Showing posts with label virtual reality. Show all posts
Showing posts with label virtual reality. Show all posts

17 Sept 2018

On Art and Syphilis

Elizabethan Era Syphilis (detail)
by Swedish makeup artist 


Even though, by his own admission, Lawrence knows "nothing about medicine and very little about diseases", that doesn't prevent him from offering a reading of English art history that is both critical and clinical in character and from assuming the role of what Nietzsche terms a cultural physician

Thus, in a fascinating late essay, Lawrence asserts that the reason the English produce so few painters is not because they are, as a people, "devoid of a genuine feeling for visual art", but because they are paralysed by fear

It is this which distorts Anglo-Saxon existence; an old fear which "seemed to dig into the English soul" during the Renaissance and that we might characterise as a morbid and mystical terror of sex and physical intimacy. The Elizabethans came to regard their own bodies with horror and began to privilege spiritual-mental life over instinctive-intuitive being.     

And, according to Lawrence, this was caused by the "great shock of syphilis and the realisation of the consequences of the disease" - particularly by the late-16th century when its "ravages were obvious" and, having initially entered the blood of the nation, it now "penetrated the thoughtful and imaginative consciousness". 

Someone, he suggests, ought to "make a thorough study of the effects of 'pox' on the minds and emotions and imagination of the various nations of Europe at about the time of our Elizabethans", who, despite their attempts to joke about the disease, were haunted by the fear of it. For the fact is "no man can contract syphilis, or any deadly sexual disease, without feeling the most shattering and profound terror go through him ... And no man can look without a sort of horror on the effects of a sexual disease in another person." 

I suspect that's probably true - and dare say many who experienced the outbreak of AIDS in the 1980s will agree. Like the arrival of syphilis, AIDS not only gave a "fearful blow to our sexual life", but the horror of it shaped our cultural imagination. We recoiled further and further away from one another - from physical communion - and into virtual reality (including online porn). 

Now we know know one another only as ideal entities on social media, or obscene online images; fleshless, bloodless, and cold. And our contemporary art reflects this great move into abstraction. It's often very clever, often very amusing, but it's real appeal is that it's germ-free.   


Notes

D. H. Lawrence, 'Introduction to Paintings', Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004). 

Johannes Fabricius, Syphilis in Shakespeare's England, (Jessica Kingsley Publishers, 1994).

Arguably, the above book is the serious study Lawrence calls for and it lends support to his thesis concerning the manner in which syphilis profoundly changed the manners and morals of Renaissance Europe and shaped the literary and artistic imagination. Fabricius also suggests - as I have - that, in many ways, the emergence of syphilis has numerous parallels with the AIDS epidemic and the socio-political reaction to it. 

Susan Sontag, AIDS and Its Metaphors, (Farrar, Strauss and Giroux, 1989). 

In this brilliant work of critical theory - a companion text to her earlier work Illness as Metaphor (1978) - Sontag extends her arguments made about the way in which cancer is culturally conceived to AIDS, deconstructing harmful myths surrounding the disease. Further, she also provides an interesting comparison between AIDS and syphilis    


10 Nov 2017

All Dolled Up with Lulu Hashimoto



Japanese beauty, Lulu Hashimoto, is a girl who has really taken the expression all dolled up to heart.

Or, more precisely, Lulu Hashimoto is a doll-like character performed by an anonymous model who has really taken the idea of self-objectification to an uncanny level.  

In other words, Lulu is actually a full-body doll suit, consisting of a wig, a mask and stockings patterned with doll-like joints, created by Hitomi Komaki, a 23-year-old fashion designer who has a thing for dolls and their unique attraction (a disturbing combination of cuteness and creepiness).

Despite Komaki's rather puzzling and somewhat disingenuous denials, there's obviously something fetishistic about this game of dress up and disguise born of the world of BDSM; of becoming-object through a process of dollification - a process of physically and mentally transforming oneself into a living doll and seeking out an Owner to whom one must be subservient at all times.  

Lulu has not only turned heads on the streets of Tokyo, but has built up a substantial following on social media, with fans all over the world. She is, in addition, among the finalists of the annual Miss iD (alternative) beauty pageant this year; a contest open to all kinds of beings, human and non-human, actual and virtual, including holographic characters generated by artificial intelligence.

To broaden our understanding of the real in this manner - and to redefine notions not only of aesthetics, but humanity - is, I think, a good thing; it's certainly an interesting project from a queer philosophical perspective.    

And the possibility of donning a doll-suit, whatever one's age, race, or gender and (if only momentarily and imaginatively) becoming a beautiful young Japanese girl like Lulu, certainly has its appeal ...  


Notes 

Those interested in seeing more photos of Lulu and becoming one of her 31.3k followers on Instagram, click here.

Those interested in dollification as practiced within the kinky community might like to visit dollification.com