The Dioramic Imperative and the Incremental Taxidermy of the Self
- October 13th, 2005
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Like most of us, I think, I was particularly struck by Wendy Brown’s chapter Specters and Angels, and have been thinking about the idea of hauntology since then. I went back and read Derrida’s piece on Marx where he introduces the concept. What a striking and new meaning the opening phrase of the Communist Manifesto takes when read in that light. A specter is haunting Europe — the specter of communism. If we are to follow Derrida and Brown it seems there are specters haunting us all; haunting and cloaking all epochs, all grand narratives, generations, and civilisations.
There is a computer game that is more popular in Japan than North America called Fatal Frame. Fatal Frame is not like other computer games where you chase and kill endless enemies with an impossible-to-carry array of weaponry and an endless supply of ammunition that happens to be lying around everywhere. In Fatal Frame the only tool or weapon you have is a camera. As the game progresses you can trade up to a better camera with a higher level of functionality. The purpose of the camera is to capture and repel ghosts. The scene of the game is an old mansion, and your character needs to traverse the dangerous nooks and crannies to rescue a lost sibling. The ghosts do not appear to you except through the view finder of the camera, and when you capture them on film you disperse them.
So I started to wonder: what technologies or techniques can we use to cause the ghosts and specters of hauntologies to appear? Or, more importantly, where can we look for them? Where do they emerge most clearly, even if that emergence or becoming visible or sensible is an accident, a by-product of some other process or technology, an unintended consequence of some other project, perhaps even a project that aims at the opposite, a project that does not seek to illuminate ghosts and spectres but to conceal and naturalise them? Perhaps we can call this capturing, whether intentional or unintentional, hauntography. I realize I’m pushing Derrida’s original and much punnier trope to its limit, but what the heck.
I was thinking about this concept as I read Donna Haraway’s essay Teddy Bear Patriarchy. I found the technologies behind dioramics and taxidermy fascinating, not so much for the representational techniques but rather for the total effect of capturing and displaying more clearly the auras and misty edges of these specters and ghosts that haunt the specific grand narrative Haraway so successfully teases out of the dioramas in the African Hall at the American Museum of Natural History.
Is there something unique and powerful in the technology of the diorama? Is the diorama more successful than other modes of representation at capturing and depicting hauntologies? Perhaps it is more dependant on the creator of the diorama, but these aspects all come together and provide Haraway the opportunity for a profoundly insightful close reading of the African Hall, its architecture, its displays, statuary and specifically, dioramics and taxidermics. Read more
