vitruvian lobster…

Monday, November 19th, 2012

vitruvian lobster ©http://www.lobstart.com

Thank you Darwin for liberating us from the absurd notion that Man is God’s ultimate and most beautiful creation. When this notion was generally believed – at least in the West with its obsession with Ancient Greece’s perfect white marble nudes (that we now know were painted as gaudily as the carvings that smother Hindu temples) – did no one actually bother to look at other living things? Did no one see butterflies, birds, mammals, fish, cephalopods, jellyfish, the exquisite miniatures that are insects and the myriad other beasts with which we share our planet? In what did our purported supreme beauty consist? Surely it was not colour, nor pattern, nor iridescent plumage. Other species challenge us for beauty of eye, of limb, of skin. Or is it in another Ancient Greek conceit that our divinity lies: the supposed sublime beauty of Man in motion? At least Usain Bolt is doing something we were ‘designed’ to do – but are we also going to claim this triumph for Man in water; as if we somehow outdo the fish, the dolphins, with our splashing.

This attitude that Man is the very centre and the purpose, the crowning glory of Creation can surely only be held by people who live in fear and terror of their own insignificance. I have no doubt that early Man, close as he was – necessarily close – to Nature, did not dare these absurdities. For him animals were his brothers, sometimes even his gods. But then we started to move away from Nature, to get ‘above ourselves’… and, scaling the pinnacle of Creation, we attempted to enthrone ourselves upon its utmost summit. And from there, with imperious gaze, we fancied ourselves the Rulers of Creation, and who can doubt that we still do?

This mania started in fear, and with the thrusting out of our chests to impress each other, but it ends altogether more messily. We put this lie in the mouth of our gods. We use it to justify the way we wish to treat other living creatures as things, as resources. We insist on making Man the measure of Creation. Darwin confronted us with the truth, and it was devastating, and can we doubt the part that trauma played in the darker dramas of the 20th Century?

Still, if you ask anyone who has heard of Darwin, what it is his theory proves about us? many people will point to processions of apes and early humans slowly straightening, eventually becoming the paragon that is Man. We still persist in imagining some gulf between us and other animals. This belief, this thing we seem to need to believe, has become ingrained. No amount of evidence is going to change our minds. Why should it? Even before Darwin we surely saw that we bore the same basic shape as many other animals. We must have noticed how when we copulated it was not some grand act elevated beyond what we saw other animals doing. We must have noticed that this most perfect of God’s creation still needed to go to the toilet… and that if such wasn’t present, we squat to defecate as so many other animals do. No, I don’t believe that Victorians were really shocked to find out that they were descended from apes – I think it was just that it threatened to force them to admit what they must have already suspected, and that whatever trauma we suffered was merely our hysteria at no longer being able to peddle the delusion of our near-angelic status…

Why does this matter? Well, it certainly matters to the creatures who we harm all the time, often deliberately. It matters in that it allows us to decide that increasing the size of our economy is more important than preserving this species or that; each every bit as valuable a leaf on the tree of life as are we. And ultimately it matters – let’s get back to business as usual – because our need to believe that we are ‘special’ makes us blind to the reality that underpins our existence, and we are approaching a time when that reality is threatening to do to us what we have done to so many other species…

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the conference, the paper and the iPad…

Tuesday, October 4th, 2011

reconstruction of coloured relief © persepolis3D.com

reliefs from Persepolis as they appear today...

reliefs at Persepolis as they appear today © Ghirshman

It’s unusual for me to write another post so soon, but I am trying to get into practice for what I hope will be quite regular postings from Iran. To this end I have been spending quite a bit of time setting up all the apps, online services and interlinks that will allow me, hopefully, to blog from there on my iPad. In truth, this device is not really well geared at present for the task; at least not in the easy way I’m used to with Apple kit. Accessing this server-hosted wordpress blog, adding photos to a post from my iPhone (and hopefully from my camera by way of some media reader in an Iranian internet cafe) via Flickr and Picasa, has involved a lot of jiggery-pokery.

I have already described how excited I am at the prospect of attending this conference on Persepolis at Edinburgh University, what I haven’t told you is that I have been asked to give a paper. Someone dropped out and Lloyd Llewellyn-Jones (who admitted to me revelling in all those double Ls *grin*) asked me if I would give a paper on the problems faced by an author in handling the Achaemenid material. Of course I agreed – not only do I have a lot of issues I would like to address, but I get to attend two dinners given for the speakers…

I am beginning to flesh out my talk, titled Paradises Lost, today. A central theme will be considering how much it is possible to align my aesthetics with that of the Achaemenid Persians – a not entirely trivial pursuit if you consider the included photographs that show how the ancient Persians disfigured their beautiful stone reliefs with garish colour (as did the ancient Greeks – even the Elgin Marbles would have been originally painted in such primary colours) – at least that’s how it can appear to us brought up as we have been on the minimalism of plain stone. What may also perhaps be of interest to my academic audience is the distinction I will try to make between the approach that I have had to take towards the material and the approach that they naturally take: for they must come at the data objectively, whereas I, as a novelist, come at it from a direction that is decidedly subjective…

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Spartacus: Blood and Sand…

Sunday, September 26th, 2010
spartacus...

spartacus...

I have been watching Spartacus: Blood and Sand with much enjoyment and would like to counter various sneering reviews such as this (it was another review I can no longer find that provoked me to write here)…

The general drift seems to be to point out the banally obvious, that the show contains a constant diet of sex and violence, and to state that there is no plot. It seems to me that this entirely misses the critical point: that the sex and violence are the plot. Both serve to demonstrate the core aspects of the politics and culture they represent.

When you have two privileged people chatting about the day’s business, while each is ‘fluffed’ by a slave to get them sexually aroused, before they enter into full copulation, with these and other slaves watching – then it seems to me that we are being given a profound lesson in cultural history that it might otherwise take screeds of text to convey.

Similarly, when you observe men highly trained to kill, decked out in armour and weapons exquisitely customized to provide entertaining matches (yes, like a computer game, but these were real people being maimed and slaughtered) before a baying crowd of gorethirsty ‘citizens’ – then something of the politics and morality of the Roman Empire is clearly communicated. Apparently, after a day at the Colosseum, whores would gather in the streets outside so that the audience, their libidos inflamed by hours of torture and bloodshed, could sate their passions there and then on the street. From what I’ve read, sex and violence were endemic to ancient Rome and many other urban centres of her empire – and these excesses were not something enjoyed underground but in the full glare of day, promoted by the state, indulged in by even the highest stratum of society…

Further, comparisons with Frank Miller’s 300, though superficially true (Spartacus makes many stylistic borrowings), again seem to me to miss the point. 300 deliberately (or ignorantly) misrepresents history. To have Xerxes, the Persian King shown as some kind of S&M pervert (homosexuality being implied among other things), is a gross inversion of the truth. From what we know, Xerxes was a profoundly moral man, hedged about by a religious (Zoroastrian, arguably) code that was far more chaste than anything the Greeks had to offer. Indeed, those Spartan heroes, if correctly portrayed, would have spent the time before battle, combing their hair and primping themselves to appear as beautiful as they could in the coming battle. This from a military elite among whom homosexuality was compulsory. Not that I am expressing any judgement about this. Rather, I could not help being aware, while watching 300, of how Frank Miller had twisted his representation of history to reflect what appears to me to be a sinister notion of West versus East – a self-serving white hat/black hat analysis that has political consequences even today…

So, Spartacus: Blood and Sand is indeed comicbook – gloriously and creatively so, somewhat fantasy, and there is quite a lot of rather dodgy acting, but it is nevertheless a visceral portrayal of some aspects of Roman culture that goes some way to explaining why their slaves rose up, not once but several times, in grotesquely violent and desperate attempts to free themselves from the degradation and harm imposed on them by their masters…

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eros…

Friday, December 11th, 2009
ancient greek 'erotica'...

ancient greek 'erotica'...

Nothing seems to me more absurd than applying our social mores to other cultures. Some have raised nakedness to the heights: others have damned it to Hell. Is one right and the other wrong? The only person who it seems to me has the right to judge is someone from the culture whose mores and behaviour are being considered.

The ‘Peoples of the Book’ (Jews, Christians and Muslims) have a particularly strong aversion to nakedness and what might be considered a ‘restrictive’ view of sexuality. I wish I could go and see this exhibition. Why? Because, though I know this stuff exists, I have seen only a few photographs of it – and I am fascinated by the Classical world. And why have I not seen this stuff? Well, because, though so many museums have lots of examples, these have been kept locked away, only to be viewed by ‘experts’ who, apparently, are far less shockable than the rest of us… What ludicrous censorship! and amazing that a post-Christian society, such as I would consider Western Europe to be, should still feel constrained by this nervousness about sex. It is simply the case that the Classical world did not have the same ‘prejudice’ and these ‘erotic’ works formed a normal part of their everyday lives – if you don’t believe me go and have a look at the frescoes on the walls of Pompeii…

Now whereas in considering the Classical world, our prejudice merely deprives us of what was, arguably, a non-central part of that culture, in the case of Ancient Egypt, such prejudice entirely undermines our understanding of that culture. For a core Egyptian creation myth was represented in the holy of holies of their greatest temples by an idol of Amun, chief of the gods, holding his phallus in his hand. This was because they believed that Amun created the world through an act of masturbation… Now that is a profoundly different way to see the world than having, in that sacred locus, a man dying on a cross…

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