Art, a modern phenomenon: An interview with Larry Shiner

Chris Mansour
Platypus Review 67
June 1, 2014
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On March 18, 2014, Chris Mansour, a member of the Platypus Affiliated Society in New York, interviewed Larry Shiner, Emeritus Professor of Philosophy, History, and Visual Arts at The University of Illinois, Springfield and author of The Invention of Art: A Cultural History (2001), in which he argues that the category of art is a modern invention. What follows is an edited transcript of their conversation.

To be clear, I’m not in Platypus anymore. Nevertheless, this is a good interview. It covers a number of topics relevant to this blog. Also, for anyone who’s interested, the above painting is Henri Fantin-Latour’s Studio at Les Batignolles.

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Chris Mansour:
 You first wrote The Invention of Art in 2001, nearly 15 years ago. Why did you feel the need to write a book about the historical development of the category of “art” at this time?

Larry Shiner: In the field of philosophical aesthetics, or the philosophy of art, the focus of attention in the mid-1970s to the mid-1990s was on the issue of how to define art. A famous essay by Morris Weitz argued that art cannot be defined, and that the most we can do to understand art is to resort to what Wittgenstein called “family resemblances.” This position was challenged in another influential essay by Maurice Mandelbaum, who said that we might not be able to define art in terms of any visual or perceptual properties, but we might be able to define it in terms of its relational properties, in terms of art’s social context. This set up a new pursuit for the definition of art, and it was considered a very important question during this time.

Among these attempts to generate a definition of the essence of art, one of the most influential writers was Arthur Danto, who said that the historical development of the concept of art needs to be taken into consideration if we are to define it at all. He believed that art’s essence has been revealed progressively, culminating in the twentieth century. I was skeptical of finding the essence of (fine) art as such. From my perspective, art does not have an ahistorical essence but is a multivalent term referring to a set of ideas and practices that function differently in society throughout time. Thus, The Invention of Art was an attempt to construct a sort of genealogy of art and to flesh out what it means when we consider art as an historically developing concept.

The historical transformations during the long eighteenth century, from roughly 1680 to 1830, culminated in the emergence of the cultural complex that we now call “art” today, that is, a semi-autonomous sphere of practices within society. This was a shared but unevenly developed trajectory of several art forms. Yet, despite the differences in the pace of the transformations of the various disciplines and mediums, these transformations were part of a total social process. Philosophy students as well as art history students need to know this history of the concept of art and recognize that (fine) art, as we now understand it, is the product of modern society and is barely 200 years old. Many art history books never bother to define what they mean by art, although there is a definition implied in what they exclude and what they cover. I consider my book to be somewhat of a companion volume for students and artists, helping them to situate art historically and to understand this historical process philosophically.

CM: You say art is barely 200 years old and is specifically a modern phenomenon. The early 1800s was a rapidly maturing period for global bourgeois society and culminated in the Industrial Revolution. What makes the practice of art in bourgeois society different from prior, art-like practices? Also, why is this historical distinction so significant in understanding art qua art?

LS: There is great importance, for me, in the dialectic of continuity and discontinuity in history. Confusion arises from the fact that, since the late nineteenth century, the historically specific phrase “fine art” — as distinct from art practices before this time — has dropped the “fine” out of the phrase and we now simply term it “art.” However, the meaning of the term “art” is incredibly ambiguous.

One meaning descends from what I call the “older, broader” meaning of art, from ars in Latin and techne (τέχνη) in Greek. This use suggests any human craft or performance that is done with some skill or grace; in one sense, everything humans do is an art. Here, there is a complete continuity from the caves of Lascaux to the present. It is not only the bison depicted on the cave walls that are art, but also the stone tools used to create them. Art as techne or ars lacks the precision of what we define as art today, which is roughly a semi-autonomous set of social practices, often geared toward aesthetic contemplation.

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The big change in art’s definition came when all those human arts got split up into various kinds: the first split was the opposition between the liberal arts and what the ancients called the “servile arts” (which was later replaced by the “mechanical arts”). That polarity was very different from the modern one contrasting the “fine arts” to the “applied arts,” “commercial arts,” or “craft arts.” The old schema of the liberal arts included what we call sciences and mathematics as well as the humanities. Part of what distinguishes the “fine arts” as a category of classification is that things like painting, poetry, architecture, music, and theater were pulled out of the old liberal arts and made into a separate category. In fact, things like painting and sculpture, because they involved physical labor, were not even considered part of the liberal arts until Renaissance painters, sculptors, and critics argued that these disciplines should be included among them. Up until the eighteenth century, for example, the producers of paintings and sculptures and the composers of symphonies were what I call “artisan-artists,” since these two terms, “artisan” and “artist,” were used interchangeably in English and many other languages. The old notion of the artisan combined genius and rule, inspiration and skill, creation and imitation, freedom and service. What began to happen in the eighteenth century is that these two notions were pulled apart and, by the end of the century, each term was defined as the opposite of the other term. It took decades for the new ideas of “Fine Art” and for the new ideals of the “Artist,” in contrast to the mere “artisan,” to become generally accepted.

By the time they did become generally accepted, the famous seventeenth-century “rise of science” had already split apart the liberal arts. At this time, the humanities, sciences, and fine arts began to emerge as distinct fields. A key point of my book is to show how the emergence of the category of fine arts, and its accompanying ideals of the artist and the aesthetic, occurred in conjunction with a new set of practices, institutions, and behaviors.

Paul Oskar Kristeller’s essays on the development of the classification systems of art were very influential for my book; I share his vision that the category of (fine) arts fully emerged only in the eighteenth century. Kristeller ended his essays with Kant and Schiller’s writings on the nature of the aesthetic. It seemed to me that the way we use the term art in the singular, as a kind of semi-autonomous subdivision of culture in the modern world, is still deeply influenced by the Romantics and the German Idealist philosophers. When I reread the literature, it struck me that the real culmination of the long process of constructing the social system of the fine arts occurred around 1830. This is why I speak of the long eighteenth century: You can see the beginnings of the fine art category and its institutions as early as the 1680s. My long eighteenth century encompasses the epoch spanning from the 1680s to the 1830s. By the 1830s, the fine arts system as we know it today was almost fully developed.

CM: How did the broader socio-political, institutional, and practical changes that happened in bourgeois society in the eighteenth century transform the liberal arts and fine arts system? What is the specialized fine arts system’s relationship to large societal transformations, and how was this relationship expressed?

LS: In very broad strokes, the historical transformation entailed the shift from an aristocratically organized society toward a society dominated by the bourgeoisie. The development of the market economy played an important role in the emergence of the categories of fine art and the artist. On the production side, the old order was dominated by the patronage-commission system. As an artist, you were typically either employed full-time by a lord or bishop, as were many of the great figures of the Renaissance and the seventeenth century, or you received commissions as an owner or member of an independent workshop with apprentices. Continue reading

László Moholy-Nagy, painting and photography

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

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

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Moholy-Nagy

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

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

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

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

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

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

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

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

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

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

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

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

Continue reading

Lukács’ abyss

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

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In­tro­duc­tion

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II

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

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

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

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

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

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

III

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV

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

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

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

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

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

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

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

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

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

Notes


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

Continue reading

Andrei Burov

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Burov was a member of the Society of Modern Architects (OSA) and an avowed disciple of Le Corbusier living in Moscow. He designed a number of workers’ clubs during the 1920s, none of which were ever realized.

What he did become known for, albeit somewhat obliquely, was a brilliant bit of Corbusian architecture which appeared in the Eisenstein film The General Line (1927, though released in 1930 after some delays). Some stills from the film are reproduced below, along with some text by the architect and historian Vladimir Paperny.

Recently Owen Hatherley wrote up a piece for Calvert Journal called “Block Party,” in which he touched briefly on Burov’s later work.

From the late Thirties, some architects tried to devise ways of industrializing the creation of individualist, anti-modernist apartment blocks. The earliest is probably a 1938 block on Leningradsky Prospekt by Andrei Burov, who was once such a disciple of Le Corbusier that he even copied his fashion choices (those little round spectacles). Here, the ceramic ornaments of leaves and suchlike are made from prefabricated panels, as are the balustrades and cornices.

By this point, of course, Burov had remade himself as a model Stalinist in architecture. Paperny recalls:

In 1938 the interiors of the Slate Historical Museum were redesigned. This is the very same Historical Museum that Le Corbusier dreamed of demolishing. It had been constructed by V. Sherwood and A. Semenov…The renovations were done by the architect Andrei Burov, “a tall blond man, speaking fluent French” — that was how he was seen in 1935 in Athens, where he had stopped off upon returning from an architectural congress in Rome — a decade after his construction of the model constructivist dairy farm for Eisenstein’s film Generalnaia linia (The General Line) [a.k.a. Staroe i novoe (The Old and the New)]. Here in the Historical Museum design he made a 180° turn from the design philosophy of his former friend Le Corbusier. The interiors created by Burov, in the words of one scholar of art, “express profound principles, inherent in ancient Russian architecture, particularly in the “classical” models of the architecture of Kiev, Vladimir, and Moscow, and whim are undoubtedly related to the traditions of antique, primarily Greek, art.” In Burov’s design, continues the scholar, Russian art ceases to be “an exotic, provincial curiosity” and becomes “the original force with which the folk genius creates, on the basis of antique tradition, a new architecture, unsevered from and connected to, but in no way ceding to, the architecture of the Byzantine era, the proto-Renaissance or the Renaissance.”

There’s a broader thesis at work in these lines, which will become clearer in the following passages. In his excellent thesis, Culture Two: Architecture in the Age of Stalin, Paperny describes two main cultural forces at work in Russian history. Culture One corresponds to a destructive, youthful tendency and lines up with the Soviet avant-garde of the 1920s. Culture Two, by contrast, covers a more monumental, venerable tendency and lines up with Stalinist architecture. You can read my review of Paperny’s book for more details.

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When Andrei Burov, in 1927, was set designer for Sergei Eisenstein’s film Generalnaia linia (The General Line) [a.k.a. Staroe i novoe (The Old and the New)], his basic idea was that he “works in film not as a decorator but as an architect.” He considered that he should construct a real building, one that would continue to function after the shooting. (It was only because of technicalities that he did not succeed in this.) Film critics of the 1920s rated very highly the idea of such a collaboration of the architect with film, since even feature (non-documentary) films had to show “life as it should be.” Burov shared this position: “film must…show that which is and that which should be” — a position quite similar to the idea of zhiznestroenie. Continue reading

A century since futurism: Antonio Sant’Elia and Mario Chiattone

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One hundred years have passed since Antonio Sant’Elia and Mario Chiattone pioneered futurism in architecture. Marinetti exerted his trademark influence over the two, putting words to the towering industrial structures they envisioned. Though they bear the mark of their age, in many ways the vision they present is more futuristic than even the sleekest digital architecture of today. Sant’Elia’s manifesto of futurist architecture appears below, along with some drawings by him and Chiattone.

Because of the Italian futurists’ notorious association with fascist politics from the early 1920s on, it is important to point out that Sant’Elia died in combat well before he could have joined such a movement. Like the other futurists, Sant’Elia was drawn to the sublime spectacle of mechanized warfare. His voluntary, indeed enthusiastic, enlistment in the Italian army eventually resulted in his death. Yet it would be premature to assume that he would have been sympathetic to Mussolini. Not all of the futurists were, of course.

An earlier version of this manifesto was published in a catalogue which accompanied the exhibition of a Milanese group called Nuove Tendenze  [New Tendencies], held in late May 1914. It was untitled, but has since become known as the “Messaggio[“Message”]. Though its ideas were Sant’Elia’s, it was drafted by Ugo Nebbia and perhaps others. In July 1914 Sant’Elia, who had long been in contact with Boccioni, met with Marinetti and decided to adhere to Futurism. Marinetti transformed the “Messaggio” into the manifesto “Futurist Architecture,” issued as an independent leaflet in late July 1914. It was republished in Lacerba 2, № 15 (August 1, 1914).
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Mario Chiattone, Cathedral of Futurism 1914

Futurist architecture

Antonio Sant’Elia
Lacerba 2, № 15
August 1, 1914

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Architecture has not existed since the year 700. A foolish motley of the most heterogenous elements of style, used only to mask the skeleton of the modern
house, goes under the name of modern architecture. The new beauty of cement and iron is profaned by the superimposition of carnivalesque decorative encrustations that are justified neither by structural necessity nor by our tastes, encrustations that take their origins from Egyptian, Byzantine, or Indian antiquities, or from that stupefying efflorescence of idiocy and impotence that has taken the name of neo-classicism.

Such architectural panderings are warmly received in Italy, and the rapacious ineptitude of foreign architects is passed off as inventive genius, as the newest architecture. Young Italian architects (those who attain their originality by the clandestine perusal of trade journals) flaunt their talents in the new quarters of our cities, where a happy salad of little ogival columns, sixteenth-century capitals, Gothic arches, Egyptian pilasters, rococo volutes, quattrocento putti, and swollen caryatids take the place of a style, presumptuously assuming monumental airs. The kaleidoscopic appearance and reappearance of new forms, the proliferation of machines, the daily expansion of novel needs imposed by the speed of communications, the agglomeration of people, the demands of hygiene, and a hundred other phenomena of modern life, are no cause for perplexity to these self-avowed renovators of architecture.

They obstinately persevere, armed with rules laid down by Vitruvius, Vignola, and Sansovino along with some little publication of German architecture that has come to hand, in restamping the centuries-old image of foolishness over our cities, cities that should instead be the immediate and faithful projection of ourselves. Thus, in their hands, this expressive and synthetic art has become a stylistic exercise, a rummaging through a hotchpotch of old formulas meant to disguise the usual passéist sleight-of-hand in brick and stone as a modern building. As if we, accumulators and generators of movement, with all our mechanical extensions of ourselves, with all the noise and speed of our lives, could ever live in the same houses and streets constructed to meet the needs of men who lived four, five, or six centuries ago.

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This is the highest imbecility of modern architecture, which is perpetuated through the mercantile complicity of the academy, that forced residence for intelligence where the young are constrained to an onanistic recopying of classical models, instead of having their minds opened to research into the limits and into the solution of that demanding new problem: the Futurist house and city. The house and city that should be spiritually and materially ours, where our restless activities might unfold without seeming a grotesque anachronism.

The problem of Futurist architecture is not a problem of rearranging its lines. It is not a question of finding new moldings, new architraves for windows and doors; nor of replacing columns pilasters, and corbels with caryatids, hornets, and frogs; not a question of leaving a façade bare brick or facing it with plaster or stone; it has nothing to do with defining formalistic differences between new buildings and old ones; but with raising the Futurist house on a healthy plan, gleaning every benefit of science and technology, nobly settling every demand of our habits and minds, rejecting all that is grotesque, heavy, and antithetical to our being (tradition, style, aesthetics, proportion), establishing new forms, new lines, new harmonies for profiles and volumes, an architecture that finds its raison d’être solely in the special conditions of modern living and its corresponding aesthetic values in our sensibility. Such an architecture cannot be subject to any law of historical continuity. It must be as new as our state of mind is new.

The art of building has been able to evolve through time and pass from one style to another while maintaining the general character of architecture unchanged, because in history there have been numerous changes of taste brought on by shifts of religious conviction or the succession of political regimes, but few occasioned by profound changes in our conditions of life, changes that discard or overhaul the old conditions, as have the discovery of natural laws, the perfection of technical methods, the rational and scientific use of materials.

Mario Chiattone futurist architecture Mario Chiattone 1

In modern life the process of consequential stylistic development comes to a halt. Architecture becomes dissevered from tradition. One begins again, by necessity, from the ground up.

Calculations of the resistance of materials, the use of reinforced concrete and iron, exclude “architecture” as understood in the classical and traditional sense.

Modern structural materials and our scientific concepts absolutely do not lend themselves to the disciplines of the historical styles, and are the chief cause of the grotesque aspect of modish constructions where we see the lightness and proud slenderness of girders, and the slightness of reinforced concrete, bent to the heavy curve of the arch, aping the stolidity of marble. Continue reading

The future of Enlightenment

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

What follows are some scattered thoughts in response to it.

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

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

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

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

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

On communist-run prisons

The RPP agrees that communist-run prisons should and will be more frostbitten and more brutal than prisons run by imperialist states.

This makes perfect sense due to the fact that communist states will be more frostbitten, more brutal, more kvlt, and more grimdark than imperialist states.

Is the funeral for the wrong corpse? An interview with Hal Foster

Bret Schneider & Omair Hussain
Platypus Review 22 | April 2010
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Hal Foster is a prominent critic and art historian who contributes regularly to
 ArtforumNew Left Review, and The Nation. He is also an editor of October. In the fall of 2009, he sent out a questionnaire to 70 critics and curators, asking them what “contemporary” means today. Foster notes that the term “contemporary” is not new, but that “What is new is the sense that, in its very heterogeneity, much present practice seems to float free of historical determination, conceptual definition, and critical judgment.”[1] 35 critics and historians attempted to answer to the problems implied in this observation. The following interview originally appeared in Platypus Review 22.
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Bret Schneider: About the What Is Contemporary? survey that appeared in the journal October this past fall — I am interested to learn your motives in surveying critics and curators in this way, i.e. by questionaire. It seems to imply some bewilderment, or maybe even discontent with the recent heterogeneity of contemporary art. What was at stake for you in this questionnaire?

Hal Foster: Perhaps it was fueled by discontent, but bewilderment also played a part. For my generation contemporary art seemed to have a special purchase on the present; the sense that art is an index of the moment appears lost in today’s profusion of practices. That is a source of discontent for me. As for bewilderment, well, that could just be another name for ignorance.

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Of course, any present is made up of many presents. One of the definitions of contemporary is not that we are all in the same time, but that many times coexist at once. We live in a plurality of moments, and I am ill at ease with the relativism that such a temporality implies. There used to be a way in which contemporary art was still connected to prior art as well as to its own moment. That, too, does not seem to be powerfully the case anymore. This is why I framed the questions in the survey around two models that appear dysfunctional now: modernism/postmodernism and avant-garde/ neo-avant-garde. This framing was also an avowal of my relative distance from contemporary art, which is odd for a person who, for a long time, was active as a critic.

Omair Hussain: I am interested in the discussion of times when contemporary art was seemingly a more acute expression of its contemporary moment, but also understood itself as expressing and reflecting upon an entire history of art making. If, by contrast, contemporary art today can be characterized as both pluralistic and lacking in historical awareness, how do you perceive the relationship between these two attributes? Is contemporary plurality antithetical to historical consciousness?

HF: One excellent response to the survey speaks to this question. Kelly Baum, a young curator at Princeton, argues that the heterogeneity of art today actually performs the greater heterogeneity found in the social field at large. Rather than chaotic, then, it represents the dispersal that characterizes societal relations today. In this view plurality does not invalidate contemporary art as an index of the present but guarantees it. This take is interesting, but it is also a little sophistical — and it gives art too much of a pass.

What drew me to contemporary art originally was the way it seemed both to engage the historical field and to access the contemporary moment. Art history suggested that if you could follow a line, say, from the 19th century to the present, you might grasp the very trajectory of history. That was an illusion, of course, but a powerful one; it was an ego trip, too, to imagine you could surf the dialectic in this manner. Yet it made for a historical consciousness on the part of particular artists and critics that is not so evident today. The terms have changed, and the October questionnaire was a way to get at how the old terms no longer function, and to see what new terms might be taken up in their place.

BS: Why did you not ask any artists to participate in the “Questionnaire on ‘The Contemporary’”? What was the significance of asking only critics and curators? Do you think that this domain is where the problems of contemporary art are best addressed, and if so, why, considering the current interest in decentralizing art discourse? What does the lack of response from curators express?

HF: I did not ask artists because I felt it was not their problem really — that it bore more heavily on critics, historians, and curators. At first I was puzzled as to why more curators did not respond. It is likely this silence speaks to an anxiety in institutions dedicated to contemporary art, but I can only guess. Certainly in the discipline of art history the contemporary is putting great pressure not just on the modern field but also on other fields. If you are trained in traditional Chinese or Indian art history, say, you might think that contemporary art, with the great pull of the market, has distorted your field.

BS: Could you clarify the ways in which art of the past had a purchase on its own historical moment? This implies that there was some sort of cohesive promise or at least some guiding principles. If there was once a promise of contemporary art, what was it?

HF: By the late 1930s, with Stalinism in particular, there was the sense that radical innovation in society was thwarted, but that it might be continued elsewhere, in the realm of culture — “to keep culture moving” is how Clement Greenberg put it in 1939. It’s an idea that comes out of the disappointments of 1917, out of a long history of the failure of radical politics in the 20th century. In this way the Trotskyist notion of “permanent revolution” was displaced onto advanced art, and in large part it kept the idea of the avant-garde alive in the postwar period (Michael Fried argued this point in 1965). If the political seemed to be thwarted somehow, maybe the idea could be preserved within the sphere of the artistic. Yet even in that formulation there was already a reactive, or at least a conservative, displacement from politics to art.

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BS: There has been a lot of theorization about the avant-garde being a project committed to breaking down the barriers between art and life. Do you see this characterization as valid, and if so, what have been effects of that project?

HF: That idea that the avant-garde aimed to break down the division between art and life was never my understanding, at least as far as most movements were concerned. That is an idea that critics like Peter Bürger supported, but it is just not specific enough.

BS: You called it a “romanticized” view somewhere.

HF: Yes. Nevertheless, it is not untrue for some avant-gardes. Certainly there was a desublimation of art in Dada, but its effects were very ambiguous. Did it produce a politicization of art or an aestheticization of much else? That is the old question, and I cannot answer definitively. Later, if a breakdown of the division between art and life did occur, it occurred in the interests of the culture industry, not of anything else. That recuperation, too, is an old story now, and for a long time artists have developed other projects in its wake.

OH: Yet I think the problem is raised anew by new social art practices and relational aesthetics, art practices that are still very much concerned with the breakdown of boundaries between art and the everyday. How do you understand the curious persistence of that mission within contemporary art today? If that project is continued, what do you foresee as the repercussions for art as a specific genre of production?

HF: My sense is that one cannot decide once and for all between artistic autonomy and social embeddedness. It is a tension that should persist. Sometimes I am on the side of Adorno, and sometimes I am opposed. It depends on the situation. To me that is not opportunistic, it is simply being responsive. Even if the autonomy of art is always only semi-autonomy, it is important to insist on. Otherwise art becomes instrumental, which is problematic even if that means it is an instrument in the hands of progressive artists.

One thing that strikes me about relational art is that it treats art spaces like a last refuge of the social — as if social interaction had become so difficult or so depleted elsewhere that it could only happen in the vacated spaces of art. It was such a sad take on the state of sociability at large. I also felt that, for all its worthy attempt to work against the spectacular basis of contemporary art, there was a way in which it posed participation as a spectacle of its own. I suppose I am more interested in practices that use art as a guise or ruse for other practices altogether, such as pedagogy, say, or politics. Continue reading

Rietveld’s Schröderhuis in Utrecht (1924)

Exterior view of the northeast façade of Schröder House, Utrecht, Netherlands, 1925 Blitz, E.A. von  View of the southwest façade of Schröder House from the street, Utrecht, Netherlands, 1925

Jean-Louis Cohen
The Future of Architecture
Since 1889
(Lonon: 2012)
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The cabinetmaker Gerrit Rietveld, who had briefly made copies of Frank Lloyd Wright’s furniture for Robert van’t Hoff, was involved with De Stijl’s activities from the beginning. He conceived furniture prototypes composed of basic shapes — wood planes and standard profiles — sliced in ways that visually extended the volume of the objects. His most provocative piece from this period was the Red and Blue Armchair of 1918, which he later explained “was made to the end of showing that a thing of beauty, e.g., a spatial object, could be made of nothing but straight, machined materials.”

Rietveld, who rejected the inhibiting patronage of [Theo] van Doesburg, gave the most convincing interpretation of De Stijl’s longing for a synthesis of the arts with his Schröder house (1924) in Utrecht. Located at the end of a row of banal brick buildings, the house plays with vertical and horizontal planes in three dimensions. Individually, the rooms are very small but flow into each other. Sliding partitions make it possible to modify the floor plans of the two main levels, which are partly lit by a small skylight. The intersection of planes and linear elements and the articulation of joints and railings make the house’s interior spaces as difficult to grasp from the inside as they are from the outside. Walls are no longer the single determining factor of space. Actually very compact, the house was not intended to be a manifesto for an aesthetic reinterpretation of domestic functions but rather, according to Rietveld, to create formal clarity and intensify the experience of space.

Projects by the Vienna-based artist and architect Frederich Kiesler, invited in 1923 to join De Stijl, seem to echo Rietveld’s furniture and to transform it into broader, more inclusive spatial systems: the Leger- und Trägersystem, a flexible and independent hanging system for gallery displays, and the Raumbühne, or space stage, were constructed at the Ausstellung neuer Theatertechnik (Exhibition of New Theater Technology) in Vienna in 1924; while the “City in Space” appeared at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.

Schwitters, Kurt  Exterior view of the southwest and southeast façades of Schröder House, Utrecht, Netherlands, 1924 Schwitters, Kurt  Exterior view of the northeast façade of Schröder House, Utrecht, Netherlands, 1924FotoFotoFotoFoto

Kleinbeeld Foto Kleinbeeld Foto KleinbeeldFoto Continue reading