Beruflich Dokumente
Kultur Dokumente
Post-Human Anthropology
Neil L. Whitehead
University of Wisconsin, Madison, Wisconsin, USA
1
2 N. L. Whitehead
Blood Jewel
I am currently participating in an audio-visual project centered on a
Goth/Industrial band Blood Jewel, which is the performative vehicle
for research on these concerns.3 We were giving prominent billing in
2006 at Deti Nochi (Children of the Night), an East European annual
Goth festival in Kiev, and have made active collaborations with bands
in Brazil, France, and Poland since then. Our principal place of perfor-
mance and promotion since October 2006 is MySpace www.myspace.com/
bloodjewelband, but we are also present on LiveJournal, Vampire-
freaks, LiveVideo, FaceBook, and HateBook.4
This project is certainly a success artistically whatever its value as
an ethnographic research strategy to better understand the emer-
gence of digital subjectivities. Before we were deleted for profanity
from YouTube, our videos had been viewed over 50,000 times, and we
are regularly approached by other acts working in the Goth-fetish
medium for collaborative projects and performances.
4 N. L. Whitehead
This finding suggests that being an effective, and not naive, cultural
actor may also be a basis for anthropological understanding and that
in the realm of cyberspace it is only through active participation that
there is anything to observe at all. In short, in order to understand
desire we must become desiring subjects ourselves. In this way perfor-
mative engagement rather than observing participation changes the
basis of ethnographic description from that of inferred and interpreted
meanings and motivations to that of auto-ethnographic description
and overtly positioned observation.5 The experience thus engendered
is not merely biographical because it is the wider relevance of that
experience, as a token not just of self but also of a structured engagement
with others, that lifts such an approach out of the cultural solipsism of
the Malinowskian method.
In any case, as Clifford (1997), Fabian (1990), Marcus and Fischer
(1999) and others have shown us, these are certainly the challenges
for constructing an anthropology of the twenty-first century. Apocry-
phal evidence for the validity of this kind of re-orientation of intellectual
practice (i.e., the project of linking cultural performance to cultural
analysis) is directly given by Blood Jewel’s artistic success because
that must in part derive from the theoretical coherence of this ethno-
graphic strategy.
Meta-ethnography
Such theoretical transgression necessarily calls forth transgressive
methods of study, and this project is also the opportunity to challenge
some of the parochial tendencies of area studies philosophy and Mali-
nowskian ethnographic conventions. In the same way that anthropology
has often been silent about the dynamics of violence, for its observation
is both inherently dangerous and ethically fraught (Whitehead 2004),
so too sexual practice—though not certain kinds of performance of
sexuality—has remained largely opaque within anthropological theory.
Post-Human Anthropology 5
one hand, personal contacts I had in the Goth music scene liked the
visual element as a way of paying tribute to the music of Depeche
Mode, but the problem was clearly that this was an inherently limited
context for artistic exploration, even though it did lead to the sugges-
tion that the videos could be an interesting component of a live music
performance by providing something to fill the gaps between bands or
even as a kind of “VJ” (video-jockey) club presentation. I pursued this
possibility for some time and by shamelessly exploiting personal
contacts managed to have some of these videos accepted as part of the
Deti Nochi festival program in Kiev, Ukraine.
FIGURE 2 Deti-Nochi festival, 2006, Kiev, Ukraine, Blood Jewel’s first live
performance.
Post-Human Anthropology 9
On the other hand, and more importantly in the long run, the
search for an artistic context in which I could use creative skills and
yet retain the pedagogical link to promoting new critical understandings
of sexuality and violence led directly to meeting with the person who
was to become my principal collaborator in Blood Jewel—Jeff Fields.
Jeff liked the way in which the visual materials functioned as a kind
of additional lyric element, and he was interested in seeing what
might be done with some of the musical material he had already
created. Needless to say, I was very impressed by Jeff’s music and the
opportunity to actively collaborate in designing further music and its
visual lyric, although not something I had thought possible before as
Depeche Mode was unlikely to need my artistic input, was the key
moment from which Blood Jewel as “band” originated. However, both
Jeff and I were also aware from the outset that our close interlacing of
musical and visual elements was itself something of an artistic inno-
vation. Obviously, this was not to invent the “music video,” nor, as in
my own early experiments with the music of Depeche Mode, was it
new to join music tracks with video content originating from a different
source. What is new and may be a substantive part of the artistic
success of Blood Jewel was to conceive of the visual and musical
elements as closely linked artistic expression. It is probably fair to say
that the vast majority of music videos, being simply promotional
devices, are either films of a band cavorting in a way that matches
some element of the lyrics or simply a band performing the music
track. In other words, for musicians the visual element was largely a
way of replicating performance rather than a distinct artistic project
in its own right. As one of our fans wrote in response to my explanation
of what we were trying to achieve:
thanx 4 those words . . . very much . . . you touch on a lot of the things
that are important to me in your project . . . your stuff is like videodrome -
it seems to me that frame rate is critical, is it designed to produce a
psycho-physical affect? Is it calibrated in to human aural/visual signal
processing capabilities and thresholds? . . . there is a space that is
created by your intersection of visual and aural feeds that is “trance” if
you like . . . you don’t wanna watch - you gotta watch . . . the music
imprisons you in that. . . . and the visual feed becomes an opportunity to
“say” something - a sort of visual lyric . . . yes?
At the same time then the source of that ability to contribute to the
contemporary music scene, beyond the imponderable factor of my own
creativity, is the cultural milieu from which I personally originate and
those in which I participated—London youth cultures of the 1980s,
10 N. L. Whitehead
particularly Punk, Ska, and the New Romantics, and this was pre-
cisely the scene from which Goth and Industrial music itself emerged
in the 1990s.10 In this way, and because the music and bands of that
era, such as Depeche Mode or Gary Numan, remain important in the
music scene of today the claim “I am like you” was quite true. But it is
also an incomplete claim because alongside a personal fascination and
interest in Blood Jewel’s resonance with its audience, that resonance
was also a pedagogical and research opportunity. Pedagogical because
although I am contractually obliged to teach University of Wisconsin
students, this does not exhaust an interest in teaching beyond the
academy. It was also an intellectual opportunity because research on
sexuality and violence might be usefully extended into a cultural
milieu in which those very issues were at the core of successful artistic
expression. Goth and Industrial music endlessly plays with themes of
sex, death, and violence, which have in part been important to the
development of the contemporary fetish scene. This linkage is very
evident with a figure like Marilyn Manson, whose popularity derives
from an interest in his questioning of received ideas of sexuality and
violence. The classic Goth identity of the vampire, as a sexually trans-
gressive and bloodily violent figure, is of course perfectly expressive of
these concerns. If for no other reason, it would be important for any
adequate anthropology of violence to be able to interpret the popularity
of both fetish sexuality and erotic violence of the vampire in main-
stream American culture.11
In any case, who you are or who I am in the off-line world is simply
not relevant to the initial interactions of MySpace, and there is apparent
equity in decisions as to if, and how, such interactions might or might
not continue. In the MySpace site everyone has a “profile” page that
can be linked to a system of requesting/accepting others as “friends.”
Requesting or accepting requests to be friends thus governs the nature
of this initial interaction in MySpace, and my working assumption has
been that those with a greater number of friends are, in this medium,
desirable and successful. The idiom of “friends” as means through
which one may link “MySpace” to your “space” derives from the origins
of MySpace as a social networking site, like Facebook, Hatebook, Live-
Journal, or Vampirefreaks. However, in the last two to three years
MySpace has emerged as important in another way because the site
facilitates separate types of account for musicians, film makers, and
comedians.12 At least for musicians MySpace has become a very
important tool for promotion and even an alternative to live perfor-
mance. Perhaps most bands in MySpace will never be heard outside of
that context, but then they never would have been heard at all
because the music industry obviously has finite capacity to market
Post-Human Anthropology 11
praise are the evidence of success with this approach, and such suc-
cess in turn makes performative ethnography the basis of a “native
knowledge” that is a theoretical grounding for the epistemological
credibility of auto-ethnographic analysis.
This entails that one has to be free to create a personality and let it
“live” in MySpace to participate or, more importantly to have an expe-
rience to evaluate; thus, the methodology cannot be too restrictive. I
am Detonator of Blood Jewel, often known as simply “DT,” with
responsibility for on-line site maintenance, video, and animation
production. I also contribute lyrics and some vocals. Jeff Fields—
Skull—is the primary music originator. At the inception of Blood
Jewel we conceived of it as a “creative collective” that would encourage
all kinds of artistic contribution to a broad project that itself was
designed to challenge the idea of the “band.” This was both a prag-
matic response to the fact that the collaboration between Jeff and me
was not in the manner of the typical notion of a “band” and as a way of
resisting and challenging both the formula of MySpace and of exploring
the potentials that on-line performance and expression offered. This
philosophy is announced on our MySpace site as follows:
across the globe to create a new network of global Goth out of Industrial
/ Electronica / EBM and related musical styles. This fifth wave of
intellectual and artistic vision unites the seen and heard to assault the
intellectual mind, breaking down old ideas of performance and expres-
sion. Violence and sexuality are key to our work for they are the
frontiers of human expression and understanding . . . . Cyber-sex,
fetish-sex, necro-sex, domination, pain and bdsm—these are all modes
of power and art—the violence of armies, states and police is a fetish of
power—the erotics of guns, bombs and missiles leads to the destruction
of bodies, the inner destruction of minds, and toxic tomorrows . . . . We
undermine the current social ordering of these fundamental human
facts through an audio-visual assault on the ideologies and structures
of power—with full body force . . . . Through the gates of tomorrow is a
new world of uncharted transgressions, the age of reason is dead . . . .
all that is left are our dreams and adventures . . . nothing is alien to us,
all things are permitted, do as you will . . . . perform your dreams at full
body force!!!
in the fall of 2007 just after the media corporation Viacom had bought
out the original YouTube and was fiercely policing copyright infringe-
ment. We had not infringed copyright but of course this was a great
way of avoiding the charge of censorship. Notably, YouTube is filled
with videos showing extreme violence, often from the war in Iraq, but
erotic representation proves far more controversial, at least for an
American audience. Kliko-Erotic Ambient has subsequently been
repeatedly erased from both our site and that of Shibari in MySpace,
although we have developed strategies to keep the video available.17
Obviously, the matter of censorship and challenging normative
standards artistically is potentially controversial within the context of
ethnographic research. However, ethnographically, my actions are
ethically acceptable because they are based on that authentic artistic
goal. Nor are such transgressive artistic acts undertaken as a means
of experimenting with others lives because it is my own experience of
this project that is the auto-ethnographic subject of study. If I were to
attempt to research individual users as “informants” on the processes
and dynamics of MySpace, then the relation between on-line identity
and off-line social identity would be all important and lead directly to
the ethically fraught issues of how much masking of identity and pur-
pose could be legitimate for the ethnographer. However, one might
also ask if cyber-personalities are human subjects in the sense that
the bureaucracy Humans Subjects Protocols panels suggest? Cer-
tainly, we need to at least have this debate as we cannot expect tradi-
tional ethical standards of the off-line world to apply formulaically to
the study of on-line worlds.
In this way my desire (and that of other band members) to create
Blood Jewel is essential to making a credible auto-ethnography. The
deceptive and rather difficult project of trying to do this simply as a
contrived mask for a standard scholarly project about on-line users
simply would not work; it would be as ineffective as it is immoral. The
ethnographic problem up until this point has been that the mask of
“being an ethnographer” has pushed our own desires out of the picture
so that they can only re-enter the idiom of ethnographic reporting in a
covert or highly constrained way. Alternatively, we can take experience
rather than identity as the starting point for framing ethnographic
issues, and this clearly breaks with existing practice and pushes the
boundaries of what anthropology is or could be.18
A good example of this methodology is the artwork I have been cre-
ating and using as comments to other MySpace users sites. The point
here is to explore the theoretical thesis, expressed in earlier works
(Whitehead 2002, 2004), that violence is a form of cultural expression
with at times creative and positive cultural meaning and that much of
18 N. L. Whitehead
that creative and positive meaning derives from its conjunction with
sexuality. A more limited hypothesis would suggest that the use of sex-
ualized and violent imagery with the Goth/Industrial scene should be
read as an attempt to construct alternative and empowering imagi-
naries in which dominant discourses of danger and toxicity are
inverted to subvert a perceived status quo of sexual repression and to
overcome fear of violence through its imaginative enactment.19 None-
theless, one may question whether a biologically-grounded sexuality
can ever be a subversive sexuality. I think the answer has to be yes in
the sense that it is a logical possibility even if at this point in time it is
historically challenging and culturally unlikely. The Blood Jewel
project is focused on not so much sexual fluidity in gender terms as
how gender imaginaries generate erotics, and particularly a gender
imaginary which is heterogeneous rather than homogeneous. In other
words, the power and erotic dynamic of sexual othering using ideas of
gender. This artistic and research orientation limits the potential
overall impact of the project on issues of gender fluidity, but to fulfill
the auto-ethnographic aspects of the project it is those phenomena
with which I am most familiar, comfortable, and capable that domi-
nate the artistic production. This then leaves plenty of scope for oth-
ers—differently motivated and with different sexual proclivities—to
work in related ways.20
In this way Blood Jewel’s art is theoretically driven and is not just
the presentation of theory, but rather an active performance of theory.
This orientation is not without precedent and in particular the use of
the erotic and sexual in avant-garde art is well established through
figures such as an Andy Warhol or Robert Mapplethorpe (Osterweil
2004).
The dialogic process of commenting with pictures that may also
contain text (see Figures 2–6) actually produces highly reliable infor-
mation about the values of the community in question through
responses to our own page. The difference to classic fieldwork is of
course that this happens without asking them why they liked a video,
or what they didn’t like about it, etc., which would be the traditional
ethnographic or sociological questions.21 Certainly, people are not
necessarily reading Blood Jewel’s artistic productions with the
theoretical complexity with which its being produced—a perennial
issue of media and literary studies—but such readings are possible
and are manifest in some of the back comments and personal mail
messages about our videos. The videos and comments thus operate on
different subjective and intellectual levels, ranging from direct,
emotive appreciation— “that’s awesome pics and sound . . . cool
image” —to a more sophisticated reading that appreciates how art
Post-Human Anthropology 19
Post-human anthropology
The global cultural emergence of the post-human is a response to this
situation, a convergence, both historical and intellectual, in thinking
and feeling about the nature of identity and the form of experience. As
mentioned before, the concept of identity has become highly problem-
atic in anthropology, for in asking the question “who is what?”, if we
have not been greeted with a recalcitrant silence,25 then we have
received the reply that “we are not who you think we are!” In this light
the categories of ethnological explanation are revealed as a way of
creating scientific objects and not the start point for unraveling other
experiential worlds.26 For many anthropologists working in Amazonia,
this has also gone along with the realization that there are ontologies
that lie beyond the human and which understand persons as subjec-
tively and socially partible, divisible, and highly unstable (Descola
and Palsson 1996; Fausto 2007; Viveiros de Castro 1998), just as
Strathern (2005) demonstrated for Melanesia and Busby (1997) for
South India.
Post-Human Anthropology 21
Notes
Received 22 March 2008; accepted 5 May 2008.
I thank the members of Blood Jewel, Carol Siegel, Jonathan Hill, Peter Sigal, and Toma
Longinovic for their valuable and thoughtful discussion of this project. Earlier versions
of this article were read at the Department of Anthropology of Rice University, the
26 N. L. Whitehead
American Society for Ethnohistory meetings at William and Mary College, the University
of Wisconsin-Madison for symposia on “Sexuality & Violence” organized by the Sexuality
and Violence Research Circle of the Global Studies Institute and the Humanities Cen-
ter-Mellon Foundation symposium on “What is Human,” the Latin American, Iberian,
Caribbean Studies program lecture series. In particular, I thank my co-presenters for
the Digital Subjectivities panel at the American Anthropological Association 106th
annual meeting in Washington D.C., especially the organizers Jay Hasbrouck and Mike
Wesch.
1. Popular attitudes are reflected in the Wikipedia entry for “safe sex”:
Safe sex is the practice of sexual activity in a manner that reduces the risk of
infection with sexually transmitted diseases (STDs). Safe sex practices
became prominent in the late 1980s as a result of the AIDS epidemic. Promoting
safe sex is now a principal aim of sex education. From the viewpoint of society,
safe sex can be regarded as a harm reduction strategy. The goal of safer sex is
education and risk reduction . . . . . . . some sex educators recommend that
barrier protection be used for all sexual activities which have the potential for
disease transmission, such as manual penetration of the anal or vaginal cavities,
or oral stimulation of the genitals.
Sex by yourself, known as autoeroticism, solitary sexual activity is rela-
tively safe. Masturbation, the simple act of stimulating one’s own genitalia, is
safe so long as contact is not made with other people’s discharged bodily fluids.
However, some practices, such as self-bondage and autoerotic asphyxia, are
made considerably more dangerous by the absence of people who can inter-
vene if something goes wrong. Modern technology does permit some activities,
such as “phone sex” and “cybersex”, that allow for partners to engage in sexual
activity without being in the same room, eliminating the risks involved with
exchanging bodily fluids. (My emphasis)
Non-penetrative sex (also known as outercourse and dry sex) is sexual
activity without vaginal, anal, and possibly oral penetration, as opposed to
intercourse. The terms mutual masturbation and frottage are also used, but
with slightly different emphases. NPS and outercourse are rather new terms,
which is why such practices are sometimes still called “intercourse.” Absti-
nence is of course the ultimately safe option.
2. Two in five Internet users visited an adult site in August of 2005, according to track-
ing by comScore Media Metrix 87 percent of university students polled have virtual
sex mainly using Instant Messenger, webcam, and telephone (“Campus Kiss and Tell”
University and College Sex Survey. Released on 14 February 2006. CampusKiss.com.
17 February 2006). According to comScore Media Metrix, Internet users viewed over
15 billion pages of adult content in August 2005, Internet users spent an average of
14.6 minutes per day viewing adult content online, and there were 63.4 million unique
visitors to adult websites in December of 2005, reaching 37.2 percent of the Internet
audience. By the end of 2004, there were 420 million pages of pornography, and it is
believed that the majority of these websites are owned by less than 50 companies.
The pornography industry generates $12 billion dollars in annual revenue—larger
than the combined annual revenues of ABC, NBC, and CBS. Of that, the Internet
Post-Human Anthropology 27
pornography industry generates $2.5 billion dollars in annual revenue (Family Safe
Media. 10 January 2006. http://www.familysafemedia.com/pornography_statistics).
3. See also the path-breaking work by Dwight Conquergood (1991, 1993) of the Depart-
ment of Performance Studies at Northwestern University on Latino Gangs and the
housing projects of Chicago.
4. Live Video http://www.livevideo.com/BloodJewel, Live Journal http://blood-jewel.live-
journal.com/, Facebook http://www.facebook.com/profile.php?id=512277980, Hatebook
http://www.hatebook.org/profile.php, Vampire Freaks http://vampirefreaks.com/Kanaima
5. Such a dialogic and performative approach is also suggested by the work done in
search of post-colonial ethnographic methods, in particular the work of Johannes
Fabian (1990).
6. Christine Hine’s Virtual Ethnography (2000) does a valuable job of laying some of
the methodological groundwork for this kind of study. However, unlike Hine, who
suggests that “virtual” worlds are somehow not “the real thing” (2000: 65), the
model here is of off-line and on-line contexts, all of which are of course “real,” even if
of differing and changing significance. Historically, Hine’s work appeared before
social networking sites, and many other aspects of on-line worlds, had been widely
developed.
7. This situation then sets up a direct conflict between the project of cultural relativity
and the presence of cultural values we deem non-progressive. For example, in a
recent issue of the Anthropology News (March 2008, p.28), such a conflict is evident
in a discussion of how anthropologists should react and think about “gender
violence” in Papua New Guinea.
8. See the forthcoming volume edited by Peter Sigal and Neil Whitehead deriving from
serial meetings at the American Society for Ethnohistory, Duke University and the
University of Madison-Wisconsin. Here a range of case studies are used to illustrate
the prevalence of this phenomenon and to suggest various critical reading and
research strategies that might obviate the problem.
9. Currently airing on the Travel Channel, Living with the Mek—The Adventures of
Mark and Olly seems to have moved the ethnographic idiom firmly into the field of
entertainment. Mark and Olly, an ex-soldier and journalist, respectively, thus
perform as “ethnographers” through their extended residence, mimesis of cultural
behavior, and the commitment to “do no harm” to their bemused hosts, the Mek
villagers of Western Papua (Irian Jaya) the copy reads: “Explorer Mark Anstice and
travel journalist Olly Steeds must make extreme adjustments to spend four months
living with the Mek tribe of West Papua, New Guinea, one of the last indigenous
groups of farming hunter-gatherers in the world.”
10. This is not an attempt to write a history of that music scene but rather to suggest
how my understanding of it (accurate or not) was important in configuring my
current ethnographic work.
11. The mass popularity of the fetish scene, originating in large part from the milieu of
the disco and nightclub entertainment and the historical persistence of “burlesque”
theater, is evidenced not just in the context of the night-life of most major American
cities but also in such established contexts as Halloween, where fetishized nurses,
teachers, cheer-leaders, cow-boys, cops and construction workers witches form the
staple of costume rentals.
12. The full list of different site-types includes Games, Movies, Ringtones, Celebrity,
Grade My Prof., Music, Schools, Chat Rooms, Horoscopes, Music Videos, Sports,
Groups, Books, Impact, MySpaceIM, Latino, Karaoke, Jobs, News, MySpaceTV,
Filmmaker, Mobile, Profile Editor, and Weather. Some of these are simply listings
created by MySpace itself but others, as indicated, offer embedded html that
28 N. L. Whitehead
provides additional features such as music-players that track plays and downloads,
or secure merchandising for both music tracks and band merchandise. Initial
attempts to create a two-tier membership with, for example, bands paying for these
additional features, were abandoned because users found ways to write their own
html codes and customize their own pages.
13. http://myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=10252272
14. A performance given at the Memorial Union University of Wisconsin-Madison featured
an extended fetish act by Yompabaan and Konduktor. Audience interviews and
reactions, as this was part of a concert organized on the theme of art, war, and vio-
lence, were also filmed.
15. The basic rule is that if you post something then it will be used by others. In legal
terms there is no obedience to copyright law at all, and notably those who complain
that their graphics are being used by others do develop not successful sites. The
milieu is one in which ownership of artistic output is continuously questioned as a
principle and understood as antithetical to the spirit of artistic freedom. Although
the MySpace administration would undoubtedly like to be able to enforce copyright
laws, as this would enhance their value as a commercial site, in practice it is only
the notion of “obscenity” that leads to punitive sanction (i.e., the erasure of one’s
account).
16. http://video.google.com/videoplay?docid=1480148837033408167&q=source:009382334566
24143532&hl=en
17. Evasion of the “MySpace Nazis,” as the administration is colloquially termed amongst
users, is both a necessary survival tactics but also a demonstration of one’s technical
abilities and radical, critical credentials. Each time we have something erased or
banned this augments our credibility even as it is artistically very frustrating.
18. It is also in this sense that there is particular resonance for this essay in a journal
called Identities, because too narrow a focus on issues of identity—critical though
that has been to laying out a radical and progressive political agenda for anthropol-
ogy as it emerges from its colonial origins—makes certain kinds of phenomena
inaccessible, and anyway theoretically limits the project of anthropology in a highly
artificial way. And I think this is really important given all the virtual worlds
people are creating and participating in and about which anthropology has said so
little.
19. Carol Siegel (2005) argues that such a deconstruction/reconstruction, territorialization/
re-territorialization of sexuality, necessarily entails the dissolution of traditional and
conventional gender binarity. As Siegel suggests Goth-Industrial stars like Marilyn
Manson detach(ed) gender from biological sex as part of a project of subversion,
often in sophisticated and complex ways. See also an overview of Goth fetish perfor-
mance and its increasing prevalence in Weinstock (2007).
20. The Post-Human web project (described below) is also an experiment in trans-gendering
as it is “me” although “she” is a 31-year-old woman.
21. But perhaps there isn’t a way to necessarily know what they liked and why? As
Kurosawa’s Rashomon teaches us, no one can say what another man does, not even
that man himself.
22. A good example of this was our release of the music video Poizone-Toxic Fetish http://
myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=4146731. The content
is blatantly sexual but also uses imagery of landscape devastation by war and indus-
trial pollution. Images of the fetish use of gas-masks and rubberized clothing then
brings these themes together to suggest that erotic aesthetics and sexual responses
can also be political statement, as Michel Foucault has taught us, sex is subversive if
it leads to a different knowledge of your own body.
Post-Human Anthropology 29
23. Rather the male body is always fetishized in motion, as in sport, or as enactors of
violence, as in war. The female body thus radically destabilizes such normative
views when it mediates violence sexually. For the aesthetic and artistic project of
Blood Jewel, this precisely becomes a way to try to provoke and service critical
thinking about sex and violence. In turn, the Blood Jewel project contributes to the
scholarly project of developing new approaches to interpreting sexuality and
violence, as was very much the case with my earlier work on kanaimà sorcery.
24. As Carol Siegel (personal communication) indicates, there is nonetheless a clear
presence of male-bodies on display that break with the normative: “. . . advertising
beginning with the infamous Calvin Klein underwear ads and going on to the
bruised and battered look of so many male models now, . . . photography and video
for music promotion (like Marilyn Manson and Trent Reznor bondage and torture
imagery), set piece images of tortured/bound male bodies in film, S/M performance
artists like Ron Athey and Bob Flannagan, the crossover work of women creating
porn as if they were gay men for consumption by other women. . . . All of these
things feed into the Goth/Industrial/Fetish scenes in San Francisco, New York, and
even here in Portland (sometimes known as leather club capital of the US). . . . If
you want to see tons of pix of beautiful boys in bondage with a decidedly Goth-slant,
try a Laurell K. Hamilton fan site, like http://www.angelfire.com/realm/xandi/
Shifters.html where mostly women and girls create images of the male protagonists
of Hamilton’s best-seller novels’ heroine’s male submissives.”
25. As other Amazonianists have pointed out (Clastres 1987; Mentore 2004), the silence
of the native is intolerable even to a liberal progressive anthropological science, no
less than the colonial regimes of the past. It is through dialogical engagement that
we come to know who is what, and those asked such questions can fully appreciate
what may be entailed in supplying the answers, because Foucaldian governmentality
proliferates through the naming and categorization of its potential subjects. The
other face to this intolerable silence of the other is of course our current enchant-
ment by the idea of torture and the imagination of circumstances under which they
must be made to speak.
26. In Sensuous Scholarship (1997) Paul Stoller challenges contemporary social theorists
and cultural critics who use the notion of embodiment to critique Eurocentric
and phallocentric predispositions in scholarly thought that considers the body pri-
marily as a text that can be read and analyzed. Stoller argues that this attitude is in
itself Eurocentric and is particularly inappropriate for anthropologists, who often
work in societies in which the notion of text, and textual interpretation, is foreign.
Instead, Stoller argues for the importance of understanding the “sensuous episte-
mologies” of many non-Western societies so that we can better understand the soci-
eties themselves and what their epistemologies have to teach us about “human
experience” in general, or, one might add, the fallacy of a generalized human experi-
ence at all.
27. As Viveiros de Castro (1992) has argued, being and becoming, rather in the manner
of Sartrean being in itself and for others, are thus separate ontological propositions
and represent the outcome of time and choice rather than unchanging metaphysical
structures of existence. Pierre Clastres (1987) made a similar argument concerning
the political historical emergence of society and state in South America and the
limits to power in “human” scale society; here it was Hegelian necessity rather than
Kantian ontology that was at stake.
28. To paraphrase Bruce Dakowski on Malinowski; “. . . the very word “magic” seems to
recall a world of mysterious and unexpected possibility, partly because we hope to
find in it the quintessence of primitive man’s longings and wisdom; . . . . and that
30 N. L. Whitehead
whatever that is, it is worth knowing and stirs up the forces of hidden desires and
dreams and reveals a lingering hope in miraculous possibility, a dormant belief in
man’s mysterious possibilities . . .” (Off the Verandah, dir. Andre Singer, 1985).
Embedded in the structures of consumerism Western desire is necessarily incom-
plete and envious of the “primitive” because the objects of desire are constituted
through a cultural frame of permanent psychological “lack” and economic “scarcity.”
29. The humanity of animals in turn receives full expression as we acknowledge not
just their political and legal status but also their perverse and non-reproductive
sexualities, or “biological exuberance” as it is termed in a recent volume that
documents trans-gendering, pederasty, and homosexuality amongst animals
(Bagemihl 1999).
30. A chaplain and chronicler to Charles V, Juan Ginés de Sepúlveda, had written
that the Indians were “. . .homunculi in whom hardly a vestige of humanity
remains.. [they were] like pigs with their eyes always fixed on the ground. . .”
(quoted in Nash 2005: 46), and as a result fit only for conquest and dominion by
the Spanish Crown. On behalf of the Dominican order, members of which had
lodged complaints against these sentiments, Bartolomé de Las Casas offered a
lengthy rebuttal to all of Sepúlveda’s writings. In fact, the debate was never face
to face and Sepúlveda offered a twelve-point written rebuttal to Las Casas who in
turn replied to these rebuttals. Here the matter rested, although such tensions
were ever-present in Spanish colonial policy.
31.a. Such universalizing of the category of “human” then paradoxically leads to a
depersonalization and deculturalization of the individual subject. This is very
evident, for example, from the way in which the United Nations discourse on
human rights is actually applied in refugee camps (Finnstrom 2008: 240; Malikki
1995: 378).
31.b. In the sense that the Great Killing of the twentieth century, from the trenches of
the Somme, to the death camps of Poland and the churches of Rwanda, has not
only led us to forlornly wonder where “common humanity” disappeared to in these
desperate moments but also to have created in us a despair at our own capacity for
in-humanity. Perhaps then there is actually a positive need for us to pass into
post-humanity because the discourse of the human paradoxically led to only mass-
death on an historically unprecedented scale. However, a cynical retreat into anti-
humanist nihilism, as has been popularly advocated by John Gray in his 2002
best-seller Straw Dogs is also possible.
32. Post-Human’s blog contains text that has been revised for this publication,
suggesting that the theoretical arguments are no-less successful, or at least do not
disrupt the artistic message, among Post-Human’s fans. Perhaps the best back-
comment received to this blog was simply, “Wow, I’m gobsmacked!”
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