The Demonic Arts and the Origin of the Medium

By Cole, Michael | The Art Bulletin, December 2002 | Go to article overview
Save to active project

The Demonic Arts and the Origin of the Medium


Cole, Michael, The Art Bulletin


(ProQuest Information and Learning: Foreign text omitted.)

Guiding us through his exercises in skepticism, seeking to show us how our world might be illusory, Rene Descartes first invokes the condition of the dream:

Let us suppose, then, that we are dreaming, and that none of these particulars-neither the opening of the eyes, nor the moving of the head, nor the putting forth of the hands, nor even that we have these hands or this whole body-are true; let us suppose, rather, that they are seen in sleep like painted images, which could not be fashioned except in the likeness of real things.1

For a moment, the dream seems to be a fair model for deception, a familiar experience that involves the feel of both sight and self-motion, but which any of us can also easily appreciate as "unreal." The dream, remembered from the moments of wakefulness, represents a kind of dispossession; it allows us to imagine how we might no longer have even the things that are most immediate to us, the hands that guarantee the world through their touch, or the bodies that we might think we are.

The dream, however, quickly proves insufficient for Descartes's purposes:

Nevertheless, we must admit that at least these general things-eyes, head, hands, the entirety of the body-are not imaginary things, but rather things that truly exist. For clearly painters themselves, even when they aim, with the most extraordinary forms, to represent sirens and satyrs, cannot assign them natures that are in every way new, but can only mix the members of different animals; or if by chance they should conceive something so novel that nothing similar has ever been seen before, something that is, therefore, wholly fictitious and false, it is at least certain that the colors of which they composed this must be real.2

Dreams cannot provide a model for true deception because dreams are made of real things. Like paintings, which, however rearranged for perception, nevertheless depend on the existing world for their being, dreams cannot be entirely false. Their most radical fictions are mere Horatian chimeras, and what's more, even the chimeras are hampered by their dependence on their substance; every invention is an invention built of colors. Dreams have sources in the very things of which they are supposed to dispossess us; they cannot take away our world, because they are made of it.

Dreams and paintings having failed, Descartes finally refers his readers, for their comprehension of deep skepticism, to the experience of demonic possession:

I will suppose, then, that not almighty God, the source of truth, but rather some evil spirit, one that is at once exceedingly potent and cunning, has set all of his industry to deceiving me. I will imagine that sky, air, earth, colors, figures, sounds, and all external things are nothing other than the mockeries of dreams, by means of which this being seduces my credulity. I will consider myself not to have hands, eyes, flesh, blood, or any of the senses, and to have falsely believed that I have these. I will remain resolutely fixed in this meditation, and thus, if indeed it not be in my power to recognize some part of what is true, I will at least, with strengthened mind, beware of what is in me, so that I do not assent to what is false, and so that that demon, however powerful and however cunning he be, not be able to impose anything on me.3

The demon, like the painter of dreams, is an artificer. Yet for the would-be skeptic, possession by a genio maligno overcomes the drawbacks of mere sleep in its total separability from reality. In this perfect nightmare, all that belongs to us-our bodies, our sensory apparatuses, as well as the colored, figured worlds they take in-can be reduced to the "mockeries of dreams." The condition of true skepticism is the condition of complete painting. Both in its total invention and in its pure illusion, possession promises to be an artifice with nothing behind it.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited article

The Demonic Arts and the Origin of the Medium
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?