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kvond

The Allure of Graham Harman’s Orientalism and Flaubert

A mix from Salammbo and “On Vicarious Causation”

I recently attempted to draw out the implicit white/colored, colonialist conceptualization that I see in Graham Harman’s rather poetically depicted Object-Oriented Philosophy, in particular of its theory of Vicarious Causation. Further, I tried to point out that Graham actually exhibits in the very core of his concept of the sensuous vicar, much of the Orientalism he resents in Flaubert, and I presume Hölderlin. While this comparison to Flaubert may seem dubious, at least to Graham’s own ear, and rested only on my instinct of comparison, I thought it best to dig a little deeper into it, especially for those who have not read his engaging essay on causation, which can be found here [highly recommended]. I do this digging somewhat hesitantly because I have confirmed respect for Graham as I have encountered him, and he has declared Flaubert “unforgivable” (at least as the author of The Letters From Egypt); and in a vexing moment Graham said he would not think kindly on the man’s grave. Even in hyperbole, such a vehemence is not something to be trifled with. But if Graham’s feelings toward Flaubert are sincere, as I suspect that they are, a comparison is perhaps even more in order. In this service I have extracted some of the most oriental of Graham’s points, which, in order to understand my argument must be taken within the larger critique vicarious mediation itself, contained in the post before this.

Besides these I also place selections from one of Graham’s least favorite writers, Gustav Flaubert, taken from the “historical” novel Salammbo, interestingly enough, the work that most marked the author’s departure from the Realism of Madame Bovary. Aside from these juxtaposed citations which form only loose but instructive correlates, I will also comment when I can on the colonial, or white/colored contrast that seems to be evoked by Graham’s depictions of what is real, in the hope that my argument would become even more textually based. This is not  to say that Graham thinks like Flaubert thought of the Egyptian (or Carthaginian), for at most Flaubert was a surface traveler, and Graham an invested resident (a biographical fact to to be cheated); but rather it is to say that in his conceptualization of binaries, as inherited from Heidegger, and perhaps due to his own place and time in history, Graham’s theory of causation partakes in something distinctly colonial in flavor as he characterizes the properties, powers and role of the vicarious realm. This aptitude toward the foreign is a germ of Idealist, largely White, European thinking, the line from which Graham has come. Perhaps any other orientalizing fictional writer could be chosen beside Flaubert. It is only Graham’s stated resistence to Flaubert, and the association within me that this resistance started that brings this precise  comparison to bear.

Gustav Flaubert

Gustave Flaubert

The Place of the Sensuous Intermediary

Generally, if we assume a colonialist stance of the White on behalf of the “real” but retreating object, we have the distinct analogy of white powers communicating with, and inflicting themselves upon, each other, only through some passive and otherly colored mediary, a vicar from the sensuous realm:

GH: “For as I will contend, objects hide from one another endlessly, and inflict their mutual blows only through some vicar or intermediary.” (189-190)

But, as we seek to get a grasp of things, we must acknowledge that both the most primative or pragmatic of relations do not quite capture the hidden essence of things, the retreating whiteness of them. The scientist and the tribesman is deluded by the colors of its use-perspective, something with which Flaubert roughly agrees:

GH: “The tribesman who dwells with the godlike leopard, or the prisoner who writes secret messages in lemon juice, are no closer to the dark reality of these objects than the scientist who gazes at them.” (191)

Salammbo: All modes of worship, as well as all races, were to be met with in these armies of Barbarians, and consideration was had to the gods of others, for they too, inspired fear. Many mingled foreign practices with their native religion. It was to no purpose that they did not adore the stars; if a constellation were fatal or helpful, sacrifices were offered to it; an unknown amulet found by chance at a moment of peril became a divinity; or it might be a name and nothing more, which would be repeated without any attempt to understand its meaning. But after pillaging temples, and seeing numbers of nations and slaughters, many ultimately ceased to believe in anything but destiny and death;-and every evening these would fall asleep with the placidity of wild beasts.

Though because all of our real object, transparent states are cut off from each other, as isolated white objects, we must meet each other through the vicarious mediation of a third, something of the sensuous kind, those that lay side by side like entwined slaves in a harem. Yet behind this phenomenal incestual mix lies the retreating essence of an absent object, again, Flaubert assents:

GH: “Whereas real objects withdraw, sensual objects lie directly before us, frosted over with a swirling, superfluous outer shell. But this difference seems to give sensual objects the opposite causal status of real ones. Given that real objects never touch directly, their causal relations can only be vicarious. But sensual objects, far from being withdrawn, exist side by side in the same perceptual space from the outset, since we encounter numerous phenomena simultaneously.” (195)

Salammbo: The plain, which was wholly bounded by mountains, expanded around them. Here and there a palm tree leaned over a sand hill, and pines and oaks flecked the sides of the precipices: sometimes the rain of a storm would hang from the sky like a long scarf, while the country everywhere was still covered with azure and serenity; then a warm wind would drive before it tornadoes of dust, and a stream would descend in cascades from the heights of Sicca, where, with its roofing of gold on its columns of brass, rose the temple of the Carthaginian Venus, the mistress of the land. She seemed to fill it with her soul. In such convulsions of the soil, such alternations of temperature, and such plays of light would she manifest the extravagance of her might with the beauty of her eternal smile. The mountains at their summits were crescent-shaped; others were like women’s bosoms presenting their swelling breasts, and the Barbarians felt a heaviness that was full of delight weighing down their fatigues.”

In such a sensual realm, the problem is actually of over-sensuousness, the tendency to run like colors into each other into a muddy mess. For this reason sensuous objects have to be “buffered” from each other, kept off each other. It is the very precosciousness their sexuality that need to restrained:

GH: “If real objects require vicarious causation, sensual objects endure a buffered causation in which their
interactions are partly dammed or stunted.” (195)

GH: “Sensual objects, by contrast, are so inclined to interact with their neighbors that we wonder why they fail to do so at every instant. In other words, the only place in the cosmos where interactions occur is the sensual, phenomenal realm.” (195)

Sincerely Mining the Black Noise For the Invisible Signal

And when the real white objects do indeed pierce through the veil of richness, the result is incendiary. With timely reference to the unexpected bombs in marketplaces and hotel lobbies, real, planning objects that cannot touch reaching across and “touching” each other through the mediating connectivity of a feeling people:

GH: “The various eruptions of real objects into sensuality lie side by side, buffered from immediate interaction. Something must happen on the sensual plane to allow them to make contact, just as corrosive chemicals lie side by side in a bomb – separated by a thin film eaten away over time, or ruptured by distant signals.” (197)

The sensuous people/kinds are actually composed of their qualities and even their accidents which seem to float about them as if in a halo of “noise”. But this noise tellingly is not the noise of whiteness (the unstructured sound of untuned Western television or radio technology). It is a black noise, due to its very structuring, “buffering”, quality. It mysteriously keeps the sensuous types apart and functioning. Again, Flaubert has a taste for the same thing:

GH: “Finally, the sensual tree never appears in the form of a naked essence, but is always encrusted with various sorts of noise. Elsewhere I have called it ‘black noise’, to emphasize that it is highly structured, not the sort of formless chaos suggested by the ‘white noise’ of television and radio.” (198)

Salammbo: A noisy throng of people filled the streets from morning to evening; boys shaking bells, cried at the doors of baths; steam rose from hot drink stalls, the air resounded with the din of anvils, white cocks sacred to the Sun crowed on terraces, oxen bellowed in their temples as they were butchered, slaves ran carrying baskets on their heads; and in the depths of a portico appeared a priest, draped in a dark mantel, barefoot, and with a pointed hat.”

In a colonialist light, Graham draws on the mining metaphor as ideal of causation. Real, transparent objects have to tunnel into the rich sensuous earth in shafts, and draw out the freight of the connection. These contact-starved objects have to almost parasitically draw on the wealth of the intimacies of the colored world:

GH: “In seventeenth-century terms, the side-by-side proximity of real and sensual objects is merely the occasion for a connection between a real object inside the intention and another real object lying outside it. In this way, shafts or freight tunnels are constructed between objects that otherwise remain quarantined in private vacuums.” (201) 

And in keeping with the Orientalist flavor, the mere intentionality of real objects, the way that they are able to hone in on definite sensuous objects with what Graham calls “sincerity” is itself an austerity of Asian source, absorbed into its very contemplation:

GH: “For instance, I may be sincerely absorbed in contemplating glass marbles arranged on the surface of a table. This is my sincerity at the moment, since I forego other possibilities of greater and lesser import to witness this austere, Zen-like spectacle.” (205)

But despite the colonialist rhetoric and conception, Graham denies both the banality of pure white exploitation, making a grey mud of the mined third world, or even the “sexiness” of a fixed melodrama cast against that background. Instead it is an eruptive field of white and colored intermixtures, of cold objects and their warm though foreign intermediaries. The world is shot through with post-colonial shiftings and residues. And here Flaubert too sees the vivacity of sensuous people stirred (wow, one can almost see the conflation of the romantic European traveling through Greecian fragmented cult temple islands, and the modern Westerner threatened by the unpredictable human-bomb, epiphanically Delphic/Al Qaedic, Classical Terror):

GH: “The world is neither a grey matrix of objective elements, nor raw material for a sexy human drama projected onto gravel and sludge. Instead, it  is filled with points of reality woven together only loosely: an archipelago of oracles or bombs that explode from concealment only to generate new sequestered temples.” (211-212)

Salammbo: There were people in the square of Khamon shouting for arms. The Ancients would not provide them, esteeming such an effort useless; others who had set out without a general had been massacred. At last they were permitted to depart, and as a sort of homage to Moloch, or from a vague need of destruction, they tore up tall cypress trees in the woods of the temples, and having kindled them at the torches of the Kabiri, were carrying them through the streets singing. These monstrous flames advanced swaying gently; they transmitted fires to the glass balls on the crests of the temples, to the ornaments of the colossuses and the beaks of the ships, passed beyond the terraces and formed suns as it were, which rolled through the town. They descended the Acropolis. The gate of Malqua opened.”

But within our inner sensous field, our inner and tribal primitive, we search for the lost transparent object on the other side, much as how Hölderlin speaks of  “Fernahnend mit/Dem andern” (sensing-distant with another) as I mentioned in my last post. All of our orientalized inner realm sparkles with but the hints of what lies beyond. And Flaubert too feels this with passion, as he describes the tele-communication of Salammbo to her distant father:

GH: “In the sensual realm, we encounter objects encrusted with noisy accidents and relations. We may also be explicitly aware of some of their essential qualities, though any such list merely transforms the qualities into something accident-like, and fails to give us the unified bond that makes the sensual thing a single thing. Instead, we need an experience in which the sensual object is severed from its joint unified quality, since this will point for the first time to a real object lying beneath the single quality on the surface.” (215)

Salammbo: She did not know what was happening to Hamilcar [her father]. At last, weary of her thoughts, she got up, dragging her small sandals, with the sole clapping against her heel at every step, she walked at random about the great and silent room. The amethysts and topazes of the ceiling made made quivering patches of light here and there, as she walked Salammbo turned her head a little to see them.She would go and take the hanging amphoras by the neck; she would cool her bosom beneath the broad fans, or perhaps amuse herself by burning cinnamomum in hollow pearls. At sunset Taanach would draw back the black felt lozenges that closed the openings in the wall; then her doves, rubbed with musk like the doves of Tanith, suddenly entered, and their pink feet glided over the glass pavement, amid the grains of barley which she threw to them in handfuls like a sower in a field. But on a sudden she would burst into sobs and lie stretched on the large bed of ox-leather straps without moving, repeating a word that was ever the same, with open eyes, pale as one dead, insensible, cold; and yet she could hear the cries of the apes in the tufts of the palm trees, with the continuous grinding of the great wheel which brought a flow of pure water through the stories into the porphyry centre-basin.” 

GH: “In instances of beauty, an object is not the sum total of beautiful colors and proportions on its surface, but a kind of soul animating the features from within, leading to vertigo or even hypnosis in the witness.” (216)

Salammbo: He felt very near to the subterranean deities. It was as the joy of one of the Kabiri; and the great luminous rays striking upon his face looked like the extremity of an invisible net linking him across the abysses with the centre of the world.”

Yet, in this sensuous realm, the realm of the colored, it is the autonomous, need we say White, agent, he that holds court over all these undisciplined types. Over the local customs and their disputes is the law of the subject which trumps all appeals of those types:

GH: “Different sensual objects within the same intention are described as contiguous; they do not melt together, but are treated by the intentional agent as distinct, and this agent is the final court of appeal in the sensual realm.” (217)

Any connection between white objects is enabled solely through the principle of allure, illustrations of which either come from Germany’s pagan past, or the Middle Eastern traditional indulgences of tobacco or cannabis. But is not the object itself, but merely the thing that dangles from or sticks on the eastern “thing” that catches the westerner’s eyes:

GH: “Accidents alone have the dual status of belonging and not belonging to an object, like streamers on a maypole, or jewels on a houka. Accidents are tempting hooks protruding from the sensual object, allowing it the chance to connect with others and thereby fuse two into one.” (218)

Only by becoming sensuous in some fashion does the white object actually bring real causation into being. It must brush and stir the inside of another white object. It must become oriental…tele-kinetically.

GH: “I make contact with another object, not through impossible contact with its interior life, but only by brushing its surface in such a manner as to bring its inner life into play. Just as only the opposite poles of magnets make contact, and just as the opposite sexes alone are fertile, it is also the case that two objects of the same type do not directly touch one another.” (219-220)

But one must not become too indulgent, lost in one’s own eastern driftings. Other real, white objects must be brought into the dulled opium phantasm. One must receive the distant transparent signals. This after all is the need for the sensuous kinds to be cultivated in some sense, to bring their overly connected types into some kind of real connection, real order. Much in the same way Flaubert describes the march of the Barbarians into Carthaginian civility, the inventions of the wisdom of received distant signals:

GH: “But in the case of real objects, the only way to touch a real one without touching it is through allure. Only here do we escape the deadlock of merely rolling about in the perfumes of sensual things, and encounter qualities belonging to a distant signalling thing rather than a carnally present one. The only way to bring real objects into the sensual sphere is to reconfigure sensual objects in such a way that they no longer merely fuse into a new one, as parts into a whole, but rather become animated by allusion to a deeper power lying beyond: a real object.” (220) 

Salammbo: On the following day the Barbarian’s passed through a region that was covered with cultivation. The domains of the patricians succeeded one another along the border of the route; channels of water flowed through woods of palm; there were long, green lines of olive-trees; rose-coloured vapours floated in the gorges of the hills, while blue mountains reared themselves behind. A warm wind was blowing. Chameleons were crawling on the broad leaves of the cactus.

The Barbarians slackened their speed.

They marched on in isolated detachments, or lagged behind one another at long intervals. They ate grapes along the margin of the vines. They lay on the grass and gazed with stupefaction upon the large, artificially twisted horns of the oxen, the sheep clothed with skins to protect their wool, the furrows crossing one another so as to form lozenges, and the ploughshares like ships’ anchors, with the pomegranate trees that were watered with silphium. Such wealth of the soil and such inventions of wisdom dazzled them.

[A response from Graham and my commentary found here: Binaries, Orientalism and Harman on the Exotic ]

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5 responses to “The Allure of Graham Harman’s Orientalism and Flaubert

  1. Pingback: more on the orientalism of OOP « Object-Oriented Philosophy

  2. john doyle February 21, 2009 at 12:31 pm

    Fantastic explorations, Kvond. I can sense the bubbling and steaming as your exploratory shafts descend toward the molten core.

  3. Pingback: The Praise of Orientalism and Harman on the Exotic « Frames /sing

  4. Pingback: In Praise of Aesthetics over Philosophy? The Metaphors of Projection « Frames /sing

  5. Pingback: Levi Apparently Has Never Read Harman’s Theory of Causation « Frames /sing

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