Black cryptography: against “political” writing

            What are the roots that clutch, what branches grow
            Out of this stony rubbish? Son of man,
            You cannot say, or guess, for you know only
            A heap of broken images, where the sun beats,
            And the dead tree gives no shelter, the cricket no relief,
            And the dry stone no sound of water. Only
            There is shadow under this red rock,
            (Come in under the shadow of this red rock),
            And I will show you something different from either
            Your shadow at morning striding behind you
            Or your shadow at evening rising to meet you;
            I will show you fear in a handful of dust. (Eliot, The Waste Land 19-30)

1. Violence and art are the two desperate weapons of the dispossessed. If the domain of the political is structured by the right to appear and to be heard, the demand of contemporary politics in the name of equality is to reject the convertibility between the zoon politikon and the zoon logon echon. Given the choice between the acquisition of property and speaking the colonial language, the oppressed can only scream. Whence the political aporia of Occupy: it was both necessary and futile that the movement could not be appropriated by the political machinery because it could not state its demands.

The negotiation of interests and demands in the marketplace of ideas is only visible in the milieu of exaggerations, clichés, backgrounds, cues, and jingles that clothe our experience. The revolutionary tailors who fashion the emperor’s new clothes are betrayed by the innocence of a child. But, now, there are no innocents. Against the temptation to cover the nudity of real experience, the crowd must bear witness to its fragility.

“Ultimately, nobody gets more out of things – including books – than they already know. You will not have an ear for something until experience has given you some headway into it. Let us take the most extreme case, where a book talks only about events lying completely outside the possibility of common, or even uncommon, experience, — where it is the first language of a new range of experiences. In this case, absolutely nothing will be heard, with the associated acoustic illusion that if nothing is heard, nothing is there.” (Nietzsche)

But the converse is also true: the committed writer who insists on the problems to be solved, by virtue of her insistence, renders those problems invisible precisely because they have been expressed. Rousing the passions, laughter, and outrage of the youth elicits hope and resignation but never justice. The way to justice is opened not by inspiration but disappointment and dissatisfaction.

The desire to be understood “not only invokes the liberal fiction of the universal communicability of each and every thought and so inhibits their objectively appropriate expression, but is also wrong in itself as a principle of representation. For the value of a thought is measured by its distance from the continuity of the familiar” (Adorno). What the writer communicates is not an unknown fact or a new perspective but the falsity of our certainty and the anguish of resistance.

Malevich - Black Square

2. There is only one properly ascetic ideal: to deny the reality of beauty. Beauty, as Kant said, is only in the beholder, which is how it is possible for Malevich’s “Black Square” to express the pure transcendental object in the reduction of all possible content into pure substance, which contains the infinite variety of the universe. “Intuition is the kernel of infinity. Everything that is visible on our globe disperses itself in it. Forms originated from the intuitive energy which conquers the infinite. Hence arises variants of form as tools of movement” (Malevich). All harmonious relations dissolve in the black, which therefore contains neither beauty nor ugliness, neither form nor structure, neither unity nor diversity (or, for that matter, unity-in-diversity). Absent Newman’s zips, Malevich’s “Black Square” is resolutely a-theological and a-topological, presenting the object as pure potentiality. Instead of the decomposition of representation into pure sensation (Kandinsky), where no plan(e) and no design are nascent, the black square moves us from fear to necessity, grasped in the urgency of creation, even as all art must cease.