Book Review: Entangled Empathy by Lori Gruen

Entangled Empathy

Just as feminist allegiance means nothing without challenging patriarchy, it’s no longer enough to be pro-animal without engaging the emotional systems in which nonhuman rights have become ensnared. Such thinking inhales through the lungs of Entangled Empathy, from which philosopher Lori Gruen exhales a timely call to action.

Gruen begins where she must: by thumbnail-sketching her activist history, during which time she grew critical of “animal suffering,” already too vague a term to be of value to a political throat parched for want of specificity. Entangled empathy comes as a refinement of Gruen’s formative scholarship on sympathy, wherein she critiqued utilitarian animal rights trendsetters like Peter Singer for their paltry affective resonance and inability to articulate the hierarchical infrastructures from which hang the skeletons of those gone before.

As Gruen defines it, empathy is more than glorified sympathy. In the latter framework, the effects of any active moral agent (read: sympathizer) amount to nothing more than singularities. One nods, however deeply, in the general direction of doing good but moves on for having done so, leaving systemic origins unscathed. Ignorance of the profound relationships between victims and victimizers leads to compartmentalization of self-interest. Which is why we should be ever-wary of hypotheticals, such as the infamous “child or the dog” (only one of whom you have time to save from a burning house) scenario posed by Gary Francione. These leave us unhealthily equipped for the interactive possibilities of daily circumstance. While it may behoove one to recognize the spectrum of responses possible in crisis situations, confining those responses into arenas of the mind is of little more use than throwing heretics to lions.

Gruen is critical of sameness-over-difference arguments such as those espoused by another pioneering thinker, Tom Regan. Her gripe is not with the motivation but with the perpetuation of human standards as existential norms that reinforce what she calls an “arrogant anthropocentrism,” an ideology by which human significance trumps itself with illusions of grandeur. The problem with Singer and Regan is that neither’s argument is particularized. It comes down to the difference between being rational and relational. In response, Gruen proposes a compound approach in which similarities and differences are vitalized through context.

Because, really, the issue at hand is not the attribution of human qualities to animals, but lack of recognition in their entanglement. Gruen parries those who cry “anthropomorphism” by forging connections with the little things. The dangers of anthropomorphism, then, lie not in the projection of selves onto others but the erasure of others through selves. When we ascribe feelings and thoughts to animals, we are not imparting the uniquely human, but elucidating inner qualities. True anthropomorphism is assuming that animals are empty machines. Such thinking fits snugly alongside Kay Milton’s alternative concept of egomorphism, a process by which ego or self becomes the golden standard of all earthly life and serves to frame economy as a social relation.

The value of Gruen’s approach flowers through its recognition of relationships in an interconnected world. Though human suffering statistically pales in comparison to animal suffering, focus on the former betrays an egomorphic attribution of importance that blankets fatalities of creaturely life with a central ideal. Gruen can only fault the bulk of ethical theory for being so inaccessible in this regard, separated as it is from on-the-ground practice. The conundrum of standard ethical arguments lies in the fact that they, in Gruen’s words, “flatten or erase the complexity of actual moral problems.” The key word here is actual. Connecting to lived experiences is paramount in any ethical project.

Gruen’s project is, above all, a feminist one for valuing the truth of experience as something more than narrative evidence. There is no relational existence without some form of communication at play. Her approach deeply echoes, and builds upon, Marc Bekoff’s concept of “deep ethology” in that it recognizes animals as beings who thrive on communal living. Not only does she follow in the compassionate footprints of Bekoff in advocating an empathetic worldview; she fills those footprints with theoretical plaster and paints them in the practical colors of the activist’s palette. It’s an approach, too, that sidesteps unproductive debate around the concept of sentience—which, no matter how you slice it, portions its largest share to Homo sapiens—by asserting that animals deserve respect by sheer virtue of their existence. It’s not about bringing animals to our exalted level of difference, but recognizing that differences are nature itself. It is the realization that, through manipulation of nature, unfounded cruelties, and the exaltation of humans above other animals, we all have blood on our hands. Which brings us to the ecological core of her argument. This is the only logical direction in which to move, looking at the integrations of inner and outer, nature and nurture, fear and determination that are the lifeblood of advocacy. As an activist, Gruen is one who turns to this state of affairs not with confrontation, but with the realization that, as author pattrice jones would have it, living beings are “open systems” rather than objects. Seeing our bodies as systems within systems renders lofty separation impossible.

Empathy is a proven evolutionary process. Specificity is key to unlocking and understanding malfeasances of cultural appropriation and other forms of dominance-based thinking. Taking ourselves beyond comfort zones is a small price to pay when we’ve done nothing but take animals out of theirs. Gruen’s response is something far more important than a paradigm shift. It is the recognition that paradigms are themselves precepts of a hierarchically minded species. Recognition of entanglement illuminates the necessity of the micro in the meso, and of the meso in the macro.

Understanding moral perception, as practiced through this radical form of empathy, means being self-aware and reflective. It also means being preemptive. It necessarily makes mistakes through anticipation. It is a learning process. This is why Gruen aligns herself with the sadly under-recognized feminist ethics of care tradition, which harbors no illusions of objectivity or impartiality, but instead embraces integrations of subjective awareness. Entanglement breaks down the binary opposition of justice and care and guides us instead into a relational perspective of action and response, thereby honoring the truths of difference and their many manifestations across demarcations of race, class, and geographic location. Just as Bekoff argues that animals’ emotional lives are public, Gruen shows they are vividly private. And yet, we can no longer say the personal is political, because this ignores the fact that we live in an age where the political has become too personal, invading corporeal and psychological spaces with ideologies that lure us from entanglement.

Empathy is a tall order in the present day. On this point Gruen would seem to follow jones in seeing the schism between self and world as the result of a traumatic separation from nature, one subject to both conscious and unconscious reinforcement from all directions. Emotions are both physical and social, defining and reflecting dominant paradigm shifts in relation to the connectedness of all life. They are generative tools in matrices of binding force. All action moves forward. All action carries repercussions. All action is change. None of this suggests that empathy cannot be overused or misguided, for what Gruen calls epistemic failures (incorrect readings of situations) are always possible. This is why attention to the self is so vital. Just as alienation compounds itself, so does empathy generate more of the same. All it takes is a bit of logic and willingness to observe, listen, and speak through action.

Book Review: In Divisible Cities by Dominic Pettman

In Divisible Cities

If Italo Calvino’s Invisible Cities is an act of translation, then Dominic Pettman’s self-styled “phanto-cartographic” missive, In Divisible Cities (published 2013 by dead letter office), is a translation of a translation. Not of locales into words, but of impulses into figures. Where one plies intellect as world-building, a process wherein repetition is the consensus of quotidian life, the other delineates mappings that are themselves generative. Calvino says, “Desires are already memories.” Pettman says, “Memory is already an act of desire.” Pettman’s book is therefore more of a responsory, his words a string of choruses to the soloists of altered images. The latter, courtesy of visual artist Merritt Symes, bypass illusory stillness in favor of a dialogue that moves with every page-flip. Like the list of cities that opens the text in flying V formation, they embody a migration of fixity.

Pettman proceeds diaristically, if not diacritically, through recollections and impressions, savvily reworking experience into expression. Overseeing all of this, as much as tearing it to shreds, is a nameless “she,” whose steps dislodge the virgin spring of ink for maps skin-written along the way. As much thumbprints as footprints, “her” traces dig reliquaries of travel to be filled with souvenirs of perception. They are engaged in what the author calls a “mutual stalking,” a cartoonish tangle of limbs from and into which flows the shared singularity of their comportment.

It’s never enough, he seems to say, to transgress one’s home toward attaining another. One must be prepared to unscramble the very notion of maturation in order to appreciate the encryptions of the childlike, to see the self as actor in want of scripts and foreseeable locales on continents of broken machinery.

The fatigue of modern life, then, is not in the everyday but in the unrelenting stock-taking of the everyday. As Pettman notes in a flash essay entitled “Material Girls,” our desire for any commodity is proportional to its evanescence. “To barely be there: the ultimate fashion statement,” he writes, piecing together some of “her” shreds into portraits as ephemeral as their subjects. In the wake of this observation, it’s difficult to abide by the rationale of collective ennui—no longer the fear of death but of living that stuffs far too many of us into the vegetable drawers of this refrigerator we call society, forgotten until the smell alerts higher-ups to their crimes.

As “ontological origami,” cities crease their inhabitants until they begin to interlock, so that if one falls the others will feel it. This explains Pettman’s need to communicate with everyone, even when it means talking to no one. The absence of human contact is its own form of construction, being an attempt to fill space with that which has never occurred. In this sense, empathy, collaboration, and sex are all mappings in disguise.

Wrapped in the blanket of such narrative anthropology, the reader may wonder how order can have survived so long in the hovels of mammalian intellect. One possible answer lies in the ambiguity not only of geography but also orthography. Presence of, and allegiance to, the almighty scrawl carries those same scents which, in finding their way inside this planet’s nasal passages, have provoked some of the most brilliant sneezes in history.

But Pettman’s is, below all, a speculative geography. His interest is in the preemptive, as if places somehow yielded their addresses instead of bearing them as retroactive badges. Because some places are too obvious, while others barely leave their pieces in you. Because disappearance is the most difficult project of the imagination. Because the only way to complete a journey is to leave its destination behind.

In the complex of these emotional keytones, it’s all we can do to matter. For while earthly engines may run on fuels as yet unspoken, their implosion is so clear it hurts like a staring contest with the sun. At least we can be sure of one thing: Love has blasted its trumpets through every city more than any other music, and if we listen hard enough, we just might recognize a tune.

(Click here to experience the digital version of In Divisible Cities.)

Live Report: Freiburg Baroque Orchestra w/Christian Gerhaher at Cornell

Freiburg Baroque Orchestra
with Christian Gerhaher, baritone
Bailey Hall, Cornell University
February 26, 2016

FBO 2011 Photo: Marco Borggreve

(Photo credit: Marco Borggreve)

On Friday, the Freiburg Baroque Orchestra brought its crisp, pristine sound to Cornell’s Bailey Hall. They were in the company of world-renowned baritone Christian Gerhaher and clarinetist Lorenzo Coppola for an all-Mozart program. It was just the hearth by which we needed to warm ourselves on a blustery night.

The first half of the program was backboned by Mozart’s Symphony No. 36. Known as the “Linz Symphony” — so nicknamed for the Austrian town where the composer dashed off the piece in just four days — its merits are about as appealing as room-temperature soda. A conservative choice, to be sure. But FBO conductor Gottfried von der Goltz did something brilliant by shuffling a handful of Mozart’s operatic arias between its individual movements. The arias, culled from Don Giovanni and Le nozze di Figaro, were comfortable territory for Gerhaher, who recently released his first Mozart album with the same musicians.

Gerhaher proved his reputation as perhaps the world’s greatest living baritone as he navigated every Mozartian maze with dynamic vibrancy and method acting. The otherwise tepid symphony provided an imaginary context for the songs. The opening movement was now an overture, its slightly ominous blush and fluid transitions showing off the orchestra’s winds and pristine intonations. The Freiburgers made it fresh with inflections borrowed from Vivaldi (reflective of their Baroque roots) and Beethoven.

Christian Gerhaher

After hearing Gerhaher plunge into the piquant “Metà di voi qua vadano,” from Don Giovanni, during the symphonic Andante it was all one could do not to expect his voice to come ringing out at any moment. The interminable teaser endings so common to Mozart stretched patience a bit when watching one of the world’s finest singers sit it out on a chair between blast-offs, but paid dividends when he handled verbal workouts such as “Ah, pietà, signori miei!” and “Tutto è disposto… Aprite un po’ quegli occhi”—from Figaro and Giovanni, respectively—with absolute fluency.

Though Gerhaher continued to command following intermission, it was the A-major Clarinet Concerto that provided one of the most memorable performances to grace the Bailey stage in recent years. Not only because the piece, with its universally recognized Adagio, provoked gasps of recognition throughout the audience, but also because soloist Coppola simply gave the finest rendering of the piece I’ve ever heard in a live setting. This was as much a matter of technique as of instrument, playing as he did the rare clarinet d’amour, a predecessor to the modern counterpart, that would have been played at the time of the concerto’s premiere. Coppola delighted us with a preamble about this “theatrical” instrument and invited us to see the concerto as a “little opera in three acts.” His seamless, animated performance made it so.

Two encores validated the enthusiastic applause, including crowd favorite “Deh, vieni alla finestra,” for which Gerhaher was accompanied by mandolin in Giovanni’s famous serenade. And in the end, this was the concert’s greatest appeal. When big name acts come to the Cornell Concert Series, it’s sometimes clear that we are a minor stopover during a larger tour. But von der Goltz and his synergistic band gave us their all, and we couldn’t have asked for more.

(See this article as it originally appeared in The Cornell Daily Sun here.)

Live Report: Sara Davis Buechner at Cornell

Sara Davis Buechner
Barnes Hall, Cornell University
February 10, 2016
8:00pm

SDB

Solo piano concerts have come to hold a dual, contradictory status. They are ubiquitous in classical circles, where they serve didactic and diagnostic purposes through competitions and senior recitals. They’re also something of an anachronism in the contemporary sonic landscape, where digital listening threatens its live counterpart. On 10 February 2016, pianist Sara Davis Buechner brought something essential back to the Barnes Hall stage that too often eludes the musically inclined among us: humility.

It was evident in her curatorial preambles, in which she waxed to the audience anecdotally, passionately and honestly about the history of each piece before playing it. These thumbnail sketches provided a basis for absorption, an insider’s perspective on secrets that typically remain the performer’s sole purview. All the more appropriate, then, that the connective tissue of her program should be Ferruccio Busoni (1866-1924), an influential editor too often neglected as a composer, and whose breakout Elegies she rendered with experienced love. While foreknowledge can sometimes hinder appreciation, in this case knowing to expect an unconventional setting of a Bach chorale prelude or a quotation of “Greensleeves” allowed Buechner to transcend these bon mots with invention. From the set’s opening C-major triad, she spun wondrous and dynamic darkness, tumbling through Italian folk motifs and tempestuous dialogues with ease and leaving a trail of color bursts in her wake. Despite a formidable dynamic range, Buechner was careful to control grandeur within reason, pushing as much back into the keys as she was pulling from them, so as to honor the occasional contemplation. Busoni’s non-tonal language was thus properly illuminated, a dissonant body casting a harmonious shadow.

As is her gracious habit, Buechner paid homage to local culture by following with the 2010 Soliloquy, written for her by Takuma Itoh D.M.A. ‘12. Deeply impressionistic, it offered welcome shelter from Busoni’s storm. Cupped in the hands of a winter’s night, it was difficult not to read it as a full and rising moon. It embodied the dusting of snow outside the venue as much as the footprints left behind by those who had traveled through it to get there.

The Six Etudes for Piano, Op. 70 of Alfredo Casella (1883-1947) refastened attention to Busoni, who championed the young Italian among other fledgling composers of his time. Each of Casella’s knuckle-busting etudes was distinct, not least for all for bearing dedication to a different pianist. Collectively, they were something of a musical turnstile, allowing controlled access to changing textures. And while it was, between its aerobic trills and racing tempi, a technical tour de force, Buechner’s attention to choreography made it shine.

Capping off these lesser knowns were the Six Grand Etudes after Paganini of 19th-century juggernaut Franz Liszt, whose flamboyant personality was evident in every stroke. Buechner opted, as any sane pianist would, for the Busoni edition of these often-revised pieces, and with that connection brought her theme full circle. Whether playing a formidable passage for left hand only or executing runs with apparent ease, Buechner kept the mood as fresh as a farmer’s market and carried an underlying energy to its logical endpoint.

She then encored with a foxtrot called “Do-Do-Do,” a delightful confection she learned by ear from a rare recording of George Gershwin piano rolls. Witnessing her consummate balancing act of both the tune’s mechanical and expressive tendencies, it would come as no surprise to learn that she is one of the world’s few active silent film piano score interpreters. Every chord painted a kind of smile that one just doesn’t see any more on the silver screen.

(See this article as it originally appeared in The Cornell Daily Sun here.)