Picture Post #33: Bourgeois Reminiscence

'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Mercato di Sant'Ambrogio . Florence . Italy

 Picture credit: Antonio Borrani, 2017

  

Fragments of appearance are offered in the form of leftovers, sold at a market stall by the ounce. Not by the weight per square metre, as used by some manufactures, or by the linear yard. In any case, most likely these surplus fabrics, extras left over after use, could not reach those required measurements.

So instead here we find the evidence of what is left. Fragments not big enough to decorate an entire sofa, but maybe for a cushion it will do. Limited quantities for limited decoration.

The leftover fabric is a measured out merchandise until complete exhaustion. An excess to be sold anew. But this is not the defence of the poor, but rather of a poverty that, solely by its unoffending presence (when permitted) constitutes a critique of possession -- respects the form of private property.

Making such sense of self through this projection into an external referent is a form of psychosis, or to use a Lacanian term, foreclosure. The relation of the subject to the Other is one of dialectic exclusion. Is aspiring to images that offer a make-believe form of prestige a way to enhance an illusion, or to add to alienation?

For sure, we do not find cushions cut from this cloth in the iconic depiction of The Potato Eaters by Van Gogh…

Picture Post #33: Bourgeois Reminiscence

'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Mercato di Sant'Ambrogio . Florence . Italy

 Picture credit: Antonio Borrani, 2017

  

Fragments of appearance are offered in the form of leftovers, sold at a market stall by the ounce. Not by the weight per square metre, as used by some manufactures, or by the linear yard. In any case, most likely these surplus fabrics, extras left over after use, could not reach those required measurements.

So instead here we find the evidence of what is left. Fragments not big enough to decorate an entire sofa, but maybe for a cushion it will do. Limited quantities for limited decoration.

The leftover fabric is a measured out merchandise until complete exhaustion. An excess to be sold anew. But this is not the defence of the poor, but rather of a poverty that, solely by its unoffending presence (when permitted) constitutes a critique of possession -- respects the form of private property.

Making such sense of self through this projection into an external referent is a form of psychosis, or to use a Lacanian term, foreclosure. The relation of the subject to the Other is one of dialectic exclusion. Is aspiring to images that offer a make-believe form of prestige a way to enhance an illusion, or to add to alienation?

For sure, we do not find cushions cut from this cloth in the iconic depiction of The Potato Eaters by Van Gogh…

The Philosophy of Jokes

I say, I say, I say...

Posted by Martin Cohen

Ludwig Wittgenstein, that splendidly dour 20th century philosopher, usually admired for trying to make language more logical, once remarked, in his earnest Eastern European way, that a very serious work, or zery serieuse, verk in philosophy could consist entirely of jokes. 

Now Wittgenstein probably meant to shock his audience which consisted of his American friend, Norman Malcolm (who he also once, advised to avoid an academic career and to work instead on a farm) but he was also in deadly earnest. Because, humour is, as he also is on record as saying, ‘not a mood, but a way of looking at the world’. Understanding jokes, just like understanding the world, hinges on having first adopted the right kind of perspective.

So here's one to test his idea out on.

‘A traveler is staying at a monastery, where the Order has a vow of silence and can only speak at the evening meal. On his first night as they are eating, one of the monks stands up and shouts ‘Twenty two!’. Immediately the rest of the monks break out into raucous laughter. Then they return to new silence. A little while later, another shouts out ‘One hundred and ten’, to even more uproarious mirth. This goes on for two more nights with no real conversation, just different numbers being shouted out, followed by ribald laughing and much downing of ale. At last, no longer able to contain his curiosity the traveler asks the Abbot what it is all about. The Abbot explains that the monastery has only one non-religious book in it, which consists of a series of jokes each headed with its own number. Since all the monks know them by heart, instead of telling the jokes they just call out the number. 

Hearing this, the traveler decides to have a look at the book for himself. He goes to the library and carefully makes a note of the numbers of the funniest jokes. Then, that evening he stands up and calls out the number of his favourite joke – which is ‘seventy six’. But nobody laughs, instead there is an embarrassed silence. The next night he tries again, ‘One hundred and thirteen!’, he exclaims loudly into the silence - but still no response. 

After the meal he asks the Abbott if the jokes he picked were not considered funny by the monks? ‘Ooh no’, says the Abbott. ‘The jokes are funny – it’s just that some people just don't know how to tell them!’

I like that one! And incredibly, it is one of the oldest jokes around. This, we might say, is a joke with a pedigree. A version of it appears in the Philogelos, or Laughter Lover, which is a collection of some 265 jokes, written in Greek and compiled some 1,600 odd years ago. So it’s old. Nevertheless, despite its antiquity, the style of this and at least some of the other jokes is very familiar.

Clearly, humour is something that transcends communities and periods in history. It seems to draw on something common to all peoples. Yet jokes are also clearly things rooted in their times and places. At the time of this joke, monks and secret books were serious business. But the first philosophical observation to make and principle to note is that both these jokes involved one of those ‘ah-ha!’ moments.

Humour often involves a sudden, unexpected shift in perspective forcing a rapid reassessment of assumptions. Philosophy, at its best, does much the same thing.

Picture Post No. 14: On Otherness and Logic

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'Because things don’t appear to be the known thing; they aren’t what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Photo credit Max Perissi .  Florence, Italy 1994

How can a woman in a semitransparent dress, passing on the streets of Florence, pass by unnoticed? Or should we question why a woman in a semitransparent dress is challenging? The above picture - inspired by Ruth Orkin’s 1951 photograph,  ‘American girl in Italy’, reworks the underlying issues of female freedom and independency.

Being foremost independent and possibly attractive stresses female power over men and the ability to challenge patriarchal behavior. The woman ‘out objects’ herself in claiming her ‘subjective freedom’. She, like He, plays this game in the face of gender difference, molding both men and women into objects. 

Challenging the other gender, even as we are controlled by a vision of being sexual bodies, is hitchhiking on a road where ‘the obvious will always be the driver, in a country of good reasons’, even when the road might be deceptive.

Less obvious is the question of whether we have distorted intimacy into something we can rationally justify? 

Have we made a confused exchange between the inescapable faults ascribed to the virtues of the male and female body and the awareness that intimacy informs all the conceptual relationships of Life?

Intimacy unties borders in which the other is disqualified - in a moral way. That this disqualification is unfounded might perplex us, but it will not make us doubt.

When intimacy is appropriated into a web of the already related, the lurking suspicion is that once we have sexualised the body, will we also not  find that we have destroyed intimacy?

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Read on: More ways in which images  are not always quite what they seem are explored in the post immediately below, by Keith Tidman.