This paper explores moments of democratising disorderliness that interrupt a vision of the sublime as a particular ordering of subjectivity. Situated within the context of the Narmada movement against the construction of the Sardar Sarovar Dam in India in the mid-1990s, it argues that sublime regimes and ‘counter-sublime’ insurgences draw their energies from the figures of the dam and the bund, respectively. Where the dam’s walls establish the horizons of visibility, of who counts as subject, th…
Read moreThis paper explores moments of democratising disorderliness that interrupt a vision of the sublime as a particular ordering of subjectivity. Situated within the context of the Narmada movement against the construction of the Sardar Sarovar Dam in India in the mid-1990s, it argues that sublime regimes and ‘counter-sublime’ insurgences draw their energies from the figures of the dam and the bund, respectively. Where the dam’s walls establish the horizons of visibility, of who counts as subject, the bund’s curved surfaces reveal a pluralising depth that folds the visible with/in the invisible, constituting the possibility of novel modes of seeing/subjectification. Working through oral histories, films, images, archival materials and ethnographic studies alongside the work of Foucault and the later Merleau-Ponty, the paper argues that the Narmada movement enacts a counter-sublime that contests the invisibility imposed by the dam in favour of an imbrication of the human and non-human disclosing radically different constellations of visibility and subjectification.
