Is all architecture truly political?

A response to Quilian Riano

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Quilian Riano has written up a brief piece, “Design as a Political Act,” over at Quaderns in which he responds in passing to some critical remarks I made about his comments in a recent event review and further contextualizes what he meant by his contention that “all architecture is political.”

Riano explains that this remark is not only intended as a statement of fact (though he goes on to maintain its factuality, with a few minor qualifications) but also as a corrective to the formalistic (mis)education most architects receive in the course of their training. He lays much of the blame for this at the feet of the architect Peter Eisenman, whose post-functionalist perspective disavows any possible political role for design. In this, Riano is doubtless on the right track in his skepticism toward Eisenman’s views. The oldest ideology on the books, after all, is that which most adamantly insists on its apolitical or non-ideological character.

Nevertheless, I cannot help but feel that Riano overcompensates in issuing this corrective. To claim that all design is political is no more accurate than to claim that design isn’t political at all. In either case, the counterclaim expresses an abstract, contentless universality — almost in the same manner that, for Hegel in his Science of Logic, an ontological plenum (where everything’s filled in) and an ontological void (where nothing’s filled in) are conceptually identical. Žižek, whose interview with Vice magazine Riano cites, would probably appreciate this analogy. Seemingly opposite claims, by remaining at this level of abstraction, are equidistant from reality. Clearly, Riano has “bent the stick too far in the other direction,” as the saying goes.

Model, Tribune for a Leninist (the podium-balcony is empty, the placard reads "Glasnost")

Model, Tribune for a Leninist (the podium
sits empty, the placard reads “Glasnost”)

It’s an odd position to be in, coming to the defense of a figure one generally finds unsympathetic, but whose work is being criticized unjustly. So it is with someone like Eisenman. Here I’m reminded of something Douglas Murphy said to me a couple months back. Murphy, who was unsparingly critical of Eisenman in his debut, The Architecture of Failure, told me he’d recently “found [him]self…defending Peter Eisenman, reactionary old windbag though he is, against charges that he (and he alone!) ruined architectural education in the last 30 years.” Eisenman is not so much the cause as the effect of the depoliticization of architecture. Continue reading

Architecture and capitalism

Event review
Architecture
and Capitalism:
1845 to the Present

Book launch at the Storefront for Art
………and Architecture in Manhattan

Featuring:
Thomas Angotti
Peggy Deamer
Quilian Riano
Michael Sorkin

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The following review of the book release event for the new collection Architecture and Capitalism was first published over at Quaderns d’arquitectura i urbanisme, the journal of the Association of Architects of Catalonia. A trilingual publication, it features articles written in Spanish, English, and Catalan.

Last night’s book launch for Architecture and Capitalism: 1845 to the Present drew a large crowd to the Storefront for Art and Architecture in Lower Manhattan. The precise relation of the event to the newly-released Routledge collection was obscure, however. Of the four featured speakers — Thomas Angotti, Peggy Deamer, Quilian Riano, and Michael Sorkin — only Deamer and Sorkin contributed pieces to the volume. Deamer, the prime mover behind Architecture and Capitalism, wrote the introduction; Sorkin was responsible for its pithy four-page conclusion. Effectively bookending the discussion, then, the book’s themes entered into the conversation in a largely oblique fashion. For the most part, the talk was limited to generalities.

Architecture and Capitalism - Quilian Riano, Michael Sorkin, Peggy Deamer, and Thomas Angotti (photo by Anna Kats)

Architecture and Capitalism: Quilian Riano, Michael Sorkin,
Peggy Deamer, and Thomas Angotti (photo by Anna Kats)

Some of the topics focused on by the speakers were fairly familiar, by now standard fare for reflections on architecture’s role in society. There was reference, of course, to the supremely compromised position of the architect within the existing system of capitalist reproduction. Given the present constraints encountered in the profession, Sorkin and Angotti pointed out, designers are typically bound to the whims of their clients. What little leverage can be mustered during the building process is usually a function of the “name recognition” of their firm. Otherwise, architects have very little say in how their visions are eventually realized, unless they stipulate specific guarantees beforehand (making it far more difficult to secure a contract in the first place). If they don’t follow the instructions or meet the expectations of their employers, in most cases, all funding is cut off and the commission is lost. Questions concerning the supposed ethical obligations of the architect were also raised in this connection. Should architects refuse to lend their name to certain kinds of building projects? Prisons featuring cells for solitary confinement were listed by Sorkin as obvious examples, along with military installations with facilities built-in to serve as torture chambers. Deamer brought up the extraordinary conditions of exploitation suffered by the workers mobilized to construct, for instance, gleaming skyscrapers in Abu Dhabi or Dubai. Not only the living labor involved in their assembly, Riano added somewhat vaguely, but also the dead labor embodied in the materials assembled.

Besides these scattered considerations, more theoretical issues of interpretation were also touched upon. Included here was some debate regarding the relationship between the material “base” of social production and the ideological “superstructure” it supports — that controversial architectural metaphor supplied by Marx over 150 years ago. Continue reading

Adam Smith, revolutionary

Spencer A. Leonard
Platypus Review 61
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By exposing the historical necessity that had brought capitalism into being, political economy became the critique of history as a whole.

— Theodor W. Adorno[1]

Unlike Jean-Jacques Rousseau or even Friedrich Nietzsche, Adam Smith is a thinker few on the contemporary Left will have much time for. This tells us more about the impoverishment of the currently prevailing intellectual environment than about the persistent, if ever more obscure, influence of bourgeois radicalism on the Left. Today, of course, it is fashionable to have “a critique of the enlightenment” or, alternatively, to defend it against an array of enemies, including postmodernism, religious conservatism, and academic obscurantism. Those currents of the contemporary Left that still seek to lay claim to the Enlightenment must fend off Smith, because, like Rousseau, his is an Enlightenment that cannot be upheld simply as an affirmation of “reason” or the demand for “human rights.” Smith’s Enlightenment demands to be advanced. His 1776 treatise, An Inquiry into the Nature and Causes of the Wealth of Nations, is not a product of the Scottish Enlightenment but of the cosmopolitan radical Enlightenment, stretching from the coffeehouses of Rotterdam to the meeting rooms of Calcutta. If that cosmopolitan Enlightenment project remains “unfinished,” it is because the course of history since the publication of Smith’s magnum opus failed to fulfill and indeed undermined the radical potentials of the eighteenth century.

Cornwallis’ 1781 surrender at Yorktown, where American soldiers sang the British Revolutionary song “The World Turned Upside Down”

Cornwallis’ 1781 surrender at Yorktown, where American soldiers
sang the British Revolutionary song “World Turned Upside Down”

Smith’s powerful influence upon French revolutionaries such as the Abbé Sieyes and the Marquis de Condorcet, and through them upon Immanuel Kant, Benjamin Constant, and G.W.F. Hegel, are not as well known as they should be, but that need not detain us from coming to terms with the profound radicalism of his thought. Less well known still is the respect that Smith and his close friend, David Hume, held for Rousseau’s works. Hume, refusing to allow his famous public quarrel with Rousseau to cloud his judgment, contended in a letter to Smith that the Genevan’s writings were “efforts of genius.”[2] This was an estimate Hume doubtless knew would find favor with his friend, since as early as 1756 Smith had written an article that is perhaps the earliest discussion in English of Rousseau’s Discourse on the Origin and Basis of Inequality Among Men, singling that work out as the act whereby the Francophone world re-established its supremacy in philosophy for the first time since Descartes, displacing the preeminence of English political and social thought that had lasted for almost a century with the writings of Hobbes, Locke, Mandeville, Shaftesbury, and others.[3] Continue reading

In memoriam: Lebbeus Woods one year after his death

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A little over a year ago the visionary architect Lebbeus Woods died. I never got around to writing up a reflection on his passing, something commemorating and celebrating his lifework. Thankfully, many whose opinions and insight I respect did.

What follows is thus a pastiche of images by Woods and text from two articles — one by Sammy Medina (then at Architizer), with whom I’ve collaborated in the past, the other by Kelly Chan (then at ArtInfo), a fantastically overproductive architecture critic who I know through Sammy — as well as a quote from the British author Douglas Murphy on Woods’ oeuvre.

Early drawings

Not much I can really add to their comments, really, except to point out a few intersecting themes that unite them (for good reason, too, as I think they hit upon something):

  • First, there is the contrast of Woods’ career with those of his contemporaries Daniel Libeskind and Zaha Hadid, both of whom transitioned from speculative architectural drawing in the late 1970s and 1980s to become “starchitects” by the mid-1990s. Douglas, Sammy, and Kelly all stress Woods’ disappointment with the naked careerism of his former peers.
  • Second, related to the first point, there was Woods’ refusal to capitulate to the imperative to build in a reactionary age. This wasn’t an act of simple asceticism, I don’t think, but rather a recognition of historical reality.
  • Finally, there is the comparison that both Sammy and Kelly made of Woods to the pioneering Italian draughtsman Piranesi — whose work, according to Manfredo Tafuri, prefigured that of the twentieth century avant-garde. Piranesi, like Woods, built very little during his lifetime. Both are instead remembered for their resolute commitment to “paper architecture,” whose unsettlingly speculative content served to disenchant the triumphant conservatism that had overtaken architecture in their time.

With that, I’ll conclude. Enjoy.

Lebbeus Woods, Makeshift House (1990s)

Lebbeus Woods, Makeshift House (1990s)

On the passing of Lebbeus Woods

Douglas Murphy
Guardian

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Guardian quotes Douglas Murphy as follows:

Around the end of the 1980s Lebbeus Woods was just one of a number of radical architects making their name through the production of imaginary projects; elaborate drawings and paintings occupying a milieu somewhere between fine art and architecture, which allowed many to interrogate the conventions of their discipline. Open a book on the experimental architecture of that period and Woods’ heartfelt and haunting drawings regarding the siege of Sarajevo share space with early works from the likes of Daniel Libeskind and Zaha Hadid. But unlike so many of that generation who eventually made the career transition from avant-garde upstarts to global superstars, Lebbeus Woods never got rich by building rubbish. Continue reading

Nietzsche’s untimeliness

Sunit Singh

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The following article first appeared in the Platypus Review. It covers some of the same terrain that I explored around a year ago in my reflections on the recent “anti-Nietzschean turn” that has taken place on the Left. Sunit’s piece ranges a bit more widely than my own, and incorporates important insights from the early Marxist Franz Mehring and the later critical theorists of the Frankfurt School elucidating Nietzsche’s fraught relationship to his own time, bourgeois liberal democracy, and the rise of the socialist workers’ movement.

I’d also recommend Mazzino Montinari’s excellent overview, Reading Nietzsche. Montinari was an Italian Marxist dissident who left the PCI during the early 1970s, and helped edit the collected works of Nietzsche in German.

Introduction
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Eros and Civilization: the title expressed an optimistic, euphemistic, even positive thought, namely, that the achievements of advanced industrial society would enable man to reverse the direction of progress, to break the fatal union of productivity and destruction, liberty and repression — in other words to learn [Nietzsche’s] gay science.

— Herbert Marcuse

In [ancient] philosophy the duties of human life were treated as subservient to the happiness and perfection of human life. But when moral, as well as natural philosophy, came to be taught only as subservient to theology, the duties of human life were treated of as chiefly subservient to the happiness of a life to come…[But even] in [what came to be called] the modern philosophy [perfecting virtue] was frequently represented as generally, or rather as almost always inconsistent with any degree of happiness in this life; and heaven was to be earned only by penance and mortification, by austerities and abasement of a monk; not by the liberal, generous, and spirited conduct of man.

— Adam Smith

Nietzsche believed that gaining even a modicum of reason and freedom had to be a hard won, blood-soaked, and world-historical affair, but was nevertheless inclined to be as uncharitable in the extreme toward Jean-Jacques Rousseau, “the seducer” behind the idealist and rabble in the French Revolution, as toward the socialists who claimed to be the inheritors of the Jacobin tradition. He identified Of the Social Contract — a meditation on the conditions of possibility for the radical self-determination of modern civilization — as putting forward the first image of modern man to inspire mortals to a “transfiguration” of their own circumstances. However, modern man turned out to be a creature afflicted with a fevered historical self-consciousness that periodically flared up in revolutions, “like Typhon under Etna.”[1] It was a symptom of this curious sickness, Nietzsche held, that had led the philosophizing son of a watchmaker to characterize man as a creature full of pity or empathy and as capable of perfectibility, while positing an unwarranted faith in nature as an idyll of freedom. Nietzsche saw modern civilization as a chimera, characterized by what Kant had referred to as “glittering misery” and by the creation invidious interdependencies, but had reached the opposite conclusion as the “Citizen of Geneva.” For Nietzsche, plunging further into the civilization that the latter abhorred “is precisely that which speaks in favor of civilization.”[2] For moderns, who were proving themselves unable to squarely take on the task of Enlightenment, it was as “reasonable” to consider a return to nature as it was for them to revive Greek tragedy; we moderns had no chance of ever going back to the state of nature — the state of nature was itself a myth that the dialectic of Enlightenment had necessitated.

Photograph of Nietzsche, Paul Rée, and Lou Salome, circa 1882.

Photograph of Nietzsche, Paul Rée,
and Lou Salome, circa 1882.

Despite identifying “the labor question” as an intractable issue of the industrial age, Nietzsche never offered a clear resolution to the “the physiological self-contradiction” that defines capitalism. One can admit as much without either attempting to shape Nietzsche on a Marxist lathe — the accusation once leveled at Adorno — or giving in to the idea that Nietzsche was an elitist, anti-democratic, and anti-liberal conservative.[3] The efforts to “let workers be themselves” had failed, Nietzsche wrote in Twilight of the Idols, as a result of “the most irresponsible negligence.” Nietzsche was apportioning fault for this “negligence” directly on the socialists, who were confounded as to why, in spite of the fact that workers had made enormous strides toward sociopolitical equality since the industrial revolution, and justifiably wanted more and felt “their existence to be desperate… an injustice,” their demands for “a social democracy” could not be met by the vote and contractual rights. Europe had to answer the workers, while the workers tried to articulate their own demands and to answer, “What do they will?”[4] But the socialists — those “superficial, envious, and three-quarter actors” infected with “nihilism” — had turned freedom into an ethic and so crab-walked backward into “a will to negate life.”[5] Further, their values were little more than refashioned Christian ideals rather than peculiarly modern aspirations; their certitude that a socialist revolution was inevitable was motivated by the same animalistic instincts that had led Christians to see the Last Judgment as “the sweet consolation of revenge.”[6] Such vituperations also masked the actual task of emancipation and left the socialists with the muddle-headed belief that, “[as] time marches forward…Everything that is in it also marches forward — that the development is one that moves forward.” Although, even “the most level-headed are led astray by this illusion,” Nietzsche claimed, “the nineteenth century does not represent progress per the sixteenth…’Mankind’ does not advance, it does not even exist…Man represents no progress over the animal: the civilized tenderfoot is an abortion.”[7] Despite the touted “progress” of the nineteenth over the eighteenth century, the socialists had overlooked or were unable to recover what earlier revolutionaries, inspired by the notion of the infallible sovereignty of the General Will, had understood — that rather than “dance in our ‘chains’” we had to break them.[8]

The case of anti-Nietzsche

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The aristocratic antipathy in which Nietzsche held the Left is presumably one reason behind the leftist “anti-Nietzsche” stance. Others chafe at the fact that Nietzsche was a staunch individualist who clubbed the Marxist social-democrats together with the anarchists as well as with the Christian socialists; Nietzsche was satisfied to say that anarchism held “the same ideal [as socialism], but in a more brutal fashion,” while the dogmatic social-democrat who hypostatized class relations was in as bad faith as the Protestant minister who reconciled men to their wretched fate.[9] Malcolm Bull is the latest leftist to argue for an anti-Nietzsche stance. But with the critical difference that Bull’s criticism of Nietzsche is rooted in a conservatism that obfuscates the established tradition of left criticism of Nietzsche, which dates back to the revisionist debate. Bull compares Nietzsche to Durkheim, as both were diagnosticians who theorized that the incompleteness of our transition to modernity had manifested itself pathologically in what Nietzsche referred to as “decadence” or “nihilism,” and in what Durkheim called “anomie.” Continue reading

Space architecture: Training the Soviet avant-garde (1921-1930)

The “space” course for
architects at Vkhutemas

Spatial modeling
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Continue reading

The tragic failure of Adorno’s emancipatory modernism

Bret Schneider
Platypus Review 21
March 1, 2010

Book review:
Theodor Adorno
Philosophy of New Music (1947)

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Translated by Robert Hullot-Kentor.

University of Minnesota Press.
Minneapolis, MN: 2006..

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The new translation and republication of Theodor Adorno’s Philosophy of New Music is a further clarification of modernism, necessitated by the latest discontents with postmodernism’s vulgarization, which keeps it at a fictitious distance. Perhaps as his remedy for the most fragmented part of the whole of the arts, namely music, translator Robert Hullot-Kentor has in recent years been steadily reintroducing Adorno’s aesthetic philosophy to English readers.[1] Philosophy of New Music continues this process, further introducing readers to Adorno’s complex aesthetic theory, also elaborated recently in Current of Music, which embodies Adorno’s aesthetic hopes for the early emergence of radio transmission. Republishing Philosophy of New Music serves the purpose of clarifying a nexus of art history where the relationship between aesthetics and theory could have been drastically reformulated.

Austrian composer Arnold Schoenberg (1874–1951), whose works Adorno considers at length in Philosophy of New Music.

Austrian composer Arnold Schönberg (1874-1951), whose
works Adorno considers at length in Philosophy of New Music

Philosophy of New Music is one of Adorno’s more obscure, niche analyses. Split into two sections comprising intricate dissections of Schönberg and Stravinsky, it is tighter and less ambitious than Dialectic of Enlightenment, co-written with Max Horkheimer around the same time. However, New Music can be understood as Dialectic’s complement, its object being entangled with that of the culture industry critiqued generally in the more famous volume from the same period. Operating in an inverse way, Philosophy of New Music seeks to exacerbate and expose the same symptoms from within modernist music itself. American readers may have a difficult entry into the text, not only because the writing styles itself on Schönberg’s esoteric manner of composition, but also because of Adorno’s object of critique, the historical complications provoking the European modernist avant-garde. The text pays strict attention to Schönberg’s music technique, while delving into historical comparisons to previous composers like Richard Wagner and the regressive, constrictive trajectory implied by their music styles. The volume also incorporates some of Adorno’s most sustained ruminations on the changed significance of the musical “material,” one of Adorno’s most pivotal and least understood concepts for approaching new music as a response to rapidly changing social conditions. As a concept, it seeks to articulate possibilities emanating from the split in idealization and materialization in art — possibilities we now identify as reaching a climax with the music of the mid-century avant-garde that Adorno anticipated. Continue reading

Alienation, reification, and the fetish form: Traces of the Hegelian legacy in Marx and Marxism

Everyone remembers Althusser’s numerous objections to the overemphasis placed on the concept of “alienation” amongst Marxists, and in general the fascination with the young, “humanistic” Marx at the expense of the old, “scientific” Marx. What is less often remembered, however, is that even many who stressed the Hegelian underpinnings of Marxism had grown tired of the all the talk of “alienation” by the 1960s. In his Introduction to Sociology lecture series delivered in 1961, no less a dialectician than Theodor Adorno remarked:

One hears much talk about the concept of alienation — so much that I myself have put a kind of moratorium on it, as I believe that the emphasis it places on a spiritual feeling of strangeness and isolation conceals something that is really founded on material conditions. (Introduction to Sociology, pg. 3).

Since the word “alienation” is used ad nauseum today, I try to dispense with it as far as I can. Nevertheless, it does impinge on the subject under discussion, and I shall mention it at least as a general heading for what I mean. We live within a totality which binds people together only by virtue of their alienation from each other. (Ibid., pg. 43)

Clearly, Adorno is not objecting to the concept of alienation as such, but rather a pernicious effect resulting from its overuse. Two years later, he linked this tendentious usage of the young Marx’s terminology to a rekindled communitarianism enchanted by the memory of “community” [Gemeinschaft] and distraught over the reality of “society” [Gesellschaft]. In one of his lectures on History and Freedom (1963), he maintained:

Infected by an irrational cult of community, the term “alienation” has recently become fashionable in both East and West, thanks to the veneration of the young Marx at the expense of the old one, and thanks to the regression of objective dialectics to anthropology. This term takes an ambivalent view of a repressive society; it is as ambivalent as genuine suffering under the rule of alienation itself. (History and Freedom, pg. 265)

As has already been mentioned above, the French Marxist Louis Althusser was likewise exhausted with the jargon of “alienation” being bandied about in the universities. Unlike Adorno, however, this led him to reject the entire philosophical apparatus of the young Marx root and branch. Furthermore, adopting the rather hazy distinction made by the humanist Marxists — he had in mind here Jean-Paul Sartre, Erich Fromm, and Roger Garaudy rather than Raya Dunayevskaya — Althusser posited a decisive, unequivocal “epistemic break” between the young Marx and the old Marx supposedly taking place around 1845. (Though, for the curious, Dunayevskaya had this to say about Althusser: “Althusser really goes backward. Compared to him, [Eduard] Bernstein was practically a revolutionary. Althusser wants to ‘drive Hegel back into the night’.”)

George Tooker, Lunch

Rejecting the earlier category of “alienation,” Althusser now railed against the theory of “reification” proposed by Marxist Hegelians influenced by Georg Lukács and Isaak Rubin during the 1920s. Continue reading

Alienation in Karl Marx’s early writing

Daniel Lopez

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[Daniel Lopez’s essay on “Alienation in Karl Marx’s early writing” was recently republished on Links International Journal of Socialist Renewal. In my opinion, it’s an excellent and fairly self-explanatory piece. As such, it doesn’t require much commentary on my end. Still, I’d like to note just a few things about the essay as well as the subject it concerns, not only to personalize it for my blog, but to set it in broader context. These won’t be included here, however, but will have to wait for a subsequent post. Just one thing, really: I find the notion of a Marxist “ontology,” like an “epistemology,” quite problematic, and characteristic of the later Lukács, and not the early one.

Please do, if you’re interested, check out Bertell Ollman’s classic Alienation: Marx’s Conception of Man in Capitalist Society (1971). Long before he started announcing every economic upheaval as “the terminal crisis of capitalism,” and talking about robotization, Ollman wrote what was probably the definitive text on the subject of alienation.]

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As Karl Korsch noted in Marxism and Philosophy, the philosophical foundation of Marx’s works has often been neglected. The Second International had, in Korsch’s view, pushed aside philosophy as an ideology, preferring “science.” This, he charged, tended to reduce Marxism to a positivistic sociology, and in so doing, it internalized and replicated the theoretical logic of capitalism. [1] In place of this, Korsch called for a revitalization of Marxism that would view philosophy not simply as false consciousness but as a necessary part of the social totality.[2]

Following Marx, we should understand that philosophy could be, at best, its own period comprehended in thought, and that “philosophy cannot be abolished without being realised”.[3] Korsch was not alone in this. Georg Lukács’ major work, History and Class Consciousness, appeared almost simultaneously. Lukács, too, sought to lead a renewal of Marxism via a return to its philosophical roots, specifically in Hegel.[4] Unknown to them at the time, there was a greater basis for this in Marx’s writing than they could have imagined. In 1927, Marx’s The Economic and Philosophic Manuscripts of 1844 was released; this was followed in 1932 by The German Ideology. These two texts joined other works by Marx, including The Critique of Hegel’s Philosophy of Right (1843), On the Jewish Question (1843), The Holy Family (1845, co-authored with Engels), Theses on Feuerbach (1845) and The Poverty of Philosophy(1847). Together, these illustrate a vast and penetrating critical engagement with Hegelian philosophy.

This essay will engage with this body of work in order to shed light on Marx’s early period and specifically, the concept of alienation.[5] The central contention here is that alienation is vital to the ontological bedrock of Marx’s early viewpoint. This will help to elucidate a number of related issues. Specifically, his concept of labor as species-being, his argument that material reality is always formed by and through social relations and his application of alienation to the critique of philosophy and history will be explored. In order to do this, this essay will be divided into four subsections which deal with the concept of alienation as Marx developed it. It will begin with his Hegelian inheritance and will then move to his political critique of Hegel. Following the development of Marx’s thought, the essay will discuss the economic production of alienation. Marx’s theory of the overcoming of alienation will then be considered, with reference to the Young Hegelian movement, against which he formulated his views. This will necessitate a short discussion of alienation in history and Marx’s theory of revolution. It is hoped that out of this, an understanding of Marx’s early period will be reached that emphasizes his radical humanism and his basic affinity with thinkers like Korsch, Lukács, and Rubin. Finally, this essay seeks to present a Marx who is simultaneously deeply indebted to and critical of Hegel.

Americana_1920_Hegel_Georg_Wilhelm_Friedrich

German philosopher Georg Wilhelm Friedrich Hegel (1772-1831)

Marx’s Hegelian roots

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Alienation is a theme fundamental to Hegel’s thought. To give an in-depth account of this would be a vast undertaking. This essay will therefore limit itself to one clear example — the emergence of Reason out of Self-Consciousness in Section B of The Phenomenology of Spirit.[6] Continue reading

Zuev workers’ club in Moscow (1928-1931), by Il’ia Golosov

The famed glass cylinder encasing the stairs, bisected by a right angle as its belt.