Will Absence Make My Heart Grow Fonder of Byung-Chul Han? (Part 2)

 

Cover of the original German edition (2007) [a]

 

 

I.

According to Byung-Chul Han: "Anti-gravity is the fundamental characteristic of the Western soul, even of Western thinking." [48] 

 

Hegel, for example, is bored by inertia and hates the heaviness of matter: "Anti-gravity is the fundamental trait of Hegel's 'spirit'." [49]

 

And even Zarathustra was opposed to the Spirit of Gravity and wished to see young people become light of foot like dancers and for dancers to become birdlike, so that they may experience the incredible sensation of taking flight [b]. Weighed down by the Spirit of Gravity, they are prevented from ever loving themselves and discovering their own goodness, says Nietzsche. 

 

Of course, this all goes back to Plato who conceived of the human soul as striving towards the divine and infinite: "Its feathered wings allow it to shed its heaviness and float upwards towards the gods [...]" [50]

Far Eastern thinking, by contrast, "is pro-gravitational [...] insofar as it seeks to accomodate itself to the weight of the world" [51], rather than inciting resistance. Keep your feet on the ground seems to be the message.

 

 

II. 

The sea was angry that day my friends ... But that's okay, because maritime adventure is another popular metaphor in Western philosophy: "Conquering stormy seas is seen as a heroic undertaking." [56] 

 

Both Hegel and Nietzsche love to compare thinking to setting out on an endless ocean; for the former - perhaps the most hydrophobic of all philosophers - this requires real courage; for water is the most mendacious of all elements "because it permanently changes its form, because it does not have a form of its own at all" [57] [c] and fails, unlike solid ground, to offer stability (an important aspect of essence):

 

"Western thinking has its source in a desire for solid ground. It is precisely this compulsive desire for permanence and clarity that makes every deviation, every transformation, look like a threat." [58]

 

Kant also relies on a metaphor of seafaring to illustrate his concept of thinking; he trusts in a good captain to navigate with knowledge and to keep the boat clear of dangers: 

 

"The Kantian art of helmsmanship conquers the sea by framing it with a system of principles and fully charting it with coordinates." [58]. 

 

Reason will triumph over the darkness of the oceanic depths, tame the wild waves, and keep the ship off the rocks. Even Heidegger subscribes to this, although he argues for the importance of exposing thought to the abysmal sea.

 

This is not a very Chinese way of thinking: for Chinese philosophers the mind is as great as the sea and in fact they form a unity. Thus, the sea is no threat to man: "Someone who is as big as the world will not be hindered or impeded by anything in the world." [62] 

 

There's no angst in the Chinese model; it's far more carefree and effortless: "You are effortless when you do not set anything against the world, when you fully unite with it." [62] 

 

Thus, as Han concludes: "Chinese thinking involves an altogether different relationship to the world; it is characterized by a deep trust in the world" [63] - and a love of water, in which is seen the highest goodness:

"Because it lacks all solidity, water does not exercise any coercion. It is yielding and flexible. Thus, it does not encounter any resistance. As it does not assert itself, does not resist anything, does not oppose anything, it does not compete in strife." [64] [d]

 

Water, we might say, seduces, although this is not a term that Han uses. He concludes this interesting chapter on land and sea (and ways of thinking) with a convenient summary of what has been discussed:

 

"For the Chinese, the sea is not a symbol of chaos or the abyss, nor is it a mysterious place that lures adventurers. It is neither the sea of Odysseus nor that of Kant and Hegel. It is a place of in-difference, of the unbounded and inexhaustible. In the Far East, the transition from land to sea is not experienced as a transition from a firm ground to an unstable support. It is a transition from the limited to the inexhaustible and comprehensive, from difference to in-difference, from fulless to emptiness, from presencing to absencing, from holding fast to releasement (Gelassenheit). This is true not only of Daoism but also of Zen Buddhism. The moment of satori (illumination) is one of a great transition that leads to an oceanic feeling." [68-69] [e] 

 

Han continues:

 

"For the Chinese, water, or the sea, is the symbol for a thinking or a behaviour that, from moment to moment, adapts and snuggles up to the transforming world [...] The world is not abysmal. It is merely manifold in its manifestations. It is not a being but a path that permanently changes course. Far Eastern thought does not circle around identity. Transformations and change are not felt to be a threat. They just represent the natural course of things, to which one needs to adapt." [69]

 

The Chinese sage does not feel the need to set sail and conquer the world - he's happy just to snuggle up to the latter and be shaped by it ... One is almost tempted to say: Like a woman [f]. 

III.

 

Because we are so caught up in grammar - the metaphysics or presence of God within language - it makes it very hard for a Westerner ever to really think or speak or see the world like someone from the Far East. 

 

Han's native Korean, for example, doesn't presuppose an active subject - in fact the subject is often left out of things altogether, which is problematic for Westerners who find it hard to conceive of a subject-less happening; we have to have an actor behind every action (be it a human actor or a god) [g]. 

 

Han writes: "The subject is a slave who is under the delusion that he is master." [81] What would be noble, from a Buddhist perspective, would be to escape this delusion (and subjectivity) entirely.    

 

Would it be noble also to remain silent? Confucius often wished to remain silent. But Han is at pains to point out that Confucius's silence "does not aim at the unsayable, the mystery that cannot captured by language" [82]. Nor does he want to remain schtum because he thinks language is insufficient "and cannot signify its object adequately" [82]. 

 

In fact, the unsayable - that which escapes language - "is not a theme in Far Eastern thinking" [82] - it's a Western thing: "Language is renounced in favour of a remainder that can be expressed only in song" [82], for example. Or silence is affirmed as the only thing that can do justice to this extralinguistic residue (be it metaphysial, asthetic, or ethical in character). 

 

The silence of Zen masters is an empty silence; it does not refer to anything, but is designed to make others think about the reality of the world, which just is as it is, neither secret nor mysterious; "there are no murky depths" [83] for philosophers or psychoanalysts to uncover or root around in like pigs in search of truffles.   

 

 

IV.

 

The final chapter of Han's book is on greeting and bowing, i.e., forms of friendliness - although, interestingly, he suggests that originally to greet someone "must have involved emitting a dark, gutteral, threatening sound" [90], as, etymologically, the word means to attack, provoke, or unsettle.

 

Somehow, even as a (slightly shy but also somewhat cheeky) three-year old, I already knew this; which is why I was not just being friendly when I stood on my front garden wall and greeted strangers passing by [h].   

 

Han writes:

 

"Initially, the other represents a possible threat and danger to my existence. The other has an usettling effect. The gutteral sound of gruozen is probably an immediate reaction to the primordial threat posed by the other, another human being. By emmitting a gutteral, threatening sound I challenge the other to fight." [91]  

 

Eventually, once there's a degree of mutual recognition, the greeting becomes more of a form of reassurance; it tells the other that they are accepted and that you mean no harm to them. But, crucially, both parties remain separate; a greeting does not instantly or automatically create intimacy; the greeter greets the other across a pathos of distance and from within their own essence. 

 

Offering a friendly greeting lets the other be in their essential otherness - it's not aiming at some form of merger; it says I'm me and you're you. But the Japanese do not verbally greet with a grunt, they bow ...

 

According to Han, bowing is all about absencing oneself from the scene; there's no exchange of gaze or mutual sizing up. In a deep bow, parties form a flat plane between them, levelling out difference. Neither party bows to the other, they bow rather into the empty space between them. Technically speaking, no one is greeting or being greeted; and no one is subjugated or subjugating. 

 

Han writes: "A deep bow does not mediate between persons, does not reconcile anyone with anyone else. Rather, it empties and de-internalizes those involved into absencing individuals." [98]

And that's why bowing is so philosophically important; it's not just a form of politeness, but a way of negating essence and identity [i].

Notes

 

[a] I am using the English translation of this work by Byung-Chul Han, translated by Daniel Steur as Absence, (Polity Press, 2023) - all page numbers given in this post refer to this edition.  

 

[b] See Nietzsche, Thus Spoke Zarathustra, 'On the Spirit of Gravity'. 

      Readers who are interested might also like to see my post entitled 'On Dance as a Method of Becoming-Bird' (10 Oct 2015): click here.

 

[c] Later, Han will note that whilst water may not have a form of its own, "it is anything but 'amorphous'. It always has a shape, because it takes the form of the other in order to unfold. It is friendly because [...] it snuggles up to any form." [64]

[d] This way of thinking isn't entirely unknown in the West - one thinks, for example, of Henry Miller's insistence on loving everything that flows - but, on the whole, it's undoubtedly true that we in the West prefer things to be dry and solid. Readers who are interested might like to see the post published on 7 June 2013: click here.

[e] Again, this line of thought is not entirely alien to Western thinkers; Zarathustra, for example, tells his followers that in order to be overhuman they must become a sea so as not to be defiled by the polluted rivers of the all too human world, although, admittedly, that's not not quite the same thing as the oceanic feeling of oneness that Far Eastern philosophers champion and Han concludes that Nietzsche - for all his attempted reversal of Western metaphysics - "remained a Western thinker" [70]

      Interestingly, Freud - another great Western thinker - argues that (if it exists) the oceanic feeling is a primitive form of egoism preserved from infancy.     

[f] I'll let readers decide whether that's a  good or bad thing, but would remind those in need of reminding that even Nietzsche toyed with the supposition that truth might be a woman; see the Preface to Beyond Good and Evil. If that's the case, then that pretty much changes everything; no phallogocentic certainty; no solid foundations or fixed forms, etc. (Again, I'll let readers decide whether this would be for better or for worse.) 

[g] Han notes: "For Asian aesthetic sensibility, something that happens without a subject being involved, without the imprint of a doing, is both noble and beautiful. The imprint of a subjective act is a typically Western motif." [84] 

      Nietzsche, of course, attempted to think deeds without an actor, but, says Han, he was unable to "turn from the philosophy of doing and power to the philosophy of happening" [85], which is why he remained very much a Western thinker and "more or less attached to subjectivity" [85].

      As for Heidegger, whilst he "may have repeatedly allowed himself to be touched by Far Eastern thinking" [88], he also remained in many respects a Western thinker attached to the idea of essence. And if he frequently used the trope of the way, his way "differs from the way as dao" [88]. Ultimately, Heidegger's being is a bit more mysterious and withdrawn than the being-so of Eastern thinking, which is what we might call everyday immanence.   

[h] See the post entitled 'Say Hello Then!' (3 Aug 2018): click here.

 

[i] I'm pretty sure Roland Barthes recognised this in L'Empire des Signes (1970), though I'm not sure Larry David fully appreciated this in episode 7 of season 8 of Curb Your Enthusiasm (2011). See the post entitled 'Shit Bow: Larry David and Roland Barthes on the Art of Japanese Etiquette' (26 Oct 2017): click here. 

 

 

To read part 1 of this post, please click here. 

Will Absence Make My Heart Grow Fonder of Byung-Chul Han? (Part 1)

(Polity Press, 2023)

 

 

I. 

 

Although Daniel Steuer's English translation of Byung-Chul Han's book Absence was only published last year, the original German text appeared back in 2007 [a], and so we can rightly think of it as one of his early works; more philosophical and less political in tone as it explores the Western obsession with essence in contrast to the Eastern (and deeply foreign) notion of absence.    

 

As Han rightly says: "The concept of 'essence', which unites identity, duration and inwardness, dwelling, lingering and possessing, dominates occidental metaphysics." [1] From ancient Greeks like Plato to German idealists like Kant, essence is the key and be yourself the melody. What is outside and inessential can stay there and remain that way.

 

Even Heidegger, argues Han, "despite his best efforts at leaving metaphysical thinking behind [...] remained a philosopher of essence" [4]. In wanting to let things be he wants things to remain true to their own essence. Ultimately, Dasein both dwells and endures. It does not wander too far from itself (even if it explores the odd woodpath from time to time). 

 

But in Daoism, the wise man is without fixed abode and never stops wandering; evading all substantive determination and having no stable identity, he leaves no trail or name behind him. Daoist wandering may not be the same as Zen Buddhist non-dwelling, "but the negativity of absencing connects the two" [5]. 

 

Ultimately, the "fundamental topos of Far Eastern thinking is not being but the way [...] The way lacks the solidity of being and essence, which is what leads to the emergence of traces" [5]. Westerners talk about finding the way, but by that they really just mean finding themselves; the Eastern wanderer, however, becomes the way and doesn't hope to find anything (walking with neither intention nor direction). 

The Western philosopher wants his soul to blossom; the Eastern thinker, like the flower, doesn't have a soul (and remains nameless). They also remain rooted in the material world and care for the body; eating when hungry, sleeping when tired. Oh, and they also remain silent, still, and inactive.  

 

I have to admit, all of this appeals to me very much - and I say that as someone who has been hostile to (and dismissive of) Eastern thought in the past. It seems to me to that absence and emptiness and meaninglessness may very well lead "not to nihilism but to a heavenly joy [...] being without direction or trace" [13]. 

 

Kant - and those idiots who think happiness is all about being stuffed-full and satiated; all about having purpose and direction - wouldn't like this, but I do. Like Laozi, I'm happy to lead a life "without sense and goal, without teleology and narration, without transcendence and God" [14] - to be, as the Sex Pistols once sang, pretty vacant [b] and to find in this freedom, not spiritual deprivation [c]. 

 

 

II.

 

This is interesting: 

 

"Of course, postmodern thinkers also oppose ideas of substance and identity. [...] The negativity of these thinkers brings them closer to absencing and emptiness, but [...] Far Eastern thinking [...] is alien to them [...] The Far Eastern thinking of emptiness leaves deconstruction behind in order to achieve a special kind of reconstruction." [16]

 

This special kind of reconstruction is worldly immanence - "the 'this-is-how-it-is' of things" [16]. 

 

To be fair, I think Deleuze gets this when he transforms no-where into now/here. And when Derrida insists il n'y a pas de hors-texte - for isn't that similar to the Daoist notion that there is nothing above, beyond, or outside of the immanence of the world ...?

Anyway, the point is this: immanence is a crucial concept - as is "the painful charm of transience" [19] which allows for the development of an art and poetry of blandness, in which things fade out and blow away (again, this reminds me somewhat of Roland Barthes's theory of neutrality). 

 

 

III.

 

If essence is difference and a way of keeping things clear cut, then absencing is a form of indifference; one that un-bounds and makes indistinguishable. It's hard to see the outline of a white flower against a snow-covered backdrop (or a black cat in a coal cellar as others would say). 

 

The East is messy - things flow into each other: "Nothing imposes itself. Nothing demarcates itself from other things. Everything appears to retreat into an in-difference." [22-23]  The West, by contrast, likes strong boundaries and distinctions and closure.

 

Han continues:

"In-difference also fosters an intense side-by-side of what is different. It creates an optimal degree of cohesion with a minimal amount of organic, organized connection. Synthetic composition gives way to a syndetic continuum of closeness in which things do not come together as a unity." [23-24]

The cathedral is a space that is perfectly enclosed; even stained-glass windows are designed to keep the natural daylight out, which is why D. H. Lawrence preferred them in a state of ruin, exposed to the elements, etc. [d]

 

Han, however, seems to prefer a Buddhist temple that is "neither fully closed nor fully open" [26]. The spatiality of the latter "effects neither an inwardness nor a being-exposed" [26]. Doors of white rice paper are preferable to colourful stained-glass windows and standing light without direction is preferabe to a divine radiance from above that is intended to illuminate everything:

 

"The standing light, which has become fully indeterminate, in-different, does not emphasize the presence of things; it submerges them in absence." [27]    

 

It's almost as if white standing light brings a special type of darkness. You don't get that with modern glass architecture which marks the triumph of transparency. 

For Han, then, the Buddhist temple is preferable to the Christian cathedral; the Greek temple; and the shiny American skyscraper of glass and steel. It's not just a question of spatiality and light, but asymmetry; "an aesthetic principle of Zen Buddhism" [29] which "breaks up presence into absencing" [29].

 

I suppose some might say that it's all a question of how one sees things. And this brings us on to the question of eyes:

 

"According to Hegel's philosophical physiognomy, the eyes should be surrounded by the elevated bones so that 'the strengthened shadow in the orbits gives us of itself a feeling of depth and undistracted inner life'." [30]

 

But Eastern eyes, of course, are flat:

 

"Hegel would explain this in terms of a lack of inwardness, that is, an infantile spirit that has not yet awoken to subjective inwardness and therefore remains embedded in nature." [30]

 

But what does Hegel know about the beauty of the absencing gaze ...?

 

 

IV.

 

D. H. Lawrence thought there was nothing more bourgeois than the unfading flowers of heaven. But the Kantian lover of the beautiful would probably delight in such; their "imperishable splendour would most likely [...] make him happy" [33].

 

For sure, he'd not like it if they were revealed to be fake flowers - their artificiality depriving them of "their teleological, even theological, significance" [33] - but their everlasting nature would only intensify his love for them. Plato too dreamed of a divine form of beauty that "neither emerges nor vanishes, neither increases nor decreases" [33]. 

 

But for someone who views the word from a Far Eastern perspective, the most beautiful thing of all about a flower is its transience; the fact that it loses its petals without any hesitation and is content to disappear. For such a person, the bare stem or twig is as beautiful as a flowering plant or tree in full bloom. 

 

In other words: 

 

"In the sensibility of the Far East, neither the permanence [Ständigkeit] of being nor the stability [Beständigkeit] of essences is part of the beautiful. Things that persist, subsist or insist are neither beautiful nor noble. Beautiful is not what stands out or exceeds but what exercises self-restraint or retreats, not what is solid but what hovers. Beautiful are things that carry the traces of nothingness [...] not full presence but a 'there' that is coated with an absence [...]" [33-34]   

 

The Japanese call this wabi-sabi - the art of impermanence that "combines the unfinished, the imperfect, the transient, the fragile and the unassuming" [34]. Even your favourite Clarice Cliff milk jug is made more beautiful by a tiny crack or chip; and every silver bowl is improved when it loses its sheen and begins to darken [e].    

 

Han writes: 

 

"Satori (illumination) actually has nothing to do with shining or light. This is another point on which Eastern spirituality differs from occidental mysticism, with its metaphysics of light. Light multiplies presence. Buddhism, however, is a religion of absence." [35]

 

In the West, people almost want to be blinded by the light; a light either from some transcendent source or an inner light that emphasises the presence of things. Han - like Tanizaki - seems to admire the magic light of absence; a light that does not disturb or dispel the darkness; a friendly light. 

 

 

V. 

 

Finally, a few brief notes on (i) food, (ii) flower arranging, (iii) rock gardens, and (iv) theatre ...

 

(i) It's funny, but one of the complaints of English people is that Chinese food leaves them feeling empty inside five minutes after eating. Han provides a possible explanation: "Emptiness and absence also characterize the cuisine of the Far East." [39] Rice is the perfect example of this; lacking colour, lacking taste, offering no resistance (providing nothing to chew).

 

"Far Eastern cuisine appears empty also because it does not have a centre [...] The meals lack the centre or weight of a main dish and the closedness of a menu." [40]  

 

Further, in the West we like to cut food up with a knife and fork; in the East they assemble food with chopsticks.

 

(ii) The Japanese art of flower arranging is known as Ikebana - which means bringing flowers to life: 

 

"It is, however, an unusual kind of invigoration, because the flower is cut off from its root [...] The flower is invigorated by dealing it a mortal blow. [...] This raises it above the process of slow withering, its natural death. The flower is thereby removed from the difference between 'life' and 'death'. It shines with a special vitality, a flowering in-difference  [...] that has its source in the spirit of emptiness." [40-41]

 

The flower radiates with an unnatural (and transient) vitality; the shining of absence. 

 

(iii) If you have ever walked round a Japanese rock garden, you might have come away feeling a bit disappointed that there wasn't much to see. But that's the point; they are designed as gardens of absence and emptiness. 

 

However, despite their absence and emptiness, "they radiate", says Han, "an intense vitality" [41] and visitors must learn to appreciate the flow of the lines raked into the gravel and the darkness of the rocks. 

 

The Japanese rock garden is another method of paradoxical invigoration: "It invigorates nature by completely drying out its soul" [42] and placing it in a state of satori. 

 

(iv) Traditional Japanese puppet theatre (Bunraku) is also radically different to the world of Punch and Judy, showing that the latter is not the only way to do it. The Western puppet theatre animates characters via funny voices; in Bunraku it's all about the gesture and the puppets remain soulless figures.    

 

Similarly, Noh theatre is a theatre of absence: the costumes and masks worn by the living, human actors are designed to make them look like puppet figures. Even when an actor appears on stage without a mask, "the uncovered face is expressionless and empty" [44]. 

 

And the narrative composition of Noh theatre also adds to the sense of absence; its hard to tell what is real and what is dream - what is past and what is present - things appear only to then disappear once more (probably best not to worry too much about the plot in such cicumstances) [f].

 

 

Notes

 

[a] The German edition was published as Abwesen: Zur Kultur und Philosophie des fernen Ostens (Merv Verlag, 2007). In this post, page numbers refer to the English edition (Polity Press, 2023).  

[b] 'Pretty Vacant' was the third single released by the Sex Pistols (Virgin Records, 1977): click here to watch the official video for the song (which was shown on Top of the Pops) and/or here to read my post written on the track and published on TTA on 30 July 2108.   

[c] Is this also Han's view? It's hard to know. For whilst here he writes that the world "has no narrative structure" and is therefore "resistant to the crisis of meaning" [14], sixteen years later he will publish a book entitled Die Krise der Narration (2023) in which he seems to argue strongly in favour of narratives that anchor us in being and subscribe to a form of Catholicism informed by Martin Heidegger. Anyway, readers who are interested can click here to access the first part of a three-part post on this recent text. 

[d] See the post 'Believe in the Ruins: Reflections of a Gargolyle ...' (16 April 2019) in which I discuss Lawrence's thoughts on religious architecture: click here.

[e] Han at this point refers us to Tanizaki's famous essay on Japanese aesthetics, In Praise of Shadows (1933). I have mentioned this work in several posts on Torpedo the Ark (click here, for example) and it partly formed the basis for a paper delivered at Treadwell's Bookshop in September 2023 on occultism in the age of transparency (an extract from which can be read by clicking here). 

 

[f] For the record: I find all theatre irritating and tedious; I do like the tranquility of a Japanese rock garden, but enjoy also the colourful chaos of an English wildflower meadow; and, if obliged to choose, I'd prefer to have steak and chips for dinner than a bowl of egg-fried rice. 

Part two of this post can be read by clicking here.

 

 

Fragmented Remarks on Mark Fisher's Ghosts of My Life - Part 2: The Return of the 70s

Joy Division (L-R: Peter Hook / Ian Curtis / Bernard Sumner / Stephen Morris) 

 

 "Were they fallen angels or ordinary blokes?"

 

 

Any piece of writing entitled 'The Return of the 70s' is guaranteed to excite my interest; particularly one that understands 1979-80 to be a threshold moment when one world gave way to another. 

 

But, as is so often the case, expectations are rarely met and part of my frustration with Mr Fisher's work comes out of disappointment. It's not that he fails to deliver insightful commentary (and retrospective judgement) on the decade, more that his points of reference are so very different from mine; the books of John le Carré and David Peace, for example, are almost entirely unfamiliar to me [a]. 

 

Thus, here, I shall discuss only what Fisher says about post-punk favourites Joy Division and the grotesque figure of Jimmy Savile [b].  

 

 

I. 

Fisher opens his exploration of the 70s with the following statement: "If Joy Division matter now more than ever, it's because they capture the depressed spirit of our times." [c] 

 

Fisher wants (and probably expects) his readers to agree that: 

 

(i) pop groups in general have (socio-cultural and/or philosophical) significance ...

 

(ii) Joy Division in particular have growing (socio-cultural and/or philosophical) import ...

 

(iii) a state of despondent melancholia defines the Geist der Zeiten in which he was writing [d] ...

 

(iv) this depressed spirit can magically be captured (embodied and expressed) by a group of musicians (which essentially returns us to the first point).    

 

The problem is, I'm not sure I do agree with all (or even any) of these points. 

 

But let's say, for arguments sake, that, like Hegel, we accept the notion that there's a virtual agency determining the ideas and beliefs of a given epoch and that art reflects the culture of the era in which it is created (not least because artists are themselves a product of their time). 

 

That might be an argument for why art matters, but it still doesn't mean Joy Division are - or ever were - as important as Fisher insists; "more than a pop group, more than entertainment" [53].

 

I mean, don't get me wrong, I like Joy Division and even have a well-worn copy of their debut studio album Unknown Pleasures (Factory Records, 1979) in my record collection. But they're not the Beatles, or the Sex Pistols, when it comes to capturing (and transforming) the spirit of the times or channelling the future. 

 

These two groups - and perhaps only these two - were (to adopt and extend a term coined by Foucault) founders of discursivity (changing forever the way we think, speak, act, dress, etc.).

 

 

II. 

 

Fisher continues his piece on Joy Division by declaring them to be "the most Schopenhauerian of rock groups" [59]. 

 

By which one might assume he was simply referring to the fact that although they failed to have much success during their time as a band (1976-1980), they have exerted a wide-reaching influence ever since. But actually, Fisher means something much more interesting:

 

"What makes Joy Division so Schopenhauerian is the disjunction between [Ian] Curtis's detachment and the urgency of the music, its implacable drive standing in for the dumb insatiability of the life-Will [...] not experienced by the depressive as some redemptive positivity, but as the ultimate horror ..." [60]

 

Fisher expands on this:

 

"Joy Division followed Schopenhauer through the curtain of Maya [...] and dared to examine the hideous machineries that produce the world-as-appearance. What did they see there? Only what all depressives, all mystics, always see: the obscene undead twitching of the Will as it seeks to maintain the illusion that this object, the one it is fixated upon NOW [...] will satisfy it in a way that all other objects thus far have failed to do." [60] 

 

Joy Division see through things; they know - far more radically than the Rolling Stones - that there's never any satisfaction; that the true Schopenhaurien moments are those "in which you achieve your goals, perhaps realise your long-cherished heart's desire - and feel cheated, empty [...] voided [61].

 

This existential revelation - that we don't really want or need what we thought we most desperately wanted or needed and that even our most urgent desires "are only a filthy vitalist trick to keep the show on the road" [61] - is central to what Fisher calls depressive ontology.

 

 

III. 

The great debate over Joy Division, says Fisher, is this: "Were they fallen angels or ordinary blokes?" [63]

 

Alert to the blackmail of the either/or, Fisher doesn't take the Deleuzian option of neither/nor, but nor, like Bartleby, does he simply prefer not to say. Rather, he suggests we should hold on to both options; "the Joy Division of Pure Art, and the Joy Division who were 'just a laff'" [63]. 

 

In other words, we should be a little bit of a romantic aesthete and a little bit of a lumpen empiricist, insisting like the latter on the need to root the band's songs "back in the quotidian at its least elevated and [...] least serious" [63]. 

 

Fisher's reason for wanting to hold on to both versions of Joy Division is surprising (and moving): 

 

"For if the truth of Joy Division is that they were Lads, then Joy Division must also be the truth of Laddism. And so it would appear: beneath all the red-nosed downer-fuelled jollity of the past two decades, mental illness has increased some 70% amongst adolescents. Suicide remains one of the most common sources of death for young males." [63] [e]

 

 

IV. 

 

We'll never know what Mark Fisher would have made of Steve Coogan's portrayal of Jimmy Savile in the four-part TV drama The Reckoning (2023), though I suspect he would have found it as problematic as Michael Sheen's portrayal of Brian Clough in The Damned United (2009) and for pretty much the same reasons:

 

"The problem with Sheen's now well established approach to historical characters is that it deprives the film's world of any autonomous reality - everything is indexed to a reality external to the film, judged only by how well it matches our already existing image of the character, whether that be Clough, Kenneth Williams, Blair or Frost." [87]

 

An actor with "more courage and presence than Sheen might have reached beyond physical appearances to reach a truth [...] not accessible via the TV footage" [87]. 

 

As I say - and without wanting to put words into Fisher's dead mouth -  I suspect he would also condemn Coogan for simply offering an impression of Savile; perfectly competant as far as "mannerisms and verbal tics" [87] go, but "devoid of any of the tortured inner life" [87] that might have made Savile a more complex and more interesting character (although, arguably, what was so terrifying about Savile was his emptiness; the fact that there was a complete moral vacuum where one might have expected to find at least the remnants of a soul).

 

 

V.       

 

Fisher makes the intriguing suggestion that Jimmy Savile may have struck a deal with the Devil:

 

"You'll get to live out your life with your reputation intact [...], but a year after your death, it will all be destroyed. Nothing, absolutely nothing, will survive. Your headstone will be dismantled. The penthouse in which you lived will be demolished. Your name will become synonymous with evil." [88]

 

Although he was a professed Catholic, I think Savile would have happily struck such a bargain. 

 

In fact, one suspects that the thought of the truth finally being revealed after his death would have delighted him. For it confirms the fact that he got away with everything and made fools of everyone, including politicians, members of the royal family, and even Pope John Paul II, who awarded him a knighthood in 1990.   

 

People say Savile was hiding in plain sight, but, actually, it was more a case of no one really daring to look, or, if they did look, then they refused to believe the evidence of their own eyes. It was only in 2012 that the obscene truth began to leak out, "like a build-up of effluent that could no longer be contained" [88] - first seeping, then surging.  

By the end of that year, says Fisher, "the 70s was returning, no longer as some bittersweet nostalgia trip, but as trauma" [89] as  the world of light (entertainment) transformed into "the darkest horror" [90]. Not only did we have to accept the truth about Savile, we also had to reconsider our affection for Gary Glitter and even, in 2014, Rolf Harris [f]. 

Parents used to think they had to lock up their children when the Rolling Stones or the Sex Pistols came to town, but it was actually Jake the Peg (diddle-iddle-iddle-um) and uncle Jimmy they really should've kept an eye on (as it 'appens).   

But they didn't. And so Savile went on abusing his victims; young and old, male and female, dead or alive. Fisher provides a political explanation why this was so:

"At the time when Savile was abusing, the victims were faced, not with Jimmy Savile the monster, Jimmy Savile the prolific abuser of children, but with Jimmy Savile, Knight Commader of the Pontifical Equestrian Order of Saint Gregory the Great. When we ask how Savile got away with it all, we must remember this. Naturally, fear played a part in keeping Savile's victims quiet. [...] But we also need to take seriously the way that power can warp the experience of reality itself. Abuse by the powerful induces a cognitive dissonance in the vulnerable - this can't possibly be happening." [94-95] 

 

Fisher (brilliantly) concludes his piece on Savile:

 

"The powerful trade on the idea that abuse and corruption used to happen, but not any more. Abuse and cover-up can be admitted, but only on condition that they are confined to the past. That was then, things are different now ..." [95]

Notes

 

[a] I have watched the film adaptation of Peace's 2006 novel The Damned Utd (2006) and I enjoyed it. Fisher, on the other hand, hates it; arguing that the film lacks all the bite and Gnostic mythography of the book and that in the hands of the film's director (Tom Hooper) and writer (Peter Morgan) the story is reduced into just another off-the-shelf cliché-ridden narrative. 

      Fisher also criticises Michael Sheen's performance (as Brian Clough) as campy and based on a popular image and pre-existing idea of the character, lacking depth or inner life. I will pick up on this in section IV of this post, when discussing Steve Coogan's portrayal of Jimmy Saville in the TV drama The Reckoning (2023). 

      See Fisher's piece '"Can the World Be as Sad as It Seems?": David Peace and His Adapters', in Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures, (Zero Books, 2022), pp. 80-87. His remarks on The Damned Utd are on pp. 85-87.  

 

[b] British readers will of course know who Jimmy Savile was (and what he was). But for anyone who is unfamiliar with the name ... 

      Sir James Wilson Vincent Savile OBE KCSG (1926-2011) was an English media personality and DJ. He hosted the long-running BBC TV shows Top of the Pops and Jim'll Fix It. During his lifetime, Savile was well known (and much-loved, although Fisher denies this) for his eccentric image and charitable work. After his death, however, hundreds of allegations of sexual abuse made against him were investigated, leading the police to conclude that he had been a predatory and prolific sex offender (such allegations made during his lifetime were dismissed and accusers ignored or disbelieved). 

      As a result of the ensuing scandal, some of the honours that Savile was awarded during his career were posthumously revoked and his television appearances - including episodes of Top of the Pops that he presented - are no longer repeated. As Fisher notes: "Now, condemnation is not enough: all traces of his existence must be removed [...] as if he were some medieval devil [...]" Ghosts of My Life, p. 94. 

 

[c] Mark Fisher, Ghosts of My Life ... p. 50. Future page references to this second edition of Fisher's book will be given directly in the text.   

[d] Fisher's piece on Joy Division was adapted from a post on his k-punk blog dated 9 Jan 2005. It was published in its final form in Ghosts of My Life in 2014. 

[e] Joy Division's vocalist and lyricist Ian Curtis, who suffered from epilepsy and depression, committed suicide, aged 23, in May 1980. Writer and cultural theorist Mark Fisher, who also suffered from depression, committed suicide, aged 48, in January 2017. As a friend of mine remarked upon hearing of the latter's death (perhaps a little cruelly): K-punk is kaput.  

[f] Glitter's status as a glam rock idol was irredeemably tarnished after he was imprisoned for downloading child pornography in 1999, convicted of child sexual abuse in 2006, and found guilty of a series of sexual offences (including attempted rape) in 2015. All round entertainer Rolf Harris, popular throughout the '60s, '70s, and 1980s, was convicted in 2014 of having sexually assaulted four underage girls. 

 

Part 1 of this post on Lost Futures can be read by clicking here.   

Part 3 of this post - on hauntology - can be read by clicking here. 

 

Travels in Hyperculture With Byung-Chul-Han 1: We Are All Tourists Now

 

In nil sapiendo vita iucundissima est

 

 

I.

 

As Jarvis Cocker correctly observed back in 1995: Everybody hates a tourist [a]. 

 

However, according to German philosopher Byung Chul-Han, writing ten years later in his 2005 study Hyperkulturalität [b] - and in agreement with the British ethnologist Nigel Barley - we are all more or less tourists dressed in Hawaiian shirts today; not because of a universal desire to explore faraway lands and experience foreign cultures, but because there are now no faraway lands or foreign cultures in a globalised world [c].

All that remains post-globalisation is hyperculture, or what some refer to as supermodernity; an era of accelerated technological change that results in a transformation of time and space - and, indeed, our very humanity. 

 

Hyperculture goes way beyond anything foreseen by Zarathustra, though perhaps he glimpsed something of it when he flew into the future [d]. To understand it a little better, let's take a closer look at Byung Chul-Han's study ...  

 

 

II.

  

The Greeks, of course, had a profound understanding of culture in terms of harmonious manifoldness; that is to say, unity in diversity cultivated on the very soil of discord and difference. Culture, for the Greeks, is what Nietzsche regards as the giving of style to various forms of life (whereas barbarism - the very opposite of culture - is precisely a "lack of style or a chaotic jumble of all styles" [e]).  

 

Byung Chul-Han also returns to the ancient Greeks on the question of culture. His reading, however, is informed by Hegel rather than Nietzsche, although in his Lectures on the Philosophy of History (1837), the former also speaks of the genesis of Greek culture in terms of heterogeneity and otherness in need of being overcome. 

 

In other words, whilst Greece was born of an original chaos of peoples, it was only via a long process of discipline and breeding that the true spirit of Greece could unfold. 

 

But whilst Hegel "tries to do justice to the fact" [3] that heterogeneity is an elementary aspect of the Greek character, once they have forged a European identity he stresses the importance of belonging to a happy home in which there is no longer any desire for that which is outside or alien; the foreign is now dismissed and it's all about family and fatherland.

 

This might have some negative consequences - such as being unable to see beyond one's own position or hear strange sounds - but, as Herder argues, it is precisely this myopia and deafness that allows for a state of cheerful self-contentment: "'National happiness' emerges because the 'soul' forgets the 'manifold dispositions' that dwell within it and elevates a part of itself to the status of the whole" [5].   

 

This type of happiness is unknown or of little interest to tourists in Hawaiian shirts. For they lack style, that is to say, lack the self-discipline needed for culture in the old sense characterised by closing one's eyes and one's ears to certain sights and sounds in order to see what is near to hand and hear the song of one's own soul. 

 

Han writes:

 

"Their happiness is of an altogether different kind; it is a happiness that emerges from an abolition of facticity, a removal of the attachment to the 'here', the site. In their case, the foreign is not 'sickness'. It is something new to be appropriated. The tourists in Hawaiian shirts inhabit a world that unbounds itself, a hypermarket of culture, a hyperspace of possibilities." [5-6]

 

Thus, these tourists in a hypercultural reality - which some, like Ted Nelson, term Xanadu - are just as content as natives living in a spiritual homeland bound by borders and rooted in bio-terrestrial reality (blood and soil), and they are certainly freer in many regards.  

 

 

III. 

 

The irony, of course, is that we were promised by the globalists that new modes of transport and new communications technology would open up the world and expand our horizons. But globalisation has shrunk cultural space and condensed everything:

 

"Heterogeneous cultural contents are pushed together side by side. Cultural spaces overlap and penetrate each other. This unbounding also applies to time. Not only different sites but also different time frames are de-distanced [...] Cultures implode; that is, they are de-distanced into a hyperculture." [9]

 

Again, some seem perfectly okay with this (although their happiness is reminiscent of that experienced by Nietzsche's letzter Mensch, which he describes as the happiness of a flea). Others, however, are not so pleased and feel obliged to offer resistance:

"There are many for whom [hyperculture] means the trauma of loss. Re-theologization, re-mythologization and re-nationalization are common reactions to the hyperculturalization of the world. Thus, hypercultural de-siting will have to confront a fundamentalism of sites." [10]

That doesn't sound great. Deleuze and Guattari, who famously discuss all this in terms of de- and reterritorialization, warn of the dangers of attempting to recodify the world and form neo-territorialities based upon past ideals and the invention of new falsehoods. Ultimately, such neo-territorialities are, at best, "artificial, residual, archaic" [f] and, at worst, prone to quickly becoming fascistic.   

But I'm not sure how much we need to worry: mythical time (in which everything and everyone has a fixed place) is surely over. And so too is (linear) historical time. We are left, then, like it or not, living in this time; the time characterised by Vilém Flusser as that of the bit (rather than the image or the book):

 

"It lacks any comprehensive horizon of meaning. It is de-theologized, or de-teleologicized, into an 'atom-like' 'universe of bits', a 'mosaic universe' in which possibilities 'buzz' like points, or 'sprinkle' like 'grains', as 'discrete sensations' [...] 

      In this 'universe of points' [...] Dasein is surrounded by freely hovering possibilities. In this way, the 'universe of points' promises greater freedom. After all, the future is 'everywhere' that I 'turn to'." [12]

 

Heidegger might not like it - may think it compromises authenticity, dis-inherits Dasein, and produces a dictatorship of the They - but  I have to admit, I rather like the sound of this space-time that is more vortex than void, particularly as it allows also for increasing interconnectedness (with others and with things), expanding the future by creating an abundance of relations and possibilities. 

 

Whether this is driven by Eros, or a more perverse inclination, is debatable. But it's certain that even though hyperculture may help to bring about new forms and possibilities of being, Heidegger would not be persuaded to consider the upside of life today: "Faced with a colourful patchwork society, he would invoke the 'we' of a community of fate." [14]       

 

Ultimately, Heidegger is interested in dwelling, not travel and tourism. And he would fail to see that hyperculture is not merely universal monoculture. Sure, you can buy a Big Mac anywhere in the world - but it's fusion food that really defines what's going on today: 

 

"This hypercuisine does not level the diversity of eating cultures. It does not just blindly throw everything into one pot. Rather, it thrives on the differences. This allows it to create a diversity that would not be possible on the basis of preserving the purity of local food cultures. Globalization and diversity are not mutually exclusive." [16] [g]

 

 

IV.

 

As might be clear, devising a (non-essentialist) model of contemporary culture that is able to capture the dynamism of what's unfolding today isn't easy. And to be fair, Byung-Chul Han does a pretty good job. 

 

One understands from reading his essay how hyperculture is detached from any origin and brings heterogeneous elements together in such a manner that ideas of near and far, indigenous and foreign, become untenable; how culture is now boundless and unrestricted and we are all tourists within it. Not so much nowhere, as prepared to bid farewell to a here "that used to give Being its auratic depth, or rather the semblance of an aura" [34].           

 

We might also describe this culture as rhizomatic in nature - and Han credits Deleuze and Guattari for developing a concept in their work which "proves suitable for the description of certain aspects of hyperculture" [27]. He also summarises it for readers unfamiliar with the idea:

 

"The 'rhizome' denotes a non-centred plurality that cannot be subjected to any comprehensive order [...] Thus, a rhizome is an open structure whose heterogeneous elements constantly play into each other, shift across each other and are in a process of constant 'becoming'. The rhizomatic space is a space not of 'negotiation' but of transformation [...] Rhizomatic distribution, even dispersal, de-substantializes and de-internalizes culture and thereby turns it into hyperculture." [27-28]    

 

We can contrast this with an arboreal model of culture with its deep roots and branches. Further - and finally - rhizomatic hyperculture is not one of inwardness or remembrance. It has, if you like, no soul; or, to use Benjamin's favoured term, no aura - "the resplendence and radiance of a specific 'here and now' that cannot be repeated there [34]. 

           

Still, as Han notes, there's no need to lament de-auratization in terms exclusively of loss (such as loss of origin, loss of essence, loss of authenticity, or even loss of Being as Heidegger would have it). Maybe - just maybe - something good will come of all this; "another reality, which shines in the absence of the auratic" [36].

 

The question is: "When the 'here and now' becomes a repeatable there and later" [37], will we have gained more than we lose? 

 

To find out how Byung-Chul Han answers, readers are invited to click here for part two of this post.

 

 

Notes

 

[a] Pulp, 'Common People', single release from the album Different Class (Island, 1995). 

[b] Byung-Chul Han, Hyperkulturalität: Kultur und Globalisierung, (Merve Verlag, 2005) This text has now been pulished in an English translation by Daniel Steuer, (Polity Press, 2022) and page references given above refer to this edition of the work, rather than the German original. 

[c] Just to clarify at the outset: when Byung-Chul Han speaks of a hypercultural tourist, he does not necessarily mean someone who is always jet-setting or globetrotting: such a person is already a tourist when at home; there is no here or there or any final destination to arrive at. 

[d] See Nietzsche, Thus Spoke Zarathustra, 'Of the Land of Culture'. 

      Han credits Nietzsche with being "one of the few thinkers capable of looking far ahead, of resonating with vibrations that came from the future" [31]. Indeed, I might be being unfair to Zarathustra in suggesting that the idea of hyperculture was beyond his ability to conceive. Perhaps the thing that ultimately lets Nietzsche down is his insistent aestheticism, which "tends towards a re-teleologization, a re-theologization, of culture" [33].  

[e] Nietzsche, 'David Strauss, the Confessor and the Writer', in Untimely Meditations, trans. R. J. Hollingdale, (Cambridge University Press, 1992). p. 6. 

[f] Gilles Deleuze and Félix, Guattari, Anti-Oedipus, trans. Robert Hurley, Mark Seem, and Helen R. Lane, (The Athlone Press, 1994), p. 257. 

[g] Interestingly, it's not just Heidegger who has an issue here. As Han reminds us: "Out of a fear of diversity, Plato already condemned the use of spices and the manifold dishes of Sicilian cuisine." [17] Amusingly, the attempt to maintain cultural purity and defend national cuisine always leaves one with egg on face. 

Look Don't Touch (Notes on Art and Haptic Compulsion)

 Image credit: Raul Arboleda / AFP / Getty Images

 

 

I. 

 

Touching objects is surely a vital activity. But just as green grocers don't like you handling the fruit and veg, so gallery owners seem to have a real problem with people touching works of art on display. 

 

Obviously, there are practical reasons for this; dirt particles and perspiration on the hands can stain or, over time, cause serious damage to the surface of a sculpture, for example, which it might be difficult (or even impossible) to repair. Whilst porous materials, such as wood or stone, are particularly vulnerable, even works made of bronze or stainless steel, are not entirely immune to damage. 

 

Thus, in public art museums the world over there are signs reading do not touch, white boundary lines marked on the floor, and security guards lurking nearby to ensure people keep their distance. The curators want the public to engage with the art and be inspired by it, but they want them to do so with their eyes whilst keeping their filthy paws off. 

 

Oh, and just to be clear, kissing statues is also strictly forbidden and very much frowned upon.   

 

 

II. 

 

Practical concerns aside, there are clearly other issues at play here; aesthetics is founded upon an ideal of detachment and enforcement of the golden rule of look don't touch. Nietzsche, however, mocks this ability to gaze upon beauty apparently free of all desire as immaculate perception and suggests that objective contemplation is very often a disguised form of emasculated leering: click here for a post in which I discuss this. 

 

We see this aesthetic idealism expressed in Byung-Chul Han's 2015 work Die Errettung des Schönen (trans. rather prosaically in English as Saving Beauty (2018)), where he writes disapprovingly of Jeff Koons's sculptures on the grounds that their ultra-smooth surfaces not only reflect a social imperative lacking in all negativity, but cause "a 'haptic compulsion' to touch them, even the desire to suck them" [1].

 

Han writes: 

 

"It is the positivity of smoothness alone that causes the haptic compulsion. It invites the observer to take an attitude without distance, to touch. An aesthetic judgement, however, presupposes a contemplative distance. The art of the smooth abolishes such distance." [2]     

 

Like Hegel, Byung-Chul Han wants art to be meaningful and that requires visual appreciation. For sight, along with hearing, is a theoretical sense that allows us to interpret, judge, and reflect upon a work. Smelling, tasting, or touching an object might inform us of its material reality and sensible qualities, but won't enable us to make profound sense of it as an artwork. 

 

And like Roland Barthes, Byung-Chul Han believes the sense of touch to be "'the most demystifying of all senses, unlike sight which is the most magical'" [3]. Why? Because whilst the latter preserves distance, the former negates it. To touch an object is to demystify it and make it available for enjoyment and consumption: "The sense of touch destroys the negativity of what is wholly other. It secularizes what it touches." [4]

 

For Han, Jeff Koons's seamless sculptures may embody "a perfect and optimized surface without depth and shallows" [5], but so do soap bubbles made of air and emptiness and as any West Ham fan will tell you, there's no real salvation to be found in blowing bubbles ...  

 

 

III.

 

The problem is, whilst I might agree with many aspects of Han's critique of smoothness, I'm a little more ambivalent on the subject than him (and I also like the work of Jeff Koons, as discussed in a recent post: click here).

 

Further, it seems to me that professor of museum studies, Fiona Candlin, is right to call for a radical rethinking of aesthetics as it has traditionally been conceived and to challenge the idea of art museums as sites of visual learning. In her 2010 study, Art, Museums and Touch, Candlin demonstrates that touch was - and remains - of crucial importance within the history, theory, practice, and appreciation of art, whilst, at the same time, contesting ideas of touch as an unmediated and uncomplex (i.e., primitive and inferior) mode of discovery [6].     

 

Having spent many years investigating why visitors to galleries and museums often can't help reaching out to (illicitly) touch exhibits, Candlin shows just how common this is. Whether those moonlike philosophers who wish us all to simply gaze upon life like it or not, the fact is many people want to physically touch objects they admire and don't like to think of art as something out of bounds and out of reach (nor do they wish to creep around a gallery speaking in hushed tones as if in a church surrounded by sacred relics).

 

Ultimately, perhaps this haptic compulsion is not a sign of an obsessive disorder, nor the mark of a philistine, but, rather a form of resistance to an overly visual (virtual) world. And perhaps sculptures today should be exhibited in darkened rooms where visitors in blindfolds are invited to feel their way around, physically interacting with objects and one another, groping their way into a future democracy; the democracy of touch [7].         

 

 

Notes

 

[1] Byung-Chul Han, Saving Beauty, trans. Daniel Steuer, (Polity Press, 2018), p. 3.  

[2] Ibid.

[3] Roland Barthes writing in Mythologies, quoted by Byung-Chul Han in Saving Beauty, p. 4.

[4] Byung-Chul an, Saving Beauty, p.  4.

 

[5] Ibid. 

[6] See Fiona Candlin, Art, Museums and Touch, (Manchester University Press, 2010).  

 

[7] The democracy of touch is an idea found in D. H. Lawrence's late work. I have written several posts discussing the idea; click here, for example, or here. 

      Interestingly, however, Lawrence isn't always pro-touch; see for example what he says in Chapter X of Fantasia of the Unconscious (1922) about "hands exploiting the sensual body, in feeling, in fingering, and in masturbation". 

      As for aesthetics, whilst Lawrence doesn't feel the English are devoid of feeling for the plastic arts, he does believe them to be full of fear for the body and that this fear distorts their vision and instinctive-intuitive consciousness. Thus it is, says Lawrence, that even those intellectuals and critics who get an ecstatic thrill from looking at artworks are "only undergoing a cerebral excitation" and remain essentially unmoved and untouched. See 'Introduction to These Paintings', in Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), pp. 182-217. The line I quote from is on p. 190.    

 

   

Above all Things Encourage a Straight Backbone

 

Winners of Miss Correct Posture - aka Miss Beautiful Spine 

(Chicago, May 1956) [1]

 

 

Deleuze - and those influenced by his work (particularly the books written in collaboration with Félix Guattari) - often thrill to the idea (borrowed from Artaud) of a body without organs. And they seem equally excited at the thought of heads without faces and backs without vertebrae. 

 

For if the face is a universal mask and machine of moral overcoding which makes pale-faced Christians of us all, then "the spinal column is nothing but a sword beneath the skin, slipped into the body of an innocent sleeper by an executioner" [2]. 

 

Perhaps that's why there's a radical tradition of associating bones with fascism and privileging the soft pathology of the flesh as somehow more vital - something I touched on briefly in a recent post: click here. 

 

It's a tradition that one might have expected D. H. Lawrence to have belonged to; for Lawrence certainly celebrated the flesh as opposed to the spirit - and the latter, as Hegel famously declared, is a bone.

 

However, it turns out that Lawrence is all in favour of back bone, particularly the lumbar ganglion which, he says, negatively polarizes the solar plexus in the primal psyche [4] and is the centre of all independent activity (or what we might term a will to separation).

 

Lawrence encourages children to stiffen their little backs and escape the influence of their mothers; to kick themselves into singular being full of pride and the joy of self-assertion; to know that they are themselves and distinct from all others. He writes:

 

"From the great voluntary ganglion of the lower plane, the child is self-willed, independent, and masterful. In the activity of this centre a boy refuses to be kissed and pawed about, maintaining his proud independence like a little wild animal. From this centre he likes to command and to receive obedience. From this centre likewise he may be destructive and defiant and reckless, determined to have his own way at any cost." [5]   

 

Obviously, those who despise these spinal characteristics, interpret them as signs of fascist or phallocratic imperialism. 

 

But, as Lawrence would say, curse the blasted, jelly-boned swines and slimy, belly-wriggling invertebrates [5] who slander those who dare to stand upright, with shoulders back, taking pleasure in their own sovereign power. 

  

 

Notes 

 

[1] In the 1950s and '60s, American chiropractors decided to stage a number of beauty contests in the hope that this would help legitimise their profession and raise their public profile. The photo reproduced here shows the winner and runners up of one such contest held in Chicago, May 1956. According to a newspaper report at the time, the girls were picked for their beauty and perfect posture. For more details and more images, click here.  

 

[2] Gilles Deleuze, Francis Bacon: the logic of sensation, trans. Daniel W. Smith, (Continuum, 2003), p. 23. Like many of his ideas and phrases, Deleuze is borrowing this from a writer of fiction; in this case, Franz Kafka. See: 'The Sword', in Diaries 1914-1923, ed. Max Brod, trans. Martin Greenberg with Hannah Arendt (Schocken Books, 1949), pp. 109-10.   

 

[3] Lawrence borrows many of the ideas and terminology used in Psychoanalysis and the Unconscious (1921) and Fantasia of the Unconscious (1922) from theosophy rather than physiology and when he does use anatomical terms they only approximate with scientific and medical knowledge.  

[4] D. H. Lawrence, Fantasia of the Unconscious, ed. Bruce Steele, (Cambridge University Press, 2004), p. 89. 

[5] I'm paraprasing from Lawrence's famous letter written to Edward Garnett on 3 July 1912. See The Letters of D. H. Lawrence, Vol. I, ed. James T. Boulton, (Cambridge University Press, 1979), p. 422.

 

 

This post grew out of correspondence with the artist Heide Hatry and I am grateful as always for her inspiration.