Claude Lévi-Strauss: Tristes Tropiques (1955)

I hate traveling and explorers. Yet here I am proposing to tell the story of my expeditions. But how long it has taken me to make up my mind to do so! It is now fifteen years since I left Brazil for the last time and all during this period I have often planned to undertake the present work but on each occasion a sort of shame and repugnance prevented me from making a start. Why, I asked myself, should I give a detailed account of so many trivial circumstances and insignificant happenings? Adventure has no place in the anthropologists profession; it is merely one of those unavoidable drawbacks, which detract from his effective work through the incidental loss of weeks or months; there are hours of inaction when the informant is not available; periods of hunger, exhaustion, sickness perhaps; and always the thousand and one dreary tasks which eat away the days to no purpose and reduce dangerous living in the heart of the virgin forest to an imitation of military service . . . The fact that so much effort and expenditure has to be wasted on reaching the object of our studies bestows no value on that aspect of our profession, and should be seen rather as its negative side. The truths which we seek so far afield only become valid when we have separated them from this dross.

*

The paradox is irresoluble: the less one culture communicates with another, the less likely they are to be corrupted, one by the other; but on the other hand, the less likely it is, in such conditions, that the respective emissaries of these cultures will be able to seize the richness and significance of their diversity. The alternative is inescapable: either I am a traveller in ancient times, and faced with a prodigious spectacle which would almost entirely unintelligible to me and might, indeed, provoke me to mockery or disgust; or I am a traveller of my own day, hastening in search of a vanished reality. In either case I am the loser . . . for today, as I go groaning among the shadows, I miss, inevitably, the spectacle that is now taking shape.

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Susan Sontag: ‘The anthropologist as hero’ (1963)

“Let’s go and study the primitives,” say Lévi-Strauss and his pupils, “before they disappear.”

Susan Sontag: ‘Against Interpretation’ (1964)

9

Transparence is the highest, most liberating value in art — and in criticism — today. Transparence means experiencing the luminousness of the thing in itself, of things being what they are. This is the greatness of, for example, the films of Bresson and Ozu and Renoir’s The Rules of the Game.
……….Once upon a time (say, for Dante), it must have been a revolutionary and creative move to design works of art so that they might be experienced on several levels. Now it is not. It reinforces the principle of redundancy that is the principal affliction of modern life.
……….Once upon a time (a time when high art was scarce), it must have been a revolutionary and creative move to interpret works of art. Now it is not. What we decidedly do not need now is further to assimilate Art into Thought, or (worse yet) Art into Culture.
……….Interpretation takes the sensory experience of the work of art for granted, and proceeds from there. This cannot be taken for granted, now. Think of the sheer multiplication of works of art available to every one of us, superadded to the conflicting tastes and odors and sights of the urban environment that bombard our senses. Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience. All the conditions of modern life — its material plenitude, its sheer crowdedness — conjoin to dull our sensory faculties. And it is in the light of the condition of our senses, our capacities (rather than those of another age), that the task of the critic must be assessed.
……….What is important now is to recover our senses. We must learn to see more, to hear more, to feel more.
……….Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all.
……….The aim of all commentary on art now should be to make works of art — and, by analogy, our own experience — more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.

10

In place of a hermeneutics we need an erotics of art.