German socialists assail U-Boat war

New York Times
August 21, 1916

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In view of the revival of activity of German submarines and reports of the renewal of agitation in German for the unlimited use of the submarine, regardless of the attitude of the United States and other neutral countries, interest attaches to the arrival in New York via Switzerland of copies of an anti-submarine and anti-government leaflet that has been secretly circulated by thousands throughout the German Empire.

This pamphlet was put out by a minority group of the Social Democratic Party of Germany [SPD] that has consistently opposed the war from the very beginning, and which is labeled the “International Group.” In this group are Dr. Karl Liebknecht, Rosa Luxemburg, Dr. Ernst Meyer, editor of the Berliner Vorwärts; Clara Zetkin, editor of Die Gleichheit; Franz Mehring, and Berta Thalheimer. At present Dr. Liebknecht is under sentence of thirty months in prison, and Rosa Luxemburg and Dr. Meyer are both under arrest.

Antiwar German socialists.

The leaflet, which is entitled “Submarine Warfare, ‘International Law,’ and International Murder,” and which started circulating some time ago — when the German press and parliament were clamoring for vengeance upon the British for the alleged murder of the members of a German submarine crew (known as the Baialong case) — reads as follows:

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Submarine warfare, “international law,” and international murder

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The German government has incurred a sharp rebuff and has humbled itself before the United States. But the provocatory agitation continues, and it is necessary that we clearly understand what may still happen.

Submarine warfare was intended to force England to come whimpering and begging for mercy, and thus bring the war to an end with a glorious victory for German imperialism. Because the German people were hungry, the politicians “holding out” persuaded the nation that the people of England should be forced to be still hungrier.

German U-Boats, 1913-1918.

War started by imperialists

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Crazy imperialist agitators in the government and the ruling classes had stupidly provoked the world war, in spite of the fact that this would lead the German masses to run the risk of being starved out. To the crime of international murder they added that of stupidity, for they knew — they must have known — that nowadays a war against France and Russia might last for years, and that if at the same time the neutrality of England were not assured all exports all exports to Germany would be cut off.

And when it really came to that, they began to shout bloody murder and assert that this constituted a violation of international law; that it was a crime against international law to expose a nation of 70,000,000 people to famine.

To this we may say: “In the first place the German government has forfeited every right of appeal to international law.” If [international law] is to be effective, then above all international treaties so solemnly entered upon must be binding. Such treaties guaranteed the neutrality of Belgium. Despite this, Germany attacked Belgium and thus gave British imperialism the excuse to incite the British people to war against Germany. In the second place, the blockade carried on by England, the cutting off of all exports to Germany, is not contrary to the law of nations. On the contrary, the halting of exports to an enemy in order to make the struggle harder, or quite impossible, is a method of warfare that has always been recognized.

The sinking and raising of U-Boat 110.

How submarines failed

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In the spring of 1915 our braggarts were cracking jokes. England would not starve us out, but we should starve her out. That was to be done by the submarines. Such talk was foolishness then, and it remains so now. In order to cut off exports to England it would be necessary to watch all the coasts of all her islands, and to do that would require a hundred submarines for every dozen that Germany is able to build. And even then the outcome would be in doubt, for there are means of defense and protection against these boats, too. Continue reading

El Lissitzky’s Soviet pavilion at the Pressa exhibition in Cologne, 1928

The revolution on display
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El Lissitzky was one of the great masters of Soviet avant-garde art and architecture. Besides Malevich, Tatlin, and Rodchenko, Lissitzky is probably the most famous Russian modernist from this period. He was certainly the most internationally renowned. Part of the reason for this was his numerous expeditions abroad, throughout Western Europe, usually sent there by the USSR’s Commissar of Enlightenment, Anatolii Lunacharskii.

International constructivism followed him, as he met and worked closely with Laszlo Moholy-Nagy, J.J.P. Oud, Mart Stam, and a host of others. Journals, too: VeshchGABC.

El Lissitzky, The Constructor (self-portrait, 1925)

El Lissitzky, The Constructor (self-portrait, 1925)

After 1926, Lissitzky began to design pavilions for the Soviet Union for international exhibitions. Konstantin Mel’nikov’s striking pavilion from the 1925 Paris Expo set a very high standard for formal dynamism and innovative use of materials. Many looked to the Soviets to continue to lead the way. (De Stijl impresario Theo van Doesburg was only impressed by Mel’nikov’s building and one other at the 1925 show). Lissitzky’s crowning achievement as far as exhibition displays went was the 1928 “Pressa” exhibition in Cologne. “Pressa” was meant to showcase the journalistic culture of the various countries that participated.

What follows are a number of rare images from that show. Some of them are extremely high resolution. A few translated passages of reviews in the German and British press are also included along with some of Lissitzky’s own remarks.

With Lissitzky, all the possibilities of a new exhibition technique were explored: in place of a tedious succession of framework, containing dull statistics, he produced a new purely visual design of the exhibition space and its contents, by the use of glass, mirrors, celluloid, nickel, and other materials; by contrasting these newfangled materials with wood, lacquer, textiles and photographs; by the use of natural objects instead of pictures…by bringing a dynamic element into the exhibition by means of continuous films, illuminated and intermittent letters and a number of rotating models. The room thus became a sort of stage on which the visitor himself seemed to be one of the players. The novelty and vitality of the exhibition did not fail: this was proved by the fact that this section attracted by far the largest number of visitors, and had at times to be closed owing to overcrowding.

Jan Tschichold, “Display that has
dynamic force: Exhibition rooms by
Lissitzky,” Commercial Art (1931)

A trip to the individual displays, and around the pavilion as a whole, will give the viewer an idea of the tremendous results achieved during ten years of Soviet activity.

— Die Welt am Abend
Berlin (5/25/1928)

The Soviet pavilion at the “Pressa” exhibition is a towering achievement, unique in its imaginative content, and unparalleled in its power of illustrative effect.

— Freiheit
Dusseldorf

5.26.1928

Katalog des Sowjet-Pavillons auf der Internationalen Presse-Ausstellung Köln 1928, pgs 3-5Katalog des Sowjet-Pavillons auf der Internationalen Presse-Ausstellung Köln 1928, pgs 6-8Katalog des Sowjet-Pavillons auf der Internationalen Presse-Ausstellung Köln 1928, pgs 9-11

My most important work as an artist began in 1926: the design of exhibition rooms. That year I was asked by the committee of the International Art Exhibition in Dresden to create the room of non-objective [Suprematist] art and was sent there by “Voks” [the commissariat/embassy that works with countries abroad]. After an educational trip — the new architecture in Holland being the subject — I returned to Moscow in the autumn.

El Lissitzky (1932) Continue reading

History and the bomb

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PHOTO: Left to right — U.S. Navy Vice Admiral William H.P. Blandy, his wife, and Rear Admiral Frank J. Lowry cut a cake made in the shape of a mushroom cloud at a reception for Operation Crossroads (November 6, 1946). More information about the “atom cake” scandal can be found here. An extract from the Washington Post a week later details reactions to the photo in the Soviet press can be accessed by clicking here.

It should probably be said that I am personally in favor of nuclear energy, though I’m fully aware of the risks or dangers involved. Nuclear waste is a major problem, one for which no adequate solution has yet been found. Obviously, if any safer and more efficient energy source were to be discovered that might replace nuclear power, I would be in favor of that instead.

The following passages are excerpted from two texts by the German sociologist and critical theorist Theodor Adorno, and pertain to the problematic fact of atomic warfare in a philosophy of history envisioned as the progress of human freedom.

Bikini atoll copy
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No universal history leads from savagery to humanitarianism, but there is one leading from the slingshot to the megaton bomb.

— Theodor Adorno, Negative
Dialectics
(1966), pg. 320

It is not my task…to enter into the detail of the way in which history is constructed. Even so, I believe that, if we are to treat certain fundamental questions of the philosophy of history, we cannot ignore such matters entirely; and I believe further that the knowledge of historical matters is in the first instance a question of distance. If we approach details too closely and fail to open them up to critical inspection, we will indeed find ourselves in the proverbial situation of not seeing the wood for the trees. On the other hand, if we distance ourselves too much, we shall be unable to grasp history because the categories we use themselves become excessively magnified to the point where they become problematic and fail to do justice to their material. I have in mind concepts such as the progress of freedom, about which I [have] offered some critical comments…

So I would say that we need to keep a certain distance. This will enable us both to dissociate ourselves from a total theory of history and equally to resist the cult of the facts which, as I have explained, have their own conceptual difficulties. We can illustrate this by saying, for example, that we cannot really speak of something like progress in general, as indeed I have already argued. Incidentally we shall take a closer look at this concept towards the end of the section in which we discuss the philosophy of history.
Continue reading

Graham Greene’s infamous review of Wee Willie Winkie (1937), starring Shirley Temple

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Shirley Temple passed away a little over a week ago. Now that some time has gone by, though, I thought I would take this opportunity to repost a hilarious 1937 review written by Graham Greene of her movie Wee Willie Winkie. Greene, one of the great British authors of the twentieth century — and there were many — wrote with such searing cynicism and shocking innuendo that Temple’s guardians ended up suing him. He was practically forced to leave the country.

This reposting should not be seen as some sort of final dig at Temple shortly after she died. Indeed, it’s more of commentary on the whole Hollywood industry of the child star, which has claimed so many over the years. And in fact, Shirley Temple is one of the very few who did successfully transition into adult life without completely losing it (an all-too-familiar story for child actors who the studios chew up and spit back out).

Enjoy.

Shirley Temple in Poor Little Rich Girl

Shirley Temple in Poor Little Rich Girl

Wee Willie Winkie

Graham Greene
Night and Day
Oct. 28, 1937

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The owners of a child star are like leaseholders — their property diminishes in value every year. Time’s chariot is at their backs: before them acres of anonymity. What is Jackie Coogan now but a matrimonial squabble? Miss Shirley Temple’s case, though, has peculiar interest: infancy with her is a disguise, her appeal is more secret and more adult. Already two years ago she was a fancy little piece — real childhood, I think, went out after The Littlest Rebel). In Captain January she wore trousers with the mature suggestiveness of a [Marlene] Dietrich: her neat and well-developed rump twisted in the tap-dance: her eyes had a sidelong searching coquetry. Now in Wee Willie Winkie, wearing short kilts, she is a complete totsy. Watch her swaggering stride across the Indian barrack-square: hear the gasp of excited expectation from her antique audience when the sergeant’s palm is raised: watch the way she measures a man with agile studio eyes, with dimpled depravity. Adult emotions of love and grief glissade across the mask of childhood, a childhood skin-deep. Continue reading

Robert Mallet-Stevens and Fernand Léger, modernist set designs for L’Inhumaine (1924)

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Some remarks by Italian architecture critics on the architectural significance of the movie.

The elegant and refined works of Mallet-Stevens, beginning with the De Noailles villa of 1923 in Hyères, were yet another product of an intimate converse with the Cubist vanguard that nonetheless kept its eye on the latest modes and fashions, as in the house on Rue Balzac in Ville d’Avray (1926) or the apartment block of the next year on the street in Paris named for the architect himself. In the sophisticated world of the avant-garde, Mallet-Stevens moved at his eclectic ease: his villa for the Vicomte de Noailles was used as the setting for Man Ray’s film Les Mystères du Chateau du Dé. Already in 1923-24, Mallet-Stevens had collaborated with Léger, Chareau, and Alberto Cavalcanti on a film by Marcel L’Herbier, L’Inhumaine, in which the house of the leading character is one of the finest examples of that scenographic and eclectic synthesis of Cubist, Neo-Plasticist, and Art Deco details of which Mallet-Stevens’ architecture is compounded. (Pg. 233)

— Manfredo Tafuri
& Frencesco Dal Co
Modern Architecture

The human being as inventor and as machine was even transferred to the stage in ballets such as Parade (1917), Alexander Exeter’s L’homme Sandwich (1922), and the Triadische Ballet of Oskar Schlemmer and plays an obvious role in the rhythmic sequencing and montage used as compositional techniques in films such as Fernand Léger’s Ballet mécanique and Marcel L’Herbier’s L’Inhumaine. Photography and the cinema are in fact the two new and popular mechanical figurative arts. If photography offers an alternative to the pictorial representation of nature, cinema provides art with new materials in a new harmony of space and time in movement and a new simultaneity. These were themes that Walter Benjamin was to treat in the 1930s. (Pg. 20)

— Vittorio Gregotti
The Architecture of
Means and Ends

And now for an article by Mallet-Stevens.
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http://www.youtube.com/watch?v=1Bw6Gx4MeZ8

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Architecture and Geometry (1924)

Robert Mallet-Stevens

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Architecture is an art which is basically geometrical. The cube is the basis of architecture because the right angle is necessary. In practice, walls are generally vertical, floors are horizontal, columns, pillars and posts are vertical, terraces and the ground are horizontal, stone blocks are parallelepipeds, windows and doors are rectangular, the steps of a staircase consist of vertical and horizontal planes and the corners of rooms are nearly always right angles. We need right angles.

A house, a palace, is composed of a set of cubes. At all stages in the history of art the house has been cubical. Each country, each century, each fashion has made its impression on the cube, with sculptures, moldings, pediments, capitals, ornamental foliage, scrolls — so many decorative details which are often of no use to the structure but which give the charm of the play of light and shade. Building in stone, in fact, only allowed a block to be made, composed of various elements, to which the decoration was related as if glued on. Continue reading

Ivan Kudriashev’s interplanetary-dynamic abstractions (1917-1928)

Cosmism and
communism
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Click images
to enlarge
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Biographical notes

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Born
Kaluga, 1896; died Moscow, 1972.

From 1913 to 1917 Kudriashev attended the Moscow Institute of Painting, Sculpture, and Architecture, and from 1918 to 1919 studied with Kazimir Malevich at the SVOMAS [Free State Art Studios]; there he met Ivan Kliun, Antoine Pevsner, and Naum Gabo. From 1918 on, under the influence of the ideas of the space scientist Konstantin Tsiolkovskii (conveyed to Kudriashev by his father, a carpenter who made rockets and other devices for Tsiolkovskii), he turned to the problems of cosmic abstract painting, as filtered through Suprematism. After the Bolsheviks’ revolutionary seizure of power in October 1917, Kudriashev worked for about a year on propaganda designs for automobiles to celebrate the first anniversary of the Revolution.

Ivan Kudriashev, photographer unknown (1940s)

In 1919, he was sent to Orenburg to establish the SVOMAS. That same year Kudriashev participated in the city’s inaugural State Exhibition, showing sketches for the mural of the First Soviet Theater along with other abstract works. Over the next year he worked on the interior to the Summer Red Army Theater and organized a branch of the UNOVIS group in Orenburg.

Kudriashev arrived in Smolensk in 1921, while serving as the supervisor of a train for the evacuation of starving children. There he met Katarzyna Kobro and Wladyslaw Strzeminski, two Polish followers of Malevich. Later on Kudriashev returned to Moscow, and from late 1921 onward worked as a designer. In 1922 he sent work to the “Erste russische Kunstausstellung” (First Russian Art Exhibition) at the Galerie van Diemen in Berlin. Between 1925 to 1928 his abstract works were displayed at the first, second, and fourth OST exhibitions.

After 1928, Kudriashev stopped exhibiting in the Soviet Union.

Early works.

Planets

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Ivan Kudriashev is one of the lesser-known painters of the Soviet avant-garde. Not for lack of talent, however. Brilliant, brooding, and celestially driven, Kudriashev was often given to interstellar flights of the imagination. He dreamed of nighttime passages between the Earth and other planets. This of course reflected the gravitational pull of Tsiolkovskii’s cosmism, which always held extraterrestrial ambitions.

Many of his darker paintings from the 1920s convey this sense of cosmic loneliness — that of a solitary mind launched and set adrift in a cold vessel, wandering through the black expanse of space. Kudriashev’s career was brief, but blazed a path fed by rocket-fuel. Continue reading

Anti-fascism: Its problematic history and meaning

       Manuel Kellner | Henning Mächerle
Wolf Wetzel | Jan Gerber
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Platypus Review 63
February 1, 2014
Image: Antifascist
conference (1922)
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Since the Nazi seizure of power eighty years ago anti-fascism has been integral to left-wing politics. The struggle against fascists and Nazis is morally self-evident, so that political anti-fascism seems to be similarly self-evident. Yet in past periods of history, the politics of anti-fascism was completely different, as was the understanding of what it contributed to leftist politics more generally. Still certain continuity can be discerned in anti-fascism’s retention of anti-capitalist claims. Where does this come from? What was anti-fascism and how has it changed? How do the category and concept of anti-fascism help us to understand both historical and contemporary political realities? What does anti-fascism mean today in the absence of fascism as a mass movement?

What follows is an edited transcript of an event organized by The Platypus Affiliated Society in Frankfurt on April 30, 2013. The discussion addressed the different historical and political implications of anti-fascist politics in order to throw into relief the underlying questions and problems of left-wing politics in the present.
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Opening remarks

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Wolf Wetzel:
This discussion is itself an historical event. The Left is at present so fractured, that it is impossible, even forbidden, to have discussions with each other.  We would normally never see a group like this on a platform together. Yet the problem of the Left is also one of anti-fascism.  Many people from the “Antifa” [anti-fascist movement] here in Frankfurt have refused to attend this discussion, since on the evening before an anti-Nazi march, they can only meet to discuss plans of action. They cannot allow themselves to discuss anti-fascism itself because for them to do so on the day before an action would be demobilizing.  This is remarkable given that formerly such discussions of political substance were commonplace.

The other issue is the intense mutual criticism of the different positions represented on this platform. Who can speak with whom? When is it a betrayal? When is it bourgeois, even counterrevolutionary? The assemblage here — representing anti-German, Trotskyist, German Communist Party (DKP), and Autonomist positions — could meet nowhere else in the Federal Republic. Even though I oppose many of the views represented here, these meetings are valuable because they show where these political differences come from and what lessons can be drawn from them.

I want to raise the question of the role Nazism plays today and how to understand the Nazis. This is a big question, one that is too often avoided by anti-fascists themselves. But one must ask: How threatening are they? Are they dangerous materially, politically, or ideologically? Also the historical question must be raised: Who in the ruling apparatus and state institutions of the 1930s when the Nazi Party was on the rise had an interest in their program? If the system itself is in crisis and the political elite hit rock bottom, what prevents the Left from coming to power (something much more likely in the 1930s than it is today)? At that time, it was an existential crisis for the political and business class: Would the conflict arising in the capitalist crisis be answered in a rightwing, fascistic way, or in a socialist way? Might not the crisis conclude with the bursting apart and transcendence of the capitalist system itself?

When we demonstrate against the Nazis we should ask what significance they have, not how many of them there are — 200 or 500. Such figures anyway sometimes get exaggerated in order to inflate the sense of the threat the Nazis pose.

We must discuss what role neo-fascist organizations, their parties, and their armed groups play. My view is that conditions today are massively different from the 1930s. The fascist movement then and today cannot be equated. The political class and the political system have become something quite different. It is absolutely necessary to ask where the true menace lies. I do not believe that the neo-Nazis are the driving protagonists of German racism and nationalism. Racism and nationalism are mainstream and have the support of the majority.  These arrived a long time ago at the center of society. They are represented by political power. The National Democratic Party (NPD) and the other, less organized neo-Nazi groups only express consistently what is already established as mainstream.

Swastika mass ornament, Nuremberg 1933

Swastika mass ornament, Nuremberg 1933

Henning Mächerle: What we are discussing here today depends on the fact that the German workers’ movement of the 1920s and 1930s failed. The Communist Party of Germany was defeated. At the time, it was the biggest Communist Party outside the Soviet Union and it failed without organizing any significant armed resistance or, indeed, interfering with the functioning of the Nazi Party on a large scale. The dilemma of the German Left is that we drag this historical burden along with us. That we are mortgaged to history in this way is the occasion for this debate on anti-fascism. To advance our discussion first we need to understand fascism. That is only possible when we describe society as a class society and understand that it is one in which the owners of the means of production — the ruling class — have a compelling interest in the maximization of profit for which a large number of people must sell their labor power. Because of this, the workers’ movement formed and, through its decisive battle with the capitalist class, shaped the last 150 years. For Eric Hobsbawm, the October Revolution was the decisive point of the “short 20th century” that first showed the possibility of establishing a non-capitalist, perhaps socialist society of free and equal people.  The Left was then — unlike today — a truly serious social movement. It was comprised of people who were not primarily ensconced in universities, but had normal wage work and social interests. The big problem of the Communist Party was it only represented a specific milieu within the workers’ movement. Continue reading

Violent turns of the imagination

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Mariann Tihane from Tartu Ülikool writes:

Where do you dig up these stunning photos?

Being from the milder western corner of the Soviet Union, these post-apocalyptic shots simultaneously trigger a hyperreal sense of nostalgia and stir uncanny feelings in me. An almost ethereal sort of distance-closeness. Some of the photos resemble my own back-alley streets. Others take still more violent turns in the imagination.

An amazing assortment.

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Спасибо большое, Марянн! Thanks, but for now the secret to my #doomporn database must remain classified.

Return of the Sun God

PHOTO: Ivanpah solar electric
generating system (2.08.2014)

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At last a megamachine had become possible that would need, once organized, a minimum of detailed human participation and coordination. From the sixteenth century on the secret of the megamachine was slowly rediscovered. In a series of empirical fumblings and improvisations, with little sense of the ultimate end toward which society was moving, that great mechanical Leviathan was fished up out of the depths of human history. The expansion of the megamachine ⎯ its kingdom, its power, its glory ⎯ now became progressively the chief end, or at least the fixed obsession, of Western society. The machine, “advanced” thinkers began to hold, not merely served as the ideal model for explaining and eventually controlling all organic activities, but its wholesale fabrication and its continued improvement were what alone could give meaning to human existence.

Within a century or two, the ideological fabric that supported the ancient megamachine had been reconstructed on a new and improved model. Power, speed, motion, standardization, mass production, quantification, regimentation, precision, uniformity, astronomical regularity, control, above all control ⎯ these now became the passwords of modern society in the new Western style.

Only one thing was needed to assemble and polarize all the new components of the megamachine: the birth of the SUN GOD. And here in the sixteenth century, with Johannes Kepler, Tycho Brahe, and Nicolaus Copernicus officiating as accoucheurs, the new SUN GOD was born.

⎯ Lewis Mumford,
“Megamachine”
(March 1, 1966)