Marginalia on Radical Thinking: Interview with Ross Wolfe of The Charnel-House on #Occupy, the role of criticism in relation to theory and praxis, and the “return to Marx,” conducted by C. Derick Varn of The Loyal Opposition to Modernity

•January 21, 2012 • 2 Comments

Frankfurt am Main, Germany Session of the Nationalversammlung at the Paulskirche; the speaker is Robert Blum (ca. June 1848)

Here’s Derick’s introduction to this interview:

Ross Wolfe introduced to me to the Platypus Affiliated Society and is a member of my Aesthetics, Politics, and Theory: Red and/or Black (of which Symptomatic Redness is a project).  Ross Wolfe is currently a graduate student at the University of Chicago.  The main focus of his work is in Russian history, but he is also interested in Central European history, Jewish studies, philosophy, and Marxism.  He writes primarily about the history of avant-garde architecture, contemporary political issues (activism, current events), and topics such as the environment, technology, utopianism, and the history of the Left.  He blogs at the Charnel-House.

More from Derick’s ongoing Marginalia on Radical Thinking series can be found hereherehereherehereherehereherehere, here, and here.

C. DERICK VARN: So you have been working with and critiquing Occupy Wall Street from your vantage point in New York.  How did you get involved?

ROSS WOLFE: I was first alerted to the #Occupy protests going on down at Liberty Plaza about one week after it began, by someone much further from the scene than I was — my good friend Steve McClellan, a graduate student in Central European history at Oregon State University.  At that point, the movement had barely made any sort of splash in the mainstream media, and mostly established itself through YouTube videos and other decentralized, user-based means.

So I decided to take a visit down to Zuccotti Park to try and get a better sense of what was going on there.  What I saw there (especially at this early point) was largely ideological incoherence.  The politics on display at Occupy Wall Street were symptomatic in very much the same way that they had been at the resurgent anti-globalization protests against the G-8 in Pittsburgh back in 2009 and the G-20 conference in Toronto in 2010.  Needless to say, my first reactions to the demonstration were fairly pessimistic.  This was reflected in my initial write-up of my experiences.

Over the course of the following weeks, I committed myself to engaging with the #Occupy phenomenon in a more charitable and understanding way.  The second and third short essays I devoted to a further reflection on and investigation of Occupy Wall Street tried to express this internal (perhaps even dialectical) tension.  It is difficult not to feel a sense of ambivalence about this sort of phenomenon.  My pessimism about the movement’s chances for success (whatever that would mean) remained, and I still did not relinquish my feeling of obligation to criticize those aspects in it that still struck me as problematic.  Nevertheless, with the growing buzz around some of the movement and copycat Occupations spreading to a number of cities across North America and Europe, I soon recognized that this sudden outburst of political pathos represented an opportunity.   Even though I continue to doubt that #Occupy will lead to any sort of immediate toppling of the world financial system, the existing network of state configurations, or the capitalist social formation as a whole, I am still hopeful that it might offer a chance to radicalize its participants’ politics on a more long-term basis, and potentially breathe some life back into the project of the Left.

CDV: Your background is in Marxism and architecture, correct? How do you see that relating to your activism?

RW: Yes.  During my undergraduate years, I studied philosophy and history.  I received a bachelor’s degree in each of these fields.  As a graduate student, I shifted my focus in order to specialize in early Soviet history.  Over the course of my university career, I’ve had the privilege of taking some excellent history classes with such scholars and as Sheila Fitzpatrick, Leora Auslander, Robert Bird, Aleksandr Semënov, Catherine Wanner, Paul Rose, and Nina Safran.

In terms of my politics, I suppose that I was always predisposed to radicalism.  But this was mostly because of my fascination with past revolutionary movements, rather than through a rigorous and thoroughgoing examination.  Nevertheless, this appreciation of the many great figures and events from the history of Marxism exerted an undeniable influence on my subsequent political development.  The “political” side of my Marxism thus came mostly by way of studying the writings of Plekhanov, Lenin, Bogdanov, Trotskii, Bukharin, Preobrazhenskii, Kollontai, and others from the annals of Russian-Soviet history.  This aspect of my Marxian Weltanschauung was generally deepened and enhanced through my involvement in the Platypus reading group at UChicago, which I began attending in 2009.

My earlier background in both classical (pre-Christian) and modern (post-Cartesian) philosophy, especially the German critical tradition, also largely informed my politics, especially in its theoretical aspect.  The main authors I read were Plato, Aristotle, Augustine, Montaigne, Descartes, Hobbes, Spinoza, Leibniz, Locke, Hume, Rousseau, Smith, Kant, Fichte, Schelling, Hegel, Schopenhauer, Nietzsche, Heidegger, and Wittgenstein.  I skipped over the intervening period of Scholasticism, under which heading I subsume Arab, Jewish, and Christian Aristotelianism alike.  While an undergraduate at Penn State, I worked with some exceptional professors of philosophy — Brady Bowman, a Hegel specialist; Jennifer Mensch and Mark Fisher, both Kant scholars; and Denis Schmidt, a very well-known Heideggerian and student of Gadamer.

It was reading figures like those mentioned above that allowed me to so appreciate the more “theoretical” and “sophisticated” side of Marxist, through intellectuals and theorists such as Lukács, Korsch, Kracauer, Bloch, Gramsci, Benjamin, Sartre, Adorno, Horkheimer, Marcuse, Lefebvre, and Foucault.  I was also heavily influenced by Moishe Postone’s incredibly important reading of Capital, especially in its temporal aspect, as well as David Harvey’s work, especially in its spatial aspect.  The training I received in both philosophy and history contributed greatly to my appreciation of Marx as someone who worked out the crisis apparent in radical bourgeois thought that had been raging for nearly a century prior to 1848.  Though it seems almost tautological to say it, Marx remains for me the central figure for Marxism.  His groundbreaking analysis of capital provides the essential framework through which any emancipatory politics of the future can be formed.

My preoccupation with architecture is, by comparison, a more recent development.  My father published several books on the architectural and engineering dimensions of fortified towns in late medieval to early modern state-building in France and Europe more generally.  His influence on my own work was indirect, however — mostly tangential.  My interest in modernist architecture, and the history of the cultural and artistic avant-garde more broadly, was first sparked by some of Richard Stites’ brilliant observations regarding architecture in the Soviet Union.  In terms of secondary sources and exegesis, the Soviet structuralist architectural historian Vladimir Paperny and the legendary Italian Marxist architectural historian Manfredo Tafuri have also been pivotal in forming my own interpretation of modernism in architecture.

Returning, finally, to the question you posed at the outset — regarding the way my background in Marxism and architectural history relates to my activism — I would have to say that the former has much more to do with my political engagement than the latter.  The question of the connection between theory and practice — perennial within Marxist discourse — is obviously central to the way I conduct myself politically.  One has to strike a balance between what the Romans called the vita activa and the vita contemplativa (later conceptualized surprisingly well by Arendt in The Human Condition).  This almost can be seen as combining what Gramsci recommended as “Pessimism of the intellect, optimism of the will.”

However, it is also important to be sensitive to the exigencies of one’s own historical epoch.  In my estimation, certain pressing political questions of years past are no longer as immediately relevant as they once were.  For example, the question of how a revolutionary party should be organized — whether as a vanguard, a body of representatives, or as an immanently “horizontal” structure — is misplaced, at least within a Marxist politics of the present.  The reason for this is that there is presently no viable international Marxist (or even anti-capitalist) working-class movement to speak of at the moment.  Despite the mass protests that have flared up recently throughout the Arab world, Southern Europe, and North America, it is premature to say that these have changed consciousness to the point where society at large is ripe for revolution.

When it comes to the way in which the other side of my primary interests (in avant-garde architecture, as well as European and Soviet history more generally) is manifested in my political activism, the connection is admittedly more opaque. I suppose that my understanding of history, and especially utopian and revolutionary movements/moments in history serves primarily to remind me of the possibilities for radical transformation that once existed, and which might someday exist again.  Really, I don’t think of my own historical research as falling under the mnemonic genre of “history as memory” (as theorized by Paul Ricoeur and practiced by Jay Winter), but I guess that this is one of the functions that my study of history has assumed in shaping my activism.  Just for the record, I personally don’t feel like an emancipatory architecture is possible until a truly revolutionary international movement is reconstituted.  Until then, it remains chained to the dumb reality of the present, like everything else.

CDR: You have been walking a fine line on #Occupy in your writings between criticism and praise.  So this is two questions in one and may be somewhat massive.  So what do you see as the problematic tendencies within #Occupy and what do you see as its successes?

RW: As with nearly any spontaneous political phenomenon, #Occupy is a mixed bag.  Given the widespread depoliticization that has taken place over the course of the last generation, this is only to be expected.  Many of the same old symptomatic tendencies from the protest culture of the last few decades played themselves out even as some of the more innovative forms were taking shape alongside them.  Though it’s to a certain extent unavoidable, these dead forms from the past slip back into the present unconsciously, in pantomime.  As with the leftover sectarian Marxoid groupings that have resurfaced of late — which are little more than living fossils — the mindless repetition of these old practices points to the longstanding ossification of Left protest politics.  Moreover, the recent fetishization of “resistance” as the primary means of combating the “hegemony” of certain cultural forms is telling.  It attests to the feeling of helplessness that so pervades our present moment.

To begin with the problematic side of #Occupy, I would first of all point to this uncritical reenactment of the old, largely outmoded forms of protest from the past fifty years.  For all my criticisms of the New Left of the 1960s, at least its members had the courage to critique their predecessors in the Old Left.  Perhaps it was the intergenerational animus that existed at that time, but one of things that has disappointed me about this latest movement is that it hasn’t had that Oedipal moment, when they finally kill the New Left.  Only David Graeber seems to gesture in this direction, with his admonition against the “obnoxious, self-aggrandizing macho leadership styles of the ’60s New Left.”

In leveling this criticism, I have in mind the more “carnivalesque” elements of the movement — the puppets, the “Zombie march,” the harlequinism, and the emphasis on spectacle.  While I admit that these have some utility and even some precedent within the practice of revolutionary politics (going back several centuries), these tactics have limited effect.  The quasi-Situationist method adopted by some of the protestors strikes me as being quite prone to narcissism and exhibitionism.  Even with earlier iterations of this festival mentalité, such as the great celebrations of the French Revolution, writers as different as Hippolyte Taine and Petr Kropotkin both considered these displays excessive.  Kropotkin, who regarded Taine as a vulgar bourgeois historian, had to agree that these festivals had their limitations.  “Taine disparages the festivals of the Revolution,” he observed, “and it is true that those of 1793 and 1794 were often too theatrical.”

The theatrical routines I witnessed down at Liberty Plaza prior to the November 15th eviction often seemed to me politically empty.  As I see it, the crucial difference between the subversive potential that thinkers like Bakhtin saw in the carnivalesque elements in the novels of Rabelais and the largely apolitical celebratory atmosphere of modern demonstrations has to do with objective sociological developments that have taken place in the interim.  For the folk essence of political carnivals staged in societies where agrarian peasant culture still predominated has been lost, along with its freshness and ingenuous naïveté.  With the disintegration of the “organic community” described by Tönnies under modern times, the immediate connection such festive practices held with cultural conventions has disappeared.  It has instead been replaced by the contrived political carnival of hypermediated youth culture.  I hate to be a buzzkill, but this atmosphere provokes my polemical temperament.

 This is part of what initially was so off-putting to me about the scenes I witnessed upon first visiting Zuccotti Park back in late September.  I thus described my first impressions of #Occupy in those early days:

The endless beating of the drums, the pseudo-tribalistic dancing and chanting, the call-and-repeat sloganizing (“this is what democracy looks like” and other populist banalities, etc.), the predictable placards, the black-bandanaed anarchist chic — all this smacks a little too much of what has become par-for-the-course in the post-New Left political culture of orgiastic partying & protesting (it is no longer clear whether the two are separate activities).  Combine this with the more generally confused hodgepodge of vaguely leftish political sentiments expressed at the demonstrations — anything from “End Corporate Greed and Corruption” to “We are Killing our Planet,” “Jobs not War,” “Endangered Species,” and “Nazi Bankers” — apparently disconnected one another as well as any broader project of social emancipation, and there you have it: Occupy Wall Street in a nutshell.

Though these remained more or less constant features of the protests through October and into November, I tried to look past some of these more superficial elements to see what good the movement seemed to offer.  For indeed, despite all the disorganization and well-documented inefficiencies, the sheer endurance of the encampment at Liberty Plaza was remarkable.  It unexpectedly captured the political imagination of the day, and led to similar protests in over 800 cities across the globe.  Now granted, some of these occupations have fewer than 10 people.  But still, the sudden surge in political pathos provoked by #Occupy has been undeniable.

While the quality of the various working groups down at Liberty Plaza varied greatly (as you probably know from my long diatribes about the Demands and Vision & Goals groups), some of them were quite exceptional.  The Think Tank working group was a particularly interesting project.  It was a space for just an open discussion of some of the issues that seemed most pressing to the demonstrators and people living down at the park.  Facilitation for the Think Tank was provided mostly by this group of extremely smart anthropologists who had been politicized by thinkers like David Graeber and David Harvey.  Tim Weldon, Hannah Appel, and Lily Defriend are all great.  Compared with other groups, the conversations hosted in the Think Tank were extremely fluid, flexible, and not bogged down by proceduralism.  All in all, I really think it was the best group to come out of Liberty Plaza.

Though I think that the occupation of Zuccotti Park was excellent in terms of increasing the movement’s visibility, I actually think that the coordinated, forceful evictions of November 15th might have been a blessing in disguise, though this was surely not the police’s intention.  Overall, it united what had been growing into a more and more fraught situation within the confines of the park itself.  Tensions had been running high between the different elements of the encampment, at least here in New York, and there was a general feeling of ressentiment amongst the more “permanent” occupiers and those who they considered “outsiders.”  Those who claimed residency in the park, through the mere act of staying overnight, had become valorized to an absurd degree, as somehow more “authentic” than those who lived elsewhere and instead came downtown everyday.  The worst part of it was that the more “full-time occupiers” were often part of the disenfranchised student elite who couldn’t find work, but who were materially supported by their parents (as in the case of two of the movement’s unspoken leaders, T. Edward Hall III and Grayson “Ketchup” Vreeland).  My friend Fritz Tucker recalled a particularly disturbing outburst the he witnessed toward the end of October:

Daniel, a tall, red-bearded, white twenty-something — one of the six leaders of the [Structure working group] teach-in — said that the NYC-GA needed to be completely defunded because those with “no stake” in the Occupy Wall Street movement shouldn’t have a say in how the money was spent.  When I asked him whether everybody in the 99% had a stake in the movement, he said that only those occupying or working in Zuccotti Park did. I pointed out that since the General Assembly took place in Zuccotti Park, everybody who participated was an occupier. He responded with a long rant about how Zuccotti Park is filled with “tourists,” “free-loaders,” and “crackheads” and suggested a solution that even the NYPD has not yet attempted: Daniel said that he’d like to take a fire-hose and clear out the entire encampment, adding hopefully that only the “real” activists would come back.

I think that this was a sign of a larger problem within #Occupy, a problem that the evictions unwittingly resolved: the fetishization of the act of occupying physical space, especially parks open to the public.  Not only did the police’s clearing out of the occupied spaces unite the mutually antagonistic elements of the #Occupy encampments against a common enemy, but this forced the protestors to reprioritize their objectives.  In the immediate aftermath, on the November 17th “Day of Action” for example, the occupiers were so bent on reoccupying the Park itself that they focused the majority of their efforts on recapturing it, after their march on Wall Street itself proved unsuccessful.  They were successful, however, in taking back Liberty Plaza and in marching on the Brooklyn Bridge, which drew impressive numbers.  However, the park was again cleared not long afterwards.  As a result of the eviction, the actions that #Occupy has since been taking — like the port shutdowns and the occupation of foreclosed homes — have been much more ambitious and symbolically powerful.

CDV: How important do you think criticism of the Left is from a non-sectarian Left perspective?

RW: In my opinion, this is one of the central problems facing us in our time.  Perennially within the Left, one of the general truisms (and rightly so) has been that the only adequate standpoint for critique is one that is in some sense immanent to the struggle for emancipation.  The practice of immanent critique is one of the Left’s most important inheritances from the Kantian philosophy, subsequently taken up by Hegel and then by Marx.  All the greatest theorists and practitioners of Marxism in the twentieth century — Lenin, Trotskii, Benjamin, Adorno, and more recently Postone and Harvey — have engaged in this mode of criticism.  Horkheimer explained this in an early (1926-1931) fragment entitled “A Discussion about Revolution,” later included in the collection Dawn and Decline:

The inadequacies of revolutionary leadership can indeed be a misfortune.  But however incompetently the political struggle against the inhumanity of the present conditions may be led, the fact remains that that is the form which the will to a better order can take at this historical juncture, and that is how many millions of the suppressed and tormented all over the world understand it.  Any inadequacy of the leadership therefore does not negate the fact that it is the head of the struggle.  Someone closely associated with a revolutionary party, a person whose theoretical and active involvement with it is beyond all doubt, may perhaps also fruitfully criticize the leadership from the outside for a time.

But a proletarian party cannot be made the object of contemplative criticism, for every one of its mistakes is due to the fact that the effective participation of more qualified people did not prevent it from committing them.  Whether or not the contemplative critic would have strengthened such elements in the party by his own activity cannot be determined by his later statements about its actions, for it can never be decided whether his view would have seemed plausible to the masses in the situation at hand, or whether his theoretical superiority was matched by the required organizational talents, whether his policy, in other words, was possible or not.  It will be objected that the leaders monopolize power in the party, that the party apparatus makes it impossible for the single individual to prevail, and that consequently any attempt by reasonable people is doomed from the start.  As if any political will throughout history had not always encountered similar obstacles when it tried to assert itself! Today, it may be the intellectual before whom they pile up.  But who other than those who practically overcome whatever defects there can prove that, all things considered, such problems are really the least significant? Bourgeois criticism of the proletarian party struggle is a logical impossibility.

Immanent critique is, above all, a recognition that there is no absolute Archimedean point outside of society or politics from which to develop one’s theoretical or practical perspective.  The only form of legitimate critique must proceed in and through a thorough engagement with the object of critique.  This does not, however, preclude drawing upon certain outside sources as a basis for one’s criticisms.  As Adorno put it in Negative Dialectics, “No immanent critique can serve its purpose wholly without outside knowledge… — without a moment of immediacy, if you will, a bonus from the subjective thought that looks beyond the dialectical structure.”  In such a case, of course, these sources must be carefully related back to the subject at hand.  For example, it was not invalid for Adorno to bring in the Freudian concept of the unconscious in criticizing Kant’s moral philosophy, as he related it specifically to the “pathological” influences on the will.

Once, in a conversation with you, I believe that you mentioned how we are all to some extent implicated in the revolutionary defeats that have come before us.  You then raised a reasonable objection against those “who claim to stand both at once inside and outside of a given movement.”  I agreed that all of us share the blame for the historical failure of the Left.  But I felt that the worst betrayals had actually come from those who claim to stand wholly inside the revolutionary movements of their day and those who claim to stand wholly outside them.  Those who blindly rally around whatever political cause is the order of the day and identify unquestioningly with it betray the need for the Left to be unsparingly self-critical.  Those who stay aloof from the struggles of their time and write essays from afar, circulating them strictly within the academy and never bothering to engage these movements directly betray the need for the Left to actively participate in the emancipatory politics of the present.

This is, oddly, one of the metaphysical (and dialectical) contradictions that Marxism must seek to negotiate and to overcome.  How can we realize a future that transcends the present reality, all the while realizing this transcendent future in a manner that is historically immanent to this present reality? The antinomy of immanence and transcendence is of the utmost importance to Marxism.  I would even go so far as to say that it is precisely the task of revolutionary politics to stand simultaneously inside and outside of the various political phenomena that emerge before us.  We must not identify with them so completely that our political commitment dies out as soon as this or that movement is defeated or ebbs away.  At the same time, however, we must not distance ourselves from these movements so completely that we emerge from their passage wholly unscathed, outside of space and time and untouched by the realm of worldly events.

Marxism has the peculiar advantage of including a warning against the uncritical appropriation of tradition as part of its tradition itself.  Indeed, in a famous line from a letter he wrote to Arnold Ruge, Marx called for “a ruthless criticism of everything existing.”  This is where my answer reconnects with your original question of the importance of an explicitly non-sectarian leftist critical perspective.  Because even those criticisms that are issued by the sectarians are ultimately dogmatic and rote in character.  All these groups concern themselves with tracing out their theoretical bloodlines, from Marx — Engels — Lenin — Trotskii or Stalin — Cannon or Shachtman or Mao — Grant and Woods or Hoxtha or Avakian.  For them, history stopped immediately following the death of whoever their last canonized theorist, and subsequent reality has to bend to the dicta and formulae laid down in their sacred texts.  Nothing betrays the spirit of Marxism more than a rigid adherence to its letter.

Rosa Luxemburg summed up the anti-dogmatic, anti-sectarian character of true Marxism in her great Junius Pamphlet (1915) as follows:

[The proletariat’s] tasks and its errors are both gigantic: no prescription, no schema valid for every case, no infallible leader to show it the path to follow.  Historical experience is its only school mistress.  Its thorny way to self-emancipation is paved not only with immeasurable suffering but also with countless errors.  The aim of its journey — its emancipation depends on this — is whether the proletariat can learn from its own errors.  Self-criticism, remorseless, cruel, and going to the core of things is the life’s breath and light of the proletarian movement.  The fall of the socialist proletariat in the present world war is unprecedented.  It is a misfortune for humanity.  But socialism will be lost only if the international proletariat fails to measure the depth of this fall, if it refuses to learn from it.

The final thing I will say on this subject relates to the pedagogical aspect of Platypus, the group with which I associate and support the most fully.  This concerns a line of Marx from that same letter to Rouge which informs our entire discursive practice of bringing different elements of the Left back into dialogue with one another: “I am…not in favor of setting up any dogmatic flag.  On the contrary, we must try to help the dogmatics to clarify to themselves the meaning of their own positions.”  Of course, this is not to say that the Left will ever be reconstituted by mere talking alone.  Still, I feel that this is an important conversation to have.  And there is something to be said for this, I think, beyond mere pamphleting and sloganeering, the old tactic of “consciousness-raising.”  This was, indeed, what Marx himself felt was a crucial aspect of his own practice:

Nothing prevents us, then, from tying our criticism to the criticism of politics and to a definite party position in politics, and hence from identifying our criticism with real struggles.  Then we shall confront the world not as doctrinaires with a new principle: ‘Here is the truth, bow down before it!’ We develop new principles to the world out of its own principles.  We do not say to the world: ‘Stop fighting; your struggle is of no account.  We want to shout the true slogan of the struggle at you.’  We only show the world what it is fighting for, and consciousness is something that the world must acquire, like it or not.

CDV: You and I have noticed that while the current political moment, insofar as there is one, is largely a product of anarchist and liberal forms of politics.  We have seen a “return to Marx” in both cultural studies and economics in light of the crisis, but we have not seen a return to Marx in terms of politics.  It is easy to blame this on the Cold War, but I suspect there is more at hand. Why do you think Marxist politics has been so much less applied than Marxist economics or cultural theory?

RW: On the one hand, this is — as you say — a legacy of the Cold War.  But you are right in your intuition that there is probably more to it than that.

If I may, I would like to first disaggregate the two main spheres you designate as the objects of Marxist theory: cultural studies and economics.  When it comes to the former, I’m not so sure that there has been a revival in terms of providing a Marxist account of cultural, literary, or artistic phenomena, per se.  In fact, this has been one of the few domains of study where a Marxian framework has still been employed at all, even if only nominally.  Marxist thought in the disciplines of economics, sociology, and political science has for a while now been more or less suppressed at an institutional level within the academy.  At best, it’s been pushed to the sidelines.

By contrast, Marxist theoretical perspectives have been deemed relatively acceptable when it comes to objects of cultural, literary, and artistic criticism.  Here, at least, it’s considered fairly harmless — neutered of its revolutionary content.  Of course, for anyone who is interested in Marxism as providing a window and a gateway into a better society, this is deeply unsatisfactory.  What is more, the way that Marxian and critical theoretical thought has been deployed here (when it has at all) is also problematic.  Most of the time, it’s used only in an eclectic and often seemingly arbitrary fashion.  Of course, Marxism as a tradition is a complex methodological and ideological web, and so the specific concepts employed in cultural criticism can vary widely.  But whether the concepts it draws upon derive from a straightforward historical or base-superstructure analysis, from dialectical critique, or possess an Althusserian/structuralist character, these are only viewed as one set of techniques among many others.  They are reduced to just another “tool” in the postmodern “toolkit,” alongside phenomenological hermeneutics (Gadamer), semiotics (Barthes), deconstruction (Derrida), schizoanalysis (Deleuze/Guattari), or the archaeology/genealogy of the sciences (Foucault).  The “toolbox” or “toolkit” metaphor is pretty widespread, figuring prominently into primers on postmodern theory by popular authors like Henry Rapaport, Jeffrey Nealon, and Susan Giroux.  In what would seem to be a particularly cruel twist of irony, theoretical procedures like the Frankfurt School’s critique of instrumental reason have themselves become instrumentalized as means toward the ends of postmodern thought — dead-ends, but ends nonetheless.

In other words, in the sphere of cultural criticism the categories of Marxist theoretical discourse have largely been abstracted from the concrete political and historical context from which they arose, and thus stripped of any emancipatory significance.  The greater project of global social transformation recedes into the background as these concepts of Marxian origin are made to serve the overriding liberal and multicultural concerns of postmodernity.  In this capacity, the radicalism long associated with Marxism allows it to play an ostensibly “subversive” role.  (The idea of “subversion,” like that of “cooptation,” has been diluted almost beyond recognition since the decline of the New Left).  Such usages aim only at “destabilizing” the dominant, privileged, and hegemonic discourses of traditionally white, male, European, and Christian society.  In this manner, post-structuralist feminists, radical “queer” activists, and post-colonial theorists supposedly write on behalf of those who have been historically marginalized, “give voice to the voiceless,” or “let the subaltern speak” (even if Spivak ultimately concludes that this is impossible).  Sadly, I suspect that a lot this stems from a really terrible reading of Thesis VII of Walter Benjamin’s “On the Concept of History”:

With whom does historicism actually sympathize? The answer is inevitable: with the victor.  And all rulers are the heirs of prior conquerors.  Hence, empathizing with the victor invariably benefits the current rulers.  The historical materialist knows what this means.  Whoever has emerged victorious participates to this day in the triumphal procession in which current rulers step over those who are lying prostrate.  According to traditional Practice, the spoils are carried in the procession.  They are called ‘cultural treasures,’ and a historical materialist views them with cautious detachment.  For in every case these treasures have a lineage which he cannot contemplate without horror.  They owe their existence not only to the efforts of the great geniuses who created them, but also to the anonymous toil of others who lived in the same period.  There is no document of culture which is not at the same time a document of barbarism.  And just as such a document is never free of barbarism, so barbarism taints the manner in which it was transmitted from one hand to another. The historical materialist therefore dissociates himself from this process of transmission as far as possible. He regards it as his task to brush history against the grain.

However, the politics to which this practice is attached never amounts to anything beyond cosmetic reforms to the status quo, a demand for a more inclusive form of liberal, bourgeois democracy.  Proponents of such politics will usually pay some sort of lip service to a critique of liberalism, but by and large this goes no further than pointing out the various hypocrisies of the most celebrated figures of liberal thought — instances of racist, sexist, or colonialist double-standards they held or equivocations they made.  This is a common complaint about identity politics and standpoint epistemology, but it’s a valid one.  In the final analysis, for all their professed disdain for political liberalism, the only political demands they end up making prove to be liberal.  Incidentally, this is one of the things I’m appreciating about reading Domenico Losurdo’s book on Liberalism: A Counter-History: just when it seems like he’s falling for this sort of cheap rhetorical trope, he discerns the hidden emancipatory content that radical bourgeois thought held.  Or as he puts it, it is necessary to recognize in historical liberalism “a dialectic of emancipation and dis-emancipation.”

I would say that this is symptomatic of postmodern thinking, which has a well-known penchant for syncretism.  But it’s certainly one of the major ways in which Marxist thought has been divested of its revolutionary political implications.

Returning to the other point you made, regarding the resurgence of an interest in Marxian economics, I would say that this is comparatively a more recent development.  A lot of it has to do with the persistence of the cycle of neoliberal crises (which first began to emerge after the Oil Crisis of 1973) beyond the collapse of the Soviet Union, which for many neoconservatives was thought to portend “the end of history” (Fukuyama) or “the end of ideology” (Bell), after which the world would simply liberalize and markets would reach some sort of mythic equilibrium.

During the interim, a number of Marxist thinkers have, of course, attempted theorize the post-Fordist/neoliberal moment in which we still currently find ourselves.  Following the disintegration of structural Marxism over the course of the late-1960s and 1970s, heralded as it was by the successive defections of Foucault, Rancière, and Poulantzas from Althusser’s tutelage, several authors sought to fill the void.  Beginning with Ernest Mandel’s Late Capitalism in 1972/1975, and soon followed by foundational texts by David Harvey, Bertell Ollman, and Fredric Jameson in the Anglophone world (as “neoliberalism” or “flexible accumulation”), and by Moishe Postone and Robert Kurz in its German-speaking counterpart (in terms of value-theory).  After 1989, there was a further call for members of the Marxist Left to engage in the project of “rethinking Marxism.”  Robert Wolff, David Ruccio, and Stephen Resnick all emerged from the journal bearing this name, while Guglielmo Carchedi and Andrew Kliman rose to prominence as advocates of the TSSI version of value-theory.

With the back-to-back crises of global capitalism in 2008 and 2011, many have turned to this field of Marxian economics looking for explanations.  Of course, the very abundance of Marxist theoretical accounts of the reasons for present crisis can just as easily be a source of confusion as it can help in elucidating the matter.  Already, Ollman and Wallerstein are on record as declaring this to be the “terminal crisis” of capitalism.  I think this is slightly premature, if not irresponsible, however.  Greater Marxist theoreticians than they have made similar predictions in the past, when there was a much stronger international anti-capitalist movement, and still this collapse failed to materialize.  Pronouncements such as this can only make otherwise fairly sound theorists seem like what Harold Camping was to 2011 or what John Major Jenkins promises to be with respect to 2012.

You’re right, though; there’s been a notable lack of Marxist political practice to go along with its social and cultural theories.  A lot of this reflects the historical association of Marxism with forms of state totalitarianism throughout the course of the twentieth century.  But it also has its roots in the further ossification of the various sectarian Marxoid groupuscules.  Often I feel like these groups have succumbed to a temporal equivalent to the sort of blinkered spatial vision of which Marx accused the Young Hegelians in The German Ideology:

[T]he Germans [or, if you like, the sectarians] lack not only the necessary power of comprehension and the material [to understand present reality] but also the ‘evidence of their senses,’ for across the Rhine [or post-1917, 1940, 1967, etc.] you cannot have any experience of these things since history has stopped happening.

The Marxist politics that does present itself today is wholly inadequate to the peculiarities of our current moment.  That’s part of the reason, I think, why groups like Platypus and Kasama Project — or even your Aesthetics, Philosophy, and Theory Facebook group you started — hold such broad appeal.  They actually provide a platform in which serious political questions can be discussed, without recourse to empty formulae and past dogmas.  Personally, I find the account traced out by Chris Cutrone in his article “Whither Marxism?” to be fairly convincing.  As he puts it there: “The need for Marxism becomes the task of Marxism. Marxism does not presently exist in any way that is relevant to the current crisis and the political discontents erupting in it.  Marxism is disarrayed, and rightfully so.”

I think the question of what an adequate Marxist politics for the present day might look like, should one appear at all, is an open one.  It is up to us to clarify it and provide an answer.

CDR: Marxism itself was syncretistic in pulling from differing, even in some ways, diametrically opposed methodologies under a single rubric.  What separates this syncretism from the postmodern?

RW: Excellent question.  I was wondering in answering the last question if I should distinguish the kind of theoretical and methodological synthesis enacted by someone like Marx (who brought together the thought of classical French and British political economy, the critique leveled at it by its utopian socialist critics, along with the dialectical tradition of German Idealism) or his subsequent followers in the Frankfurt School (who integrated aspects of Weberian sociology and Freudian psychoanalysis into their critical Marxism) from what I would contend is the more haphazard theoretical amalgams produced by postmodern thinkers.  This is, to my mind, a crucially important distinction.

Let me begin by saying that I think that there have been a number of productive syntheses produced by both Marxists and non-Marxists who have drawn upon disparate theoretical traditions in order to more adequately account for the phenomena they seek to describe.  A number of non-Marxists, from Émile Durkheim and Max Weber to John Maynard Keynes and Joseph Schumpeter, took up aspects of the Marxian analysis in their own work but arrived at decidedly non-Marxist (even anti-Marxist) conclusions.  Part of this was inevitable, given the strength of the international socialist movement that had been founded largely upon the basis of Marx’s critique of the capitalist system.  Even if it had been systematically suppressed within the national universities, Marxist theory was simply too influential for anyone to ignore.

Durkheim assimilated Marx’s ideas into a Comtean and even a Saint-Simonian positivist framework, while Weber — who was the first academic of any note to teach Capital at the university level — modified Marx’s thought in light of the contributions of Nietzsche, the renowned Neo-Kantian philosopher Heinrich Rickert, and his contemporaries Georg Simmel and Werner Sombart (both of whom had already engaged with the Marx’s work).  Keynes was even more explicit about his encounter with Marxist thought.  Beyond the works of Marx himself, which he occasionally cited, Keynes lectured in 1925 at the People’s Commissariat of Finance in Moscow, and published a criticism of some of Trotskii’s more provocative formulations in 1926.  In the end, however, Keynes appealed to Silvio Gesell’s Natural Economic Order (1918) in promoting “the establishment of an anti-Marxian socialism, a reaction against laissez-faire built on theoretical foundations totally unlike those of Marx.”  (Gesell, though he participated in the short-lived Bavarian Soviet in 1918, clearly disagreed with Marx’s interpretation of history in favor of a naturalistic approach).  Schumpeter, for his part, counted Marx as one of the world-historical “great economists,” using him as a bookend in his account of Ten Great Economists from Marx to Keynes.  Of course, Schumpeter was no Marxist.  Among the other economists included in Schumpeter’s collection were many important critics of Marx, such as Eugen Böhm-Bawerk and Vilfredo Pareto (whose theory of elites was itself important to Gramsci’s thought, also garnering the attention of Adorno in several of his lecture series).

Clearly many Marxists have supplemented their social and political stances with intellectual discourses falling outside of the Marxian constellation.  I’ve already alluded to the Frankfurt School in relation to Weberian sociology and Freudian psychoanalysis.  In the case of French thinkers like Sartre and Merleau-Ponty, coming out of a phenomenological background established on the basis of Husserl and Heidegger and a Kojèvean reading of Hegel, their Marxism was inflected with certain categories borrowed from German Existenzphilosophie.  Unlike the members of the Frankfurt school, who like Trotskii were receptive to Freudian theory, Sartre at first rejected psychoanalysis.  Of course, later he changed his mind on this score, admitting that “I was incapable of understanding [Freud] because I was a Frenchman with a good Cartesian tradition behind me, imbued with a certain rationalism, and I was therefore deeply shocked by the idea of the unconscious.”  Both he and Merleau-Ponty felt the influence of the early Lukács, so there was certainly some affinity between them and the Frankfurt School (though the influence of Heidegger was shared only with Marcuse, among the latter).

Althusser’s appropriation of Saussurean structuralist linguistics (largely by way of Lacan) and Lévi-Straussian structuralist anthropology (though he was notably more critical of the Lévi-Strauss) in elaborating what came to be called “structural Marxism” was likewise justified.  In so doing, he largely rejected the more Hegelian and “humanistic” aspects of Marxist thought, but he grounded this rejection in a thorough textual reading of Capital.  And it’s not as if his disavowal of Marx’s indebtedness to Hegel was borne out of a merely superficial reading of (and reaction against) the great idealist.  Althusser wrote his entire Master’s thesis “On Content in the thought of G.W.F. Hegel,” which he completed in 1947.  Incidentally, I’d argue that the same thing can be said with respect to Lenin in his rejection of anarchism, or at least the sorts of anarchism he encountered in Russia toward the beginning of the twentieth century (which, like Marxism, was a far more specific phenomenon than what we encounter as anarchism today).  Lenin was no stranger to anarcho-populist or «народник» thought; his own brother was famously executed for conspiring as a member of Народная воля (the “People’s Will”) in a plot against the tsar.

Without wanting to digress even further upon this already lengthy digression, I’m not sure if I should further qualify what I mean by “supplement” in light of the rather well-known gloss on the term provided by Derrida some years back in Of Grammatology.  According to Derrida’s account, a “supplement” signifies an addition from the outside (or “exterior addition”), as opposed to a “complement,” which is supposedly already immanent to and harmonious with the essence of the object thus complemented.  That Marxism or any other theoretical model should require a supplement would seem to suggest some sort of intrinsic deficiency, as it would be forced to look to something outside of itself in order to adequately account for the phenomena it purports to describe.  At the very least, this procedure would seem to violate Rousseau’s celebrated ideal of “self-sufficiency.”  (Rousseau is Derrida’s primary interlocutor throughout this needlessly obscure work).

I’d like to dwell on this point perhaps a moment longer, because I think it leads straightaway into the answer to the question you posed.  Certainly, I don’t want to deny the independent origin and relative autonomy of discourses like Freudian psychoanalysis with respect to historical Marxism.  So to some extent any combination of Freudian thought with Marxian thought would be a “supplement” in the sense Derrida described above.  So does it follow that psychoanalytic categories simply be appended to Marxist ones, without any attention to the ways in which they might be fundamentally incompatible? Might this not constitute, to use a rather ugly phrase, the worst kind of theoretical “miscegenation”?

To this question we must answer with some reservation: maybe.  It all depends.  On what? For me, it all depends on the way in which hitherto unrelated disciplines are brought into relation.  This, I maintain, is what fundamentally separates legitimate theoretical conjunctures from illegitimate ones.  In some sense, I think that the instinct that any “supplement” that is imposed wholly from without delegitimates the synthesis thus achieved.  With any addition to a theory it is ultimately necessary to ground one philosophy or theoretical outlook on the basis of another, so that their complementarity thus arises organically out of their pairing (i.e., “immanently”).

To stick to the problem of Freudian psychoanalysis it is clear that the object of its theory is primarily that of the mental lives of individual personalities, as well as the establishment of a more or less universal explanation of drives or impulses that serves as organizing principles for conscious activity.  Of course, one of the common rebukes leveled at Freud is that his sample set of clinical patients was extremely biased, favoring a predominantly wealthy, bourgeois, Viennese, and primarily Jewish social and historical milieu.  (Of course, his Marxist followers like Wilhelm Reich and Otto Fenichel volunteered their services to a less fortunate clientele, the working poor in Vienna, etc.).  But since Freud’s own analysis would thus be bound to a more specific sociohistorical moment, which in turn would reflect the forms of consciousness generated by the underlying material dynamics of society at that given moment.  Thus, far from being eternal categories inhering in the mental lives of individuals throughout time (in Civilization and Its Discontents, Freud practically elevated Eros and Thanatos to the status of cosmic principles), Freud’s exposition of the various layers of consciousness and the unconscious would rather appear to be the result of broader social and historical forces.

Perhaps this is more a sign of my own personal need for systematicity and a clear conceptual hierarchy, interlocking parts, some basic architectonic symmetry, etc., but I feel that in order to properly bring two separate discourses into mutual relation, it is necessary for one to be subsumed beneath the organizing principles of the other.  There must be some sense of logical priority.  Generally, I am skeptical about the Heideggerian concept of “equiprimordiality,”  whereby there are equally fundamental, absolutely unrelated, and thus mutually irreducible spheres of Being that together shape experience.  I tend to think monistically.  So if we take another example, like the critical appropriation of Weberian ideas of “disenchantment” and “rationalization” by Marxist theory, it becomes clear that these tendencies Weber associated with modernity are actually byproducts of the further articulation of the logic of capital.  Modernity itself, it would seem, is nothing other than the temporal symptom of the capitalist social formation.  Its secularizing, desacralizing aspect grounds the disenchantment of which Weber spoke; its perpetual need to overhaul the means and technologies of production after relative surplus-value takes hold grounds the rationalizing tendency he noticed.

In this vein, Adorno suggested that Freudian analysis contained in its analyses of groups and individuals premonitions of the rise of the sort of consciousness that would underpin fascist ideology in the 1920s and 1930s:

Such a frame of reference has been provided by Freud himself in his book Group Psychology and the Analysis of the Ego, published in English as early as 1922, and long before the danger of German fascism appeared to be acute.  It is not an overstatement if we say that Freud, though he was hardly interested in the political phase of the problem, clearly foresaw the rise and nature of fascist mass movements in purely psychological categories.  If it is true that the analyst’s unconscious perceives the unconscious of the patient, one may also presume that his theoretical intuitions are capable of anticipating tendencies still latent on a rational level but manifesting themselves on a deeper one. It may not have been perchance that after the First World War Freud turned his attention to narcissism and ego problems in the specific sense. The mechanisms and instinctual conflicts involved evidently play an increasingly important role in the present epoch, whereas, according to the testimony of practicing analysts, the ‘classical’ neuroses such as conversion hysteria, which served as models for the method, now occur less frequently than at the time of Freud’s own development when Charcot dealt with hysteria clinically and Ibsen made it the subject matter of some of his plays. According to Freud, the problem of mass psychology is closely related to the new type of psychological affliction so characteristic of the era which for socio-economic reasons witnesses the decline of the individual and his subsequent weakness.  While Freud did not concern himself with the social changes, it may be said that he developed within the monadological confines of the individual the traces of its profound crisis and willingness to yield unquestioningly to powerful outside, collective agencies.  Without ever devoting himself to the study of contemporary social developments, Freud has pointed to historical trends through the development of his own work, the choice of his subject matters, and the evolution of guiding concepts.

One might add to this, considering the other major figure I’ve mentioned in connection with certain forms of Marxism, that Weber glimpsed the first vague outlines of the rise of fascism in his famous lection on “Politics as a Vocation” (1919).  In this work, he enumerated the three main forms of authority used to legitimate a given political order: traditional, legal, and charismatic.  With the last of these, it is not difficult to imagine that Weber had figures like D’Annunzio, Mussolini, and later Hitler in mind.  So in a way, it’s quite possible that Weber had seized upon an ideological undercurrent in the age which in fact owed to the totalitarian pathos that was part and parcel of the totalizing and instrumentalizing rationality of capital.  Again, Weberian sociology is hereby grafted onto the theoretical armature of Marxism, but not in a capricious or superficial manner.  Instead, it is integrated — albeit critically — into the Marxist theory of society.

Certainly, this kind of historicism is easily vulgarized, so it’s important not to be too one-sided in attributing the reality of the phenomena described by psychoanalysis to historical accident alone.  That’s one of the trickiest things about situating objects historically: one must distinguish between the historical knowledge of their existence and their raw historical existence as such.  To put it into Hegelian parlance, there is a disconnect between an object’s being-in-itself and its being-for-another.  In other words, it’s not enough to historicize ontology (the domain of being and existence) — one must also historicize epistemology (the domain of thought and knowledge).  For it’s not as if the unconscious simply didn’t exist before its discovery by Freud.  There can almost be no doubt that it did.  What is significant about Freud and the context in which psychoanalysis crystallized is that knowledge had progressed to the point where the existence of something like the unconscious rose to the level of consciousness.  It became available as an object for scientific reflection.

However, the specific social dynamics (i.e., the structure of the family) that determine the concrete contents of the psyche in ego-formation would be historically variable.  Engels’ work on The Origin of Property, the State, and the Family already complicates the idea of regarding the family as a more or less static object, untouched by the vicissitudes of time.  Subsequent studies in the field of anthropology on the development of kinship structures in primitive societies seem to further confirm Engels’ suspicions (which were themselves largely indebted to the earlier work of Müller-Lyer).  With other objects, of course, it can be the case that at certain points in history a phenomenon either didn’t exist or didn’t exist in sufficient abundance for it to be conceptualized.  The best example I can think of is the one Marx provides in a hilarious footnote in the first chapter of Capital:

 If a giant thinker like Aristotle could err in his evaluation of slave-labor, why should a dwarf economist like Bastiat be right in his evaluation of wage-labor? I seize this opportunity of briefly refuting an objection made by a German-American publication to my work Zur Kritik der Politischen Ökonomie, 1859.  My view is that each particular mode of production, and the relations of production corresponding to it at each given moment, in short ‘the economic structure of society,’ is ‘the real foundation, on which arises a legal and political superstructure and to which correspond definite forms of social consciousness,’ and that ‘the mode of production of material life conditions the general process of social, political, and intellectual life.’

Marx said roughly the same thing of the three great British political economists of the modern era — William Petty, Adam Smith, and David Ricardo.  Smith was able to see the importance of the detail division of labor in manufacturing in a way that Petty was not, and Ricardo perceived the effect of heavy machinery in large-scale industry in a way that Smith was not.  Again, this was to be explained by the emergence of new forms of organization and industrial technologies.

So to return to my original point in a roundabout fashion, following this lengthy divagation, placing knowledge and existence into their historical context is not always coextensive, though it can be at times.  The unconscious was not summoned into existence simply by Freud’s having conceptualized it.  Discovery is not identical with invention, and collapsing these two categories into each other is an irresponsible move.

As it happens, this is precisely the sort of thinking that leads many postmodern theorists and historians to conflate the terms “discovery” and “invention,” the distinction made so long ago by Schelling toward the end of his early System of Transcendental Idealism.  One commonly sees this kind of thing today, part of the irritable postmodern tendency to “gerundify” verbs in the titles of books, articles, or journals (Undoing Gender, “Maddening the Subjectile,” Thinking Nature, and so on).  In my own field of study in Russian-Soviet history, for example, there are works like Larry Wolff’s Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment or Mark Bassin’s article “Inventing Siberia: Visions of the Russian East in the Early Nineteenth Century.”  The insinuation, of course, is that geographical entities like Eastern Europe or Siberia didn’t preexist the act of knowing them.  Such objects would thus seem to be more of an invention of the imagination than a discovery of cognition.  Now of course there is some degree of non-identity between thought and being, a cognitive surplus imparted by the subject to its object of contemplation.  These often reflect the preconceptions and prejudices of the subject.  But to maintain that the object thus encountered is wholly the product of the subject’s imagination, the fantastic and fanciful invention, is absurd.

In contrast to the method of bringing together different strands of thought that I described above, I would submit that most postmodern thought is characterized by a pervasive and pernicious dilettantism.  Not only this.  Just as many have observed that the discourse of postmodernism tends to erase the line between “high” and “low” art — reversing the critical modernist position vis-à-vis mass culture — postmodernism almost seems to take a perverse pleasure in celebrating its own superficiality, kitchiness, and carefree eclecticism.  I wish I could say this were only true of the movement’s epigones, and not of its major figures as well.  But I can’t.  Because it’s not only second-tier writers like Rodolphe Gasché, Stanley Fish, or Jean-Luc Nancy.  It’s Derrida, Butler, Spivak, and even Deleuze as well, all of whom seem to jump around within the space of a single page — casually citing any number of theorists and philosophers, each of them endowed with apparently equal validity, even if their conclusions or methodologies are incommensurable and mutually exclude one another.  Postmodern theory tends to favor the dabbler, the “Jacques-of-all-trades, master of none.”  But often it’s not even that good.  They’re usually too sloppy and careless in their reference to the various thinkers they so proudly trot out in order to make some sort of pseudo-clever rhetorical point to be considered truly competent with any of them.

To be honest, even Žižek is not immune to this sort of messy (or at least scattershot) mode of philosophizing.  But I’m not sure whether he’s merely ironizing the antics of postmodern discourse, or if it’s all just a symptom of his genuinely spastic and hyperactive personality overall.  Neither one would surprise me all that much, honestly.  At least with him I do get the impression that he is a voracious reader who tends to know whereof he speaks, even if I disagree with him at times.  Foucault, to his credit, tended not to show his hand all that much.  Methodologically, though many have noted the subterranean influences of thinkers like Heidegger, Lévi-Strauss, and Althusser, he was usually only explicit in citing his indebtedness to Nietzsche and occasionally Deleuze.  Compared with many of his peers, however, Foucault was much less all over the place.

Ultimately, I think that one must neither be too theoretically promiscuous, nor theoretically puritanical.  The former road leads to dilettantism, the latter to dogmatism.

An Interview with the Permaculturist and “Alchemist” Willi Paul, with Ross Wolfe (from April 4th, 2011)

•January 15, 2012 • Leave a Comment

Ross Wolfe: First things first: an introduction. Perhaps you could tell us a bit about yourself. What kind of work do you do? Could you sketch out, briefly, some of your principal concerns and misgivings regarding modernity?

Willi Paul: My work is to publish and teach thru my network that includes Planetshifter.com Magazine, openmythsource.com – and a new site called sacredpermaculture.net – to support a post crash transition and to help the build a healthy planet for all life on future Earth. I am almost finished with my first two tools for a sacred permaculture: a new symbolic language for the coming tribes and a second myth generator.

Modernity is not a word I use these days but my reaction to the present slate of war making, materialism, greed and lack for human respect is as follows:

Technology will not save us.
Big business really only cares about their profits. The environment is either a greenwash advert or a cost of making profits.
The environment is only here to serve our material needs.
The lack of a common definition and actionizing around the sacred will be our downfall.
All of the traditional religions – west and the east – have failed us and need to be replaced by a global, Nature-base spirituality.

RW: You have mentioned in a comment on my blog that “[a] dire lack of the sacred is the real crisis.” In Rudolf Otto’s 1920 work, The Idea of the Holy, he described the holy or the sacred as that which is numinous, as that which stood under the aspect of the Mysterium Tremendum et Fascinans. For him, the experience of the sacred included elements of awefulness (literally “filled with awe”), overpoweringness (majestas), and dire urgency. Not only that, but that the feeling was also “wholly other,” as that which feels completely otherworldly, beyond description. At the same time, however, the sacred fascinates the subject who experiences it as well.

Otto diagnosed that the modern age suffered from an acute lack of this feeling of the holy, the sacred, as if the world had been desacralized. So it would seem that your belief that the crisis of our age is its universal profanity has some precedent. In light of Otto’s description, how exactly would you define “the sacred”? How does one experience the sacred? Finally, how does the sacred manifest itself in the world? In objects, practices, or flights of fancy?

WP: My own understanding and practice of the sacred has evolved from my 300+ interviews with thought leaders on PlanetShifter.com Magazine. I seem to be working around the edges of a new definition – please see my model of the sacred:

The best that I can offer today is that the way to the sacred is an integration between new myths, permaculture and several new types of alchemy. To be honest, I am seeking a new sacred, without the dogma, brain-dead ritual or money-centered traditions of traditional religions.

I feel something sacred coming now, perhaps through the soil, the stars or our empowered hearts. We need to work the new sacred and be open to a new consciousness that comes with it. Think Nature as sacred for now.

RW: You have said, furthermore, that “a new alchemy/mythology for a sacred in permaculture has my heart,” that this is one of your primary motivations. Let us begin with the subject of alchemy. What is your definition of “alchemy”? What is its relation to the long alchemical tradition of past ages?

For example, would you agree with the one of the greatest authorities on all things alchemy, the famous alchemist Philippus Theophrastus Aureolus Bombastus von Hohenheim, pseudonym Paracelsus, that “[a]lchemy can render poison salubrious”?

Would you furthermore agree with him that the alchemist “understands nature itself as the bearer of a macrocosmic stomach or archeus”?

WP: My leap into things alchemic started with a life changing interview with internationally renowned author, lecturer and alchemist Dennis William Hauck for PlanetShifter.com Magazine.

As my instinct and innovation on this subject evolved, including many sound scape / alchemy experiments, I am now touting the following types of alchemy to support the global leap in consciousness now under way:

Imaginative : This alchemy excites and creates our ideas, conflicts and even prayers in our brains.

Eco : Seeds, soil, plants and animals living, birthing and dying in a inter-related system pulsed by eco alchemy.

Shamanic : This is alchemy transmutates healing through ceremonies and rituals lead by a trained spiritual leader.

Sound or Sonic : The ancient alchemic power of song from cave rants to classical music and rock’n’roll.

Digital : Electronic learning and feeling working with computers including chat text, email and documents.

Community : People working with people: transforming attitudes, sharing ideas and making plans.

Earth : Planetary consciousness building and human evolution on a universal scale.

I would hasten to add here that most of the “stone to gold alchemy” of the past has no interest to me now. Alchemy is transmutation on many levels, a process and not the end result. To me alchemy is a new glue for the revolution.

RW: Moving on to the other element of your statement, let us address the topic of mythology. It was the three Tübingen seminary roommates Hegel, Schelling, and Hölderlin who first called for the establishment of a new mythology to replace the old, now that the Scientific Revolution had disenchanted nature. They drew up drafts of an early philosophy of mythology. Only Schelling ended up seeing it through, thirty years later.

In Weber’s use of the term, “[I]ncreasing intellectualization and rationalization does not mean increasing general knowledge of the conditions under which we live our lives…It means the knowledge or belief that if we only wanted to we could learn at any time that there are, in principle, no mysterious unpredictable forces in play, but that all things — in principle — can be controlled through calculation. This, however, means the disenchantment of the world. No longer, like the savage, who believed that such forces existed, do we have to resort to magical means to gain control over or pray to the spirits.”

Though capitalism has its metaphysical and fetishistic character in the form of commodities, it has generally led to a further disenchantment of the world. Nothing is sacred to it. Is this why you propose, as many have before, a new mythology? What would this new mythology look like? A potpourri of deities picked and chose from past mythologies, or the invention of entirely new deities? Does it require a story, or mythos?

WP: You can read my six new myths and call me to the carpet for a debate! Children can now write the new myths, using digital and other alchemy. There is no intelligentsia in my mythic vision. The old classic myths are withered and are at best examples of story structure and other authoring principles. Clearly Joseph Campbell’s mythic tools are still as vibrant as ever – initiation, journey and the hero.

As my model clearly shows, new myth + permaculture (a primarily source for new symbols, songs, stories, heros, etc.) + the new alchemies produce the new sacred.

RW: Your work seems to draw heavily upon Bill Mollison’s Gaia Manifesto, as well as a book he authored on permaculture. As you yourself have written, “To me, permaculture is more than design principles like those in sun angles, crop selection, drainage patterns or roof top grasses, and must include a spiritual connection so I journeyed to discover how the Mollison’s ideas juxtapose with the my work in the new alchemy, new Nature-based myths and the search for the sacred.”

Why do you think that some permaculturalists engage in their work without this inchoate feeling of the sacred, without a spiritual dimension? Do you believe that they can ever truly practice permaculture without these components? Would you encourage them to explore the more spiritual side of permaculture, in terms of myth-making and alchemical experimentation?

WP: My new relationship and recent video conversation with Permaculture Editor Maddy Harland has revealed an interesting controversy in the permaculture movement. It seems that many permaculturists in the UK want to stay away from the spiritual aspect of the field due to a concern with the conservative land use laws and government zoning process. I also understand that some do not wish to be seen as Burning Man types.

My position on the sacred in permaculture and the long-term security of the plant have been address already here.

RW: You have furthermore claimed that “[m]agic and mystery remain as dynamic and positive a force for many moving forward.” What do you mean by magic and the mysterious properties of things? How exactly are they registered as a force? Are they demonstrably magical and mysterious? And do they not admit of scientific explanation, which would thereby demystify and disenchant them?

WP: Any “force” that gets us to an sacred, beyond the idiocy in politics, the greed in war making, and the crap on TV is worth considering, yes? It is true that my sacred comes with new beliefs (not science) about environmental protection, imagination (i.e. magic) and the rest of the new consciousness. Humans have much to experience – in a hurry!

RW: You yourself have posed the following questions: “Isn’t Nature inherently sacred to many? Is sacred in Nature a lens that we use to protect her? Obviously Nature is not sacred at all in many traditional religions – she is just a collection of raw materials to use up before the planet blows up and God call some of us to go to Heaven!”

How do you account for those religions that treat Nature as just a source of raw materials to be utilized by mankind? How must the alchemical permaculturalist orient himself (or herself) to these religions? As false? As blasphemous?

WP: We need to get on the same page, forgive the sins of our Fathers and get on with the task of building a new, post-crash future. We need everybody to make this happen. I hope that the hard-core permies will soon be traveling to the backyards of the world to turn over the sod and educate us on the soil alchemies.

We are running out of time.

RW: To what extent do you believe that nature is a thing-in-itself that inherently remands our “respect”? Inversely, to what extent do you believe nature can be fundamentally transformed by the will and technologies of men, who have gained such mastery over the natural world?

WP: I keep hearing me thinking this these days: Nature will survive the crash but it’s the human that will be extinct soon with some practical and global process to a new sacred.

Men + technology = profit + environmental destruction. Period.

RW: Is the central problem of our age spiritual, or does it have to do with the structure of our society? Might the spiritual crisis you detect not be an ideological representation of an underlying problem in our socioeconomic substructure?

WP: Well, to be redundant, profit is the over-arching problem here. I can’t wait to see the rich folks in Hillsborough bartering their processions in the post-crash economy!

RW: Closing now, would you like to add a few words in light of our discussion and interview thus far? What is the overall message you would like to convey to our readers about man’s relationship to nature?

WP: Many in my circle view the current smoldering meanderings from the old myths as in dire need of a refreshed power center – free from the burden of the withering storylines in old plots, online game slaughters, and our twittering kindergardens. My quick scan of mythic sites includes the home page of the Institute for Cultural Change (formerly the Foundation for Mythological Studies), which does mention sustainability, as well as MYTHOS for Creatives, working a global culture-based view. And, of course, Joseph Campbell Foundation is still blessed with the Hero’s Journey and Initiation from Mr. Campbell. But myth needs a new spiritual search engine to go with the Internet. This new story base and vision map is permaculture and the new alchemy and sense of the sacred that comes with it.

– from the April 2011 Joseph Campbell Foundation web site (jcf.org) posting: “Mother, Sun, and the Compost Pile: Integrating Permaculture with the New Alchemy, New Mythologies, and the Sacred” by Willi Paul, Associate

A rather disheartening (if predictable) exchange between Corey Robin, Doug Henwood, and myself on Christopher Hitchens and the post-9/11 Left (from Facebook)

•December 25, 2011 • 8 Comments
A younger Christopher Hitchens

A younger Christopher Hitchens

Ross Wolfe:

I think I tried posting this entire thing on your recent blog post on Hitchens, but here’s a link to the article by Spencer Leonard that I feel actually provides the most adequate leftist appraisal of Hitchens’ legacy.

Corey Robin:

Sorry, tried to read this a few weeks ago when someone posted it on Doug Henwood’s site.  Couldn’t make it past the second paragraph: so God-awfully written, filled with windy claims about “History,” and even windier claims about Hitchens’ role in either shattering the left or announcing the shattering of the left. Couldn’t tell from those two paragraphs whom the writer was more intoxicated with: Hitchens or himself.  I don’t know who this author is, but you might want to tell him: the one — and perhaps only — thing he should or could learn from Hitchens is how to write a clear, clean sentence.  That first sentence alone — it has more stops and starts, herks and jerks, than the 7 train on during rush hour on a bad day.  Don’t these people believe in editors?

Doug Henwood:

Adequate? Pure gasbaggery.

Corey Robin:

Ross Wolfe: If you do want to post this to the blog, that’s fine. Just post a link with perhaps a paragraph-long teaser. But please don’t post the whole thing; it takes up way too much space and makes it hard for people to figure out where things are in the comment-thread.

Ross Wolfe:

Corey: Sadly, you yourself succumb to the same shallow moralism that was Hitchens’ greatest weakness. To psychologize an author’s alleged shortcomings — whether it’s Hitchens or Spencer — as mere “narcissism” or simple “self-intoxication” is a glib, facile, and ultimately dishonest procedure. It’s all too easy to evade the real difficulties posed by a figure like Hitchens by attributing motives in this fashion.

If you’re able to make it past your objections to his writing style, Spencer aptly notes this moralistic tendency in Hitchens’ own writings (which is, oddly, replicated in your articles on him):

The insights Hitchens develops respecting the history of the Left with reference to Orwell are valuable and, in many instances, merit further elucidation. The difficulty arises in trying to address such matters in the moral terms on which Hitchens bases his analysis, as for instance when Hitchens attempts to characterize the European fascism of the 1930s and ’40s in terms of “arrogance,” “bullying,” “greed,” “wickedness,” and “stupidity” [WOM, 7]. Such moral and intellectual flaws have, after all, plagued humankind throughout its history, and for this reason they provide an inadequate basis for conceptualizing something so distinctly and exclusively modern as fascism.  Similarly, leftist politics, while it may be rooted at the individual level in a certain moral impulse, can never be guided by that impulse alone.  While Hitchens’ expressions of moral disapproval are in themselves unobjectionable and indeed often rhetorically powerful, they hardly suffice as categories of political analysis.

The most horrifying aspect of fascism is that it does not admit of explanation on the basis of mere moral faults.  As problematic as Arendt’s analysis of “the banality of evil” in her reflections on the Eichmann trial may have been, at least it was able to move beyond the shallow attribution of the Nazi’s “evil” to some underlying diabolism.  Certainly, a number of the members of the Nazi leadership were thuggish goons, and many of the guards at the concentration camps were confirmed sociopaths, but this by itself does not explain the industrialized murder of European Jews, gypsies, communists, homosexuals, and so on.

Similarly, to try and dismiss Hitchens’ arguments and apologia for the war by reducing them to mere symptoms of his own personal vanity is insufficient.  The more troublesome question is to ask why this former leftist, in siding with naked U.S. aggression and militarism against the undeniably despotic Ba’athist regime, eventually succumbed to the same “lesser-evilism” of which he had earlier accused supporters of Bill Clinton.

Sure, everyone knows Hitchens was an arrogant prick.  But is this fact alone enough to account for what later “led Hitchens to shill for the American warmongers,” as Spencer put it?

Corey Robin:

Wow, I should wade through all that heavy-breathing in order to find out that Hitchens’s insights are “valuable”? Yet limited b/c he thinks fascism is reducible to bullying and wickedness? Sorry, dude, you’re not making that piece any more enticing. Now, I recognize that the notion that politics is about more than easy moralism must seem like some kind of blinding insight to you, but for many of us, it’s just one of many and obvious rules of the road.  If we don’t apply it to the Case of Christopher Hitchens — in the way, say, Adorno applied it to his analysis of Beethoven or Lukács did when he discussed Walter Scott — it’s b/c we don’t see Hitchens as a symptom of world-historical importance.  He was, in the end, a symptom of himself, which is why I thought a brief blog post was sufficient to the topic at hand.

I will add, because you seem so interested in these questions of History, that there is a long history of liberal-ish/left-ish intellectuals, at moments of political retreat, taking precisely the route Hitchens did.  It actually goes back to the French Revolution — read up on the Girondins’ decision to declare war on Austro-Hungary — and is a fairly familiar story to anyone who knows that history.  So I guess if there’s a second reason I didn’t feel the need to get myself all worked up about the man’s trajectory, it’s because it’s such a tried and true path.  Again, not of interest to anyone interested in History, but fairly familiar to anyone who knows some history.

Ross Wolfe:

Gasbaggery, Doug? As you were someone who so astutely helped point out some of the most shallow and theatrical aspects of the anti-war “activistism” of the ’oughts, I find it surprising that you would not be more sympathetic to the angle Spencer’s article takes.  Because it by no means tries to mount a defense for Hitchens’ tasteless and one-sided apologia for U.S. military aggression, but rather tries to frame these as the products of his disillusionment with the same degenerate Left that you yourself described in “Action will be Taken.”

Whether Hitchens’ radical enlightenment opposition to “every form of tyranny over the mind of Man” — namely, religion and superstition — served simply to mask some form of deep-seated Islamophobia is a matter of interpretation.  In my personal opinion, nearly all religion at this point in history is hideously reactionary, sexist, and homophobic.  It is only able to survive as a severe anachronism.  Religion, along with all forms of occultism and superstition, should by all rights be eradicated from the earth, no matter where it originated — so that humanity can be free from ignorance and irrationality.

By shamelessly siding with the aggressor in the U.S.’ and the U.K.’s invasion of Iraq (along with the host of other countries in the “Coalition of the Willing,” who they’d bought), Hitchens fell beneath his own threshold of criticism. Both sides of the conflict were miserable and worthy of contempt.  But Lenin, who is so often mindlessly invoked when it comes to conversations of imperialism, was himself far more balanced when it came to such matters.  For example, from chapter five of his 1916 work, A Caricature of Marxism and Imperialist Economism:

Imperialism is as much our “mortal” enemy as is capitalism.  That is so.  No Marxist will forget, however, that capitalism is progressive compared with feudalism, and that imperialism is progressive compared with pre-monopoly capitalism.  Hence, it is not every struggle against imperialism that we should support.  We will not support a struggle of the reactionary classes against imperialism; we will not support an uprising of the reactionary classes against imperialism and capitalism.

Consequently, once the author admits the need to support an uprising of an oppressed nation (“actively resisting” suppression means supporting the uprising), [Kievskii] also admits that a national uprising is progressive, that the establishment of a separate and new state, of new frontiers, etc., resulting from a successful uprising, is progressive.

Or later, if Lenin didn’t make himself clear enough on this score here, he spelled it out even more explicitly in 1920 in his “Draft Theses on National and Colonial Questions”:

With regard to the more backward states and nations, in which feudal or patriarchal and patriarchal-peasant relations predominate, it is particularly important to bear in mind:

first, that all Communist parties must assist the bourgeois-democratic liberation movement in these countries, and that the duty of rendering the most active assistance rests primarily with the workers of the country the backward nation is colonially or financially dependent on;

second, the need for a struggle against the clergy and other influential reactionary and medieval elements in backward countries;

third, the need to combat Pan-Islamism and similar trends, which strive to combine the liberation movement against European and American imperialism with an attempt to strengthen the positions of the khans, landowners, mullahs, etc.

Ross Wolfe:

Corey: If you’re half as familiar with Adorno’s work as your casual aside would suggest, you’d know that Adorno’s critical engagements of contemporary figures were not limited to figures who represented “symptom[s] of world-historical importance.”  Hitchens was easily a more important public figure and thinker in the last couple decades than, say, the anti-Semitic radio preacher Martin Luther Thomas, to whom Adorno devoted more than a hundred pages of analysis, was in his day.

Hitchens was indeed symptomatic of the widespread tendency of former leftists to devolve into empty moralism and hawkish apologia for U.S. militarism. Of all the moralizing pro-war leftists who spoke out or signed the deplorable and misguided Euston Manifesto, Hitchens was easily the most visible. If not Hitchens, then indeed who would qualify as sufficiently emblematic or “symptomatic” of this tendency? Nick Cohen? “Harry Hatchet”?

Adorno, as you’ll no doubt recall, found some things of merit in the writings of the archconservative Oswald Spengler, and found plenty to criticize in the writings of ostensibly leftist figures like Bertolt Brecht or Thorstein Veblen [in Prisms].  Things are not so clear-cut as one would imagine.

Ross Wolfe:

Corey: Hitchens is easily a more interesting subject of analysis than someone so straightforwardly vacuous as Sarah Palin, a figure you deemed worthy of consideration for your study on “the reactionary mind” (even appearing on the cover of your book [The Reactionary Mind]). So I’m not really sure what you’re objecting to in Spencer’s book review.

Doug Henwood:

Yeah, gasbaggery.  I was sadder about Hitchens’ death than many on the left, but his apologetics for imperial war over the last decade of his life were revolting.  I found them tragic and depressing compared to his earlier work, which was part of the sadness.  But I don’t need to read any elaborate fantasies about how there was something radically progressive about his mancrush on Paul Wolfowitz.

Ross Wolfe:

Doug: There was nothing “radically” (or even remotely) progressive about Hitchens’ justifications for the invasion of Iraq — his mancrush on Wolfowitz notwithstanding (this was, by contrast, an irreproachably revolutionary position).  If you’d bother to read the article, you’d know that Spencer makes no such claims.

In fact, we also take Hitchens’ post-9/11 trajectory to be tragic.  We see it as indicative of a deeper despair with the recent state of politics on the Left and the practical impossibility of revolutionary transformation in the immediate future.  The Left was in such a sorry state in the opening decade of the twenty-first century that many so-called “radical” celebrities had resorted to third-worldist support for backwards, repressive dictators like Saddam Hussein, Bashar al-Assad, Muammar Gaddafi, or reactionary groups like Hamas and Hezbollah.  These figures and groups were celebrated simply in the name of anti-imperialism or anti-Zionism.  They fell into the simplistic sophistry of the old “enemy of my enemy” logic.

Regardless, what do you make of statements by Lenin, the Ur-theorist of the Marxist account of modern imperialism, such as the following:

No Marxist will forget, however, that capitalism is progressive compared with feudalism, and that imperialism is progressive compared with pre-monopoly capitalism. Hence, it is not every struggle against imperialism that we should support.  We will not support a struggle of the reactionary classes against imperialism; we will not support an uprising of the reactionary classes against imperialism and capitalism.

Spencer A. Leonard:

‎@Doug – What’s more telling is that after 2 years you still can’t bring yourself to articulate this piece’s theme, however well or poorly expressed: That Hitchens’ break with the “left” was at least instructive of the wretched condition (not just weakness!) of that left.  I placed that decline in a historical frame stretching back to the 1960s at the very least. Doug’s invocation of what’s “progressive” persuades me that I ought to have pushed it back to the original draft of the 1960s, namely the 1930s, since we have the New Left (and Doug Henwood) to thank for extending the currency (as more than just words) of such Stalinoid concepts as “progressive.”  The only thing different is that, at this point, these faint echoes of a Left that was are scarcely sufficient anymore to provoke anyone to such much as interest themselves in investigating that history, much less to discover how and why it keeps happening to them.

Doug Henwood:

I never thought I’d say this, but: Next to this stuff, give me Stalin.

Ross Wolfe:

Yeah, Doug, I also don’t know why you hold such a grudge against people like Hitchens when you’re close buddies with Louis Proyect, a self-described “solid supporter” of the miserable Venezuelan petro-dictatorship of Chávez — the “postmodern Bonapartist” — and the repressive regime of lifelong strongman Fidel Castro in Cuba.  Come to think of it, you’re also fairly chummy with Tariq Ali, another thinker who includes backwater authoritarian hellholes like Cuba and Venezuela (along with that third great bastion of proletarian revolution, Bolivia) as part of his “Axis of Hope.”  Castro and Chávez, outspoken supporters for Gaddafi to the bitter end.  If countries like these, along with Bolivia, are the only hope remaining for the Left, I think it’s fair to say that the it has failed in carrying out its revolutionary and world-historical mandate.

How you find these political beliefs somehow more justifiable, tolerable, or even understandable than Platypus’ critical position vis–à–vis the existing Left (to my knowledge, none of our members have at any time supported the invasion of Iraq or Afghanistan) will always be a mystery to me.

Despite these unfortunate personal associations, however, I continue to admire your writing and certain of your contributions to the anti-war discourse of the past ten years or so.  It’s unfortunate that you still refuse to engage with Platypus, since it still seems to me that your own political beliefs are far closer to some of those entertained by our members than they are to, say, Proyect’s.

Ross Wolfe:

I never pegged you for a Stalinist, Doug.  But I suppose it makes sense.  Abandoning criticism, you fall back on the most plebian, garden-variety sort of dogmatism.

While I realize that you’ll probably say that you’re joking, the mere fact that you’re willing to peddle this schoolboy shit in order to avoid engaging in open political dialogue is telling.  I present you with an unambiguous statement from Lenin regarding the Left’s justified apathy when it comes to reactionary anti-imperialism, and you prefer to sidestep it because it doesn’t fit neatly into your prefabricated categories of heroic third-world “resistance” against U.S. military chauvinism (though I don’t deny for one moment that it is chauvinism).

An open letter to Jodi Dean on leftist melancholia

•December 22, 2011 • 2 Comments

Albrecht Dürer's "Melancholia" (1514)

Dear Dr. Dean,

I noticed that you recently appeared on my friend Douglas Lain’s “Diet Soap” podcast.  As I’d heard of you before this, I thought I’d look up some of your writings and papers on OWS (as well as on other topics).

One of the results that came up almost immediately was the transcript to your recent talk on “Communist Desire,” which you presented on October 11th alongside Žižek at The Idea of Communism conference.  I found this piece to be especially interesting.  The diagnosis that you develop through your reading of Freud and Benjamin, as well as the subsequent critique you level at some of the more problematic and transhistorical statements made by Rancière, Badiou, and Negri, are valuable.

As a member of the Platypus Affiliated Society and an advocate of its political/critical project, I felt a particular affinity with the following lines from your talk:

If this left is rightly described as melancholic, and I agree with Brown that it is, then its melancholia derives from the real existing compromises and betrayals inextricable from its history, its accommodations with reality, whether of nationalist war, capitalist encirclement, or so-called market demands.  Lacan teaches that, like Kant’s categorical imperative, super-ego refuses to accept reality as an explanation for failure.  Impossible is no excuse — desire is always impossible to satisfy.  So it’s not surprising that a wide spectrum of the contemporary left have either accommodated themselves, in one way or another, to an inevitable capitalism or taken the practical failures of Marxism-Leninism to require a certain abandonment of antagonism, class, and revolutionary commitment to overturning capitalist arrangements of property and production.  Melancholic fantasy — the communist Master, authoritarian and obscene — as well as sublimated, melancholic practices — there was no alternative — shield them, us, from confrontation with guilt over this betrayal as they capture us in activities that feel productive, important, radical.

I would even go so far as to say that the Left’s compulsive engagement in seemingly “productive, important, radical” (pseudo-)activities and (pseudo-)practices — the pious gestures of a Left wracked with feelings of helplessness and melancholic self-hatred — is almost the exact inverse of what Herbert Marcuse described as “repressive desublimation.”  Though it the phrase might almost seem redundant, the recourse to naïve actionism (as Adorno termed it) or “activistism” (Henwood’s word for it) is symptomatic of a sort of repressive sublimation that has taken place on the Left.  What I mean by this is that the redirection of unsatisfied desire in apparently productive activities comes to serve as a way to repress the overwhelming sense of futility that has come to surround the Left’s hopes for radical social transformation.

As a result, protest has often become routinized as a merely salutary gesture that the Left makes before yielding to accommodation with the existing order.  Hence Chris Cutrone’s recent cautionary article “A Cry of Protest before Accommodation?” But you point out — correctly, I would say — that some groups on the Left have begun trying to work through its historical melancholia:

Perhaps I should use the past tense here and say “shielded” because it is starting to seem, more and more, that the left has worked or is working through its melancholia.   While acknowledging the incompleteness of psychoanalysis’s understanding of melancholia, Freud notes nonetheless that the unconscious work of melancholia comes to an end:  “Just as mourning impels the ego to give up the object by declaring the object to be dead and offering the ego the inducement of continuing to live, so does each single struggle of ambivalence loosen the fixation of the libido to the object by disparaging, denigrating it, and even as it were killing it.  It is possible for the process in the Ucs. [unconscious] to come to an end, either after the fury has spent itself or after the object has been abandoned as useless” (255).  Freud’s reference to “each single struggle of ambivalence” suggests that the repetitive activities I’ve associated with drive and sublimation might be understood more dialectically, that is, not merely as the form of accommodation but also as substantive practices of dis- and reattachment, unmaking and making.  Žižek in particular emphasizes this destructive dimension of the drive, the way its repetitions result in a clearing away of the old so as to make a space for the new.  Accordingly, in a setting marked by a general acceptance of the end of communism and of particular political-theoretical pursuits in ethics, affect, culture, and ontology, it seems less accurate to describe the left in terms of a structure of desire than to point to the fragmentation or even non-existence of a left as such.

In accordance the cited passage from Freud, where he states that “each single struggle of ambivalence loosen[s] the fixation of the libido to the object by disparaging, denigrating it, and even as it were killing it,” Platypus advances the slogan “The Left is dead! Long live the Left!” This is, of course, an echo of Marx’s play on the old monarchical saying in The Class Struggles in France, 1848-1851, in which he declares: “The revolution is dead! Long live the revolution!”

(On the subject of our slogan, Žižek recently expressed his approval of it during an interview we conducted with him in Maastricht last month:
Haseeb Ahmed: A lot of what you say is very close to what Platypus has to say.  Platypus’s main slogan is “The Left is dead! — Long live the Left!”
Slavoj Žižek: This is great! This is the only way to truly resuscitate the Left.  Because it refers to all varieties of the Left.  1968 is a model for how the movement recuperated and gave an incredible new boost to capitalism.  All the post-1968 phenomena show this.)

However, we regard our slogan to be just as much an imperative as it is a declarative statement.  The ghosts of the dead Left, which have mysteriously survived their own extinction, must be exorcised so that today’s Left can live.  Though I am extremely ambivalent when it comes to the New Left, I will give them credit for confronting (however inadequately) their predecessors in the Old Left, critiquing their latent Stalinism and joyless austerity.  So far, except in a few lines from David Graeber, #Occupy has yet to have that Oedipal moment where it finally kills off the New Left.  Perhaps it’s that there’s no equivalent to the intergenerational animus that existed between the “red diaper babies” and their parents.

The tradition of all dead generations weighs like a nightmare on the brains of the living, to be sure.  But this cannot be remedied by merely denying the legacy we have inherited from the past, for this only allows its errors and bad tendencies to slip back into our practice unconsciously.  Rather, we must “work through” (as you rightly put it, echoing Freud) this residual melancholy through a ruthless critical engagement with the history of the Left, so as to enact the dialectic of its transformation and reconstitution.  As Adorno put it in Negative Dialectics, “What has been cast aside but not absorbed theoretically will often yield its truth content only later.  It festers as a sore on the prevailing health; this will lead back to it in changed situations.”

Thus, we must finally bury all those leftover sectarian and dogmatic Marxist tendencies that persist into the present.  Our preoccupation with the history of the Left is not borne out of any sort of nostalgic fascination with a bygone era, the “narcissism of the lost cause” (as Lacan put it), and still less out of some macabre, necrophiliac compulsion.  For it is Platypus’ sincere conviction that much of the emancipatory politics one sees today sustains itself only by scavenging the desiccated remains of what once was possible.  The historical consciousness we seek to cultivate is therefore along the lines of what Gramsci advocated when, in an early (1915) essay on “History,” he wrote:

[W]e feel an enormous, irresistible force from our human past.  We recognize the good things it has brought us, in the knowledge that what once was possible might someday be possible again.  But we also recognize the bad, in the many living fossils — anachronistic remnants and outmoded states of mind — that persist into the present.  And this is why we must call ourselves modern.  Because, though we feel the past fueling our struggle, it is a past that we have tamed — our servant, not our master — a past which illuminates and does not overshadow us.

It was in the spirit of answering this imperative that I tried to situate #Occupy in the context of past revolutionary struggles, in my “Reflections on Occupy Wall Street,” already more than two months old now.  For #Occupy does not simply offer itself as a solution to the existing problems of society, but poses its own existence as a problem to itself.  And without some heightened degree of self-reflection — toward which it has, admittedly, gestured — it could easily fall into the same idiocies and slapstick which have plagued past movements.

Nevertheless, it was because of the affinity I felt in reading your presentation on “Communist Desire” that I was somewhat puzzled to see that you were glad to hear that Doug Henwood was pulling out of the panel Platypus had set up on “The Crisis of the Left.”  Especially since — as Henwood himself admitted — his decision was largely predicated on some terrible and misleading advice given to him by Louis Proyect, a self-loathing academic at Columbia University who still hasn’t gotten over the fact that he wasted ten years of his life hurling Trotskyist rags.  Proyect, whose feelings we hurt in some criticisms we issued back in 2010, unimaginatively tried to compare us to the Eustonite movement in the U.K.  Of course, these charges were just as vapid and groundless as the criticisms Proyect leveled at you and Žižek back in mid-October of this year:

Google “Jodi Dean” and “Communist Desire” and you’ll be able to read the talk she gave this morning. It is a kind of psychoanalysis of the left[…]

My take on this is somewhat different than Professor Dean’s. My Rx for combating melancholia is victories, no matter how minor, against the bourgeoisie.  To achieve such victories, it will require strategy and tactics that Malcolm X once described as  “designed to get meaningful immediate results.”  Such actions are surely aided by a solid analysis of the relationship of class forces that can only be derived by a study of bourgeois society such as the kind found in classical Marxism and not Frankfurt-inspired philosophizing, I am afraid[…]

Dean unfortunately has bought into Žižek’s bad-boy routine and even defended it against his critics.

While Bhaskar Sunkara, someone who has at times been close to Platypus, wrote a rather dismissive critique of some of your “Communist Horizon” for Jacobin, I found his engagement with your ideas infinitely more thoughtful than Proyect’s.  I appreciated the back-and-forth exchange you had with him on their site.

So I guess it’s that I don’t know if your post on Henwood’s blog is indicative of some deeper antipathy you hold toward the Platypus Affiliated Society as an organization or not.  If we’ve done something to offend you, I’m sure it was unintentional.  This probably seems like a pretty standard declamation to make, but there really are a lot of vacuous rumors circulating the web about our group.  I mean, I can’t say I’m familiar with your work outside of the piece on “Communist Desire” (though I’m planning to read more), but at least from that it seemed like our projects were somewhat similar.

I don’t know if you’d be interested, but we’d love to include you on one of our panels, interview you, or perhaps even receive an article contribution from you on this theme of Left melancholia or #Occupy or something along these lines.

Anyway, I hope that this might perhaps clear up some of the misunderstandings that may have arisen between Platypus and yourself.

Best,
Ross

P.S. — Speaking of leftist melancholia, what are your thoughts on Adorno’s famous “melancholy science” as expressed in Minima Moralia?

What is the #Occupy Movement?: Part II of the roundtable political discussion series hosted by The Platypus Affiliated Society

•December 21, 2011 • Leave a Comment

What is the #Occupy Movement?

A series of roundtable discussions hosted by The Platypus Affiliated Society. This is the second part of the discussion series held in New York City.

Speakers: Hannah Appel (Columbia, OWS Think Tank working group), Erik Van Deventer (NYU, OWS Demands working group), Nathan Schneider (Waging Nonviolence, OWS Occupy Writers), and Brian Dominick (Z Media Institute).

Held on December 9, 2011 at New York University.

The recent #Occupy protests are driven by discontent with the present state of affairs: glaring economic inequality, dead-end Democratic Party politics, and, for some, the suspicion that capitalism could never produce an equitable society. These concerns are coupled with aspirations for social transformation at an international level. For many, the protests at Wall St. and elsewhere provide an avenue to raise questions the Left has long fallen silent on:

What would it mean to challenge capitalism on a global scale? How could we begin to overcome social conditions that adversely affect every part of life? And, how could a new international radical movement address these concerns in practice?

We in the Platypus Affiliated Society ask participants and interested observers of the #Occupy movement to consider the possibility that political disagreement could lead to clarification, further development and direction. Only when we are able create an active culture of thinking and debating on the Left without it proving prematurely divisive can we begin to imagine a Leftist politics adequate to the historical possibilities of our moment. We may not know what these possibilities for transformation are. This is why we think it is imperative to create avenues of engagement that will support these efforts.

Towards this goal, Platypus will be hosting a series of roundtable discussions with organizers and participants of the #Occupy movement. These will start at campuses in New York, Chicago, Boston and Philadelphia but will be moving to other North American cities, and overseas to London, Germany, Greece, India and South Korea in the months to come. We welcome any and all who would like to be a part of this project of self-education and potential rebuilding of the Left to join us in advancing this critical moment.

The Platypus Affiliated Society

December 2011

Questions

Discussants were asked to consider the following questions:

1. In light of the recent series of coordinated and spectacular evictions that took place on November 15th, as well as the international Day of Action that followed two days later, is it fair to say that the #Occupy movement has entered into “phase 2”? If so, what is the nature of this new phase of the movement’s development? How has the occupation been forced to adapt to a changing set of conditions on the ground and what sorts of fresh difficulties do these new conditions pose for the occupiers? A moment of crisis can often be a moment of opportunity—what direction do you feel the movement should take in order to remain viable and relevant?

2. There are striking similarities between the Occupy movement and the 1999 anti-WTO protests in Seattle. Both began in the last year of a Democratic presidency, were spearheaded by anarchists, were motivated by discontents with neo-liberalism, and were supported by organized labor.

What, if anything, makes this movement different? How is it a departure from Seattle? What are the lessons to be learned from the defeat of the anti-globalization movement?

3. Some have characterized the #Occupy movement as sounding the tocsin for “class war” (e.g., of the 99% vs. the 1%). Others recognize the fact of dramatic inequality, and want the #Occupy movement to spearhead a set of economic reforms. Others see #Occupy as transforming something revolutionary beyond the “economic”. These perspectives point to radically different directions for this movement.

Would you characterize this movement as “anti-capitalist”? (Should it be?) If so, what is the nature of these “anti-capitalist” politics? In what way does the #Occupy movement affirm or reject the political ideas of anti-capitalist movements before it?

4. Some have become wary about the role of labor organizations in the #Occupy movement. Concerns point to the possibility of eventual “co-optation” into Democratic Party politics. Others worry that the “horizontal,” leaderless structure cultivated by the occupiers might be undermined by the decidedly top-down, hierarchical organization of labor unions. Certain of these collaborations, for example between the labor activists and occupiers in Oakland, have been seen as highly fruitful. Still, the broader call for a general strike that some organizers have hoped for has so far not been met.

What role should organized labor play in the #Occupy movement?

5. One division that emerged early on among the occupants concerned the need to call for demands. Some took issue with the content of the demands, arguing that if these are to be truly “representative of the 99%” they cannot assume a radical stance that would alienate a large section of the population. Others worry that demands focused on electoral reform or policy would steer the movement in a conservative direction. Some call into the question the call for demands in the first place, as these would limit — even undermine — the open-ended potential for transformation present in the #Occupy movement and could only close revolutionary possibilities.

What, if any, demands do you think this movement should be calling for? And, more importantly, what kind of social transformation would you like to see this movement give rise to?

6. What would it mean for the #Occupy movement to succeed? Can it?

Roundtable Participants’ Bios

Brian Dominick has nearly 20 years’ experience as an activist, organizer, and journalist. In his writing and lecturing, he has largely focused on questions of strategy and tactics for far-reaching social change. Forming and consulting alternative institutions has been a specialty of Brian’s, from affinity groups to worker coops to 501(c)(3)s to international activism networks. He is a former co-founder of NewStandard News and instructor at the Z Media Institute.

Erik Van Deventer is a doctoral student at NYU in the Department of Sociology, presently working on the political economy of finance. He has been active at OWS and in the Demands working group.

Hannah Appel earned her Ph.D. in the Department of Anthropology at Stanford University. With research interests in the daily life of capitalism and the private sector in Africa, in particular, Hannah’s work draws on critical development studies, economic anthropology, and political economy. Her current project — Futures — is based on fourteen months of ethnographic fieldwork in the transnational oil and gas industry in Equatorial Guinea.

Nathan Schneider is an editor for Waging Nonviolence. He writes about religion, reason, and violence for publications including The Nation, The New York Times, The Boston Globe, The American Prospect, and others. He is also an editor at Killing the Buddha.

***Unless otherwise stated by the participants, their comments today do not necessarily reflect the overall opinion of their respective Working Groups.

The ultra-Taylorist Soviet utopianism of Aleksei Gastev (including Gastev’s landmark book How to Work/Как надо работать)

•December 7, 2011 • 1 Comment

Portrait of Aleksei Gastev by Tolkachev (1924)

Download Алексей Гастев - Как надо работать (1923) [Aleksei Gastev - How to Work]

The following are excerpts from my thesis on the scientific management of labor and psychotechnics in the Soviet Union during the 1920s and 1930s.

Aleksei Gastev (1926)

NOT (1925)

TsIT presidium (1925)

The Constructivists’ goal to rationalize artistic labor and thus enter life can be traced to the early Soviet intellectual fascination with the Taylorist industrial theory of scientific management.  As was covered in the previous section, American Taylorism exerted an influence throughout the European world of modernist art and architecture.  However, the especially central role it played through its reception and dissemination in the Soviet Union warrants further contextual reflection.  For the Soviet architectural avant-garde did not simply absorb the influence of Taylorism through its mediation by the Constructivists in art, but also directly from a number of academic sources as well.  Taylorism was enthusiastically embraced in the USSR by many in the revolutionary intelligentsia and even some leading Bolsheviks, including Trotskii and Lenin himself[562] (despite his 1914 article “Taylor’s System: The Enslavement of Man to the Machine”).  It was mostly popularized by writers like Osip Ermanksii[563] and later advocates of the Scientific Organization of Labor (abbreviated NOT [for Nauchnaia organizatsiia truda]) like the poet and factory worker Aleksei Gastev.  Gastev was the founder and, from 1920 to 1937, the director of TsIT (Central Institute of Labor).  TsIT was dedicated to the improvement of industrial efficiency.  Under Gastev, its official philosophy was that of Taylorism.  He was doubtless the most passionate exegete of Soviet Taylorism.  For Gastev, Taylor was modern industrialism’s greatest theoretician, and Henry Ford its greatest practitioner.  Ford was a heroic figure for many in the Soviet Union during the 1920s for his contribution to assembly-line production and his rationalization of labor practices.  Gastev, however, took this much further, going so far as to align Ford with Karl Marx as compatible (and indeed complementary) thinkers in his 1927 article “Marx and Ford.”[564]  For reasons that will be discussed later, Taylorism and machine-worship was stronger in Russia than in Western Europe.  As the Hungarian academic René Fülöp-Miller keenly observed, “[i]n contrast to the intoxicated enthusiasm with which Russians speak of the application of the mechanizing process to the whole of existence, Europeans describe the invasion of their life by technical elements in a completely skeptical fashion.”[565]

Motion tests, TsIT (1924)

The choreography of labor: TsIT cyclograph testing motive efficiency

The biomechanics of labor: TsIT ergometric testing (1925)

The Constructivists’ artistic and architectural appropriation of Taylorism in large part came by way of Gastev.  Indeed, Gastev’s significance as an interlocutor can hardly be overstated, since it was his own distinctive interpretation of Taylor that so lent itself to modernist aesthetics.  It was his fanatical promotion of its aspects of automation and mechanization, emerging out of a decidedly Futurist Weltanschauung, that made it a vital contribution to the early Soviet cult of the machine.  He advocated “systematic planning,” the “chronometration [khronometrirovanie] of time” through the introduction of time cards, and an “automated uniformity of labor” through that standardization of the most efficient laboring motions.[566]  Addressing the workers’ relation to industrial machinery, Gastev wrote:

The modern machine…possesses its own laws of pulsation, functioning, and relaxation — laws that do not stand in conformity with the rhythm of the human organism.  The world of the machine, the world of mechanical equipment [oborudovaniia] and urbanized labor [trudnogo urbanizma], produces specially connected collectives, begets certain types of people.  These are people who we must accept, just as we accept the machine, though we must not smash their heads on its gears.  We must bring some kind of equalizing coefficient into the machine’s iron disciplinary pressure, though history insistently demands we pose these not as petty problems of the social protection of the individual personality [lichnosti], but rather the bold engineering [proektirovaniia] of human psychology according to such an historical factor as machinism.[567]

The Scientific organization of labor

TsIT logo (1920s)

In training workers, reasoned Gastev, “[w]e begin with the most primitive, the most elementary motions and carry out the mechanization of man himself.  This mechanization we understand in the following manner: the less perfect the motion, the greater the element of deceleration and the less kinetic automatization.  The perfect mastery of a given movement implies maximum automatization.”  Furthermore, “[t]his principle of the mechanization or biological automatization [of man] must go very far, all the way to his so-called mental activity.”[568]  Notice also, then, that here psychology is encompassed by biology (or physiology).

Nikolai Rubinshtein of TsIT administering an ergonomic test (1928)

TsIT biomechanics (1925)

Gastev extended this efficacious principle even to language.  He sought to remove excessively ornate and florid language from Soviet speech, encouraging instead economy of word choice.  He thereby hoped to reform the Russian language, in order to maximize its functionality. “To save time,” Fülöp-Miller explained, “efforts were also made to mechanize language and to introduce short and pregnant expressions instead of the ordinary rambling Russian circumlocutions.  Gastev issued a series of appeals and orders for the purpose of stemming the prolix and long-winded methods of writing and speaking used by his comrades, and accustoming them to clear, brief, and easily understood sentences.”[569]  As a practicing poet, Gastev actively adhered to this streamlined language of expression in his own work.  One of his most popular Taylorist poems, “We are Built from Iron,” had particular architectural resonances:

Look! — I stood in their midst: among the shopfloor machines [stankov], hammers, flames, furnaces, and hundreds of [their] comrades.
Atop the wrought-iron expanse [prostor].
To the sides were beams and girders.
They went up ten lengths.
[They] bent to the left and to the right.
[They] connected to the rafters and cupolas [kupolakh] as the shoulders of a giant, sustaining the whole iron construction.
They were swift, they flourished, and were strong.
[But] they still required greater force.
I looked at them and straightened.
In my veins flowed the blood of a new railway.
I grew myself higher.
Began to sprout firm hands and immense steel shoulders.
I merged with the iron construction.
I arose.
[My] shoulders stuck out of the rafters, the headers and beams, and the roof.
My feet still stood on the ground, but my head soared above the building.
Still choking from this superhuman effort, I only cried:
“These words I ask of you, my friends, these words!”
Iron covered the echo of my words, the whole building looked shaken.
And so I went even higher, accompanied by trumpets.
And there is no story, no question — but only one cry, my iron shout:
“We will win!”[570]

Gastev’s radical Taylorist position was not monolithic within the organization NOT, however.  He was opposed by another prominent figure in the field of ergonomics and industrial psychology, Platon Kerzhentsev.  Kerzhentsev was more critical of Taylorism, but nevertheless defended its utility and acceptability in his 1924 book The Struggle Over Time, once it was fitted to socialism.[571]  He helped form a splinter group, the League of Time, in 1924.[572]  Though the League of Time and TsIT were opposed tendencies within the greater movement NOT, both sides supported some form of Soviet Taylorism.

One tendency within TsIT both broke ranks with both the organization and Taylorism as a whole — the supporters of the “psychotechnician” Isaak Spilrein.  The discipline of psychotechnics was officially founded by the German-American Harvard psychologist Hugo Münsterberg, who in turn was expanding upon the theories of both Taylor in labor and the greater study of psychophysiology in German philosophical discourse.  As an independent field of study, psychophysiology had risen to prominence within the Western academy in the second half of the nineteenth century.  It originated in the theories of the renowned German physicist Hermann von Helmholtz, whose works on optics and the aesthetic physiology of perception inspired his equally famous student, Wilhelm Wundt.[573]  Wundt, the father of experimental psychology, himself took up the question of the “psychophysiological parallelism” between the excitations of produced by sensation (aesthesis) and psychological states in his two-volume treatise on the subject, The Principles of Psychophysiology.[574] Münsterberg had been one of Wilhelm Wundt’s final doctoral students.  In 1913, he published a book on Psychology and Industrial Efficiency, which he then followed with his 1914 Fundamentals of Psychotechnics [Grundzüge der Psychotechnik].  In these works he coined the term “psychotechnics” and effectively established it as a discipline.  Psychotechnics for the followers of Münsterberg was a means by which one could control human behavior through psychological techniques.  Or, as Vygotskii would later put it in his 1927 Historical Meaning of the Crisis in Psychology, “psychotechnicsin a word…is the scientific theory which would lead to the seizure and subordination of the mind [psikhovoi], to the artificial control of behavior.”[575]

At his Harvard laboratory, Münsterberg carried out a number of experiments related to the study of aesthetics.  The results of these experiments, as he surmised, would have a considerable impact on artistic and architectural practice.[576]  He wrote:

Among the psychological laboratories at Harvard, mine is the only one that has a number of aesthetic studies planned annually already in gear.  I stress the following, mutually complementary work of my laboratory to give an idea of ​​the variety of problems, which can be examined by the experimental method: the balance of simple shapes (Pierce); symmetry (Puffer); unequal division (Angier); repetition of the spatial forms (Rowland); vertical separation (Davis); simple rhythmic forms (McDougall), rhythm and rhyme (Stetson); impression of the poetic language elements (Givler); psychophysics of melody (Bingham); resolution of dissonances (Moore); unmusical tone intervals (Emerson); the conditions of uniform appearance (Otis); interaction of objects (Keith); combination of feelings (Johnston); rhythmic alternation of feelings (Kellogg); and some others, wherever the aesthetic — but not the sensory — point of view was crucial, psychologically.  More or less isolated work of other laboratories are based on color combinations to basic shapes, and combinations of notes to tunes on associative factors, physiological conditions, to elements of the comic and the like.  But all these together today constitute only a beginning.[577]

So influential were these preliminary studies that the Soviet Rationalist architect Nikolai Ladovskii cited them explicitly in an article he wrote proposing the foundation of “A Psychotechnical Laboratory of Architecture (Posing the Problem).”[578]  After this proposal was ratified and a laboratory installed into the VKhUTEMAS studios, Ladovskii carried out a number of psychotechnical tests with the help of his assistant, Georgii Krutikov.  It is known that the science of psychophysiology was of some interest to Kandinsky, as well (especially in his 1920 “Program for the Institute of Artistic Culture [INKhUK],” about which more later); however, it is doubtful that nonobjectivists such as Malevich were directly influenced by developments in this field.  Nevertheless, Aleksei Gan rightly noted the affinity between the work of the Suprematists and Ladovskii’s assimilation of Münsterbergian psychotechnics: “[W]hat Malevich does…has great psychological importance…This is where Suprematist studies could be very important.  They could be very beneficially introduced into the Basic Course of the VKhUTEMAS, in parallel to those exercises currently conducted [by Ladovskii] under the influence of the psychologist Münsterberg’s Harvard Laboratory.”[579]  Though a Constructivist, Teige was also quite impressed by the results of psychotechnical experimentation.[580]

In the Soviet Union, psychotechnics made up an important part of the study of industrial psychology.  Spilrein was its chief proponent in TsIT, which he joined in 1921.  The brother of one of the first female psychoanalysts (and Jung’s lover), Sabrina Spilrein, Spilrein himself was educated in Germany with Wilhelm Wundt and Wilhelm Stern before returning to Russia.  He became acquainted with Münsterberg’s theory of psychotechnics and began to promote its use at TsIT, under the directorship of Gastev.  After some frustration with the doctrinaire Taylorism he experienced in the Institute, Spilrein started to view Münsterbergian psychotechnics as a preferable alternative to the extreme biological “mechanization” championed by Gastev. As Spilrein’s ergonomic theories drifted further from Taylorism, he sided with Platon Kerzhentsev in opposition to Gastev[581] before leaving TsIT altogether in 1922.  At the Moscow University’s Psychological Institute, Spilrein was joined by Solomon Gellerstein and a young Lev Vygotskii[582] in founding the first Russian psychotechnical facility in the Laboratory of Industrial Psychotechnics in 1923.[583]  This group later started a journal in 1928 calling itself The Psychophysiology of Labor and Psychotechnics,[584] which was published under Spilrein’s editorship until 1932, when it changed its name to Soviet Psychotechnics.[585]

It should be noted with irony that, as was mentioned earlier, Münsterberg was a great admirer of Taylor’s system, and never saw his own discipline of psychotechnics as an alternative — but rather as a supplement — to the theory of scientific management.  Only in the context of the Soviet Union did the two fields come to be opposed to one another.  Both were modes of ergonomics and industrial psychology; the debate between Gastev, Spilrein, and their followers boiled down to the issue of which held primacy.

The Graveyard of Utopia: Soviet Urbanism and the Fate of the International Avant-Garde

•November 22, 2011 • 3 Comments

Ivan Kudriashev's "Luminescence" (1926)

TABLE OF CONTENTS

I. Introduction: Soviet Urbanism and the Fate of the International Avant-Garde II. A Structural Overview of the Proceeding Work: The Sociohistoric Phenomenon of the International Avant-Garde and Soviet Urbanism as Its Decisive Moment III. The Dialectic of Modernism and Traditionalism: The Development of the International Avant-Garde in Architecture

A. The Spatiotemporal Dialectic of Capitalism B. Traditionalist Architecture C. Modernist Architecture — Negative Bases

1. Traditionalist Architecture: “Style,” Ornamentation, and Eclecticism 2. The Academic Establishment 3. The “Anarchy of Production” under Capitalism

D. Modernist Architecture — Positive Bases

1. The Spatiotemporal Dimensions of Abstract Art (or, the Volumetrics of Modern Architecture)  2. Industrialism (or, the Ergonomics of Modern Architecture)  3. The Housing Shortage, the Urban Proletariat, and the Liberation of Woman (or, the Sociohistoric Mission of Modern Architecture)

IV. The Soviet Moment: The Turn toward Urbanism, the Crisis in the West, and the Crossroads of the Architectural Avant-Garde in Russia

A. The Artistic and Intellectual Origins of the Soviet Architectural Avant-Garde B. The Further Development of the Soviet Architectural Avant-Garde into the 1930s C. Totality, Total Architecture, and the Turn toward Urbanism

1. Totality 2. Total Architecture 3. The Turn toward Urbanism

D. The Crossroads of the Architectural Avant-Garde in Russia

V. Conclusion: The Sepulchral Cities of Modernity VI. Notes

Ivan Leonidov, proposal for a section of Magnitogorsk (1930)

INTRODUCTION

Comrades!

The twin fires of war and revolution have devastated both our souls and our cities. The palaces of yesterday’s grandeur stand as burnt-out skeletons. The ruined cities await new builders[…]

To you who accept the legacy of Russia, to you who will (I believe!) tomorrow become masters of the whole world, I address the question: with what fantastic structures will you cover the fires of yesterday?

— Vladimir Maiakovskii, “An Open Letter to the Workers”[1]

Utopia transforms itself into actuality. The fairy tale becomes a reality. The contours of socialism will become overgrown with iron flesh, filled with electric blood, and begin to dwell full of life. The speed of socialist building outstrips the most audacious daring. In this lies the distinctive character and essence of the epoch.

— I. Chernia, “The Cities of Socialism”[2]

Between 1928 and 1937, the world witnessed the convergence of some of the premier representatives of European architectural modernism in Moscow, Leningrad, and other cities throughout the Soviet Union. Never before had there been such a concentration of visionary architectural talent in one place, devoting its energy to a single cause. Both at home and abroad, the most brilliant avant-garde minds of a generation gathered in Russia to put forth their proposals for the construction of a radically new society. Never before had the stakes seemed so high. For it was out of the blueprints for this new society that a potentially international architecture and urbanism could finally be born, the likes of which might then alter the face of the entire globe. And from this new built environment, it was believed, would emerge the outlines of the New Man, as both the outcome of the new social order and the archetype of an emancipated humanity. With such apparently broad and sweeping implications, it is therefore little wonder that its prospective realization might have then attracted the leading lights of modernist architecture, both within the Soviet Union and without. By that same account, it is hardly surprising that the architectural aspect of engineering a postcapitalist society would prove such a captivating subject of discussion to such extra-architectural discourses as politics, sociology, and economics.

Le Corbusier in Paris unveiling his model for his Palais des Soviets (1931)

Le Corbusier sitting in front of the construction site for the Tsentrosoiuz Building in Moscow (March 1931)

The bulk of the major individual foreign architects and urbanists who contributed to the Soviet cause came from Germany. Such luminaries as Walter Gropius,[3] Ludwig Hilberseimer, and Peter Behrens each contributed to Soviet design competitions. Former Expressionists — now turned modernists — like Bruno Taut, his brother Max, Arthur Korn, Hans Poelzig, and Erich Mendelsohn all joined the greater project of socialist construction in the USSR.[4] Major architects also arrived from other parts throughout Western Europe, eager to participate in the Soviet experiment. Foremost among them, hailing from Switzerland, was the French-Swiss archmodernist Le Corbusier, whose writings on architecture and urbanism had already become influential in Russia since at least the mid-1920s. From France additionally appeared figures like André Lurçat and Auguste Perret,[5] lending their talents to the Soviet cause. The preeminent Belgian modernist Victor Bourgeois actively supported its architectural enterprise as well.

Foreign architects at work on Magnitogorsk, including Mart Stam and Johan Niegemann (circa 1931-1932)

Ernst May's "May Brigade" (1930)

Ernst May lecturing in the Soviet Union on his proposal for Magnitogorsk (1930)

Ernst May dressed in heavy winter gear in the Soviet Union, late 1930

Besides the major individual figures attached to this effort, there existed several noteworthy aggregations of international architects and urbanists, under the heading of “brigades.” The German socialist Ernst May, mastermind of the highly-successful Neue Frankfurt settlement, traveled to Russia along with a number of his lesser-known countrymen, including Eugen Kaufmann, Wilhelm Derlam, Ferdinand Kramer,[6] Walter Kratz, and Walter Schwagenscheidt. The Austrians Margarete Schütte-Lihotzky (designer of the famous “Frankfurt Kitchen”), her husband Wilhelm Schütte, and Anton Brenner also accompanied May in his journeys.[7] Together with the Hungarian Bauhaus student Alfréd Forbát,[8] the German-Swiss builder Hans Schmidt, and the Bauhaus and De Stijl veteran Mart Stam, originally from Holland, these architects comprised the famous “May’s Brigade” of city planning. Many other German architects and city-planners, still less well-known, belonged to May’s group as well: Hans Burkart, Max Frühauf, Wilhelm Hauss, Werner Hebebrand, Karl Lehmann, Hans Leistikow, Albert Löcher, Ulrich Wolf, Erich Mauthner, Hans Schmidt, and Walter Schulz, to list a few.[9]

André Lurçat in Moscow, 1934

Members of Hannes Meyer's "Red Brigade" in the Soviet Union (1931)

Hannes Meyer, another Swiss German, also departed for Moscow, after being suddenly dismissed from his position as director of the Bauhaus on grounds of his leftist political sympathies.[10] He took with him seven of his best students from Dessau, who were themselves of quite varied backgrounds: Tibor Weiner and Béla Scheffler, both Hungarian nationals; Arieh Sharon, of Polish-Jewish extraction; Antonín Urban, a Czech architect; and finally Konrad Püschel, Philip Tolziner, René Mensch, and Klaus Meumann, all German citizens.[11] These members together comprised the so-called “Red Brigade.” A number of other German architects associated with Kurt Meyer’s (unrelated to Hannes) urban and suburban group were also shown in attendance at the international building conference in Moscow in 1932: Magnus Egerstedt, Josef Neufeld, Walter Vermeulen, E. Kletschoff, Julius Neumann, Johan Niegemann, Hans-Georg Grasshoff, Peer Bücking, and Steffen Ahrends.[12]

Albert Kahn's Cheliabinsk tractor factory (1934)

Frank Lloyd Wright and Mr. and Mrs. Iofan at a banquet, Moscow (1937)

Czech modernists Vítězslav Nezval and Karel Teige in Moscow (1926)

The newly formed constellation of Eastern Europe that emerged out of the postwar dissolution of the Russian and Austro-Hungarian empires was also represented in force by some of its leading modernists. From Czechoslovakia, the great Constructivist poet and architectural critic Karel Teige[13] lent his incisive observations to the Soviet Union’s various attempts at regional and municipal planning. Two of Teige’s close compatriots in the Czech avant-garde, the functionalist architects Jiří Kroha[14] and Jaromír Krejcar,[15] were already active in the Soviet Union at that time. Besides Wiener, Scheffler, and Forbát, who were associated with May’s and Meyer’s groups in Moscow, the Hungarian modernists Laszlo Péri, Imre Perényi,[16] and Stefan Sebök[17] each worked independently for the Soviet state. Finally, the Polish avant-gardists Edgar Norwerth[18] and Leonard Tomaszewski[19] also collaborated with various organs of the government of the USSR during the execution of its second five-year plan.

The radical architect and Bauhaus director Hannes Meyer (1930)

Bruno Taut, Grete Schutte-Lihotsky, and others in the Soviet Union (1933)

A number of American architects contributed to the Soviet effort as well.  Albert Kahn, the celebrated builder of Detroit — along with his brother, Moritz Kahn — helped design over five hundred factories in the Soviet Union as part of its push toward industrialization.[20]  Thomas Lamb, the well-established constructor of many of America’s first cinemas, and Percival Goodman, an urban theorist who would later build many famous American synagogues, also offered their abilities to the Soviet state.[21] The pioneering American architect Frank Lloyd Wright, though he would not officially visit Russia until 1937, nevertheless spoke openly about the greatness of the Soviet project during the early 1930s. By the early 1930s, Wright was disillusioned with the capitalist socioeconomic system: “The capitalistic system is a gambling game. It is hard to cure gamblers of gambling and everybody high and low in this country prefers the gambler’s chance at a great fortune to the slower growth of a more personal fortune.” By contrast, he exclaimed the virtues of the Soviet project: “I view the USSR as a heroic endeavor to establish more genuine human values in a social state than any existing before. Its heroism and devotion move me deeply and with great hope.”[22]

VKhUTEMAS students, 1927

First OSA Conference, 1928

Despite the great influx of foreign modernists seen during this period, however, the influence of the new architectural avant-garde was hardly alien to the Soviet Union. On the contrary, it had begun to establish itself there as early as 1921 — if one discounts the renowned monument proposed by Tatlin for the Third International in 1918.[23] That year witnessed the appointment of the architects Nikolai Ladovskii, Nikolai Dokuchaev, and the sculptor Boris Efimov to the faculty of VKhUTEMAS, the well-known Moscow technical school often compared to the Bauhaus in Germany.[24] Along with Vladimir Krinskii, Konstantin Mel’nikov, and the international modernist El Lissitzky, Ladovskii and Dokuchaev went on to constitute the avant-garde group ASNOVA (the Association of New Architects) in 1923, though it would only publish the declaration of its existence in 1926. Ladovskii’s brightest pupil and laboratory assistant Georgii Krutikov would join the group upon graduating the academy in 1928. Opposed to ASNOVA, the equally-stalwart modernist OSA (Society of Modern Architects) formed the Constructivist school of architectural thought in 1925, led by such outstanding designers as Leonid, Aleksandr, and Viktor Vesnin and their chief theorist Moisei Ginzburg. Il’ia Golosov officially became a member in 1926, followed by two of their exemplary students, Ivan Leonidov and Nikolai Krasil’nikov, in 1927 and 1928 respectively. Though divergent in terms of their fundamental principles, both OSA and ASNOVA were united in their opposition to atavistic architecture and their mutual commitment to modernity.

Wall Street crash, 1929

Schmitt's "Crisis of Parliamentary Democracy" incarnate: Burning of the German parliament, the Reichstag (1933)

The overwhelming gravity that the debates over Soviet urbanism held for the avant-garde, their seemingly high stakes, is difficult to emphasize enough. Just as the USSR was first embarking upon its five-year plans, the nations of the West were facing the threefold crisis of global capitalism, of parliamentary democracy,[25] and of the European sciences[26] in general. At no prior point had the future of the worldwide socioeconomic system of capital seemed so uncertain — never had its basis been so shaken. On nearly every front — economic, political, and epistemological — it faced defeat. Italy, Germany, and finally Spain fell beneath the rising tide of Fascism. Everywhere it seemed that Europe was entering into the darkness of Spenglerian decline.

Comrade Lenin clearing the Earth of the rabble (1920)

Workers of the World, Unite!

But by that same score, in a positive sense there had never been a planning project as ambitious as the Soviet centralized economy. It represented a moment of unprecedented opportunity for international modernists to build on the highest possible scale, the chance to realize their visions at the level of totality.[27] For with the huge projected budgets set aside for new construction toward the end of the 1920s, the modernists saw an opening to implement their theories not just locally, but on a regional, national, and — should the flames of revolution fan to Europe — a potentially international scale. This mere fact alone should hint at the reason so many members of the architectural avant-garde, who so long dreamed of achieving an “international style”[28] without boundaries, would be attracted to the Soviet cause. That the number of international representatives of the avant-garde swelled to such an unparalleled degree should come as no surprise, either, given the prospect of imminently realizing their most utopian dreams. In the midst of the collapse of the old order, as heralded by world war, pestilence (Spanish influenza), revolution, and a nearly universal depression, it appeared as if the modernists were being granted their deepest wish — of erecting a new society upon the ashes of that which had preceded it. “Our world, like a charnel-house, lays strewn with the detritus of dead epochs,” Le Corbusier had thundered in 1925.[29] In the wake of global instability, crash, and catastrophe, the Soviet five-year plan seemed to offer to him and his fellow avant-gardists the chance to wipe the slate clean.

VKhUTEMAS poster celebrating the Five-Year Plan

Poster for the First Five-Year Plan (1928), with vaguely antisemitic overtones

It is therefore little wonder that the tenor of the debates over Soviet urbanism should have been cast in such stark terms. The fate of the entire avant-garde, if not society itself, hung in the balance. Whichever principles won out might ultimately determine the entire course of future building for the USSR, and perhaps the world (pending the outcome of the seemingly terminal crisis in the West). Modernist architects, who had up to that point been mainly concerned with the design of individual structures, and only here and there touched on the greater problem of urbanism, now scrambled to articulate their theoretical stances on the issue of “socialist settlement.” As a number of rival positions emerged, they came into heated conflict with one another. Whole books were written and articles published in popular Soviet journals defending one theory and attacking all that opposed it. And so the disputes did not merely take on the character of modernism combating its old traditionalist rival, but that of a radically fractured unity of the modernist movement itself. The fresh lines of division being carved within the architectural avant-garde did not owe so much to national peculiarities as it did to the radicality of the question now being posed before it: that of the fundamental restructuring of human habitation. For the issues at hand were not simply the reorganization of already-existing cities, but also the construction of entirely new settlements from the ground up. The intransigent tone that the debates subsequently assumed is thus more a testament to the urgency and sincerity of the modernist theories of the city being put forth than it is to some sort of arbitrary disagreement over matters of trivial importance.

Le Corbusier, Sergei Eisenstein, and Andrei Burov (1928)

Members of the forcibly unionized Union of Soviet Architects (1932)

This point is especially important to stress, moreover, in light of some interpretations that have recently dismissed these crucial differences in the avant-garde’s architectural visions of utopia as a quantité négligible. Not long ago, the argument was advanced that these theoretical disputes amounted to little more than quibbling pettiness on the part of the members of the avant-garde. According to this version of events, the modernists merely dressed up their personal animosities, jealousies, and professional rivalries in high-sounding rhetoric and thereby ruined any chance for productive collaboration with one another. Moreover, it asserts that it was this very disunity that led to the modernists’ eventual defeat at the hands of the Stalinists. Weakened by the years of petty bickering, this argument maintains, the two main groups representing the architectural avant-garde (OSA and ASNOVA) were easily undercut by the fledgling, proto-Stalinist organization VOPRA, working in cahoots with the party leadership. Had the members of the avant-garde been willing to set aside their differences, this outlook would have it, they might have prevailed against the combined strength of their opponents.[30]

Plan for the Functional City (1932), for a conference that was to have been held in Moscow

Of course, this account almost completely overlooks the international dimension of the debates, choosing instead to narrowly focus on the faculty politics taking place within the walls of the VKhUTEMAS school of design. While this was doubtless an important stage of the debate, it can scarcely be considered the decisive grounds on which the war over Soviet architecture was waged. It is symptomatic that such an interpretation would leap suddenly from the middle part of the 1920s to the final defeat of the architectural avant-garde in the 1937, ignoring practically everything that transpired in between. As a result, it is able to treat the problem as a merely internal affair, concerning only Soviet architects. This then allows the importance of the tensions within the VKhUTEMAS leadership throughout the early- to mid-1920s to be grossly overstated.[31] Even if the field of inquiry is thus limited, however, the polemics can by no means be reduced to mere cynicism. Such bitterness and resentment could just as easily be an outcome of (rather than a ground for) heated argumentation.

Zinoviev in a motorcade (1929)

Lunacharskii at a congress of Working Artists (1923)

But this notion — that the real differences within the modernists’ debates over Soviet architecture and urbanism were largely exaggerated — is swiftly dispelled once one takes note of the extra-architectural interest surrounding their potential results. For architects were hardly the only ones worried about the form that new Soviet settlements would take. The ideological influence of architecture on society was not lost on non-architects within the Soviet hierarchy. Many thinkers, scattered across a wide range of vocations, were therefore drawn into the discourse on socialist city planning. Quite a few economists participated in the discussion. Besides Leonid Sabsovich, a writer for the state journal Planned Economy and a major figure in the debates, economists like Stanislav Strumilin (one of Planned Economy’s editors) and Leonid Puzis weighed in on the material aspects of the various schemas of town planning. Professional sociologist Mikhail Okhitovich joined OSA in 1928, and went on to become one of its major spokesmen. The celebrated journalist and author Vladimir Giliarovskii reported on some considerations of nervo-psychological health in the socialist city.[32] Even more telling of the perceived centrality of the problem of Soviet urbanism to the five-year plan is the number of high-ranking party members and government officials who wrote on the matter. The Commissar of Enlightenment Anatolii Lunacharskii, Lenin’s widow Nadezhda Krupskaia, the old guard Bolshevik Grigorii Zinov’ev, and the doctor and Commissar of Health Nikolai Semashko all devoted lengthy articles to the consideration of different proposed solutions to the issue of urban planning. So clearly, the detailed differences between the various Soviet urban projects concerned more than solely the architects.

Painting of Stalin atop the Kremlin in Moscow (1935)

Lazar' Kaganovich, far right, Stalin's Commissar of Railways and overseer of the rebuilding project for Moscow, including the Moscow metro system (1932)

Another historiographical point that must be made is that what appears to have been “Stalinist” from the outset could not have been recognized as such at the time. The emergent features of what came to be known as Stalinism — its bureaucratic deformities, thuggery, and cultural philistinism — had not yet fully crystallized by the early 1930s. While it is true that these qualities may have been prefigured to some extent by the failure of the German and Hungarian revolutions after the war, the USSR’s consequent isolation, and the cascading effects of the political involutions that followed — none of this could be seen as yet. The betrayed commitment to international revolution, the disastrous (if inevitable) program of “Socialism in One Country,” did not bear their fruits until much later. The residual hope remaining from the original promise of the revolution echoed into the next two decades, before the brutal realities of Stalin’s regime eventually set in. In 1930, there was no “Stalinist” architecture to speak of. Even the eclectic designs of the academicians did not fully anticipate what was to come. The contours of what would later be called “Stalinist” architecture — that grotesque hybrid-creation of monumentalist gigantism and neoclassical arches, façades, and colonnades — only became clear after a long and painful process of struggle and disillusionment. Toward the beginning of the decade, a number of possibilities seemed yet to be decided upon, and so the utopian dream of revolution continued to live on.[33]

Viktor Kalmykov, project "Saturn," proposal for a levitating city (1930), studio of Nikolai Ladovskii

Soviet utopia: Proposal for Krasnoiarsk, the "red city" (1931)

Whatever latent realm of possibility may have still seemed to exist at the moment the Soviet Union initiated its planning program, however, its actual results admit of no such uncertainties. The defeat of modernist architecture was resounding and unambiguous. And while it would survive and even flourish in the West following the Second World War, the avant-garde left something of its substance behind in Russia. Its external form remained — with its revolutionary use of concrete, glass, and other materials, its austere lines and structural severity — but it had been deprived of its inner core, and now stood devoid of content. For architectural modernism had hitherto expressed an inseparable duality, and deduced its role as both a reflection of contemporary society and an effort to transform it. These two aspects, its attempt to create a universal formal language that corresponded to modern realities and its sociohistorical mission to fundamentally reshape those very realities, were inextricably bound up with one another. When the architectural avant-garde ultimately failed to realize itself by achieving this mission, it became cynical; its moment of opportunity missed, it chose instead to abandon the task of helping remake society. Cast out of the Soviet Union, the modernists let go of their visions of utopia and made their peace with the prevailing order in the West. They pursued traditional avenues like public contracts and individual commissions to accomplish each of their proposals. No longer did they dream of building a new society, but focused on limited projects of reform rather than calling for an all-out revolution. Emptied of its foundational content, however, modernism gradually gave way to post-modernism as architecture became even further untethered from its basis. Reduced to a set of organizational forms, modernist design grew increasingly susceptible to criticisms of its apparently “dull” and “lifeless” qualities. Modernism’s capitulation to the realities of bourgeois society doomed it to obsolescence. The modern itself had become passé.

Georgii Krutikov's "flying city" (1929)

Georgii Krutikov's proposal for a "city of the future" (1929)

Georgii Krutikov's proposed "city of the future" (1929)

Shuttlepod for Georgii Krutikov's "flying city" (1929)

Shuttlepod for the "flying city"

Framed in this way, this paper will assert that the outcome of the debates over Soviet urbanism in the 1930s sealed the fate of the international avant-garde. All of its prior commitments to general social change were reneged. Modernism’s longstanding duty to solve the problem of “the minimum dwelling,”[34] which for Marxists was closely tied into Engels’ work on The Housing Question,[35] was relinquished after only the first few CIAM conventions (1929-1931). Its resolution to put an end to wasteful (even criminal[36]) ornamentation and make all building more functional was scaled back to a mere stylistic choice, rather than a general social practice. Likewise, modernism’s call for a uniform, standardized, and industrialized architecture of the home was replaced by a tendency to custom-design each individual dwelling — usually the wealthier ones — as its spare, geometric style became chic among the upper classes. The mass-production of housing, serialized with interchangeable parts, was instead taken up by companies building in a more traditional style, hoping to turn a cheap profit housing students or the poor. Those bleak modernist housing complexes that were created all too often became places to merely stuff away the impoverished classes, cramped and out of sight. (That such places would become areas of high concentration for drug use and petty crime is only fitting). Finally, the quest for a universal architectural language was abandoned. This language was adopted exclusively by those particular architects who identified themselves with the modernist movement, and even then it was pursued on only a piecemeal basis.

Ludwig Mies van der Rohe's monument to Karl Liebkneckt and Rosa Luxemburg (1926)

Ludwig Mies van der Rohe's Seagram Building (1958)

The Soviet Union alone had presented the modernists with the conditions necessary to realize their original vision. Only it possessed the centralized state-planning organs that could implement building on such a vast scale.[37] Only it promised to overcome the clash of personal interests entailed by the “sacred cow” of private property.[38] And only it had the sheer expanse of land necessary to approximate the spatial infinity required by the modernists’ international imagination.[39] The defeat of architectural modernism in Russia left the country a virtual graveyard of the utopian visions of unbuilt worlds that had once been built upon it. It is only after one grasps the magnitude of the avant-garde’s sense of loss in this theater of world history that all the subsequent developments of modernist architecture in the twentieth century become intelligible. For here it becomes clear how an architect like Mies van der Rohe, who early in his career designed the Monument to the communist heroes Karl Liebkneckt and Rosa Luxemburg in 1926, would curry favor with the Nazis in the 1930s,[40] and then later become the man responsible for one of the swankiest monuments to high-Fordist capitalism, the Seagram’s Building of 1958. And here one can see how Le Corbusier, embittered by the Soviet experience, would briefly flirt with Vichy fascism during the war before going on to co-design the United Nations Building in New York. Continue reading ‘The Graveyard of Utopia: Soviet Urbanism and the Fate of the International Avant-Garde’

Totality and Total Architecture

•November 21, 2011 • 2 Comments

Lebbeus Woods' Imaginary Architecture Abstract

By “totality” is understood a unified, homogeneous whole — one which is more or less global in concept.  A totality is unified because it is a single whole to which all of its constituent parts belong.  Phrased differently, it is the universal together with all of its particular instantiations.  Not every whole is a totality.  For example, one can imagine a whole which encompasses fundamentally disparate, heterogeneous elements.  A totality, by contrast, is internally homogeneous, in the sense that all of the parts that belong to its whole are unified according to either a common principle or common set of principles which then governs them absolutely.  As such, these parts would all share a substantial similarity.  Finally, a totality is global or international in its concept in the sense that, even if it is limited empirically at a given historical moment, it nevertheless strives to expand itself outward, to draw that which is not itself into its fold.  It is, at least logically, not localizable.

Miziakin's poster predicting the global annihilation of the contradiction between town and countryside (1923)

Despite all its metaphysical trappings, the concept of “totality” (and its enshrinement as a category of thought by figures like Kant and Fichte) is historically linked to the rise of capitalist society and the widespread rationalization that came with it.  This new form of society, unlike those that came before it, presented itself as “a general whole that is substantially homogeneous — a totality.”[1]  In Kant’s table of categories, this concept of totality belonged to the sphere of quantitative judgments.  “[A]llness (totality) is nothing other than plurality considered as a unity,” explained Kant.[2]  Fichte, who initially saw his own work as merely an extension of Kant’s, characterized totality in much the same way.  He simply substituted the notion of plurality with “the relative” and unity with “the absolute.”[3]  For both thinkers, however, the category was a cautionary one.  In general, it indicated the transgressive application of a pure concept of the understanding beyond the limitations of actual experience, the attempt to dialectically extend its use into the “absolute totality” of all possible experience (which is never given).[4]  Against both of these previous thinkers, however, Hegel upheld the legitimacy of the concept of totality and its rational application with reference to reality:

The particular has one and the same universality as the other particulars to which it is related.  The diversity of these particulars, because of their identity with the universal, is as such at the same time universal; it is totality. — The particular, therefore, does not only contain the universal but exhibits it also through its determinateness; accordingly the universal constitutes a sphere that the particular must exhaust.  This totality, inasmuch as the determinateness of the particular is taken as mere diversity, appears as completeness.[5]

Chartist meeting, Kensington commons

According to Lukács, Marx took up this thread of Hegel’s thought in a polemical fashion, again “turning it on its head,” so to speak.  In so doing, Lukács argued, Marx discovered the rational core that could be salvaged from the Hegelian system of idealism.[6]  Marx understood this novel concept of “totality” as originating not from an ingenious invention that spontaneously took place in the heaven of ideas, but as an ideological reflection of the new material processes that constituted social reality.  That is to say, the category of totality described by philosophers like Kant, Fichte, and Hegel comprehended in thought the new social formation that was emerging all around them.[7]  For this was precisely how Marx conceptualized bourgeois society toward the end of Capital, Volume 3:

[T]he capitalist process of production is a historically specific form of the social production process in general.  This…is both a production process of the material conditions of existence for human life, and a process, proceeding in specific economic and historical relations of production, that produces and reproduces these relations of production themselves, and with them the bearers of this process, their material conditions of existence, and their mutual relationships, i.e. the specific economic form of their society.  For the totality of these relationships which the bearers of this production have towards nature and one another, the relationships in which they produce, is precisely society, viewed according to its economic structure.[8]

The Integral Magnitude of the Capitalist Totality

Marx reproached the vulgar economists specifically for their failure to conceive society as such a historic and material totality.[9]  The exact implications of this totalizing aspect of capitalism have been the subject of much interpretation within the history of Western Marxism.[10]  In Lukács’ account, “[t]he category of totality [indicates] the all-pervasive supremacy of the whole over the parts.”[11]  Unlike the way it was later conceptualized by Adorno,[12] the constituent parts that make up the whole of the social totality were not all identical to one another.[13]  Importantly, for Lukács totality was the ultimate category of analysis for describing capitalist society.  To use his terms, “totality permeates the spatio-temporal character of phenomena.”[14]  With reference to the spatiotemporal dialectic of capitalism established earlier, totality might be seen as its overarching principle.

Proposed Sketch for Industrialized Magnitogorsk (1932)

Postone, while accepting Adorno’s assertion that the totality of social relations remains alienated under capitalism, likewise rejected the idea that this totality could ever successfully purged of its contradictory or nonidentical elements.[15]  However it is formulated, however, the totalizing character of capitalist society — its Weberian tendency to integrate and rationalize everything it encompasses — reappeared in the architectural ideology of the modernists.  As Tafuri noted, this mirrored attempts in modern sociology to consciously administrate and reorder social behavior.[16]  The avant-garde thus unconsciously affirmed the social totality:

Salvation lies no longer in “revolt” but in surrender without discretion.  Only a humanity that has absorbed and made its own the ideology of work, that does not persist in considering production and organization something other than itself or simply instruments, that recognizes itself to be part of a comprehensive plan and as such fully accepts that it must function as the cogwheels of a global machine: only this humanity can atone for its “original sin.”  And this sin is not in having created a system of means without knowing how to control the “revolt of the objects” against their inventor, as Löwith and the young Lukács understood Marxist alienation.  This sin consists instead in man’s “diabolical” insistence on remaining man, in taking his place as an “imperfect machine” in a social universe in which the only consistent behavior is that of pure silence.[17]

Georgii Krutikov's proposal for "The Flying City" (1928)

This sentiment, which Tafuri attributes to modernist architecture, clearly carries Taylorist overtones.  It almost seems to have been presaged by the sociologist Georg Simmel in a passage from The Philosophy of Money.  This is perhaps not a coincidence.  Simmel was, after all, a major influence on the young Lukács.  The congruence of Tafuri’s description of the modernists’ position with the following lines from Simmel is uncanny, however:

The organization of the factory and the construction of machinery demonstrates daily to the industrial worker that efficient movements and effects can be accomplished with absolute accuracy and that personal and other internal disturbances must be avoided at all costs.  This attainment of ends by a transparent and controllable mechanism paves the way for a social ideal that seeks to organize the social totality with the supreme rationalism of the machine and the exclusion of all private impulses.[18]

William Craig - City Dialectics of Totality and Infinity (urbanistic project at Columbia University)

We shall accept — at least provisionally — Tafuri’s claim, and proceed to delineate the concept of a “total architecture.”  A “total architecture” here means a system of spatial organization arranged so as to constitute a totality.[19]  Space within it is organized both formally (into different shapes) and materially (through the use of various constructive materials).  It is thus uniformly constructed out of certain standardized parts and materials.  A total architecture is by necessity an artificial system; such arrangements do not arise in nature.  “Nature presents itself to us as a chaos,” recorded Le Corbusier.  “The vault of the heavens, the shapes of lakes and seas, the outlines of hills.  The actual scene which lies before our eyes, with its kaleidoscopic fragments and its vague distances, is a confusion.”[20]

The Socialist City of Moscow (1931)

Construction within the totality is determined by its overarching principles.  So while a totalizing architectural scheme would prefer to build in purely abstract space, a sort of Newtonian grid, it can remain systematic even when it is forced to deal with the messiness of empirical reality.  For example, a totally functional, utilitarian architecture may call for an inland building to be rooted at every point in an earthen foundation to ensure stability, while it might demand for a coastal structure that it be built on stilts to anticipate the rising tide.  Though two physically discrete structures would be produced, they would all the same proceed from a single organizing principle — that of utility.

Le Corbusier's aptly-titled "Cartesian towers" from his Ville Radieuse proposal (1931)

Here the totalizing impulse in modernist architecture is realigned with “the ideology of the plan,” mentioned earlier in connection with the spatial homogeneity of modernist architecture imparted to it by capitalism’s spatiotemporal dialectic.[21]  “A plan demands the most active imagination.  It also demands the most severe discipline,” wrote Le Corbusier.  “The plan is what determines everything; it is the decisive moment.”  In this formulation, the plan assumes the position of the organizing principle (or set of principles) that “determines everything,” from the smallest pieces to the greater whole.  Or as Le Corbusier continued to explain: “The plan carries within it a determined primary rhythm…with consequences extending from the simplest to the most complex on the same law.  Unity of law is the law of a good plan: a simple law that is infinitely modulable.”[22]  Thus, with the modulability of the law, it can be applied to diverse situations while maintaining a unified logic.  Again, this serves to confirm the example of the functional principle mentioned above.

Lebbeus Woods's urbanistic model

Just as a total architecture retains its integral character in spite of modifications that respond to geographical and climatic circumstances, so also does it endure modification over time.  The crucial question here becomes the way that change occurs.  For a total architectural system can possess either a rigid or fluid nature, depending on its principles.  In order to maintain its integrity, however, a fluid architectural totality must include laws that guide its development and dictate the manner in which it incorporates new elements.  Innovation would take place within the totality, but only along preordained lines.  Change within such a system thus resembles a sort of controlled plasticity, instead of a haphazard accumulation of structures from different historical epochs.  The last thing the modernists wanted was another Moscow — “the Moscow blob,” as the architect Vladimir Semenov called it in 1930, “a historically generated conglomeration of factories, buildings, streets, and green spaces.”[23]

Lebbeus Woods' "Fractures"

Viewed from above, a realized total architecture at any stage of its expansion would hence almost appear as some kind of gigantic fractal — that is, a geometric shape whose integral parts reflect the pattern of the whole.  Upon magnification, one would discover this pattern repeated at an ever smaller scale, down to its tiniest details.  Each part would thereby constitute a microcosm, in the strict sense, of the total architectural system.

Ludwig Hilberseimer's terrifying Hochhausstadt proposal (1925)

Total architecture is, finally, global in concept.  From the first it aspires to be world architecture, regardless of whether its practitioners are fully cognizant of this fact.  It is not an architecture for only this or that culture specifically; total architecture excludes no traditional configuration from its laws.  On the contrary, these laws require complete generalization.  “[T]he world of constructive forms knows no native country,” wrote Hannes Meyer in 1928, shortly after succeeding Gropius as the director of Bauhaus.  “It is the expression of an international attitude in architecture.  Internationality is the privilege of the period.”[24]  Within any individual country, a totalizing architecture can therefore never be content with its embodiment in a single building, or any number of buildings in isolation from one another.  Nor can it accept even a whole neighborhood built according to its principles.  It seeks realization at the level of the city, the region, the nation — and will not rest until it wraps the globe.

NOTES


[1] Postone, Time, Labor, and Social Domination.  Pg. 72.

Postone further indicates: “[A] peculiar characteristic of capitalism is that it exists as a homogeneous totality that can be unfolded from a single structuring principle [capital].”  Pg. 140.

[2] Kant, The Critique of Pure Reason.  Pg. 215.

[3] Though the terms used are different, we can easily see how the meaning is the same.  The plurality of parts would only be relative components of the whole, while the unity of the whole would be absolute compared with its parts: “[T]he absolute and relative grounds for determination of the totality must be one and the same; the relation must be absolute, and the absolute must be nothing more than a relation.”  Fichte, Johann Gottlieb.  The Science of Knowledge.  Translated by Peter Heath and John Lachs.  (Cambridge University Press.  New York, NY: 1982).  Pg. 181.

[4] Thus is the substance of Kant’s critique of pure reason: “We easily see that pure reason has no other aim than the absolute totality of synthesis on the side of conditions (whether they are conditions of inherence, dependence, or concurrence), and that reason has nothing to do with absolute completeness from the side of the conditioned.”  Kant, The Critique of Pure Reason.  Pg. 407.

[5] Hegel, The Science of Logic.  Pg. 534.

[6] “[Marx] measured Hegel’s philosophy by the yardstick he had himself discovered and systematically elaborated, and he found it wanting…Marx’s critique of Hegel is the direct continuation and extension of the criticism that Hegel himself leveled at Kant and Fichte.  So it came about that Marx’s dialectical method continued what Hegel had striven for but had failed to achieve in a concrete form.”  Lukács, “What is Orthodox Marxism?” Pg. 17.

[7] In this way, Hegel was perhaps not wrong in writing that “philosophy…is its own time comprehended in thought.”  Hegel, Elements of the Philosophy of Right.  Pg. 21.

[8] Marx, Karl.  Capital: A Critique of Political Economy, Volume 3.  Translated by David Fernbach.  (Penguin Books.  New York, NY: 1991).  Pg. 957.  My emphasis.

[9] “In speaking of the social point of view, i.e. in considering the total social product, which includes both the reproduction of the social capital and individual consumption, it is necessary to avoid falling into the habits of bourgeois economics, as imitated by Proudhon, i.e. to avoid looking at things as if a society based on the capitalist mode of production lost its specific historical and economic character when considered en bloc, as a totality.”  Marx, Capital, Volume 2.  Pg. 509.

[10] Jay, Martin.  Marxism and Totality: The Adventures of a Concept from Lukács to Habermas.  (University of California Press.  Los Angeles, CA: 1984).

[11] Lukács, Georg.  “The Marxism of Rosa Luxemburg.”  History and Class Consciousness: Studies in Marxist Dialectics.  Translated by Rodney Livingstone.  (The MIT Press.  Cambridge, MA: 1972).  Pg. 27.

[12] “Society’s own concept says that men want their relations to be freely established; but no freedom has been realized in their relations to this day, and society remains as rigid as it is defective.  All qualitative moments whose totality might be something like a structure are flattened in the universal barter relationship.”  Adorno, Theodor.  Negative Dialectics.  Translated by E.B. Ashton.  (Routledge & Kegan Paul Ltd.  New York, NY: 1973).  Pg. 88.

To be fair, Adorno did not believe that bourgeois society eliminated all its internal contradictions by reducing them to abstractly identical parts.  He understood that the social totality appeared to humanity in an alienated and alienating form under capitalism.

[13] “[T]he category of totality does not reduce its various elements to an undifferentiated uniformity, to identity.  The apparent independence and autonomy which they possess in the capitalist system of production is an illusion only in so far as they are involved in a dynamic dialectical relationship with one another and can be thought of as the dynamic dialectical aspects of an equally dynamic and dialectical whole.”  Lukács, “What is Orthodox Marxism?” Pgs. 12-13.

[14] Lukács, “What is Orthodox Marxism?” Pg. 23.

[15] “[T]he alienated social totality is not, as Adorno for example would have it, the identity that incorporates the socially nonidentical in itself so as to make the whole a noncontradictory unity, leading to the universalization of domination.  To establish that the totality is intrinsically contradictory is to show that it remains an essentially contradictory identity of identity and nonidentity, and has not become a unitary identity that has totally assimilated the nonidentical.”  Postone, Time, Labor, and Social Domination.  Pg. 185.

[16] “What the theories of Weber, Max Scheler, or Mannheim sanctioned as a ‘necessary’ shift of method in the structure of intellectual work, what Keynes and later Schumpeter lead back to the terms of an economic plan which presupposes a highly articulated functioning of capital in its totality, and what the ideologies of the avant-garde introduced as a proposal for social behavior, was the transformation of traditional ideology into utopia, as a prefiguration of an abstract final moment of development coincident with a global rationalization, with a positive realization of the dialectic.”  Tafuri, Architecture and Utopia.  Pg. 62.

[17] Ibid., pg. 74.

[18] Simmel, Georg.  The Philosophy of Money.  Translated by Tom Bottomore, David Frisby, and Kaethe Mengelberg.  (Routledge.  New York, NY: 2004).  Pg. 354.  Originally published in 1907.

[19] Our concept of “total architecture” is loosely related to Walter Gropius’ identical phrase: “[A]n architect or planner worth the name must have a very broad and comprehensive vision indeed to achieve a true synthesis of a future community.  This we might call ‘total architecture.’”  Gropius, Walter.  “The Scope of Total Architecture.”  The Scope of Total Architecture.  (Harper & Row.  New York, NY: 1955).  Pg. 184.

[20] Le Corbusier, The City of Tomorrow and Its Planning.  Pgs. 18-19.

[21] See pages 73-76.

[22] Le Corbusier, Toward an Architecture.  Pg. 118.

[23] Vladimir Semenov, quoted in Khan-Magomedov, Pioneers of Soviet Architecture.  Pg. 340.

[24] Hannes Meyer.  “Building.” Translated by Michael Bullock.  From Programs and Manifestoes on 20th-Century Architecture.  Edited by Ulrich Conrads.  (MIT Press.  Cambridge, MA: 1970).  Pg. 119.  Originally written in 1928, in bauhaus, Year 2, № 4.

Theodor Adorno’s “Functionalism Today” (1965)

•November 19, 2011 • 4 Comments

Afe Tower at the University of Frankfurt, by Adorno's longtime personal friend, the architect Ferdinand Kramer

I would first like to express my gratitude for the confidence shown me by Adolf Arndt in his invitation to speak here today.  At the same time, I must also express my serious doubts as to whether I really have the right to speak before you.  Métier, expertise in both matters of handicraft and of technique, counts in your circle for a great deal.  And rightly so.  If there is one idea of lasting influence which has developed out of the Werkbund movement, it is precisely this emphasis on concrete competence as opposed to an aesthetics removed and isolated from material questions.  I am familiar with this dictum from my own métier, music.  There it became a fundamental theorem, thanks to a school which cultivated close personal relationships with both Adolf Loos and (the Bauhaus, and which was therefore fully aware of its intellectual tics to objectivity [Sachlichkeit][1] in the arts.  Nevertheless, I can make no claim to competence in matters of architecture.  And yet. I do not resist the temptation, and knowingly face the danger that you may briefly tolerate me as a dilettante and then cast me aside.  I do this firstly because of my pleasure in presenting some of my reflections in public, and to you in particular: and secondly, because of Adolf Loos’ comment that while an artwork need not appeal to anyone, a house is responsible to each and everyone.[2]  I am not yet sure whether this statement is in fact valid, but in the meantime.  I need not be holier than the pope.

I find that the style of German reconstruction fills me with a disturbing discontent, one which many of you may certainly share.  Since I no less than the specialists must constantly face this feeling.  I feel justified in examining its foundations.  Common elements between music and architecture have been discussed repeatedly, almost to the point of ennui.  In uniting that which I see in architecture with that which I understand about the difficulties in music, I may not be transgressing the law of the division of labor as much as it may seem.  But to accomplish this union, I must stand at a greater distance from these subjects than you may justifiably expect.  It seems to me, however, not unrealistic that at times — in latent crisis situations — it may help to remove oneself farther from phenomena than the spirit of technical competence would usually allow.  The principle of “fittingness to the material” [Material-gerechtigkeit][3] rests on the foundation of the division of labor.  Nevertheless, it is advisable even for experts to occasionally take into account the extent to which their expertise may suffer from just that division of labor, as the artistic naïveté underlying it can impose its own limitations.

Let me begin with the fact that the anti-ornamental movement has affected the “purpose-free” arts [zweckfreie Künste][4] as well.  It lies in the nature of artworks to inquire after the essential and necessary in them and to react against all superfluous elements.  After the critical tradition declined to offer the arts a canon of right and wrong, the responsibility to take such considerations into account was placed on each individual work; each had to test itself against its own immanent logic, regardless of whether or not it was motivated by some external purpose.  This was by no means a new position. Mozart, though clearly still standard-bearer and critical representative of the great tradition, responded in the following way to the minor objection of a member of the royal family  — “But so many notes, my dear Mozart” — after the premier of his “Abduction” with “Not one note more, Your Majesty, than was necessary.”  In his Critique of [6] Judgment, Kant grounded this norm philosophically in the formula of “purposiveness without a purpose” [Zweckmässigkeit ohne Zweck]The formula reflects an essential impulse in the judgment of taste.  And yet it does not account for the historical dynamic.  Based on a language stemming from the realm of materials, what this language defines as necessary can later become superfluous, even terribly ornamental, as soon as it can no longer be legitimated in a second kind of language, which is commonly called style.  What was functional yesterday can therefore become the opposite tomorrow.  Loos was thoroughly aware of this historical dynamic contained in the concept of ornament.  Even representative, luxurious, pompous and, in a certain sense, burlesque elements may appear in certain forms of art as necessary, and not at all burlesque.  To criticize the Baroque for this reason would be philistine.  Criticism of ornament means no more than criticism of that which has lost its functional and symbolic signification.  Ornament becomes then a mere decaying and poisonous organic vestige.  The new art is opposed to this, for it represents the fictitiousness of a depraved romanticism, an ornamentation embarrassingly trapped in its own impotence.  Modern music and architecture, by concentrating strictly on expression and construction, both strive together with equal rigor to efface all such ornament.  Schonberg’s compositional innovations, Karl Kraus’ literary struggle against journalistic clichés and Loos’ denunciation of ornament are not vague analogies in intellectual history; they reflect precisely the same intention.  This insight necessitates a correction of Loos’ thesis, which he, in his open-mindedness. would probably not have rejected: the question of functionalism does not coincide with the question of practical function.  The purpose-free [zweckfrei] and the purposeful [zweckgebunden] arts do not form the radical opposition which he imputed.  The difference between the necessary and the superfluous is inherent in a work, and is not defined by the work’s relationship — or the lack of it — to something outside itself.

In Loos’ thought and in the early period of functionalism, purposeful and aesthetically autonomous products were separated from one another by absolute fact. This separation, which is in fact the object of our reflection, arose from the contemporary polemic against the applied arts and crafts (Kunstgewerbe).[5]  Although they determined the period of Loos’ development, he soon escaped from them.  Loos was thus situated historically between Peter Altenberg and Le Corbusier.  The movement of applied art had its beginnings in Ruskin and Morris.  Revolting against the shapelessness of mass-produced, pseudo-individualized forms, it rallied around such new concepts as “will to style,” “stylization,” and ‘shaping,” and around the idea that one should apply art. reintroduce it into life in order to restore life to it.  Their slogans were numerous and had a powerful effect.  Nevertheless.  Loos noticed quite early the implausibility of such endeavors: articles for use lose meaning as soon as they are displaced or disengaged in such a way that their use is no longer required.  Art, with its definitive protest against the dominance of purpose over human life, suffers once it is reduced to that practical level to which it objects, in Hölderlin’s words: “For never from now on/Shall the sacred serve mere use.”  Loos found the artificial art of practical objects repulsive.  Similarly, he felt that the practical reorientation of purpose-free art would eventually subordinate it to the destructive autocracy of profit, which even arts and crafts, at least in their beginnings, had once opposed.  Contrary to these efforts.  Loos preached for the return to an honest handicraft[6] which would place itself in the service of technical innovations without having to borrow forms from art.  His claims suffer from too simple an antithesis.  Their [7] restorative clement, not unlike that of the individualization of crafts, has since become equally clear.  To this day, they are still bound to discussions of objectivity.

In any given product, freedom from purpose and purposefulness can never be absolutely separated from one another.  The two notions are historically interconnected.  The ornaments, after all, which Loos expulsed with a vehemence quite out of character, are often actually vestiges of outmoded means of production.  And conversely, numerous purposes, like sociability, dance and entertainment, have filtered into purpose-free art; they have been generally incorporated into its formal and generic laws.  Purposefulness without purpose is thus really the sublimation of purpose.  Nothing exists as an aesthetic object in itself but only within the field of tension of such sublimation.  Therefore there is no chemically pure purposefulness set up as the opposite of the purpose-free aesthetic.  Even the most pure forms of purpose are nourished by ideas — like formal transparency and graspability — which in fact are derived from artistic experience.  No form can be said to be determined exhaustively by its purpose.  This can be seen even in one of Schönberg’s revolutionary works, the First Chamber Symphony, about which Loos wrote some of his most insightful words, ironically, an ornamental theme appears, with a double beat recalling at once a central motif from Wagner’s “Götterdämmerung” and the theme from the First Movement of Bruckner’s Seventh Symphony.  The ornament is the sustaining invention, if you will, objective in its own right.  Precisely this transitional theme becomes the model of a canonical exposition in the fourfold counterpoint, and thereby the model of the first extreme constructivist complex in modern music.  Schönberg’s belief in such material was appropriated from the Kunstgewerbe religion, which worshipped the supposed nobility of matter: it still continues to provide inspiration even in autonomous art.  He combined with this belief the ideas of a construction fitting to the material.  To it corresponds an undialectical concept of beauty, which encompasses autonomous art like a nature preserve.  That art aspires to autonomy does not mean that it unconditionally purges itself of ornamental elements: the very existence of art, judged by the criteria of the practical, is ornamental.  If Loos’ aversion to ornament had been rigidly consistent, he would have had to extend it to all of art.  To his credit he stopped before reaching this conclusion.  In this circumspection, by the way, he is similar to the positivists.  On the one hand, they would expunge from the realm of philosophy anything which they deem poetic.  On the other, they sense no infringement by poetry itself on their kind of positivism.  Thus, they tolerate poetry if it remains in a special realm, neutralized and unchallenged, since they have already relaxed the notion of objective truth.

The belief that a substance bears within itself its own adequate form presumes that it is already invested with meaning.  Such a doctrine made the symbolist aesthetic possible.  The resistance to the excesses of the applied arts pertained not just to hidden forms, but also to the cult of materials.  It created an aura of essentiality about them.  Loos expressed precisely this notion in his critique of batik.  Meanwhile, the invention of artificial products — materials originating in industry — no longer permitted the archaic faith in an innate beauty, the foundation of a magic connected with precious elements.  Furthermore, the crisis arising from the latest developments of autonomous art demonstrated how little meaningful organization could depend on the material itself.  Whenever organizational principles rely too heavily on material, the result approaches mere patchwork.  The idea of fittingness to the materials in purposeful art cannot remain indifferent to such criticisms.  Indeed, the illusion of purposefulness as its own purpose cannot stand up to the simplest [8] social reality.  Something would be purposeful here and now only if it were so in terms of the present society.  Yet, certain irrationalities — Marx’s term for them was faux frais — are essential to society: the social process always proceeds, in spite of all particular planning, by its own inner nature, aimlessly and irrationally.  Such irrationality leaves its mark on all ends and purposes, and thereby also on the rationality of the means devised to achieve those ends.  Thus, a self-mocking contradiction emerges in the omnipresence of advertisements: they are intended to be purposeful for profit.  And yet all purposefulness is technically defined by its measure of material appropriateness.  If an advertisement were strictly functional, without ornamental surplus, it would no longer fulfill its purpose as advertisement.  Of course, the fear of technology is largely stuffy and old-fashioned, even reactionary.  And yet it does have its validity, for it reflects the anxiety felt in the face of the violence which an irrational society can impose on its members, indeed on everything which is forced to exist within its confines.  This anxiety reflects a common childhood experience, with which Loos seems unfamiliar, even though he is otherwise strongly influenced by the circumstances of his youth: the longing for castles with long chambers and silk tapestries, the utopia of escapism.  Something of this utopia lives on in the modern aversion to the escalator, to Loos’ celebrated kitchen, to the factory smokestack, to the shabby side of an antagonistic society.  It is heightened by outward appearances.  Deconstruction of these appearances, however, has little power over the completely denigrated sphere, where praxis continues as always.  One might attack the pinnacles of the bogus castles of the moderns (which Thorstein Veblen despised), the ornaments, for example, pasted onto shoes: but where this is possible, it merely aggravates an already horrifying situation The process has implications for the world of pictures as well.  Positivist art, a culture of the existing, has been exchanged for aesthetic truth.  One envisions the prospect of a new Ackerstraße.[7]

The limits of functionalism to date have been the limits of the bourgeoisie in its practical sense.  Even in Loos, the sworn enemy of Viennese kitsch, one finds some remarkably bourgeois traces.  Since the bourgeois structure had already permeated so many feudalistic and absolutist forms in his city, Loos believed he could use its rigorous principles to free himself from traditional formulas.  His writings, for example, contain attacks on awkward Viennese formality.  Furthermore, his polemics are colored by a unique strain of puritanism, which nears obsession.  Loos’ thought, like so much bourgeois criticism of culture, is an intersection of two fundamental directions.  On the one hand, he realized that this culture was actually not at all cultural.  This informed above all his relationship to his native environment.  On the other, he felt a deep animosity toward culture in general, which called for the prohibition not only of superficial veneer, but also of all soft and smooth touches.  In this he disregarded the fact that culture is not the place for untamed nature, nor for a merciless domination over nature.  The future of Sachlichkeit could be a liberating one only if it shed its barbarous traits.  It could no longer inflict on men — whom it supposedly upheld as its only measure — the sadistic blows of sharp edges, bare calculated rooms, stairways, and the like.  Virtually every consumer had probably felt all too painfully the impracticability of the mercilessly practical.  Hence our bitter suspicion is formulated: the absolute rejection of style becomes style.  Loos traces ornament back to erotic symbols.  In turn, his rigid rejection of ornamentation is coupled with his disgust with erotic symbolism.  He finds uncurbed nature both regressive and embarrassing.  The tone of his condemnations of [9] ornament echoes an often openly expressed rage against moral delinquency: “But the man of our time who, out of inner compulsion, smears walls with erotic symbols is a criminal and a degenerate.”[8]  The insult “degenerate” connects Loos to movements of which he certainly would not have approved [i.e., Nazism].  “One can,” he says, “measure the culture of a country by the amount of graffiti on the bathroom walls.”[9]  But in southern countries, in Mediterranean countries in general, one finds a great deal.  In fact, the Surrealists made much use of such unreflected expressions.  Loos would certainly have hesitated before imputing a lack of culture to these areas.  His hatred of ornament can best be understood by examining a psychological argument.[10]  He seems to see in ornament the mimetic impulse, which runs contrary to rational objectification: he sees in it an expression which, even in sadness and lament, is related to the pleasure principle.  Arguing from tins principle, one must accept that there is a factor of expression in even, object.  Any special relegation of this factor to art alone would be an oversimplification.  It cannot be separated from objects of use.  Thus, even when these objects lack expression, they must pay tribute to it by attempting to avoid it.  Hence all obsolete objects of use eventually become an expression, a collective picture of the epoch.  There is barely a practical form which, along with its appropriateness for use, would not therefore also be a symbol.  Psychoanalysis too has demonstrated this principle on the basis of unconscious images, among which the house figures prominently.  According to Freud, symbolic intention quickly allies itself to technical forms, like the airplane, and according to contemporary American research in mass psychology, often to the car.  Thus, purposeful forms are the language of their own purposes.  By means of the mimetic impulse, the living being equates himself with objects in his surroundings.  This occurs long before artists initiate conscious imitation.  What begins as symbol becomes ornament, and finally appears superfluous; it had its origins, nevertheless, in natural shapes, to which men adapted themselves though their artifacts.  The inner image which is expressed in that impulse was once something external, something coercively objective.  This argument explains the fact, known since Loos, that ornament, indeed artistic form in general, cannot be invented.  The achievement of all artists, and not just those interested in specific ends, is reduced to something incomparably more modest than the art-religion of the nineteenth and early twentieth centuries would have been willing to accept.  The psychological basis of ornament hence undercuts aesthetic principles and aims.  However the question is by no means settled how art would be possible in any form if ornamentation were no longer a substantial element, if art itself could no longer invent any true ornaments.

This last difficulty, which Sachlichkeit unavoidably encounters, is not a mere error.  It cannot be arbitrarily corrected.  It follows directly from the historical character of the subject.  Use — or consumption — is much more closely related to the pleasure principle than an object of artistic representation responsible only to its own formal laws: it means the “using up of,” the denial of the object, that it ought not to be.  Pleasure appears, according to the bourgeois work ethic, as wasted energy.  Loos’ formulation makes clear how much as an early cultural critic he was fundamentally attached to that order whose manifestations he chastised wherever they failed to follow their own principles: “Ornament is wasted work energy and thereby wasted health.  It has always been so.  But today it also means wasted material, and both mean wasted capital.”[11] Two irreconcilable motifs coincide in this statement: economy, for where else, if not in the norms of profitability, is it stated that nothing should be wasted: and the dream of the totally [10] technological world, free from the shame of work.  The second motif points beyond the commercial world.  For Loos it lakes the form of the realization that the widely lamented impotency to create ornament and the so-called extinction of stylizing energy (which he exposed as an invention of art historians) imply an advance in the arts.  He realized in addition that those aspects of an industrialized society, which by bourgeois standards are negative, actually represent its positive side:

Style used to mean ornament.  So I said: don’t lament! Don’t you see? Precisely this makes our age great, that it is incapable of producing new ornament.  We have conquered ornament, we have struggled to the stage of non-ornamentation.  Watch, the time is near.  Fulfillment awaits us.  Soon the streets of the cities will shine like while walls.  Like Zion, the sacred city, heaven’s capital.  Then salvation will be ours.[12]

In this conception, the state free of ornament would be a utopia of concretely fulfilled presence, no longer in need of symbols.  Objective truth, all the belief in things, would cling to this utopia.  This utopia remains hidden for Loos by his crucial experience with Jugendstil:

Individual man is incapable of creating form: therefore, so is the architect.  The architect, however, attempts the impossible again and again — and always in vain.  Form, or ornament, is the result of the unconscious cooperation of men belonging to a whole cultural sphere.  Everything else is art.  Art is the self-imposed will of the genius.  God gave him his mission.[13]

This axiom, that the artist fulfils a divine mission, no longer holds.  A general demystification, which began in the commercial realm, has encroached upon art.  With it, the absolute difference between inflexible purposefulness and autonomous freedom has been reduced as well.  But here we face another contradiction.  On the one hand, the purely purpose-oriented forms have been revealed as insufficient, monotonous, deficient, and narrow-mindedly practical.  At times, of course, individual masterpieces do stand out: until then, one tends to attribute the success to the creator’s “genius,” and not to something objective within the achievement itself.  On the other, the attempt to bring into the work the external clement of imagination as a corrective, to help the mailer out with this element which stems from outside of if is equally pointless: if serves only to mistakenly resurrect decoration, which has been justifiably criticized by modern architecture.  The results are extremely disheartening.  A critical analysis of the mediocre modernity of the style of German reconstruction by a true expert would be extremely relevant.  My suspicion in the Minima Moralia that the world is no longer habitable has already been confirmed, the heavy shadow of instability bears upon built form, the shadow of mass migrations, which had their preludes in the years of Hitler and his war.  This contradiction must be consciously grasped in all its necessity.  But we cannot stop there.  If we do, we give in to a continually threatening catastrophe.  The most recent catastrophe, the air raids, have already led architecture into a condition from winch it cannot escape.

[11]

The poles of the contradiction are revealed in two concepts, which seem mutually exclusive: handicraft and imagination.  Loos expressly rejected the latter in the context of the world of use:

Pure and clean construction has had to replace the imaginative forms of past centuries and the flourishing ornamentation of past ages.  Straight lines: sharp, straight edges: the craftsman works only with these.  He has nothing but a purpose in mind and nothing but materials and tools in front of him.[14]

Le Corbusier, however, sanctioned imagination in his theoretical writings, at least in a somewhat general sense: “The task of the architect: knowledge of men, creative imagination, beauty.  Freedom of choice (spiritual man).”[15]  We may safely assume that in general the more advanced architects tend to prefer handicraft, while more backward and unimaginative architects all too gladly praise imagination.  We must be wary, however, of simply accepting the concepts of handicraft and imagination in the loose sense in which they have been tossed back and forth in the ongoing polemic.  Only then can we hope to reach an alternative.  The word “handicraft,” which immediately gains consent, covers something qualitatively different.  Only unreasonable dilettantism and blatant idealism would attempt to deny that each authentic and, in the broadest sense, artistic activity requires a precise understanding of the materials and techniques at the artists disposal, and to be sure, at the most advanced level.

Only the artist who has never subjected himself to the discipline of creating a picture, who believes in the intuitive origins of painting, fears that closeness to materials and technical understanding will destroy his originality.  He has never learned what is historically available, and can never make use of it.  And so he conjures up out of the supposed depths of his own interiority that which is merely the residue of outmoded forms.  The word “handicraft” appeals to such a simple truth.  But quite different chords resonate unavoidably along with it.  The syllable “hand” exposes a past means of production: it recalls a simple economy of wares.  These means of production have since disappeared.  Ever since the proposals of the English precursors of “modern style” they have been reduced to a masquerade.  One associates the notion of handicraft with the apron of a Hans Sachs, or possibly the great world chronicle.  At times, I cannot suppress the suspicion that such an archaic “shirt sleeves” ethos survives even among the younger proponents of “handcraftiness”: they are despisers of art.  If some feel themselves superior to art, then it is only because they have never experienced it as Loos did.  For Loos, appreciation of both art and its applied form led to a bitter emotional conflict.  In the area of music, I know of one advocate of handicraft who spoke with plainly romantic anti-romanticism of the “hut mentality.”  I once caught him thinking of handicrafts as stereotypical formulas, practices as he called them, which were supposed to spare the energies of the composer: it never dawned on him that nowadays the uniqueness of each concrete task excludes such formalization.  Thanks to attitudes such as his, handicraft is transformed into that which it wants to repudiate: the same lifeless, reified repetition which ornament had propagated.  I dare not judge whether a similar kind of perversity is at work in the concept of form-making when viewed as a detached operation, independent from the immanent demands and laws of the object to be formed.  In any [12] case, I would imagine that the retrospective infatuation with the aura of the socially doomed craftsman is quite compatible with the disdainfully trumped-up attitude of his successor, the expert.  Proud of his expertise and as unpolished as his tables and chairs, the expert disregards those reflections needed in this age which no longer possesses anything to grasp on to.  It is impossible to do without the expert; it is impossible in this age of commercial means of production to recreate that state before the division of labour which society has irretrievably obliterated.  But likewise, it is impossible to raise the expert to the measure of all things.  His disillusioned modernity, which claims to have shed all ideologies, is easily appropriated into the mask of the petty bourgeois routine.  Handicraft becomes handcraftiness.  Good handicraft means the fittingness of means to an end.  The ends are certainly not independent of the means.  The means have their own logic, a logic which points beyond them.  If the fittingness of the means becomes an end in itself, it becomes fetishized.  The handworker mentality begins to produce the opposite effect from its original intention, when it was used to fight the silk smoking jacket and the beret.  It hinders the objective reason behind productive forces instead of allowing it to unfold.  Whenever handicraft is established as a norm today, one must closely examine the intention.  The concept of handicraft stands in close relationship to function.  Its functions, however, are by no means necessarily enlightened or advanced.

The concept of imagination, like that of handicraft, must not be adopted without critical analysis.  Psychological triviality — imagination as nothing but the image of something not yet present — is clearly insufficient.  As an interpretation, it explains merely what is determined by imagination in artistic processes, and, I presume, also in the purposeful arts.  Walter Benjamin once defined imagination as the ability to interpolate in minutest detail.  Undeniably, such a definition accomplishes much more than current views which tend cither to elevate the concept into an immaterial heaven or to condemn it on objective grounds.  Imagination in the production of a work of representational art is not pleasure in free invention, in creation ex nihilo.  There is no such thing in any ail, even in autonomous art, the realm to which Loos restricted imagination.  Any penetrating analysis of the autonomous work of art concludes that die additions invented by the artist above and beyond the given state of materials and forms are miniscule and of limited value.  On the other hand, the reduction of imagination to an anticipatory adaptation to material ends is equally inadequate; it transforms imagination into an eternal sameness.  It is impossible to ascribe Le Corbusier’s powerful imaginative feats completely to the relationship between architecture and the human body, as he does in his own writings.  Clearly there exists, perhaps imperceptible in the materials and forms which the artist acquires and develops something more than material and forms.  Imagination means to innervate this something.  This is not as absurd a notion as it may sound.  For the forms, even the materials, are by no means merely given by nature, as an unreflective artist might easily presume.  History has accumulated in them, and spirit permeates them.  What they contain is not a positive law; and yet, their content emerges as a sharply outlined figure of the problem.  Artistic imagination awakens these accumulated elements by becoming aware of the innate problematic of the material.  The minimal progress of imagination responds to the wordless question posed to it by the materials and forms in their quiet and elemental language.  Separate impulses, even purpose and immanent formal laws, are thereby fused together.  An interaction takes place between purpose, space, and material.  None of these facets makes up any one Ur-phenomenon to which all [13] the others can be reduced.  It is here that the insight furnished by philosophy that no thought can lead to an absolute beginning — that such absolutes are the products of abstraction — exerts its influence on aesthetics.  Hence music, which had so long emphasized die supposed primacy of the individual tone, had to discover finally the more complex relationships of its components.  The tone receives meaning only within the functional structure of the system, without which it would be a merely physical entity. Superstition alone can hope to extract from it a latent aesthetic structure.  One speaks, with good reason, of a sense of space [Raumgefühl] in architecture.  But this sense of space is not a pure, abstract essence, not a sense of spatiality itself, since space is only conceivable as concrete space, within specific dimensions.  A sense of space is closely connected with purposes.  Even when architecture attempts to elevate this sense beyond the realm of purposefulness, it is still simultaneously immanent in the purpose.  The success of such a synthesis is the principal criterion for great architecture.  Architecture inquires: how can a certain purpose become space; through which forms, which materials? All factors relate reciprocally to one another.  Architectonic imagination is, according to this conception of it, the ability to articulate space purposefully.  It permits purposes to become space.  It constructs forms according to purposes.  Conversely, space and the sense of space can become more than impoverished purpose only when imagination impregnates them with purposefulness.  Imagination breaks out of the immanent connections of purpose, to which it owes its very existence.

I am fully conscious of the ease with which concepts like a sense of space can degenerate into clichés, in the end even be applied to arts and crafts.  Here I feel the limits of the non-expert who is unable to render these concepts sufficiently precise although they have been so enlightening in modern architecture.  And yet, I permit myself a certain degree of speculation: the sense of space, in contradistinction to the abstract idea of space, corresponds in the visual realm to musicality in the acoustical.  Musicality cannot be reduced to an abstract conception of time — for example.  The ability, however beneficial, to conceive of the time units of a metronome without having to listen to one.  Similarly, the sense of space is not limited to spatial images, even though these are probably a prerequisite for even architect if he is to read his outlines and blueprints the way a musician reads his score.  A sense of space seems to demand more, namely that something can occur to the artist out of space itself; this cannot be something arbitrary in space and indifferent toward space.  Analogously, the musician invents his melodies, indeed all his musical structures, out of time itself, out of the need to organize time.  Mere time relationships do not suffice, since they are indifferent toward the concrete musical event: nor does the invention of individual musical passages or complexes, since their time structures and time relationships are not conceived along with them.  In the productive sense of space, purpose takes over to a large extent the role of content, as opposed to the formal constituents which the architect creates out of space.  The tension between form and content which makes all artistic creation possible communicates itself through purpose especially in the purpose-oriented arts.  The new “objective” asceticism does contain therefore an element of truth: unmediated subjective expression would indeed be inadequate for architecture.  Where only such expression is striven for, the result is not architecture, but filmsets, at times, as in the old Golem film, even good ones.  The position of subjective expression, then, is occupied in architecture by the function for [14] the subject.  Architecture would thus attain a higher standard the more intensely it reciprocally mediated the two extremes — formal construction and function.

The subject’s function, however, is not determined by some generalized person of an unchanging physical nature but by concrete social norms.  Functional architecture represents the rational character as opposed to the suppressed instincts of empirical subjects, who, in the present society, still seek their fortunes in all conceivable nooks and crannies.  It calls upon a human potential which is grasped in principle by our advanced consciousness, but which is suffocated in most men, who have been kept spiritually impotent.  Architecture worthy of human beings thinks better of men than they actually are.  It views them in the way they could be according to the status of their own productive energies as embodied in technology.  Architecture contradicts the needs of the here and now as soon as it proceeds to serve those needs — without simultaneously representing any absolute or lasting ideology.  Architecture still remains, as Loos’ book title complained seventy years ago, a cry into emptiness.  The fact that the great architects from Loos to Le Corbusier and [Hans] Scharoun were able to realize only a small portion of their work in stone and concrete cannot be explained solely by the reactions of unreasonable contractors and administrators (although that explanation must not be underestimated).  This fact is conditioned by a social antagonism over which the greatest architecture has no power: the same society which developed human productive energies to unimaginable proportions has chained them to conditions of production imposed upon them: thus the people who in reality constitute the productive energies become deformed according to the measure of their working conditions.  This fundamental contradiction is most clearly visible in architecture.  It is just as difficult for architecture to rid itself of the tensions which this contradiction produces as it is for the consumer.  Things are not universally correct in architecture and universally incorrect in men.  Men suffer enough injustice, for their consciousness and unconsciousness are trapped in a state of minority; they have not, so to speak, come of age.  This nonage hinders their identification with their own concerns.  Because architecture is in fact both autonomous and purpose-oriented, it cannot simply negate men as they are.  And yet it must do precisely that if it is to remain autonomous.  If it would bypass mankind tel quel, then it would be accommodating itself to what would be a questionable anthropology and even ontology.  It was not merely by chance that Le Corbusier envisioned human prototypes.  Living men, even the most backward and conventionally naive, have the right to the fulfillment of their needs, even though those needs may be false ones.  Once thought supersedes without consideration the subjective desires for the sake of truly objective needs, it is transformed into brutal oppression.  So it is with the volonté generale against the volonté de tous.  Even in the false needs of a human being there lives a bit of freedom.  It is expressed in what economic theory once called the “use value” as opposed to the “exchange value.”  Hence there are those to whom legitimate architecture appears as an enemy; it withholds from them that which they, by their very nature, want and even need.

Beyond the phenomenon of the “cultural lag,” this antinomy may have its origin in the development of the concept of art.  Art, in order to be art according to its own formal laws, must be crystallized in autonomous form.  This constitutes its truth content; otherwise, it would he subservient to that which it negates by its very existence.  And yet, as a human product, it is never completely removed from humanity.  It contains as a constitutive clement something of that which it necessarily resists.  Where art obliterates [15] its own memory, forgetting that it is only there for others, it becomes a fetish, a self-conscious and thereby relativized absolute.  Such was the dream of Jugendstil beauty.  But art is also compelled to strive for pure self-immanence if it is not to become sacrificed to fraudulence.  The result is a quid pro quo.  An activity which envisions as its subject a liberated, emancipated humanity, possible only in a transformed society, appears in the present stale as an adaptation to a technology which has degenerated into an end in itself, into a self-purpose.  Such an apotheosis of objectification is the irreconcilable opponent of art.  The result, moreover, is not mere appearance.  The more consistently both autonomous and so-called applied art reject their own magical and mythical origins and follow their own formal laws, the greater the danger of such an adaptation becomes.  Art possesses no sure means to counter such a danger.  Thorstein Veblen’s aporia is thus repeated: before 1900, he demanded that men think purely technologically, causally, mechanistically in order to overcome the living deceit of their world of images.  He thereby sanctioned the objective categories of that economy which he criticized: in a free state, men would no longer be subservient to a technology which, in fact, existed only for them; it would be there to serve them.  However in the present epoch men have been absorbed into technology and have left only their empty shells behind, as if they had passed into it their better half.  Their own consciousness has been objectified in the face of technology, as if objective technology had in some sense the right to criticize consciousness.  Technology is there for men: this is a plausible proposition, but it has been degraded to the vulgar ideology of regressionism.  This is evident in the fact that one need only invoke it to be rewarded from all sides with enthusiastic understanding.  The whole situation is somehow false; nothing in it can smooth over the contradiction.  On the one hand, an imagined utopia, free from the binding purposes of the existing order, would become powerless, a detached ornament, since it must take its elements and structure from that very order.  On the other, any attempt to ban the utopian factor, like a prohibition of images, immediately falls victim to the spell of the prevailing order.

The concern of functionalism is a subordination to usefulness.  What is not useful is assailed without question because developments in the arts have brought its inherent aesthetic insufficiency into the open.  The merely useful, however, is interwoven with relationships of guilt, the means to the devastation of the world, a hopelessness which denies all but deceptive consolations to mankind.  But even if this contradiction can never be ultimately eliminated, one must take a first step in trying to grasp it; in bourgeois society, usefulness has its own dialectic.  The useful object would be the highest achievement, an anthropomorphized “thing,” the reconciliation with objects which are no longer closed off from humanity and which no longer suffer humiliation at the hands of men.  Childhood perception of technical things promises such a stale; they appear as images of a near and helpful spirit, cleansed of profit motivation.  Such a conception was not unfamiliar to the theorists of social utopias.  It provides a pleasant refuge from true development, and allows a vision of useful things which have lost their coldness.  Mankind would no longer suffer from the “thingly” character of the world,[16] and likewise “things” would come into their own.  Once redeemed from their own “thingliness,” “things” would find their purpose.  But in present society all usefulness is displaced, bewitched.  Society deceives us when it says that it allows things to appear as if they are there by mankind’s will.  In fact, they are produced for profits sake; they satisfy human needs only incidentally.  They call forth new needs and maintain them according to the profit [16] motive.  Since what is useful and beneficial to man, cleansed of human domination and exploitation, would be correct, nothing is more aesthetically unbearable than the present shape of things, subjugated and internally deformed into their opposite.  The raison d’être of all autonomous art since the dawning of the bourgeois era is that only useless objects testify to that which may have at one point been useful: it represents correct and fortunate use, a contact with things beyond the antithesis between use and uselessness.  This conception implies that men who desire betterment must rise up against practicability.  If they overvalue it and react to it, they join the camp of the enemy.  It is said that work does not defile.  Like most proverbial expressions, this covers up the converse truth: exchange defiles useful work.  The curse of exchange has overtaken autonomous art as well.  In autonomous art, the useless is contained within its limited and particular form: it is thus helplessly exposed to the criticism waged by its opposite, the useful.  Conversely in the useful, that which is now the case is closed off to its possibilities.  The obscure secret of art is the fetishistic character of goods and wares.  Functionalism would like to break out of this entanglement: and yet, it can only rattle its chains in vain as long as it remains trapped in an entangled society.

I have tried to make you aware of certain contradictions whose solution cannot be delineated by a non-expert.  It is indeed doubtful whether they can be solved today at all.  To this extent, I could expect you to criticize me for the uselessness of my argumentation.  My defense is implicit in my thesis that the concepts of useful and useless cannot be accepted without due consideration.  The time is over when we can isolate ourselves in our respective tasks.  The object at hand demands the kind of reflection which objectivity [Sachlichkeit] generally rebuked in a clearly non-objective manner.  By demanding immediate legitimation of a thought, by demanding to know what good that thought is now, tire thought is usually brought to a standstill at a point where it can offer insights which one day might even improve praxis in an unpredictable way.  Thought has its own coercive impulse, like the one you are familiar with in your work with your material.  The work of an artist, whether or not it is directed toward a particular purpose, can no longer proceed naïvely on a prescribed path.  It manifests a crisis which demands that the expert — regardless of his prideful craftsmanship — go beyond his craft in order to satisfy it.  He must do this in two ways.  First, with regard to social things: he must account for the position of his work in society and for the social limits which he encounters on all sides.  This consideration becomes crucial in problems concerning city planning, even beyond the tasks of reconstruction, where architectonic questions collide with social questions such as the existence or non-existence of a collective social subject.  It hardly needs mentioning that city planning is insufficient so long as it centers on particular instead of collective social ends.  The merely immediate, practical principles of city planning do not coincide with those of a truly rational conception free from social irrationalities, they lack that collective social subject which must be the prime concern of city planning.  Herein lies one reason why city planning threatens cither to degenerate into chaos or to hinder the productive architectonic achievement of individuals.

Second, and I would like to emphasize this aspect to you, architecture, indeed every purposeful art, demands constant aesthetic reflection.  I know how suspect the word “aesthetic” must sound to you.  You think perhaps of professors who, with their eyes raised to heaven, spew forth formalistic laws of eternal and everlasting beauty, which are no more than recipes for the production of ephemeral, classicist kitsch.  In fact, the [17] opposite must be the case in true aesthetics.  It must absorb precisely those objections which it once raised in principle against all artists.  Aesthetics would condemn itself if it continued unreflectively, speculatively, without relentless self-criticism.  Aesthetics as an integral facet of philosophy awaits a new impulse which must come from reflective efforts.  Hence recent artistic praxis has tinned to aesthetics.  Aesthetics becomes a practical necessity once it becomes clear that concepts like usefulness and uselessness in art, like the separation of autonomous and purpose-oriented art, imagination and ornament, must once again be discussed before the artist can act positively or negatively according to such categories.  Whether you like it or not you are being pushed daily to considerations, aesthetic considerations, which transcend your immediate tasks.  Your experience calls Molière’s Monsieur Jourdain to mind, who discovers to his amazement in studying rhetoric that he has been speaking prose for his entire life.  Once your activity compels you to aesthetic considerations, yon deliver yourself up to its power.  You can no longer break off and conjure up ideas arbitrarily in the name of pure and thorough expertise.  The artist who does not pursue aesthetic thought energetically tends to lapse into dilettantish hypothesis and groping justifications for the sake of defending his own intellectual construct.  In music, Pierre Boulez, one of the most technically competent contemporary composers, extended constructivism to its extreme in some of his compositions: subsequently, however, he emphatically announced the necessity of aesthetics.  Such an aesthetics would not presume to herald principles which establish the key to beauty or ugliness itself.  This discretion alone would place the problem of ornament in a new light.  Beauty today can have no other measure except the depth to which a work resolves contradictions.  A work must cut through the contradictions and overcome them, not by covering them up, but by pursuing them.  Mere formal beauty, whatever that might be, is empty and meaningless; the beauty of its content is lost in the preartistic sensual pleasure of the observer.  Beauty is cither the resultant of force vectors or it is nothing at all.  A modified aesthetics would outline its own object with increasing clarity as it would begin to feel more intensely the need to investigate it.  Unlike traditional aesthetics, it would not necessarily view the concept of art as its given correlate.  Aesthetic thought today must surpass art by thinking art.  It would thereby surpass the current opposition of purposeful and purpose-free, under which the producer must suffer as much as the observer.

NOTES


[1] The Neue Sachlichkeit movement, one of the main post-expressionist trends in German art.  Is commonly translated as “New Objectivity.”  The word sachlich, however, carries a series of connotations.  Along with its emphasis on the “thing” [Sache] it implies a frame of mind of being “matter of feet,” “down to earth.”

[2] See Adolf Loos, Sämtliche Schriften, I, Franz Gluck (ed.), Vienna/Munich, 1962, pg. 314 ff.

[3] Gerechtigkeit implies not just “fittingness” or “appropriateness,” but even a stronger legal or moral “justice.”

[4] The word Zweck appears throughout Adorno’s speech, both alone and in various combinations It permeates the tradition of German aesthetics since Kant.  While it basically means “purpose,” it must sometimes be rendered in English as “goal” or “end” (as in “means and end,” Mittel und Zweck)Hence there is a certain consistency in Adorno’s use of the word which cannot always be maintained in English.

[18]

[5] Kunstgewerbe carries perhaps more seriousness than “arts and crafts.”  It covers the range of the applied arts.

[6] The word Handwerk in German means both “handwork” and “craftsmanship” or “skill.”  Because Adorno later emphasizes the “hand” aspect, we have decided on “handicraft.”

[7] The reference here is unclear.  It means literally “Field (or Acre) Street.”  Perhaps he is referring to a real street, a movement, or a historical place or event.  We have not been able to trace it.

[8] Adolf Loos, op cit., pg. 277.

[9] Ibid.

[10] It is unclear in the original text to what extent the following argument is Adorno’s or Loos’.  We have tried, to some extent, to maintain the ambiguity.

[11] Adolf Loos, op. cit., pg. 282 ff.

[12] Ibid., pg. 278.

[13] Ibid., pg. 393.

[14] Ibid., pg. 345.

[15] Le Corbusier.  Mein Werk, Stuttgart.  1960, pg. 306.

[16] The word Ding (“thing”) is also attached to numerous traditions in German thought and therefore has a certain philosophical or poetical importance (hence “the thingliness of things”).  Heidegger and Rilke, for example, both tried to elevate the notion of Ding to a new essential and existential status.

An international forum on the CRISIS OF THE LEFT

•November 16, 2011 • 2 Comments

Chicago | NYC | Philly | Boston | Thessaloniki

Event info here

Crisis: Pathol. The point in the progress of a disease when an important development or change takes place which is decisive of recovery or death.

“…Existing strategies and theories seem inadequate in a bewildering contemporary political scene. Disparate groups have begun to show an interest in rethinking the fundamentals of Left politics…”

@New York: Wednesday, Nov. 16th, 7:00 – 9:30pm
Silver Center, Room 207
31 Washington Place, New York, NY
NYU

Speakers:

Paul Berman (nyu)
Carl Dix (rcp-usa)
Doug Henwood (lbo)
Bertell Ollman (nyu)
Marco Roth
and Nikil Saval (n+1)

Many on the Left feel a sense of crisis.

Existing strategies and theories seem inadequate in a bewildering contemporary political scene. Disparate groups have begun to show an interest in rethinking the fundamentals of Left politics. The Platypus Affiliated Society seeks to make the conversation explicit, and to host a series of discussions about the crisis of the contemporary Left: its quality, causes, and significance for future reconstitution and transformation.

Across five cities worldwide, we’ve invited figures from across the Left–academics, political organizers, theorists–to answer and debate six fundamental questions. We also pose these questions to the Left as a whole and invite responses from all quarters. The questions below stem from confusion; taking nothing for granted, we hope that confronting this confusion might open up future possibilities for renewed consciousness and practice on the Left.

How would you define the Left?
Do you think the Left is in crisis? If so, then what constitutes the crisis?
In trying to understand the contemporary Left, what history matters most? What tasks and problems have we inherited from the Old Left and the New Left?
Could the Left have done something to avoid its current impasses? If so, what?
What is the relationship between the Left and anti-capitalism? Between the Left and Marxism? What should it be?
How does the Left need to change? Who is responsible for making the change happen?