According to Bataille, eroticism has fundamentally something to do with destruction of self-containment informing participant’s discontinuous character. He argues that people yearn for the loss of continuity (Bell 2015). Still death further destroys individual discontinuity that leads an individual to headlong continuity inclusive of all well-being. The eroticism notion by Bataille collapses completely with the precarious distinction by Freud between the dead drive and Eros. From Bataille’s perspective, the counterpoints binding to unbinding influences of death and eroticism are the actual separateness physically taking place along with self-possession inward sense leading in turn towards stability also known as ego. The binding and unbinding dynamic is therefore preserved; however, Eros is given a quality that self-shatters while death becomes eroticized.
Understanding the notions of death drive and their connection to repetition and Bataille’s view on eroticized death is essential to denote the various visualizations of death that have made their way in contemporary and modern photography. Eroticizing death is one of the forms that photographs depict and the photographer tries to reflect (Bell 2015).
Life at its limit and at its highest intensity leads to encountering death. Pain is bordered by ecstatic pleasures. Then, it is no wonder that the pleasure principle of Freud that results in shunning pain seems to be moribund while the pleasure beyond results in making life felt intensely when at its highest limit. The sacrifice ritual is also a representation of death drive as per Freud. He argues that sacrifice ritual is a manner that helps in experiencing the limit where life can be felt intensely. As per Bataille, the victim sacrificing depicts existence continuity of everything with which victim has now merged with into one. The violence act bestows over the limitless, sacred things infinite nature towards the victim being sacrificed. This remarkable introduction in Bataille’s book is closed by reflecting over aesthetics relevance where he indicates that art leads towards similar eroticism resulting in blending and fusing distinct objects. This leads towards feeling of eternity and leads people towards death and death leads in turn towards continuity. Referring to Pollock offers an undoubted homage not only into his painting whorls but also into his early works illustrating mythopoetic bent with specific context to his violence death (Bell 2015). A specific painting is further invoked. Pollock is essential in forming the photographic visualization of death as he was a magnificent painter burdened through madness suffering violence and death which is self-inflicted. Bataille wrote incidentally on Van Gogh with regard to sacrificial mutilation of death. He argues that this self-mutilator has the maximum death drive that emulates his ideal of self-consumption and henceforth the violence intermediated through artistic forms.