Toward a materialist approach to the question of race: A response to the Indigènes de la République

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The Charnel-House introduction

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A few months ago, I wrote up a critique of the “decolonial dead end” arrived at by groups like the Indigènes de la République. Despite being welcomed in some quarters of the Left, wearied by the controversy stirred up after the Charlie Hebdo massacre, it was not well received by others. Last month, however, a French comrade alerted me to the publication of a similar, but much more detailed and carefully argued, piece criticizing Bouteldja & co. in Vacarne. I even asked a friend to translate it for the new left communist publication Ritual. But before he could complete it, someone describing himself as “a long-time reader/appreciator of The Charnel-House” contacted me to let me know he’d just finished rendering it into English.

The authors of the original piece — Malika Amaouche, Yasmine Kateb, and Léa Nicolas-Teboul — all belong to the French ultraleft, militant feminists and communists active in different groups. I am grateful they brought up the PIR’s execrable position opposing intermarriage and submitted it to ruthless criticism, offering a Wertkritik-inspired analysis of some antisemitic tropes reproduced by the self-proclaimed Indigènes. Regarding the provenance of “philosemitism,” a concept employed by Bouteldja which the authors critique: the term was invented by antisemites during the nineteenth century, as a reproach to supposed “Jew-lovers.” Not a title that would be claimed by those who were themselves sympathetic to the plight of Jews in Europe and elsewhere.

Translator’s introduction

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The following text, a critique of the Parti des Indigènes de la République by three of its former members, originally appeared in the French journal Vacarme. A radical anti-colonial party, Parti des Indigènes came to wide attention among the English-speaking Left for their sharp critiques of secularism and racism on the French Left following the Charlie Hebdo attacks of 2015. While they seem to enjoy great respect in certain sectors of the Left, the translator of this document believes such respect is mistaken; that PIR’s identitarian politics seeks an alliance with the identitarian far right of Le Pen, Dieudonné, and Soral; and that such an approach to politics poses a great threat to the Left.

Secondly, this document provides a much-needed insight into the problem of antisemitism. Following the Charlie Hebdo attacks, the media hysterically speculated that Europe was on the verge of a pogrom, to be carried out by its numerous Muslim immigrants; Israeli Prime Minister Benyamin Netanyahu took up the hysteria, calling for French Jews to emigrate. The backlash among certain leftists, whom the present translator otherwise respects, was perhaps equally hysterical. Some questioned whether antisemitism was even extant in contemporary Europe; others seemed to blame antisemitic acts on crimes of the Israeli state, rather than the perpetrators. As this document’s analysis shows, antisemitism is not only a threat against Jews, but against any movement of the working class.

Rosa Luxemburg in Martinique

Toward a materialist approach to the racial question: A response to the Indigènes de la République

Malika Amaouche, Yasmine
Kateb, & Léa Nicolas-Teboul
Vacarme (June 25, 2015)
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Les Indigènes de la République have helped to shed light on racism within the Left, supported by the racism of French society at large. But are they also prisoners of racism? We propose a systematic analysis of the forces exercised upon the most precarious: a critique of the erasure of race and gender; while escaping the identitarian project of the extreme right; remaining anchored in critique of political economy.

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From the dead refugees of the Mediterranean, to the Baltimore riots, to the events of everyday metropolitan life, we are constantly drawn back to the question of race. It seems necessary to propose an analysis of the foundations of racism, which will not be merely a shallow response to current events.

Today, we observe mounting Islamophobia and antisemitism. These two are a pair: in a context where social segregation is becoming stronger, and the logic of all-against-all becomes uncontrollable, we must work to think of these things in conjunction. That means to reject the logic of competition between different racial oppressions; but also to examine Islamophobia and antisemitism together in all their specificity. And in all this, the general context — growing social violence, a hardening of class segmentation, and effects of structural racism (in housing, work, and so on). It is harder and harder for the poor, and for those who are the most precarious (racial minorities and women).

With the [Charlie Hebdo] attacks in January, the left was hit with its own denial of the issue of racism. It made a specialty of denouncing the victimization, and of dismissing racism as a massive structural phenomenon. Institutional feminists’ obsession with the veil functioned as a spotlight on the racism of a Left clinging to an abstract, ahistorical, and highly aggressive universalism.

This was why we were enthusiasts of the great work of exposing the racism of the Republican left — a project in which the Parti des Indigènes de la République has participated since 2004. There are many of us who worked to undermine this “respectable” racism, under which the indigènes were never truly equal.1 If the Left was never explicitly against racialized people, its arguments were dismissive of the great values meant to emancipate them. An entire history of the condescension and paternalism of the French Left remains to be written. Such a history would note the way the discourse of class was used to stratify the hierarchies of the workers’ movement itself.

Nevertheless, it seems to us that PIR is slipping. Riding the gathering wave of identitarianism, it proposes a systematic cultural, almost ethnocentric, reading of social phenomena. This leads to the adoption of dangerous positions on antisemitism, gender, and homosexuality. It essentializes the famous “Indigènes sociaux,” the subaltern it aims to represent. It is as if the racialized working class, who face the most violent racism, are being instrumentalized in a political strategy which basically plays in the arena of the white left and à la mode radical intellectuals.

For us, descendants of Muslim and Jewish Algerians, to lead the critique of the PIR, just as we led the critique of the Left, is a matter of self-defense. We believe we have nothing to win from a political operation which subsumes all questions under those of race. For us, not only the question of race, but also those of political economy, and the social relations of sex, are the order of the day.

Political economy and Islamophobia

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Anyone who has taken the RER to Gare du Nord in the morning knows that those who look Arab, black, or Roma, face a constant pressure. “Face control,” police killings, housing in only the most distant banlieues — racial minorities face geographical, social, and symbolic segregation. This integral racism (to take up a phrase of Frantz Fanon), consubstantial with French society, begins with orientation in the fourth grade, or with the search for an internship, or the first job… and extends to all the dimensions of existence. In its multiple appearances, it extends from the streets of rich towns where ethnic men are turned away from nightclubs, to the edges of seas where they are let drown with all the indifference that attends to those who dare cross borders.

In France, Islamophobia — i.e., anti-Muslim racism — is to be understood not merely as a secular opposition to religion, but as a form of racism directed against all who are black or Arab. Its presence is seen in the public space, whether against veiled women, or young people loitering against a wall. The events of January only accentuated this process of stigmatization. From the attacks on mosques to the assaults on veiled women, to the police summons given to eight-year-olds who preferred not to say “Je suis Charlie,” it has become almost impossible for an Arab to speak politically without first prefacing that they are not an Islamist.

But it does not only operate through discriminations or prejudices. Islamophobia returns to a more central issue, the issue of race. This issue functions by assigning a place in the division of labor to certain sections of the population based on their origin or skin color. One need only observe a construction site to note that the heavy labor is performed by blacks, the technical work by Arabs, and that the overseers are white.2 Racism is the regime of material exploitation which has organized the development of European capitalism.

In effect, capitalism promotes market competition not only between capitalists, but between workers as well. This competition takes the form of a process of “naturalization,” which allows a specific devaluation of labor power. Certain sociohistoric traits of the immigrant workforce (for example, qualification, disposition, specialization) are “essentialized”: they are stretched, “typecast.” And this permits employers to bring down cost of labor.

But this process cannot be simply reduced to a “racial premium” of exploitation. It is a total social phenomenon. One may therefore submit that racialization is an essential dynamic under capitalism, which always needs greater labor power, and produces, at the same time, a “surplus” of labor power, always too much.3

Insufficiency of the “colonial” framework

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This racism marks, materially and symbolically, the European metropolitan space. Nevertheless, the strict decolonial framework proposed by PIR prevents us from comprehending the actual dynamics of racism, which exist only in conjunction with the development of global capitalism.

The history of colonialism as such is behind us, but it has left traces. The West — that is, the historical center of accumulation now threatened by crisis — perpetuates, through its “War on Terror,” the continuation of structural exploitation on the world scale. Take, for example, the wars over access to natural resources (oil or “strategic” minerals). But equally at play is the intensification of exploitation in all class segments, beginning with the most fragile. This process of immiseration and marginalization ends by engulfing those subjects who are not black, Arab, or the descendants of the colonized. Continue reading →

Under artificial skies: Planetaria and modernism

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Mikhail-Osipovich-Barshch-Planetario-de-Moscú

A couple years ago or so, I posted a number of photos of the Moscow planetarium designed by Mikhail Siniavskii and Mikhail Barshch. The planetarium was built in 1929, and still stands today — albeit in an awful state of disrepair. I included the wonderful fragment “To the Planetarium” by Walter Benjamin, from his 1928 work One-Way Street. You can read more about the planetarium and its preservation here.

Recently I’ve found a bunch of new images to post, however, from the same cache as the Dom Narkomfin photos I posted the other day. So I thought I’d put them up for everyone to see, along with another fragment by the theorist of modernity Hans Blumenberg. Not too familiar with Blumenberg’s work, admittedly, but from what I can tell he’s less hostile to Weber than his rejection of the “secularization thesis” (what Weber called “the disenchantment of the world”) would suggest. Anyway, this bit from The Genesis of the Copernican World is quite nice. Enjoy.

The ambiguous meaning of the heavens

Hans Blumenberg
The genesis of the
Copernican world
West Berlin, 1975

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The planetarium is the mausoleum of the starry heavens as the ideal of pure intuition. As a technical phenomenon it is deeply rooted in the nineteenth century’s longings for a popular knowledge of the starry heavens, longings that expressed themselves in “people’s astronomers” and “people’s observatories.” They retrieved the reserved property of science as a relic for a “natural” mass religion of the solved “riddles of the universe” and of ersatz emotions. To that extent the planetarium too is an end, an end of what Ernst Haeckel wrote in his Welträtsel [Riddles of the Universe] (a book that was distributed in many hundreds of thousands of copies): “The astonishment with which we gaze upon the starry heavens and the microscopic life in a drop of water, the awe with which we trace the marvelous working of energy in the motion of matter, the reverence with which we grasp the universal dominance of the law of substance throughout the universe-all these are part of our emotional life, falling under the heading of ‘natural religion.'” Modern man, Haeckel went on, does not need the narrow enclosed space of a special church in order to live in this religion; he finds his church “through the length and breadth of free nature, wherever he turns his gaze, to the whole universe or to any single part of it…” It is harsh, but indispensable in order to display the arc of this theme’s development, to quote immediately after the enthusiasms of this certainly important zoologist and theoretician of “family trees,” from 1899, what Hitler said on the subject in conversation during the noon meal in his headquarters on 5 June 1942: He had “directed that every town of any importance shall have an observatory, for astronomy has been shown by experience to be one of the best means at man’s disposal for expanding his view of the world and thus saving him from any tendency towards mental aberration.”

Under the artificial skies of the planetariums, the upright carriage of the observer of the heavens can be practiced sitting down, with the gentlest constraint to adopting the attitude of the onlooker in repose. Here, if anywhere, one should inevitably expect the demonization of the technical surrogate for the most sublime object — of the projected heavens as the false heavens. If one disregards the context of the [particular] concept of reality, into which this simulation fits as one of its logically most consistent elements, it is easy to make sarcastic fun of the false starlight and the false salvations that are sought under it. Nevertheless, this marvel has seldom been so little marveled at as in the work of Joseph Roth, who had his “first encounter with Antichrist” under this technical backdrop.

Roth writes a book of unmaskings. He follows the old pattern of the Platonic discovery that the realities with which we deal are only shadows and imitations; but he goes a step further beyond this schema when he establishes that everything that is even capable of being imitated is thereby lowered in its rank in reality. It is an attempt to oppose even the concept of reality that allows imitations to be real [wirklich] because they are efficacious [wirksam], without prejudice to what they may be derived from. Not only the shadows of the Platonic cave are convicted of their existential weakness, but the Ideas themselves are too, because it is still possible for those shadows to be their final derivative and the extreme indicator of their origin. What we have before us is a mirror-image reversal of Platonism: If in it the null grade of reality, in the shadows, was only possible because as images they were subordinate to the essentially imageable Ideas, now the unreality of the projections is only possible because their “originals” already suffer from unreality, so that “the reality that they imitate so deceivingly was not at all difficult to imitate, because it is not real.” This description of the cinema could in its turn be an imitation of the classic of this sort of cultural criticism, Max Picard’s Das Menschengesicht [The Human Face] of 1929: “Indeed, the real human beings, the living ones, had already become so shadowlike that the shadows on the screen had to seem real.” The unreality of reality is responsible for the artificial reality of unreality.

What Joseph Roth calls “the Antichrist” is the sum of the false realities. The boy encountered them for the first time at the beginning of his paideia [ education], in his Platonic cave: Not only the shadows but the cave itself was, so as to make the shadows possible, an artifact.

In those days a great wagon came along, drawn by invisible powers, and remained standing on an open space before the city. To begin with it sent a great machine forward, which was covered with a little tent made of linen, and on this a great tent, also made of linen, was spread out and set up like a dome, and if one went inside, the inside of the dome was a blue sky with many gold and silver stars…The dome was blue, and the stars were just as inaccessible and just as close as real stars are. For since a human being is not even tall enough to reach the roof of a circus tent erected by others of his kind, it did not matter to the person who sat beneath the dome whether it was the genuine sky or a copy of it. He could grasp neither the one nor the other with his hands. Consequently he was glad to believe that the one was the other, or vice versa. And since it became quite dark beneath and inside this dome made of tent linen, he was convinced that he sat in the midst of a clear, starry summer night…

Of course, under false heavens one can encounter false salvations. But they come from false expectations of an “authentic” and ultimate reality, of the genuine substance of nature that, because it is genuine, is at the same time not ready to hand. The demand for an authentic reality presupposes that one could tell by looking at the real that it is not the unreal-as long as one does not have to deal exclusively with the latter. But the production of this exclusiveness is what the Platonic cave and its technical successors imply.

The modern age added to this premise a further one. In Descartes’s consideration of doubt, the possibility is accepted that all the characteristics of the real could be imitated without the production of these characteristics having to generate, at the same time, the objective equivalent of reality. Leibniz was the first to urge, against Descartes, that the complete simulation of reality would in the end no longer be deception, because a deception requires both the implication of an assertion of what does not exist and that the person affected could suffer from being disillusioned, neither of which is the case here. The Baroque idea that life could be a dream has no terrors for Leibniz because expectation is determined by a new concept of reality in which the internal consistency of everything that is given is identical with all the ‘reliability’ of reality that is still possible.

There is something questionable and productive of misgivings in the demand for ultimate authenticity in all experiences, for an unmediated relation to the original, in a world that is characterized by overcrowding and can no longer keep open all paths to everything. This is no longer and not only a matter of the sincerity of one’s desire, not least of all because simulation surpasses artificially unaided [naturwüchsig] intuition. The starry heavens of intuition in the life-world are motionless for their viewer; if one also assumes that the everyday opportunity to view the heavens occurs at about the same time of day, there remain only the gradual seasonal displacement of the constellations, the Moon’s changes of phase, and the (even more difficult to perceive) motion of the planets. It is just not true that the natural heavens rotate soundlessly around the viewer; only the herdsmen of Chaldea were credited with having this experience without having any professional interest in having it. In contrast to this, the planetarium is a short of temporal telescope, which puts the static heavens in motion and by means of technical projection makes visible things that were never seen, that were really only disclosed by comparison of observations. Here it is a question not of duplicating experience that, with some effort, would also be possible ‘in the original’ for anyone at any time, but rather of augmenting what can be seen at all.

Moisei Ginzburg’s constructivist masterpiece: Narkomfin during the 1930s

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Recently I happened across a cache of extremely rare photos of Moisei Ginzburg’s constructivist masterpiece, Dom Narkomfin, in Moscow. They are reproduced here along with a brief popular exposition of the building’s history and current status by Athlyn Cathcart-Keays, which I thought quite good (despite an overly personalized narrative). Most of the photos were taken by three different individuals:

  1. Charles Dedoyard, a Frenchman and contributor to the avant-garde journal L’Architecture d’aujourd’hui;
  2. Vladimir Gruntal, a noted constructivist photographer and member of Rodchenko’s October Association; and
  3. Robert Byron, a British travel writer and Byzantine historian known for his deep appreciation of architecture.

It’s difficult for me to say whose photographs of Narkomfin I like best, as each capture very different “moods” of the building. Byron’s are dark, brooding, and ominous, while those of Gruntal and Dedoyard are comparatively sunny, vivacious, and light. Someone who knows more about photography, especially architectural photography, might say more about them. Ginzburg’s revolutionary communal housing structure is as photogenic as ever, though the real complexity of the building tends to get lost in single snapshots (whether taken indoors or from the outside). Hopefully I’ll be writing a longer article on Narkomfin soon. Please contact me if you’d like to publish it.

Lately, apart from work, I’ve been wasting far too much time antagonizing tankies on Twitter — defending friends and Slavoj Žižek along the way — instead of spending it on more productive ventures. They’re young, and I’m bored, but it’s not like my trolling and ceaseless mockery will persuade them of anything. So I apologize to anyone I’ve offended these past several weeks. From now on, I’ll try to redirect my energies to more fruitful ends. Besides a few pieces I’ve already written and have stowed on the backburners, I think I’m going to finally finish that book for Zer0. Enjoy these for now.

Charles Dedoyard
Dedoyard, C. Exterior view of the People's Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow September 1932 Dedoyard, C. Exterior view of the Narkomfin (People's Commissariat for Finance) Apartment Building, 25 Novinskii Boulevard, Moscow, September 1932b Dedoyard, C. Exterior view of the Narkomfin (People's Commissariat for Finance) Apartment Building, 25 Novinskii Boulevard, Moscow, September 1932a Dedoyard, C. Exterior view of the Narkomfin (People's Commissariat for Finance) Apartment Building, 25 Novinskii Boulevard, Moscow, September 1932 Dedoyard, C. Exterior view of the People's Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow, September 1932

Vladimir Gruntal

Gruntal, V.G. Interior view of Nikolai Milutin’s apartment showing the built-in kitchen, People’s Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of the People’s Commissariat for Finance (Narkomfin) Apartment Building showing a communal space [?], 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of the People’s Commissariat for Finance (Narkomfin) Apartment Building showing a corridor, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Partial view of the garden façade of the People’s Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of Nikolai Milutin’s apartment in the People’s Commissariat for Finance (Narkomfin) Apartment Building showing the upper level, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of the People’s Commissariat for Finance (Narkomfin) Apartment Building showing stairs, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of Nikolai Milutin’s apartment in the People’s Commissariat for Finance (Narkomfin) Apartment Building from the upper level showing a built-in cupboard and a desk, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Exterior view of the pilotis of the People’s Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of Nikolai Milutin’s apartment showing the built-in wall unit in the dining room [?] which opens onto the built-in kitchen, Narkomfin Apartment Building, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of an entrance to the People’s Commissariat for Finance (Narkomfin) Apartment Building showing a bulletin board, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Exterior view of the communal centre of the People’s Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Partial view of the garden façade of the People’s Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow, after 1930c
Gruntal, V.G. Interior view of Nikolai Milutin’s apartment in the People’s Commissariat for Finance (Narkomfin) Apartment Building showing the upper level, 25 Novinskii Boulevard, Moscow, after 1930a
Gruntal, V.G. Photograph of a perspective drawing for the People’s Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow, before 1929
Gruntal, V.G. Interior view of Moisei Ginzburg’s studio in the People’s Commissariat for Finance (Narkomfin) Apartment Building showing a woman seated at a desk, 25 Novinskii Boulevard, Moscow after 1930
Gruntal, V.G. Partial view of the lateral façade of the People’s Commissariat for Finance (Narkomfin) Apartment Building showing the elevated walkway, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Exterior view of the pilotis of the People’s Commissariat for Finance (Narkomfin) Apartment Building, 25 Novinskii Boulevard, Moscow,, after 1930a
Gruntal, V.G. Partial view of the garden façade of the People’s Commissariat for Finance (Narkomfin) Apartment Building showing the roof garden, 25 Novinskii Boulevard, Moscow, after 1930
Gruntal, V.G. Interior view of Nikolai Milutin’s apartment in the People’s Commissariat for Finance (Narkomfin) Apartment Building from the upper level, 25 Novinskii Boulevard, Moscow, after 1930

Robert Byron

Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative Exterior view, side façade with balconies, detail
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative Exterior view, communal center, detail
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative Exterior view, side facade with pilotis, detail
Robert Byron Narkomfin apartments Moscow, USSR Architects: Moisei Ginzburg and Ignatii Milinis (1928-1929) Type: A-negative Exterior view, front facade, detail

Unknown

Unknown Interior views of the House-commune of transitional type communal centre, some showing Solomon Lisagor, Rostokino, Moscow, 1928-1930 [www.imagesplitter.net]-1-1 Unknown Interior views of the House-commune of transitional type communal centre, some showing Solomon Lisagor, Rostokino, Moscow, 1928-1930 [www.imagesplitter.net]-1-0 Unknown Interior views of the House-commune of transitional type communal centre, some showing Solomon Lisagor, Rostokino, Moscow, 1928-1930 [www.imagesplitter.net]-0-1 Unknown Interior views of the House-commune of transitional type communal centre, some showing Solomon Lisagor, Rostokino, Moscow, 1928-1930 [www.imagesplitter.net]-0-0

Moisei Ginzburg’s Narkomfin building in Moscow: A Soviet blueprint for collective living

Athlyn Cathcart
The Guardian
May 5, 2015

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In the shadow of one of Stalin’s Seven Sisters skyscrapers in Moscow’s Presnenskii District, an unkempt park gives way to a trio of yellowing buildings in varying states of decay. The crumbling concrete and overgrown wall-garden don’t give much away, but this is the product of the utopian dreams of a young Soviet state — a six-storey blueprint for communal living, known as the Narkomfin building.

Designed by architects Moisei Ginzburg and Ignatii Milinis in 1928, the building represents an important chapter in Moscow’s development — as both a physical city and an ideological state. Built to house the employees of the Narodnyo Kommissariat Finansov (Commissariat of Finance), Narkomfin was a laboratory for social and architectural experimentation to transform the byt (everyday life) of the ideal socialist citizen. Continue reading →

Cognord: The Syriza trilogy

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COGNORD is unfortunate enough to have been born in Greece, and fortunate enough to have participated in the social movements which attempted to put a halt to the capitalist devaluation of that country. Shortly after the farewell party of the movement (the magnificent general strike and intense riots of February 12th, 2012) he left Greece and settled in a cold place. Occasionally, he writes articles about his native land. He is also a member of the Communists in Situ collective, whose blog everyone should check out.

In my opinion, Cognord’s articles provide far and away the best Marxist analysis of Syriza and Greece.

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Is it possible to win the war after losing all the battles?

Cognord
Brooklyn Rail
February 2015

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Prehistory of a success

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The announcement of national elections in Greece, roughly two years before the coalition government of New Democracy and Pasok completed their term, immediately sparked a renewed interest in this southern and economically peripheral European country. The relative silence that preceded this novel attention for the last two years was, at least in media terms, understandable. If Greece enjoyed an earlier moment of fame, it was primarily due to the unprecedented austerity measures imposed by the troika — the European Commission, European Central Bank (ECB), and International Monetary Fund (IMF) — in exchange for new loans, designed to “assist” the Greek state after it officially announced, in April 2010, that it was unable to repay its existing, “non-viable” sovereign debt (120 percent of GDP at the time). The reactions to the implementation of the austerity program were also pivotal in bringing Greece into the spotlight: general strikes, violent demonstrations, and the movement of the squares ensured, between 2010 and 2012, that the future of Greece’s “fiscal consolidation program” (to borrow the official economic jargon) was seriously threatened. Along with the memorandum imposed by the troika, what came under attack was the legitimacy of the political system,1 generating wild speculation about the future of Greece’s membership in the Eurozone, as well as the unpredictable consequences this could have for the EU, not to mention the global economy.

However, the movement which tried to halt the austerity program failed. The reasons are varied, and it is not within the scope of this article to explain them in detail. Suffice it to say that, as in every other social movement, this failure should be traced to both the violent determination of the government(s) to proceed with austerity at all costs (for which the ruling factions have paid a price) and the inability of the movement to transform itself from a defensive mobilization to protect existing conditions into an offensive attack on the conditions that created the crisis.

Nonetheless, the attention that Greece received was justifiable. Without exaggeration, one could argue that many of the political strategies of resistance which the international left has only read about in books were tried and tested in Greece in the years after the crisis: general strikes with massive participation, bringing economic activities to a halt; militant and violent demonstrations with constantly growing numbers of participation; neighborhood assemblies that sought to act as minuscule formations of self-organization, attempting to deal with immediate issues caused by the crisis; one of the most militant squares movements, which managed to call for two successful general strikes; a climate of continuous antagonism that gradually but steadily involved more and more people.

It is, however, no exaggeration to say that none of these inspiring moments managed to counteract the effects of the crisis and its management by the state. However exhilarating, promising, and tense these outbreaks were for those of us who participated in them, it has become imperative to understand their failure to achieve even a small (however reformist) victory.

In official terms, the crisis has only become worse in the last years. Overall unemployment has risen to 27 percent (from 12.5 percent in 2010), primarily hitting young people (60.6 percent for those aged 17-25); wage cuts across the public sector are between 30 and 40 percent, while in the private sector the number is only slightly lower (25 percent on average).2 Small businesses (the backbone of the Greek economy, constituting around 95 percent of all business activity) have been devastated by the crisis and the austerity measures (more than 250,000 have been closed), while cuts in the Health and Education budgets amount to more than 25 percent. Total GDP losses amount to 24 percent, while despite these cuts (or, as some would say, as a result of them), state debt in Greece has dramatically risen from 120 percent in 2010 to 176 percent of GDP today.

Continue reading →

The death of Marat and the death of art

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Jean-Paul Marat, the famous French revolutionary and member of the Club des Cordeliers, was assassinated by the Girondin sympathizer Charlotte Corday two hundred twenty-two years ago today. David’s rendering of Marat lying dead and bloodied in his bathtub, Corday’s concocted note still held in his left hand, is perhaps the most iconic political image of all time. On numerous occasions it has been parodied, satirized, and otherwise détourned (most notably in 1860, under Louis Bonaparte’s reactionary Second Empire, by the “patriotic” painter Paul Jacques Aimé Baudry).

An account of Marat’s death and subsequent canonization as a martyr of the Revolution appears below, taken from Arno Mayer’s The Furies (2000). This is then followed by several hilarious, more recent parodies of David’s painting. I’ve already stated on numerous occasions that art is, for all intents and purposes, dead. So it should come as no surprise that The Death of Marat itself would itself fall victim to the death of art. Enjoy.

jacques-louis david, mort de marat (1793)the-death-of-marat-1793-oil-on-canvas-joseph-roques

The death of Marat
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Had it not been for the rising storm [of Terror], the assassination of Marat, on July 13, 1793, the eve of the fourth anniversary of the fall of the Bastille, most likely would have been an isolated and harmless bolt of political lightning. But with the turbulent weather, Marie-Anne-Charlotte de Corday d’Armont’s fatal deed touched off a political firestorm. In death even more than in life, Marat lent himself to being at once apotheosized and demonized — as the incarnation of good or evil, light or darkness, virtue or vice, purity or impurity.

Disenchanted with the Revolution, Charlotte Corday claimed that by killing Marat she meant to “avenge untold innocent victims” as well as “save thousands of lives…and prevent many other disasters.” When the judges, before sentencing her to death, asked whether she “thought she had slain all the Marats,” she replied that with “this one dead, all the others will be put in fear.”

Almost instantly Corday was both excoriated and extolled as the arch-avenger. One of the revolutionary papers reported that on hearing of Marat’s assassination, several women exclaimed that death by guillotine would be “too mild for such a heinous crime” and vowed to “cut up and devour the scoundrel who had deprived the people of their best friend.” After noting in Père Duchesne that to curse Corday was to “fire the people’s vengeance,” Hébert likewise insisted that to “fit the crime” the punishment would have to be “more terrible and degrading than death by guillotine.” As for Charlotte Corday, on being turned over to the Abbaye prison, she apparently feared “that the people would tear her limb from limb.” She did not breathe easier until she thought she stood fair to be “beheaded by the guillotine, which would be a gentle death.”

Charlotte_Corday Carlota_Corday_1889_by_Arturo_Michelena

There was, indeed, considerable apprehension that an overwrought crowd would once again invest the Abbaye prison, this time to touch off an uncontrollable massacre with the vindictive slaying of Marat’s assassin. At the Convention several deputies, worried that a popular “clamor for vengeance” would set off “a terrible explosion,” urged citizens to remain both calm and vigilant at the same time that they reassured them that they “would be avenged.” Likewise François Hanriot, the hardline commander of the capital’s national guard, simultaneously approved the cry for vengeance and stressed that “the best way to keep in check the aristocracy was to trust and support our courts of law.” Presently even the firebrand Hébert sought to calm the atmosphere, insisting that “the day of vengeance was not yet at hand” partly because Paris still needed to persuade the provinces that the capital was not “a city of cannibals.”

In the meantime, at the main Jacobin club there was a move to enshrine Marat, the martyr of liberty, in the Pantheon. But Robespierre objected, contending that by giving people a false sense of “redress,” such a spectacular homage would assuage their “thirst for vengeance.” On July 15 a delegation of the Society of the Men of August 10 came to the Convention to “demand that Marat be avenged” rather than given “the honors of the Pantheon,” not least because he was, in any case, assured of a “permanent Pantheon in everyone’s heart.”

By this time several bards of the Revolution were entrusted with planning a solemn funeral rite for Marat. It stands to reason that the iconoclastic intelligentsia, including the unbound artists of the new order, should have turned to celebrating and commemorating the Revolution’s major events and heroic leaders or martyrs. In this way they hoped to challenge and replace the resplendent public ceremonials of the ancien régime. Jacques-Louis David is emblematic of these self-conscious activist illuminati who came forward to assist in laying the foundations for a future full of promise. An early partisan of reform, he was radicalized by the force of circumstance. With time he became a fervent champion of the nascent republic and Jacobin patriotism. David was elected one of the capital’s deputies in the National Convention and eventually served on its Committee of General Security. He had a sympathetic understanding for Robespierre and Marat, with whom he consorted off and on.

David_Self_Portrait2013 04 27 Le serment du Jeu de Paume, le 20 juin 1789 - Jacques-Louis David - Carnavalet 2

David emerged, of course, as not only the peerless painter-artist of the Revolution but also its master metteur en scène. Characteristically he idealized and ideologized one of the Revolution’s grand founding events in The Oath of the Tennis Court, his first and arguably one of his most compelling historical paintings, started in mid-1790. No less exemplary, David was the guiding spirit of the ceremonial transfer of Voltaire’s ashes to the Pantheon in June 1791. This sober and grandiose funeral procession, partly mimetic of yesterday’s religious prototype and featuring Greco-Roman imagery, was staged to symbolize and herald “the victory of reason over superstition, philosophy over theology, justice over tyranny, tolerance over fanaticism.” David was responsible for the overall “organization” and “decoration” of this and several later public rites, while François Gossec and Marie-Joseph Chénier provided, respectively, the music and lyrics.

David does not seem to have had a hand in conceiving and staging the cavalry of Louis XVI — procession, execution, burial — on January 21, 1793, which was designed to consummate the king’s profanation as a symbol of monarchy while diligently precluding his living on as a martyr. Indeed, David’s calling and vision was to construct, represent, and memorialize heroes, not anti-heroes; martyrs, not demons. Nowhere was his revolutionary commitment more intensely tested and expressed than in his orchestration of the funeral of Jean-Paul Marat and his martyr painting of this uncommon revolutionary. A few months earlier David had experimented with new techniques of funeral pageantry and iconography in rendering honor to Michel Lepeletier de Saint-Fargeau. As deputy from Yonne, this aristocrat had voted the death penalty for Louis XVI. In revenge for this apostasy, Lepeletier was mortally stabbed by a former royal bodyguard. David arranged for his semi-nude corpse, with its fatal wound unhidden, to lie in state on the Place Vendôme preceding a memorial service on the floor of the Convention. Shortly thereafter David captured the atmosphere and message of the ceremony in his painted exaltation of Lepeletier. In every respect, Lepeletier’s apotheosis prefigured Marat’s. Continue reading →

Gosprom: The State Industry building in Kharkov, 1925-1928

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Robert Byron, Gosprom in Kharkov (1929)a Robert Byron, Gosprom in Kharkov (1929)b Robert Byron, Gosprom in Kharkov (1929)c Robert Byron, Gosprom in Kharkov (1929)d

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The most breathtaking of all constructivist projects has to be the Gosprom complex (or “Palace of Industry”) in the Ukrainian city of Kharkov. There can’t have been anything else of this scale and ambition anywhere else in Europe at the time: indeed, it resembles more some particularly ambitious work of the late 1960s than the mid-twenties, an unacknowledged prototype of that sixties motif, the elevated walkway, the street in the sky. Constructed between 1926 and 1928, apparently by volunteers from the local Komsomol, this is Metropolis — or Aelita — actualized. Concrete and glass blocks from 7 to 13 storeys connected by skyways, curving round a huge public square, this resembles a small city in its own right. Its designers, Serafimov, Kravets, and Felger, appear to have been as obscure at the time as they have been since, yet only an El Lissitsky, a Gropius, or a Corbusier were designing anything as ambitious in 1926. Eisenstein and Vertov both used it on film (The General Line and Three Songs of Lenin, respectively), aptly, as the contrasts, angles and multiple levels had spatial affinities to their montage techniques: more literally, Friedrich Ermler used it in Fragment of Empire, a communist Rip van Winkle tale, as exemplar of the incomprehensible new world that the sleeper awakes to.

(From Owen Hatherley’s Militant Modernism)

Continue reading →

No, Žižek did not attribute a Goebbels quote to Gramsci

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After I debunked Molly Klein’s baseless claim that Žižek was the editor of the Ljubljana student zine Tribuna when it printed a translation of The Protocols of the Elders of Zion, a few of her dimwitted supporters kept saying that I was focusing too much on this one claim and ignoring the mountain of other “evidence” she’d compiled regarding the Slovenian philosopher. So I figured I’d have a crack at another of her outrageous claims.

By the way, I swear to god this is the last one of these things I’m going to write. Klein’s modus operandi seems to go something like this:

  1. Make as many ridiculous and poorly researched, half-literate claims as possible.
  2. If anyone disputes one of your claims or clearly demonstrates that it’s incorrect, either ignore him/her or
    1. accuse them of ignoring all the other “legitimate” criticisms she’s advanced.
    2. simply continue making same ridiculous claims despite direct evidence disproving them.
  3. Repeat.

For bonus points, call everyone a “fascist” or suggest that they’re a “psyop.” Žižek doesn’t really need my help. Still, it’s fun to beat up on feeble-minded frauds like Klein. Enjoy the carnage below.

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Another spurious claim Molly has repeatedly made is that Žižek deliberately conflated a pair of quotes by two quite distinct individuals. Namely, the Nazi propaganda minister, Joseph Goebbels, and the Italian Marxist, Antonio Gramsci. It so happens that the quote in question is one of Žižek’s favorites. He likes to use it a lot. So it appears in several of his texts, not just the article he wrote for New Left Review. At any rate, the quote Žižek attributes to Gramsci runs as follows: “The old world is dying, and the new world struggles to be born: now is the time of monsters.”

Recent photo of myself alongside fellow Twitter proles doing battle with Molly Klein the foul monster pictured at the top

Recent photo of myself alongside other nameless Twitter proles doing battle with Molly Klein the grotesque monster pictured at the top

Klein is convinced for some unknown reason that Žižek is in fact quoting Goebbels, with slight modifications added to throw readers off the scent. She laid it all out in a blog post a few years back. “Needless to say,” remarked Klein, “Gramsci said no such thing.” Following this there is a long quotation from the original Italian, though only one line from it was relevant: La crisi consiste appunto nel fatto che il vecchio muore e il nuovo non può nascere: in questo interregno si verificano i fenomeni morbosi piú svariati. Rendered more literally into English, as the 1971 International Publishers edition does, it reads: “The crisis consists precisely in the fact that the old is dying and the new cannot be born, in this interregnum a great variety of morbid symptoms appear.”

Indeed, from this it would seem that Žižek either translated Gramsci very loosely, or is substituting a different quote for Gramsci’s entirely. Where could Žižek have gotten it from? Naturally, Klein’s first instinct is to look for some source in the annals of Nazism that resembles the one Žižek supposedly put in the mouth of Gramsci. A few keyword searches on Google and there you have it — gold, jackpot, Goebbels! “We know today that the old world is dying and that we are seeing the struggle for a new world,” the propaganda minister wrote in 1939, a few months before his country plunged Europe into war. Somewhat similar, sure. “Old world” and “new world” vs. “the old” and “the new.” Klein concludes: “that is Goebbels via Žižek passed off as Gramsci.” Continue reading →

Fauxcahontas: On Andrea Smith, colonialism, and “authenticity”

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The Andrea Smith debacle likely won’t get as much play as the Rachel Doležal incident from a few weeks back. In my opinion, though, Smith is way worse than Doležal. Not only has she been lying about her heritage for more than two decades, she’s positioned herself as a major theorist within “decolonial” studies and discourse. Her papers are still widely cited across the field, author of the hugely influential Conquest: Sexual Violence and American Indian Genocide and an editor for Decolonization: Indigeneity, Education, and Society, as well as the collection Theorizing Native Studies. Smith is much more prominent intellectually and institutionally in indigenous politics than Doležal ever was in black politics.

Most of the reactions I came across on social media regarding Smith were of shocked disbelief, especially those that showed some prior familiarity with her work and awareness of her standing as a leading theoretician of decoloniality. “Wow — Andrea Smith has been a force,” remarks one. “All built on a lie about identity.” Clearly surprised, another recalls: “Just found out Andrea Smith was faking her indigenous ancestry. It went on so long. Her work was big when I was in uni in 2005.” Zehra Husain exclaims, incredulous: “What? What? Andrea Smith?”

Those who’d studied her texts closely were hit even harder by the news. “This is really surprising and troubling as someone who has studied her work,” one student writes. Ayanna Dozier reacts similarly: “Well, damn. This is very upsetting. I have to rethink my relationship to Andrea Smith’s work.” Matt Jaber Stiffler candidly admits: “Andrea Smith was on my dissertation committee. Feeling torn today.”

Others are more apologetic. “Andrea Smith enhanced the debate, the conversation, the thinking, the thought,” Rinaldo Walcott maintains. “Regardless of Andrea Smith’s identity, the power and clarity of her seminal work Conquest cannot be denied. It still informs my thinking,” expresses another.  “Opportunistic white people should keep their mouths on the Andrea Smith case,” opined Karen Macrae, herself white.

Joanne Barker of the Delaware Tribe published a fairly scathing critique of Smith, though. Entitled “Rachel Doležal and Andrea Smith: Integrity, Ethics, Accountability, Identity,” it anticipated the charges against Smith would be met with defensive and dismissive responses, “including criticisms of those who did the circulating [of information] as witch-hunters, mean-spirited, lacking logic, not knowing what they were talking about, and the like.” Klee Benally, another well known indigenous activist, immediately leapt to Smith’s defense, confirming this prediction. She publicly decried what she called

a witch hunt against fierce feminist author and friend, Andy Smith. While I’m not privy to all that’s been published, so far I’ve read Barker’s response and a couple others. Her statements eerily evoke COINTELPRO bad-jacketing rather than Indigenous feminism. Reading it I couldn’t help ask myself what interests are served via this pillory?

When Ward Churchill’s identity was called into question it clearly served a conservative agenda. My position then was that his identity is between him and the creator and an issue for his family and Nation to address internally through their own cultural process. After all, the primary issues regard accountability, colonialism, and white supremacy. I still maintain that his political contributions shouldn’t be uncritically thrown out when challenged with the colonial institution of “blood-quantum.”

And here we Marxists thought colonialism meant the dispossession and oppression of the native population in order to create a racially-structured, low-cost workforce. Turns out colonialism is actually just being mean to self-proclaimed representatives of “the indigenous.” What a silly and inconsequential thing colonialism would be, in that case.

Such suspicions are not entirely unjustified. Churchill, the scholar who Benally mentioned above, has detailed a long history of infiltration and counterintelligence pursued by the federal government against the Amerindian movement (before serious inconsistencies were noticed in several statements he made concerning his own ancestry). The Trotskyist International Socialist Organization, or ISO, has raised similar doubts about those making accusations within their milieu.

However, all of the documents compiled regarding Smith’s heritage seem to be vetted and verified. If the allegations are true — and Smith is not only not Cherokee, but is not of native descent at all — then there is no more damning critic of her actions than Smith herself. As she wrote in her 1994 article, “For All Those Who Were Indian In A Former Life”:

When white “feminists” see how white people have historically oppressed others and how they are coming very close to destroying the earth, they often want to disassociate themselves from their whiteness. They do this by opting to “become Indian.” In this way, they can escape responsibility and accountability for white racism. Of course, white “feminists” want to become only partly Indian. They do not want to be part of our struggles for survival against genocide, and they do not want to fight for treaty rights or an end to substance abuse or sterilization abuse. They do not want to do anything that would tarnish their romanticized notions of what it means to be an Indian.

Moreover, they want to become Indian without holding themselves accountable to Indian communities. If they did they would have to listen to Indians telling them to stop carrying around sacred pipes, stop doing their own sweat lodges and stop appropriating our spiritual practices. Rather, these New Agers see Indians as romanticized gurus who exist only to meet their consumerist needs. Consequently, they do not understand our struggles for survival and thus they can have no genuine understanding of Indian spiritual practices.

“The work of Andrea Smith does not excuse her blatant disrespect toward and appropriation of the experiences of Native American women,” writes one commentator, stating the obvious. Less egregious than the scandal surrounding The Education of Little Tree (1976), a children’s book about a wee lad growing up between two worlds: the alienating world of “white” modernity on the one hand, and the mystical organic Volksgemeinschaft of his Cherokee grandfather on the other. Everyone ate it up like pigs at a trough, including prominent Native Americans who affirmed that the author clearly must be a genuine native. It won awards, was taught in schools. Some diligent indigenous scholars later found out toward the end of the 1970s that the author was in fact white. And not just any white man, either, but Asa Earl Carter (using the pseudonym “Forrest”). Carter was a notorious white supremacist and a speechwriter for George Wallace. He’d written the infamous “segregation now, segregation forever!” speech a decade or so earlier.

One has to love this category, “authenticity.” It seizes on a real shortcoming within bourgeois society, the persistence of injustice and inequality, and then redirects this recognition to reactionary ends, embracing the perceived irrationalism of that which escapes civilizational norms. “The bourgeois form of rationality has always needed irrational supplements in order to maintain itself as what it is, continuing injustice through justice,” wrote Theodor Adorno in The Jargon of Authenticity. “Such irrationality in the midst of the rational is the working atmosphere of authenticity. The latter can support itself on the fact that over a long period of time literal as well as figurative mobility, a main element in bourgeois equality, always turned into injustice for those who could not entirely keep up.” Affirming irrationality or mysticism, that seemingly genuine immediacy that escapes so-called “Western” modes of rationality or enlightenment, is no better than what it opposes or denies. In no way does it transcend the abstract totality of modern society, or remove the layers of mediation that exist therein. Quite the opposite: it sustains it.

Smith’s fakery is more along the lines of Ward Churchill than Rachel Doležal or Binjamin Wilkomirski, let alone Forrest Carter. Outrageous nevertheless. Probably the sickest burn I came across online, however, caustically observed that “[t]here are plenty of members of the Wanabi tribe.” Inverting the title of Glen S. Coulthard’s recent book, Red Skin, White Masks, we might say that Andrea Smith is a case of someone with white skin who wears a red mask. Fauxcahontas, then?

Against accelerationism, for Marxism

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In­tro­duct­ory note

I re­pro­duce here a short post by my friend Re­id Kane cri­tiquing the fun­da­ment­al premises of “left ac­cel­er­a­tion­ism.” For those un­fa­mil­i­ar with this the­or­et­ic­al form­a­tion, I ad­vise they check out #Ac­cel­er­ate: An Ac­cel­er­a­tion­ist Read­er, which presents its self-se­lec­ted ante­cedents as well as some ori­gin­al ma­ter­i­als writ­ten by pro­ponents of the move­ment. Ben­jamin Noys’ book Ma­lign Ve­lo­cit­ies, which is brief but quite good, is also worth look­ing in­to for any­one seek­ing a more crit­ic­al per­spect­ive. McK­en­zie Wark, Ant­o­nio Negri, and nu­mer­ous oth­ers have writ­ten re­sponses as well. A few months back I sum­mar­ized a de­bate between Peter Wolfend­ale and An­thony Paul Smith and ad­ded some of my own thoughts on “The Fu­ture of En­light­en­ment.” Then later I wrote a bit de­fend­ing the Pro­methean as­pect of Marx’s thought, “Against In­ad­vert­ent Cli­mate Change.”

My only oth­er re­mark re­gard­ing Re­id’s piece is that it is use­fully sup­ple­men­ted by an­oth­er short doc­u­ment, this time by Karl Marx. His “Speech on the Tenth An­niversary of the People’s Pa­per“ is avail­able at the Marx­ists in­ter­net archive, and is to my mind the most con­cise sum­mary of Marx’s con­tri­bu­tion to polit­ic­al thought out­side of the Mani­festo. In it, he un­leashes a series of com­pact dia­lect­ic­al in­ver­sions that cap­ture the am­bi­val­ence of cap­it­al­ist de­vel­op­ment that Re­id is driv­ing at. An ad­um­brated ver­sion of its main points ap­pears be­low:

The so-called re­volu­tions of 1848 were but poor in­cid­ents — small frac­tures and fis­sures in the dry crust of European so­ci­ety. However, they de­nounced the abyss. Be­neath the ap­par­ently sol­id sur­face, they be­trayed oceans of li­quid mat­ter, only need­ing ex­pan­sion to rend in­to frag­ments con­tin­ents of hard rock. Nois­ily and con­fusedly they pro­claimed the eman­cip­a­tion of the pro­let­ari­an, i.e. the secret of the nine­teenth cen­tury, and of the re­volu­tion of that cen­tury.

That so­cial re­volu­tion, it is true, was no nov­elty in­ven­ted in 1848. Steam, elec­tri­city, and the self-act­ing mule were re­volu­tion­ists of a rather more dan­ger­ous char­ac­ter than even cit­izens Barbés, Raspail, and Blan­qui…On the one hand, there have star­ted in­to life in­dus­tri­al and sci­entif­ic forces, which no epoch of the former hu­man his­tory had ever sus­pec­ted. On the oth­er hand, there ex­ist symp­toms of de­cay, far sur­pass­ing the hor­rors re­cor­ded of the lat­ter times of the Ro­man Em­pire. In our days, everything seems preg­nant with its con­trary: Ma­chinery, gif­ted with the won­der­ful power of short­en­ing and fructi­fy­ing hu­man labor, we be­hold starving and over­work­ing it; the new­fangled sources of wealth, by some strange weird spell, are turned in­to sources of want; The vic­tor­ies of art seem bought by the loss of char­ac­ter.

At the same pace that man­kind mas­ters nature, man seems to be­come en­slaved to oth­er men or to his own in­famy. Even the pure light of sci­ence seems un­able to shine but on the dark back­ground of ig­nor­ance. All our in­ven­tion and pro­gress seem to res­ult in en­dow­ing ma­ter­i­al forces with in­tel­lec­tu­al life, and in stul­ti­fy­ing hu­man life in­to a ma­ter­i­al force.

This ant­ag­on­ism between mod­ern in­dustry and sci­ence on the one hand, mod­ern misery and dis­sol­u­tion on the oth­er hand; this ant­ag­on­ism between the pro­duct­ive powers and the so­cial re­la­tions of our epoch is a fact, palp­able, over­whelm­ing, and not to be con­tro­ver­ted. Some parties may wail over it; oth­ers may wish to get rid of mod­ern arts, in or­der to get rid of mod­ern con­flicts. Or they may ima­gine that so sig­nal a pro­gress in in­dustry wants to be com­pleted by as sig­nal a re­gress in polit­ics. On our part, we do not mis­take the shape of the shrewd spir­it that con­tin­ues to mark all these con­tra­dic­tions. We know that to work well the new­fangled forces of so­ci­ety, they only want to be mastered by new­fangled men — and such are the work­ing men. They are as much the in­ven­tion of mod­ern time as ma­chinery it­self.

His­tory is the judge. Its ex­e­cu­tion­er, the pro­let­ari­an.

En­joy Re­id’s art­icle, along with some im­ages from pro­duc­tions of the Czech play­wright Karel Čapek’s RUR (or Ros­sum’s Uni­ver­sal Ro­bots).

11 Feb 1938, Haringay, Outer London, London, England, UK — A scene of a television production of , or Rossum’s Universal Robots, by Czech playwright Karel Capek, which introduced the term “Robot” into many of the world’s languages. (l to r) Connaught Stanleigh, Derek Bond, Larry Silverstone and front, Evan John — Image by © BBC/Corbis
ENGLAND – JANUARY 01: A robot, that talks and moves: Mr. Refell, inventor and engineer from Surrey completes his radio-controlled automatic wight, which will inaugurate the Model Engineering Exhibition in the Royal Horticultural Hall in London. Photography around 1935. (Photo by Imagno/Getty Images) [Ein Roboter, der spricht und sich bewegt: Mr. Refell, Erfinder und Motor-Ingenieur aus Surrey, legt letzte Hand an seinen radiogesteuerten mechanischen Menschen, der die Model Engineering Exhibition in der Londoner Royal Horticultural Hall eroeffnen wird. Photographie um 1935.]

Against ac­cel­er­a­tion­ism, for Marx­ism

Re­id Kane

Reb­logged from bar­bar­ie della re­flessione

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To the ex­tent that left ac­cel­er­a­tion­ists draw upon Marx, they are re­flect­ing Marx’s re­cog­ni­tion of the pos­it­ive his­tor­ic­al role cap­it­al­ism can and must play, spe­cific­ally in its ca­pa­city to de­vel­op the forces of pro­duc­tion, in­creas­ing in­tens­ively and ex­tens­ively the pro­ductiv­ity of hu­man activ­ity.

Yet in­so­far as they re­ject the dia­lectic, they lose Marx’s cru­cial polit­ic­al in­sight. This de­vel­op­ment­al dy­nam­ic is in­tim­ately tied to the struggle of the work­ing class to in­crease value of its labor power, and thus to di­min­ish the need to work. Yet tech­no­logy is em­ployed not to eman­cip­ate the work­er from the need to work, but from the op­por­tun­ity to do so, and thus to eman­cip­ate the cap­it­al­ist from the work­er. It is em­ployed in or­der to drive down the value of labor power, pre­cisely to the point at which their labor-power be­comes cheap­er than “labor-sav­ing” al­tern­at­ives. Continue reading →

Dmitrii Moor, Bolshevik cartoonist and propagandist (1883-1946)

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My favorite Bolshevik propaganda artist of all time might be Dmitrii Orlov, better known as “Moor,” who was active in revolutionary struggles from 1905 through the Russian Civil War and World War II. His drawings are just so fucking hardcore. Readers of this blog will have seen some of his illustrations for the militant godless journal Bezbozhnik, as well as other assorted propaganda posters. Trotsky named him as one of the USSR’s finest young cartoonists.

In this post I’m just including some of the ones I like the most. No real rhyme or reason to it. Enjoy!

 tumblr_npzq00jK1g1ta0q7zo1_1280 IN_1134_B_l Плакаты СССР- Ты записался добровольцем? (Моор Д.) 1920 00-unknown-artist-the-golden-idol-of-the-lord-of-world-capitalism-1918-20 Плакаты СССР- Помоги. (Моор Д.) 1921 Continue reading →