What aspects of famine porn can be found in porn in general and what cultural and political tools do we use to register, acknowledge or scrutinise these similarities? I start with this question because it is fundamental, in a way, when it comes to thinking about other people’s suffering, which is far away and detached from our present living and the need for images, videos and texts that approach this feeling of anxiety and detachment to approach it in a kind of way that does not convey the very sentiments it tries to get rid of but also which is not “porn”.
The first thing we know about pornographic material in general is that it is easily accessible and that we have all kinds of it, porn which tries to cater for every possible taste. There is a lot of porn to go around and we should stop and take a look at why we have so much. Is it an attempt to register complexity, diversity, and commonality or is it an industry with too much commodity? What about the quality of porn? I attest to the state of really bad porn out there and the average stuff which everyone watches and the really good stuff which one quickly realises is actually some sort of niche for oneself. My good porn may be trash jerk-off-for-five-minutes for you, that’s a major character of porn these days and this is without considering the various categories of porn (categorised in sexuality, gender, class, fetish, genre etc). I am speaking about aesthetics, plot lines, characters, conveyance….
And it with this understanding that one can use to dispute “famine porn”. Considering the Somalia/East Africa big famine story right now, what can we say about the images from that place, or emaciated kids and parents, dead livestock, heavily cracked earth and the total suffering and despondency of these people? These images move us to do something, say something. We consciously work around these images not only because of the fact that they are easily accessed – just by the click of the remote/computer mouse/phone scroll keys/touch pads – but also because of how they are used over and over again as the “story”, not nuanced, simply to about and invocative of our own sense of vulnerability and injurability.
There is also a certain kind of ingenuity that comes about from how famine porn is presented. If porn accords us the freedom of choice by offering a wide selection, then famine porn essentially destroys this very freedom of choice by giving a singular story of suffering. If you look well at the photos coming from Somalia, there are very few differences between them, the malnourished kid, his mother desperate, forlorn, heavy silence in the videos only shattered by a child crying for food, starved old men and women who… They basically tell us the same thing and for the same reason, a commonality of the message by its bearers calls for a commonality of response. We are all supposed to react in the same way, do something tangible like donate money and not sit behind a desktop and make note of all the stupid shit that got us here in the first place.
And I should note that this is the only freedom of choice that we lose when negotiating with the people affected by famine. Indeed, beggars are not choosers, those of us donating make every crucial choice from who to help, where, how, through what organisation and under what social/political/economic considerations.
We could also talk about how people consume porn. If anything, there is a lot of porn because we consume it a lot. The pictures I downloaded yesterday or the videos I picked up last week lose their salt very quickly and I have to go for other materials again. It is a never ending cycle of insatiability. Can we say this about famine porn too? One of my biggest worries in this whole scenario is the photos, essentially “the story”, losing their sense of urgency really fast, to the extent that I am not compelled by it anymore, it does not call me to do something about it. I wonder how long it will take before people start talking about the aesthetic value of, say, Tyler Hicks’s photo on the New York Times. I guess this also has to do with the message in itself. If this is the only story coming out of the famine situation, then this reimagining of the images as something worth other than “the message” brings us to new territories not adequately represented in the analogy of image as text (and text here means the true conveyer of the message or, a message such as the drought crisis, biased as that sounds).
The saying “a picture tells a thousand words” carries various meanings when thinking about the photos in Somalia, chief among them being that these a thousand words are not enough or that the commodification of pictures in terms of texts does great injustice to written form, which is less likely to lose taste and become famine porn (or because it is famine porn) and is likely more capable of handling scrutiny and criticism simply because the question of message versus aesthetics or art is not availed to us presently. Criticism of photographs does not give us this choice. If we hate the message, what about the other side of the photo?
There is no single (or even unidirectional) way to get to human suffering but I only mention it so much here because it is where stories like the one about drought seem to be tending to. And we might stop over here, also, to talk about why we seem to be so invested into finding out how any specific kind of suffering works yet we do such a bad job of trying to alleviate it. There is fierce critique about the state of famine porn and how it singularly covers suffering in the global south and I wonder whether it is the best way to also try and include the west into it as if a blanket feature of famine porn is what we need not its total destruction. What might it mean to mention or invoke images of hunger/starvation, malnutrition from the United States or Europe? What does it aim to do other proclaim a sense of hypocrisy in the famine porn business, a proclamation far inferior to that of the fact that this whole thing is a hot mess?
This post is courtesy of Judith Butler’s “Violence, Mourning, Politics” which is of great help when thinking about these things. And I wonder: what if we had images where human (not African human or European human) vulnerability and injurability brought us to action. What if the symbolic, cultural or political caption of this image would bring us around the fact that this can happen to us, that life is precarious and that we need better ways of addressing this suffering that does not prolong it, obscure it with our own sense of ego and melancholia? Maybe images would function better if we had this in place. For now, though, the textual remains the only place where this is possible.