The sublime emerges in Food for the Spirit insofar as the work is a fragment, or series of fragments, occupying the place of a veil covering (our phantasies of) a noumenal beyond; but only in a representation can we perceive (and endure) this unimaginable, all-engulfing anomaly. The interest of Piper’s calling cards is that they explicitly function as both politesse and politically, and thus indicate why racism is so offensive to those it offends. The relational link between the two sentiments is strong enough to be necessary: no regret without discomfort, and no discomfort without regret. Necessarily unpredictable, this encounter is what Piper subsequently calls (in Out of Sight) a way of not averting one’s gaze. While for Kant the imagination tries but fails to furnish a direct, sensual presentation of an Idea of reason, thus experiencing its impotence, for Piper the understanding itself is put in crisis by the failure of reason to find an appropriate presentation for the anomalous. If etiquette designates a demand that is universal and not determined by the form such a community (of difference) should take, etiquette and the rules determining it also reveal, paradoxically, the limitations of all rules or conventions, and thus the necessity to go beyond them and beyond experience, where the anomalous cannot be presented without reversion to fiction or stereotype. I remember well when the shadow swept across me. Last modified: August 20, 2010 128.114.113.73, UC Santa Cruz, 1156 High Street, Santa Cruz, Ca 95064.
Experiencing the other in the indexical present teaches one how to see. Doubtless there are differences, but the various mises en scène of a mind groping in the darkness of its own delusion, the setting in movement of counter-pseudological tableaux, in short the holding in check of the politics of the sublime, all suggest a concern with the conventional limits of the seeable. The antithesis between authenticity and philosophy implies that black art can only be authentic if it is philosophically stupid (or naïve). Vital reading on politics, literature, and more in your inbox, Noam Chomsky, Robert Pollin, C. J. Polychroniou. X-rationality cannot succeed in knowing the world, for it is at once a form of disavowal and negation, stereotype and fixation, and all too literally instantiates the unseeing, intransitive glance we saw in Du Bois’s Souls. Simultaneously asserting both the necessity and undesirability of its existence, the card refers to its own referring, and indirectly to its referent. By echoing back to the spectator – ironically, mimetically – stereotypical phrases or habits of reasoning; or by naming, simply and plainly, what such euphemisms conceal; or by confronting the spectator with the harmful consequences of discrimination, Piper hopes to draw “the viewer’s attention to these realities” in ways that are “assaultive and disturbing,” so as to reflexively apprehend the more general assaults of social experience (Out of Order II 257). (This picturing of blackness as an anomaly within the visible is permitted by nothing other than the conventional association of blackness with malevolent threat, one that renders it subservient to the drama of an exposed, ever fragile whiteness; nothing permits this classical racial optics more than the sense that whiteness needs protecting from the racial “convulsions” that its own relaxation solicits.) Piper acknowledges this when she writes that black and white viewers often “deflect recognition of the meaning of their response to” her work (“Xenophobia” 293), and when she explains: “I try and promote viewer self-reflection in my work, but I don’t always succeed” (“Xenophobia” 293). ©2020 Regents of the University of California. Yet art needs to see her, finally, because the history of aesthetics does not. “Intuition and Concrete Particularity in Kant’s Transcendental Aesthetic.”. Such rationality involves the direct negation of others by fear, mistrust, error, antipathy, etc. Fig. In an essay from 1981, Piper writes: The Critique is the most profound book I have ever read, and my involvement in it was so great that I thought I was losing my mind, in fact losing my sense of self completely. The exchange was merry, till one girl, a tall newcomer, refused my card,—refused it peremptorily, with a glance. What (if anything) is exposed by this desire for exposure and in what way does it relate to art? Central to Piper’s ethics and aesthetics, etiquette, insofar as it is a norm above and beyond any singular utterance, is meaningful only if it can exceed the context of racist convention. But what if the cards were precisely what put the political reading into question? Black visibility already knows this, containing as it does a veil that is neither conceptual nor immanent, and that remains invisible as such to every viewpoint, despite persisting within it interminably.
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