Colonial & Antebellum Architecture and Historical Memory (Slavery in Newport, Rhode Island)

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At its height, some 60% of the American slave trade went out of Newport, Rhode Island, underscoring the argument that American freedom and American slavery are deeply imbricated. Once you know only that little much, that imbrication becomes physically palpable in places like Newport. In New York City, it is easy to forget and not to think. There the colonial past has been more or less blasted away by the grid and by new construction. Outside Greenwich Village and an odd site here and there, barely a trace of the colonial past remains. There is nothing to see at the site of the slave market at 75 Wall Street or of the homesteads destroyed to create Central Park, but you can visit the African Burial Ground National Monument. Seth Kamil can tell me otherwise, but I would suggest that in New York, the historical-architectural “genius” of the place (by which I mean for the purpose of this blogpost the oldest architectural strata preserved en masse) is late nineteenth and early twentieth century. That historical feel is anchored in place by the Brooklyn Bridge, the tenements on the Lower East Side, the elegant brownstones of Harlem and Brooklyn, and mansions of Fifth Avenue and Riverside Drive. In Newport, the colonial past and with it the memory of the slave trade are maintained by the very presence of the carefully preserved eighteenth and early nineteenth century architecture, which keeps the memory of that time gelled in place. The stain is even on the water. In conversation with the architecture on shore, even the ocean when so ascribed carries a trace of that memory.

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Wild Precarious Life (Cecilia Vicuña)

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This recent show of paintings, sculptural works, and installation by Cecilia Vicuña conjures together feminist cosmologies of raw and dyed wooliness, wild animal figures, and the drift of precarious forms. The painted figures are seers. Protective, they represent resistant political forces of animal-human hybrid nature. Vicuña work extends back to the 1970s. Not uncoincidentally, she shares her name with the vicuña (Vicugna vicugna),  described as one of the two wild South American camelids which live in the high alpine areas of the Andes. Her website is here.

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Incoherent Rabbinic Political Theory (Jacob Neusner)

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A brilliant hot mess of illuminating brilliance, Jacob Neusner’s Rabbinic Political Theory: Religion and Politics in the Mishnah is a must read for readers of Jewish philosophy interested in politics, even as it will inevitably disappoint anyone actually interested in either “the political” and politics writ large and in the Judaism of the Mishnah writ small.

About the political in the Mishnah, Neusner spoke only glancingly, but more coherently in his Judaism: Evidence of the Mishnah. Here in Rabbinic Political Theory, he enters into the thick of the material only to get confused. It is in that confusion that the brilliance lies. The incoherence is a telling one insofar as it highlights not so much the confusion of the author but about the confused place of politics and the political in relation to religion and in relation to Judaism.

The fundamental incoherence comes from these three points.

[1] None of what appears in Rabbinic Political Theory will be identifiable to anyone interested in politics and political theory. [2] This is because Neusner makes big claims about politics and the political in the Mishnah while he himself provides the ammunition that drops the bomb on those very claims. [3] This has to do with the most basic underlying confusion which is to confuse the “social” with the “political.”

This confusion can be found at the opening line of the first chapter devoted to “defining” a “politics and the politics of religion.” There he writes, “Religion comprises what people do together, not just what they believe in the privacy of their hearts. In other word, religion functions socially.” This is pretty much a given in Jewish Studies. Neusner then continues to conclude, “And since it operates within society, religion may therefore function politically” (p.1).

The language here is slippery. To say that religion “may” function politically doesn’t mean that it actually does or must do so always and necessarily. After all, there are many forms of religion and many forms of the political. My own assumption would be that there are social functions that are other than politics, even as, defining both terms narrowly, the social and the political overlap.

 And with that, we’re off.

For Neusner, the primary piece of evidence for the existence of politics, not in Judaism or Jewish life per se, but in the specific case of the Judaism of the Mishnah is the presence of laws relating to coercion and corporeal and capital punishment. Coming back again and again throughout the book to this theme, Neusner is working with Weber explicitly in mind, contending that legitimate violence is the sine qua non of politics (cf. 6, 173, passim). A second and also interesting interlocutor for Neusner is Aristotle who begins his analysis in The Politics with “the householder” as a basic economic unit of political life. For Neusner, the householder plays a similar role, except for one respect.

But then the analysis goes strange.

By the end of the book in part III, in the last chapters comparing the so-called politics of the Mishnah with The Politics of Aristotle Neusner notes this important difference. Aristotle integrates the economics of the household with the larger village and then polis. In contrast, the Mishnah splits apart the economics of the household from the political (chapters 9-12). The claim is that the household and village is not political in the Mishnah (p.206-8). Other points of contrast concern the relation between stasis and flux, both as ontological categories and as points of political difference. Aristotle is alert to the messiness of political life and constitutional change. The Mishnah could not care a less about these phenomena.

So what is the political in the Mishnah?

What are the driving passions that animate it? The first thing to mention is that the politics of the Mishnah is meant to maintain the routine, regular order of the world. This is a basic point made famous in Theories of Religion by scholars such as Clifford Geeretz, that the ethos of a people is meant to correspond with nomos, the order of the cosmos. The Mishnah as a “steady-state” system of law reflects the cosmic order of creation whose jurisdiction is caught between the will of God and the power of free, intentional, human action and ordering (cf. 153, 157).

The second animating “passion” is the one that Neusner identifies as such, which is the passion to be like God. This would a politics in the image of God. Beyond the merely secular and mere civil order, the passion of this politics is otherworldly and futuristic (cf. pp.112-115, 120, 168). Reading the final chapter of tractate Sanhedrin but reminding this reader of Franz Rosenzweig, Neusner evokes how the so-called politics of the Mishnah is meant to create and sustain a people outliving the grave. This includes those put to death by human courts. All Israel except for a clearly and carefully designated subset of Jewish heretics enjoy the world to come, no matter what they do in this world (p.122). Not the polis, which is what defines the political for Aristotle, it is the people of Israel, an image of a holy nation that stands out as the political entity, like God, above time and incapable of dying (pp.128, 132, 213). All of this is quite fantastical, as Neusner will himself note.

One could call this a theo-politics, but the politics of the Mishnah is not even political, much less theo-political.

Neusner will make or concede this point throughout the text, that the political, as represented by the authority of a human king is subordinate in the system of the Mishnah (pp.137, 146, 148). But even more to the point, it is a theo-politics, if that’s what you want to call a set of ideas under which God or the representation of God is a dominating sovereign that legitimates the political system. Unlike in Hebrew Scripture, there is no connection between politics and revelation. It is not revelation, not God’s direct word that motivates human action and legitimates legal coercion.  According to Neusner, there is no “myth of power” in the Mishnah (p.41, cf. pp.41-7). The whole point of the concluding chapter of part II of the volume is that “transcending power” means that the God of the Mishnah is no omnipotent sovereign, that God concedes political authority to human actors (chp.8, especially p.168). This represents a kind of theology that John (Jack) Caputo has called “weak,” the term appearing here in Neusner on the politics of the Mishnah already in this 1991 study.

Is the Mishnah even political?

The answer to that question would depend upon where and how the political is placed in the Mishnah. Is politics the animating passion of this formative document? According to Neusner, it turns out that politics is set to the side. It doesn’t even matter in the Mishnah. The “passion of the Mishnah” is animated not by politics but by passion for eternal life in the world to come. There is, in the Mishnah no interest in naked political power (p.130), and the main interest of the Mishnah is not in any divine or secular controlling sovereign authority. Politics only “facilitates from the sidelines” (chp.6; esp. pp.137, 146), and in the end, coercion, which for Neusner was his main piece of evidence for the politics of the Mishnah, is also set to the side. Again according to Neusner, what matters in the Mishnah is not the court of the king, but rather “the Temple and table, the field and family, the altar and hearth, time, space, transactions in the material world and in the world above as well” (p.147). Regarding coercion, the linchpin of the political: in the end, the law enjoys limited jurisdiction. It is the subject of “small claims about minor matters….a potpourri of cases of a distinctly trivial character, affecting at best only a handful of local residents.” Already in the Mishnah, the law turns out to be weak, operating on the basis of inner sanction on the part of those who choose to live according to its order. The behavior of those who do not do so is not subject to sanctions. Even if Neusner himself still insists that the law is “profoundly political,” the law remains, in his own estimation, descriptive, not prescriptive (pp.162-3).

Who dominates?

The sages, of course, are the one in control. But is this political rule?  The three-fold or four-fold jurisdiction marked by the Mishnah include Heaven, King, Temple, and Court. According to Neusner, these are distinct and cooperating realms. “The Heavenly court attends to deliberate defiance of Heaven, the Temple to inadvertent defiance of Heaven. The earthly court attends to matters subject to its jurisdiction by reason of sufficient evidence, proper witnesses, and the like, and these same matters will come under Heavenly jurisdiction when the earthly court finds itself unable to act” (p.53).

At the very same time, the Mishnah also ignores this careful arrangement. Under their own hegemony, the sages rule all three human zones (arguably Heaven as well). The courts are in their hand, the priests obey their instruction regarding ritual law, and the king only governs at the pleasure of the sage whose goodwill he must cultivate (p.59). Indeed, the Mishnah describes in great detail the working of Temple and court, its bureaucracy and value system, and with almost nothing to say about the King and his administration. There is no real institutional differentiation in the Mishnah.

I’m culling all of this from Neusner. Regarding cases of constitutional crisis, no details are given in the Mishnah about what happens when the king or priest ignore the sage. There is no sense in the Mishnah of real competing political powers outside the rabbinic class. They are there but not acknowledged as meriting serious attention. With no clear picture of how politics works, all we have is an inchoate consensus of how things are or are supposed to be. Neusner staked his entire political theory on coercion, but we have no sense as to how the rabbis preside over local government of village affairs or coerce. We have little by which to understand how the sages acted politically in institutions (controlling personnel, organizing, making decisions, effecting power, working out differences to come to consensus regarding public policy (chp.3, cf. chp.4). Neusner understands perfectly well that the Mishnah is not political in any real way except as imagined by the sages (p.84).

None of this is coherently political. It is puzzling to imagine how the Mishnah is supposed to constitute a political document or constitutes a politics of Judaism. Even if the stakes are high, Neusner concedes, “in this Judaism politics stands subordinate, its range of responsibility limited” (p.48). Or consider the following sentence which is a flat-out contradiction: “Politics becomes a statement not of worldly power but of ontological truth, and that accounts, in the case at hand, for the laconic and descriptive character of political discourse” (p.168). Given this laconic character, it is not easy to figure out why one would want to call it political in the first place, when, after all, the first order of a politics is to attend to the political, not to the ontological.

A fabrication of the imagination

About this total picture, conservative Jewish thinkers fantasize. But the so-called politics of the Mishnah as understood by Neusner as constituting a conception of the integrated life is one that is only imagined. To a utopian neverland belongs the image of an entire nation sorting out rules and order in every component of life, economic, political, philosophical, theological. Neusner knows that this kind of politics is utopian, fabricated. So why bother with the Mishnah if it is just a fabrication?  Neusner points to the power of imagination, of thought experiments to provide “data about the possibilities of invention –and also about the consequences” (pp.5-7). At one point he compares it to science fiction.

But a politics woven out of “gossamer threads of hopeful fantasy”  does not count as political (p.9). Whatever insight we might draw from the Mishnah and from Neusner’s study of political theory has not to do primarily with politics, but about religion. This too is an incoherent statement: “[P]olitical culture in the politics of Judaism, though prominent, is essentially peripheral to the systemic problematic” (p.9). Read it again. A phenomenon that is “prominent” cannot be “peripheral.”

Thoroughly engaged by Rabbinic Political Theory and the grist for thinking it provides, my takeaway about the data of possibilities is precisely the opposite of the one drawn by Neusner. No, the Judaism of the Mishnah is not political. Another conclusion is that one is better off not mixing religion and politics. Whatever model it is the rabbis made up in the Mishnah was and is in no way remotely a politics or political. Yes, they imagined a better world than a political world, a holy community not in control of a polis, the circle of an ordered world of men who want to maintain apart from flux a social world in a state of pure stasis, a social entity whose life is lived pointing to life beyond the grave. In this light, the Mishnah is the wrong tree to bark up for politics. Also the wrong tree are the systems of Judaism that grow out its matrix. Rule by rabbis can only collapse in on itself because these systems that they design contain little by way of political data.

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Toilet Flapper

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This is a “toilet flapper.” It is the name for a real thing. Like any name, it can be used in sentences.  “I had to purchase a new toilet flapper.” I went to the hardware store to purchase a universal toilet flapper.” I successfully installed the new toilet flapper.” “The new toilet flapper is excellent.”

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Placing Memory (Gal Cohen & Zac Hacmon)

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Some photos of paintings by Gal Cohen and sculpture by Zac Hacmon from their recent and thoughtful two-person show downtown on the Lower East, Placing Memory. With Hadera, Israel as their critical touchstone, the paintings explore the evisceration of the historical past and its memory as old ruined structures that go back to the beginning of new Jewish settlement over a century ago give way to contemporary built structures. Featured is Tzila Feinberg (third photo from the top),  a feminist pioneer and Zionist activist from the time of the Second Aliyah, whose reclining figure is cut into two by old architectural features. Hacmon’s sculptures are absurdist fabrications that could be from anywhere and nowhere. Brought by the exhibition into a conversation with the Israeli past, these sculptures speak to new gentrification in Israel, signaled by bright, tiled bathroom and shower pseudo fixtures that have zero use-value. (Caveat lector, Gal Cohen is my cousin.) (For more on the show, you can read this review here.)

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Posthuman (Michal Rovner) Evolution

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Michal Rover’s latest show at Pace, Evolution, is hardcore posthuman. Viewed from the chilly distance of a desert, the human is seen reproduced and submerged in a collective mass of de-realized figures on the move going nowhere, submerged in technology, across indiscrete and wild electronic surfaces, across and over the skin of a jackal whose body slowly twists and then turns on the video monitor, emerging out of the night. You can read an interview with and comments with the artist here. In Evolution, the only face belongs to the jackal. Between abstraction and animality, what remains of the human there are is in the rough contour, the reminder of a physical frame patterned together with others of its kind. For readers of Deleuze, all of this should look familiar –wolf-packs, nomadic lines of flight, difference and repetition, becoming animal, becoming machine.

From the press release issued by the gallery is this comment by Yoram Verete: “Across the works in the exhibition, Rovner presents us with the evolution of these hieroglyphic-like, narrative-less ‘texts.’ At first they are much more representative, clearer, relatively stable; then they become more rapid, fleeting, hard to grasp, ambiguous, alluding to the intensity and communication overload of a reality that allows us to see everything, from the electronic innards of a computer to brain synapses, a reality of barcodes, control panels, matrix charts, microchips, and the like. While the lines of text still invariably feature human figures, human signs and gestures; reading them is becoming harder and harder. In the end, only the writing remains, as a signifier without the signified, striving to be seen, to sparkle, flash, stand out, as if the ultimate representation of human consciousness is signaling for help.”

Apart from the coldness, the problem with this body of work is when the art itself becomes redundant. Are these all clones, as suggested by the press release which you can read here)?

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(Synthesis of Intuitions) Philosophy Art Race Religion (Adrian Piper)

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A series of black and white photographs, Food for the Spirit (1971) documents the artist and philosopher Adrian Piper, holed up and isolated at home, having thrown herself one summer into a close reading of Kant’s Critique of Pure Reason.  The story is that, subsisting on nothing but juice and water, she lost all sense of herself as a living, embodied being. The photographs elicit that sense, the disappearance of the human subject, the tenuous hold on existence. Piper photographed herself in front of a mirror in a dark space in various states of undress. These are spectral pictures of the human subject hovering between abstraction and figuration, pressed perhaps to the point of madness by questions posed by Kant regarding reality, thinghood, and perception.

Philosophical from start to finish, the worst thing one can say about the work of Adrian Piper is that it moves from pure abstraction suddenly to “political art.” Writing his review of the big retrospective of Piper’s work at MoMA, the aptly named Adrian Piper: A Synthesis of Intuitions, 1965-2016, this is the precise point that Holland Carter got wrong when he wrote here, “But abstraction, in several varieties, proved to be double-edged. On the one hand, it seemed to offer a new, expansive utopian dimension for art, beyond social, racial and aesthetic particularities. At the same time, it was inadequate to deal with undeniable realities of life in the Vietnam era.”

Passing through one gallery after the next, what becomes clear is that the early abstraction was never jettisoned but remains the basis upon which identity and the political are made, the transcendental condition of its possible appearance. Indeed, what one needs to note is that grids and diagrams find their way in the later work. What proves to be the case is that politics and the particular appearance of black lives depend upon what Kant called the synthesis of intuitions across patterns of time and space. There’s strict formal coherence to Piper’s work as a whole, from the start of her career until today. As clarified by the retrospective, the basic programmatic itinerary moves from [1] grids, maps in the first galleries to [2] embodiment, politics, dance and movement, identity and race, in the middle galleries, and then to [3] vanishing points, dissolution, disembodiment, death, release in the last gallery.

You can see these three groupings in the following three slideshows.

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Race and “black bodies” are the constant figure in the mass of the large middle section of the retrospective exhibition. There she is, the Mythic Being, a philosophical spoof, a disruptive outside, alien disturber walking through the city. There she is in Funk Lessons teaching mostly white graduate students at Berkeley in the 1980s how to dance. Many of the works push constantly and firmly the comfort level of white people with pictures of middle class and upper middle class African American family life in all its banal normality. In the final video installment outside the main galleries, the image of Piper dancing to house music in the concrete grid pattern of an empty urban space in Berlin is projected onto the wall. Downstairs in the atrium is a large 1991 installation called “What It’s Like, What It Is, #3,” in which the artists continues to explore direct-address performance. You walk into a pure white cube, an auditorium-style seating and mirrors on the wall surrounding a column in the center with video monitors. Onscreen, an African-American man in a deadpan voice with a deadpan eye slowly recites and rejects a long litany of racial slurs: “I’m not pushy. I’m not lazy. I’m not noisy. I’m not shiftless. I’m not crazy. I’m not servile. I’m not stupid.”

This piece which you can read here by Thomas Chatterton Williams is an excellent introduction to Piper’s work, her person, commitment to art and race and then the move away from race. As if returning full circle to Food for the Spirit, caught in the article is the ascetic impulse in Piper’s work and thought, which turns out, in the end, to track towards the mystical and disembodied. What binds up the two moods, the disembodied and spiritual and the political embodied is the artist-philosopher’s biting wit and knack for self-performance.

About the course of an interview with Piper, Williams writes:

I understood exactly why she gave up on race, I told her, but what I couldn’t follow was why she let go of so much else along with it.

“Meat and alcohol, O.K.,” I said. “But why give up on sex?”

“Sex is really wonderful and great fun,” she said with a shrug. “I’m a ’60s hippie person. I’ve had plenty of sex. My priorities changed.” The third vocation of Piper’s life — as important or even more so, she insists, than art or philosophy — is yoga. The concept of yogic celibacy took hold of her around 1985, when she suffered a series of personal setbacks: First, she was denied tenure in the philosophy department at the University of Michigan, and then her marriage fell apart. (Around this same time, she also began collecting her hair and toe- and fingernail clippings in racks of eerie glass bottles now on display at MoMA.) She likened her thinking to a comment she had heard about Michael Jackson’s dancing, that he was all energy, with no physical weight to fight against. “My decision to become celibate helps to transcend the drag of the body,” she told me.

We had been talking for three hours. I ordered a car to take us to dinner at Pauly Saal, a Michelin-starred restaurant that is one of Berlin’s best and Piper’s favorite. It surprised me that this was her spot. “I always jump at the chance to eat at Pauly Saal,” she’d told me, “so as to avoid my own bad cooking, which comprises rabbit food and vitamins.” After combing over the fine print of the tasting menu with the waiter to ensure her portions were strictly vegetarian, she ordered a bottle of still water for herself. As her slight frame folded into the capacious velvet booth, her large brown eyes attentive but tired, she looked again like the ascetic I’d expected.

When the exquisite little dishes arrived, Piper met them with no apparent gusto, almost absent-mindedly. It reminded me of a line from “Escape to Berlin” in which she posits the decidedly anti-bon-vivant notion that “human beings should need to eat only once, so that the resulting fuel intake will see them through a normal human lifespan.” This attitude seems to stem from a larger distrust of the corporeal. Earlier in the car we fell into a discussion about reincarnation, a possibility in which Piper more or less believes. She qualified herself, noting that she did not think our memories would last — we would not be ourselves in any recognizable sense — but that energy can never dissipate. At the end of the short ride to the east, the driver, who had not previously spoken, burst into a spirited conversation with Piper in German. She responded to him at length, as though he were a distinguished colleague at Harvard, making no move to get out of the car before he had finished. “What was that about?” I asked her as we walked inside.

“Oh, well, he brought up a good point,” she said. “Which was that you wouldn’t need memories for the self to persist if you allow for continuity of the soul.”

 

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