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Capital as subject and the existence of labor

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Werner Bonefeld
Open Marxism
Volume 3, 1995
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Editorial note
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Been reading furiously through the Theories of Surplus Value and the 1863 manuscripts on the relation of “subject” and “object” in Marx’s later writings. My hunch is that Postone is right in his reversal of Lukács, who had the proletariat as the simultaneous subject-object of History. For Postone, it’s capital that is the simultaneous subject-object of History. The thing is, they’re both right. And I’m not saying this just so as not to pick a side, though I think ultimately it’s Lukács who gets the better of Postone (at the precise moment the latter seems to have the upper hand).

Living labor or variable capital — i.e., the proletariat as the embodiment of wage-labor — is the subjective factor in production. Dead labor or constant capital — i.e., the bourgeoisie, or rather the means of production they own, as the embodiment of capital — is the objective factor in production. Early in Capital, Marx identifies the vitality of labor-power as “the subjective factor of the labor process,” and goes on to state that “the same elements of capital which, from the perspective of the labor process, can be distinguished respectively as the objective and subjective factors, as means of production and labor-power, can be distinguished from the perspective of the valorization process as constant and variable capital.”

 However, under capitalism these roles appear reversed: the products rule over their producers. Consider a couple passages from the 1863 manuscripts. First,

Objectified, past labor… becomes the sovereign of living, present labor. The relation of subject and object is inverted. If already in the presupposition the objective conditions for the realization of the worker’s labor capacity and therefore for actual labor appear to the worker as alien, independent powers, which relate to living labor rather as the conditions of their own preservation and increase — the tool, the material [of labor] and the means of subsistence only giving themselves up to labor in order to absorb more of it — this inversion is still more pronounced in the result. In both directions, therefore, the objective conditions of labor are the result of labor itself, they are its own objectification, and it is its own objectification, labor itself as its result, that confronts labor as an alien power, as an independent power; while labor confronts the latter again and again in the same objectlessness, as mere labor capacity.

[Die vergegenständlichte, vergangene Arbeit wird so zum Herrscher über die lebendige, gegenwärtige Arbeit. Das Verhältnis von Subjekt und Objekt wird verkehrt. Wenn in der Voraussetzung schon dem Arbeiter die gegenständlichen Bedingungen zur Verwirklichung seines Arbeitsvermögens und daher zur wirklichen Arbeit als fremde, selbständige Mächte gegenüber erscheinen, die sich vielmehr zur lebendigen Arbeit als die Bedingungen ihrer eignen Erhaltung und Vermehrung verhalten — Werkzeug, Material, Lebensmittel, die sich nur an die Arbeit hingeben, um in sich selbst mehr Arbeit einzusaugen —, so erscheint dieselbe Verkehrung noch mehr im Resultat. Die gegenständlichen Bedingungen der Arbeit sind selbst Produkte der Arbeit und, soweit sie von der Seite des Tauschwerts betrachtet werden, nichts als Arbeitszeit in gegenständlicher Form. Nach beiden Seiten hin sind also die gegenständlichen Bedingungen der Arbeit Resultat der Arbeit selbst, ihre eigne Vergegenständlichung, und es ist diese ihre eigne Vergegenständlichung, sie selbst als ihr Resultat, die ihr als fremde Macht, als selbständige Macht, gegenübertritt und der gegenüber sie immer wieder in derselben Gegenstandslosigkeit, als bloßes Arbeitsvermögen, gegenübertritt.]

Next,

Since the economists identify past labor with capital — past labor being understood in this case not only in the sense of concrete labor embodied in the product, but also in the sense of social labor, materialized labor time — it is understandable that they, the Pindars of capital, emphasize the objective elements of production and overestimate their importance as against the subjective element, living, immediate labor. For them, labor only becomes efficacious when it becomes capital and confronts itself, the passive element confronting its active counterpart. The producer is therefore controlled by the product, the subject by the object, labor which is being embodied by labor embodied in an object, etc. In all these conceptions, past labor appears not merely as an objective factor of living labor, subsumed by it, but vice versa; not as an element of the power of living labor, but as a power over this labor.

[Da die Ökonomen die vergangene Arbeit mit dem Kapital identifizieren — vergangene Arbeit hier sowohl im Sinne der konkreten, in den Produkten realisierten Arbeit, als im Sinne der gesellschaftlichen Arbeit, materialisierter Arbeitszeit — , so versteht sich bei ihnen, als den Pindaren des Kapitals, daß sie die gegenständlichen Elemente der Produktion geltend machen und ihre Bedeutung überschätzen gegenüber dem subjektiven Element, der lebendigen, unmittelbaren Arbeit. Die Arbeit wird ihnen erst adäquat, sobald sie Kapital wird, sich selbst gegenübertritt, das Passivum der Arbeit ihrem Aktivum. Das Produkt ist daher bestimmend über den Produzenten, der Gegenstand über das Subjekt, die realisierte Arbeit über die sich realisierende etc. In allen diesen Auffassungen tritt die vergangene Arbeit nicht auf als bloß gegenständliches Moment der lebendigen und von ihr subsumierten, sondern umgekehrt; nicht als ein Machtelement der lebendigen Arbeit, sondern als Macht über diese Arbeit.]

Capital is the actual, albeit unconscious, form of society’s self-objectifying subjectivity, while the proletariat is rather its potential form. Only by becoming conscious of its position within the totality of production (in other words, by attaining class consciousness in the Lukácsean sense) can the subjectivity of the latter be actualized. Wage labor and capital are, after all, only two sides of the same value-relation, constitutive of yet antithetical to one another. Inverting this inverted relationship — expropriating the expropriators, negating the negation — humanity masters its own social organization and finally sets itself off from the rest of the animal kingdom.

Marx’s famous dictum that “the emancipation of the workers [object] must be the task of the workers themselves [subject]” captures precisely this image of the proletariat as subject and object of social emancipation. Yet this “historic mission” does not mean affirming the class essence of workers. Socialist revolution will not result in universal proletarianization; capitalism has already accomplished this. “Just as the condition for the liberation of the third estate, of the bourgeois order, was the abolition of all estates and all orders, so the condition for the emancipation of the working class is the abolition of every class.”

Postone is of course understandably wary of the “notion of the proletariat as the revolutionary Subject, in the sense of a social agent that both constitutes history and realizes itself in socialism.” He writes: “Far from entailing the realization of the proletariat, overcoming capitalism involves the material abolition of proletarian labor.” But Lukács wholeheartedly agreed with this assessment:

Subjectively, i.e. for the class consciousness of the proletariat, the dialectical relationship between immediate interests and objective impact on the whole of society is located in the consciousness of the proletariat itself. It does not work itself out as a purely objective process quite apart from all (imputed) consciousness — as was the case with all classes hitherto. Thus the revolutionary victory of the proletariat does not imply, as with former classes, the immediate realization of the socially given existence of the class, but, as the young Marx clearly saw and defined, its self-annihilation.

Qua embodied negativity, as the negative condition of class society and the promise of its dissolution, “affirmation” of the proletariat can only mean abolishing the present state of affairs. This is what Engels meant when he remarked that “communism is the doctrine of the conditions of the liberation of the proletariat.”

As I’ve written elsewhere, capital is nothing other than the alienated agency of unrealized humanity. The proletariat does not presently represent the material human community in nuce, but it alone is capable of realizing it. By taking command over the accumulated instruments of production, it finally makes possible the advent of a truly human history. Lukács confirms this:

The “realm of freedom,” the end of the “prehistory of mankind” means precisely that the power of the objectified, reified relations between men begins to revert to man. The closer this process comes to its goal the more urgent it becomes for the proletariat to understand its own historical mission and the more vigorously and directly proletarian class consciousness will determine each of its actions. For the blind power of the forces at work will only advance “automatically” to their goal of self-annihilation as long as that goal is not within reach. 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.

Werner Bonefeld addresses some of these same issues in the essay appended below, albeit in a somewhat different manner than I do here. He’s addressing Bob Jessop, rather than Postone, whose work he engages with elsewhere. Bonefeld makes many similar points, although as a rule he tends to denigrate “class consciousness.” I take this to be symptomatic of his anti-Leninism, but otherwise agree with his position.

To be sure, he’s right that “[i]n Marx’s work there is hardly any reference to ‘class consciousness’… Marx was not interested in the psychology of the working class.” Nevertheless, though the word Klassenbewußtsein does not appear in Marx’s work, its rudiments can be made out in numerous places. E.g., the Manifesto, where it is written that “the proletarian movement is the self-conscious, independent movement of the immense majority, in the interest of the immense majority.”

(As far as I can tell, Kautsky coined the “class consciousness,” indicated by Engels’ 1891 comment: “Instead of ‘class-conscious,’ which in our circles is an easily understood abbreviation, I would say the following to facilitate universal understanding and translation into foreign languages: ‘with workers conscious of their class position,’ or something like it.”)

Personally, I think the issue of proletarian consciousness, what Luxemburg in Reform or Revolution called “the subjective factor in the socialist transformation,” is indispensable. “The stronger [the] contradiction [within production] becomes,” wrote Lenin in 1899, “the more developed become the objective conditions for this transformation, as well as the subjective conditions [объективные условия этого превращения, так и субъективные условия], the workers’ consciousness of this contradiction [сознание противоречия работниками].”

Contra Kautsky, sixteen years later, Lenin thundered: “Not every revolutionary situation…gives rise to a revolution; revolution arises only out of a situation in which the… objective changes are accompanied by a subjective change, namely, the ability of the revolutionary class to take revolutionary mass action strong enough to break (or dislocate) the old government, which never, not even in a period of crisis, ‘falls,’ if it is not toppled over.” Continue reading

Bauhausbücher 1, Walter Gropius (ed.), Internationale Architektur, 1925, 111 p, 23 cm_Page_001

Walter Gropius’ International Architecture (1925)

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The following translation of Walter Gropius’ International Architecture (1925) is adapted from Kenneth W. Kaiser’s 1964 translation for his thesis at MIT. It is, to date, the only translation of the brief text which accompanies the photos and plans featured in the volume. All the images and pages reproduced here come from scans uploaded over at the excellent Monoskop archive. Here’s the full-text PDF of Gropius’ groundbreaking Internationale Architektur.

Further on, directly after the translation, there’s the original German text. Quite short,though not quite Miesian in its brevity. Of course, Gropius openly admits that the book’s primary function was intended to be visual. Enjoy!

Bauhausbücher 1, Walter Gropius (ed.), Internationale Architektur, 1925, 111 p, 23 cm_Page_101 Bauhausbücher 1, Walter Gropius (ed.), Internationale Architektur, 1925, 111 p, 23 cm_Page_038

International Architecture

Walter Gropius
Bauhaus Books 1
Weimar, 1925

Foreword

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International Architecture
is a picture book of the modern art of building. It will in concise form give a survey of the works of the leading modern architects of the cultured countries of the world and make the developments of today’s architectural design familiar.1

The works pictured on the following pages carry beside their differing individual and national characteristics, common features that are the same for all countries. This relationship, which every layman can observe, is a sign of great significance for the future, foretelling a general will-to-form of a fundamentally new kind represented in all the cultured countries.

In the recent past the art of building sank into sentimental decorative conceptions of the aesthete,, whose goal was the outward display of motives, ornaments, and profiles taken mostly from past cultures, which were without essential importance to the body of the building. The building became depreciated as a carrier of superficial, dead decoration, instead of being a living organism. The indispensable connection with advancing technology (and its new materials and construction methods) was lost in this are many for each building problem — the creative artist, within the boundaries his time sets upon him, chooses according to his personal sensibilities. The work therefore carries the signature of its creator. But it is wrong to infer from this the necessity for emphasis on the individual at any cost. On the contrary, the will to develop a unified world picture, the will which characterizes our age, presupposes the longing to liberate spiritual values from their confinement to the individual and to elevate them to objective importance. Then the unity of the arts, which leads to culture, will follow by itself. Continue reading

The Art Critic 1919-20 by Raoul Hausmann 1886-1971

Advice for critics

Walter Benjamin, Virginia
Woolf, & Roland Barthes

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Image: Raoul Hausmann,
The Art Critic (1919-1920),

Walter Benjamin

“The critic’s technique in thirteen theses” (1928)

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I. The critic is the strategist in the literary battle.
II. He who cannot take sides should keep silent.
III. The critic has nothing in common with the interpreter of past cultural epochs.
IV. Criticism must talk the language of artists. For the terms of the cenacle are slogans. And only in slogans is the battle-cry heard.
V. “Objectivity” must always be sacrificed to partisanship, if the cause fought for merits this.
VI. Criticism is a moral question. If Goethe misjudged Hölder­lin and Kleist, Beethoven, and Jean Paul, his morality and not his artistic discernment was at fault. [One can hear echoes of Kant’s Critique of Judgment in this passage].
VII. For the critic his colleagues are the higher authority. Not the public. Still less posterity.
VIII. Posterity forgets or acclaims. Only the critic judges in face of the author.
IX. Polemics mean to destroy a book in a few of its sentences. The less it has been studied the better. Only he who can destroy can criticize.
X. Genuine polemics approach a book as lovingly as a cannibal spices a baby.
XI. Artistic enthusiasm is alien to the critic. In his hand the artwork is the shining sword in the battle of minds.
XII. The art of the critic in a nutshell: to coin slogans without betraying ideas. The slogans of an inadequate criticism peddle ideas to fashion.
XIII. The public must always be proved wrong, yet always feel represented by the critic.

Man Ray, photo portrait of Virginia Woolf (1935)

Man Ray, Photo portrait of Virginia Woolf (1935)

Virginia Woolf

“The decay of essay-writing” (1905)

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The spread of education and the necessity which haunts us to impart what we have acquired have led, and will lead still further, to some startling results. We read of the over-burdened British Museum — how even its appetite for printed matter flags, and the monster pleads that it can swallow no more. This public crisis has long been familiar in private houses. One member of the household is almost officially deputed to stand at the hall door with flaming sword and do battle with the invading armies. Tracts, pamphlets, advertisements, gratuitous copies of magazines, and the literary productions of friends come by post, by van, by messenger — come at all hours of the day and fall in the night, so that the morning breakfast table is fairly snowed up with them. Continue reading