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Arts & Communication The riddle of the sphinx revisited

my contemplation of Fernand Khnopff’s Caresses. First, I was done in Khnopff’s days. Whereas Péladan’s Symbolist
interpreted it as an expression of the tension between the art theory professed that, in a work of art, the individual
physical Anthropocene, which arose in Khnopff’s days, artist, inspired by a universal, absolute, and transcendent
and the lack of moral creativity to respond to it. This truth, could help others awaken to that truth within
tension is epitomized in Khnopff’s paralyzed Oedipus, themselves, I argue that far less individualist take on this
who nevertheless strives to display self-confidence. process. Crucially, we must account for a third element:
I discussed three sources of this paralysis – the ground on our shared historical condition. The gap between the
which the Western Anthropocene human has fallen – and physical and moral Anthropocene urges us not to look for
linked them to three events contemporaneous to Caresses. a universal and eternal esoteric truth but to confront the
First, I linked Oedipus’ right arm and staff to modern particularities of the Anthropocene era – its obstacles and
Western technological triumphalism, expressed in the the potential inspirations for overcoming these obstacles.
breakthrough of late-nineteenth-century automobilist The fact that Art and Communication agreed to
ethos. Second, I interpreted Oedipus’ unheimlich caress publish this paper adds a further dimension to the
with the sphinx to Freudian Oedipus complex as an de-individualization of the process – one reflected in the
emblem of the tendency to frame modern meaningfulness journal’s title. Art is not only to be contemplated inwardly;
as an individualist matter. Third, I linked the mysterious its readings need to be communicated. Looking for moral
cultural traces in Caresses’ landscape to the esoteric streak inspiration in our cultural legacies, such as Caresses,
in the modern Western self-image. Even though this streak requires that we share our thoughts and sentiments, our
pretends to offer an alternative sense of meaningfulness, objections and inspirations, so that those new readings
I have argued that it is not sufficiently alternative to be of may caress, collide, reshape, and elevate each other. We
real interest to Anthropocene morality. 6 need a shared, perhaps even ritualized, rereading of our
Immediately after describing the “fall” of the art as part of Anthropocene ethics. This new morality
Anthropocene Westerner, I suggested using the same ground must be a shared morality based on our relationality and
to get up again by redefining it in terms of three alternative the recognition that we co-inhabit the Critical Zone – the
Oedipus complexes, each attuned to our existence as framed unique layer of intertwining human, non-human, living,
by multispecies intelligent hybridity. The first alternative and non-living intelligences. We have no choice but to
Oedipus complex is depicted as Oedipus’ uncanny intimacy look around us, into our shattered and scattered cultural
with the sphinx: an icon of our undeniable yet undefinable landscape, for possible sources of inspiration to start
relatedness with other and therefore irredeemably alien life building a new moral world.
forms. I discussed it as a call to continuously engage in the
practice of cultivating the best possible relations within our Acknowledgments
Critical Zone network as an ideal Anthropocene morality. None.
The second Oedipus complex is expressed through his
caress with his staff, but only on the condition that the staff Funding
remains a staff and does not become a scepter. In other None.
words, it symbolizes an acknowledgment that technology
affects our identity and our sense of meaningfulness. Conflict of interest
We need to observe whether they are directing us in a The author declares no conflicts of interest.
wholesome direction as an ideal Anthropocene morality.
The third Oedipus complex links us with the “divinities” Author contributions
depicted in Caresses as the scattered remains of existing
philosophical, moral, and/or spiritual systems. They are This is a single-authored article.
cultural intelligences to which we have to relate anew in light Ethics approval and consent to participate
of the radically new Anthropocene condition, beyond the
axial mainstream and esoteric alternatives. Not applicable.

Elsewhere, I have discussed elements from Consent for publication
6,14
Buddhism in our cultural landscape as potential sources
of inspiration. In this paper, I have treated the painting Not applicable.
Caresses as an instance of such cultural intelligence. My
rereading offers one possible example of how we might Availability of data
re-approach our ruinous moral landscape differently than Not applicable.

Volume 3 Issue 3 (2025) 10 doi: 10.36922/ac.5868