write-ups

Contra Comte

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In Aspects of Sociology, a primer in social theory released by the Institute for Social Research (often referred to as the Frankfurt School), Theodor Adorno and Max Horkheimer explain the bastard etymology of the term “sociology” and its origin in the positive philosophy of Auguste Comte:

The word “sociology” — science of society — is a malformation, half Latin, half Greek. The arbitrariness and artificiality of the term point to the recent character of the discipline. It cannot be found as a separate discipline within the traditional edifice of science. The term itself was originated by Auguste Comte, who is generally regarded as the founder of sociology. His main sociological work, Cours de philosophie positive, appeared in 1830-1842.The word “positive” puts precisely that stress which sociology, as a science in the specific sense, has borne ever since. It is a child of positivism, which has made it its aim to free knowledge from religious belief and metaphysical speculation. By keeping rigorously to the facts, it was hoped that on the model of the natural sciences, mathematical on the one hand, empirical on the other, objectivity could be attained. According to Comte, the doctrine of society had lagged far behind this ideal. He sought to raise it to a scientific level. Sociology was to fulfill and to realize what philosophy had striven for from its earliest origins. (Aspects of Sociology, pg. 1)

Somewhere I remember hearing the quip that the term “sociology” was such an ugly combination that only a Frenchman could have concocted it. Not sure who was supposed to have said it, or if it factually took place, but there seems to be a ring of truth to the assertion. Anyway, Adorno points out in his lecture course Introduction to Sociology that “Marx had a violent aversion to the word ‘sociology,’ an aversion that may have been connected to his very justified distaste for Auguste Comte, on whom he pronounced the most annihilating judgment” (Introduction to Sociology, pg. 143). Continue reading →

Adam Smith’s neglected masterpiece?

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Corey Robin posted a brief write-up of a passage from Adam Smith over on his blog some weeks back. The text quoted was Smith’s earlier work, The Theory of Moral Sentiments. It’s become quite popular in recent years to contrast this work with Smith’s magnum opus, An Inquiry into the Wealth of Nations, which came a few years later.

One commenter, Diana, expressed more or less this exact sentiment. “Please keep blogging about the Theory of Moral Sentiments,” she wrote. “Everyone so associates Adam Smith with the other book [The Wealth of Nations] and forgets about this one.” Another commenter, Benjamin David Steele, immediately seconded her request, writing: “I agree. I’ve never read the Theory of Moral Sentiments, but I’ve been very interested in this lesser-known side of Adam Smith.”

For whatever reason, though the Theory of Moral Sentiments is an interesting work, it annoys me when individuals try to “correct” common misperceptions about Smith’s political and economic philosophy by redirecting attention away from what is undoubtedly his greatest work, The Wealth of Nations. (This is, of course, the work that libertarians and neoliberals like to cite the most in their anti-government diatribes, though this is simply because they never read beyond Book I). So I felt I’d write something along these lines. What follows is a brief exchange mostly between Corey Robin and me on Adam Smith’s moral philosophy and its ideological relation to aristocratic (versus bourgeois) virtue. Also at issue is the relative worth of Smith’s Theory of Moral Sentiments as opposed to The Wealth of Nations. Continue reading →

Politics, a dead language

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Politics — in the emphatic sense — can sometimes feel like a dead language.

Terms and concepts that today should still retain some of their original descriptive purchase (like “lumpenproletariat” or “petit-bourgeois”) are only greeted with blank stares and bewildered incomprehension. It’s like you’re speaking Middle English or something. But then words and phrases that should actually raise a great deal more doubt (like “imperialism,” the “Third World,” or even “the precariat”) are taken for granted, as if everyone knows what they mean, even though it’s not clear at all if they remotely correspond to reality.

Obviously, I’m not interested in adopting some kind of false orthodoxy. Nor would I insist that everyone drop the way they’d ordinarily talk about something. It’s just that when it comes to serious discourse and debate, there needs to be at least some understanding of what these categories once meant and what they might mean today (if anything). Many of them are quite loaded, historically. Continue reading →

Walter Benjamin reads Sigfried Giedion, Bauen in Frankreich (1928)

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From The Arcades Project, pg. 40:

Old name for department stores: docks à bon marché — that is, “discount docks.” <Sigfried> Giedion, Bauen in Frankreich <Leipzig and Berlin, 1928>, p. 31.

Evolution of the department store from the shop that was housed in arcades. Principle of the department store: “The floors form a single space. They can be taken in, so to speak, ‘at a glance’.” Giedion, Bauen in Frankreich, p. 34.

Giedion shows (in Bauen in Frankreich, p. 35) how the axiom, “Welcome the crowd and keep it seduced” (Science et l’industrie, 143 [1925], p. 6), leads to corrupt architectural practices in the construction of the department store Au Printemps (1881-1889). Function of commodity capital!

Cover to Giedion's Bauen in Frankreich (1928)

Cover to Giedion’s Bauen in Frankreich (1928)

Pg. 153.

The first act of Offenbach’s Vie parisienne takes place in a railroad station. “The industrial movement seems to run in the blood of this generation — to such an extent that, for example, Flachat has built his house on a plot. of land where, on either side, trains are always whistling by.” Sigfried Giedion, Bauen in Frankreich (Leipzig and Berlin <1928>), p. 13. Eugène Flachat (1802-1873), builder of rail-roads, designer.

On the Galerie d’Orléans in the Palais-Royal (1829-1831): “Even Fontaine, one of’ the originators of the Empire style, is converted in later years to the new material. In 1835-1836, moreover, he replaced the wooden flooring of the Galerie des Batailes in Versailles with an iron assembly. These galleries, like those in the Palais-Royal, were subsequently perfected in Italy. For us, they are a point of departure for new architectural problems: train stations, and the like.” Sigfried Giedion, Bauen in Frankreich, p. 21. Continue reading →

Walter Benjamin reads Emil Kaufmann, From Ledoux to Le Corbusier (1933)

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The whole reason I started going back, for the first time in years really, to reading sections of Walter Benjamin’s The Arcades Project, was because I learned there is no English-language translation of Emil Kaufmann’s Von Ledoux bis Le Corbusier (1933). Besides the first section of Histories of the Immediate Present by Anthony Vidler, also a good read, it’s extremely hard to find even extended quotations from the book rendered into English. So I’ll start off by posting these, as they’re a bit harder to come by than most.

From The Arcades Project, pg. 143:

Kaufmann places at the head of his chapter entitled ‘Architectural Autonomy’ an epigraph from Le Contrat social: “a form…in which each is united with all, yet obeys only himself and remains as free as before. — Such is the fundamental problem that the social contract solves (p. 42).” In this chapter (p. 43): “[Ledoux] justifies the separation of the buildings in the second project for Chaux with the words: ‘Return to principle…Consult nature; man is everywhere isolated’ (Architecture, p. 70). The feudal principle of prerevolutionary society…can have no further validity now…The autonomously grounded form of every object makes all striving after theatrical effect appear senseless…At a stroke, it would seem,…the Baroque art of the prospect disappears from sight.’” E. Kaufmann, Von Ledoux bis Le Corbusier (Vienna and Leipzig, 1933), p. 43.

“The renunciation of the picturesque has its architectural equivalent in the refusal of all prospect-art. A highly significant symptom is the sudden diffusion of the silhouette…Steel engraving and wood engraving supplant the mezzotint, which had flourished in the Baroque age…To anticipate our conclusions,…let it be said that the autonomous principle retains its efficacy…in the first decades after the architecture of the Revolution, becoming ever weaker with the passage of time until, in the later decades of the nineteenth century, it is virtually unrecognizable.” Emil Kaufmann, Von Ledoux bis Le Corbusier (Vienna and Leipzig, 1933), pp. 47, 50.

Cover to Kaufmann's Von Ledoux bis Le Corbusier (1933)

Cover to Kaufmann’s Von Ledoux bis Le Corbusier (1933)

Pg. 600:

“Among the dream architecture of the Revolution, Ledoux’s projects occupy a special position…The cubic form of his ‘House of Peace’ seems legitimate to him because the cube is the symbol of justice and stability, and, similarly, all the elementary forms would have appeared to him as intelligible signs of intrinsic moment. The ville naissante, the city in which an exalted…life would find its abode, will he circumscribed by the pure contour of an ellipse…Concerning the house of the new tribunal, the Pacifère, he says in his Architecture: ‘The building drawn up in my imagination should he as simple as the law that will he dispensed there.’ Emil Kaufmann, Von Ledoux bis Le Corbusier: Ursprung und Entwicklung der autonomen Architektur (Vienna and Leipzig. 1933), p. 32.

Continue reading →

Walter Benjamin and architectural modernism

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Never realized before just how plugged-in Walter Benjamin was with the avant-garde architectural scene in Germany, France, and Austria during his day. Seriously, even just skimming through the convolutes of his unfinished Arcades Project, the text is teeming with references to Le Corbusier’s Urbanisme (1925), Adolf Behne’s Neues Wohnen — Neues Bauen (1927), Sigfried Giedion’s Bauen in Frankreich, Bauen in Eisen, Bauen in Eisenbeton (1928), and Emil Kaufmann’s Von Ledoux bis Le Corbusier, Ursprung und Entwicklung der Autonomen Architektur (1933). An acquaintance pointed out to me that he corresponded with Erich Auerbach, later author of Mimesis, as well.

Surprisingly prescient, too. Corbu was already an established figure by then, but Giedion and Kaufmann were relatively unknown. Auerbach wasn’t even on the radar.

Over the next few posts will be spread out some of Benjamin’s notes quoting and discussing some of these figures.

British Parliament votes against immediate military intervention in Syria

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Glad the British Parliament stood up and finally determined not to be the US’ bomber-buddy. Funny though, because what’s being projected for Syria is so much less involved than in Iraq, and they went in all guns blazing with that one. Somewhat surprised, to be honest. Apparently the Blairites are going ballistic — threatening to resign, moralizing blather about the West’s supposed “humanitarian” duty, and similar histrionics.

Anyway, I can’t help but wonder:


Continue reading →

Marxism, selfishness, and competition

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Evan Burger has written up a short piece for Jacobin entitled “Toward a selfish Left.” He summarizes his argument as follows: “The Left doesn’t need a renewed emphasis on morality; instead, we must reclaim the concept of self-interest.” While the rest of the article is rather glib — going so far as to naturalize self-interest at one point (the author urges us to be mindful of “humanity’s inherently self-interested nature”) — its basic point regarding the subpolitical character of most ethical injunctions is sound.

To be sure, “Marxists” and leftists of all stripes have resorted to the most maudlin moralizations in recent decades, hoping to stir the masses from their inertia by appealing to their guilty conscience. Attentive readers of Marx will remember, however, that this has nothing to do with the critical position he advocated for communists:

Communism is quite incomprehensible to [the anarchist and individualist Max Stirner] because the communists do not oppose egoism to selflessness or selflessness to egoism, nor do they express this contradiction theoretically either in its sentimental or in its high-flown ideological form; they rather demonstrate its material source, with which it disappears of itself. The communists do not preach morality at all, as Stirner does so extensively. They do not put to people the moral demand: love one another, do not be egoists, etc.; on the contrary, they are very well aware that egoism, just as much as selflessness, is in definite circumstances a necessary form of the self-assertion of individuals. Hence, the communists by no means want…to do away with the ‘private individual’ for the sake of the ‘general,’ selfless man.

Karl Marx, The German Ideology (1845)

So much for that “hive mind” collectivism libertarians always erroneously ascribe to Marxism and Marx. The freedom of each is a prerequisite for the freedom of all. Bourgeois subjectivity, though it for the first time expresses a widespread sense of individuality (mirroring the shift away from the family toward the individual as the basic productive unit of society), is eventually constrained by the onset of the capitalist mode of production. Continue reading →

Yesterday’s tomorrow is not today

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Hugh Ferriss’ modernity

Untitled.
Image: Rendering by Hugh Ferriss
of the UN Building proposal (1947)
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What’s so fascinating about [Hugh] Ferriss is what makes him so different to his near-contemporary Iakov Chernikhov. While the latter made fantasy cities out of bizarre amalgams of what did exist and what hadn’t yet been invented, Ferriss drawings take the actually constructed and make it look utterly unreal.

Owen Hatherley, “Fairytales and real estate” (2007)

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many

T.S. Eliot, “The Waste Land” (1922)

It’s an odd feeling one gets from time to time, that the future we remember was more futuristic than our own. And yet it’s unmistakable. The moment we inhabit is a peculiar retrogression upon the past; its temporality is all off.

Architectural sketch by Hugh Ferriss, 1917

Architectural sketch by Hugh Ferriss, 1917

Architectural sketch by Iakov Chernikhov, late 1930s

Architectural sketch by Iakov Chernikhov, late 1930s

Hatherley’s observation regarding the perpendicular paths of Ferriss and Chernikhov — paths that converge around the right angle of modernity — extends further than he even imagined. Whether working from unreality to reality or vice versa, the two celebrated draughtsmen charted a collision course from their respective points of origin. This might even be seen to represent a pattern of nonsensuous dissimilarity, inverting the old Benjaminian trope.

Meeting somewhere along the middle in the early 1930s, at least within the realm of ideas, the drawings of Ferriss and Chernikhov thereafter approximate each other visually (in terms of sensuous similarity) the further out one moves diverging from this date. That is to say, Ferriss’ sketches become more pronouncedly gothic the earlier on one looks. A tenebrous crayon rendering from 1917, shown above, amply illustrates this fact. Oppositely, Chernikhov’s sketches began exhibiting numerous gothic features toward the end of the 1930s, becoming progressively gloomier along the way. No one denies the influence of Hugh Ferriss over the comic-book city of Gotham; producers of the new Batman movies just announced would do well to take a look at Chernikhov’s later works for inspiration, especially after their blunder casting Ben Affleck as the dark knight. Continue reading →

Worst architecture in NYC: The Bukharian house

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Originally published by the Amsterdam-based project run by Mark Minkjan, Failed Architecture.

“Look, architecture is over,” declared longtime New York resident Kevin Walsh in 2008, in response to an article the Gothamist ran on new zoning laws in Forest Hills, Queens. Walsh, founder of the local nostalgia website Forgotten New York, was objecting to some of the remodeling efforts being undertaken the wave of Bukharian Jewish immigrants that began flooding the neighborhood earlier in the decade. Driven from their adoptive homelands in Central Asia by the collapse of the USSR, forced out of backwater republics with basket-case economies such as Uzbekistan or Tajikistan, many of them now pulled up stakes and practically airlifted into Queens. Unfortunately for the borough’s more “indigenous” (i.e., Ashkenazic) Jewish inhabitants, their Mizrahi cousins brought with them their culture’s bizarre building habits and aesthetic preferences.

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Ripped out of their native context within the Uzbek architectural vernacular and transplanted into a satellite district halfway out toward Long Island, the mammoth mansions the Bukharians began installing clashed harshly with the gentle gables and turreted masonry of the older, more manorial estates that previously made up this part of the city. Hoping to preserve the neighborhood’s prestige and air of respectability, residents of the “romantic suburb” of Forest Hill Gardens — a quaint Tudoresque cottagescape loosely inspired by the reformist principles of Ebenezer Howard — revived long-forgotten provisions from its building code that’d been collecting dust for years. With the help of some especially prohibitive requirements still on the books, they were largely able to quarantine the unwelcome newcomers. Stylistic elements originating in Bukhara were thus relegated to a series of cramped and out-of-sight blocks, neatly tucked away behind two rows of prewar high-rises across the way from Queens Boulevard, a treacherous twelve-lane thoroughfare. Continue reading →