Time and Mind: The Journal of “But the Image Wants Archaeology, Danger”: Georges Consciousness and Culture Bataille, Werner Volume 5—Issue 1 March 2012 Herzog, and Poetical pp. 33–52 Response to Paleoart DOI: 10.2752/175169712X13182754067386 Reprints available directly Barnaby Dicker and Nick Lee from the publishers Photocopying permitted by licence only Barnaby Dicker teaches at UCA Farnham and is Historiographic Officer at the International Project Centre © Berg 2012 for Research into Events and Situations (IPCRES), Swansea Metropolitan University. His research revolves around conceptual and material innovations in and through graphic and arts. [email protected]

Nick Lee is studying for a PhD in the Media Arts Department, Royal Holloway, University of London, which examines the epistemological basis for Marcel Duchamp’s abandonment of painting. He also teaches at the department. [email protected] E-PrintAbstract The high-profile theatrical release of ’s -lengthPUBLISHERS documentary filmCave of Forgotten Dreams in Spring 2011 invites reflection on the way in which paleoart is and has been engaged with at a cultural level. By Herzog’s own account, the film falls on the side of poetry, rather than science. This article considers what is at stake in a “poetical” engagement with the scientific findings concerning paleoart and argues that such approaches harbor value for humanity’s understanding of its own history. To this end, Herzog’s work is brought into BERGdialogue with Georges Bataille’s writing on paleoart, in particular, Lascaux—a precedent of poetical engagement.

Keywords: Georges Bataille, Werner Herzog, Chauvet © , Lascaux Cave, Cave of Forgotten Dreams, poetical methodologies, disciplinary limits, lens-based media

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Introduction culture and consciousness are being hotly The high-profile theatrical release of Werner debated, embraced, and contested. What Herzog’s feature-length documentary film some might consider a crisis in the discipline, Cave of Forgotten Dreams in Spring 2011 the authors see as an index of a staggering invites reflection on the way in which effort to do justice to our own heritage and paleoart is and has been engaged with at contemporary situation. a cultural level.1 A three-dimensional (3D), Paleoart is simultaneously an inspiring high-definition(HD) video production, and traumatic area of study for a wide documenting a recent visit to the Chauvet range of disciplines. It signposts the blurring cave, France, Herzog’s film presents paleoart of disciplinary borders, most significantly as a cinematic spectacle. Moreover, it makes between the arts and the sciences, and, a strong contribution to the reinvigoration at different times and in different ways, of widespread public interest in paleoart can shake hallowed models of human generated by the discovery of the Chauvet existence. And yet, it simultaneously cave in 1994, and which had been firmly calls for a wide range of illuminating established by the discovery of Lascaux in methodological approaches. Herzog’s 1940. Consequently, we must now consider film frames these diverse and potentially it common knowledge that the Western incompatible positions, thereby sustaining tradition of art is at least 35,000 years old. several hypotheses within its overall By Herzog’s own account, the film falls on structure. Here, we see the disciplines the side of poetry, rather than science. This of archaeology, geology, anthropology, article considers what is at stake in such a topography, perfumery, filmmaking, and— “poetical” engagement with the scientific fundamentally—graphic art, combined in an findings concerning paleoart. E-Printattempt to generate a deeper understanding The precedent for this poetical not only of the paleoart in question, but of engagement can be found in Georges PUBLISHERSthe ongoing construction of the ontology Bataille’s writing on paleoart, in particular of humanity—an ontology founded upon his work concerning the cave art at Lascaux and maintained by an opposition to the (Bataille 1955, see also Bataille 2005). This perceived chaotic and mindless forces of article explores the many resonances nature. between Bataille and Herzog to argue that Herzog’s film is an endorsed contribution poetical engagements with paleoart —such to paleoart study; the endorsement being as theirs—harbor value for humanity’s underwritten by the French Ministry of understanding of its own history. Poetical Culture and embodied by those figures and scientific methodsBERG of investigation will be closely involved with the Chauvet site considered equal and complementary, with and the film itself, including Jean Clottes, both contributing to a richer if always partial Dominique Baffier, Jean-Michel Geneste, understanding© of paleoart. The significance Carole Fritz, and Wulf Hein. Although this of alternative modes of inquiry is plain in article as a whole is concerned with assessing an exciting era where myriad discoveries non-standard contributions to paleoart study, about paleoart and the emergence of human it is worth sketching out the position Cave

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of Forgotten Dreams occupies in this regard. Herzog: The Cinema, the Cave The film certainly operates at a populist level. Filmed over mere days in Spring 2010, However, Herzog’s authorial stamp rebuffs the film documents one of the annual accusations of triviality. Furthermore, the scientific visits to (Figure 1). footage of the cave, if not the film as a whole, To be permitted access to the cave, Herzog is offered as a reasonable surrogate to an struck a deal with the French Minister of actual visit to the site: a possibility denied the Culture whereby the film could be used vast majority of paleoart scholars, let alone for pedagogical purposes. The HD 3D the rest of humanity. equipment and heatless lights used by Bataille’s work has likewise been the filmmakers satisfied the preservation recognized within the archaeological demands placed on the cave art, thereby community for its potential to “trigger and allowing the film to be made, albeit within a clarify our thinking on [paleoart]” despite series of strict time slots, further limited—in being “flawed by inadequate knowledge terms of points of view—by all visitors to the of the archeological data” (Lorblanchet cave having to remain on narrow aluminum 2007: 98). Michel Lorblanchet’s criticism gangways. is apposite, however it should be stressed Cave of Forgotten Dreams follows the that Bataille—who enjoyed direct exchange format of many of Herzog’s documentaries: with many major figures associated with interview, fly-on-the-wall, and (aerial) archaeology and anthropology, including landscape material are elegantly interwoven; Abbé Henri Breuil—was writing over half a the filmmaking process is laid bare; the century ago, when knowledge of the field director provides an authorial voiceover; was less extensive and nuanced than it is Herzog appears as a central character as a today. Lorblanchet makes clearE-Print that the consequence of the previous two factors; value of Bataille resides elsewhere than and a rousing soundtrack (by ) in the rehearsal of the “facts”; Bataille is a PUBLISHERSis given a prominent position. Significantly, the catalyst—a position construed here as being film addresses its subject matter (Chauvet “poetical” in character. cave/paleoart) as much as it does the Herzog’s (b. 1942) prolific fifty- experiences of some of the people closest year career has consistently straddled to it. Put differently, Herzog pursues the documentary and fiction forms. Indeed, subject matter through its human protectors Herzog persistently challenges the distinction or conduits. between the two, seeking to demonstrate in If, as Eric Ames (2009: 61) observes, “the and through his work that “there are deeper idea of sacred landscape has emerged as a strata of truth in cinema,BERG and [that] there is major topos of Herzog’s work [and] one that such a thing as poetic, ecstatic truth” (Cronin he has mainly explored in the documentary 2002: 301). Thus it comes as no shock that mode,” then Cave of Forgotten Dreams must the director© explicitly approached Cave of stand as exemplary. Ames elaborates, Forgotten Dreams with “a sense of poetry,” claiming, “I am not responsible to total fact, Landscape pictures serve not merely but to poetry” (Herzog 2011). to project the filmmaker’s subjectivity

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Fig 1 Herzog at work on his film insideE-Print the Chauvet cave. © Picturehouse Entertainment. Image reproduced with permission. PUBLISHERS into space. They position the spectator an obvious example of this process is the vis-à-vis the depicted world in ways that way in which the aerial footage is used. It foreground the production of affective provides information about the landscape, experience and its mediation by image- firmly situates the film (and its focus) in a making . (ibid.: 65) part of the world, and is often accompanied by Herzog’s monologue. We see the aerial Ames thus finds in landscape a unifying camera’s traversal of the locale prior to the touchstone for the various aspects of filmmakers’ entry into the cave. As the film Herzog’s practice. NotableBERG is Ames’ progresses, the aerial sequences become suggestion that Herzog’s films simultaneously more pregnant, a stark contrast to the encourage audiences to respond journeys into the dark, claustrophobic cave. emotionally; to© analyze that response (as The film explicitly makes clear the mutuality they experience it); and to understand this of the two for humanity; suggesting the process in relation to a technology-infused rather Bataillian hypothesis that we cannot cultural arena. In Cave of Forgotten Dreams reach aesthetic heights without enduring

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earthbound, even subterranean experience cinema, the art of the double, is already and perhaps peril (the Chauvet cave exudes a transition from the real world to the toxic gases). At the close of the film the imaginary world, and ethnography, the aerial camera turns toward the film crew. As science of thought systems of others, is it draws near we realize that it is attached a permanent crossing point from one to some kind of radio-controlled plane conceptual universe to another; acrobatic or helicopter, judging by the presence of gymnastics where losing one’s footing is a large radio-controller in the hands of a the least of the risks. (Rouch 2003: 185) young man. As it lands, the digital image is The meeting of Herzog and the archeologists briefly disrupted (i.e. damaged), exposing the throws up an interesting question regarding mechanism underpinning the film’s realism. the fiction-documentary dynamic. For Cave Herzog has stressed, of Forgotten Dreams Herzog has surrounded My films are … anthropological only in as himself with authorities, specialists. The much as they try to explore the human impression this presents is that, whatever condition at this particular time on this the degree of Herzog’s intervention, his planet … I work with human beings subjects’ field of research, and therefore their because the way they function in different professional mode of address, while rooted cultural groups interests me … My goal in the concrete traces of emergent humanity, is always to find out more about man is already marked by imagination, stylization, himself, and film is my means. According and, in its widest sense, fabrication (consider to its nature, film does not have so much the reconstructed archaic weapons and to do with reality as it does with our musical instruments). collective dreams. It chronicles our state With this in mind, it is important to of mind. The purpose is to recordE-Print and point out that Lorblanchet’s assessment guide, as chroniclers did in past centuries. PUBLISHERSof Bataille (discussed above) holds equally (Cronin 2002: 213–14) for Herzog: Cave of Forgotten Dreams functions more valuably to “trigger and According to Herzog, the deeper human clarify” our conception of paleoart than truth he seeks in and through cinema “can as a representative “factual” account of be reached only through fabrication and the origins of human culture. Indeed, the imagination and stylization” (ibid.: 301), and factual view promulgated by Herzog and he speaks openly about the extent to which his archaeological collaborators is one he uses these strategies in his documentaries. that, while currently dominant, is looking Herzog’s disinclination to distinguish increasingly untenable, namely: modern between fiction and documentary—“for me, BERG humanity appeared suddenly through the boundary … simply does not exist” (ibid.: advanced art forms—in harness with 240)—was also shared by Jean Rouch: anatomical and cognitive developments—in For me,© as an ethnographer and filmmaker, Europe some 35,000 years ago. Regarding there is almost no boundary between the Chauvet cave art, Herzog has documentary film and films of fiction. The commented, “This is the modern human

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soul emerging vigorously, almost in an “Neanderthal men never created culture: explosive event” (Hoffman 2011: 30). Official there were no burials” (Wrigley 2011: 28). Chauvet literature (Clottes 2003 [2001]) These issues indicate a need to integrate corroborates this view directly in its title La paleoart into our wider cultural framework Grotte Chauvet, l’art des origines (translated with more care. Bednarik calls for “systematic as Return to Chauvet Cave: Excavating the uncertainty” in archaeology in place of Birthplace of Art: The First Full Report). the chain of ever-supplanted interpretive Accounts committed to considering a global “certainties” (Bednarik 2006: 88). In terms and temporally wider range of evidence of archaeological thinking, both within the (such as Bednarik 2003—and responses wider cultural sphere and the discipline 2008; Wendt 1976; Lorblanchet 2007) itself, systematic uncertainty would involve reveal the extent to which the Eurocentric sensitivity toward the possibility of new account of paleoart is a product of the discoveries, thus new models/accounts, disciplinary conventions of the Western awareness of the timescales involved in sciences, rather than of an objective human (cultural) evolution, and awareness of assessment of the evidence. This is, of the shifting forms of conscious experience course, an important (and contested) matter. underpinning that process. On one hand, The high praise Herzog’s film has received this must be informed by empirical data is doubtless due in part to its contribution from across the sciences, on the other, by to populist pedagogy or so-called general purely qualitative, imaginative, artistic, poetic knowledge. Its viewers would not be wrong meditations that draw out what sits, as it for feeling better informed. However, the were, between the scientific lines. Humanity advance made by Cave of Forgotten Dreams deserves a rigorous sense of its past that (and the official Chauvet literatureE-Print before it) keeps pace with its present development. is to substitute the 17,000-year-old “miracle So while the above criticisms could be used of Lascaux” (Bataille) for the 35,000-year-old, PUBLISHERSto roundly dismiss or attack Herzog’s film, and no less spectacular, Chauvet cave, and they may also be used to throw into relief in so doing, remain within the bounds of the its poetical contribution to paleoart study questionable, outdated Eurocentric view. (Figure 2). This is unfortunate, in that Herzog is an ideal figure to challenge that model. Unfortunately, Bataille: Lascaux and Mythical this “mis-education” of the public extends Anthropology beyond interpretation-presented-as-fact Georges Bataille (1897–1962) sits among a to some basic errors, thankfully marginally number of figures who have elaborated upon placed (in the press, ratherBERG than in the film certain proposals traceable to the modernist itself). The Guardian newspaper’s five-star artistic avant-garde by applying them to review of the film inaccurately informed scholarly activity and in so doing have readers that the© Chauvet artworks were helped to define the current scope of the created by Neanderthals (Bradshaw 2011: humanities. From 1928 until his death, Bataille 13). Elsewhere, Herzog corrects this view published and lectured on a wide range of with the equally erroneous comment that, topics mapping out what he described as

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Fig 2 A promotional montage in which Herzog appears to stand in front of a panel of Chauvet cave art. © Picturehouse Entertainment. Image reproduced with permission. a “paradoxical philosophy” (Bataille 1986 science through the use of weapons [1958?]: 106) engaged in identifying essential borrowed from it” (Bataille 1985: 81) and constants in the human condition and, in the putting it to work “like a beast of burden, same move, “declassifying” those constants to accomplish ends which are not its own” as as his own system. Bataille states his (ibid.: 80). For Bataille, this was necessary case succinctly when he writes, regarding in order to offer “a description of human l’inform (formless), one of his signature terms, life that goes back to the origins” (ibid.: 79), “formless is … a term serving to declassify, unlike ‘impotent theories of … requiring in general that every thing should [that] almost always kill [themselves] or have a form” (Bataille et al. 1995:E-Print 51). timidly prostrate [themselves] before science’ For Bataille, belief in the advancement of PUBLISHERS(ibid.: 80). knowledge entailed a simultaneous advance Although Bataille’s view retained its basic toward “non-knowledge” (Bataille 2001b). premise, this brash approach developed Put differently, Bataille saw a necessity for into something more subtle and tactful (a an openly acknowledged paradox within his consequence, we might speculate, of his model of thought. contact with members of the scientific Bataille pioneered an “anti-museographic community). This less confrontational and anti-institutional form of knowledge … approach is on display in Bataille’s high- that would render visible that vision which brow coffee-table study, Prehistoric Painting: [modern scientific and social discourses] Lascaux; or, the Birth of Art (published in repress” (ffrench 1999:BERG 119). One of the 1955 as the first installment of Editions (early) ways in which he approached this was Skira’s series The Great Centuries of to imagine a brutal exploitation of scientific Painting) and in the recent collection of his anthropology© by a mythical anthropology. shorter texts on and culture Mythical anthropology would take revenge (Bataille 2005). on science which had “blindly empt[ied] the As Steven Ungar (1990: 247) argues, universe of its human content … enslav[ing] Bataille’s methodology nevertheless

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remained designed to provoke. In the later in the book: “I seem to find something Lascaux book specifically, missing in the greater part of the writings that deal with prehistoric times. Prehistorians What begins as a [philosophical] inspect documentations accumulated with meditation on the origin of art soon immense patience and labor …But, obedient engages questions involving specific forms to the single method that befits a specialized of cultural expression that increasingly fall discipline, they confine their thoughts to under the aegis of the social sciences. The reflections upon the evidence in hand” resulting inquiry oversteps … conventional (Bataille 1955: 31). Both these remarks make [disciplinary] limits. (ibid.: 247) clear that Bataille’s study is positioned after For Ungar, Bataille’s strategy reflects a desire and at a remove from the archaeological to articulate findings. On one hand, it repeats the archaeological account for the layperson, on [His] awareness that culture is continually the other, it supplements and critiques that invented and reinvented not merely by an account, directing thought (as Ungar shows) accretion of understanding, but because in other directions. Cave of Forgotten Dreams the very claim to knowledge from which presents the same dual perspective. such understanding derives is itself the product of systems of meaning and Correspondences representation. Lascaux illustrates that for That Bataille’s book and Herzog’s film were Bataille, the origin of art—wherever we also produced in similar ways points to locate it in space, time, and history—is procedural aspects shaping the marketability always sought and invented in a present of and discourses surrounding these poetical that remains open to ongoing supplement responses to paleoart. Just as Herzog’s film and disclosure. (ibid.: 262) E-Print presents Chauvet cave in 3D video, Bataille’s While Ungar lucidly unpacks the deeper PUBLISHERSbook was the first to present the Lascaux dynamics of Bataille’s book, he does not cave art in color. Bataille’s publisher, Albert tie his findings into its more obvious— Skira, remarks in his foreword, but no less complex—structure and position pertaining to its engagement A good many difficulties were with the discipline of archaeology. The encountered in the course of producing book consistently and deftly combines this book. There were nights spent documentary material (color photographs working underground in the intense and maps) and descriptions with Bataille’s light cast by projectors trained upon distinctive views. In hisBERG preface, Bataille [the] magical world [of Lascaux] whose (1955: unpag.) states, “with regard to the details and color nuances, invisible under archaeological data, I have simply used what the subdued lighting installed for visitors, prehistorians ©have established at the price of sprang out vividly in all their pristine an immense labor that has always called for beauty. We would rest during the day … patience—and often genius.” Compare this at Montignac … and every evening, after with the following remark made by Bataille the regular visiting hours were over, we

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would go back up to Lascaux and start Herzog’s conception of poetical practice in again. Any number of times we came has been discussed above. Here is Bataille’s: away feeling that at last our work was Poetry is only a detour: through it I escape over. But each time, having developed our the world of discourse, in other words plates and checked the results, we decided the natural world (of objects); through it I to make a fresh start, for what the eye enter a sort of tomb in which the infinity sees is not necessarily what the camera of possibilities is born from the death of registers. The truth is that the Lascaux the logical world. The logical world dies, paintings mysteriously shift and change … bringing forth the riches of poetry, but the [They] literally defy the camera. (Bataille possibilities evoked are unreal, the death 1955: unpag.) of the real world is unreal … [However,] all of the real is valueless and all value is Skira’s account—which resonates with the unreal … The poetic is the middle term: production process of Cave of Forgotten it is the unknown masked with brilliant Dreams, evident in the film and Herzog’s colours and with the appearance of subsequent remarks—raises a number existence. (Bataille 1998: 218) of points: both projects are presented by their makers as being demanding privileges For Bataille, poetry provides the means to conducted on behalf of humanity that present renew and share with others our relationship the sites in ways blocked to ordinary visitors with the phenomenal world, our sense of its and as the products of intense, well-planned limits, and the structures of our own inner and executed activity, the success of which being. This process he traces back to the relied significantly on the presence of talented earliest art. From his vantage point in 1955 technicians. This is an opportunityE-Print for the he writes, “At Lascaux, new-born mankind filmmaker, photographer, or writer to step out arose for the first time to measure the of the shadow of the archaeologist: if only forPUBLISHERS extent of its inner, its secret wealth: its power a moment (or series of moments), there is to strive after the impossible” (Bataille 1955: an endorsed perceptual shift from artifact to 15). This marks a high, closing point in what commodity that will be retained in the end Bataille (2005: 57–80) calls “the passage from product. The poster for Cave of Forgotten animal to man,” the crux of which lies in Dreams, depicting the lone figure of Herzog the way “prehistoric man depicted animals casting torchlight on one of the adorned walls in fascinating and naturalistic images” (2005: of the Chauvet cave, illustrates this well. 60) while reserving a “crude and deforming The preceding remarks serve not as art … for the representation of the human criticisms, but to highlightBERG the way in which form” (ibid.: 40) and/or ‘”conceal[ing] his both “poetical” projects hardly seem to stem unique, distinguishing features beneath those from traditional conceptions of poetical of the animal that he was not … Partially circumstance.© They are, at least partially, divulge[ing] his human body … [giving] commercial, technologically grounded group himself an animal head” (ibid.: 60). (While efforts. Where then, we might ask, is the the evidence suggests that these practices poetry? were far from universal, Bataille has certainly

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noticed something of value.) Perhaps the earliest evidence for symbolic activity reflecting, above all, his own understanding of (Bednarik 2003, 2008), we might speculate art, Bataille repeats the value of poetry in this that this “change of infinite discretion” process: took the form of a drifting in and out of an ever-intensifying interpersonal poetic What these admirable frescos proclaim consciousness attending survival. Inventing a with a youthful vigor is not only that the world and cosmos, as we know, is far from man who painted them ceased being straightforward. an animal by painting them but that he Herzog and Bataille share similar views stopped being an animal by giving the about the universe and nature, which may animal, and not himself, a poetic image be seen to inform their respective notions of that seduces us and seems sovereign. poetry. In Bataille’s words, (ibid.: 60) Nature herself is violent … There is According to this schema, the emergence in nature and there subsists in man a of human culture follows a process of movement which always exceeds the “othering.” Hominids must have found bounds, that can never be anything but themselves increasingly “other” to a world partially reduced to order … The universe of “wild life,” and to each other (those from that bears us along answers no purpose other social groups). Defining what they were that reason defines. (Bataille 2001a [1957]: not seems to have preceded defining what 40) they were. Or rather, humanity had yet to present itself as the primary subject of its While in Herzog’s words, own attention, its The Universe is not harmonious and art was informed not by tradition,E-Print but by beautiful, it is dangerous and hostile … Yet nature … The norm came from outside … PUBLISHERSthe more we know, the more fascinating The work of art was … not yoked by the it gets. There’s an inherent curiosity in the methods and manners which might have human race to understand the Universe determined its form from within. (Bataille that’s around us. That distinguishes us 1955: 129) from the cow in the field. (Hoffman 2011: 30) And yet, the sense that the world was already an object for humanity seems also to In the perspective Bataille and Herzog have been present in this “otherness.” Indeed, present, poetry stands as a key to establishing in the above remark we should not read human value and reason. Bataille as denying innerBERG expression, rather It is also clear that Bataille and Herzog that he regards it as being unimpeded during do not have “verse” in mind. Rather they this period. Bataille (2005: 145) observes: propose what may be called a “poetical “If the first 500,000© years of human life saw methodology”—but one that cannot be human beings in opposition to animals, it was theorized away through a “poetics.” How a slow change, a change of infinite discretion.” then should we approach such poetical Following Bataille, and bearing in mind methodologies? And what is their relationship

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to the scientific disciplines they associate aims at an end distinct from the act of themselves with? Firstly, the proposals made making, whereas in doing, the end cannot be here trade on the principle that: other than the act itself” (quoted in Balaban 1990: 185). Tekhne¯ is the skill that attends The coalescence of a research paradigm poie¯sis. Hans Robert Jauss (1982) underlines creates the possibility of an accumulation the term’s political dimension: of knowledge and thus the phenomenon of scholarly progress. What is less often In the Greek tradition, all producing recognized, for the human sciences (poie¯sis) remains subordinate to practical at least, is that any consolidation of a action (praxis). As the activity of slaves paradigm depends on the exclusion or who are rigorously excluded from the relegation to the status of “art” of those exercise of the virtues, poie¯sis occupies elements of the changing discipline that the lowest rank in social life. (1982: 591) call the credentials of the discipline itself Jauss sees the emergence of poetry as it is into question, those research practices currently understood as that … work at the edges of disorder. (Clifford 1988: 135) a process during which aesthetic practice freed itself step by step from restrictions Paleoart study is something of a special case imposed on productive activity … If one in that, as Jean-Luc Nancy (1996 [1994]: 70) understands this process as the realization remarks (in the wake of Bataille), “what men of the idea of creative man, it is principally subsequently will name with a word that art which actualizes this idea … In the means knowledge and know-how, tekhne¯ competition between technical and or ars, is at man’s beginning the total of artistic creation, [poie¯sis] explicitly claims his science and his consciousness. (But will E-Printto be a production of a special kind. It is he ever have ceased beginning again?).” In in the history of the concepts labor and other words, here, art and science (to say PUBLISHERS work that the restrictions become most nothing of religion, sexuality, or daily life) are palpable. (1982: 591) indistinguishable. One of the aims of paleoart study, then, is to imagine how the archaic Jauss’s schema rightly proceeds from the “imager” “proceeds neither at random nor etymological root of poie¯sis. However, the according to a project. His hand advances terms of poie¯sis outlined by both Jauss into a void, hollowed out at that very instant” and Aristotle can also aid our thinking (Nancy 1996 [1994]: 75). In credit to Herzog through Bataille’s conception of the archaic and his archaeological collaborators, this relationship between work and art: “Man, endeavor is frequentlyBERG evoked in Cave of in his status of the worker, of the technician, Forgotten Dreams. is by and large reduced to the size of the means whose end is the animal being, never Poetical ©Methodologies subject to work, never technically skilled” The word poetry has its roots in the (Bataille 1955: 127). Man thus works—as a Greek poie¯sis. Aristotle distinguishes poie¯sis “poet”—to achieve a momentary state of (making) from praxis (doing) thus: “making animal grace. Animal being, aligned with

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praxis, would be the impossible state, at At the base of Jennings’s model lies a once sub- and sur-human. It is worth noting juxtaposition of the figures of the poet and that in the relationship Bataille sets up the (historian) scientist, not as a means to between scientific anthropology and mythical “invalidate the analytical method” of the anthropology (discussed above) it would be latter, but to place the two on equal footings: the former that is aligned with poie¯sis, the for Jennings, poetry provides a “different latter with animality/praxis. method of tackling, of presenting the same The poie¯sis-praxis opposition has been material, the same conflicts” as science, the broken down over time—at least in terms strength of the former lying in its ability to of its common usage. A synthesis of the “present … the sense of complexity—the original and current applications of the terms type of pattern and so the type of inter- suggests the proposal that they designate actions” attending a given topic (Jennings two dimensions of the same process: poie¯sis 1995 [1985]: xxxvi). Jennings pushes the referring to methodology, praxis to its binarism further, holding that “the poets physical application. are the guardians of the Animistic system, Documentary filmmaker and British the scientists of the Materialist system” advocate of surrealism Humphrey Jennings’s (ibid.: xvi). As Jennings acknowledges, this (1995 [1985]: xxxv) model of “imaginative proposal originates in remarks made by history” can inform our conception of Edward Burnett Tyler in 1871 that “the poetical methodology. Jennings (1907–1950) deepest of all religious schisms [is] that which sets his imaginative history apart from divides Animism from Materialism” (ibid.: political, mechanical, social and, economic 326). Jennings appears to have understood histories “because the Imagination is a Animism as Tyler did: “to be drawing in its function of man whose traces areE-Print more outposts, and concentrating itself on [its] delicate to handle than the facts and first and main position, the doctrine of the events and ideas of which history is usually PUBLISHERShuman soul” (ibid.: 325). The conceptual constructed.” He considers this function of twist we can recognize in Jennings’s model, as man active in religion, the arts, and poetry well as in Bataille and Herzog, is the attempt in particular, although it is “not necessarily to reunite Animism and Materialism in such confined to them or present in all their a way that they retain some or all of their manifestations.” Key for Jennings, as for subsequently differentiated characteristics. Bataille and Herzog, is the possibility that the Consider the following from Bataille: products of the imagination I am keen to speak as a materialist, I represent human experience. They are feel in agreement with everything that the record of mentalBERG events. Events of the is materialist, on the condition that one heart. They are facts (the historian’s kind does not believe that, in order to be a of facts) which have been passed through materialist, one is forced to suppress what the feelings© and the mind of an individual. is all the same richness: those ecstatic or (1995 [1985]: xxxvi) religious emotions. (1998: 224)

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Tyler’s stark division of Animism and faithful reconstruction of the Lascaux Materialism thus emerges as a discursive artworks (in Lascaux II, a simulacrum of the aid rather than an existential given. In 1800, cave), the presence of artist-scientists in the William Wordsworth remarked that the Chauvet teams and the computer mapping Poet could stand at the side of the “Man of of the latter cave all represent valuable Science,” responsible for “carrying sensation interdisciplinary efforts. Likewise, so-called into the midst of the objects of … science cognitive archaeology (see, for example, itself” (quoted in Jennings 1995 [1985]: Renfrew 1982; Whitley 1992; Beach 1998) 113)—an apt description of Bataille’s and makes room for similar interactions, at the no Herzog’s efforts. less important conceptual level. Again, paleoart appears as a special case, Adopting a liminal, poetical stance toward given that the object of the science is “art.” paleoart attunes us to the need to refute, as The poet brings “sensation,” “feeling” to the André Leroi-Gourhan (1993 [1964]: 364) art, positively contaminating the perceived does, the argument that art emerged as impersonality or objectivity of science. But and remains a non-utilitarian practice. If art has the “sensation” ever been absent from is one of the fundamental characteristics by the art? Yes and no. During the period these which we define ourselves as humans and works remained hidden from humanity, the has given rise to many complex forms of sensation and the art were severed from communication and thought that contribute one another. But the severance was not massively to human society and its values it clean, traces remained on both sides (the art: is impossible to state when art would ever in our cognition, our culture; the sensation: have been non-utilitarian. in the sealed cave). Science has charged itself with reuniting the two. OurE-Print fascination Time and Space toward archaic artworks surely comes from Without knowing the long-term outcomes, this feeling of reconnection which must be PUBLISHERSthe paleoartists helped set the terms by understood in relation to the time during which we would arrive at what we now call which the sensation and the art were the fine arts and media arts. Lens-based separated and yet had remained physically, media, such as photography, cinema, and terrestrially, close to each other. Of course, stereoscopy, cannot help but flaunt their this is no different to recognition of the old status as composites of art, science, and age of our total environment. But these technology. Herzog’s film literally throws traces of humanity hold special significance into perceived relief the confrontation as they belong not to a natural order that between archaic and contemporary would seem to proceedBERG with or without us, documentary art and technology (the but to our own founding interventions. implications of which are discussed below), More to the point, the exclusion of with Herzog equating, as others have, the (contemporary)© artistic, poetical practices cave art with “proto-cinema.” In doing so, from a field devoted to (past) artistic, Herzog seems to miss out on tapping the poetical practices would seem to be pure history of stereoscopic technology—widely folly. Archaeology is not blind to this. The recognized as a key proto-cinematic device

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whose cultural presence Thomas Elsaesser seek the old in the new, but … [the] new (2011) has rightly highlighted as being in the old” (2006 [2002]: 28). By focusing continuous since its invention by Sir Charles on “the possible … reality, [that] which has Wheatstone in 1833. In 1859, another actually happened, becomes a shadow by pioneer of stereoscopy, Oliver Wendall comparison” (ibid.: 28). Contrary as Zielinski’s Holmes, described photography as “the most approach might appear, it can provide a audacious, remote, improbable, incredible … valuable way to think through many of the triumph of human ingenuity” (Holmes 1980 issues that concern us here, most notably in [1859]: 73). He felt that “[Certain] inventions terms of the modes of consciousness and force themselves upon us to the full extent temporalities at work. Of current interest of their significance,” thereby requiring no in terms of media archaeology is also “poetical or rhetorical amplification” (ibid.: Pauline Stakelon’s account of c. 1900 uses 73). Photography, however, “the with of “movement and narrative in topological a memory, and especially that application of stereoview collections of Europe” (Stakelon it which has given us the wonders of the 2010: 407) and her conclusion that film, stereoscope, is not so easily, completely, photography, and stereoscopy “continually universally recognized in all the immensity reconstruct the idea of what it means to of its applications and suggestions” (ibid.: travel through the world” (ibid.: 420). 74). Consequently, it is in need of some Graphic paleoart, indeed any art, “poetical or rhetorical amplification.” To exists as much in time as it does in space. this end, Holmes ventures, “By means of What confounds us is that we can only [the stereoscope’s] two different views of engage with it in our own time. Herzog’s an object, the mind, as it were, feels round it audiovisual confrontation with the Chauvet and gets an idea of its solidity. WeE-Print clasp an site both telescopes and microscopes these object with our eyes … Form is henceforth temporalities. It does so through “media divorced from matter” (ibid.: 75/80). Like PUBLISHERSdelay” (the film’s general release came one Herzog, Holmes clearly sought a deeper year after it was shot). This reminds us of truth in and through his medium. More the question of access—how many of us significantly, Holmes’s description might also will ever experience the aura of Chauvet stand as a description of the kind of mental or Lascaux? And of those more readily efforts made by paleoartists—what else is accessible sites or artifacts—how many the deft rendering of animal figures onto the will penetrate “tourist time” to reach the contours of cave walls? Such consideration special time set aside for scientists and productively engages with the field of other experts? The simple fact is that for the media archaeology, theBERG concern of which, majority of humanity, direct access to its own in Siegfried Zielinski’s (2008–9: 65) words, archaic heritage is denied—for the greater lies in “research into the deep time interplay good of humanity. For archaeologists and between art, science© and technology.” lay people (although to different degrees), Under the banner of “anarchaeology,” and paleoart is as much an idea as it is a material informed generally by many figures including record. Second-order objects (objects Bataille and Foucault, Zielinski “do[es] not about objects), such as books, photographs,

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and films, are taken as points of contact models of thought. In short, the elusive birth and as evidence. The bottom line is that of art and of humanity sought in the cave knowledge about our own heritage changes art is always lost amid the conditions of a consciousness, thought, curricula, social policy. system of knowledge which—as we have How we let that progress depends on our discovered—cannot support an absolute creativity. In our consciousness of paleoart mythology or science of our origins. The we recognize much and little. It asks us to cave art, therefore, contributes to and grasp both extreme difference and extreme confuses our own understanding, our similarity, perhaps even of an unfamiliar current epistemologies, and the disciplinary kind. Its indecipherability might be painful, separations they entail. Whatever origin taunting us that we have lost full access to we search for in scientific or physiological a part of our own cognitive, psychological, terms can only be ratified with regard to a social, and cultural history. The later Chauvet secondary system of understanding which paleoartists were, it seems, in equal contact must be considered to be drastically different with their past: in the cave, we are told, are from that in which the archaic artworks works dating from periods thousands of were produced: a system that to some years apart. A novel like Alan Garner’s Red extent predetermines the parameters Shift (1973) makes an admirable, poetical through which its origin may be seen to effort to unpack these temporalities. occur. Just as paleoart cannot be understood A Hall of with regard to the source epistemology Towards the end of Cave of Forgotten Dreams of which it was a product, so too does it we are presented with footage of cave art complicate any retrospective ontological exposed to passing light—perhapsE-Print mimicking narrative we might construct. Once religious the effect of torchlight—set to Reijseger’s models are replaced by their scientific and modern score performed on modern PUBLISHERSinstitutional equivalents, it may be that the instruments. Here the tekhne¯ of the film itself origin of humanity can be found in the must be considered as entirely separate to darkness of the Chauvet or Lascaux . It the tekhne¯ of the cave art. The film produces is the presence of art, recognizable to us in its affect through the modes and forms accordance with our current understanding specific to it, in accordance with its own of the term, which elicits this feeling. Not history, and in relation to Herzog’s directorial something, we might say, to do with the intent. The archaic artworks produce works themselves, but something implicit their own affect through this process of within them. It is plausible that this inherent, mimesis, filtered throughBERG the techniques invisible, silent quality is what we now call used to record and present them. They are poetry/poie¯sis. For Bataille, as stated above, understood through the disciplines of art or poetry is a detour; an escape from the science, or© a combination of the two. That world of objects, a negation—through is to say, they are always reconstructed in reconstruction—of the real which is itself accordance with contemporary technological unreal. It is, however, in this unreality, in this innovations and assimilated into current non-objective realm that we recognize

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ourselves. Paleoart presents concrete sovereign function, but not in the sense of signifiers of that which has no object: human “art for art’s sake”). It is this characteristic interiority, human consciousness. At least that supposedly separates Neanderthal from this is how we interpret them; this is the Homo sapiens, and which, at its assumed interpretation they seem to encourage. point of emergence, inaugurates the era of Although we cannot say what they mean, we the anthropologically modern human being. know they have meaning. And this has to be Bataille proposes that “Never, prior to our sufficient. discovery of Lascaux, were we able to obtain Indeed, for Herzog, whose films eschew a reflection of that interior life of which art— didacticism in favor of a lyrical openness and art alone—assumes the communication, toward their material, this conception and of which, in its living warmth, it is, if not of poetry is most apt. As stated above, the imperishable expression, at least the Herzog considers his films to chronicle a enduring survival” (Bataille 1955: 12). For state of mind, to refer more to a collective Bataille, Lascaux is the material proof of our dreamscape than to the conditions of internal animism. material reality. In this way, his films point Cave of Forgotten Dreams forms, outside of themselves, as does cave art, to therefore, a relation with the cave art that an interior psychic referent for which they is an example of mise en abyme. Herzog’s are highly structured, aestheticized signs. film becomes a mirror held up to the cave Following both Herzog’s and Bataille’s lead, art, just as the cave art reflects the terms we can propose that poetry is extreme of the film, and, by extension, the sense artifice; human experience sublimated of poetry sought by Herzog through the through aesthetic contrivance. Terrestrial filmmaking process. In short, the cave art observation mingles with abstractE-Print experience and the film reflect the deeper, ecstatic, through imaginative transposition. This poetic truth Herzog speaks of. Both also generates endless environments that may PUBLISHERSrefer to time past and an unattainable place. be elaborately mapped onto the terrestrial Thus, the truth is also lost in the resulting world one on top of the other by human “hall of mirrors” where we find an infinity society. In this sense poetry is experience, of reflections that our eyes can never made communicable through a process exhaust. It is this uncertainty, this liminality, of externalization, through the process of however, which characterizes the realm to making, of tekhne¯. It is perhaps through which both the film and the cave art aspire, this feature of the Chauvet artworks that the referent for which they are the fixed we most forcefully recognize our own signs. If a truth is revealed, it is mutable, fully-fledged humanityBERG within them. They fleeting. It is a human truth, one that cannot represent the discursive and self-reflective be categorized or decoded, but one that, aspect of human existence which Bataille nevertheless, somehow perseveres through theorizes as “play”© and formulates as an digital stereoscopic technology as much as activity or set of activities differentiated it does through art on the walls of caves. It from work or labor in that they serve no is recognizable yet implacable, essential yet immediate material end (although this is their spectral.

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Crocodiles and Conclusions Accompanying the crocodile footage, The quotation “but the image wants danger” Herzog’s plaintive voiceover suggests to (Bataille 2005: 182) used in the title of this us: “nothing is real, nothing is certain. Do article is taken from Bataille’s notes for a we really meet, or is it a reflection?” Here film (written c. Winter 1952–3). The image Herzog appears to acknowledge the role in question is defined multiply: “Greek his film plays with regard to the cave art. nude male, a youth or bearded / prehistoric Perhaps it reveals nothing of the people man represented by himself / erotic / who created it, but rather reflects an image already sacrificial / … already murder / of our contemporary selves that calls for … animal … gods / Egyptian gods” (ibid.: interrogation, for constant reformulation—a 182). Herzog’s film concludes—or rather view endorsed by the philosophically inclined does not conclude—with footage of albino paleoanthropologist, Leroi-Gourhan: crocodiles that live near Chauvet cave. The only real significance of prehistory, Shortly before the film was released, several whether resting on religious metaphysics of the crocodiles apparently escaped and or materialist dialectics, is that it situates one is still at large. Herzog believes that the peoples of the future in their these creatures, far older than humanity, will present as well as their most distant past. soon “reach Chauvet Cave and penetrate it” Were this not so, prehistory would be, (Wrigley 2011: 30). Yet this closing sequence explicitly or implicitly, no more than the is, in Herzog’s (2011) own words, “science- substitution of a scientific myth for the fiction.” The presence of these monstrous, countless religious myths that dispose of ancient creatures both aggrandizes and the problem of our origin in a few words; belittles the bold achievements made in or else it might be seen as a kind of epic Chauvet cave. Nature had perfected its E-Printpoem narrating the prestigious adventures most fearsome hunters long before human of heroes who were not humans. (Leroi- beings learnt how to trace the shapes of PUBLISHERS Gourhan 1993 [1964]: 4) animals on cave walls, long before they delineated the contours of their otherness The final image of Cave of Forgotten Dreams to the natural world. Herzog’s fantastical is a negative handprint, which, more than any epilogue destabilizes all that has preceded other single graphic work on the walls of the it. Whether the crocodiles ever enter the cave, illustrates our relation to their creators: cave or not, the metaphor remains, and is we can know them only through the traces potent: this prehistoric monster is a threat that signify both their enduring presence to the order—to any order—we might seek and their ineluctable absence. If we choose to impose both onBERG the natural world and not to solve the problem of our origin in “a through the construction of our own history. few words” the problem becomes manifold It is a reminder of the uniquely human and increasingly complex. The arts and the oscillation, ©perhaps felt most acutely by the sciences are required to reintegrate in search paleoartists, between reverence for, and of that which, properly speaking, lies outside mastery of nature. of their respective remits, that is, just beyond

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the borders of that which we can claim to Bataille, G., 1985. Visions of Excess: Selected Writings, know. Poetical methodologies, seeking, as m. A. Stoekl (ed.). Minneapolis, MN: University of Minnesota Press. they do, esoteric and fleeting truths, cannot produce the empirical evidence upon Bataille, G., 1986 [1958?]. “Autobiographical Note.” which scientific fact depends. Yet it is this October, Vol. 36, Georges Bataille: Writings on Laughter, Sacrifice, Nietzsche, Un-Knowing (Spring): very poetical inclination, itself oblique and 106–10. evanescent, that signifies, more than all else, our humanity, and purportedly separates us Bataille, G. et al., 1995. Encyclopaedia Acephalica. London: Atlas Press. from the other tool-wielding hominids to whom history has not been so reverent, so Bataille, G., 1998. Essential Writings. London: SAGE. kind. Bataille, G., 2001a [1957]. Eroticism. London: Penguin. Bataille, G., 2001b. The Unfinished System of Note Nonknowledge. Minneapolis, MN: University of Minnesota Press. 1 A pre-release screening of Herzog’s film took place at the Anatomy Theatre and Museum, King’s Bataille, G., 2005. The Cradle of Humanity: Prehistoric College London, as part of a series of public "SUBOE$VMUVSF S. Kendall (ed.). New York: Zone events which channeled some of the general Books. interest in paleoart generated by Herzog’s project Beach, D., 1998. “Cognitive Archaeology and down artistic, “poetical” and thought-provoking Imaginary History at Great Zimbabwe.” Current avenues. Curated by Dr Catalin Partenie and Anthropology 39(1): 47–72. Professor Alan Read and entitled Caves, the program of events ran from February 14–17, Bednarik, R.G., 2003. “The Earliest Evidence of 2011. Full details are online at: http://atm.kcl.ac.uk/ Paleoart.” Research 20(2): 89–135. series/2011/caves. Bednarik, R.G., 2006. “A Unified Theory for Paleoart.” Bataille scholar Professor Patrick ffrench spoke E-PrintRock Art Research 23(1): 85–8. on Marguerite Duras’s film Les mains negatives (Negative Hands, 1979), which could be construed PUBLISHERSBednarik, R.G., 2008. “The Origins of Symboling.” as another example of poetical engagement Signs 2: 82–113. with paleoart. The authors would like to thank Professor ffrench for his thoughts on the topic Bradshaw, P., 2011. “Deep Impact” [Review of Cave of discussed in the present article and for alerting Forgotten Dreams]. The Guardian March 25: 13. them to the Caves program. Clifford, J., 1988. “On Ethnographic Surrealism,” in The Predicament of Culture: Twentieth Century Ethnography, Literature and Art. Cambridge, MA: Harvard References University Press, pp. 117–51. Ames, E., 2009. “Herzog, Landscape, and Clottes, J. (ed.), 2003 [2001]. Return to Chauvet Cave: Documentary.” Cinema JournalBERG 48(2): 49–69. Excavating the Birthplace of Art: The First Full Report. London: Thames & Hudson. Balaban, O., 1990. “Praxis and Poiesis in Aristotle’s Practical Philosophy.” The Journal of Value Inquiry Cronin, P. (ed.), 2002. Herzog on Herzog. London: 24(3): 185–98. © Faber & Faber. Bataille, G., 1955. Prehistoric Painting: Lascaux; or, the Elsaesser, T., 2011. “The Return of 3-D: Logics and Birth of Art. Geneva: Skira. Genealogies of the Image in the 21st Century.”

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Keynote paper, Postgraduate Research Conference, Renfrew, C., 1982. Towards a Cognitive Archaeology. Department of Media Arts, Royal Holloway, Cambridge University Press. University of London, June 9. Rouch, J., 2003. Ciné-ethnography. S. Feld (ed.). ffrench, P., 1999. The Cut / Reading Bataille’s Histoire Minneapolis, MN: University of Minnesota Press. de l’œil. Oxford: British Academy/Oxford University Stakelon, P., 2010. “Travel Through the Stereoscope: Press. Movement and Narrative in Topological Stereoview Garner, A., 1973. Red Shift. London: HarperCollins. Collections of Europe.” Media History 16(4): 407–22. Herzog, W., 2011. “Q & A” [following screening of Ungar, S., 1990. “Phantom Lascaux: Origin of the Cave of Forgotten Dreams, 22 March 2011, broadcast Work of Art.” Yale French Studies, No. 78, On Bataille: live to Picturehouse cinemas]. 246–62. Hoffman, J., 2011. “Q&A: Werner Herzog— Wendt, W.E., 1976. “‘Art Mobilier’ from the Apollo Illuminating the Dark.” Nature 473 (May 5): 30. 11 Cave, South West Africa; Africa’s Oldest Dated Works of Art.” South African Archaeological Bulletin Holmes, O.W., 1980 [1859]. “The Stereoscope and 31: 5–11. the Stereograph,” in A. Trachtenberg (ed.), Classic Whitley, D.S., 1992. “Prehistory and Post- Essays on Photography. New Haven, CT: Leete’s Island Positivist Science: A Prolegomenon to Cognitive Books, pp. 71–82. Archaeology.” Archaeological Method and Theory 4: Jauss, H. R., 1982. “Poiesis.” Critical Inquiry 8(3): 57–100. 591–608. Wrigley, S., 2011. “Out of the Darkness” [Interview Jennings, H., 1995 [1985]. Pandæ´monium. London with Werner Herzog]. Sight & Sound April: 28–30. and Basingstoke: Papermac. Zielinski, S., 2006 [2002]. Deep Time of the Media: Leroi-Gourhan, A., 1993 [1964]. Gesture and Speech. Toward an Archaeology of Hearing and Seeing by Cambridge, MA and London: MIT Press. Technical Means. Cambridge, MA and London: MIT Press. Lorblanchet, M., 2007. “The Origin ofE-Print Art.” Diogenes 214: 98–109. Zielinski, S., 2008–9. “Variantology and Archaeology PUBLISHERSof the Media: On Deep Time Relations between the Nancy, J.-L., 1996 [1994]. “Painting in the Grotto,” in Arts, Technology and Science.” The India Habitat The Muses. Stanford, CA: Stanford University Press. Centre’s Art Journal 9(April–March): 65–6.

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