see also:
'the ecstasies of eros' |
THE TABOO ON THE EROTIC IMAGE
Chapter
XII of ‘the erotic eye and its nude’.
(0) INTRODUCTION
To end in beauty, we
should now concentrate on a far more mitigated form of the destruction
of beauty: the resistance against the erotic image.
from way back, erotic images have been subject to often fierce taboos. It is an
illusion to think that those taboos have been gradually overcome
over
the course of history. Quite the contrary: the forces opposing the
‘frenzy of the visible’ (Williams) are growing stronger with the
introduction of every new technique of production or reproduction of
images. From Moses, Plato, Buddha and Confucius, over Mohammed, Savonarola,
Luther and Calvin, to Dworkin and Khomeini, an ever increasing choir of
iconoclasts have been fulminating against the growing tidal wave of
erotic imagery. It is not our intention to write the history of that
opposition. Rather are we interested in the attitude of the artists and
the art lovers themselves.Their stance on
erotic imagery is not always positive. In the silence of their
workshops, they often wage a fierce battle against the allure of erotic
beauty and the fascination of its destruction, just like Saint Anthony
in the desert. Long before iconoclasts engage in their destructive
undertakings, they often have expelled themselves the devil from many an
image with their own hands.
Pictures of nudity can be seen on the following pages.
Should you be under 18, or feel disturbed when watching pictures of the
naked body, please refrain from reading this page further.
Click on the name of the photographer or the thumbnail for a larger
view.
Click on the name of the artist below the larger view to be referred to
his website .
(1) THE TABOO ON EROTIC IMAGERY
Cet homme
(Boucher) ne prend le pinceau que pour me montrer des tétons et des
fesses. Je suis bien aise d’en voir, mais je ne puis souffrir qu’on me
les montre’ Diderot.
The taboo on erotic imagery is an extension of the natural and
culturally enforced taboo on the display of the erotic beauty of real
bodies, already examined in chapter VIII.
There we described the natural propensity to hide the genitals from
view, the propensity of lovers to retire, and the avoidance of seduction
in everyday commerce.
The image only makes things worse. It elevates
beauty to unknown heights. That induces many a lover to look for an
echo in the real world. There, he has
often to conclude that
he does not qualify. He
then resumes his commerce with the image. Which is not difficult,
since the beauty in the image surpasses the beauty of real bodies.
This cannot but strengthen
the feelings of inferiority and the frustration in the poor
onlooker, and therewith also his resentment,
not only
of the beauty in the image, but also of the
image itself. The same feelings are stirred in the lesser beauties, who
feel eclipsed by the heightened beauty in the image: they feel utterly
excluded.
That does not prevent the image from providing
a visual pleasure which the real world cannot but
withhold. In real life, voyeurism is by nature confined to the
contemplation of the face and those parts of the body left uncovered or
intimated through the clothes. In the image, the voyeur can lay eyes
upon the whole body, excited genitals included. That makes it all the
more difficult to resist. This turns out to be a poisoned gift: it is
impossible to have intercourse with an image. The image transforms the
onlooker into a castrated voyeur, looking at the hermaphrodite body
(chapter III) or the beast with two backs
(chapter X and XI). That cannot fail to stir
feelings of resentment against the image and what it depicts (Kappeler).
As we have seen, that leads to the ultimate destruction of beauty and
the image alike.
(2) THE AESTHETICISING OF THE
EROTIC IMAGE
There is, however, another way out, which we deliberately left out of
the picture in our description of the erotic themes in the preceding
chapters.
What has to appear in the image, has to adapt itself to the nature of
the image. The image forbids tactile and genital commerce,
and hence is only appropriate to the purely
visual initial phase of erotic commerce. It is just as well that
Titian’s Venus hides her treasures with a subtle gesture of the hand.
Were she to splay her legs wide, like the headless trunk in Courbet’s
‘Origine du Monde’, she would no longer so graciously balance on the
rope between revealed visual beauty and merely promised tactile or
genital gratification.
Thus, there is also a taboo on the erotic representation
rooted in
the very nature of the image itself. And that
taboo is in line with the natural taboo inherent in vision itself:
senses of the distance cannot feel, let alone genitally consume.
The subtle gesture of Titian’s Venus saves the erotic eye from the
pitfalls
of the visualisation of the genital. No longer has it to look on
sadly how the erotic appearance is dissolving into the hermaphrodite or
the beast with two backs. The curtain before Courbet’s picture in Khalil
Bey’s palace cannot conceal that the image has become a fetish and has
thereby betrayed its true destiny.
That is why the image has to be somewhat
reserved about the allure of what it conjures up. In order to remain
faithful to its destiny, it should rather use sexual arousal to create a
kind of visual perpetuum mobile in focussing on the formal beauty of the
erotic appearance – the proportions and the composition of forms and
lines, black and white, colours and materials. The erotic appearance is
then the starting point of another kind of pleasure: the ease with which
the appearance can be comprehended. This is a purely sensual – aesthetic
– pleasure, whereby the pleasure in the ease is in relation with the
complexity of the task. Such pleasure can join the erotic allure,
while at the same time propelling
the erotic arousal along aesthetic pathways. Therein, formal beauty
resembles clothes that heighten the erotic tension in prolonging
denudation. It is as if an invisible veil is woven over the erotic
charms. Instead of being the spark that ignites the erotic fire,
formally aestheticised erotic appearance invites us to submerge in it.
Formally contained erotic beauty is the highest form of visual beauty.
Not for nothing have artists from way back been obsessed by the challenge of
catching erotic beauty in the image. Not for nothing are the highest
achievements of the visual arts to be found in the domain of erotic
imagery. And not for nothing are the most beautiful examples in this
book often hand-made pictures: not only do they
warrant a continuous heightening of beauty,
they also enable a far more severe formal containment of that
heightened beauty as well:
titian
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As soon as the image formally contains the erotic appearance, it is no
longer the embodiment of a fourfold taboo. It
no longer forbids tactile or genital pleasure, but generously grants
full visual pleasure. And it is no longer doomed to enact the forbidden:
no longer does it stage the arousal through a third party – the primal
scene – but an erotic appearance that is freely allowed to
enthrall the onlooker. At the same time, the formal containment
of erotic beauty transforms voyeurism into an aesthetic attitude. Sexual
arousal is consumed in the creating or discovering of formal beauty.
Such completion of the perverse move effectively checks the
transformation of voyeurism into sadovoyeurism. Only through
such formal containment is the voyeur transformed in an artist or
an art lover, and the exhibitionist in an erotic
performer. The marriage of erotic and formal beauty not only
seals voyeurism’s coming of age as an accomplished aesthetic pleasure,
it also enables the image to fulfil its true destiny: the revelation of
beauty.
The same image that asks for the formal
containment of erotic beauty lifts the ban on the completion of the full
sadomasochistic sacrifice, as we have seen in chapter
XI. As opposed to the enactment of erotic beauty, the destruction
of beauty does not require formal containment: the source of arousal is
drying up. Only the mitigated versions of the sadomasochistic
performance ask for formal – ritual – containment, although it is not
the unfolding of love that has to be checked here, but the urge to
destroy its fountainhead: beauty. That is betrayed in the often
meticulous composition of the mise-en-scène. Sadomasochistic literature
obtains the same effect by providing elaborated and often endless
details about what, where, when and why: this diverts the attention from
what is really happening.
It will not have escaped the attention of the reader, though, that,
precisely when the destructive impulses are given free rein, an often
breathtaking beauty is coaxed from the in essence repulsive sight of
what we get to see. To the effect that we no longer avert our eyes in
disgust, but, on the contrary, continue looking with fascination. In
that sense, beauty saves the image also when it stages the destruction
of the nude. Although such beauty is isolated from what has been a
beautiful body, it cannot but stir the longing
for the
immaculate
nude. But, since the nude is now destroyed, that desire is neutralised,
at least for as long as we continue looking. What has been a means of
destroying the sexual urge is thus transformed into an effective means
of letting the pleasure in beauty remain purely aesthetic – a purely
visual enjoyment that no longer asks for its completion in an act. Such
aestheticising is often far more effective than that of bodily beauty:
with the latter, the goal is within reach, while, with the former, any
attempt at proceeding to touching is checked by the ugliness of what
now looms up. That is probably why beauty in
art so often goes hand in hand with ugliness.
(3) THE DE-EROTISATION OF THE EROTIC IMAGE
Conversely, it seems far more difficult to maintain a
proper balance between aesthetic and erotic beauty. Time and
again, the erotic image capitulates for the call of genital release. It
is not difficult to see why. So urgent is sexual scarcity – not least as
a consequence of the fact that beauty in the image eclipses real beauty
– that many a potential lover prefers being
castrated by the image, rather then being
disillusioned or rejected in the real world. When the image has to
titillate, formal beauty only diverts the attention. The focus is on
purely erotic releasers. The most beautiful women display themselves in
the most alluring poses. It is these images that call forth the
anti-erotic resentment. It will be superfluous to insert that kind of
images in our text.
That is why many an artist tries to ban the erotic image from the image,
rather then to destroy it. An obvious solution
is to play off the medium. The artist can replace the softness of the
skin with strokes or grain, break the magic of colour through resorting
to black and white (or white marble) of neutralise the undulations of
the body through reducing the body to a sheer circumference or a
surface. We have illustrated this in chapter VIII,
6.
The artist can also devaluate the nude. He then stages mere naked,
if not
non-ideal nudes,
from girls in early puberty (Schiele, Ionescu):
over
modal bodies with all their natural shortcomings:
to deformed bodies,
old woman, from Rodin's 'Celle qui
fut la belle Heaulmière'
to the magnificent torse of Robert Piccart:
not to mention mutilated bodies (Duffy)
or corpses (Géricault, Baselitz,
Witkin).
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géricault
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Such anti-idealistic trend can already be observed in Hellenism,
it was overwhelming in the official Christian
art of the Middle Ages, got new impulse after the restoration of the
rights of the body in the Renaissance, after the advent of erotic photos
in the middle of the nineteenth century and in the wake of feminism in
the twentieth century. Thus, Neads – inspired by Derrida’s predilection
for what is outside the frame – pleads for the
depiction
of what has hitherto been excluded from the image:
the vagina and her menstruation.
(4) CIRCLING AROUND THE NUDE
"The nude is for the artist what love is for the poet"
Paul Valéry
Far less obvious is the replacement of the nude with subjects that
centrifugally orbit around it.
To begin with, there is the portrait. At the
hinge between non-erotic
-
political and economic - and erotic commerce,
it is predestined to initiate the move away from the nude. Instead of
being the prelude to the submerging of the face in the overall erotic
appearance, it comes to
express the political and economic
import of the person:
van eyck
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In other images, the focus is shifting from reciprocal seduction to
competitive or productive action. In the
beginning we are dealing with religious or historical scenes. Gradually,
when cheaper forms of images were introduced, we see ever more profane
subjects replace the heroic feats of rulers and
saints.
millet
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Evenutally, the focus is shifting to
transient, peripheral events, culminating in the snapshots of
photography. Although it cannot be denied that many of these images
exert the necessary charms, they
nevertheless are peripheral subjects. After all, men as well women are
economically and politically active only in view of acquiring sexual
gratification. That goes especially for the flaunting of power and
wealth: the Trojan War was in fact a war for Helen.
Such mediated, competitive or productive
action is
performed in an environment: an interior or a
landscape as the scene on which human action unfolds. Initially, the
focus is more on the action than on the environment, but gradually the
environment takes over, to finally push the
action aside. In a first phase, man is only represented through signs:
the buildings or products testifying to his wealth
or
his poverty, if not to the idleness of human
endeavour:
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brueghel
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And that reminds us of the fact that it is precisely
political and economical relations which are responsible for the fact
that loving relations cannot develop properly. Not surprising, hence,
that every depiction of sexual relations cannot fail to leave a nasty
aftertaste. And that cannot but lend an additional charm to the
centrifugal movement away from the nude: a sojourn in the distant realms
where the human fate is shaped has at least the advantage that it can
keep the fire of hope burning.
Unless we prefer to resign in the sight of
unspoilt nature, which is totally indifferent to
human strivings or which immeasurably rises above it. In all these
cases, the landscape negates the competition that used to appear in the
centre of attention:
caspar david friedrich
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Human action can also be replaced with the depiction of man’s
weapons and tools or the products of his labour. But, just like
the painters themselves, also the theoreticians seem not to be aware of
a more fundamental negation. Beyond the opposition between human action
and instruments and products, the more fundamental opposition between
erotic and non-erotic escapes the attention. The still life is not so
much the negation of human action, as rather
of the goal of any action. After all, instruments and products of labour
are destined to enter the economic exchange between man and woman, who
feed each other and their children.
cotan
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Bryson is right in arguing that, in the still
life, the apogee of the Albertian painting is missing: the vanishing
point (69) While, in the geometric centre of Titian’s Venus of Urbino
the vagina is shown, in Cotan, the logarithmic spiral is rotating around
a black void – the counterpart of the black square on white background
of Malevitch, who not for nothing also placed a black cross in the
centre:
malevi ch
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Such genealogy of iconography – Hegel somewhat on his head –
demonstrates that the nude is the real vanishing point of all subject
matter. Although we should remind that – just like the spirit in the eye
– also the erotic appearance disappears in the hole.
(5) FROM THE TABOO ON EROTIC IMAGERY TO THE TABOO ON MIMESIS
There are also more formal solutions of the problem.
An obvious method is a shift of the
attention to less recognisable, although not less erotic appearances of
the body. In the marvellous examples of Eric Kellerman below, the
transformation is obtained by lighting:
Other artistis submit the body and its parts
to some formal pattern: they reduce the organic forms to geometrical
schemes or translate them in purely formal compositions of black and
white, colour, or texture. The body becomes increasingly unrecognisable,
if it is not reduced to a pure
abstract scheme:
Also the bodies entwined do not escape that fate. In real life, they are
often mingled up in an inextricable knot. We already described how that
called forth the propensity to arrange the bodies in often rigid
symmetries that, for real bodies, are rather uncomfortable straitjackets
(Bitesnich) .
Sometimes the artists go so far that they reject the importance of the –
in essence erotic - subject matter altogether, and try to get rid of
mimesis as such. The anti-erotic impulse is
the extended to an all-encompassing anti-mimetic crusade.
In a first phase this move
results in the development of abstract
art in the first half of the twentieth century.‘Figuration’
as such is rejected and the artists resort to
a purely formal play with geometrical forms. In fact, these are merely
the double negation of the nude: they
are monolithic objects, as opposed to the body
that is a harmonious whole of diverse parts. And they are flat and
angular, as opposed to the round and undulating surface of the body.
Through such negation, abstract art unwillingly betrays its real origin.
The anti-erotic character of the early abstract painting has
hardly been recognised (see also 'Mimesis
and abstraction'). Only Steiner (1965) negatively asks the
question: ‘Would not one of the definitions of abstract, non-objective
art be that it cannot be pornographic’.
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Far more consequent has been the complete rejection of mimesis as such:
the feat of ‘conceptual’ art in all its variants. Instead of
transfiguration the world – in essence: erotic beauty – in the image, it
is banned from the image through hanging mere
signs on the wall, that only refer to a world outside the
picture. Mimesis is transformed into semiosis. (See:
About the realtion between philosophy and art) This seals the end of
art. The taboo on the image in the traditional art of the past century
is only the most recent of a long series of anti-mimetic upsurges that
from way back are wreaking havoc in the world of the image. The same impulse
must have
been laying
at the roots of the imposition
of a generalised taboo on representation by Moses that has been taken
over in the Islam and led to the bloom of abstract art in all those
religions.
Needless to say that a heavy toll has been
paid for such anti-erotic trend that extends into a veritable
anti-mimetic crusade. While art gains
in formal beauty – and the artist in respectability – it loses its
overall appeal.
(6) THE RETURN OF THE REPRESSED
The erotic devil does not let himself expell so easily. There is
something like the return of the repressed.
The corrosion of erotic appeal through grain, black and white or the
silhouette discloses often unexpected charms.
The staging of repellent nudes feeds the resentment against the
unattainable beauty, or satisfies a whole array of ‘paraphilias’ such as
paedophilia, efebephilia or gerontophilia, if not necrophilia, zoophilia
and the like. And in the previous chapter, we have described the secret
charms of the destruction of beauty.
The erotic devil also joins the centrifugal move away from the nude. We
already mentioned how the depiction of scenes of torture is often a
nearly concealed alibi to satisfy sadistic impulses. Also the many
‘historic scenes’ are mostly a mere alibi to stage nude bodies in all
kinds of poses. That is foremost the case with scenes of battle, that
often acquire an erotic freight as a consequence of the similarity
between fighting and copulating:
pollaiuolo
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Also more prosaic activities often allow for indirect sexual
gratification. Most cherished is the theme of the individual or
collective bath: from the countless Bethesda’s in the bath, over the
Turkish Bath of Ingres, to the many ‘bathers’ in modern art. Also
photography developed countless, rather modest variants: the visit of
the doctor, the secretary on the ladder, the nurse and so on:
tintoretto
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The erotic devil even knows how to provoke the elusive erotic beauty out
of the landscape or the still life. Human action is negated in the
representation of nature as a lost paradise, where everything can be
found in plenty, wherefore man has to labour hard. But the fruits in
paradise are the nearly concealed substitutes for the real fruits that
can be harvested after hard work. And these
often shimmer through in the contours of many a
landscape:
And of course above all the objects on the still life can all too easily
be read symbolically: the image is then debased to a mere sign that has
to conjure up erotic associations in the dark chamber of the skull.
Elsewhere, things take the shape of the
repressed nude
or engage in often nearly concealed orgies:
Also machines can be eroticised
(Picabia).
In general, the repressed erotic pleasure resurfaces in the often
obsessive realism and the fascination through
panoramic views, transparency, reflection and
the like, that characterises many a landscape or still life from
the Romans onward:
van eyck (detail)
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All these trends converge in Duchamp’s ‘La marièe mise à nu par ses
célibataires même’, painted on transparent glass.
At first glance, it is only a heap of meaningless objects – a kind of
synthesis of historic scene, landscape and still life. After
interpretation, however, it cannot but conjure up rather obscene
representations in the mind. It is no accident that this prelude to
‘conceptual art’ is the product of an artist who was known for his
rejection of mere sensual titillation of the retina.
And it is not by accident that the same artists resorted to a kind of
'negative mimesis' in his 'erotic objects'
'Female Fig leaf' (1950)
and 'Objet-dart' (1951):
sheer casts of the outer and - at least accodring to Arturo
Schwarz... - inner female
genitals, that represent their object mereley as a void.
Also the geometrical straitjacket, in which the nude has been contorted,
often only enhances its secret erotic charms. A voluptuous pose may lend
its momentum or its justification from it (Balthus).
Or the symmetry of the composition betrays the nearly concealed
desire of the bodies to entwine: geometry is turned into a symbol of
bodily interaction. Or it is transformed into a symbolic comment on what
it contains, as when Brancusi catches his lovers within the confines of
a cube.
Often precisely those parts of the nude, that have become unrecognisable
through abstraction, begin to resemble other objects, that in their turn
symbolically refer back to what has been hidden from view.
And geometric discipline necessarily reminds of
the frames in which sadists use to hang their victims.
And, last but not least, even the most consequent abstraction, or even
the most fervent conceptualising of art cannot clean
art from its erotic stains. Already in Klimt
the
vert clothes, that are meant to hide the
nudity of the models, brim over with abstract motives with overt erotic
connotations, when they do not engage in sexual life altogether:
klimt
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With Eva Hesse, the geometric volume of the cube is suddenly turned in
what it negates: the smooth, round, organic hole of the womb.
Often the repressed returns only in the mind of the beholder, who
descries an erotic charge in even the most abstract
representations. Thus, Lucy-Smith does not hesitate to read Mondrian’s
crosses in terms of copulation. As if abstract art would be one gigantic
orgy...
Conceptual art, finally, continues to speak of art notwithstanding all
its anti-mimetic fervour. The conceptual artist
Lawrence Weiner has two lesbiennes and a
homosexual perform in ‘Do you believe in water?’ (1976). That
betrays how strong the appeal of what has been condemned continues to
be. Also the predilection of iconic signs instead of purely abstract
verbal signs, testifies to the repression.
(7) ETERNAL BEAUTY
Needless to say that there is a big difference between the return of the
repressed and the cautious balancing on the chord between erotic
containment of erotic appeal. It suffices to compare the images.
The reach and the impact of the ant-erotic impulse, which extends to a
general anti-mimetic crusade, can shed a new light on the production of
artistic images as such. Consecutive tidal
waves of erotic imagery have flooded the world on an ever increasing
scale and in ever more broad layers of the population. The discoveries
in Pompeii may give us an idea of the huge quantities of erotic imagery
that have been destroyed in the course of the centuries. It is apparent
then, that these tidal waves are not some undercurrent that has not
connexion whatsoever with ‘genuine’ art. For it is not by accident that
the anti-mimetic fervour of modern art originates at precisely the
moment when, in the middle of the nineteenth
century, erotic photos have been exported by the shipload to
every corner of the world. The anti-mimetic impulse in modern art
is only a particular example of the increasing anti-mimetic fervour
that, from the very beginning of the production of images has been
opposing the profusion of erotic imagery. Many
a commentator either looks back with home-sickness to the freedom of
times bygone or places far away, or sketches a
history where ever new taboos are lifted. We think that,
from the beginning, opposite forces have been
at work: on the one hand the frenzy of
the visible, the propensity to catch everything in the image, as opposed
to the tendency to centrifugally move away form the erotic beauty.
How such dynamics unfolds historically, is determined by the development
of mimetic techniques. Labour-intensive mimetic techniques are
predestined for prestigious centrifugal subject-matter: erotic themes
are more easily depicted in a print than in a marble sculpture. In
addition, techniques that are not so labour-intensive, and hence
cheaper, more easily lend themselves for private use. A fresco or a
marble sculpture are more suitable for public use, a print or a photo
for private use. And, since the development of mimetic techniques is
characterised by increasing productivity, the development of subject
matter seems to steadily move towards the erotic centre. With every
increase in productivity, the image seems to push toward the centre an
on ever increasing scale, which calls forth ever new and ever more
drastic anti-mimetic reactions, in the image in the first place.
On the other hand another characteristic of production is responsible
for the fact that ever more eccentric subject matter is dealt with.
Images last. While musicians have always to reinterpret existing scores,
visual artists and writers are compelled to tackle
ever new
subject-matter. As soon as the handling of the
most obvious subject matter is saturated, more centrifugal themes
explored, which also produces the illusion of an ever increasing
freedom.
(8) THE CULT OF THE IMAGE AS AN
ORGY
Up to now, we took only sexual - voyeuristic -
motives
into account. Time has come to introduce another factor that
fuels the development of the image: communal - orgiastic - motives
(see also: 'The orgy').
Also the desire to meet collective standards and the desire to share
beauty lie at the roots of the production of erotic imagery.
In view of the relentless and often fierce opposition against the
‘increasing’ sexual freedom, the benevolent effect of the communal
enjoyment must be stressed. A common sexual standard is imposed on the
whole community and stimulates every member to cultivate
his beauty and
his sexual prowess. How benevolent this effect
is, can be measured by the overall appearance of members of ascetic
cultures condemning every orgiastic feeling in view of some spiritual
mission. Just like erotic clothes eroticise the body, ascetic clothes
induce a general degeneration of bodily beauty. The same goes for the
sexual habits.
It cannot be denied, however, that erotic
imagery eclipses the beauty of real bodies and real sexual behaviour. On
the other hand, it must be granted that the quasi omnipresence of erotic
imagery has furthered the diversity of sexual commerce and has made
short work of the negative effects of centuries of sexual repression, in
the first place due to the material conditions of the masses that had to
produce the wealth of a minority that was allowed to enjoy full sexual
freedom. What Foucault considers to be an increasing control,
is in the long run only a superficial and transient reaction, due to the
vehemence of the erotic earthquake caused by the increasing wealth of
ever new layers of the population in the industrialised world. This
explains the spread of a refined sexual culture in ever more layers of
society.
We must admit, however, that not everybody can meet the standards of the
universally acclaimed embodiments of beauty and the athletes of sexual
prowess. Precisely therefore, the communal
consecration of beauty threatens to restrict
itself to the chosen few. The solution has not to be found in forbidding
the display of beauty (especially when a proper distinction is made
between communal seduction and sexual seduction, which may be asking too
much). As opposed to material conditions, that can be improved and more
fairly distributed, bodily beauty is unequally distributed over a given
population. Although many techniques allow for some correction, the
ideal of erotic egalitarianism will certainly remain an illusion
forever. In the meantime, those who feel eclipsed, should rather develop
other qualities – as the minor beauties have done from way back – instead of
hindering the happier ones to enjoy their beauty and to display their
charms
©
Stefan Beyst,december
2004
From the same author:
'the ecstasies of eros'
Your reaction (in English, French, German or
Dutch):
beyst.stefan@gmail.com
Bibliography
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