articles

Brief articles, anywhere from 750-3,500 words.

Persecutedness euphemized as “difference”

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Elif Batuman, from “Get
a real degree” (9.23.2010)
London Review of Books
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The law of “find your voice” and “write what you know” [in creative writing programs] originates in a phenomenon perhaps most clearly documented by the blog and book Stuff White People Like: the loss of cultural capital associated with whiteness, and the attempts of White People to compensate for this loss by displaying knowledge of non-white cultures. Hence Stuff White People Like #20, “Being an Expert on Your Culture,” and #116, “Black Music that Black People Don’t Listen to Anymore.” Non-white, non-college-educated or non-middle or upper-class people may write what they know, but White People have to find the voice of a Vietnamese woman impregnated by a member of the American army that killed her only true love.

The situation is summed up in [Mark] McGurl’s construct of the “World Pluribus of Letters” (a play on the critic Pascale Casanova’s “World Republic of Letters”):

While the citizen of the Republic of Letters disaffiliates from the nation in order to affiliate with art, the citizen of the World Pluribus of Letters disaffiliates from…the super-nation, in order to reaffiliate with a utopian sub-nation, whether that be African or Asian or Mexican or…Native American…The expression of formerly enslaved, immigrant or indigenous populations, these subnational cultural interventions…forge symbolic links to an international literary space which is not, however, the space of universal literary values but a pluralized…space of decolonized global cultural difference.

The World Pluribus of Letters has replaced a primary standard of “universal literary value” with a primary standard of persecutedness, euphemized as “difference.” It seems strange to me that McGurl, who sees the situation so clearly, seems not to view it as a problem. Perhaps his status as a White Person prevents him from objecting to the ideals of the Pluribus. But my hardworking immigrant parents didn’t give me a funny name and send me to Harvard for nothing, so I’m going to go ahead and say how damaging I think this all is. Although there is nothing intrinsically wrong with writing about persecution, for either the persecuted or the non-persecuted, there is a genuine problem when young people are taught to believe that they can be writers only in the presence of real or invented sociopolitical grievances.

This really is the message that some young people take from the [creative writing] program, as we learn in a quotation from the Chicana writer Sandra Cisneros (The House on Mango Street, 1984):

Until Iowa I had never felt my home, family and neighborhood unique or worthy of writing about. I took for granted…the strange speech of my neighbors, the extraordinary lives of my family and relatives which was nothing like the family in Father Knows Best…What could I write about that my classmates, cultivated in the finest schools in the country like hothouse orchids, could not? …What did I know that they didn’t? …What did I know except third-floor flats…that’s precisely what I chose to write: about third-floor flats, and fear of rats, and drunk husbands throwing rocks through windows…anything as far from the poetic as possible.

There is nothing objectionable in a young writer plumbing her childhood and family for literary material. It isn’t even a huge problem that poor people have been a “poetic” subject since at least Romanticism. But I was deeply depressed to learn from McGurl that Cisneros here is making “canny use of an operational paradox involved in…the ‘wound culture’ of the contemporary US: a paradoxically enabling disablement.” Continue reading →

The city as a regulated industry: Cornelis van Eesteren and urban planning

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Umberto Barbieri
Urbanista revista
№ 8, June 1989
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to be completely elementarily experienced again, and only by elementary means can beauty be attained again. In the first place it is a question of proportion, not of form. (…)

The drawings only indicate an idea of the form, the embryo of the form.

Cor. v. Eesteren, “Moderne Stedebouwbeginselen
in de Practijk,” De Stijl, vol. VI. № 10/11 (1925)

Cornelis van Eesteren won the 1921 Prix de Rome award for architecture with his design for an Academy of Sciences, Literature and Arts in Amsterdam. This design, made while he was still a student, has a classical layout, characterized by symmetry, monumentality, and decorative elements. His prize was a bursary to travel to Germany and Scandinavia in order to study the use of brick in architecture.

Van Eesteren’s stay in Berlin, one of the stops on his European trip, provided his first confrontation not only with the reality of the big city, but also with the culture of the avant-garde.

He met Hans Richter and Adolph Behne, who advised him to continue his studies at the Bauhaus in Weimar. That is where he met Theo van Doesburg for the first time, marking the start of a “relationship” that was to last until 1925. Van Eesteren’s interim report to the Prix de Rome commission for the purpose of extending his bursary demonstrated his interest in the subject of urban construction: his reflections on Berlin, for instance, revealed his specific observation of that city, focussed on the way traffic functioned and on city zoning.

In 1923 a number of parameters could already be observed in van Eesteren’s work pertaining to ideas about urban planning such as the differentiation of residential and working districts, a redefinition of the historical center, the links between the various functions and the regulation of the use of land. A start to putting this approach to the urban phenomenon into actual practice was made in 1929, the year van Eesteren was given a job at the recently-established Department of Urban Development in Amsterdam. In the meantime he had experimented on various scales and in various situations with constructing and deconstructing architectonic material.

His collaboration with van Doesburg was of crucial importance for this examination.

Theo van Doesburg and Corneelis van Eesteren, Architectural Sketch (1924)

As stated above, the Weimar encounter of May 4th 1922 between van Eesteren and the founder of De Stijl marked the  start of an intense association in theoretical and design matters. Together they developed the famous Stijl models (the Rosenberg house, a private residence and an artist’s house) which were exhibited in 1923 at the Stijl show in Rosenberg’s Paris gallery. They composed manifestos for the occasion, heralding the second, constructive period of De Stijl. The first declaration proclaimed the end of destruction and the beginning of the great age of construction. It was folio wed by the manifesto Towards a Plastic Architecture, published in 1924, in which van Doesburg announced the new architecture to be elementary, i.e. developed from elements of construction in the widest sense. These elements such as: function, mass, plane, time, space, light, color, material, etc., are also plastic elements. Continue reading →

First as tragedy, then as farce…then as low-budget bondage porn

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Richard Seymour, China Mieville, and Magpie Corven have, along with several others, resigned from the fledgling International Socialist Network following an internet row over interracial lesbian bondage porn and its ideological implications. (Not kidding. You can read about the original incident here and the ISN Steering Committee’s official response here). Jara Handala alerted me to this development by linking me to the online document they published on Dropbox; thanks for that.

The toxicity of these witch-hunts and irresponsible accusations probably requires no further explanation or commentary by me. But hey, I’ll say a couple words about it anyway.

First, while I’m hardly sympathetic to Seymour as an intellectual or political figure, I hold no sympathies for the International Socialist Network either. As far as I can tell, they are little more than Cliffite Trots who’ve lately supplemented this old-fashioned, weak-tea brand of revolutionary socialism with vogue theories of “intersectionality.” Probably to compensate for the culture of institutionalized sexism that characterized the British Socialist Workers Party following its scandalous coverup of rape allegations about a year ago.

Second, in this particular instance I actually find Seymour and Magpie to be far less ridiculous than their accusers. Granted, Seymour’s a stubborn and arrogant prick — but hey, aren’t we all? Like I said a couple posts ago, there’s part of me that feels like his fall from grace (within International Socialist circles, at least) is a kind of comeuppance, that he somehow deserved to be pilloried and lambasted the way he was because he’d used similar logic to anathematize others. But another part of me felt genuinely sorry for the guy. It’s sad enough that the Left has degenerated to such a pitiful state, where it squabbles over such piddly crap. Did Seymour and co. really need to have their reputations ruined on account of it, though? Tarred as perverts and racists? I don’t think so.

Ad hominem arguments and insinuation cannot stand in for rational, ruthlessly critical discourse and debate. Without tedious moralization and thought-taboos. Seymour can and should be challenged at the level of his ideas and actions, but not on the basis of this nonsense. Below is the letter of resignation they released a few hours ago.

Бухарин

Resignation from the ISN

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To the Steering Committee (SC) and our comrades in the International Socialist Network (ISN):

With great regrets, we are resigning from the ISNetwork. Many of us were involved in the setting up of the network, and we are very sad that it has come to this. We remain in full solidarity with ISN comrades, and look forward to working with them on campaigns.

Despite the repeated characterization of us as a “right bloc,” we do not represent any unified political position beyond our concerns about both the political direction and internal culture of the ISNetwork. It has been clear for some time that our critiques put us in a minority: contrary to a common smear, we have always been willing to argue from this position, and welcomed this political debate. However, there has been an increasing breakdown of trust between us and various leading members of the organization. It is now clear that we are not welcome in the ISN. Continue reading →

Stalinism and Bolshevism

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Leon Trotsky
Socialist Review
(August 1937)

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Reactionary epochs like ours not only disintegrate and weaken the working class and isolate its vanguard but also lower the general ideological level of the movement and throw political thinking back to stages long since passed through. In these conditions the task of the vanguard is, above all, not to let itself be carried along by the backward flow: it must swim against the current. If an unfavorable relation of forces prevents it from holding political positions it has won, it must at least retain its ideological positions, because in them is expressed the dearly paid experience of the past. Fools will consider this policy “sectarian.” Actually it is the only means of preparing for a new tremendous surge forward with the coming historical tide.

The reaction against Marxism and Bolshevism

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Great political defeats provoke a reconsideration of values, generally occurring in two directions. On the one hand the true vanguard, enriched by the experience of defeat, defends with tooth and nail the heritage of revolutionary thought and on this basis strives to educate new cadres for the mass struggle to come. On the other hand the routinists, centrists and dilettantes, frightened by defeat, do their best to destroy the authority of the revolutionary tradition and go backwards in their search for a “New World.”

One could indicate a great many examples of ideological reaction, most often taking the form of prostration. All the literature if the Second and Third Internationals, as well as of their satellites of the London Bureau, consists essentially of such examples. Not a suggestion of Marxist analysis. Not a single serious attempt to explain the causes of defeat, About the future, not one fresh word. Nothing but clichés, conformity, lies and above all solicitude for their own bureaucratic self-preservation. It is enough to smell 10 words from some Hilferding or Otto Bauer to know this rottenness. The theoreticians of the Comintern are not even worth mentioning. The famous Dimitrov is as ignorant and commonplace as a shopkeeper over a mug of beer. The minds of these people are too lazy to renounce Marxism: they prostitute it. But it is not they that interest us now. Let us turn to the “innovators.”

Vanishing commissars 1.

The former Austrian communist, Willi Schlamm, has devoted a small book to the Moscow trials, under the expressive title, The Dictatorship of the Lie. Schlamm is a gifted journalist, chiefly interested in current affairs. His criticism of the Moscow frame-up, and his exposure of the psychological mechanism of the “voluntary confessions,” are excellent. However, he does not confine himself to this: he wants to create a new theory of socialism that would insure us against defeats and frame-ups in the future. But since Schlamm is by no means a theoretician and is apparently not well acquainted with the history of the development of socialism, he returns entirely to pre-Marxist socialism, and notably to its German, that is to its most backward, sentimental and mawkish variety. Schlamm denounces dialectics and the class struggle, not to mention the dictatorship of the proletariat. The problem of transforming society is reduced for him to the realisation of certain “eternal” moral truths with which he would imbue mankind, even under capitalism. Willi Schlamm’s attempts to save socialism by the insertion of the moral gland is greeted with joy and pride in Kerensky’s review, Novaia Rossia (an old provincial Russian review now published in Paris); as the editors justifiably conclude, Schlamm has arrived at the principles of true Russian socialism, which a long time ago opposed the holy precepts of faith, hope and charity to the austerity and harshness of the class struggle. The “novel” doctrine of the Russian “Social Revolutionaries” represents, in its “theoretical” premises, only a return to the pre-March (1848!) Germany. However, it would be unfair to demand a more intimate knowledge of the history of ideas from Kerensky than from Schlamm. Far more important is the fact that Kerensky, who is in solidarity with Schlamm, was, while head of the government, the instigator of persecutions against the Bolsheviks as agents of the German general staff: organised, that is, the same frame-ups against which Schlamm now mobilises his moth-eaten metaphysical absolutes.

The psychological mechanism of the ideological reaction of Schlamm and his like, is not at all complicated. For a while these people took part in a political movement that swore by the class struggle and appeared, in word if not in thought, to dialectical materialism. In both Austria and Germany the affair ended in a catastrophe. Schlamm draws the wholesale conclusion: this is the result of dialectics and the class struggle! And since the choice of revelations is limited by historical experience and…by personal knowledge, our reformer in his search for the word falls on a bundle of old rags which he valiantly opposes not only to Bolshevism but to Marxism as well.

At first glance Schlamm’s brand of ideological reaction seems too primitive (from Marx…to Kerensky!) to pause over. But actually it is very instructive: precisely in its primitiveness it represents the common denominator of all other forms of reaction, particularly of those expressed by wholesale denunciation of Bolshevism.

“Back to Marxism”?

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Marxism found its highest historical expression in Bolshevism. Under the banner of Bolshevism the first victory of the proletariat was achieved and the first workers’ state established. No force can now erase these facts from history. But since the October Revolution has led to the present stage of the triumph of the bureaucracy, with its system of repression, plunder and falsification — the “dictatorship of the lie,” to use Schlamm’s happy expression — many formalistic and superficial minds jump to a summary conclusion: one cannot struggle against Stalinism without renouncing Bolshevism. Schlamm, as we already know, goes further: Bolshevism, which degenerated into Stalinism, itself grew out of Marxism; consequently one cannot fight Stalinism while remaining on the foundation of Marxism. There are others, less consistent but more numerous, who say on the contrary: “We must return Bolshevism to Marxism.” How? To what Marxism? Before Marxism became “bankrupt” in the form of Bolshevism it has already broken down in the form of social democracy, Does the slogan “Back to Marxism” then mean a leap over the periods of the Second and Third Internationals…to the First International? But it too broke down in its time. Thus in the last analysis it is a question of returning to the collected works of Marx and Engels. One can accomplish this historic leap without leaving one’s study and even without taking off one’s slippers. But how are we going to go from our classics (Marx died in 1883, Engels in 1895) to the tasks of a new epoch, omitting several decades of theoretical and political struggles, among them Bolshevism and the October revolution? None of those who propose to renounce Bolshevism as an historically bankrupt tendency has indicated any other course. So the question is reduced to the simple advice to study Capital. We can hardly object. But the Bolsheviks, too, studied Capital, and not badly either. This did not however prevent the degeneration of the Soviet state and the staging of the Moscow trials. So what is to be done? Continue reading →

Hal Foster’s critical turn

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There’s a good review by Jeffrey Petts over at the low-key online publication Marx and Philosophy of Hal Foster’s excellent The Art-Architecture Complex (2011). Currently I’m writing a double-review of Foster’s book along with another very good book, Gevork Hartoonian’s recent Architecture and Spectacle: A Critique (2013) for the LA Review of Books. Petts covers all the major points of Foster’s study with clarity and concision; I especially appreciate the way he elucidates the connection with Kenneth Frampton’s advocacy of “critical regionalism.” Indeed, the opposition between image and building, the visual and the tactile, the scenographic and the tectonic — frames the entire discussion. (Same goes for Hartoonian, incidentally).

But one thing I’m really grateful to Petts’ review for was its reference to criticisms Foster has recently leveled against the post-Marxist philosopher and aesthetic theorist Jacques Rancière. He cites an November 2013 review Foster wrote of Rancière’s Aisthesis, just translated into English by Zakir Paul and published by Verso. You can read that review in PDF form here. Rancière has been enthusiastically embraced by art critics and practitioners alike for too long. It’s high time that he be properly critiqued. And so below I am reproducing an article Foster wrote in December 2012 for The Brooklyn Rail on “post-critical” theory, focusing on Rancière and the French philosopher Bruno Latour. This represents Foster’s latest move away from his earlier promotion of aesthetic postmodernism in The Anti-Aesthetic (1981), a collection of essays he edited.

Post-critical

Hal Foster
Brooklyn Rail
12.10.2012

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Critical theory took a serious beating during the culture wars of the 1980s and the 1990s, and the 2000s were only worse. Under Bush the demand for affirmation was all but total, and today there is little space for critique even in the universities and the museums. Bullied by conservative commentators, most academics no longer stress the importance of critical thinking for an engaged citizenry, and, dependent on corporate sponsors, most curators no longer promote the critical debate once deemed essential to the public reception of advanced art. Indeed, the sheer out-of-date-ness of criticism in an art world that couldn’t care less seems evident enough. Yet what are the options on offer? Celebrating beauty? Affirming affect? Hoping for a “redistribution of the sensible”? Trusting in “the general intellect”? The post-critical condition is supposed to release us from our straightjackets (historical, theoretical, and political), yet for the most part it has abetted a relativism that has little to do with pluralism.

How did we arrive at the point where critique is so broadly dismissed? Over the years most of the charges have concerned the positioning of the critic. First, there was a rejection of judgment, of the moral right presumed in critical evaluation. Then, there was a refusal of authority, of the political privilege that allows the critic to speak abstractly on behalf of others. Finally, there was skepticism about distance, about the cultural separation from the very conditions that the critic purports to examine. “Criticism is a matter of correct distancing,” Benjamin wrote in One-Way Street (1928). “It was at home in a world where perspectives and prospects counted and where it was still possible to adopt a standpoint. Now things press too urgently on human society.” How much more urgent is this pressing today? Continue reading →

On “conference communism”

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Some thoughts in closing

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Fol­low­ing the ap­pear­ance of my be­lated re­port on “con­fer­ence com­mun­ism” a couple days ago, I re­ceived a num­ber of ap­pre­ci­at­ive com­ments, e-mails, and replies. It would seem I wasn’t alone in my rather low opin­ion of these con­fer­ences. A few of the people who sent me notes to this ef­fect caught me genu­inely off guard; it al­ways feels vin­dic­at­ing to know that oth­ers agree with you.

Pre­dict­ably, however, the re­sponses that came in from the speak­ers who ac­tu­ally par­ti­cip­ated in the event, es­pe­cially those who had been singled out for cri­ti­cism, were less than ap­pre­ci­at­ive. Some seemed to take it all quite per­son­ally — and one of them, George Cic­car­i­ello-Ma­h­er, went so far as to de­friend me on Face­book. Was a bit sur­prised by it, to be hon­est; I’d al­ways thought he had pretty thick skin, oth­er­wise. For the most part, I think, I’d re­frained from the ad hom­inem at­tacks and man­aged to keep my re­marks strictly ad rem. Maybe he felt that by at­tack­ing his cre­den­tials to speak on a giv­en sub­ject, I was thereby in­dir­ectly at­tack­ing his char­ac­ter. This was not my in­ten­tion.

Congress of Soviet deputies, 1918

Either way, it’s not like it mat­ters. I’d an­ti­cip­ated it any­way. Just goes to show you can’t please every­one. Continue reading →

Stalinist kitsch

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The title of this entry deserves some explanation. “Stalinist kitsch,” one might object, is a bit superfluous. Or redundant, rather. Everything is announced by simply saying “Stalinist,” after all. Doesn’t matter if it’s politics, aesthetics, whatever. It’s already assumed that it’s kitsch.

All the same, there’s plenty about Stalinism that deserves to be taken seriously. Not because it’s “right” about history or society or economics; no, nothing like that. Rather, it’s because whether we admit it or not, Stalin did seem to represent one solution (or at least stopgap) to the problem of mass society. Perhaps not a likable answer to the issues posed by modernity, but a likely one. This is something that Boris Groys, among others, has pointed out.

Moreover, though Stalin might have been more than a little lackluster as a theoretician — the primitiveness and crudity of his imagination was legendary — it’s not like he was completely ignorant. Least of all about Bolshevism and its various controversies over the years. He’d been in the party since 1903, so he was hardly a novice. And to be honest, many historians politically aligned with Stalinism wrote very rigorous, detailed accounts of their various objects of study. Though they may be a little vulgar and undertheorized at times, they’re preferable to a lot of the crap that’s published.

What’s even scarier is that those few explicitly Stalinist parties that still exist often have better politics than their soi-disant “Trotskyist” counterparts, who now operate more or less according to the logic of Stalinoid popfrontism, but without even the vague self-consciousness that Stalinists possessed. Sad times indeed.

Below are a bunch of the kitschier photos, posters, and artworks from the Stalin era. Click on any of the images to enlarge them. Furthermore, to compensate for this bit of lighthearted parody, I’m including Evtushenko’s somber 1961 poem, published in Pravda, on the “heirs of Stalin.”

The heirs of Stalin

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Mute was the marble. Mutely glimmered the glass.
Mute stood the sentries, bronzed by the breeze.
Thin wisps of smoke curled over the coffin.
And breath seeped through the chinks
as they bore him out the mausoleum doors.
Slowly the coffin floated, grazing the fixed bayonets.
He also was mute — his embalmed fists,
just pretending to be dead, he watched from inside.
He wished to fix each pallbearer in his memory:
young recruits from Ryazan and Kursk,
so that later he might collect enough strength for a sortie,
rise from the grave, and reach these unreflecting youths.
He was scheming. Had merely dozed off.
And I, appealing to our government, petition them
to double, and treble, the sentries guarding this slab,
and stop Stalin from ever rising again
and, with Stalin, the past. Continue reading →

Khidekel and the cosmist legacy of suprematism in architecture

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The following is a brief extract from an interview Elena Dobriakova conducted with Regina Khidekel, the daughter-in-law of the great suprematist painter and speculative architect Lazar Khidekel. It touches on the subject of Russian cosmism, a philosophical current which has become a renewed topic of interest thanks to George Young’s new book on The Russian Cosmists, as well as some of the materials published on e-flux by Benedict Singleton and Anton Vidokle.

Following this extract there is a short article by Regina Khidekel on suprematism in architecture. See also a post by Martin Gittins as well as Enrique Ramirez’s work on cosmism and flight in modern architecture, “Rocket Talk.” The interview translation is my own, but feel free to reproduce it. Click on any of the images below to see them in higher resolution.
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Khidekel and cities of the future

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Elena Dobriakova: How has suprematism withstood such a serious test of time, in your opinion?

Regina Khidekel: When the founder of suprematism Kazimir Malevich arrived at this Black Square, he soon understood that suprematism — or, that is to say, geometric abstraction — is the terminal stage of abstract art, that this art that is connected with the cosmos, with cosmic vision. The plain fact of the matter, technically speaking, is that Malevich grasped the property of this new space when, according to the story, it escaped beyond the horizon. In this fashion, the laws of linear perspective for were repealed, and before the artist opened an immeasurable expanse, which then became the space of the suprematist painting and, as Lazar Khidekel phrased it, the infinite plane of the canvas. That’s why in the early stages of suprematism the forms fly into the unknown of cosmic space. This is to speak only of the formal aspect. After this came the further development of suprematism, which Malevich saw as the creation of modern architecture. The students of Malevich sought to introduce this art to the limits of life during the early 1920s — and above all Khidekel, who was to Malevich the most active, energetic, and congenial. Chashnik called Khidekel a revolutionary suprematist as early as 1921, meaning a “real, genuine suprematist.” And Khidekel introduced suprematism into architecture, not as a utilitarian, elementary style, but as revolutionary-innovative vision.

For Malevich’s students, including Lazar Khidekel, these forms have been converted into space stations. Structures and volumes were perceived by them as the cosmic dwellings of future earthlings. This is another story: that of Russian cosmism and its mystical philosophy of the “common cause,” capable of uniting mankind in the task of overcoming death and resurrecting our forefathers, for whom these space colonies were designed. By the way, this was the motive behind Tsiolkovskii’s scientific research.

Елена Добрякова: Каким образом супрематизм, по вашему мнению, выдержал столь серьезную проверку временем?

Регина Хидекель: Когда основоположнику супрематизма Казимиру Малевичу пришел этот черный квадрат, он очень скоро понял, что супрематизм, или, иначе, геометрическая абстракция, и есть последняя стадия абстрактного искусства, что это искусство связано с космосом, с космическим видением. Дело в том, что чисто технически Малевич осознал свойство этого нового пространства, когда, по его словам, вышел за линию горизонта. Таким образом, законы итальянской перспективы были отменены, и перед художником открылся безмерный космос, который стал пространством супрематической живописи и, как сформулировал для себя Лазарь Хидекель, бесконечной плоскостью полотна. Вот почему на первой стадии супрематизма формы летают в безвесии в космическом пространстве. Это если говорить о формальной стороне. Затем последовало развитие супрематизма, которое Малевич видел в создании современной архитектуры. Студенты Малевича, и в первую очередь Лазарь Хидекель как самый активный, деятельный, конгениальный Малевичу, в начале 1920-х годов стремился ввести это искусство в пределы жизни. Чашник еще в 1921 году называет Хидекеля революционным супрематистом, что означает «подлинный, настоящий супрематист». И Хидекель ввел супрематизм в архитектуру, не утилитарной составляющей стиля, а революционно-новаторским видением.

Ученики Малевича, в том числе и Лазарь Хидекель, стали эти формы превращать в космические станции. Структуры и объемы воспринимаются ими как космические жилища будущих землян. Это отдельная тема — русский космизм и его мистическая философия общего дела, способная объединить человечество для решения задач преодоления смерти и воскрешения наших предков, для которых и проектировались эти космические колонии. Кстати, это было побудительным мотивом и для научных разработок Циолковского.

Lazar Khidekel:
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…The trajectory of suprematism;
…between sky and earth

Regina Khidekel

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The cosmic “gene” of Suprematism, the philosophy of Russian Cosmism in Malevich’s interpretation and his cosmological concepts, fell on fertile ground. The adolescent, who, by his own account, “walked the streets late at night, staring at the sky, the moon, and the clouds waiting for the coming of the Messiah, who…appeared floating in the clouds of the dark sky,”[1] soon encountered the art of his first teacher, Marc Chagall, where the flight over the city and the life on the roofs perfectly accorded with the Vitebsk reality.

From the Chagallian metaphorical ascent over side streets familiar from childhood, he was already within arm’s length of the systematized flights into the endless limits of Suprematist space. Malevich’s destruction of Renaissance perspective and the horizon line led to the revelation of another space — that of the boundless cosmos, which became the space onto which Lazar Khidekel would project his Suprematist compositions. Continue reading →

All that exists deserves to perish

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Against the Proudhonian
popery of Père Naphtha

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Père Naphtha is a delightful contradiction: a self-identified papist with pretensions to Marxism. Specifically, he belongs to the Maoist/Stalinist persuasion. It’s possible that he, like Roland Boer, thinks his religiosity adds some sort of unexpected “twist” or nuance to his otherwise pedestrian “heartthrob for the welfare of humanity,” to quote Hegel. Recently his tempers have been roused by the controversy over Mark Fisher’s “Vampires’ Castle” article and identity politics on the Left, and by the flurry of responses (some okay, most bad) that issued from it. He has thus seen fit to pen his own reply “On Identitarianism: A Defense of a Strawman.”

Though it’s probably poor form to dismiss an entire article and its argument out of hand, in one sweeping gesture, I feel confident in characterizing Naphtha’s “response” as basically an excuse to bang on about Nietzsche‘s pernicious influence on the Left. Obviously, this has been getting a lot of play lately, with Malcolm Bull‘s book Anti-Nietzsche having come out recently, followed by a long and seemingly interminable debate on Doug Henwood’s wall about the (un)salvageability of Nietzsche, which has since been reprised several times in other contexts. Evidently Père Naphtha had a horse in the race here, though the main knight tilting at the Antichrist was Harrison Fluss, an Hegelian and HM groupie. (Fluss is, for the record, a far more worthy opponent than Naphtha in this debate). For Naphtha, the true problem plaguing the Left is not identity politics, as authors such as Fisher, Dean, and others believe, but rather the ominous silhouette lurking behind their haughty denunciation of ressentiment: Friedrich Nietzsche.

If for nothing else, however, we should thank Père Naphtha for proffering yet more proof of Nietzsche’s suspicion that most self-proclaimed socialists are in fact Christians in disguise. As if any more proof was needed given the maudlin, moralizing sentimentality of most leftists today. Naphtha’s brand of anti-Nietzscheanism seems to be lifted from the standard Stalinist sources: Georg Lukács and Domenico Losurdo.

Continuing our narrative: In the comment thread below his article, Naphtha took exception to the harsh rhetoric I slung his way, describing his own position as “an egalitarian argument against elitism.” Nietzsche was anti-egalitarian, to be sure, and anti-moralistic. Most pointedly so in his polemics against those famous anti-semites who were for him exemplars of socialism: Pierre-Joseph Proudhon (also by extension, the 1848 Proudhonist Richard Wagner), Bakunin, and Eugen Dühring. Continue reading →

Utopia, Ltd.: Constructivism reconstructed

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There’s a piece I wrote up going over the Utopia, Ltd. show that’s been posted on the Metropolis Magazine blog, titled “Reconstructivism.” If anyone reading this is in London, I’d encourage them to check it out. Looks great, and everyone who’s been to it has had only good things to say. You can read my own thoughts on the matter by clicking the linked article above.

Paul Prudence, a photographer living in London, was the one who first got in touch with me about it. So he deserves some credit for alerting my attention, and major props on the photos he took of the models at the exhibit (shown below). I’m also grateful to Sammy Medina — Metropolis’ web editor — for looking it over and providing me with the interview materials sent in by the model-maker, Henry Milner, and the lead curator, Elena Sudakova.

All photos here were taken by Paul Prudence.