On the Truth of Things

Artwork by Tyler Feder

roaringsoftly.com

According to Foucault, the ancient Greeks were mostly interested in a conception of public and political parrhesia that obliged them (and accorded them the privilege) of speaking the truth to others (including those in authority), in order to guide them and help facilitate wise government. 

The early Christians, on the other hand, were more concerned with a personal-psychological form of parrhesia (eventually institutionalized as a system of penitence); the moral obligation of each individual to confess the truth about themselves, in order to be freed from the burden of sin and thereby saved.

This, as Foucault says, is a significant moment of transformation in the long history of parrhesiastic practice; a history that he goes to great pains within his late lectures to reconstruct in order that he may better analyze the relations between subjectivity, language, and power - this essentially being his philosophical project in a nutshell. 

Now, fascinating as this project is - and one has to invariably return to politics and psychagogy (or questions concerning the governance of self and others) sooner or later - I have to admit that one of the great attractions of object-oriented ontology and other related forms of what Bill Brown terms thing theory, is that they allow one to be seduced by those entities that make up an inhuman and non-human universe and encourage the asking of questions that do not always posit Man as the central subject, final solution, or great point of correlation.

In other words, the beauty and the truth of things is they exist mind independently and it's a real joy to occasionally write about raindrops on roses and whiskers on kittens (not to mention bright copper kettles and warm woollen mittens), rather than just human ideas and human relations.


Note: The lyric quoted in the final paragraph is - as I'm sure everybody knows - from the song 'My Favourite Things', from the Rodgers and Hammerstein musical, The Sound of Music (1959).

Post 555: The Scent of a Woman

The number five has no special significance or interest for me, although I'm vaguely aware of its symbolism within certain circles and that ancient Greek philosophers were endlessly fascinated by the mathematical beauty and symmetry of those three-dimensional shapes (or regular polyhedra) that became known as Platonic solids and of which there are five. 

The French fashion designer and couturier, Coco Chanel, also had a thing for the number five and it was rich with powerful associations for her. Indeed, for Chanel, five was the essential number and one which, she felt, always brought her luck. Thus, for a woman who liked to regularly launch her new collections on the fifth of May, it was only natural that she should choose the name No. 5 for her first (and to this day most famous) of perfumes.

Created by Franco-Russian chemist and perfumer, Ernest Beaux, Chanel No. 5 was released in 1921 and was designed as a scent for a new generation and a new style of independent, post-War women, with their short skirts, bobbed hair, and outlandish behaviour that pushed social and sexual boundaries.

Beaux worked from a rose and jasmine base, but brilliantly managed to make it cleaner and more daring than might be expected, by adding what he described as an element of pristine polar freshness. He also experimented with modern synthetic compounds and notes derived from a new commercial ingredient called Jasophore (an artificial source of jasmine). His complex formula also contained elements of orris root and natural musks. The revolutionary key, however, was Beaux's use of aldehydes; organic compounds which, when skilfully manipulated, can arrest and isolate specific scents, intensifying their aroma.

The bottle that the fragrance came in was also designed to counter the overly-ornate character of Victorian crystal which was then still in fashion and made popular by companies such as Lalique. Chanel wanted a container that would be lovely in its sheer simplicity and pure transparency; what she thought of as an invisible bottle. The perfection of the scent itself, she believed, meant not having to rely upon fancy packaging. As an ad from 1924 put it: Chanel is proud to offer its precious teardrops of perfume - unique in composition and of incomparable quality - in bottles that reveal the personality of their designer and not the customary art of the traditional glass-maker.    

Over the many decades since its release, Chanel No. 5 has managed to retain its magic and its allure, establishing itself as an immediately identifiable cultural artifact, worn by many beautiful women the world over; this despite the fact that the reputation of its creator has been somewhat tarnished by ugly revelations concerning her conduct during the German occupation of Paris ...

A girl, Chanel once said, has to keep her heels, head, and standards high; always remaining classy and fabulous. Quite how that squares with Nazi collaboration is debatable. For as a friend of mine once said, even the finest perfume in the world doesn't mask the malodorous smell of fascism.          

Torpedo the Ark Xmas Message 2015

Actually, as a philosopher, I try to avoid dealing in opinions - particularly personal opinions - and I can't stand opinionated persons who pride themselves on the strength of their conviction; as if something is true simply because they feel it to be so and/or sincerely wish it to be so. 

Nietzsche's often quoted but little understood remark about there being no facts, only interpretations, has had the unfortunate result of providing cheap philosophical comfort to such cocksure individuals, allowing them to assert beliefs about the world without making any reference to objective reality, or provide any verifiable evidence for their arguments. 

In other words, perspectivism - which was intended to make us think more carefully to what extent axioms of logic are adequate to reality and how truth-claims may or may not reflect a healthy will to power - now serves as a sop to those who think they are just as entitled to their views as anybody else and that all views are of equal status and validity within a relativistic universe.

It is, as I say, unfortunate. And it's certainly not my position; I might like a certain degree of pluralism, but I'm not an idiot: some ideas are mistaken or badly thought out; some views are restricted by prejudice; some opinions are simply not worth considering.

Ultimately, I share the Socratic position and think it crucial to discriminate between opinions, always remaining alert to the fact that just because something is popular or persuasive, this doesn't make it true or mean that it serves in the best interests of life.

In accepting the opinions of those who have big mouths and large financial resources with which to control the media - demagogues, such as would-be Presidential candidate Donald Trump, who either do not know the difference between the true and the false, the just and unjust, or simply do not care about the difference - we run the risk of damaging that part of ourselves (whatever we may call it) to which these things are vitally connected.

So, the conclusion of this Xmas message is this: you shouldn't worry about the opinion of everybody and anybody, but only about the well-informed analyses which enable you to decide what is right and wrong. By concerning yourself with the latter and by always asking for the evidence, you'll avoid that corruption of the soul caused by doxa. 

Torpedo the Ark!

Dandelion: D. H. Lawrence and the Question of Care

Dandelion: photo by Greg Hume (2006)

As much as Lawrence may wish to sit like a dandelion on his own stem and concern himself exclusively with those objects existing within his immediate physical environment - refusing to care about abstract issues, faraway places, or unknown peoples - he’s conscious of the fact that such insouciance can lead to parochialism and might easily be mistaken for indifference on his part; something he’d very much regret.

For Lawrence is very keen to sharply differentiate between insouciance and indifference. The former, he says, is a refusal to be made anxious by abstractions, or swept off to into the empty desert spaces inhabited by idealists gripped by a compulsion to care about everything under the sun. The latter, however, Lawrence defines as an inability to care resulting from a certain instinctive-intuitive numbness or nihilism, which, like Nietzsche, he posits as the great malady of the modern age; a consequence of having cared too much about the wrong thing in the immediate past.

The apathetic or indifferent individual, the nihilist, is essentially an exhausted idealist; they have none of the carefree gayness of the insouciant man or woman and do not know how to live on the spot and in the nowness of the actual moment.

That said - and as indicated - insouciance can itself become problematic and serve to isolate the individual, cutting them off from the wider world and from history. We can’t be entirely self-sufficient and concerned only with our own musings and sense impressions. Nor can we only be concerned only about those with whom we have a direct relationship; our immediate family and friends, or kith and kin.

Ultimately, as Lawrence was reluctantly obliged to concede, feeling a sense of solidarity with all mankind isn’t entirely fraudulent and the love of humanity stands for something real and vital; "that feeling of being at one with the struggling soul, or spirit or whatever it is, of our fellow men". Lawrence continues:

"This caring about the wrongs of unseen people has been rather undone. Nevertheless ... still, away in some depth of us, we know that we are connected vitally, if remotely ... [and] we dimly realise that mankind is one, almost one flesh. It is an abstraction, but it is also a physical fact. In some way or other, the cotton workers of Carolina, or the rice-growers of China are connected with me and, to a faint yet real degree, part of me. The vibration of life which they give off reaches me, touches me, and affects me unknown to me. For we are all more or less connected, all more or less in touch: all humanity."

What’s interesting about this passage is that not only does it demonstrate that Lawrence was not an individualist as many critics mistakenly believe, but it also shows that his love of humanity was born not of some transcendental attempt to develop a conceited cosmic consciousness, but out of a sense of class consciousness; it’s the workers and the peasants of the world that Lawrence primarily feels connected to and sympathetic with.

Those who cultivate indifference to the point that they lose any compassion for others are mistaken. Lawrence understands their frank egoism, but refuses to share it - worried by the effect it has on the individual who refuses to care. Their intellectual honesty is fine and it’s good to cast off all spurious sympathy and false emotion, but not if this entails the death of all feeling and one becomes empty inside (believing in nothing, standing for nothing, caring for nobody).

Lawrence admits, however, that some can find perverse pleasure in precisely this becoming-void and take "real pride and satisfaction in pure negation". These he calls the perfect nihilists: those whose shallowness is mistaken for depth; whose false calm is mistaken for strength; whose indifference is mistaken for insouciance. Nietzsche termed them the last men; those who sit grinning furtively in the triumph of their own emptiness.

See: D. H. Lawrence, ‘Insouciance’, and ‘Nobody Loves Me’, in Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004). The lines quoted are from the latter text.

Making Love to Music

Etruscan dancers in a tomb near Tarquinia, Italy (c 470 BC) 

Provocative dance moves, such as grinding and twerking, are obviously obscene in an everyday sense of the term, but that's not what makes them tiresome and strangely offensive. I really don't care if idiots want to aggressively thrust their hips, wiggle their bottoms, and dry hump in public.

However, far from being sexual, it seems to me these moves are distinctly anti-sexual and obscene also in the very specific manner that Baudrillard uses the term. That is to say, they lack any metaphorical dimension or any stylish, carefully choreographed component.

In grinding and in twerking, as in pornography, "the body, the sex organs, the sex act are brutally no longer mis en scène, but immediately proffered for view" - and for consumption. It's a total acting out of things that have previously been kept off-stage and regarded as part of a seductive game usually played in private between partners.        

Although his concern is with the sublimation of sex, rather than its exorcising through obscenity, Lawrence was also concerned with the relationship between Eros and Terpsichore. In a short article written in 1927, entitled 'Making Love to Music', he identifies the tango and Charleston as modern dances that are secretly averse both to actual copulation and to the ancient magic of dance.

In contrast to the young men and women of the Jazz Age, Lawrence writes of the dancers painted on the walls of Etruscan tombs at Tarquinia:

"There the painted women dance, in their transparent linen ... opposite the naked-limbed men, in a splendour and an abandon which is not at all abandoned. There is a great beauty in them ... They are wild with a dance that is heavy and light at the same time, and not a bit anti-copulative, yet not bouncingly copulative either."

Although free from clothes and moral inhibition, these Etruscan figures are not grotesquely acting out sex in a crude and callous fashion, like Miley Cyrus: they are simply dancing a dance that is full of joy and a delight in movement; dancing their very souls into existence as it were.

It is, alas, we moderns who have "narrowed the dance down to two movements: either bouncing towards copulation, or sliding and shaking and waggling, to elude it", or make of it something vulgar and obscene.

   
Notes: 

Jean Baudrillard, 'The Obscene', Passwords, trans. Chris Turner, (Verso, 2003). The line quoted from is on p. 27.  

D. H. Lawrence, 'Making Love to Music', Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), pp. 41-8. Lines quoted can be found on pp. 46-7.

D. H. Lawrence's Philosophy of Mind

The Thinker - Rodin Stylized Pop Art Poster 

By Kim Wang

fineartamerica.com 

On Human Destiny is an interesting short piece written by D. H. Lawrence in which he addresses the question of mind. Lawrence argues that whilst most people don't have original thoughts, we all of us nevertheless have minds that are constantly active, even in sleep, grinding ideas over and over until they turn to dust. 

Whatever else he may be, man is first and foremost a thinking animal and even though we moderns like to assert our spontaneity of feeling and action, our very spontaneity is just another idea, born in the mind having been "gestated in self-consciousness".

Rather surprisingly, Lawrence also claims that this has always been the case: that man has never been a wild, instinctive creature; "even the most prognathous cave-man was an ideal beast ... no more like the wild deer or jaguar among the mountains, than we are". No matter how wild or primitive a man may appear to be, "you may be sure he is grinding upon his own fixed, peculiar ideas, and he's no more spontaneous than a London bus-conductor: probably not as much". 

Thus, it's unfair to claim, as some critics do, that Lawrence subscribes to the Romantic fantasy of a noble savage, beautiful and innocent in his mindlessness and free animality. And it's therefore also mistaken to suggest that Lawrence simply advocates some kind of return to Nature. He knows our becoming-animal is a question of culture and futurity, not regression, and that it certainly doesn't involve the surrendering of human intelligence: "You may, like Yeats, admire the simpleton, and call him God's Fool. But for me the village idiot is outside the pale."

Essentially, then, for Lawrence, mind is what characterizes man as a species and determines human destiny and it's "just puerile to sigh for innocence and naive spontaneity". But, the mind can become a sterile thing without some form of emotional inspiration. That's the key: our adventure further and further into consciousness mustn't become a journey into pure abstraction; we have to think, but we also need to feel and ensure our ideas remain fresh with creative vitality, not fixed and fatal and turned into dogma.

As Lawrence puts it in a poem: "Thought is the welling up of unknown life into consciousness ... a man in his wholeness wholly attending" and not the "jiggling and twisting of already existent ideas".


Notes:

D. H. Lawrence, 'On Human Destiny', Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988), pp. 203-04. 

D. H. Lawrence, 'Thought', The Poems, Volume 1, ed. Christopher Pollnitz, (Cambridge University Press, 2013), pp. 580-81.

At the Gym with D. H. Lawrence

Natural born pedagogue and former Croydon school teacher, D. H. Lawrence, was keenly interested in the subject of education and spilt a great deal of ink addressing the question of what its purpose is and how it might be reformed upon non-idealistic lines. That is to say, turned from an intellectual pursuit of knowledge for its own sake, into an activity that awakens the primary affective centres.

Perhaps not surprisingly therefore, Lawrence was a passionate advocate of games and physical instruction and valued the sports hall or gym as a place of vital learning as much as the science lab or art class: "Let us have a gymnasium as the Greeks had it, and for the same purpose: the purpose of pure, perilous delight in contest, and profound, mystic delight in unified motion." [158]

Lawrence wants boys to learn how to fight - "like young bantam cocks"- with fists and with foils: "Teach fencing, teach wrestling, teach jiu-jitsu, every form of fierce hand to hand contest." [159] Football, however, would be taken off the curriculum - as would self-conscious body building or any wilful attempt to keep fit. Lawrence loathes the thought of someone sweating and grunting in the gym merely to develop muscles and perversely flaunt their healthy physique. He writes:

"The modern athlete parading the self-conscious mechanism of his body, reeking with a degraded physical, muscular self-consciousness ... is one of the most stupid phenomena mankind has ever witnessed. The physique is alright in itself. But to have your physique in your head, like having sex in the head, is unspeakably repulsive. To have your own physique on your mind all the time: why, it is a semi-pathological state, the exact counterpoise to the querulous peevish invalid." [157-58]

Clearly, for Lawrence, who subscribes to a system of dualism in which mind and body are forever distinct in polarised opposition, the problem is that modern athletes and keep-fit fanatics mix the two modes of consciousness; they prostitute the primary self to the secondary idea (which, of course, is Lawrence’s definition of masturbation).

What, then, are we to make of this? I suppose, in reply, I would wish to make three points:

Firstly, not all invalids are querulous or peevish and most do not wish for others to define, categorise, or stereotype them by their disability or illness, let alone allow it to obsessively dominate their own thoughts and behaviour. Lawrence, who spent a good deal of time in bed either ill or recovering from illness, may be speaking for himself and from his own experience here, but he shouldn’t generalise in such a manner.

Secondly, I’m sensitive also to Lawrence’s problematic gender politics and the fact that he only considers the physical education of boys in the above. The girls, presumably, will be too busy making their own dresses "and delicately unfolding the skirts and bodices, or the loose Turkish trousers and little vests, or whatever else they like to wear" [152-53]. They needn’t concern themselves with contest and naked wrestling, because, according to Lawrence, the soul of woman resides in fashion not fighting: "She puts on her clothes as a flower unfolds its petals, as an utterance from her own nature, instinctive and individual." [153]

Finally, despite referring his own model of a physical training facility back to ancient Greece, I’m not sure Lawrence fully appreciates to what extent the γυμνάσιον also functioned as a place for socializing, communal bathing and, crucially, engaging in intellectual pursuits. The nakedness of the athletes encouraged an aesthetic appreciation of the male body glistening with oil, and lectures and discussions on philosophy and the arts were frequently held at the gymnasia.

The Greeks certainly didn’t suspend all moralizing and put off all idea when they stripped for exercise as Lawrence likes to imagine; provisions were made not only for physical training, but ethical instruction. Plato’s Academy was, first and foremost, a gymnasium. As was the Lyceum, at which Aristotle established his school.

In sum: agon is a wider, more complex, and more ideal concept than Lawrence seems to realise ...

See: D. H. Lawrence, 'Education of the People', in Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988), pp. 85-166.

War Post

Statue of Ares, God of War 

(Roman Copy of a Greek original at Hadrian's Villa) 

Today, in Parliament, a government motion to extend the British military campaign against the Islamic State - to bomb targets in Syria as well as Iraq - is very likely to be passed with a majority assembled from both sides of the House. For some MPs, in the wake of Paris and other recent atrocities, there clearly exists a strong argument for doing so. For others, including the leader of the Opposition, a convincing case for further military intervention in the Middle East hasn’t been made. In fact, for Jeremy Corbyn, British bombs dropped over Syria would only serve to make a grave and ghastly situation far worse.

If I’m honest, I have no idea who’s right and who’s wrong. But I do know that Lawrence vehemently opposed modern warfare and regarded murderous weapons of mass destruction, which bring death to anonymous victims, as refinements of evil. Not that Lawrence was a pacifist or opposed to violence. In fact, he fetishized the male as essentially a fighter and tied his own philosophy of power to notions of conflict and combat. But he also hated the idea of turning a primary physical activity, such as war, into an abstract and ideal process.

Real war, writes Lawrence, is a type of passionate relationship between men and to die in battle is a type of blissful consummation or great crisis of being. Unfortunately, it's become "a ghastly and blasphemous translation of ideas into engines" [159] and men have been turned into cannon-fodder. To be blown to smithereens by a bomb from the blue, dropped by an invisible enemy while you are eating your supper or sitting on the toilet, is a horrible and monstrous state of affairs.

So, on the one hand, Lawrence celebrates mortal combat and wants to see fierce naked men fighting face-to-face; able to exercise what he terms the choice of war. But, on the other hand, they must not be given the chance to use automatic rifles, grenades and poison gases - the deadly fruits of our own moral idealism and will to universal love.

In a manner far more radical than anything advocated by the CND crowd, Lawrence calls on the British people to make a unilateral destruction of all guns, explosives and chemical weapons - as well as the means of their production. Were we to do this, he says, we’d be able to breathe a collective sigh of relief and come to our senses once more as a nation. It would constitute an act of "reckless defiant sanity" [162].

Then, when all the mechanical weapons were destroyed, we could arm our soldiers with swords once more and "introduce a proper system of martial training in the schools" [161], ensuring every boy is turned into a fighter; as swift as a greyhound, as tough as leather, and as hard as Krupp’s steel as another lover of struggle and fearless youth once put it.

Of course, for ardent supporters of Lawrence, the use of this famous line from a speech made by Hitler, might be seen as something of a cheap shot, or a low blow aimed at their hero. They would angrily object to the implication that Lawrence was a fascist. And, to be fair, they’d be right to do so. For, in historical terms, Lawrence certainly wasn’t a fascist, or a fascist sympathizer.

Nevertheless, there are clearly what might be termed molecular elements of fascism within his thinking which allow for the construction of a highly dubious cratology and a rather less-than-liberal education policy. And the job of a critic who cares is to counter these elements; to refuse to become enamoured of power and resist the urge to glorify war, heroism, strong leadership and all the other militant-militaristic bullshit that - post-Serpent - Lawrence himself decisively rejected in favour of tenderness.

See: D. H. Lawrence, 'Education of the People', in Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988), pp. 85-166.

Petite Meller

Petite Meller in the video for her song Baby Love (2015).

Click here to watch on YouTube.

Peitite Meller: she's French, she's fashionable, she's thin, she's pale, she's doll-like, she's studying for an MA in philosophy and she sings catchy nouveau-jazz pop ditties. I'm pretty sure, were he still alive, Serge Gainsbourg would already have written half-a-dozen songs for her. 

In short: what's not to love about this object of perverse fascination and delight, now resident in London?

Well, there's her rather tiresome references to Freud and the unconscious and the slightly irritating elements of surrealism. For a young woman who cites Mille Plateaux as her favourite book one might have hoped not to end up back in the world of the nursery and the kind of lame sexual fantasies that are often described as forbidden, but which are actually familiar components of the pornographic imagination long circulated and sustained within our culture.

One might also object to the use of Africans, animals, and the elderly residents of a care home as extras (or little more than animated props) in her videos; exploiting their physical otherness in order to contrast and showcase her own ethereal beauty combining purity and privilege.          

If I wanted to be cruel, I might suggest she over does the blusher in order to disguise the embarrassment she must feel at her knowing collaboration with (one suspects mostly male) designers, photographers, and filmmakers who subscribe to an aesthetic that looks to Lolita, Leni Riefenstahl, and Lady Gaga for inspiration.

But, I don't want to be cruel: rather, I want to give this intelligent and talented woman every opportunity to develop as an artist. In the meantime, I suppose I'll just have to make do with an occasional flash of her knickers and sing along like everyone else to Baby Love.        

Swimming Lessons

Photo by Phil Shaw / Barcroft Media 

londonbabyswim.co.uk 

Sometimes, one pulls oneself up short, and asks: What am I doing this for? Three years of blogging, over 540 posts published, and then : What on earth am I doing it for? 

Some bloggers, of course, are writing to earn an income and establish an online reputation. I wouldn't mind a little fame and fortune myself, if I'm honest. Nevertheless, if I were writing for money and a large following of readers I should doubtless write differently, and with far more success.

What, then, am I writing for? There must be some imperative. Is it for the sake of humanity? Hardly. Like Lawrence, the very thought of such makes ones sick: for the sake of humanity as such, I wouldn't lift a little finger, much less write a blog.

But Torpedo the Ark isn't written either just for fun or personal amusement (nor even for spite). So what then?

I suppose I see it as a space of philosophical adventure and an escape from all forms of idealism that promise safety from the elements and end by becoming prisons. I don't want to be part of Noah's menagerie; just another coordinated specimen preserved thanks to the grace of God. I'd rather take my chances swirling about in the flood waters and in the midst of chaos.

Again, to paraphrase Lawrence, the elderly and the cowardly can stay aboard the boat if they wish, or sit tight on heavy posteriors in some crevice upon Pisgah, babbling about salvation and hoping to view the Promised Land. But I encourage my readers to climb down the mountain or abandon ship and ask themselves the critical question that remains at the heart of modern and contemporary philosophy: the question of Aufklärung.

Actually, this is a series of questions concerning not just past experience, but present reality and future possibility. What's at stake is not merely an analysis of the truth, but what Foucault describes as an ontology of ourselves and of the world not as something divinely ordered and full of love and reason, but as a monster of energy, without beginning, without end; "a sea of forces flowing and rushing together, eternally changing, eternally flooding back ..."

Ultimately, Torpedo the Ark is an invitation to go swimming ...  


Notes:

See D. H. Lawrence's essay 'Climbing Down Pisgah', in Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988), pp. 223-229, which partly inspired this post and which I paraphrase throughout.   

The lines quoted from Nietzsche are from section 1067 of The Will to Power, ed. Walter Kaufmann, trans. Walter Kaufmann and R. J. Hollingdale, (Vintage Books, 1968), pp. 549-50.