I see there’s been an impressive swelling of traffic to this site during the last few days. I’d like to think this sudden interest was a result of posts on PC bigotry or unhinged postmodern scholarship, or our high-minded discussion of the arts. I notice, however, that quite a few people are finding themselves here after Googling the word “blowjob.” (The phrase “Superhero Pornface” is also being Googled with surprising frequency.) Well, however you got here, welcome aboard.

With the artistic feats of Mr Delvoye and Ms Hines still fresh in our minds, I thought I’d share an extract from an essay by Stephen Hicks, titled Why Art Became Ugly. The essay is an examination of postmodern art, its origins, and its aesthetic and ideological shortcomings. In the following extract, Hicks notes the anhedonic tendency of many artists and their professed aversion to capitalism and any successful products of it. The relevance to recent posts is, I think, fairly obvious:

“There is the long-standing rule in modern art that one should never say anything kind about capitalism… German artist Hans Haacke’s Freedom is Now Simply Going to be Sponsored – Out of Petty Cash (1991) is [a] monumental example. While the rest of the world was celebrating the end of brutality behind the Iron Curtain, Haacke erected a huge Mercedes-Benz logo atop a former East German guard tower. Men with guns previously occupied that tower – but Haacke suggests that all we are doing is replacing the rule of the Soviets with the equally heartless rule of the corporations…

We would not know from the world of modern art that average life expectancy has doubled since Edvard Munch screamed. We would not know that diseases that routinely killed hundreds of thousands of newborns each year have been eliminated. Nor would we know anything about the rising standards of living, the spread of democratic liberalism, and emerging markets. We are brutally aware of the horrible disasters of National Socialism and international Communism, and art has a role in keeping us aware of them. But we would never know from the world of art the equally important fact that those battles were won and brutality was defeated.

And entering even more exotic territory, if we knew only the contemporary art world we would never get a glimmer of the excitement in evolutionary psychology, Big Bang cosmology, genetic engineering, the beauty of fractal mathematics – and the awesome fact that humans are the kind of being that can do all those exciting things.” 

If the subject is of interest, I’d recommend making time to read the whole thing. Hicks’ book, Explaining Postmodernism, is also recommended. Feel free to rummage through the archive and browse the Greatest Hits. If you like what you find, approval can be expressed with the button below.

Further to the recent post on the conceptual artist Wim Delvoye and his x-rayed blowjobs and tattooed pigs, a reader has noted the artist’s pretentious yet depressive and nihilistic tone. Delvoye has often couched his output in terms of “the folly of human achievement” and, like many of his peers, has spent a great deal of time either manufacturing excrement or presenting human ambition as “ridiculous.” A stance which raises the question of whether Delvoye regards his own work – devoted as it is to revealing the emptiness of human endeavour – as worth pursuing, or paying for. 

In matters excremental, Delvoye’s efforts are rivalled, perhaps even surpassed, by fellow artist Michelle Hines, whose 1995 work Peristaltic Action involved Ms Hines apparently producing a single, continuous turd measuring some 26 feet in length. This prodigious feat required, we’re told, a high-fibre diet, a butt plug and a suitable venue – the Cranbrook-Kingswood High School bowling alley in Michigan – which, according to Hines, “offered a length of floor suitable for measuring the results.” Readers with a sturdy constitution can click here to see Ms Hines in action, as it were.

There is, however, some doubt as to the veracity of Hines’, er, output, and the artist has subsequently claimed that her work is in fact a “parody” that explores the “absurd lengths people will go to be remembered.” Another Hines triumph, Number of Days Without Sleep, purported to show the artist depriving herself of sleep for 528 hours in December 1994 – which, of course, she didn’t. Unlike Mr Delvoye, and with suitable postmodern irony, Ms Hines seems to believe that ersatz pretension and vacuity is much more worthwhile than the real thing.

Some time ago, before openDemocracy’s discussion boards became a train wreck, I posted a few links to the x-ray imagery of Belgian artist, Wim Delvoye. A reader of that epic oD thread suggested I post Delvoye’s handiwork here, for the benefit of a more… discerning audience. Ever the aesthete, I’m only too happy to oblige. The x-rays of kissing are, I think, rather sweet, if a little continental, though other examples from this series are perhaps an acquired taste and not for the faint-hearted.

More of Delvoye’s, um, penetrating insights can be found here. Unfortunately, Delvoye’s official website is rather low in content and features only the artist’s tattooed pigs, in live and stuffed varieties. (According to one critic, Delvoye has “astounded the art world with masterpieces that test the limits of art appreciation.” We’re also assured that Delvoye’s Art Farm project, which boasts 24 tattooed pigs, “satirically mirrors the society we live in.”) Tragically, the website omits what is surely Delvoye’s greatest artistic triumph: his robotic bowel, Cloaca. This bio-mechanical installation – apparently a “highly pungent comment on the folly of human achievement” – mimics the human digestive tract, from French fries to mechanically extruded faeces. This aesthetic wonder is performed in a “relatively odour-free manner” and recorded in riveting detail. Collectors will be mortified to learn the end product of that exhibit has, alas, sold out.

More here.

If this is your first visit, feel free to roam the archive and browse the Greatest Hits. Patronage and gratuities always welcome.

I recently pointed out how the Guardian’s deputy comment editor, Joseph Harker, has realised that if the meaning of certain words doesn’t support his argument or broad political stance then he can simply change what those words mean until they do support that argument, at least in dim light. Thus, Mr Harker can argue that “all white people are racist” while claiming that he can’t be a racist for saying so, on the basis that racism is, apparently, an exclusively Caucasian vice. Clearly, if one can redefine words to suit an existing argument, rather than rethink one’s argument to fit the meaning of words – or indeed reality – then this affords enormous opportunity, at least rhetorically.

It’s pretty clear from this unilateral definition that Harker isn’t against racism per se. Attentive readers will notice he’s not arguing for a reciprocal moral principle – i.e. that people shouldn’t be prejudged on the basis of their colour or country of origin. Instead, what we see is an expression of PC bigotry and contorted righteousness. It’s not too difficult to see how this linguistic contortion fits with certain kinds of role-play – pretentious victimhood on the one hand and narcissistic guilt fantasies on the other. Perpetuating this outlook might be politically useful to some leftist ideologues and opportunist pressure groups, but it isn’t clear how believing “all white people are racist” helps anyone see further than the colour of a person’s skin.

Thanks to everyone who emailed links and comments in response to the Peddling Stupidity article about Carolyn Guertin and her postmodern ‘scholarship’. One item in particular, posted at Carnal Reason, caught my attention. I’m going to have to quote myself to provide a little context. It’s shameful, I know, but bear with me. Regarding PoMo prose, I wrote:

“The intention behind such wilfully unintelligible text is, it seems, not to invite thought or reward it, but to repel and discourage it. This is done by exhausting the reader’s efforts to comprehend and reducing him to a state of demoralised dishonesty, whereby absurd and vacuous statements are repeated and endorsed, regardless of incomprehension and for fear of appearing stupid. By publicly endorsing vacuity, and making great claims in its name, the unsuspecting student is thus painted into a corner and any subsequent rethinking entails an intolerable loss of face and credibility.”

Carnal Reason highlights this passage, then teases out its implications:

“To corrupt a man, get him to tell lies in public. Make him espouse what he does not believe. To make sure he does not believe what he espouses, make what he espouses unintelligible.”

This point is illustrated with an extract from an interview with Theodore Dalrymple. Dalrymple is talking about PC censorship and learned dishonesty, but the parallels with Guertin, and with politicised PoMo generally, shouldn’t be too hard to fathom:

“Political correctness is Communist propaganda writ small. In my study of Communist societies, I came to the conclusion that the purpose of Communist propaganda was not to persuade or convince, nor to inform, but to humiliate; and therefore, the less it corresponded to reality the better. When people are forced to remain silent when they are being told the most obvious lies, or even worse when they are forced to repeat the lies themselves, they lose once and for all their sense of probity. To assent to obvious lies is to co-operate with evil, and in some small way to become evil oneself. One’s standing to resist anything is thus eroded, and even destroyed. A society of emasculated liars is easy to control. I think if you examine political correctness, it has the same effect, and is intended to.”

Dalrymple gives good interview and the piece is worth reading in full.