Below is a paper that I presented at a workshop on capitalism and photography held at the University of Toronto, September 15-16, 2017. I will be working on it for the next several months, in preparation for it being included in a collection of essays on Capitalism and the Camera that is being edited by Kevin Coleman, Daniel James, and Ariella Azoulay. Comments and suggestions are welcomed.
For the past 15 years, the American photographer Emmet Gowin has been photographing more than a thousand species of moths on visits to Bolivia, Brazil, Ecuador, French Guiana, and Panama. This month, Princeton University Press will publish a monograph of these images, titled, Mariposas Nocturnas: Moths of Central and South America, A Study in Beauty and Diversity. Since the book has yet to be released, and I did not have the opportunity to see the recent exhibition of these images at the Morgan Library, I am operating at the moment with a bit of a deficit. I was recently drawn to this photography project while exploring the figure of the moth in modern philosophy and criticism; a series of references that ranges from Part Two of Heidegger’s 1929-30 lecture course on The Fundamental Concepts of Metaphysics and his discussion of the animal as being “poor in world,” to Guy Debord’s last film (1978), the title of which, In girum imus note et consumimur igni, is the ancient phrase that, as a palindrome, reads both forward and back: “We turn in the night, consumed by fire.” Finally, to Giorgio Agamben who, in his book The Open: Man and Animal (2002), and more recently in The Use of Bodies (2014), considers Heidegger and Agamben’s uses of the figure of the moth as an emblem of captivation that is, respectively, either a non-revelatory instinctual drive or as being completely consumed by the bright light of spectacle.
Within the context of our discussion of capitalism and photography, and the specific attention that I want to direct to issues of the Anthropocene and Capitalocene theses, the moth is not only an emblematic figure for a desirous attraction that proves to be suicidal, but also of an immolation in which a body sets itself on fire in a sacrificial activist gesture of protest and refusal. As such, the moth functions as an “indicator species,” that, precisely in its beauty and diversity (taking terms from the subtitle of Gowin’s new book), not only signals the loss of those very two things (an aesthetics of bio-diversity?) due to epic and epochal species extinction, but also the auto-immune disorder of the anthropological-biological machine and its own death-drive. Gowin’s photo grids are clear reminders that this anthropological machine and its taxonomies is also an optical machine (that obviously includes photography in all of its various technological permutations and capacities).
At the same time, given that any taxonomy is always also a historiography, and given that every place on a map is also at the same time a moment in history, Gowin’s focus on the moths of Central and South America underlines the fact that the future time of extinction that humanity finds itself living today is unevenly distributed, and that the fatal affects on the global South and the global poor require a politics and ethics that absolutely resists capitalism’s general equivalence of catastrophes, as it also remains committed to a sense of equality derived from the fact of common inequivalence, our incommensurability one to another, which is say, as co-existing—geo-ontologically (to cite Beth Povinelli)—without any single, common measure.
In the phototropism of moths, that is, in their instinctual impulse to fly towards the light, we find an all-too-ready metaphor for that optical drive and its captivation that is photography. The convergence is made all the more material in Gowin’s interest in photographing the moths as living specimens. This involved him luring the insects at night by artificial light and capturing them as they landed on variously coloured surfaces that he had gathered, in many cases from reproductions of works of art by Degas and Matisse and others. It is here that the aporia of the “mariposa nocturna” (the nocturnal moth) is revealed, and thereby, in turn, the phototropic limits of photography itself.
Moths fly by night, hence they are nocturnal. Yet taxonomically classified as such, they are only rendered as epistemological objects in terms of their relation to the light. The light that attracts them and illuminates them. This is their phototropism and it is here that they might be viewed as species emblems or metaphors of photography. Photo-ontology of life, in which light = life. Light as dis-inhibitor ultimately proves to be a fatal inhibitor (it is the lure that kills). Gowin reproduces this photo-visual economy, one that, as a photographer he shares with the moths, what we might describe as the “photographic night:” illuminating and capable of capturing an image and producing a taxonomic image of the specimen including in its ornament, colour, pattern—beauty. The ground of the moth is no longer the night, but instead is an image (in many cases here: image reproductions of works of art, themselves being images made by Matisse, Degas and others. The ground of the image = [is always] an image—as this also requires us to re-conceptualize what is meant by “ground”). So without the nocturnal darkness of the night, and without the light of the flame that consumes, do we still have mariposas nocturnal? Or do we instead have the conservation, via photography, of the illuminated night—what I am calling the photographic night?
In taking up the example of the moth, Heidegger defines its distinction as light-seeking in terms of its attraction not to the intensity of the light but to its magnitude. In other words, not the light source itself, but the surface that it illuminates. It is in this way, explains Heidegger, that the moth is attracted not to the brightness of the moon but to the large surfaces that the moonlight illuminates—the shine and shimmer of its surface effects. According to Heidegger, moths fly into the flame because the candlelight does not illuminate a large surface (the attractor or dis-inhibitor for the moth), and so moths fall victim to the source of light itself, as though bereft of a surface attraction and a place to land.
But is there a way to think existence otherwise than in terms of this relational economy and its violent metaphysics of presence—of enclosure and disclosure, concealing and dis-concealing? Perhaps somewhat curiously, given commonly held assumptions, Heidegger enables us to think otherwise in this regard, and in part largely against himself and the distinctions that he argued exist between the animal and the human. It requires another way of thinking about (visual, corporeal) captivation in terms of a non-revaltory openness and intimate rapport with the outside, a conceptualization that might be located (at least partially) in Heidegger’s take on animal captivation. For Heidegger, the animal, in its driven directed-ness to- and toward, is neither ontologically tied to itself nor to its environment, but is said to be suspended. This suspension of the animal means that the animal is neither closed off from its environment, (note: Heidegger will not bestow upon the animal the sense of a world), nor disclosed as a presence in the world, but is instead “an openness for…” (Metaphysics, 248) and a being taken by…
As Agamben notes, “The difficulty arises here from the fact that the mode of being that must be grasped is neither disclosed nor closed off, so that being in relation with it cannot properly be defined as a true relationship, as a having to do with” (Open, 54). The animal is open in or to a non-disconcealment, it is exposed to the outside in a non-revelatory (i.e. non-metaphysical) way, yet that nonetheless forcefully disrupts the creature in its every fibre.
In following Heidegger when he writes that, “not-having-to-do-with…presupposes a being open…on the basis of this possession it [the animal] can do without, be poor, be determined in its being by poverty. But because this having is a being-open…the possession of being open is a not-having” we might discern not only that “the animal’s poverty in world…is nonetheless a kind of wealth” as Heidegger notes (Metaphysics, 255), but also how animal captivation can equip us to think about a non-appropriating rapport with the world, in which not having per se (“highest poverty” of the Franciscan order, for instance), is (again) the way to think otherwise about our “having to do with” the world, including perhaps to the question, “what is to be done?”
In a text with that title, originally given as a lecture in 2012, Jean-Luc Nancy points out that, “by making ‘having to do’ (devoir faire) into a question, [our history] freed it from a given order of ends [praxis without telos, production; hence beyond Kant and Marx]; by coming up with ends prescribed by an entire humanity [e.g. Anthropocene thesis], it designated the horizon of an ultimate production [eco-modernist human-techno sustainability].” However as Nancy immediately goes on to say, “that horizon has changed with the perspectives of destruction and auto-destruction: we are no longer facing a sole end with another side that brings damage, or disasters, and at times the indefinite proliferation of new ends.” In other words, at a time when human history and its modern capitalist manifestation is recognized as indelibly inscribed into the very geologic matter of the Earth, living the future time of extinction means to be bereft of one’s dis-inhibitors and inhibitors. “Completions exceed themselves; entelechies resemble entropies” as Nancy concludes (Diacritics, 2014, 42.2: 112).
Beyond Heidegger, poverty in the world is a direct result of a humanity that is poor in world (ecological, but more broadly as living in a world in which it is difficult to make sense). In his very final course on “The Beast and the Sovereign,” Derrida claimed that there is no world, only islands. But as we have known all-too-well for some time now (and well before Hurricane Irma tore through the Caribbean), there are no more islands either. Their shores have been inundated, the rising ocean levels having tempestuously reclaimed them or as we have recently seen, their shores have been extended as the hurricane takes the water out of the ocean.
Perhaps in light of this, we can better understand what Nancy means, when, in arguing that we must think doing apart from project, intention, principle or goal and author, he quotes Celan who called for “doing without a shoreline.” Nancy interprets this as “an adventurous and risk-taking boundless doing” and derives an image from the poem itself, the last lien of which calls that doing “a shimmer from the ground” (Schimmer aus dem Grund) (Nancy, 113). A shimmer that, as Nancy says, “arises from a depth that remains endless” (Nancy, 114).
It is this shimmer that I want to think further about, in terms of photography and the night. A shimmer that is to be understood less as an image or even as the surface effects of a cast light, than according to the very precise terms provided by the poem. That is: as a “shimmer from the ground.” Meaning, I want to suggest, as humus (“soil, earth, dirt,” from which the word “human” is derived). The depth of this ground from which this shimmer comes to shine, is neither the shine of solar nor lunar illumination, but what might be described as a nocturnal depth. Not the night that is opposite the day and its light, but the geological and therefore posthumous night of the humus or ground. It is Blanchot’s “other night” and Benjamin’s “saved night.” As concerns the latter, Agamben writes that, “The salvation that is at issue here does not concern something that has been lost and must be found again…it concerns, rather, the lost and the forgotten as such—that is, something unsavable” (Open, 82)—e.g. neither the moth nor the light, but the nocturnal.
Here we are confronted with that which is neither human nor animal, existing outside of bios and hence perhaps also the bio-political. It is what Eugene Thacker has recently come to refer to as “dark life,” as that which is not only beyond the two dichotomies of human/machine and human/animal, but that occupies a zone of indistinction between the living and the nonliving. It is for example, Desulfotomaculum, the bacterium that, as Thacker explains, “thrives in the darkness of radioactive rocks” existing without the benefit or need of photosynthesis. Such extremophiles (organisms that can survive extreme conditions of heat, cold, acidity, pressure, radioactivity, and darkness—meaning: at the outer reaches of what is needed to sustain life) put into question the equation between light and life, and by “feeding off of the absence of light—are an anomaly for biological science.” In other words, they exist at the limits of the optical anthro-bio-photo-machine by which life is identified and known. Inhabiting the soil, water, geothermal run-off and insect intestines, desulfotomaculum use things like dead moths to anaerobically metabolize energy, and thereby generated a posthumous shimmer from the humus.
Now, since our bodies are at least 50% bacterial matter, and since it is clear that the ability of such matter to subsist in the dark and thrive on non-living matter—including the half-lives of the radioactive fluorocarbons that organic/biological life has produced—it is equally clear that it is such anomalous forms of existence will survive the current sixth great extinction. Therefore the Desulfotomaculum, meaning the utter absence of light, suggest the need to think in terms of a desulfotography, which is not necessarily the absence of photography (indeed, these bacteria have themselves been photographed). Instead, it effects a re-thinking of life in terms of that which in-appropriable and in fact unsavable. It thus might be a way for us to question the photographic and its ontological need for light, and how that defines photography’s relation to the living and the nonliving. What might be photography’s place in the field of critical life studies, for which the concept of life is itself anomalous and in its material existence is understood to have been always already posthumous? Simply put: might photography have a relation to the unsavable, the unimaginable and thus perhaps exist or survive without image?
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