THE DANDYISM OF CONTEMPT II

Contrary to what a lot of thoughtless people seem to believe, dandyism is not even an excessive delight in clothes and material elegance. For the perfect dandy, these things are no more than the symbol of the aristocratic superiority of his mind”

Charles Baudelaire “The Dandy”

Zurburan "Saint Francis in Meditation" National Gallery

“We” are not “All In This Together.”

The original dandies dressed like you – that is to say, like anyone2. They took on the "Buff and the Brown", the uniform of the American Revolutionaries – those slave-owning avatars of egalite. The difference was in the individuality of the cut; an impeccable silhouette might, perhaps, assuage the sting of merely being subsumed into that tedious, newly minted abstraction -“The People”.

In opposition to the blunt bluffness of the democratic Everyman, whose sober attire was a sign of the bearer's public virtue, they disguised themselves as themselves. They displayed – I was about to say “their otherness in public view”, but this not only lacks precision, but is also misleading. Their otherness as the public is closer to the mark, but might imply a collision between private inclination and civic demands. Apparently trivial details on the surface of appearance, the minute stitching of a button hole, a knot on a cravat or the width of a lapel, signalled the otherness of the public, its difference from, and incapability of being reduced to, itself.

This index of withdrawal, invisibility, was a style in the most serious sense of the word *; and style, as the tangible arrangement of elements, is always serious.

*"...Every style embodies an epistemological decision, an interpretation of how and what we perceive...Every style is a means of insisting on something... It will be seen that stylistic decisions, by focusing our attention on some things, are also a narrowing of our attention, a refusal to allow us to see others."

Susan Sontag “On Style”

Contempt, to be elegant – as wholeness or necessity - has to be marked with a totality - that is to say –like any totality – artificial, or symbolic. It has to be raised above its everyday self to become its own sign, stark against its shifting background.

It requires a gesture that inscribes a circle that encloses itself. That which is mixed with, say, compassion or indulgence, belongs too much to the heterogeneous world.

Contempt is sterile. Closed within itself, it expresses only itself - ultimately its own difference from itself. In this world, there are only two qualities, the gesture and its background. To this gesture, all is background, and it indicates this with subtle and weary brevity. It neither genuflects, nor grieves.

Dandyism is a form of address, a subtle inclination forwards, merely enough to display a hint of shirt front and the cut of the sleeve. The immaculate contains itself, gives little more to the world than its scent.

The surface, the gesture that encloses itself, gives a brief farewell - perpetually departing. A sign of legitimacy external to all other forms can do no other; it cannot explain itself. It barely acknowledges what it departs from; marks its own difference/indifference to it with the briefest nod - not even something that could be called a glance.

"Whether the Lumpen … present themselves as paupers, dandies, or poets makes little difference. They are, in any case, beings without dignity (if anything, they have majesty). What deprives them of dignity is precisely their contact with something extrasocial and self-sufficient, true nefas: pleasure, the invisible, the gratuitousness of art…as soon as he speaks of l'art pour l'art … his insolent retort, in a cracked falsetto, to the power that has stripped him of authority. Since he no longer has a function and has been banished from Court, he spurns every function".

Roberto Calasso, “The Ruin of Kasch”

“Nefas” here, is the deepest level of offence - adherence to something beyond getting, spending, voting: a subject whose legitimacy (in the sovereign sense) derives from something different to a deeply prosaic and disappointing participation in the role Homo Economicus. That apparently hard-wired “enlightened self-interest” has recently displayed remarkable results.

Zurbaran’s “St Francis in meditation”, which can be seen at the National Gallery, depicts a man (or Saint, if you prefer) wearing a monk’s habit, clutching a skull. He kneels in a starkly lit concavity. The painting is a study in holes. The shadow cast by his cowl dissolves most of his face, except where the strong chiaroscuro reveals the tip of his nose and, beneath that, his mouth, gaping in ecstasy or vacancy- a void within a void. The skull clutched in his praying hands is also illuminated; displaying its hollow sockets filled with the same darkness that has invaded Francis, who gulps at a vacuum. He is nothing more than a rough garment, torn at one elbow (the last detail, in stark illumination, is the stray threads on his torn robe) folded around a void. This space would, in fact, be invisible, if Zurbaran had not clothed it in hessian robes and painted light. This is Zurbaran’s version of St Francis of Assisi. He does not depict the devotee of brotherly love in the usual saccharine manner, not preaching to birds or beggars, but hollowed out, absent – as if the message of a radical equality can only come from, and maybe be addressed to, a place where the subject is no longer itself.

St Simeon Stylites stood at the top of a column for thirty six years. The column was periodically rebuilt, each time higher. Paradoxically, this incremental withdrawal from the common things of the earth, further into a solitary communion with his God, led to his ever greater visibility. His increasing elevation, index of his vanishing, must have been evident for miles around, like an ornament on its plinth.

“…there is no valid reason why we should not believe that the tribes we call savage are not the remnants of great civilizations of the past. Dandyism is a setting sun; like the declining star, it is magnificent, without heat and full of melancholy.”

Charles Baudelaire “The Dandy”

THE DANDYISM OF CONTEMPT

I am in this next thursday. Starts 6:00pm. I've recently been messing around with Linux Multimedia Studio (freeware, highly reccomended) and VSTHost, and my contribution will quite possibly include some live digital manipulation.

The title actually comes from an essay that I half-wrote, then lost the original of, then was meant to re-write for the curators of this, then got writer's block/flu/distracted - and they have been enormously patient. It is nearly done, and will, I hope be available on the night as a handout, also, posted here when I finish it.

Meanwhile, the press release for the show (I didn't write this):

"The Dandyism of Contempt is a performance art event curated by Vanessa Mitter and Joshua Y’Barbo with performances by: Mark McGowan, Brian ‘Dawn’ Chalkley, Jack Catling, The Skinjobs, Nicola Ruben Montini, Robin Bale, Douglas Park, Adham Faramawy, Alec Dunnachie, Pauline A. Amos, John Wild, James Gardiner, Kiki Taira, Lennie Lee, Frog Morris, Karl Weill and Edward Cotterill.



Who is the dandy? What is dandyism? He is an ambiguous figure, both insider and outsider. He hides in the shadows, only to come out to play and be admired at his best. Finally, he disappears into oblivion. ‘Cynicism’, claimed the Victorian novelist George Meredith is ‘intellectual dandyism’. According to Giorgio Agamben, Beau Brummell, the great Regency dandy ‘can claim as his own discovery the introduction of chance into the artwork so widely practiced in contemporary art’.



Provocation is his raison d’être. The dandy is dedicated primarily to an image of originality through ‘the abolition of any subjectivity from his own person’ . There is an implicit contradiction in this stance. ‘The dandy, after all, longs to recreate himself as an emblem of complete originality’ (Agamben).



Nevertheless, if the dandy had one genius, it was to be the first true performer of the self. The construction of himself was his greatest work of art. As Balzac wrote in his Treatise on Elegant Living, ‘making himself a dandy, man becomes a piece of boudoir furniture, an extremely ingenuous mannequin’. The dandy requires an audience in order to exist. ‘As the work of art must destroy and alienate itself to become an absolute commodity, so the dandy-artist must become a living corpse, constantly tending toward an other, a creature essentially nonhuman and antihuman’ (Agamben).



The artists in this performance event, although diverse, all share the dandy’s contempt for the prosaic, the mundane, the humdrum. There are elements of chance, although these are as well rehearsed as the elusive but exacting criteria of how to tie a cravat, Beau Brummell style. The figure of the dandy may belong to the past but the traces of his complex disregard and simultaneous adherence to a set of self imposed rules can be found in many of the performances in this show.



The Performance Event is on January 20th 2011 and performances will take place at Camden Town Unlimited starting from 6pm onwards."

PERFORMANCE THIS SATURDAY OCTOBER 30

I will be performing at this event on Saturday, the content is, as yet, unclear to me - but I will have some audio backing, from John Wild and some loops that I am constructing myself.

Further details available here. Come down if you can.

WALK AND PERFORMANCE TODAY

Today at 4:00pm. Meet outside Hanbury Hall. From there we shall have a look at some bits of Shoreditch and Hoxton, ending up in Shoreditch Park. The original idea was to circumnavigate Hackney's Alcohol Control Zones - but Hackney stole a march on me and have turned the whole borough into a zone, with very little fanfare - well, none at all, I completely missed that one.

So, I have had to re-think things a little. If the whole borough is a zone, but it is clearly not enforced, what is it?

Councillor Alan Laing says in the comments to the Hackney Post article linked above "...this is not a ban on public drinking. This point has been made throughout the process and through the consultation. The council and the local police have expressly stated that it is not a ban on public drinking..." If it is not that, what is it?

It seems to me like Zizek's description of totalitarian regimes as regimes of tolerance. In such a state the law, if stringently applied, would make anyone guilty of something. So the state benevolently does not enforce the whole of the law, or not all the time. They keep it there just in case. Remarkable generosity. it looks like an extension of the de-normalisation strategy that is used in public health campaigns, previously against smoking, now against alcohol use - also latterly against recieving state benefits or living in council housing.

The problem seems to be not so much with alcohol as the people who are percieved to be the users of it. Hence, alcohol control areas frequently contain licensed premises, often with tables outside, as well as benches, walls or whatever other accommodation that street drinkers might find conducive. However, the licensed premises and their clientel are unlikely to receive the attentions of the local constabulary. 

If alcohol is so dangerous and corrosive to manners, health and morals why not ban it altogether? There are already laws that have been on the books for some generations against assault, threatening behaviour and public urination. This measure looks excessive because it is aimed at prevention, a drastically illiberal aim. Despite the advertisements exhorting us to "Drink Responsibly", there is apparently a class of people who cannot be trusted to do so. For their own good, they must be discouraged from drinking at all. Incidentally, I have often wondered about "responsible" drinking - responsible to whom? Purely by coincidence, the irresponsible class against whom pre-emptive measures are to be taken are those who drink on the street because pubs are too expensive. The poor should not be on the street at all, let alone congregating in groups.

Ironically, the designation of an alcohol control zone is DPP, (discussed here in some council minutes) a "Designated Public Place". That these places were public beforehand - streets, parks, benches - is not the point. The were providing a space for the wrong sort of public. The tautological nomenclature is necessary, the capital p "Public" is not the same entity as that negative designation of small p public space ie. not privately owned, open to all without the specifying the characteristics of "all". The "Public" who will use these spaces is brought into being by that designation. The spaces that they will inhabit are already demarcated and shaped by the law, an un-enforced ban. This is a sober, law-abiding, hard-working polity, the "hard working, law-abiding Britons/families" who politicians and columnists never tire of conscripting into whatever illiberal fantasy they are flogging.

Anyway, time is getting away from me, I have to leave very soon. Suffice it to say that I have re-thought the walk as a whole in light of this development and have moved from physical to psycho-geography as an approach. This seems to make sense as we are looking at something without edges, an undefined space - the space of the ban. Because it is not necessarily enforced it has no specific content, so everything exists under the ban. What can be done is to look at some tropes that cut across this contentless authoritarianism.

So, I have come up with, liquids, sewers - the possible derivation of Shoreditch, "sewer-ditch" - and holy wells, Holywell street. Liquids flow, they reflect, and constantly leak from wherever they are meant to be. The other two sites are the Curtain Theatre and specifically the character of Falstaff, and John Frankland's boulder sculpture in Shoreditch Park. Anyway, will post more on this later.

 

ANTI-DESIGN FESTIVAL 2

Was a very fun night. McGowan and I attempted to foment a riot in the audience, and the Psychick Self Defenders did their Velvet Underground/Drunk and nasty Hawkwind thing. There was a bear as well. The whole thing was deliberately ritualistic confrontational; McGowan's attempt to split the audience in two and get them to fight each other, and the band, then me, screaming threats and imprecations over a background that throbbed and droned like "Sister Ray." A good night for all. I have posted a video of the performance here, I appear somewhere towards the middle.

ANTI DESIGN FESTIVAL

Tonight I perform at the Anti-Design Festival with Mark McGowan and Rex Nemo and the Psychic Self-Defenders. As is usual, but perhaps more so than usual, I have no clue what I will be talking about. There will be some sort of reference to football hooliganism - or at least that's what Mark's piece will be. I think that I will be touching on this, largely due to the EDL's chant, borrowed from the terraces: "You're not English any more". The "any more" part is telling; you were English, but now you're not. However, you are still included in the category English, as "Un-English"; an entirely different matter from "You're not English". It is a clear example of the state of exception in spatial practice.

McGowan's recent video plays with a similar disjunction, Irish music accompanying scenes of what one assumes are English (possibly nationalist) hooligans disporting themselves.

The festival itself is a manifestation of a clapped out aesthetic, full of "punk" references and "interactive", if not "relational" elements that needs a design context to look subversive rather than simply tired.

I'm intrigued by the statement on the website that claims that the festival is "a response to 25 years of cultural deep-freeze". I can't work out where the twenty five years comes from - why not 13? Election of New Labour, or 31 - the Tories? Or, in my personal opinion -21 - fall of the Berlin Wall? I suspect that twenty five would be about the average age for someone graduating from an art or design M.A at this time, and roughly half the age of a good few of the participants, but I don't know what this might mean.

DOG CUT-UPS

in keeping with the anamorphic spirit of things here, I've found an online cut-up generator for texts. I'm assuming that there are many more of these available but this is the first one I've found. In the same way that the dog/trouser/top conundrum cannot be resolved or reconciled, neither can lumps of pre-existing verbiage that have been impacted one into another. Maybe. There will be variations on the dog/trouser text posted in the next few days.

DOG/TROUSERS

There's a pair of trousers lying abandoned on the grass outside the window, sprawled and twisted. Whenever I stick my head out there to smoke, I see them as a small black dog squatting to shit, it's tail waving like a cheerful flag; then it resolves itself back into lost trousers. Like the famed duck/rabbit of Wittgenstein, Gombrich et al, I can see either trousers/shitting dog - but not both at the same time.