Today we celebrate the 267th birthday of the most profound modern poet, Johann Wolfgang von Goethe. He is perhaps the foundational figure of our explorations of the interior, since his oeuvre opened the door to articulating the interior publicly. His work is the bridge from Shakespeare’s inexhaustible psychological savvy, which he gained through linguistic mastery, to Sigmund Freud’s attempt to systematize inner experience quasi-scientifically and psychologically.
Goethe captured the hearts of prominent women of the upper classes; his poetry was profoundly shaped by voices that would have remained otherwise silent; their rich interiors live on in his work
It could be argued that with Goethe women gained access to the public sphere, not as prostitutes, as the case had been before the modern age, but as co-creators and co-designers of its culture and aesthetics. Goethe’s deep lifelong friendships with women like Katerina von Klettenberg, a pious Christian he commemorated in the chapter “The Beautiful Soul” of his Shakespearean novel “Wilhelm Meister’s Apprenticeship,” to Charlotte von Stein, whom he loved passionately and who taught him the habits and morals of courtly society, to Bettina von Arnim, his stormy relationships actively shaped the basic tenets of modern literary culture. It could be argued that women have exercised no greater influence on the design of the modern world than through Goethe’s enormous and to this day unsurpassed legacy and influence on literature.
I will dedicate a separate post on the legacy of modern German literature, its culture of self-reflection, and aesthetic of interior design, but suffice to say at this point that Goethe was the founding father of the modern literary tradition as a profoundly subjective experience. It is safe to say the service Literary E-Spa provides, its endeavour to educate an engaged literary audience in the arts and design of individual interiors, and quest to shape more sophisticated religious, cultural and consumer practices would be impossible without Goethe. We owe him our grateful hearts today, even as we contemplate the contemporary relevance of his crowning work “Faust.”
Goethe with Charlotte von Stein; garden conversations were a sophisticated courtly social art form of practicing philosophy and theology; Eissler’s faithfully Freudian study of the relationship has offered many clues not only to Goethe and his work, but to the modern subject in general (http://www.kensandersbooks.com/shop/rarebooks/43075.html)
Goethe’s crowning masterpiece is “The Tragedy of Dr. Faust,” a long two-part dramatic poem based on medieval allegorical material, much like Shakespeare’s own plays, and a chillingly prophetic abstraction of the political future of modernity. Goethe worked on this drama his entire life. He began composing it at 18 and finished it in his 70s shortly before his death.
The main character is a suicidal scholar who avails himself of the legal and scientific apparatus of the modern age, allegorically represented by Mephistopheles, to become not only young again and engage in a tragic romance with the pretty, innocent village girl Gretchen, only to abandon her to a cruel fate of single motherhood and eventually prison and death, but also to become the supreme global ruler of all nations and design an infallible totalitarian social system that provides for the basic needs of all constituents. Naturally his plan of solving the world’s problems once and for all fails. Faust is condemned to hell for all eternity. This is the end of the medieval story of the Dr. Faustus. Goethe, however, adds a twist and grants the scholar-statesman grace and mercy by bringing Gretchen’s ghost back to mourn his passing and thus preserve his memory and legacy from the flames of hell. It is the ultimate tale of Christian grace, bringing the loving and forgiving victim back to embrace and save her ravisher.
If we consider the fact that modern German scholarship did develop the global bureaucratic system that keeps trying to seize control of the world, first through National Socialism, then again with the USSR, and now with globalism, is it perhaps time to let Gretchen rest in peace? Could Goethe not have foreseen the destruction of his own legacy if we are unable to let Gretchen rest and monumentalize her modern legacy in order to move on?
The dramatic poem is very rich and superbly executed. You will find the entire repertoire of American pop culture contained in its allegorical tableaus and fantastical visual-poetic language. We will explore it together with the help of Heidegger and Freud’s interpretive tools, in the specific contexts of contemporary art available on the net and in galleries, but feel free to familiarise yourself with the text now, if you haven’t done so already: http://www.iowagrandmaster.org/Books%20in%20pdf/Faust.pdf
classical dichotomy of divine beauty and earthly passion
Pure Classicism: Divine Beauty Conquers Earthly Passion
Jose De Ribeira’s 1637 masterpiece Apollo and Marsyas depicts the commencement of the satyr’s flaying by the classical god of beauty and the arts. The painting illuminates an ancient myth about the power of art as it contemplates self-reflexively the function of art in the re-creation of humanity. The Renaissance re-framing of mythic material alters the meaning of a scene of torture and carnal ritual sacrifice fundamentally. An unbridgeable cultural gap separates it from its organic context.
Our reception of Ribeiro’s work removes it from the origin even further and re-inscribes it in a new aesthetic system. Yet a kernel of the myth remains and it has to do with the immediacy of the passions. Ribeiro’s rendition easily rivals the slasher and splatter images hardening contemporary aesthetics. Its gory depiction of a bloodied piece of Marsyas’s torn skin most recently prompted a Twitter commentary by Sotovoce @MP27: “…si’ come quando Marsia traesti dalla vagina delle member sue.” Translation: as if Marsyas brought forth a vagina from his limbs.
Myths, like fiction and self-reflexive art, reveal structural psychological realities that would otherwise remain buried in the common systems of signification and circulation. It has been widely contested that, like King Oedipus, who committed the crimes of patricide and incest not knowing who his parents are and did cruel penance for his offences, Marsyas too did not deserve the brutal sentence of death by flaying.
Nietzsche discovered the origin of tragedy in satyric revelry
The satyr was famed for the incomparable music he composed on the autos, Athena’s abandoned flute. Apollo, god of beauty and perfection, offended by a rivalry he could neither master nor surpass, engaged the satyr in an unfair contest that would condemn the creature to a cruel death.
The original cultural system of values the tale reflects is the basic aesthetic of classicist naturalism. Nietzsche was a devout follower and went as far as to claim that life is so horrible, it is only worth living as an aesthetic phenomenon (Birth of Tragedy). In classical aesthetics, forms and shapes that copy the paragons of nature dutifully are objectively beautiful and perfect. Everyone must emulate them to be virtuous, existence justified.
The subjective world of the satyric revelers who were famed for indulging their wild passions in drunken orgies in the wilderness was not granted human form. Satyrs are only half-human half-bestial in the mythological system of Greco-Roman antiquity.
Peter Paul Rubens’s study of a satyr
Nietzsche’s grand discovery and most profound insight was the recognition of drunken satyric revelry as the main item on the tragic menu of ritual sacrifice. Nietzsche felt the passions that moved dithyrambic poetry and claimed the origin of the beautiful proportions and mathematical precision of tragedy for Dionysus, the god of all satyrs.
The dualistic aesthetics represented by the Janus head of Apollo and Dionysus dominated all classicist movements from the Renaissance onwards. Their major flaw is the sacrificial mindset they indulge by insisting that the flayed skin of individuality and interiority is simply discarded, relegated to nothingness, sacrificed at the altar of natural beauty and mathematical perfection.
As Hegel recognized in his reading of Shakespeare’s “Macbeth” the Christian world differs from its pagan heritage, including the Greco-Roman, in that it recognized the impossibility of nothingness. Killing an enemy does not make it go away. Banquo’s ghost returns to haunt Macbeth’s feasts.
the ecstasy of music transcends the woes of passion
Because its reality principle recognised, valorised, and included condemned passions as such, Christianity developed musical annotation. The only system designed for the preservation of music in turn allowed for the development of polyphonic recitals, then symphonies and eventually opera. By contrast, no Greek music survives. We will never hear the sound of antiquity. Only the voice of nature remains.
Apollonian perfection tortures the subjective dimension into submission to the laws of the created universe. Some strands of biblical thought have developed a parallel belief, the doctrine of creationism which is coextensive with the absolutism of science. Creationism declares all creatures holy, yet leaves no room for human creation.
Current global health systems are likewise dominated by the scientific-creationist doctrine, which views the body as purely natural and creaturely and does not take into account the vast systems of manmade cultural articulation that participate in the establishment of health and wellbeing. Culturally displaced human individuals suffer enormous health damages, currently unacknowledged by the barbaric administration of global migration.
Caravaggio recognised his own passions as reflexive of the ghostly sickness of the satyrs’ aberrant aesthetics; 1593 Self-Portrait as Sick Bacchus
Biblical Twist: Symptom blossoms into Beauty
Christian thought introduced the value of the symptom and the value of difference as co-creator or re-creator of the world. Hence, Christian art not only produced a vast treasury of masterpieces but also preserved the sublime legacy of Greco-Roman antiquity.
Interiority could not develop in the classical world because, like Marsyas, its aberrant outward form was continually flayed by the demands of Apollonian perfection. It never entered the systems of circulation. As the Twitter user cited above correctly diagnosed, the interior is profoundly feminine, because it exists in the spaces between the natural units measuring systemic reality.
Feminine love saves the beast in the folk-tale. Beauty’s love endows the Beast with the magnificent shapes of human proportions. But feminine love itself is of the beastly nature of the passions, the central symptom on display in the classical arts of tragic poetry.
As Heidegger recognised in “The Question of Technology” and “The Origin of the Work of Art” (http://users.clas.ufl.edu/burt/filmphilology/heideggerworkofart.pdf), poetry is the engine of invisible reality, the fundamental tapestry of love. Our little lives are rounded not so much with sleep but with poetry. Caravaggio’s depictions of suffering saints emerging from pitch black darkness put the human body in all its passionate creaturely glory on display for the first time in the Christian history of art. Ribeiro’s reinterpretation of the flaying of Marsyas borrowed the poetic idiom of Caravaggio’s profoundly Christian aesthetics, thus re-inscribing the satyr in the feminine position of the saint who bears his suffering patiently in not so silent complicity with the passion of the Christ. The rest is music.
Botticelli, The banquet in the forest , Prado, Madrid
Romeo and Juliet’s Marriage
The most profound, unlikely and graceful aspect of Shakespeare’s “Romeo & Juliet” is its award envelope, the covenant of marriage. A plot driven by a grisly engine of death and sexual violence unveils a stunning portrait of incomparable beauty, the good and faithful work of Romeo and Juliet’s wedding. The twin work of poetry and marriage shares a common heart, a counter engine to creaturely death, in its quest to re-create and immortalize the heavenly joys of marital bliss.
The Freudian concept of “work” and the Heideggerian concept of “enframing,” which refers to the phenomenological horizon of presence (Wesen) and being (reality), illuminate a rich analysis of both, the work of dramatic poetry and the work of marriage. The object of enframing is the seminal tragedy of the play Shakespeare wrote in the final decade of the Cinquecento in London, which he based on an imported Italian tale of an ill-starred vendetta. The “enframing” linguistic horizon of the tragic spectacle of star-crossed love, is the Divine Comedy of the Book of Revelations, which concludes the cyclical Biblical narrative with the Wedding Feast of the Lamb.
Defining Public Spaces: Tragedy, Marriage, and Public Health
Coming from a public health background recently I also consider “tragedy” in terms of its use of ex-votos. The pinax or votive tablets of ancient Greece were often used to drape and dress the stage of tragic sacrifice. As a public sacrifice of individual moral and familial deviation tragedy is harmful to public health. Ex votos are traditionally delivered as thanksgiving for healing, that is, as tokens of conformity and a testaments of aberration from the health norms of the public.
Corinthian votive tablet (Pinax), about 575-550 b.C.
The tragic process is a process of corpse production. The re-creation of the corpse saves it, along with the significance of its experience for the enrichment of public life and public health. The work of marriage, like all works of poetry elevates as it sublimates the work of death, which is the mode of production of all creation.
The word “work” in my reading refers both
–to the Biblical sense of works as that by which a man is judged
— and as a work of poetry in the Heideggerian sense I draw from his reading of the Greek term techne in “The Question of Technology”(1950). The essence of being, any being, is a product of technology. Poetry is techne.
The definition of works as products of technology is supported by Heidegger’s insistence on the reality building capacity of poetry as the ultimate source and maker of the world. The object Heidegger is concerned with is not a natural object, but a human work of language.
Human works are re-creations, not originals, but they are crucial to preservation, which the Bible calls saving grace. To save something is to steal it from death, from its creaturely estate. Products of human sublimation make up the world we inhabit and determine its recurring reality.
Techne and Recurrence
Heidegger’s unhistorical understanding of techne as the poetry of being and the Biblical teleology unveiled in Revelations share the same cyclical temporality of recurrence. What recurs is the moment when works are judged for conservation or destruction.
Their judgment is not human. It is a reality test, coextensive with divine judgment. Heidegger’s experiment can be concluded with a theorization of divine judgment. Nature saves and preserves the works of God’s creation, but the works of man undergo judgment. In Revelations the final judgment is both a Wedding Feast, of the Lamb to his Bride, the Church, and an apocalypse. In other words, some works are judged good and therefore recur to establish being and time, and some become condemned sites.
The Biblical point of return is feminine, because it is a work of love. It is marked by the ritual of marriage as the life-giving source of meaning and the techne of biographical memory.
Marriage as Eternal Telos
Though not the final event in the chronology of the five acts, marriage is nevertheless the eternal telos and the source of internal illumination of the tragedy. Every lasting work contained in the dramatic poem “Romeo and Juliet,” be it a trope of learned contemplation, a strophe of seduction, an image of vice, a portrait of virtue, or an eloquent philosophical argument, is a work of the holy union between the two young lovers, since it takes its significance directly from the event of their union in the chapel.
Ex Voto and Effigy
The two golden statues pledged by the survivors at the end are an eloquent effigyand a kind of ex voto offered for the healing of the families, whose strife had condemned their generation to mortal sin:
Effigy of Mary Queen of Scots 1542-1587
Capulet: O brother Montague, give me thy hand./ This is my daughter’s jointure, for no more/ Can I demand
Montague: But I can give thee more/ For I will raise her statue in pure gold,/ That whiles Verona by that name is known,/ There shall no figure at such rate be set/ As that of true and faithful Juliet.
Old Montague is pledging an ex voto that won’t bring his child back, but will serve to establish the identity of Verona, much like Thebes rests on the bones of the royal family of King Oedipus. This belongs to the tragic formatting of the poem. The marriage bond, coextensive as it is with the dramatic work, exceeds the Greek tragic format of both the sacrifice of the young lives and the identity of the city. The play contains the flower of their bond. Like the golden effigy pledged by Old Capulet, it is their true living legacy that will not only leave the walls of Verona, but also of London and go on a worldwide journey to attend the moment of eternal recurrence that Revelations call “The Wedding Feast of the Lamb,” when all victims are “raised again.”
Unlike Thebes, their tragedy does not become the tragedy of Verona, but remains the incomparably beautiful and beloved legacy of Romeo and Juliet, who then, like wandering stars, set off on a journey worldwide. The vehicle that sets them on a journey of global circulation is not the death of the creaturely phenomenological horizon, but love enframed by marriage.
St. Rita’s Legacy and the Union with the Lamb
The Saint of the Italian vendettas is St. Rita. The mortal rivalries plagued Italian youths for centuries and re-rooted the otherwise Christian belief system that prevailed on the peninsula in the ancient rituals of blood sacrifice. St. Rita was married off into a powerful family involved in a vendetta when she was only 13, the age of Juliet. She lost her husband to the vendetta and was about to lose her sons, but they were “spared” by untimely death by sickness. Rita took that as a sign that her prayers had worked. She knew no greater death than the damnation awaiting her sons if they were to commit the mortal sin of murder in the course of the vendetta.
Her faith was so enormous that she managed to reconcile the families and bore patiently a permanent wound in her forehead. Rita refused to let the wound heal. She believed every symptom, suffering, and trial we endure brings us closer to union with the Lamb.
Mortification of the Flesh in Marriage
This is another aspect of the Wedding Feast mentioned in Revelations: every work brought for judgement to the Feast, like the ex votos carried to the tragic stage or to the holy shrine, has to overcome some unique form of suffering, which sin roots in mortality. The vendettas are an obvious example. This gives the doctrine of mortification of the flesh a new and very special meaning.
Rita of Cascia’s wound never healed. She bore it fervently and was able to perform minor miracles of healing through the sheer power of her personality. Notorious in Cascia during her lifetime she became the patron saint of the city.
Today she is known as the Saint of improbable causes, the most improbable being faith itself.
French postwar painter Ives Klein dedicated his ex-voto to St. Rita in an act of defiance of the materialism of the art market. The sacraments dedicate all Christian works to sanctified love, even if it is not of one’s own marital bond. This is a very interesting moment in Christian thought palpable in Shakespeare. Ex-votos renounce the individuality of the symptom, yet for artists they take on the meaning of devotional objects in circulation. Thus marriage becomes the unique setting for the articulation of individuality. The circulability of works is a mark of common currency that guarantees their exchange value. It is finite and creaturely. The story they tell of suffering humanity on its journey to the wedding feast is in excess of tragic formatting. Marriage is the techne of love, the transformation and sublimation of the apple of original sin.
The Beautiful People
Rene Magritte, Le Beau Monde, 1960
The apple in Le Beau Monde is not a physical apple, but a two-dimensional image. The image recoups transient creation. But Magritte takes the act and product of painting itself as his object. He removes the proverbial apple, the source of temptation and ultimate object of original sin, twice from its fallen physical state. His is not a mere image of an ordinary apple, but an image that points to its second nature as image and a sublimated object. It is conscious of being a mirror within a mirror.
Magritte takes the apple of original sin out of its context in the natural world and then also removes it from the context of the technical world of painting. Magritte goes a step beyond Heidegger. Its pure technical essence consists of a few brushstrokes, colour, paint, and canvas (the elements in Ives Klein’s ex voto). Magritte sublimates the very materiality of the medium of representation and achieves a new level of sublimation at a time in history when his medium, painting, has become stale and desublimated as a cultural artefact.
A point of recurrence punctuates the transition from old to new techne. Nietzsche and the Odyssey place recurrence in the feminine province of love. Christian thought will make it its fundamental reality principle by making the Wedding of the Lamb the goal and point of recurrence of the Divine Comedy.
At a time when painting an apple has become an ordinary act, Magritte sublimates the crude, material act of painting by removing it one metaphysical level further from the origin.
Magritte, Son of Man, 1964
Magritte’s later work The Son of Man takes this self-reflexive process of sublimation even further. He paints his self-portrait as Christ and covers it with the trivialized image of an apple. The face we put in circulation in social circles is neither original nor unique. It hides the real face with a pre-fabricated image, a product of old cultural processes of sublimation that have been automated in their production of ‘individual’ identities.
Sublimation re-channels and re-creates the symbolic pathways of raw creaturely desire. A form of mourning that dispenses with the negative half of emotional ambivalence toward the dead, it does not deny nor conceal the loss.
New linguistic and artistic shapes and beings arise from basic instincts, movements and emotions when the natural object is withdrawn.
Between Death and Sublimation: Reality Tasting, Feasting, Consuming
Titian, Noli Me Tangere, 1514
In the gospel of John 20, Jesus appears in the flesh on the evening of the first day of the week and admonishes Mary Magdalene, whom he finds weeping next to his empty tomb, not to touch him.
The new testament achieves another marriage, that of the Greco-Roman and the Jewish heritage flowing into one world of love’s works. The conclusive event, the wedding feast of the Lamb, however, is neither final, nor singular, nor historical. Since it represents the ultimate telos, it is also the point of its eternal recurrence.
Freud introduced the term “sublimation” as a model for the psychological reality of Ovidian epic, which is metamorphosis. For Freud reality is the product of a process of testing in the wake of death, caesura, or permanent loss.
Judgment is also a kind of caesura and death. It withholds something of great value and disrupts the fabric of life in the psychological world of the subject. Reality testing is a form of mourning and repair of the damage inflicted by traumatic loss. It covers the period during which the mourner has to confirm the loss as real.
It is significant that Jesus does not allow Mary to touch him, not because she is doubting his resurrection like Thomas will, but because she must establish the reality of his death. The interruption constitutes the meaning-giving caesura. It is the moment of re-creation. The time of re-collection of the works, human and divine, fills the presence of the departed. Here it is the presence of Christ. This is the time when reality is made. The period between death and resurrection represents the psychological timeframe of reality testing, which establishes the core reality principle. It is a time of material absence, literally untouchable by the senses: “noli me tangere.”
What returns is the essence and internal being of the departed. Their transformed, reconfigured presence is re-collected from the good works. In the case of St. Rita of Cascia it is the famous rose that grew in the barren winter garden of her family home.
The Good Husband
Romeo is a melancholic. He is deeply entangled in the pleasures of metamorphosis. In fact, we first encounter him in a sycamore grove, mourning Rosaline an inch too deeply to be psychologically healthy. The sycamore is a symbol of aberrant forms of love well known to artists. An artist who delights in the sweet pleasures of parting, Romeo is also very skilled with the rapier. Romeo is Shakespeare, an indulgent and glamorous self-portrait. Poets, like good husbands, glory in the art and passion of departure.
This kind of passion is not unaccounted for in the Bible. In fact, it is central. When Jesus admonishes the Magdalene not to touch him, He also says that he is not yet ascended to the Father. Not yet ascended, He is in the space between death and reunion. The moment of eternal recurrence is the birthplace of earthly reality in its human essence, that is, as constitutive of human presence. In a sense we are always already ghosts.
“Noli me tangere” refers to the fundamental principle of Christian reality, which means beyond mortality and the mortal creaturely essence. Untouchable and unavailable to the immediacy of the creaturely senses, the immaterial reality of sublimation structures the sacramental experience of Shakespeare’s works.
Romeo and Juliet’s problem is one of oral impatience, as Freud would call it. Impatience impedes their ability to process the absence of the other. Their response to the reality of banishment is exactly to disobey the commandment: noli me tangere. Their failure initiates a relentless cycle of death: Mercutio, Tybald, Paris, Romeo, and Juliet.
Jesus appears to the Magdalene on the evening of the first day of the week. Sunday evening is the pregnant time before the workweek begins. It represents symbolically the time of conception of works. Sunday is a time of recurrence and repetition. Because it is the day God rested, it is empty of His creation and filled with the human works of love, invention and re-creation. All flowers and fruits of marriage belong to Sunday, from children to the dazzling sepulchre of Romeo and Juliet.
Juliet’s passion, her unique suffering is not initiated by murder as Romeo’s, but by a transgression against the name. The function of the name changes in the Christian experience. Christ’s sword delivers the cut of self-difference. The introduction of Biblical thought to the Greco-Roman cultural foundation changed the tragic dis-articulation of family identity by making a further division within the family. ” Do not suppose that I have come to bring peace to the earth. I did not come to bring peace, but a sword.35For I have come to turn “ ‘a man against his father, a daughter against her mother, a daughter-in-law against her mother-in-law—36 a man’s enemies will be the members of his own household.’c (Matthew 10:34-36). Recreation introduces self-difference, absent in tragic sacrifice.
In language, the individuality dwells in the spaces between signifiers. Difference is the origin of poetry and the idiomatic calculus of unique interiors. In the endless chatter of language, a caesura introduces the breaking point where Christ’s sword cuts the self in two to introduce divine presence. Heidegger calls this presence techne. This healing cut vouchsafes the unique truth and being of the individuality. St. Rita’s attachment to her wound understood this profoundly. The sacramental use of the name altered its function from an objective unit in the chain of signifiers, whose meaning is guaranteed by blood lineage or by the nomos in Greco-Roman logic, to a guardian of unique suffering. It is the portal between language and internal infinity.
Juliet’s raw desire erases the name and precipitates regression to Greek tragic formatting. Violation of the limit built into the name initiates a relentless cycle of tragic annihilation.
‘Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What’s Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What’s in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call’d,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself. (R&J II.ii.38-48)
The limit Juliet fails is the name. This purely linguistic operation erases Romeo’s and her own humanity. It is her wound, moreover, that makes her frantic but futile actions an engine of greater hunger for what she cannot have because it is already inside.
Her wound initiates an endless mourning ritual we still engage with pleasure. In the tragic format of the tale, the names of the young lovers, the very names they erased in their youthful passion, remain the monument of their union for all eternity: Romeo and Juliet. Their mortal passion becomes their passport to the global systems of circulation.
Circulation (to be continued)
Paul Klee, Sirens of Ships, 1917
Paul Klee’s 1917 image of the Sirens of Ships is an interesting commentary on the psychology of global circulability, epic transformation, and adultery. The Sirens represent the Bard Homer, whose song of war glory tempts men away from their work of marriage. Sirens beckon with the adulterous temptations Odysseus had to conquer on his long journey home to his spouse, Penelope. But unlike the Sirens of war, the crossed stars of Romeo and Juliet keep testing our works for their fitness to grace the Wedding Feast of the Lamb. Reality testing and tasting is an endless work of epic transformation and sublimation.
A version of this post was presented at the World Shakespeare Congress in Stratford Upon Avon, 2016
La Piscina | I like The Monologue Even More Than The Duet ▪ Edition of 3 ▪ € 5.000.- ▪ 2 Left
My next post will deal more subtly with the world of circulation, commerce, and coins, which will be an offshoot of the ongoing reflections on the literary and artistic design of identity. But please allow me to post this recommendation of a photography sale I found online as a preamble.
Photography is the most philosophic medium. Like the reflection of thought on the invisible dimensions of being, it has the potential to shore up the essence within. Vilem Flusser (http://cmuems.com/excap/readings/flusser-towards-a-philosophy-of-photography.pdf) famously proposed an analogy between writing and photography. He claimed the same revolutionary powers for photography as linear writing. Flusser’s limited, Darwinist interpretation forgets or wilfully erases the history of a vital relationship for the design of the human form. The relationship between the image and the text is the techno-genealogical origin of photography.
The historic relationship begins with Christian art in antiquity. It inherited the perfection of Greco-Roman culture and the passionate humanity and femininity of the textual culture of the Bible. The New Testament established the human interior as a physical topos in the world for the first time in history.
Madonna with the Book by Raphael Sanzio, 1504
Self-Design Not Selfie
Collecting photography is a unique and poetic way of articulating the private identity. As the world scurries around the world chasing cheap selfies it forgets itself and its beholder. The quick and mindless snapshot of what one believes is the genetically singular shape of a humanist visage is highly artificial. Pre-processed and pre-fabricated by the enormous technological apparatus charged with designing the globe and the heavenly spheres, the selfie is as unique as a piece of lunch meat.
Most selfies have a lifespan of about 10 seconds. Some may get framed and survive a few decades on a dusty shelf. But only few will make it into significant enough frames to pass on to posterity. A carefully designed collection, on the other hand, organised by the fingerprint of one’s private and deeply personal desire, serves to re-educate the senses to perceive what matters to the collector. The market and the bureaucracies are irrelevant to collectors consciously focused on works that reflect their human individuality.
Ethan Hawke as Iachimo SPYING on a lady with a book in 2015 production of Cymbeline
In fashion photography the medium does not reach its fullest potential, because the images are intended as templates for selfies, even before selfies existed.
Fashion addresses itself to the feminine body in its most vulnerable states. Moments of transgression break through the fabric of interiority and offer a peep into forbidden territories.
The world of contemporary fashion emerged after the French Revolution to mop the spillage from entire industries that revolved around the culture of the crown. Fashion and Pop continued to develop at least the technical dimensions of fashioning the personality of the crowned heads of state, which represented the body of the nation.
Unfortunately fashion and pop also removed the religious dimension of their original setting. To restore the passion attending the arts of fashion and pop, the twin industries that continued to articulate what had once been the property of sovereign heads of nations, we only need remember that the structure of articulation is fallen human desire. The individuality emerges as a symptom and an aberration. The arts charged with fashioning the crown were cultivated at the cutting edge between virtue and transgression.
As the quintessential feminine art of transience, fashion requires a more encompassing medium like photography to preserve its timelessness. Commercial fashion photography is a mere prop in this project.
Art photography, like the exemplars I’m recommending, takes the fashion photograph as its object in an act of disruption of the mass context. Each photograph interrupts the continuity of the flawless fashion image, which hides its structure, and offers a peep-show into one’s own interior. Between the edges of the components, model, setting, light, eye, and camera, an invisible secret agent of personal desire sutures a different image. Discover it. Re-write it.
01A909TW; CYMBELINE [RSC 1962] Vanessa Redgrave as Imogen and Eric Porter as Iachimo photo by Gordon Goode Date: 1962