11 Oct 2013

Enienay: Fashion Among the Ruins

English fashion designer Nina Davies
(not to be confused with the Canadian performance artist of the same name)

One must always be very grateful to fashion, says Nietzsche, for liberating within those who are subject to its law the energy and goodwill that is often paralysed by negative feelings of anxiety and low self-esteem; i.e. those feelings which are productive of drabness and conformity of appearance. Fashion, in other words, allows the individual to communicate confidence and joy in their own form. 

And so, without wishing to encroach too far onto the kind of territory best covered by the super lovely Nunzia Garoffolo in her smashing blog, Fashion Beyond Fashion, I would nevertheless like to say a few words in praise of the talented design queen of Spitalfields, Nina Davies, and her fashion label Enainay.

In her unique collection of womenswear, Ms Davies recycles and reconstructs old fabrics and abandoned garments into entirely new pieces by draping them round her trusty mannequin and then cutting, pinning, stitching and twisting with a mixture of madness, mockery, and love for all things motley.

She is, if you like, a designer amongst the ruins. By which I mean one who attempts to create something beautiful out of that which others have discarded as worn out or outmoded. Nina realises that because second-hand clothes have no intrinsic significance, any item might attain new meaning and new life by being incorporated into a novel vision of what constitutes elegance.

For those who like sartorial harmony and a wardrobe steeped in classical tradition, there might not be much to admire in her collection of fitted jackets, skirts, dresses and corsets. But for those who want to dress up to mess up and who desire clothes that display wit, warmth, and intelligence - as well as craftsmanship - in every asymmetric line, then I would highly recommend a visit to her shop.           


Enienay, at Seam, 14-16, Market Street, Spitalfields, London, E1. 
Open Mon-Fri 11am-7pm & Sat-Sun 10.30am-6.30pm.
Or visit: www.enienay.com 
 
 

9 Oct 2013

In Praise of Sapphic Decadence

Renée Vivien (1877-1909): The Muse of the Violets

The perverse lesbian was a central figure within decadent literature. An object of endless fascination for writers such as Baudelaire and Swinburne, she might almost be thought of as nothing other than a figure of the male porno-poetic imagination; i.e., a creature of artifice and obscenity shaped by and within desire on the one hand and fear and loathing on the other.    

But perhaps she appears most beautifully - and most controversially - in the work of expatriate English poet and female dandy-bohemian Renée Vivien. 

In Vivien's text, if the lesbian remains a species of fleur du mal very much marked by the misogyny and homophobia that runs through the work of the above male authors, she is, at the same time, radically and paradoxically reconfigured through "a utopian politics of Sapphic revival" and in this way provides a more affirmative and naturalistic (though no less fictional) conception of liberated female sexuality. In other words, "Vivien's decadent Sapphist is a shimmering, negative embodiment of the utopian possibility contained within a modern world in decline".
- See Elisa Glick, Materializing Queer Desire, (SUNY Press, 2009), p. 12.

This negative dialectics which finds value - even hope - in decadence will remind some readers of Adorno and others of Nietzsche. The point is that sickness, corruption, and perversity often serve to advance us as a species and a culture; that we need our decadent individuals (including alcoholic, anorexic, suicidal, sadomasochistic, lesbian poets like Renée Vivien) and not merely those healthy-living normal types who eat breakfast, go to the gym, work hard and preserve the status quo.


8 Oct 2013

Queens of the Wild Frontier

Lady Gaga             Princess Julia             Countess Alex Zapak

Female devotees of art-pop seem to have a fascination with aristocratic society and often assign themselves titles, constituting a false order of privilege, or what Adam Ant memorably described as a new royal family / a wild nobility.

But it might be asked if this ironic act of self-entitlement doesn't also betray a certain contempt for class.

For what we observe here is not simply nostalgia or a reactionary desire to return to a world in which everyone had a place and was expected to know their place, but an anarchic attempt to subvert all systems of hierarchy and caste; to construct a utopia in which breeding counts for nothing, miscegenation is celebrated, and everyone - whatever their origin - is allowed to sprinkle stardust in their hair.

     

6 Oct 2013

Selfies and the Rise of the Look Generation

Early selfie by Anastasia Nikolaevna (1914)

Typically taken with a smart phone or webcam and then posted onto a social media website, the selfie is very much a contemporary phenomenon. 

This is not to say that it is entirely without precedent or lacking history. In fact, human beings have long enjoyed making and circulating photographic images of themselves and selfies have existed in non-digital form ever since the days of the Kodak Box Brownie. Thirteen year-old Anastasia Nikolaevna, for example, youngest daughter of Tsar Nicholas II of Russia, was one of the first girls to take her own picture, which she then mailed to a friend in 1914.

And so I have no wish to add my voice to those that suggest the selfie is evidence of either the empty narcissism of today's youth, or a sign that they have been pornified and suffer from low self-esteem. I understand the arguments put forward by concerned commentators, but fear that they often collapse into precisely the sort of moral hysteria that greets everything to do with technology, sex, and the play of images.

But what is worth pointing out is how Jean Baudrillard anticipated the rise of the selfie thirty years ago and nicely identified what is unique about this disenchanted form of mannerism, or pose without purpose.

In an interview with Le Nouvel Observateur, Baudrillard discussed what he termed the 'Look Generation' and argued that we were rapidly moving towards a world in which it would be impossible to speak of alienation or inauthenticity; a world in which individuals could no longer hope "to come into existence in and through the eye of the other, for there is no longer a dialectic of identity" [41].

In such a world, everyone is required to make themselves visible as an image, but without worrying too much about being (or even being seen). It's all about the utopia of the look, rather than the empire of the gaze. In proliferating and posting a huge number of self-taken images - including explicit images - Baudrillard doubts there is even any desire to seduce; "for this would require that appearances were carefully worked on, stylized, according to a strategy of diverting the other in order to harness their gaze and lead them into loss" [41].

The selfie is simply saying: I exist, I am here, I am an image, look at me, look, look! This may or may not be a form of narcissism, but what it certainly involves is "exhibition without inhibition, a kind of ingenious publicity in which each person becomes the impresario of their own appearance, of their own artifice" [41].

The Look Generation, concludes Baudrillard, have discovered a new and ironic form of passion; "that of being devoid of all illusion about their own subjectivity ... about their own desires ... fascinated by their own metamorphosis" [41] into electronic and ephemeral images lacking in any particular significance. Lovers of selfies no longer worry about the social logic of distinction (as found, for example, in fashion pictures taken by professional photographers) and they no longer believe in coded difference, such as gender. Rather, they simply play with it; just as they play with singularity "without falling into dandyism or snobbery" [42].


See: Baudrillard Live, ed. Mike Gane, (Routledge, 1993), pp. 41-2.  

5 Oct 2013

Cinema Botanica (An Introduction to the World of Plant Porn)

Cinema Botanica, by Jonathan Keats (2009) 

As a floraphile, I have a certain interest in and admiration for the work of American artist and experimental philosopher, Jonathan Keats; particularly his attempt to create a Cinema Botanica that incorporates a pornography for house plants and suburban shrubs and bushes. 

I find it amusing that whilst the majority of people who like to look after plants feel they are doing their bit if they remember to water regularly and perhaps administer an occasional drop of Baby Bio, Keats has expressed his concern that plants in a domestic environment might be bored and in need of entertainment designed to cater for their tastes and desires. 

And so he has filmed explicit scenes of floral pollination by honeybees, using specialized techniques developed for organisms that whilst lacking eyes, are nevertheless sensitive to light and shade. These edited but uncensored scenes are then projected directly onto the foliage. For human beings, there is very little to observe other than a silent flickering of light and so their enjoyment is strictly limited. However, as Keats points out, Cinema Botanica was developed for the titillation of the plants and not those who tend them.


Note: Cinema Botanica was screened in San Francisco at the Roxie Theater on October 1st, 2009, as part of Arse Elektronika, the world's foremost sex and technology festival, organized by the international art and theory collective, monochrom, founded in 1993, in Vienna, by Johannes Grenzfurthner. 

For further details, see Of Intercourse and Intracourse, ed. Johannes Grenzfurthner, Guenther Friesinger, and Daniel Fabry, (RE/SEARCH, 2011), or visit the monochrom website: www.monochrom.at/english  

4 Oct 2013

Nietzsche and Capitalism



Nietzsche's opposition to capitalism and his loathing of modern bourgeois society is present throughout his writings. In an early essay entitled 'The Greek State', for example, he argues that self-seeking, money-loving entrepreneurs and stateless corporate executives should be regarded as the enemy within, threatening as they do the stability and welfare of the community. 

Like Marx, Nietzsche is concerned by the manner in which the market determines the value of everything; including the value of all other values. The consequence of this is not only that all things become commodified and given price tags, bar codes, and registered trade marks, but that everything becomes permissible - providing, of course, that it's economically viable and can generate profit. Thus it is that, within liberal society, all types of commercial exchange and all modes of conduct are discreetly sanctioned; including those that many advocates of free trade like to publicly condemn and make illegal, but do nothing to actually prevent.

Like Marx, Nietzsche is concerned by the prospect of a world in which there is no connection between people other than shared greed and a desire to succeed at any cost. Such a world would be one suspended in a state of systematic anarchy and nihilism; a world in which an aggressive philistinism would effectively cancel out the possibility of culture as he conceives of it in a classical sense. 

The permanent substratum of money under everything in the modern world causes Nietzsche to experience a feeling of ugly disillusion; he rejects liberalism and democracy as forms of political degeneracy. As for the equality of opportunity that is said to be opened up by capitalism, he dismisses this as merely the freedom to buy and sell one another in a universal slave market. 

As an alternative, Nietzsche advocates a strong model of volksgemeinschaft that rests upon a bond of trust formed between rulers and ruled and an agreed series of duties and obligations. If this fails to guarantee the rights of the private individual, it will, he says, at least ensure the production of a small number of sovereign men and women and allow for cultural greatness (which is something other than material and scientific progress).

Of course there are problems with Nietzsche's thinking here as elsewhere; his views on politics, culture and society are never fully developed and often in need of radical revision and recontextualization. But one thing is surely clear: Zarathustra hates shopkeepers and there is nothing - neither property rights nor human rights - given to us by liberalism which fully compensates for what Deleuze and Guattari describe as the "meanness and vulgarity of existence that haunts democracies ... The ignominy of the possibilities of life that we are offered".

See Deleuze and Guattari, What Is Philosophy?, trans. Graham Burchell and Hugh Tomlinson, (Verso, 1996), pp. 107-08.   

3 Oct 2013

Sensitive Hands on a Cyclops

Eric Drass: Nietzsche and the Horse (2011)
www.saatchionline.com

Pity in a man of knowledge seems ludicrous, says Nietzsche. Indeed, it can even tip a philosopher into madness and make them fling their arms round the neck of an old carthorse, causing a public commotion.

He should, of course, have known better: for Nietzsche warned repeatedly against the non-egotistical instincts and singled out the Christian virtue of pity as the most fundamentally dangerous of all such feelings; something that weakens the individual who surrenders to it and ultimately fails to benefit the one who is the object of their pity.

Pity, says Nietzsche, is anti-life: for pity attempts to preserve what is ripe for destruction or belongs in the knacker's yard. It is the great seduction into nihilism; the most sublime form of decadence. And yet one can't help loving Nietzsche for attempting to protect some nag from cruelty; for ultimately being just a little allzumenschliche and displaying a feminine incapacity to remain a passive spectator when confronted by the suffering of a fellow creature.

Becoming-hard like the diamond, does not mean becoming an insensitive moron who knows nothing of kindness or the politeness of the heart; rejecting the moral ideal of pity does not mean one should not feel compassion or sympathy in the noble sense. If it did, one would hardly bother to read Nietzsche.

1 Oct 2013

O Superman

 Atanas Botev: Thus Spoke Zarathustra (2004)

Nietzsche's great concept of the Übermensch remains something to ponder and to play with. But there are still those who just don't get it and insist on believing that the overman is merely a higher type of human being - a tendency that has not been helped by the unfortunate and misleading English translation of the original German term as 'superman'.

Thus, amongst our transhumanist friends for example, we still find those who naively think of the idea exclusively in terms of genetic engineering and contrived evolutionary advance. But the metaphysical, moral and material overcoming of man is absolutely not the same thing as his biological self-preservation and enhancement.

To be fair, Zarathustra doesn't help matters by initially speaking about worms and apes and describing man as a rope fastened between animal and Übermensch. But he is later at pains to point out that his primary concern is not with what might or what should succeed mankind in the sequence of species and that his teaching is not a variety of Darwinism.

What then is the concept of the Übermensch all about?

For me, the best reading is developed in the work of Michel Foucault in terms of forces and forms; the latter defined as a compound of relations between the former. In this interpretation, our humanity is understood as a non-predetermined form which results when forces internal to ourselves as a species (such as imagination and memory) enter into a historical relationship with certain external forces (be they natural, artificial or virtual).

Thus Man - with a capital M and by which we mean the hu-man - has not always existed and will not exist forever. Our humanity is a contingent form and as internal and external forces as well as the relations between them change, so our form changes. This is why Foucault famously writes of Man being nothing but a face drawn in the sand that is destined to be erased by the incoming tide.

The Übermensch is thus simply another word for these external forces: the sea which receives us; the lightning that licks us with its tongue; the madness with which we might be cleansed. In other words, it is that which frees the life within us and reconfigures form in a manner that is not only posthuman, but genuinely transhuman and inhuman. 
   

30 Sept 2013

Zarathustra and the Nightingale




One has to speak with thunder and heavenly fireworks to feeble and dormant senses, says Zarathustra.

If we interpret this injunction in a generous manner, it can be understood to mean that Nietzsche is interested in constructing a poetic post-metaphysical language that will enable the individual to break free from received conceptual schema and the moral-linguistic conventions of grammar and thereby find new ways of thinking and feeling. 

But, I have to say, it does sound a wee bit fascistic and shouty. Or, in a word, Wagnerian. The sort of thing that Dietrich Eckart might have had in mind when he created the Nazi battle slogan Deutschland Erwache!   

It also anticipates Heidegger, who claims in Being and Time that we must rediscover some form of primordial language from which to assemble a vocabulary of elementary terms that authentically speak Dasein. Philosophy's ultimate task, he says, is to preserve the force of these words and prevent them from being enfeebled and flattened within the common understanding.

I have to confess, there was a time when I found this kind of thing seductive if never entirely convincing: I wanted to believe that there was a universal (though secret) litany of magical words, letters, and phonemes that might somehow tear up the foundations of the soul and shatter eardrums and law tables alike, but I was never quite able to do so.

And what prevented me from embracing this mytho-religious idea of language was the following passage from Lawrence's Sketches of Etruscan Places:

"And before Buddha or Jesus spoke the nightingale sang, and long after the words of Jesus and Buddha are gone into oblivion, the nightingale will sing. Because it is neither preaching nor teaching nor commanding nor urging. It is just singing. And in the beginning was not a Word, but a chirrup."

- Sketches of Etruscan Places and Other Italian Essays, ed. Simonetta de Filippis, (CUP, 1992), p. 36.


27 Sept 2013

Why the Internet is a 21st Century Tower of Babel



Surely one of the more shocking episodes in the Old Testament (from which there are many to choose) is described in Genesis 11 and concerns the building by humanity and destruction by God of the Tower of Babel. For those of you unfamiliar with this passage, but too lazy to Google it, here it is, in full, with some very slight modifications made to the text as it appears in the edition of the Bible cited:

"At this time the whole world had one language and a common speech. As men moved eastward, they found a plain in Babylonia and settled there. 
      They said to each other, 'Come, let's make bricks and bake them thoroughly.' They used these bricks instead of stone, and bitumen for mortar. Then they said, 'Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves and not be scattered over the face of the whole earth.  
      But the Lord came down to see the city and the tower that men were building. And he said, 'If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them. Come, let us confuse their language so they will not understand each other.'
      So the Lord scattered mankind once more over all the earth and their attempt to build a great city was abandoned. That is why it was called Babel - because the Lord confounded the language of the world."

- The Holy Bible, New International Version, (The Bible Societies in Association with Hodder and Stoughton, 1984).

From this we certainly get a further insight into the psychopathology of the Almighty. Not to make too fine a theological point of this, it's clear that God, like all tyrants, is a cunt: petty, paranoid, violent and vindictive.

His concern here is unambiguous; namely, that a united mankind, speaking and working as one, using materials of their own invention to build a safe and secure home for themselves post-flood, are empowered by their own technological ingenuity and feel an element of pride in their own mortal achievements.

Clearly, God can't have that. That is to say, he can't allow a self-sufficient humanity to threaten his omnipotence, or to realise its full potential as a species. And so, quite deliberately, he sows discord and confusion amongst a people where once there was fraternity and mutual understanding.

Of course, it might be argued that it's a good thing to generate cultural and linguistic difference. Though such an argument, when it comes from the mouths of the faithful who usually insist monomaniacally upon Oneness, seems ironic to say the least. In fact, anyone who reads Genesis 11 and comes to the conclusion that it shows us a God who is pro-difference and plurality is being more than a little disingenuous. For what it really betrays is the ugly and divisive nature of religion as it reinforces tribalism, nationalism, sectarianism; things that have caused immense misery in the modern world.     

Happily, in this digital age, we have decided to defy this judgement of a dead deity and build not a tower of bricks via which we might storm an imaginary heaven, but a global electronic network via which we might instantly connect and communicate with friends, family, and strangers all over the world, exchanging images and ideas, important news and mundane chit-chat.

Ultimately, the Good Book has been defeated by Facebook ...