cambridge University Press, 1988), p. 91.
 
[3] See Georges Bataille, The Accursed Share: An Essay on General Economy, Vol. I, trans Robert Hurley, (Zone Books, 1988). Readers interested in Bataille's interesting (somewhat idiosyncratic) take on death and sensuality might also like to see his work entitled Erotism, trans. Mary Dalwood (City Light Books, 1986). It is also available as a Penguin edition entitled Eroticism (2001).

[4] Herman Hupfeld (1894-1951) was an American songwriter, whose most notable composition was 'As Time Goes By' (1931), which featured in the 1942 film Casablanca (dir. Michael Curtiz), performed by Dooley Wilson as Sam. The line quoted here is taken from the song. 
 
[5] I'm pretty sure that Heideggerians would protest that although many other animals exchange what appear to be kisses of affection, they are not kisses in the full sense (that kissing is something that only human beings can fully experience due to our ontologically unique status). 

[6] Another theory suggests that kissing originated during the paleolithic era, when cavemen would taste the saliva of females in order to determine whether they would make a healthy mate (or perhaps a hearty meal).
 
[7] Cataglottism - more commonly known as French kissing - involves extensive tongue activity in order to induce sexual arousal and not merely the pressing together of lips. 
      As Freud rightly says, it is strictly speaking a type of kinky deviation from normal sexual activity, even if no one acknowledges or rejects it as such. See his Introductory Lectures on Psychoanalysis (1920), in which he writes: "Even a kiss can claim to be described as a perverse act, since it consists in the bringing together of two oral erotogenic zones instead of the two genitals."
      Later, Freud comments on how strange it is that the lips have such erotic value amongst lovers - including the most sophisticated ones - in spite of the fact that (technically) they are not sexual organs, but constitute the entrance to the digestive tract. 

[8] D. H. Lawrence, 'Edgar Allan Poe', Studies in Classic American Literature, Final Version (1923), ed. Ezra Greenspan, Lindeth Vasey and John Worthen, (Cambridge University Press, 2003), p. 67.
        
 
Further reading: those who are interested in this topic might like to see Ursula de Leeuw's essay 'A kiss is the beginning of cannibalism: Julia Ducournau's Raw and Bataillean Horror', in Exchanges: The Interdisciplinary Research Journal, Volume 7, Issue 2, (2020), pp. 215-228. Click here for an online pdf. 
 
 

17 Dec 2024

From Victory to Stone: Into the Uncanny Valley with Daniel Silver


Daniel Silver: Uncanny Valley (29 November 2024 - 18 January 2025)
Frith Street Gallery (Golden Square, London) 
Photo by Ben Westoby / frithstreetgallery.com 
 

I. 
 
Firstly - and I hope this doesn't seem too pedantic - but the concept of the uncanny valley does not refer to an underworld in which one finds oneself lost, as the press release for the new exhibition of work by British sculptor Daniel Silver at the Frith Street Gallery claims [1]

The uncanny valley - as I'm sure many torpedophiles will know - is a psychophysiological phenomenon (rather than a mythogeographical location, such as Hades) that refers to the unease and revulsion experienced by people when challenged by certain ambiguities, inconsistencies, and/or discrepancies (in voice, movement, or appearance) of the almost but not quite human [2].  
 
 
II.
 
Daniel Silver was born in London, in 1972, and studied at the Slade School of Fine Art and The Royal College of Art.  
 
He describes his sculptural work as an attempt to combine ancient and modern elements whilst, simultaneously, communicating something of the timeless (and universal) character of humanity - not a project that I approve of, obviously.
 
For such idealism invariably means a retreat from external reality and the positing of a fantasy of inner life and essential being that ultimately serves to domesticate and contain mankind within some kind of crypto-theological or, in this case, a psychoanalytic narrative (Silver is a reader of Freud, so not surprising that he should think about the family ties between his pieces).  
 
Having said that, Silver does remain committed to celebrating the substantial nature of his figures, in bronze and large, heavy pieces of raw marble excavated from an old Italian stone yard, and it's this that most excites about the ten pieces in this exhibition (certainly more than the oedipal elements that he attempts to overcode the work with). 
 
Indeed, if I were a sculptor, I would be exclusively concerned with materiality and the fact that human biology is founded upon and born of geology, not Geist - i.e., that organic life evolved from inorganic rocks and minerals in a chemical process known as abiogenesis (now there's a title and a theme for a new exhibition) [3].       
 
 
Notes
 
[1] Click here to go to the Frith Street Gallery website where full details of Daniel Silver's Uncanny Valley exhibition (29 Nov 2024 - 18 Jan 2025) can be found and a copy of the press release downoaded.
 
[2] This term, uncanny valley, is an English translation (by the art critic Jasia Reichardt) of a phrase coined in 1970 by Japanese roboticist Masahiro Mori - bukimi no tani. In order to avoid association with the earlier psychoanalytic concept of das Unheimliche (which Freud developed from the work of Ernst Jentsch), the phrase is sometimes alternatively translated in English as valley of eeriness (which is unfortunately not quite as catchy, even if arguably more accurate).
      According to Mark Fisher, the eerie is a distinct mode of strangeness that troubles the notion of agency and makes us question our own existence or uniqueness, making us feel anxious or apprehensive. It has very little to do with Freud's concept and should not be equated to the latter.    
      See Mark Fisher, the Weird and the Eerie (Repeater Books, 2016). And see my two-part post on this work published 10 October 2023: click here.   
 
[3] Paula Zambrano, Curator of Programmes at the Contemporary Art Society, anticipates what I'm suggesting here in her short piece posted on 6 December 2024 on the CAS website, writing that Silver's work "exists between the human and non-human, intertwining rocks with bodies, minerals with flesh, embodying multiple temporalities". That's spot on, I think. 
      Unfortunately, however, she ends her piece mistakenly claiming that the uncanny valley is "shaped by memories and desires" and "is the realm of the underworld as a metaphor for the unconscious", thereby falling into the Freudian trap that Mark Fisher warned against (see note 2 above).
      To read Zambrano's article in full, click here.    
 
 
Musical bonus 1: The title of Silver's exhibition - 'Uncanny Valley' - comes from a track by the singer-songwriter Johnny Flynn working in collaboration with author Robert MacFarlane, that was released as a single from the studio album The Moon Also Rises (Transgressive Records, 2023): click here.
 
Musical bonus 2: The title of this post - 'From Victory to Stone' -  comes from a track by the Scottish punk rock band the Skids, released as the second single from their debut album Scared to Dance (Virgin Records, 1979). Written by Richard Jobson and Stuart Adamson, it reached number 10 in the UK Singles Chart: click here.  
 
Click here for another post written on Daniel Silver's Uncanny Valley exhibition at the Frith Street Gallery (29 Nov 2024 - 18 Jan 2025).