Nakamura: Magic Produces Wonder
by Estéban Trujillo de Gutiérrez
The Sensuous Metaphysics of Magic: Mutual Constitution and Correspondence
“The representation of a wish is, eo ipso, the representation of its fulfillment. Magic, however, brings a wish to life; it manifests a wish.”
“Implicit in Wittgenstein’s aphorism that magic “manifests a wish” is the notion that magic requires concrete demonstration: the fulfillment of the wish made real.
At first glance, magic as both the manifestation of a wish and its fulfillment seems to pose a contradiction in this act of making real. But magic is an exchange that seeks synthesis, and such exchange, “as in any other form of communication, surmounts the contradiction inherent in it” (Levi-Strauss 1987:58).
Mikhail Bakhtin (1984) surmised, “to be means to communicate” (287). And the movement of such exchange presumes a sensuous intimacy between the outside world and ourselves: “to be means to be for another, and through the other, for oneself. A person has no internal sovereign territory, he is wholly and always on the boundary; looking inside himself, he looks into the eyes of another or with the eyes of another” (Bakhtin 1984:287).
This is the human orientation of being amidst the constant flux of the world that provokes our fear as much as desire, and discloses the condition for a way of knowing directly and sensuously.
Giambattista Vico (1999 ), a forward-thinking but marginalized philosopher of his time, implicated bodily sense in a critique of the Cartesian principle of Cogito; in response to the reductive logic of geometric certainty, he formulated the axiom: man can only know what he himself has made — “verum et factum convertuntur” — and to make is to transform oneself by becoming other (Vico 1999:160).
The implication of this premise posits that human knowledge cannot be exhausted by rationality; it is also sensory and imaginative. Although Vico’s project poses three progressive historical eras of man: the first ruled by the senses, the second by imagination, and the third by reflective reason, we now recognize that all three modalities of knowledge exist throughout human history albeit at different scales and intensities.
From this perspective, magic, which embraces bodily imitation and play, is better viewed as a poetic reinterpretation of the concrete reality of human action rather than the discovery of an objective reality that presumes to regulate it (Böhm 1995:117).
Indeed it is our sensory faculties and not our rational faculties that better apprehend certain complexities of the magical realm: we know when we feel.
In encounters with magic, we apprehend the apparent trickery of bodies, substances, and things. Our reaction to such events often betrays delight, horror, fear, disgust, attraction, and fascination simultaneously, and such disorientation is desired.
Magic produces wonder, and in doing so returns us to a state of apprehending the world that short-circuits those automatic processes of intellection that discipline the senses. And wonder is central to a mode of understanding that is “capable of grasping what, in ourselves and in others precedes and exceeds reason” (Pettigrew 1999:66).
Bodily sense is key here, since it can know something more than words express. The “trick” of magic, then, lies in attaining the unknown by disorganizing all the senses; in effect, it acts to deregulate relationships that are rigorously regulated by normative cultural forms.
The aesthetic experience of magic seeks the recovery of correspondences between people, things, and places in their pre-differentiated unity, a unity that becomes obscured through “habitual modes of perception” (Harrison 1993:180).
In this way, magic aims at the perceptual movements that continually render meaning rather than at meaning itself. In this intercalary register of experience, magic presumes a certain direct engagement with the world; specifically, it recalls a pre-differentiated world as an open possibility of interrelations constantly in flux.”
Carolyn Nakamura, “Mastering matters: magical sense and apotropaic figurine worlds of Neo-Assyria,” Archaeologies of materiality (2005): 24-6.