nikki moore

the delightful disorder of things

In what is philosophy? on July 15, 2009 at 10:16 am

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in two very interesting posts, (here and here) levi bryant at larval subjects is exploring something he is calling separately, the ‘factory of truth’ and aesthetics.  given my time in the MIT architecture theory department and the love for arranged objects that lead me into that program, i am always interested in thinking these connections.  further… as mentioned in a previous post, i saw Food, Inc. this week and was struck by the parallels between philosophy and docudrama.  pairing these and whatever lurks below the surface in this interest of mine, my suspicion, if not my claim (which is a phrase altogether too neil armstrong to be taken seriously…) is that  what philosophy, docudrama and aesthetics are up to is something we could tentatively call plain, old-fashioned collage.

i.e.:

as a painter, writer, scientist, housewife are about the businesses of juxtaposition – arranging paint and paper, arranging diapers and play-dates, arranging data and documentation – the accumulations of all of these people, places, things and thoughts (latour’s ‘actors’) create living arrangements.  on one level, the actors themselves are self-displaying, self-arranging, making themselves and their regions of concern into collages of all sorts filled with unexpected and unnoticed actors, as well as predetermined plot points or points of interest they hope will be noticed.

it is in the noticing, the arranging, in setting up an ‘order of things’ that philosophy enters and, as levi pointed out in one of the abovementioned posts, lags behind like the owl of minerva, tracing and retracing, translating all the while, layering collage upon collage into a gallery of philosophical ideas and concepts.  in this, i might maintain that philosophy is not unlike art, is not unlike science – as each mode of production lags behind and lurches beside, all the while producing all the more, what it thinks it is merely picturing or describing… thinking philosophy as docudrama this production, (latour via levi’s ‘no transportation without translation’,) is a discipline in its most aesthetic mode.

while there is more to be thought here, i will now happily defer to someone who said this years ago and much better…

excerpted  from Michel Foucault’s preface to

The Order of Things

Preface

This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought – our thought, the thought that bears the stamp of our age and our geography – breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a ‘certain Chinese encyclopedia’ in which it is written that ‘animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (1 et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies’. In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that.


But what is it impossible to think, and what kind of impossibility are we faced with here? Each of these strange categories can be assigned a precise meaning and a demonstrable content; some of them do certainly involve fantastic entities – fabulous animals or sirens – but, precisely because it puts them into categories of their own, the Chinese encyclopaedia localizes their powers of contagion; it distinguishes carefully between the very real animals (those that are frenzied or have just broken the water pitcher) and those that reside solely in the realm of imagination. The possibility of dangerous mixtures has been exorcized, heraldry and fable have been relegated to their own exalted peaks: no inconceivable amphibious maidens, no clawed wings, no disgusting, squamous epidermis, none of those polymorphous and demoniacal. faces, no creatures breathing fire. The quality of monstrosity here does not affect any real body, nor does it produce modifications of any kind in the bestiary of the imagination; it does not lurk in the depths of any strange power. It would not even be present at all in this classification had it not insinuated itself into the empty space, ’the interstitial blanks separating all these entities from one another. It is not the ‘fabulous’ animals that are impossible, since they are designated as such, but the narrowness of the distance separating them from (and juxtaposing them to) the stray dogs, or the animals that from a long way off look like flies. What transgresses the boundaries of all imagination, of all possible thought, is simply that alphabetical series (a, b, c, d) which links each of those categories to all the others.



Moreover, it is not simply the oddity of unusual juxtapositions that we are faced with here. We are all familiar with the disconcerting effect of the proximity of extremes, or, quite simply, with the sudden vicinity of things that have no relation to each other; the mere act of enumeration that heaps them all together has a power of enchantment all its own: ‘I am no longer hungry,’ Eusthenes said. ‘Until the morrow, safe from my saliva all the following shall be: Aspics, Acalephs, Acan thocephalates, Amoebocytes, Ammonites, Axolotls, Amblystomas, Aphislions, Anacondas, Ascarids, Amphisbaenas, Angleworms, Amphipods, Anaerobes, Annelids, Anthozoans. . . .’ But all these worms and snakes, all these creatures redolent of decay and slime are slithering, like the syllables which designate them, in Eusthenes’ saliva: that is where they all have their common locus, like the umbrella and the sewing-machine on the operating table; startling though their propinquity may be, it is nevertheless warranted by that and by that in, by that on whose solidity provides proof of the possibility of juxtaposition. It was certainly improbable that arachnids, ammonites, and annelids should one day mingle on Eusthenes’ tongue, but, after all, that welcoming and voracious mouth certainly provided them with a feasible lodging, a roof under which to coexist.



The monstrous quality that runs through Borges’ enumeration consists, on the contrary, in the fact that the common ground on which such meetings are possible has itself been destroyed. What is impossible is not the propinquity of the things listed, but the very site on which their propinquity would be possible. The animals ‘(i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush’ – where could they ever meet, except in the immaterial sound of the voice pronouncing their enumeration, or on the page transcribing it? Where else could they be juxtaposed except in the non-place of language? Yet, though language can spread them before us, it can do so only in an unthinkable space. The central category of animals ‘included in the present classification’, with its explicit reference to paradoxes we are familiar with, is indication enough that we shall never succeed in defining a stable relation of contained to container between each of these categories and that which includes them all: if all the animals divided up here can be placed without exception in one of the divisions of this list, then aren’t all the other divisions to be found in that one division too? And then again, in what space would that single, inclusive division have its existence? Absurdity destroys the and of the enumeration by making impossible the in where the things enumerated would be divided up. Borges adds no figure to the atlas of the impossible; nowhere does he strike the spark of poetic confrontation; he simply dispenses with the least obvious, but most compelling, of necessities; he does away with the site, the mute ground upon which it is possible for entities to be juxtaposed. A vanishing trick that is masked or, rather, laughably indicated by our alphabetical order, which is to be taken as the clue (the only visible one) to the enumerations of a Chinese encyclopaedia. . . . What has been removed, in short, is the famous ‘operating table’; and rendering to Roussel1 a small part of what is still his due, I use that word ‘table’ in two superimposed senses: the nickel plated, rubbery table swathed in white, glittering beneath a glass sun devouring all shadow – the table where, for an instant, perhaps forever, the umbrella encounters the sewing machine; and also a table, a tabula, that enables thought to operate upon the entities of our world, to put them in order, to divide them into classes, to group them according to names that designate their similarities and their differences – the table upon which, since the beginning of time, language has intersected space.



That passage from Borges kept me laughing a long time, though not without a certain uneasiness that I found hard to shake off…

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