This is Not a Pipe, Chapter 6.

— Foucault, Michel. Non-affirmative Painting.” In This is Not a Pipe., Chap. 6. Quantum Books, 2008.

Excerpt - Chapter 6: Non-affirmative Painting.

Separation be­tween lin­guis­tic signs and plas­tic el­e­ments; equiv­a­lence of re­sem­blance and af­fir­ma­tion. These two prin­ci­ples con­sti­tuted the ten­sion in clas­si­cal paint­ing, be­cause the sec­ond rein­tro­duced dis­course (affirmation ex­ists only where there is speech) into an art from which the lin­guis­tic el­e­ment was rig­or­ously ex­cluded. Hence the fact that clas­si­cal paint­ing spoke — and spoke con­stantly — while con­sti­tut­ing it­self en­tirely out­side lan­guage; hence the fact that it rested silently in a dis­cur­sive space; hence the fact that it pro­vided, be­neath it­self, a kind of com­mon ground where it could re­store the bonds of signs and the im­age. Magritte knits ver­bal signs and plas­tic el­e­ments to­gether, but with­out re­fer­ring them to a prior iso­top­ism. He skirts the base of af­fir­ma­tive dis­course on which re­sem­blance calmly re­poses, and he brings pure simil­i­tudes and non­af­fir­ma­tive ver­bal state­ments into play within the in­sta­bil­ity of a dis­ori­ented vol­ume and an un­mapped space. A process whose for­mu­la­tion is in some sense given by Ceci n’est pas une pipe.

  1. To em­ploy a cal­ligram where are found, si­mul­ta­ne­ously pre­sent and vis­i­ble, im­age, text, re­sem­blance, af­fir­ma­tion and their com­mon ground.

  2. Then sud­denly to open up, so that the cal­ligram im­me­di­ately de­com­poses and dis­ap­pears, leav­ing as a trace only its own ab­sence.

  3. To al­low dis­course to col­lapse of its own weight and to ac­quire the vis­i­ble shape of let­ters. Letters which, in­so­far as they are drawn, en­ter into an un­cer­tain, in­def­i­nite re­la­tion, con­fused with the draw­ing it­self — but mi­nus any area to serve as a com­mon ground.

  4. To al­low simil­i­tudes, on the other to mul­ti­ply of them­selves, to be born from their own vapour and to rise end­lessly into an ether where they re­fer to noth­ing more than them­selves.

  5. To ver­ify clearly, at the end of the op­er­a­tion, that the pre­cip­i­tate has changed colour, that it has gone from black to white, that the This is a pipe” silently hid­den in the mimetic rep­re­sen­ta­tion has be­come the This is not a pipe” of cir­cu­lat­ing simil­i­tudes.

A day will come when, by means of simil­i­tude re­layed in­def­i­nitely along the length of a se­ries, the im­age it­self, along with the name it bears, will lose its iden­tity. Campbell, Campbell, Campbell.

371. RICHARD H. PETTIBONE, "ANDY WARHOL, '32 CANS OF CAMPBELL'S SOUP', 1962".
371. RICHARD H. PETTIBONE, ANDY WARHOL, 32 CANS OF CAMPBELL’S SOUP, 1962”.: Each signed R.P and dated 1987 and marked Source: RICHARD H. PETTIBONE