Abstract

In his latest book, Descola analyzes more than 150 graphic works from all over the world, among which are animal statuettes of the Koryaks, a people of the Kamchatka region of Russia. Those figurines always represent animals lying in wait, ready to jump or already running. Such representations, the anthropologist argues, incline us to pay attention to what motivates and what troubles the animals: “All those animals that we see undertaking an action manifestly intentional or properly responding to unexpected events cannot but impose on the observers of their image the idea that they are moved by aims, that they have an interiority just like humans.” This type of animal figuration is especially common in peoples that in Descola's previous book, Beyond Nature and Culture, he referred to as “animist.”In that book, published in 2005, he described the animist ontology and three other modes of paying attention to continuities and differences between humans and animals: naturalism, analogism, and totemism. At the time, he focused exclusively on the description of those ontologies, as opposed to any study of their evolution. He begins his study of the genesis of ontologies in Les formes du visible by suggesting that each type of graphic work induces a different way of paying attention to psychological and physical continuities and differences. For instance, in contrast to a Koryak statuette, an anatomical plate (to use a simple example not covered in the book) depicts only the body of a dead and dissected specimen. By referring simultaneously to an anatomical description of the human body and to that of another mammal, we tend to see how similar our bodies are. Whereas the animist ontology emphasizes the psychological continuity of humans and animals, the naturalist ontology insists instead on their physical continuity. By producing and using repeatedly some kinds of graphic works, each society comes to favor one or another ontology, one or another way of paying attention to the world. (Descola never says so in these words, but what he seems to mean by ontologies are modes of attention).Descola's questions in this new book are engaging: What do images make us pay attention to? What modes of attention do images stimulate? Each case study selected by the author is, moreover, fascinating in itself: an Amerindian mask, an Aboriginal painting on a piece of bark, a sixteenth-century Mongolian drawing of an elephant. The answers offered for the questions asked are unfortunately always already canvassed by the theory of the four ontologies. In previous work, Descola built that theory based on discursive and ethnographic material; sometimes we are left with the impression that images (as opposed to spoken words) do not make any significant difference, since they did not motivate him to modify in any way his theory in his new book.In addition, Descola's framework brings him to focus only on a particular aspect of what images induce in our modes of attention: in his thinking, ontologies are defined solely by the way we notice (or do not notice) differences and continuities between beings on two levels, physical and psychological, which respectively he terms the exteriority and the interiority of beings. By combining these two pairs of opposing features (continuity/difference, interiority/exteriority), he constitutes his four ontologies. But depictions can produce more fine-grained ontologies by making us pay attention to, say, the separation or the blending of bodies, the stability or fluidity of souls, the equality or inequality of power between beings. Moment by moment, while reading Descola, we find ourselves tied to his four ontologies and indeed find it almost impossible to imagine ontologies other than the four he has set out. In a structuralist vein, he even presents that number as a necessary, logical, and cognitive limit to the construction of ontologies. Nevertheless, by opening the analysis of the modes of attention to more than just the double pair of features picked out by the anthropologist, we could well unearth more diversified ontologies, induced by images (and by other cultural and technical particulars). We could detect, in other words, more than four modes of paying attention to our environment and to our companion beings.