The notion of rearing captive octopuses for meals, as introduced this week by a Spanish firm poised to open the world’s first octopus farm, has stirred up all kinds of sediment. Why ought to we object? Octopuses are clever, we’re advised, they want stimulation and play as expressions of their tradition. Well, so do pigs and cows. And dolphins. And, in various and doubtful moral levels, we hold all of these in unnatural environments. Yet with British laws looming that may require the killing of lobsters and crabs to be humane, our consideration is turned to different denizens of the marine ecosphere.
It could also be a troublesome if not slippery step for some. The octopus is the eldritch different, so totally in contrast to us that we glance on in surprise and repulsion. All these additional limbs. It’s not pure. Perhaps we’re jealous. As we develop into conscious of the sentience of these short-lived, rubbery, outstretched cephalopods, we additionally develop into conscious of consuming one other organism’s brains. An alien mind, in a tank.
As the Australian scientist and diver Peter Godfrey-Smith explored in his groundbreaking guide, Other Minds: The Octopus and the Evolution of Intelligent Life, octopus arms (not tentacles, word) have their very own particular person nerve clusters, constituting one thing akin to separate brains for every limb; as if the one might need a disagreement with the different. We set this in opposition to childhood natures, goals and nightmares. Visions, for these of a sure age, of a cleft-chinned Kirk Douglas doing battle with a large (mocked-up) octopus in the Disney movie model of Jules Verne’s Twenty Thousand Leagues Under the Sea.
The art-historically conscious will assume of the 1814 woodcut by Hokusai through which an octopus lodged between the legs of a geisha is seen to pleasure and even inseminate her, like the snake-necked swan in the classical fantasy of Leda. The slithery shape-shifting high quality of the octopus additionally equals a extra fashionable sensibility of what we discover acceptable and what we determine is not. In her astonishing picture, Bird in Hand (2006), the American artist Ellen Gallagher subtly interrogates the black expertise by turning Herman Melville’s Captain Ahab into an eerie afro-futurist pirate alien with an afro hairdo of fishes, a inexperienced parrot in his hand and a man-made leg morphing into cephalopodic limbs intertwining and penetrating it. As the tutorial Caoimhin Mac Giolla Léith notes in his sensible new monograph on the artist, Gallagher’s picture evokes the notion “that bodies in the African American diaspora are forever on the brink of virtuosity or despair”.
Aesthetically, the octopus has a bonus in terms of self-expression. It cannot solely change the color of its pores and skin in accordance with its native surroundings – the sandy ground, a barnacled rock – it might change precise form and texture to duplicate these surfaces. In 1924 the radical American modernist poet Marianne Moore, fascinated by the fugitive high quality of these creatures, wrote her poem, An Octopus – seen as Moore’s response to TS Eliot’s Waste Land – through which the animal’s “ghostly pallor” turns into the inexperienced metallic tinge of an anemone pool, then turns right into a glacier, into glass, after which again to an octopus once more. Moore is wanting right into a distorted mirror, seeing a mirrored image of human dissatisfaction with our personal selves.
The octopus’ bodily house in our world modifications too. It can escape by way of holes that appear impossibly small; it solely wants a gap massive sufficient to confess its parrot-like beak. Anyone taking a look at a reside octopus underwater will bear witness to this nearly magical capacity of the animal to be there one second, gone the subsequent, as if it had transported itself or beamed itself up into some interior house of the ocean, one other dimension.
We can not think about these uncanny creatures as something than different as a result of, as latest research have proven, octopuses are evolutionarily separate from us, having had the temerity to department off into an order of their very own 560 million years in the past. The concept of their being farmed in some set up speaks precisely to that sense of disconnection from us, in morphology, house and time. Some discover octopuses scrumptious, others repulsive, others chic. To rear them beneath our management, slightly than permitting them safety beneath a stone on the sea mattress, is a remaining primordial offence, it appears; as if we had snatched our personal antediluvian origins and stuffed them in a goldfish bowl, previous to battering and frying them.
From whales to shrimps, all sea creatures undergo this sense of our hegemony, our hierarchy, our dominion, by advantage of their hubris in deciding to not share our landbound exile. We punish them with captivity and consumption. We devour them into our consuming society. We peg them out on strains to dry like a lot slimy washing. We ask them to select the winners of soccer tournaments, or we poke our fingers at them in the aquarium. They look again, pondering at our unthinking.
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In her guide, The Soul of an Octopus, Sy Montgomery attests to the truth captive octopuses in the New England Aquarium in Boston can not bear the stink of some people. They particularly dislike people who smoke, whose tarry residue the cephalopods can style with their arms. While octopuses sit in judgement at our follies, we watch them in a state of confusion. We can not admit any rivals, irrespective of what number of additional legs they might possess.
[see also: Watching Netflix’s My Octopus Teacher, I wonder why we like to imagine animals are our friends]