László Moholy-Nagy, painting and photography

The following two texts focus on the Hungarian avant-garde painter and photographer László Moholy-Nagy. “Moholy-Nagy,” written by his countryman Ernő Kállai, principally concerns Moholy-Nagy’s early work in painting. As such, it describes their geometricism and abstraction, as well as their amenability to architecture. He’d been converted to constructivism, of course, by El Lissitzky during his travels to the West. Lissitzky managed to convince a number of members of the De Stijl group in Holland to adopt these principles as well, and stopped by later at the Bauhaus to reconnect with some of his former students and collaborators.

“Production-Reproduction,” the second article reproduced here, was written by Moholy-Nagy himself. It proved to be of immense importance for subsequent theories of photography as a form of art, and by extension art in general. Walter Benjamin read it and was influenced by it, as was his colleague (and sometimes plagiarist) Siegfried Kracauer. Also, if anyone’s interested, you can download the 1968 translation of Moholy-Nagy’s book Painting, Photography, Film (1925), part of the Bauhausbücher series.

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Moholy-Nagy

Péter Mátyás [Ernő
Kállai] Ma vol. 9
September 15, 1921

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In the extremes of its adventures, [László] Moholy-Nagy’s art reaches out on the borders of Cubism and Dadaism, and by organically uniting these opposite poles, he heralds the world of contemporary man who has managed to subjugate the machines.

Speaking purely in terms of form, he constructs either concentric or eccentric systems of forms or tries to interlink these opposing entities.

In the case of those works, in the monumentality of the few masses which are distanced so as to suggest inevitability, a strong will and elementary laws manifest themselves. In his use of the landscape motifs of the railway tracks, for example by the projection of the tremendous diagonal of a factory chimney leaning left, the leaning, resting forces, forces pressing tensed into vertical, are gathered into a compact architecture of form. Details of bridges and architectural structures, having lost all their utilitarian references and practical functions, freely elevate themselves into a self-willed order, an existence meaningful in itself. In another picture, based on a white horizontal stripe, with an almost organic vitality, the form swings and leaps into a slender vertical. This is all discipline of form, self-awareness, and pride, a totally new and individual manifestation of the modern constructive style, which is devoid of the sometimes dangerously short-changing form and color-splitting and space-complicating of the more differentiated Western Cubism. Colors develop themselves into form through their strong contrasts, through their brutal clashing with each other; the articulations of the form are of the most simple kind possible, and that space, which was left empty for a tabula rasa, constitutes a single, wide abstract wall behind the form, on which the artist’s credo concerning the future-shaping power of man’s civilizing activity is written up with lapidary laconicism.

However, Moholy-Nagy is not only a monumental lord and master-builder of contemporary life and of form, but with a naive admiration of the eternal-primitive child-barbarian, and with his raving joy too, he is also an ecstatic admirer of this life. In other people’s hands Dadaism serves as a murderous weapon of moral and social criticism. The exultation over a million possibilities of forms and motion which only the metropolis and modern technology can create, the sudden discovery of a new world and the dancing laughing youth of a vision totally open to the universe: all these are there in Moholy-Nagy’s art.

Semaphores of joys, forms and colors are standing on all points of space.

Freshly felt surprises and perspectives of gravitational pulls of manifold directions, of the many and of the many kinds, spring up from everywhere. Total geometrical abstractions as well as pieces, numbers, letters and realistically represented objects or fragments of objects picked from the primary reality proliferate in Moholy-Nagy’s eccentrical pictures.

This is a cosmic harmony, nonetheless it has not been kindled by a Futurist Romanticism and, still yet, these works, despite of all their divergences, form, after all, a perfectly intelligible system of absolutely interdependent units.

Anarchy is getting perceptibly arranged into a system of unified law. Although still not with the centralism of the self-containing architectonic structures, the pieces are coalescing into cohesive units, replacing the exploded conglomerate forms. Structures, still open, but set into motion from sharper defined and closer interrelated centers, emerge. Here, the mechanism of the modern machine and its kinetic system has been converted into art through the process of a fruitful coalescence of centrical and eccentrical pictorial factors with the creative principles connecting with Dadaism and Cubism.

Q 1 Suprematistic László Moholy-Nagy. (American, born Hungary. 1895-1946). Q 1 Suprematistic. 1923. Oil on canvas, 37 1:2 x 37 1:2%22 Space Modulator L3 László Moholy-Nagy. (American, born Hungary. 1895-1946). Space Modulator L3. 1936. Oil on perforated zinc and composition board, with glass-headed pins, 17 1:4 x 19 1:8%22

This fusion without inner contradictions of the style forming and negating trends of modern art gives Moholy-Nagy a chance to elevate his paintings on the terms of their own forms the level of vision. His art, after all, maintains a close link with its own well-defined objective territory. But in his relatedness to reality he is not satisfied with pointing out that meaning which is already present, although more or less hidden, in our senseless, chaotic age.

Just as the anarchistic manifestations of Moholy-Nagy’s art mean neither the rejection nor the approval of the all-destroying selfish instinct of the bourgeois free enterprise. Over problematical features of the present, Moholy-Nagy proclaims law and liberty which throw light on the perspectives of the infinite future.

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Lukács’ abyss

Jeremy Co­han
Platy­pus Re­view
Au­gust 1, 2011
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At the Marx­ist Lit­er­ary Group’s In­sti­tute on Cul­ture and So­ci­ety 2011, held on June 20–24, 2011 at the In­sti­tute for the Hu­man­it­ies, Uni­versity of Illinois at Chica­go, Platy­pus mem­bers Spen­cer Le­onard, Pamela No­gales, and Jeremy Co­han or­gan­ized a pan­el on “Marx­ism and the Bour­geois Re­volu­tion.” The ori­gin­al de­scrip­tion of the event reads: “The ‘bour­geois re­volu­tions’ from the 16th through the 19th cen­tur­ies — ex­tend­ing in­to the 20th — con­formed hu­man­ity to mod­ern city life, end­ing tra­di­tion­al, pas­tor­al, re­li­gious cus­tom in fa­vor of so­cial re­la­tions of the ex­change of labor. Abbé Sieyès wrote in 1789 that, in con­tra­dis­tinc­tion to the cler­ic­al First Es­tate who ‘prayed’ and the ar­is­to­crat­ic Second Es­tate who ‘fought,’ the com­mon­er Third Es­tate ‘worked:’ ‘What has the Third Es­tate been? Noth­ing.’ ‘What is it? Everything.’ Kant warned that uni­ver­sal bour­geois so­ci­ety would be the mere mid­point in hu­man­ity’s achieve­ment of free­dom. After the last bour­geois re­volu­tions in Europe of 1848 failed, Marx wrote of the ‘con­sti­tu­tion of cap­it­al,’ the am­bi­val­ent, in­deed self-con­tra­dict­ory char­ac­ter of ‘free wage labor.’ In the late 20th cen­tury, the ma­jor­ity of hu­man­ity aban­doned ag­ri­cul­ture in fa­vor of urb­an life — however in ‘slum cit­ies.’ How does the bour­geois re­volu­tion ap­pear from a Marxi­an point of view? How did what Marx called the ‘pro­let­ari­an­iz­a­tion’ of so­ci­ety circa 1848 sig­nal not only the crisis and su­per­ses­sion, but the need to ful­fill and ‘com­plete’ the bour­geois re­volu­tion, whose task now fell to the polit­ics of ‘pro­let­ari­an’ so­cial­ism, ex­pressed by the work­ers’ call for ‘so­cial demo­cracy’? How did this ex­press the at­tempt, as Len­in put it, to over­come bour­geois so­ci­ety ‘on the basis of cap­it­al­ism’ it­self? How did sub­sequent Marx­ism lose sight of Marx on this, and how might Marx’s per­spect­ive on the crisis of the bour­geois re­volu­tion in the 19th cen­tury still res­on­ate today?” An au­dio re­cord­ing of the event is avail­able at the above link. What fol­lows is an ed­ited ver­sion of Jeremy’s Co­han’s open­ing re­marks.

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In­tro­duc­tion

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In his “Idea for a Uni­ver­sal His­tory from a Cos­mo­pol­it­an Point of View,” Im­manuel Kant sets forth to tell the story of hu­man­ity as if it were one of pro­gress. This is not easy, says Kant,

Since men in their en­deavors be­have, on the whole, not just in­stinct­ively, like the brutes, nor yet like ra­tion­al cit­izens of the world ac­cord­ing to some agreed-on plan, no his­tory of man con­ceived ac­cord­ing to a plan seems to be pos­sible…One can­not sup­press a cer­tain in­dig­na­tion when one sees men’s ac­tions on the great world-stage and finds, be­side the wis­dom that ap­pears here and there among in­di­vidu­als, everything in the large woven to­geth­er from folly, child­ish van­ity, even from child­ish malice and de­struct­ive­ness.1

For Kant, ra­tion­al­ity in hu­man his­tory de­pends on the fu­ture. By com­plet­ing the seeds of free­dom and de­vel­op­ment im­pli­cit in the present, we might il­lu­min­ate and make mean­ing­ful the sound, fury, and idiocy thus far char­ac­ter­ist­ic of world-his­tory. The stakes are high:

Un­til this last step… is taken, which is the halfway mark in the de­vel­op­ment of man­kind, hu­man nature must suf­fer the cruelest hard­ships un­der the guise of ex­tern­al well-be­ing; and Rousseau was not far wrong in pre­fer­ring the state of sav­ages, so long, that is, as the last stage to which the hu­man race must climb is not at­tained.2

Georg Lukács sought to re­vive a Marx that, like Kant, strove to bring the crisis-char­ac­ter of the present to self-con­scious­ness, but un­der changed con­di­tions. This Marx un­der­stood the prob­lem of his — and our — epoch as the un­fin­ished bour­geois re­volu­tion, whose gains would be mean­ing­ful only from the stand­point of re­demp­tion — what Lukács called the stand­point of the pro­let­ari­at. The “or­tho­dox” Marx Lukács found in the polit­ics of the rad­ic­als of the Second In­ter­na­tion­al, Rosa Lux­em­burg and Vladi­mir Len­in, stood at the edge of an his­tor­ic­al abyss.

As Ni­et­z­sche’s Za­rathus­tra puts it: “Man is a rope tied between beast and over­man — a rope over an abyss. A dan­ger­ous across, a dan­ger­ous on-the-way, a dan­ger­ous look­ing back, a dan­ger­ous shud­der­ing and stop­ping.”3 On the oth­er side of the rope, the com­ple­tion of the hu­man free­dom whose pos­sib­il­ity the “bour­geois epoch” had be­gun. Be­neath, the whor­ing sub­ser­vi­ence of bour­geois thought and so­cial­ism both, to a status quo with ever dwind­ling pos­sib­il­it­ies for hu­man free­dom.

This is a very dif­fer­ent Lukács than the one who has gained some aca­dem­ic re­spect­ab­il­ity of late. A sec­tor of the aca­dem­ic left thinks we ought to take up many of the ana­lyt­ic­al tools Lukács has giv­en us to be­come more “re­flex­ive” crit­ics of cap­it­al­ism, pay­ing at­ten­tion to our “stand­point” of cri­tique to get past ob­ject­ive and sub­ject­ive di­cho­tom­ies that plague de­bate in the so­cial sci­ences, and to talk about ideo­logy as “so­cially ne­ces­sary il­lu­sion” rather than mere will o’ the wisp. Sure, we have to ditch the polit­ics — the crypto-mes­si­an­ic or proto-Sta­lin­ist (whichever you prefer) “pro­let­ari­at as the identic­al sub­ject-ob­ject of his­tory.” But Lukács can help us be­come keen­er, more crit­ic­al aca­dem­ics.

I want to res­ist this as­sim­il­a­tion of Lukács in­to the bar­bar­ism of aca­dem­ic reas­on.

As Lukács put it in his “What is Or­tho­dox Marx­ism?”: “Ma­ter­i­al­ist dia­lectic is a re­volu­tion­ary dia­lectic.”4 Lukács is not the mere “ana­lyst” of re­ific­a­tion, on the mod­el of his cul­tur­al stud­ies epi­gones. He sought to demon­strate that Marx­ism was, from be­gin­ning to end, only pos­sible as a prac­tic­al self-cla­ri­fic­a­tion of the on­go­ing crisis of so­ci­ety triggered by the un­fin­ished bour­geois re­volu­tion. Re­cent at­tempts to res­cue the “aca­dem­ic” Lukács are an ex­er­cise in con­tra­dic­tion. It is pre­cisely when he stoppedbe­ing an aca­dem­ic that he could move for­ward with his philo­soph­ic­al prob­lems, be­cause they were be­ing ad­dressed polit­ic­ally by the re­volu­tion­ary Marx­ism of his day.

But the at­tempt to re­cov­er the polit­ic­al Lukács may be just as fu­tile. For Lukács’s mo­ment is not ours; the crisis and pos­sib­il­ity of the early 20th cen­tury is far from what we face. So any “re­cov­ery” of Lukács must op­er­ate on two levels: one, by ask­ing ser­i­ously wheth­er we have over­come the crisis that Lukács at­temp­ted to for­mu­late the­or­et­ic­ally, and two, by re­cog­niz­ing that, if we have not, we can­not simply take up where he left off.

I

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The prob­lem of epi­stem­o­logy, mor­als, aes­thet­ics in the “Re­ific­a­tion” es­say is reas­on at odds with it­self; reas­on that ends in myth­o­logy, suf­fer­ing, and un­free­dom.

We re­turn to Kant, this time of­fer­ing the battle cry of the En­light­en­ment: “Ours is the genu­ine age of cri­ti­cism, to which everything must sub­mit.”5 Not just ideas, but so­cial in­sti­tu­tions and forms of life too, must jus­ti­fy them­selves by ap­peal­ing to reas­on, rather than through claims of tra­di­tion or dogma. The philo­soph­ic­al En­light­en­ment and the polit­ic­al re­volu­tions that fought un­der its ban­ner — the Amer­ic­an, the French, the Haitian, and those of 1848 — looked for­ward to the real­iz­a­tion of reas­on, free­dom, and hu­man self-de­vel­op­ment in the world, in our so­cial in­sti­tu­tions and in ourselves. This would be eman­cip­a­tion — hu­man­ity’s “ma­tur­ity” as Kant puts it.

But bour­geois so­ci­ety has been un­able to ful­fill its prom­ise. We all-too reas­on­able mod­erns seem con­signed to con­tem­plate a ready-made world. Lukács shows this reas­on — a more power­ful and myth­ic­al dom­in­at­ing force than nature ever was — at odds with it­self, and in play in all forms in so­ci­ety: from the fact­ory ma­chine to the bur­eau­crat­ic state, from jur­is­pru­dence to journ­al­ism. He peoples his es­say with char­ac­ters from the great so­cial sci­ent­ists of his day, Max Weber and Georg Sim­mel — the bur­eau­crats, the ab­stract cal­cu­lat­ive in­di­vidu­als — to de­scribe a so­ci­ety whose “reas­on” is a soul­less re­strict­ive ra­tion­al­iz­a­tion shap­ing hu­man­ity in its nar­row im­age. He might, like Weber, have also turned to Ni­et­z­sche’s “last man” — the shrunken, all-too reas­on­able, mod­ern toady. Happy; un­able to give birth to a star.

Nor does aca­demia help us out of this crisis of mod­ern reas­on. Dis­cip­lin­ary frag­ment­a­tion is the rule, wherein the more we seem to know, the more reas­on­able each sci­ence be­comes, the less it has to say about the nature of our so­ci­ety as a whole. Weber puts it like so in his “Sci­ence as a Vo­ca­tion,” “Nat­ur­al sci­ence gives us an an­swer to the ques­tion of what we wish to do to mas­ter life tech­nic­ally. It leaves quite aside…wheth­er we should and do wish to mas­ter life tech­nic­ally and wheth­er it ul­ti­mately makes sense to do so.”6 We once thought we could go to reas­on with our deep ques­tions; we now know bet­ter, says Weber.

And, im­port­antly, Marx­ism has been on the whole no bet­ter — it has been only a more ad­vanced form of this dom­in­a­tion-re­con­sti­t­ut­ing reas­on. The tar­get of most of His­tory and Class Con­scious­ness is, after all, Marx­ism it­self, a “vul­gar” Marx­ism that loses the ca­pa­city to af­fect the course of events. This Marx­ism had signed on to na­tion­al war ef­forts in WWI; this Marx­ism was re­spons­ible for the tight­en­ing and spread of state con­trol over every­day life. We will re­turn to this point: Marx­ism, for Lukács, faced a crisis in which it would either have to trans­form it­self or would be­come one more apo­lo­gia for the status quo.

This be­tray­al of eman­cip­a­tion by reas­on — this form­al­iz­a­tion, frag­ment­a­tion, and tyr­an­nous in­dif­fer­ence to the par­tic­u­lar — is what Lukács calls re­ific­a­tion. None of this, let me em­phas­ize, can be solved by in­ter­dis­cip­lin­ary pro­grams. This is a prob­lem, Lukács as­serts, that arises in our text­books, be­cause it is real, it has a basis in our form of life. Cap­it­al­ist to­tal­ity really does pro­ceed frag­ment­ar­ily, un­con­sciously, re­leg­at­ing hu­mans in­to mere things. Re­ific­a­tion is a Ge­gen­stand­lich­keits­form, a “form of ob­jectiv­ity.” It can­not be over­come ex­cept through con­scious­ness, but it can­not be over­come through con­scious­ness alone.

II

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We might read the en­tirety of the second part of the “Re­ific­a­tion” es­say, “The An­ti­nom­ies of Bour­geois Thought,” as demon­strat­ing, again and again, that re­ific­a­tion can­not be over­come in thought alone. But Lukács is not set­ting up philo­sophy for a fall. In­stead, Lukács gives an ac­count of “Ideal­ist” philo­sophy strug­gling to ex­press the prob­lems and po­ten­tials of free­dom in its mo­ment — that philo­sophy’s am­bi­tion, and the lim­its it reached, are char­ac­ter­ist­ic of the “high” mo­ment of bour­geois polit­ics. Bour­geois philo­sophy, says Lukács, is the self-con­scious­ness of a con­tra­dict­ory age, whose fur­ther trans­form­a­tions and de­vel­op­ments ne­ces­sit­ated its (self-)over­com­ing. This at­tempt to real­ize a free­dom not “im­posed upon” but im­man­ent in so­cial real­ity is passed on to Marx­ism. Marx­ism, in turn, is un­der­go­ing its own deep split, its own crisis, tak­ing up in trans­muted form the earli­er crisis of thought and ac­tion.

Marx­ism, for Lukács, is the dir­ect in­her­it­or of a bour­geois prac­tic­al philo­sophy of free­dom. This defin­it­ively sep­ar­ates Marx­ism from many oth­er vari­et­ies of anti-mod­ern dis­con­tent (of which post­mod­ern­ism is the most re­cent vari­ety). Philo­sophy seeks to ex­press, and through ex­pres­sion to be­come mid­wife to, the birth of the free­dom im­pli­cit in our so­cial re­la­tions. And while this task is more opaque in Lukács’s mo­ment, Lukács re­fuses to sadly shrug his shoulders at the com­ing bar­bar­ism; he calls us to risk achiev­ing the En­light­en­ment’s prom­ise. Kant, Fichte, Schelling, Schiller, and Hegel would not cede the at­tempt to com­bine reas­on, free­dom, and hu­man de­vel­op­ment, even as they con­scien­tiously re­cog­nized that these could not be re­con­ciled in a bour­geois world. They ex­press that bour­geois so­ci­ety has not yet giv­en up on it­self.

Bour­geois philo­sophy stuck with its am­bi­tion: “…the idea that the ob­ject…can be known by us for the reas­on that, and to the de­gree in which, it has been cre­ated by ourselves.”7 But through epi­stem­o­logy, mor­als, aes­thet­ics (the sub­jects of Kant’s three cri­tiques) and even Hegel’s in­voc­a­tion of his­tory, this philo­sophy kept find­ing it­self left with, on the one side, an in­com­plete form­al reas­on, on the oth­er side an in­ert and ir­ra­tion­al ob­ject; on the one side a free, self-de­term­in­ing sub­ject, on the oth­er the brute facts and “laws” of the world. Reas­on simply re­pro­duces a sub­ject de­nuded of its ca­pa­city to shape the world and it­self, re­con­ciled at the ex­pense of un­free­dom.

Clas­sic­al philo­sophy’s hon­est fo­cus on its lim­its was one of the things Lukács ad­mired most about it. But even more im­port­antly, that philo­soph­ic­al lin­eage at­temp­ted to probe and over­come its dif­fi­culties through de­vel­op­ing a cer­tain form of know­ledge: the “identic­al sub­ject-ob­ject,” “its own age com­pre­hen­ded in thought,” or prac­tic­al self-con­scious­ness. Clas­sic­al ideal­ist philo­sophy shows that free­dom is pos­sible only through a trans­form­at­ive self-con­scious­ness, where “know­ing” and “prac­tic­al trans­form­a­tion” are mu­tu­ally con­stitutive — where know­ledge is im­man­ent, rather than ab­stract.

Reas­on is not an ab­stract form to be im­posed on a hos­tile real­ity — it is real­iz­ing something im­pli­cit in an ob­ject, an ob­ject which is ac­tu­ally us. A neur­ot­ic symp­tom ap­pears to be a hor­rible hos­tile en­tity to be conquered, but it is rather a de­vel­op­ment of self to be un­der­stood and prac­tic­ally over­come. By know­ing my­self, I change my­self. I am, but am not, the same self I was. Self-know­ledge al­lows me, as Ni­et­z­sche puts it, to “be­come my­self.”

Marx­ism is the at­tempt to real­ize the form of prac­tic­al self-know­ledge which of­fers the only hope of achiev­ing free­dom, reas­on, and de­vel­op­ment. But Marx­ism has in­her­ited not only the tasks, but also the prob­lems and crises, of the prac­tic­al philo­sophy of free­dom. Neo-Kan­tian, sci­ent­ist­ic Marx­ism, con­nec­ted with vari­et­ies of re­form­ism, be­comes the far­cic­al re­pe­ti­tion of Kant’s achieve­ment: it fails to rad­ic­al­ize the Kant–Hegel–Marx lin­eage. Much like what Freud would call re­gres­sion — the use of out­dated psych­ic tools to cope with new prob­lems and changed con­di­tions — Marx­ism threatened to be­come “stuck,” thus fail­ing to jus­ti­fy the leap the bour­geois re­volu­tions had ini­ti­ated. Marx­ism needed to learn to grow up. Or, more spe­cific­ally, it needed to learn to stop think­ing that it had already grown up.

III

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Lukács in­sists that re­volu­tion­ary Marx­ism is able to con­cretely pose the prob­lem of eman­cip­a­tion, be­cause its polit­ics seeks to prac­tic­ally achieve the self-con­scious­ness of cap­it­al­ist so­ci­ety in its crisis. And cap­it­al­ist so­ci­ety’s crisis, in its most acute form, is the his­tor­ic­al de­vel­op­ment and con­scious­ness of the pro­let­ari­at. As Lukács puts it, “the pro­let­ari­at is noth­ing but the con­tra­dic­tions of his­tory be­come con­scious” (71). But why?

Firstly, be­cause the rise of the pro­let­ari­at meant, his­tor­ic­ally, the de­cline of bour­geois rad­ic­al­ism. The pro­let­ari­at’s in­cip­i­ent de­mand that they be­come the sub­jects prom­ised by bour­geois so­ci­ety — free, cre­at­ive, and equal — led the bour­geois­ie to be­come “vul­gar,” to give up on the rad­ic­al im­plic­a­tions of the En­light­en­ment and to call for “law and or­der.” Cap­it­al’s tragedy is that it is al­ways also the pro­let­ari­at. The bour­geois­ie’s tragedy is that it must, by ne­ces­sity, be al­ways one step be­hind cap­it­al.

Second, be­cause the pro­let­ari­at is a com­mod­ity, and thus the ul­ti­mate ob­ject, she sells her­self on the mar­ket, is en­slaved by the ma­chine, and is thrown about by eco­nom­ic crises over which she has not a whit of con­trol. But bour­geois so­ci­ety also prom­ises that each hu­man be­ing might be­come a self-de­term­in­ing sub­ject. For Lukács, “the work­er can only be­come con­scious of his ex­ist­ence in so­ci­ety when he be­comes aware of him­self as a com­mod­ity.” Or “[the pro­let­ari­at’s] con­scious­ness is the self-con­scious­ness of the com­mod­ity” (168). The com­mod­ity, this ir­ra­tion­al reas­on, canit­self make de­mands for its eman­cip­a­tion be­cause the typ­ic­al com­mod­ity is the pro­let­ari­at. The in­verse is also true: the pro­let­ari­at is the quint­es­sen­tial “ab­stract” bour­geois sub­ject, whose struggles to ap­pro­pri­ate so­ci­ety for its pur­poses de­mand that the ob­ject — the product of the his­tory of so­cial la­bour — be in­fused with sub­ject­ive pur­pose.

We are used to think­ing of the nat­ur­al con­stitu­ency of the Left as those who are “mar­gin­al” to so­ci­ety. Lukács de­vel­ops the dar­ing claim of re­volu­tion­ary Marx­ism that cap­it­al­ism must over­come it­self, not through the in­ter­ven­tion of those out­side, but by the ac­tion of those at its very cen­ter. “[The pro­let­ari­at’s] fate is typ­ic­al of the so­ci­ety as a whole,” says Lukács (92). The only ad­vant­age the work­er might have is that her re­ific­a­tion is of­ten ex­per­i­enced as a form of power­less­ness and there­fore might be me­di­ated polit­ic­ally in­to a trans­form­at­ive prac­tice. Marx­ism is not the res­ist­ance to cap­it­al­ism or re­ific­a­tion or bour­geois sub­jectiv­ity — it is their self-con­scious real­iz­a­tion and self-over­com­ing.

As pro­let­ari­ans seek to really be­come “bour­geois sub­jects,” their de­mands for sub­jectiv­ity be­gin to strain against the lim­its of what is pos­sible in bour­geois so­ci­ety. But the pro­let­ari­at’s so­cial po­s­i­tion does not at all guar­an­tee that it will rad­ic­ally push for­ward the de­mands of eman­cip­a­tion, only that it might. Polit­ics is the at­tempt to real­ize this po­ten­tial.

Lukács saw in the crisis of Marx­ism pre­cip­it­ated by World War I, but already pres­aged in the “re­vi­sion­ist de­bate,” a re-en­act­ment at a new level of the crisis of bour­geois philo­sophy. Here self-con­scious­ness could ad­vance the new tasks posed, or think­ing would be­come little more than an apo­lo­gia for dom­in­a­tion. In the rad­ic­als of Second In­ter­na­tion­al Marx­ism, es­pe­cially Lux­em­burg and Len­in, Lukács saw the at­tempt to meet the tasks of the present, to for­mu­late the polit­ics that could real­ize bour­geois so­ci­ety’s — and Marx­ism’s — po­ten­tial self-over­com­ing.

The es­sence of Len­in and Lux­em­burg’s Marx­ist polit­ics was that so­cial­ism, in or­der to achieve eman­cip­a­tion, would have to be a con­scious hu­man act, im­man­ent in present real­it­ies; it could not be de­duced from so­cial be­ing nor a fer­vent wish from bey­ond. If one could “stumble in­to so­cial­ism,” as if so­cial­ism were fated from time im­me­mori­al by in­ex­or­able laws, then it would be one more form of un­free­dom, of fake sub­jectiv­ity. Hu­man con­scious­ness would be an in­teg­ral part of “ob­ject­ive” de­vel­op­ment, or noth­ing at all.

This was ex­em­pli­fied in their fo­cus on the “non-auto­mat­ic” char­ac­ter of the trans­ition to so­cial­ism. They cri­ti­cized both in­ev­it­ab­il­ism and the re­duc­tion of the pro­let­ari­at as just an­oth­er sec­tion­al in­terest, seek­ing its “cut of the pie.” This was not Marx­ism, the polit­ics of free­dom, at all. Pas­sages like the fol­low­ing from Rosa Lux­em­burg’s Re­form or Re­volu­tion, were key for Lukács:

So that if we do not con­sider mo­ment­ar­ily the im­me­di­ate ameli­or­a­tion of the work­ers’ con­di­tion – an ob­ject­ive com­mon to our party pro­gram as well as to re­vi­sion­ism – the dif­fer­ence between the two out­looks is…[a]ccord­ing to the present con­cep­tion of the party [Lux­em­burg’s po­s­i­tion], trade-uni­on and par­lia­ment­ary activ­ity are im­port­ant for the so­cial­ist move­ment be­cause such activ­ity pre­pares the pro­let­ari­at, that is to say, cre­ates the sub­ject­ive factor of the so­cial­ist trans­form­a­tion, for the task of real­ising so­cial­ism…we say that as a res­ult of its trade uni­on and par­lia­ment­ary struggles, the pro­let­ari­at be­comes con­vinced, of the im­possib­il­ity of ac­com­plish­ing a fun­da­ment­al so­cial change through such activ­ity and ar­rives at the un­der­stand­ing that the con­quest of power is un­avoid­able.8

Lux­em­burg sought, then, to struggle with the pro­let­ari­at in its halt­ing at­tempts to achieve bour­geois sub­jectiv­ity in or­der to con­stantly push against the lim­its of how much sub­jectiv­ity cap­it­al­ism could grant the work­ers — all so that the pro­let­ari­at might someday de­mand the end of their be­ing an ob­ject tout court. Fur­ther­more polit­ic­al edu­ca­tion and ac­tion around these lim­its would be de­signed to call work­ers to learn­ing about how they came to be what they are — i.e. to un­der­stand his­tor­ic­ally their be­ing as an ex­pres­sion of the crisis of cap­it­al — and thus be faced with the grav­ity of the task ahead for achiev­ing free­dom.

The re­volu­tion­ary Marx­ism of Lux­em­burg and Len­in, then, was for Lukács the at­tempt to real­ize the prom­ises and pos­sib­il­it­ies of bour­geois so­ci­ety by con­sist­ently press­ing for­ward the de­mand for sub­jectiv­ity con­tained in the com­mod­ity it­self: the pro­let­ari­at. This polit­ics, in ex­tremely tele­scoped form, in­sists on:

  • the lead­ing role of the pro­let­ari­at as the most typ­ic­al ele­ment and crisis-point of cap­it­al­ism
  • an em­phas­is on the sub­ject­ive de­vel­op­ment of the pro­let­ari­at in any struggles it un­der­goes
  • a fight against the re­duc­tion of Marx­ism in­to sec­tion­al in­terest, seek­ing its “cut of the pie”
  • the im­port­ance of em­phas­iz­ing not vic­tor­ies, but lim­its in any giv­en in­terest-pur­sued ac­tion by the pro­let­ari­at
  • the con­com­it­ant value of self-cri­ti­cism and self-trans­form­a­tion
  • the cent­ral­ity of self-trans­form­at­ive polit­ic­al prac­tice
  • an or­gan­iz­a­tion — or party — ded­ic­ated (as Lukács quotes Marx in the Com­mun­ist Mani­festo) to cla­ri­fy­ing the in­ter­na­tion­al and his­tor­ic­al sig­ni­fic­ance of any giv­en ac­tion.

This self-con­scious cap­it­al­ist polit­ics elu­cid­ated, for Lukács, what the prac­tic­al philo­sophy of free­dom would have to look like in or­der to over­come the present and to real­ize the en­dangered, fra­gile past, soon to be­come only the miser­able pre­curs­or to an even more miser­able se­quel.

This struggle with the pro­let­ari­at to achieve its own pos­sib­il­ity was for Lukács the oth­er side of the struggle of bour­geois so­ci­ety to achieve its po­ten­tial, an his­tor­ic­al open ques­tion that would be de­cided only by self-con­scious self-ac­tion. The crisis of mod­ern so­ci­ety is the crisis of the bour­geois re­volu­tion — which at a new, more deadly level, is the crisis of Marx­ism.

If this polit­ics is un­suc­cess­ful, there will cer­tainly be plenty of move­ments and res­ist­ance. But un­less cap­it­al, the dy­namo of mod­ern­ity, is over­come from with­in, rather than by a deus ex mach­ina from without, you won’t get the self-over­com­ing of cap­it­al­ist so­ci­ety at its highest point and the real­iz­a­tion of the po­ten­tial free­dom im­pli­cit in mod­ern­ity. In­stead res­ist­ance be­comes the cry ac­com­pa­ny­ing a resigned ac­cept­ance to the un­free­dom of the whole.

IV

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Lukács’s His­tory and Class Con­scious­ness might be summed up in Freud’s de­scrip­tion of the goal of psy­cho­ana­lys­is: Wo Es war, soll Ich wer­den; where it was, I shall be. Self-con­scious­ness changes us, but we are still some­how “us”; we have real­ized something about ourselves. Nor is self-con­scious­ness merely in the brain. To be really self-con­scious we need to change our whole way of be­ing. Lukács’s Marx­ism is try­ing to re­cog­nize that Marx­ism poses the ques­tion to bour­geois so­ci­ety and to mod­ern­ity as a whole wheth­er or not it can achieve this kind of trans­form­at­ive self-con­scious­ness. The pro­spects do not look bright.

But why re­turn to Lukács? Es­pe­cially if I in­sist that he was at­tempt­ing to make sense of his prac­tic­al mo­ment, to raise the mo­ment of world-his­tor­ic­al danger and pos­sib­il­ity of roughly 1917-1923 to self-con­scious­ness, what rel­ev­ance does he have in a mo­ment whose prac­tic­al pos­sib­il­it­ies are so dif­fer­ent, and so di­min­ished? Psy­cho­ana­lys­is again, per­haps, provides a use­ful meta­phor. We do not re­vis­it our child­hoods to re­live them — only to re­cog­nize how we have yet to in­teg­rate them by over­com­ing them. Lukács helps us see that we haven’t grown up.

This means that per­haps Lukács’s “identic­al sub­ject-ob­ject” seems so “mes­si­an­ic” to us not be­cause we have sur­passed Lukács and his silly meta­phys­ic­al spec­u­la­tions, but be­cause we find ourselves no longer able to ima­gine this kind of free­dom. We no longer be­lieve that we can over­come cap­it­al­ism for the bet­ter, real­iz­ing the reas­on, free­dom, and hu­man de­vel­op­ment it prom­ises. Cap­it­al­ism is a brute, in­ert, for­eign en­tity, dom­in­at­ing us and our ca­pa­cit­ies. All we can do is look to the mar­gin­al, the suf­fer­ing, and the pained, and of­fer sym­pathy and solid­ar­ity with their struggles: struggles that are part of the nat­ur­al laws of his­tory. There will be power, there will be res­ist­ance. Our polit­ics take something like the form of Niez­sche’s etern­al re­turn. As “crit­ic­al” as we are, we can only ima­gine free­dom swoop­ing in from bey­ond and bring­ing its lib­er­a­tion in­to our miser­able lives. And we are right — for we are surely in the age of second child­hood, sans teeth, sans eyes, sans taste, sans everything.

Was Lukács a fool for wager­ing on the pos­sib­il­ity of free­dom by be­com­ing, polit­ic­ally, a Marx­ist? Lukács would in­sist on Lux­em­burg’s call — so­cial­ism or bar­bar­ism. Either the im­man­ent over­com­ing of cap­it­al­ism and its ir­ra­tion­al ra­tion­al­ity, or resig­na­tion to ever-new, ever-hor­ri­fy­ing, forms of “reas­on­able” bar­bar­ism.

To end, I of­fer two quotes. The first from Lukács:

When the mo­ment of trans­ition to the ‘realm of free­dom’ ar­rives this will be­come ap­par­ent just be­cause the blind forces really will hurtle blindly to­wards the abyss, and only the con­scious will of the pro­let­ari­at will be able to save man­kind from the im­pend­ing cata­strophe. In oth­er words, when the fi­nal eco­nom­ic crisis of cap­it­al­ism de­vel­ops, the fate of the re­volu­tion (and with it the fate of man­kind) will de­pend on the ideo­lo­gic­al ma­tur­ity of the pro­let­ari­at, i.e. on its class con­scious­ness (69).

The second from Rilke in the first of his Du­ino Ele­gies:

Yes — the spring­times needed you. Of­ten a star
was wait­ing for you to no­tice it. A wave rolled to­ward you
out of the dis­tant past, or as you walked
un­der an open win­dow, a vi­ol­in
yiel­ded it­self to your hear­ing. All this was mis­sion.
But could you ac­com­plish it?9

Without Lukács’s Pas­cali­an wager on free­dom, it is not clear to me that Lukács is worth much of any­thing at all. The de­mon that drove him from philo­sophy to the polit­ics of re­volu­tion­ary Marx­ism is what should call out to us today, not the ana­lyt­ic­al tools we can dig up from the grave of his prac­tic­al philo­sophy of free­dom. Or maybe he is just a dead dog. |P

Notes


1 Im­manuel Kant, “Idea for a Uni­ver­sal His­tory from a Cos­mo­pol­it­an Point of View,” in Kant on His­tory, trans. Lewis White Beck (In­di­ana­pol­is: Bobbs-Mer­rill, 1963[1784]), 12.
2 Ibid., 21.
3 Friedrich Ni­et­z­sche, Thus Spoke Za­rathus­tra, trans. Wal­ter Kaufmann (New York: Pen­guin Books, 1978 [1891]), 126.
4 Georg Lukács, “What is Or­tho­dox Marx­ism,” in His­tory and Class Con­scious­ness: Stud­ies in Marx­ist Dia­lectics, trans. Rod­ney Liv­ing­stone (Cam­bridge, MA: The MIT Press, 1971 [1923]), 2.
5 Im­manuel Kant, Cri­tique of Pure Reas­on, trans. Paul Guy­er and Al­len W. Wood (Cam­bridge: Cam­bridge Uni­versity Press, 1998 [1787]), 100-101.
6 Max Weber. “Sci­ence as a Vo­ca­tion” in From Max Weber: Es­says in So­ci­ology, eds. Hans Gerth and C. Wright Mills (New York: Ox­ford Uni­versity Press, 1958 [1918]), 144.
7 Georg Lukács, “Re­ific­a­tion and the Con­scious­ness of the Pro­let­ari­at,” in His­tory and Class Con­scious­ness: Stud­ies in Marx­ist Dia­lectics, trans. Rod­ney Liv­ing­stone (Cam­bridge, MA: The MIT Press, 1971 [1923]), 112. Here­after re­ferred to par­en­thet­ic­ally with the ap­pro­pri­ate page num­ber(s).
8 Rosa Lux­em­burg, So­cial Re­form or Re­volu­tion, in Rosa Lux­em­burg Speaks, ed. Mary-Alice Wa­ters (New York: Pathfind­er Press, 1979[1900]), 84-5.
9 Rain­er Maria Rilke. Du­ino Ele­gies in The Se­lec­ted Po­etry of Rain­er Maria Rilke, ed. and trans. Steph­en Mitchell (NY: Ran­dom House, 1982[1922]), 151.

Continue reading

The future of Enlightenment

Thoughts on
“Universalism and
its discontents”
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Last Thursday an online discussion of “Universalism and Its Discontents” took place at noon via livestream. It was the first in what is projected to be a series of conversations on the theme of Fixing the Future, related to some of the problems raised by the accelerationist current. Anthony Paul Smith of the online collective An und für sich and Pete Wolfendale of the blog Deontologistics were the primary discussants, with Deneb Kozikoski playing the role of moderator. Mohammed Salemy was responsible for setting up the event. Video footage of the proceedings can be found here.

What follows are some scattered thoughts in response to it.

Kozikoski’s introduction to the speakers’ opening remarks was, on the whole, extremely helpful. She provided a serviceable overview of debate up to this point, the main issues involved, etc. (and did so in a compact enough manner that even a beginner could follow). I hadn’t kept up with all the literature pertaining to accelerationism myself, so the primer was welcome. Her own editorializing was fairly minimal. She remained evenhanded throughout the subsequent exchange.

To briefly recapitulate her summary: Accelerationism poses a challenge to the prevailing negativity of the contemporary Left, the default logic of both its academic and activist wings. Namely, accelerationists reject the defensive posture of “resistance” struck by leftists when new modes of domination emerge from capitalism’s evolving matrix of creative destruction. By extension, this critique also takes aim at the ideological tendency to simply propose the inverse of whatever deleterious effects are associated with capitalist development — a procedure that could well be called abstract negation. Capitalism is a global phenomenon? If so, anticapitalism must of course counterpose local solutions. Universal, alienating, and abstract? Surely leftists are duty-bound to offer particular, disalienating, and concrete alternatives. Rather than delirious Prometheanism, ruminative Epimetheanism. One could go on.

Against the “folk politics” of localism, direct action, and horizontality that dominate the Left today,[1] accelerationists set out to recover the quintessentially modern vision of a global emancipation, working toward “a completion of the Enlightenment project of self-​criticism and self-​mastery, rather than its elimination.”[2] They thus reaffirm the emancipatory potential of science and technology, repudiating the dire predictions of Malthusian doomsayers and primitivists. Kozikoski explained that this broader accelerationist drive to embrace forms of universality discarded by poststructuralists and postcolonial theorists in recent decades puts the fledgling movement at odds with these more established discourses.

“Universalism and Its Discontents” staged this specific antagonism, providing a platform for accelerationism and postcolonialism to debate. Wolfendale represented the former of these two schools, while Smith — a postcolonial theologian skeptical of calls for a renewed universalism — represented the latter.

Smith spoke first. He began by announcing his sympathy with much of the accelerationist program, especially as laid out in Alex Williams and Nick Srnicek’s jointly-written article “Accelerate: Manifesto for an Accelerationist Politics.” Quoting the Marxian scholar Alberto Toscano, Smith agreed with the accelerationist argument that forces of production can be effectively decoupled from relations of production and made to serve different ends. “[U]se can [still] be drawn from the dead labors which crowd the earth’s crust,” Toscano asserted, “in a world no longer dominated by value.”[3] Overcoming capitalism needn’t entail scrapping the productive implements it brought into being, as these can potentially be repurposed or reconfigured. Nor is the manifesto’s emphasis on climate change misplaced, in Smith’s judgment. Indeed, he would appear amenable to many of its theses. Continue reading

Architectural compositions by Iakov Chernikhov, 1924-1931

Iakov Chernikhov, composition (1920s), 30 x 23,8cm Iakov Chernikhov, architectural fantasy 1929, 30 x 24 cm Iakov Chernikhov, experimental composition from Foundations of Contemporary architecture 1920-1928, watercolor and india ink on paper 29,9 x 23,8cm

Iakov Georgievich Chernikhov was one of the most outstandingly original artists of a period which produced many great talents. He was born on December 17, 1889 in the Ukrainian provincial town of Pavlograd, and studied first at Odessa College of Art, from which he graduated in 1914, and then at Petrograd’s famous Imperial Art Academy, now the Russian Academy of Art. Here he studied painting and education before switching to the architectural faculty in 1916. One year later, Chernikhov completed his teacher training and his degree thesis on methods of teaching drawing. He was called up for military service in 1916, but managed to continue studying, working, and teaching, though he was unable to resume his studies at the architectural faculty of VKhUTEMAS [the Higher Art and Technical Studios, previously the Academy of Art] until 1922. By the time he completed his degree in 1925, he had gained many years’ experience of educational theory and practice.

From 1927 to 1936 he worked for various architectural firms, designing and building a large number of projects. Until his death in May 1951, Chernikhov also continued to teach a wide variety of graphic arts subjects, including representational geometry and construction drawing. He became a professor in 1934, and was granted tenure the following year. By the standards of his time, he was simply a successful and fulfilled architect. His publications earned him a favorable reputation among his colleagues between 1927 and 1933, but after the Stalinist era his name disappeared from the scene. Only now, many decades after his death, are some of his books and examples of his wide-ranging graphic art being republished, and the magnitude of his unique creative genius becoming more widely recognized. Chernikhov’s first book, The Art of Graphic Representation, was published in 1927 by the Leningrad Academy of Arts. It was a textbook for the drawing course which he had devised but, despite its title, its purpose was not to teach readers how to draw. Even in Chernikhov’s time, the title had an old-fashioned ring to it, but he wrote the book with much more modern aims in mind. It is about graphic, spatial, and abstract compositions, and seeks to encourage students to use lines, planes, and solid to express beauty and movement without depicting anything known or recognizable, experimenting with all the boundless possibilities open to them. This thin volume is actually an extract from Chernikhov’s wide-ranging work. It was aimed at young secondary school and university students with no training in (or experience of) drawing or painting, and was ambitious in its aims. Publications like this were very unusual, since for the previous fifteen years, modern art had been used to express slogans, manifestoes, and statements of principle.

Chernikhov second from the right, Odessa 1910 Iakov Chernikhov standing in center in Odessa, 1910s Chernikhov at a construction site, 1928

Pedagogy

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Few of the leading figures in modern art were teachers, but as a passionate educationalist, Chernikhov regarded his books primarily as textbooks, and his superb graphics simply as illustrations. He used his exceptional talents in the service of education and, unlike many other gifted and famous artists and architects, did not prescribe specific styles or techniques, instead focusing on such down-to-earth subjects as the use of materials or ways of depicting form and space. The importance of the imagination to Chernikhov is apparent in the title of the first chapter: “Fantasy and Object.” The Art of Graphic Representation is primarily a way of depicting imaginary spaces, something at which he excelled, and his drive toward systematization compelled him to share this knowledge with others. To his mind, the ability to sketch and draw were essential, but the most important thing was imagination. Chernikhov’s work, which even his harshest critics freely admitted was unique, provides impressive evidence of the dominance of the imaginary over the factual and representational. Continue reading

Le Corbusier’s “contemporary city” (1925)

Le Corbusier urbanisme, cartesian towersplan voisin3

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The existing congestion in the center must be eliminated.

The use of technical analysis and architectural synthesis enabled me to draw up my scheme for a contemporary city of three million inhabitants. The result of my work was shown in November 1922 at the Salon d’Automne in Paris. It was greeted with a sort of stupor; the shock of surprise caused rage in some quarters and enthusiasm in others. The solution I put forward Was a rough one and completely uncompromising. There were no notes to accompany the plans, and, alas! not everybody can read a plan. I should have had to be constantly on the spot in order to reply to the fundamental questions which spring from the very depths of human feelings. Such questions are of profound interest and cannot remain unanswered. When at a later date it became necessary that this book should be written, a book in which I could formulate the new principles of Town Planning, I resolutely decided first of all to find answers to these fundamental questions. I have used two kinds of argument: first, those essentially human ones which start from the mind or the heart or the physiology of our sensations as a basis; secondly, historical and statistical arguments. Thus I could keep in touch with what is fundamental and at the same time be master of the environment in which all this takes place.

In this way I hope I shall have been able to help my reader to take a number of steps by means of which he can reach a sure and certain position. So that when I unroll my plans I can have the happy assurance that his astonishment will no longer be stupefaction nor his fears mere panic.

A contemporary city of three million inhabitants

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Proceeding in the manner of the investigator in his laboratory, I have avoided all special cases, and all that may be accidental, and I have assumed an ideal site to begin with. My object was not to overcome the existing state of things, but by constructing a theoretically watertight formula to arrive at the fundamental principles of modern town planning. Such fundamental principles, if they are genuine, can serve as the skeleton of any system of modern town planning; being as it were the rules according to which development will take place. We shall then be in a position to take a special case, no matter what: whether it be Paris, London, Berlin, New York or some small town. Then, as a result of what we have learnt, we can take control and decide in what direction the forthcoming battle is to be waged. For the desire to rebuild any great city in a modern way is to engage in a formidable battle. Can you imagine people engaging in a battle without knowing their objectives? Yet that is exactly what is happening. The authorities are compelled to do something, so they give the police white sleeves or set them on horseback, they invent sound signals and light signals, they propose to put bridges over streets or moving pavements under the streets; more garden cities are suggested, or it is decided to suppress the tramways, and so on. And these decisions are reached in a sort of frantic haste in order, as it were, to hold a wild beast at bay. That beast is the great city. It is infinitely more powerful than all these devices. And it is just beginning to wake. What will tomorrow bring forth to cope with it?

We must have some rule of conduct.

We must have fundamental principles for modern town planning.

Ville contemporaine de trois millions d'habitants, Sans lieu, 1922900x720_2049_1973

Site

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A level site is the ideal site [for the contemporary city]. In all those places where traffic becomes over-intensified the level site gives a chance of a normal solution to the problem. Where there is less traffic, differences in level matter less.

The river flows far away from the city. The river is a kind of liquid railway, a goods station and a sorting house. In a decent house the servants’ stairs do not go through the drawing room — even if the maid is charming (or if the little boats delight the loiterer leaning on a bridge). Continue reading

Soviet workers’ clubs in the 1920s

View of the principal façade of the Zuev Club, Moscow 1927 or laterPartial view of the lateral façade of the Rusakov Club, Moscow, 1929 or later

The workers’ club

Anatole Kopp
Town and Revolution,
1917-1932
 (1966)

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First, we must establish just what was meant by a “club” in the USSR of the twenties, a country in which the word had previously been applied only to private rooms reserved for the use of a group of nobles or wealthy bourgeois. A club was exactly the opposite of what is sometimes implied by a “club” today.

The important thing about a club is that the mass of the members must be directly involved. They must not approach it or be channeled into it from the outside as mere entertainment. They themselves must find in it the maximum of self-expression.

The role of the club is to serve as a sort of school of culture…Within its walls workers of every age should be able to find rest, relaxation, and a renewal of energy at the end of the working day. There, outside the family, children, adolescents, adults, and the old should be made to feel members of a collectivity. Their interests should be expanded. The role of the club is to liberate men from the old oppression of church and state.

Originally, this new building, the expression of a new social function, was the response to a spontaneous demand, proof that it met a genuine need. Within a few months of the installation of the Soviet regime numerous clubs had been established. They were run by trade-union or political organizations, often by local groups, and set up in former private houses, in converted churches, in sheds, almost anywhere. In fact, the adaptation of these unlikely premises was one of the first tasks to confront the Soviet architects immediately following the revolution.

Zuev_Workers_Club_drawingsalfbronovitskaya

A center for creative activity and the diffusion of culture, the club was also some compensation for the discomfort and overcrowding that the workers suffered at home. Unable to provide apartments for all, the state tried to make up at the collective level for its deficiencies on the individual plane. But this was not all. Essentially, the club embodied a conception of culture that was no longer that of an elite but of the mass, no longer acquired in the silence of the study or in halls of learning, but in a group bound by common interests and an awareness of their need. It corresponded to a conception in which the home tended to become merely a place for the individual to rest, while life in all its social and cultural aspects developed in collective centers and collective forms, at a time when a craving for culture was beginning to seize the broad masses of the population:

We are living at a time when an immense cultural movement is developing among the working masses, the idea…of a new social and collective way of life is advancing with giant strides…

Every worker [in our new industrial centers] is anxious to take an active part in both public and cultural life. The thirst for knowledge is enormous. The time has come for us to give the workers not only homes but buildings with facilities for meetings, study, recreation, reading, and the activities of various special groups [kruzhok]…

…The idea of building palaces of labor or clubs is in the air…

Both in its architecture and in the facilities that it offered, the club, which El Lissitzky was to call a “social power plant” [soziales Kraftwerkand “a workshop for the transformation of man,” evolved between the early years of the Soviet regime and the beginning of the thirties. Continue reading

1914 in the history of Marxism

Chris Cutrone
Platypus Review
May 6, 2014

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At the Platypus Affiliated Society’s annual International Convention, held at the School of the Art Institute of Chicago April 4-6, 2014, Chris Cutrone delivered the following President’s Report. An edited transcript of the presentation and subsequent discussion appears below. A full audio recording is available online.

To be clear, I am no longer a member of Platypus, and do not agree with all of its interpretations. Nor the opinions of its individual members necessarily reflect my own. That said, I find Cutrone’s article here excellent.

Lot 3207 TELINGATER, SOLOMON BENEDIKTOVICH & ILYA FEINBERG. 1914-go. [The Year 1914.] Moscow- MTP, 1934.

One hundred years later, what does the crisis and split in Marxism, and the political collapse of the major parties of the 2nd International in 1914, mean for us today?

The Spartacists, for example, are constantly in search of the “August 4” moment, the moment of betrayal of the proletariat’s struggle for socialism by various tendencies in the history of Marxism. The Spartacists went so far as to confess their own “August 4th” when they failed to call for the immediate withdrawal of U.S. troops from Haiti in the aftermath of the earthquake there.

So, what happened, from a Marxist perspective, on August 4, 1914, when the Social Democratic Party of Germany (SPD) members of the Reichstag voted to finance the Prussian Empire’s war budget?

Two things: the parliamentary representatives of the SPD went against past resolutions to vote down the war effort of the German government; and the disorganization of the SPD leadership, what has been called the effective but illegitimate takeover of the party by the parliamentary delegation. No legitimate political authority of the party sanctioned this action. In all respects of principle and practice, the SPD was destroyed as a political organization as it had existed up to that point.

August 4, 1914, has been called — by the Spartacists — the first great internal counterrevolution in the history of Marxism. This is entirely true.

But it was a counterrevolution conducted not merely by the leadership of the SPD, however they may have abetted it, but rather by the Reich’s government against the SPD membership.

What was the specific character of this counterrevolution, and how was it made possible?

There was a famous pair of sayings by the SPD’s chairman, Bebel: “Not one man or one penny for this rotten system!” and “If it’s against Russia, I myself will pick up a gun!”

The German High Command, in preparation for war, took aim precisely at the contradiction between these two statements by Bebel.

The German High Command wielded the specter of counterrevolution through occupation by Tsarist Russian troops against the SPD in order to prompt their preemptive counterrevolution, which they saw as an act of self-preservation, as the lesser evil. Furthermore, they thought that getting behind the war would allow them to (somehow) control it, to make the government dependent on them and so wrest political concessions from it, perhaps even undermining it, in political favor of the proletariat.

This was not an unreasonable judgment. The question is whether their compromise was too much, whether the act of ostensible self-preservation was in fact actually an act of self-destruction. Continue reading

Aleksandr Rodchenko, Lenin workers’ club in Paris (1925)

Aleksandr Rodchenko, design for the 1925 exhibition222 Aleksandr Rodchenko, design for the 1925 workers club in the Soviet Pavilion, Paris122

My friend Agata Pyzik, author of the excellent Poor but Sexy: Culture Clashes in Europe East and West (Zer0: 2014), recently uploaded some pictures from her visit to Moscow. One of them shows her holding a copy of her book inside a reconstruction of the Lenin Workers’ Club by Aleksandr Rodchenko, originally designed for the 1925 Paris Exposition. The scale reconstruction traveled to Tate Modern back in 2009, and currently resides in the State Tretiakov Museum in Russia, which is where Agata had her picture taken.

She left a copy of Poor but Sexy in its display of revolutionary literature — a valuable addition, in my opinion. Right now I’m waiting to hear back from the LARB about my review of it, though if I don’t hear back from them soon I’ll likely submit it elsewhere. All I can say is pick up a copy and read it posthaste.

tumblr_inline_mhuto1o47j1qz4rgp1 rodochenko international_exhibition_of_modern_decorative_and_inudstrial_art1335908254148

For now, here are some photos and drawings of Rodchenko’s famous design along with some well-known passages written at the time of the exhibition. It appeared as part of the same show that saw the premier of architect Konstantin Mel’nikov’s outstanding Soviet Pavilion. Continue reading

Et tu, Slavoj? Must Žižek really be “destroyed”?

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Continuing its proud tradition of accepting literally every panel proposal submitted to it, no matter how poorly written or conceived, this year’s Left Forum at Pace University brings you “Žižek delenda est” [Latin for “Žižek must be destroyed”]. I’m not kidding. Here’s the panel description, with solecisms left in for dramatic effect:

Abstract:
Is Slavoj Zizek a US propaganda psyop? I want to ask my comrades on the left to consider the possibility. After years of research, I have come to the conclusion that Zizek is a charlatan posing as a “Stalinist” to both discredit communists by performing a caricature Bolshevik and simultaneously, to smuggle fascist ideas including old fashioned Aryan supremacism and 19th century race theory, back into public discourse disguised as radical left critique of liberalism. I will focus on how he exploits his radical left image to spread imperialist propaganda and disinformation. I’ll trace the origins of the Zizek Industry to his first anointing by the New Left Review, then edited by Quentin Hoare and Branka Magas, Croatian Nationalists and Tudjman supporters and founders of the Bosnian Institute, as the Balkan Leftist who would initiate, in 1990, the dominant strain of imperialist propaganda about Yugoslavia, and yet further back to his career as an antiMarxist, antiCommunist “dissident” and Slovene ethnic nationalist. I will discuss the way he has influenced a generation to the point where now right wing and reactionary ideas as well as pure white house disinformation and propaganda are routinely packaged as hip “lefty” and “radical” thought.

My god, pure idiocy.

Don’t get me wrong. It’s not as if this lunacy tarnishes the Left Forum’s good name, if only for the fact that there’s no good name to tarnish. The annual gathering already has the character of a circus — a “Renaissance fair of the Left,” as a comrade once put it — so this is really just one more scene in its extended slapstick routine. All the old corpses come out for this fin de semana de los muertos: aging hippies, dinosaur sects barely clinging to life, the Friends of the People of the Soviet Union. So in a way, panels like “Žižek delenda est” are strangely refreshing. It’s a fresh flavor of paranoid fantasy, our generation’s version of the show trials. Finally, a new term of reproach to replace those great epithets of old. Used to be “Trotskyist wreckers” or “British imperialist agents,” then later COINTELPRO. Now it’s Slavoj Žižek, deep cover CIA operative. Continue reading

The European reception of Frank Lloyd Wright

WIJD_736-11_900px (1) Wijdeveld was een groot bewonderaar en onvermoeibaar promotor van het werk van Frank Lloyd Wright. In 1925 wijdt hij een nummer van het tijdschrift Wendingen aan hem, met een door hemzelf vormgegeven omslag

The influence of Frank Lloyd Wright on the architecture of Europe

J.J.P. Oud
Wendingen
July, 1925

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Although I am deeply convinced of the relativity of all appreciation in art, where contemporaries or persons very near to us are concerned, yet in my opinion the figure of Frank Lloyd Wright towers so assuredly above the surrounding world, that I make bold to call him one of the very greatest of this time without fearing that a later generation will have to reject this verdict.

Of such flawless work as his, appearing admits architectural products which, in their lack of style, will have to be designated “nineteenth-century style”; of such unity of conception in the whole and in details; of such a definite expression and straight line of development another example can hardly be given.

Whereas it is a peculiarity of our day, that even the work of the cleverest nearly always betrays how it grew to be such as it is, with Wright everything is, without being at all perceptible any mental exertion to produce. Where others are admired for the talent with which we see them master their material, I revere Wright because the process by which his work came into being remains for me a perfect mystery.

It is no detraction from this reverence, which retained its high degree through the varying phases of my own development, when, asked to give my views on the important, even great influence of Wright on European architecture, I do not call this influence a happy one in all respects.

Wendingen cover to the issue 1925 Frank Lloyd Wright issueWIJD_771-2_900pxWIJD_770-2_1000px

What happened to that influence might be compared to what occurred with the rise of a “Wright-school” in the West of America. Concerning the latter Wright once wrote in a pessimistic mood, that he grieved to see that the form in which he had expressed his ideas in his works, appeared to have a greater attraction than those ideas themselves. Since those ideas aimed at starting from the function and not from the form, he believed this to be “pernicious” to the development of architecture in general. Continue reading