Bauhaus chess

R. Réti vs. S. Tartakower
Vienna tournament (1910)
Caro-Kann defense: 1-0

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1. e4 c6 2. d4 d5 3. Nc3 dxe4 4. Nxe4 Nf6 5. Qd3 e5 6. dxe5Qa5
7. Bd2 Qxe5 8. O-O-O Nxe4 9. Qd8 Kxd8 10. Bg5 Kc7 11. Bd8.

(Click through the pictures in the gallery below to view an enlarged version of the game’s sequence played on Josef Hartwig’s 1922 Bauhaus chess set).

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Made with help from:

Schachfiguren_1_01

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The hypermodern style

Richard Réti
Modern Ideas
in Chess
(1923)

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The hypermodern style:
Thus did [Savielly] Tartakower, the prominent chess master and writer on the game, describe the style of the youngest masters — Alekhin, Bogoljubow, and Breyer. That designation is not to be deemed unlimited praise; but still less censure. For Tartakower himself in later years has approached that style.

As we younger masters learned Capablanca’s method of play, by which each move is to be regarded as an element of a scheme, that no move is to be made for itself alone (contrary sometimes to [Paul] Morphy’s principle that every move should have its concomitant development), we began to see that moves formerly considered self-understood and made, as it were, automatically by every good player, had to be discarded. Continue reading

Narkomfin — A web documentary by Luciano Spinelli and Natalia Melikova

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Natalia Melikova, the mastermind behind The Constructivist Project, is collaborating with Luciano Spinelli and others from Ogino Knauss on a new web documentary about Ginzburg’s Narkomfin building in Moscow. This comes not too long after Isabella Willinger’s excellent documentary Away from All Suns, released late last year.

Their description of the project is reproduced below. For further information on Dom Narkomfin, consider the following:

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NARKOMFIN — A web documentary

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Project in progress — expected completion spring 2014.

Authors: Luciano Spinelli and Natalia Melikova, with Inna Erosh and Stepa Dobrov.

Summary: NARKOMFIN is a web documentary project that captures the atmosphere of current life in 2013 in this historic constructivist building located in Moscow, Russia. The virtual platform of the project invites the viewer to explore the hallways, knock on doors, and get to know some of the inhabitants. A variety of possibilities for interaction with the space and people of Narkomfin allows for a subjective experience for each visitor. By entering some of the apartments, one will have a chance to listen to the residents tell about who they are, what kind of work they do, how the communal architecture influences their everyday life and why they live in this particular building.

Why: The architectural significance and the various circumstances surrounding the fate of the building are widely discussed. However, few can freely visit Narkomfin because of its limited access, therefore little is known about what it is actually like to live there. After having the opportunity to live there for a couple weeks, we wanted to know more about how people appropriated and interpreted their space inside this famous building. This project takes a closer look at the homes and people hidden behind the ribbon windows.

How: In our project, we applied a photo-ethnographic approach of the space, perceiving the long corridors through the viewfinder and meeting new people with our cameras in hand. Progressing from casual conversations, we then asked each of the participants identical questions. In this way, we were able to acquire general information as well as giving the residents an opportunity to share their opinions. More than just a subject in front of our lens, their participation influenced the development of the project. Those that did not want to partake, did not. Those that did, they opened up their worlds to us, shared their homes, their stories, and their talents.

When: 2013 (majority of material capture in May 2013, additional capture summer 2013).

Content: images, video, stop motion, audio, text.

Languages: English / Russian

Special thanks to the people that opened up their doors to our project and shared with us their stories! Continue reading

A threefold apology

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In view of some of the justified anger that has recently been directed toward me for not having deleted a post from a few months back, I think a public apology is in order. The post itself was deeply problematic in some of its insinuations, and moreover contained a number of hateful comments left by trolls directed against an organization to which I formerly belonged and disparaging someone I used to date. Additionally, in my own responses to these awful comments I thereby ended up reprising, stupidly but unwittingly, much of what made them so problematic in the first place.

So I hereby apologize, unconditionally, for the three following reasons: Continue reading

Moisei Ginzburg, competition entry for the Palace of the Soviets (1931)

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In previous posts, I’ve tried to give some sense of the magnitude of the international competition for the Palace of the Soviets project in Moscow. So far I’ve dealt with some of the entries by German architects such as Walter Gropius, Hannes Meyer, Erich Mendelsohn, and Hans Poelzig, as well as the Swiss architect Le Corbusier’s famous entry. This would turn out to be one of the last major Soviet competitions in which modernist proposals featured prominently. (Another competition, for the Commissariat of Heavy Industry [Наркомтяжпром], took place in Moscow around 1933-1934, but only submissions from Soviet architects were considered).

Moisei Ginzburg was the chief theoretician and, besides the Vesnin brothers, probably the most accomplished practitioner of architectural constructivism in the Soviet Union. His project for the Palace of the Soviets, jointly carried out with A. Gassenpfliug and S. Lisagor under the supervision of A.F. Loleita, a specialist in matters of construction, and S.Ia. Lifshits, an acoustic technician. It was without a doubt one of his most futuristic proposals to date, almost resembling a landed spaceship faced toward the Kremlin.

One might perhaps compare it with his earlier submission to the 1922-1923 Palace of Labor competition, in terms of its scale and purpose, as the architectural historian Selim Khan-Magomedov has done. But formally, Ginzburg’s vision for the Palace of the Soviets was much more advanced. The multi-tiered central building was designed with stepped storeys parabolically curved upward toward a skylight crowning the dome. His scheme for its main thoroughfares and points of access would have accommodated huge crowds of visitors and personnel, with a series of platforms, ramps, and stairs expediting circulation into and out of the Palace.

Courtyards and terraces were to surround the different structures in the ensemble, with covered walkways connecting them to one another. Not only with respect to its internal composition was the Palace of the Soviets meant to be broadly accessible, either, as the building was easily open to approach from without. The variety of volumes included in Ginzburg’s plan may have clashed stylistically with the preexisting urban fabric of Moscow, but it would have been spatially integrated rather elegantly.

A few paragraphs pertaining to Ginzburg’s Palace of the Soviets appear below in the original Russian, extracted  from Khan-Magomedov’s book on Moisei Ginzburg. See also his excellent Narkomfin building.

Поиски новых типов общественных зданий в первом периоде творчества Гинзбурга завершаются конкурсным проектом Дворца Советов (1932 г.), который выполнялся им совместно с А. Гассенпфлюгом и С. Лисагором при консультации А.Ф. Лолейта (конструкция) и С.Я. Лифшица (акустика). По масштабу и роли в ансамбле центра Москвы Дворец Советов сравним с Дворцом труда (конкурс 1922-1923 гг.). Близка даже в какой-то мере и программа этих зданий (большой и малый залы и т. д.). Сравнивая выполненные Гинзбургом проекты Дворца труда и Дворца Советов, разделенные всего девятью годами видно, какой большой и сложный творческий путь прошел их автор. Объемно-пространственная композиция Дворца Советов необычна по трактовке для предыдущего творчества Гинзбурга. Как правило, в более ранних проектах он использовал два композиционных приема: членение здания на отдельные корпуса, соединенные крытыми переходами (павильонный тип), или создание сложной композиции из соединенных между собой различных по форме и величине объемов. Continue reading

On “conference communism”

Some thoughts in closing

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

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

Congress of Soviet deputies, 1918

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

The ghost of communism past

Against “conference communism”

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Image: El Lissitzky, PROUN

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A few months ago I attended the “Communist Currents” mini-conference at Cornell University in Ithaca. Douglas La Rocca and I departed from New York near the crack of dawn, around 5:00 AM, driving upstate to Ithaca. There we met up with his buddy Roger Palomeque, an engineer with an interest in Marxian economics and one of Doug’s fellow Linux-nerds. The drive to and from was cool, as was hanging out with Roger, but I was less than impressed with the actual proceedings of the symposium. I suppose the posh digs of the conference setting at Cornell’s White House were pretty fun/funny. The building’s main claim to fame is that former President (and staunch anti-communist) Ike Eisenhower once ate there. Only fitting that a series of talks on “the communist idea” today should be held there, really — though the very fact such a thing is permitted should give some indication of how benign the “idea” has become.

Over the last five years, books and conferences on “the communist idea” have been greeted by some as heralding the rebirth of the radical Left (“the long night of the Left is coming to a close”). Verso has released a string of titles and essay collections in its “pocket communism” series, featuring marquee names like Alain Badiou, Boris Groys, and Slavoj Žižek, as well as a host of “rising stars” — second-tier up-and-comers like Jodi Dean, Bruno Bosteels, and Alberto Toscano. After a few sellout conferences in London, New York, and Berlin, the organizers brought it to Seoul in South Korea, a longstanding stronghold of anti-communist reaction. Surely all this bodes well for the revolution, right?

Nearly a century ago, there were those who hailed the workers’ councils as the units of proletarian organization par excellence, a vehicle for the self-emancipation of the working class. Led by figures like Anton Pannekoek and Paul Mattick, they were called the “council communists.” Today, it is instead the academics’ conferences that hold the promise of communism (or so it would seem). It is only fitting that they be dubbed, in like fashion, the “conference communists.” Continue reading

Stalinist kitsch

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

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

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

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

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

The heirs of Stalin

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

The American War of Independence as bourgeois revolution

1776 in world history
James M. Vaughn
Platypus Review 61

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I. Introduction: The bourgeois revolution(s) and the American Revolution

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In the period stretching from the outbreak of the Seven Years’ War to the coup d’état that brought Napoleon Bonaparte to power in revolutionary France, the old order in Europe and North America gave up the ghost and passed away from the face of the earth. For the years between 1760 and 1800 were, as the liberal historian R.R. Palmer masterfully argued, the Age of the Democratic Revolution.[1] By the middle decades of the eighteenth century, the Enlightenment had eroded many of the intellectual and cultural foundations of the Ancien Régime. New patterns of commercialization and urbanization, and new forms of sociability and venues of public discussion, had transformed and bourgeoisified the kingdoms of Western Europe. The fiscal and military capacities of the leading powers nearly came to ruin during the worldwide Seven Years’ War (c. 1754–1763), and this led many states to undertake wide-ranging reforms in the conflict’s wake. This upheaval and instability did not only affect the absolute monarchies of the continent, such as Bourbon France and Habsburg Austria, but also what many considered to be the freest society in the West, if not the world: the United Kingdom of Great Britain. The island kingdom’s institutions were seen by many as increasingly inadequate to the changed social and intellectual landscape of the mid- to late-eighteenth century. With the growth of colonial American resistance to post-war imperial reforms and the birth of the Wilkesite movement in 1763, the British Crown and Parliament faced riotous subjects making more assertive, and often new, demands on both sides of the ocean. By the 1760s, many societies in the Atlantic world were experiencing tremors that shook their political, economic, cultural, and intellectual foundations.

Such crises and upheavals had taken place before, and the Ancien Régime had survived largely intact, although not without adjustments and changes. Thus, the fact that this post-1760 period of instability eventually led to the wholesale creation of radically new political foundations for society — above all, to the birth of the modern democratic republic, a republic fit not for Greek and Roman antiquity but for the era of commercial and manufacturing capitalism — cannot be explained by the crises and upheavals themselves. Why did the Ancien Régime collapse this time? Why did the old world experience sickness unto death? And why was a new world born from it?

The key turning points in these ongoing crises and upheavals leading to fundamentally new political and social forms were of course the American Revolution of 1776 and the Great French Revolution of 1789. While the Enlightenment was the cauldron in which these transformations brewed, it was the revolutions of 1776 and 1789 that not only considerably altered existing institutions and practices, as was the case with England’s Glorious Revolution of 1688–1689, but also uprooted long-standing political foundations and laid down fundamentally new ones, those of the constitutional republic. The American and French revolutions transformed the post-1760 period of crisis and upheaval into the beginning of an Age of Revolution throughout the Atlantic world that lasted from the last quarter of the eighteenth century into the middle decades of the nineteenth, until the Europe-wide revolutions of 1848 ended in failure and defeat.

During the revolutions of 1776 and 1789, and throughout the revolutionary epoch they inaugurated, members of the traditional elite played an important role, but political and social change was powerfully driven by plebeian radicalism and popular mobilization. The hallmark of this revolutionary epoch was not merely that it “began the world anew,” for there has been far-reaching change in social and political life throughout recorded history, but also that this new world was built by “the people,” ranging from radical aristocrats and priests to middling lawyers and merchants to humble artisans and the laboring poor, with a level of self-consciousness, expressed in pamphlets and parliamentary debates as well as in military mobilizations and street demonstrations, not seen before in world history. Moreover, it was built by their own hands and with a level of consciousness, expressed in pamphlets and parliamentary debate as well as in military mobilizations and street demonstrations, to a degree not seen before in world history. During the Age of Revolution, people were not merely subjected to historical change, but rather they became the genuine subjects — that is, self-conscious agents — of historical change.

The American and French revolutions were part of an ongoing process of bourgeois revolution inaugurated by the Dutch Revolt (c. 1568-1648) and deepened with the English Revolution of the mid-seventeenth century and the Glorious Revolution of 1688–1689. Taken together, these revolutions constituted an ongoing process of bourgeois revolution because they were all moments when men and women, with increasing self-consciousness, attempted to realize the potential for human emancipation contained within the crisis and breakdown of traditional agrarian civilization, a crisis that began on the far western periphery of the Eurasian landmass but which eventually spread across the globe.

The crises and upheavals that afflicted Western Europe in the late medieval and early modern period loosened the Great Chain of Being, a chain in which the orders of rank and privilege that determined one’s life trajectory at birth were understood as merely one element in a divinely-ordained hierarchy linking the world of the living with the worlds of the dead and the unborn. In the seventeenth and eighteenth centuries, the revolt of the Third Estate rushed through the cracks and fissures created in the Great Chain of Being and brought traditional agrarian civilization crashing down around it. The classic bourgeois revolutions were one great revolt of the Third Estate, of those who work, against the world that consigned them to labor and toil off the stage of history. Radical aristocrats and clergymen played vital and essential roles in the revolutions of the seventeenth and eighteenth century — one need only think of the 2nd Earl of Warwick in the English Civil Wars, Bishop Gilbert Burnet in the Glorious Revolution and its aftermath, the Marquis de Lafayette in the American and French revolutions, and the Abbé Sieyès throughout the French Revolution. These figures were not beholden to the bourgeoisie or future capitalist class, but rather acted on behalf of the Third Estate of those who work, which included wealthy merchants in Amsterdam, prosperous planters in Virginia, middling shopkeepers in London, thrifty artisans in Brussels, plebeian laborers in Paris, and slaves in Saint Domingue. This great revolt of the Third Estate brought the workers of the world onto the stage of history, and they used their newfound political power to emancipate labor and to unshackle the exchange of its products.

The emergence and advance of the bourgeoisie was bound up with, and expressive of, humanity’s struggle for self-emancipation and self-determination in the seventeenth and eighteenth centuries. This struggle propelled elements of the bourgeoisie to the forefront of the epoch-making politics of the Dutch Revolt, the English Commonwealth, and the French Revolution. As Karl Marx argued in the midst of the revolutionary upheavals of 1848,

The revolution of 1789 was (at least in Europe) only prefigured by the revolution of 1648, which in turn was only prefigured by the rising of the Netherlands against Spain. Both revolutions were approximately a century in advance of their predecessors, not only in time but also in content…. The revolutions of 1648 and 1789 were not English and French revolutions; they were revolutions of a European pattern. They were not the victory of a particular class of society over the old political order; they were the proclamation of the political order for the new European society. In these revolutions the bourgeoisie gained the victory; but the victory of the bourgeoisie was at that time the victory of a new social order, the victory of bourgeois property over feudal property, of nationality over provincialism, of competition over the guild, or the partition of estates over primogeniture, of the owner’s mastery of the land over the land’s mastery of its owner, of enlightenment over superstition, of the family over the family name, of industry over heroic laziness, of civil law over privileges of medieval origin. The revolution of 1648 was the victory of the seventeenth century over the sixteenth century, the revolution of 1789 was the victory of the eighteenth century over the seventeenth century. Still more than expressing the needs of the parts of the world in which they took place, England and France, these revolutions expressed the needs of the whole world, as it existed then.[2]

Indeed, the “rise of the bourgeoisie” and the expansion of the capitalist economy were symptoms of the social transformation of humanity from the bottom up. The bourgeois revolutions were the moments of conflict and crisis during which the potentials for collective and individual emancipation, made possible by the breakdown of traditional agrarian civilization and the rise of the commodity form of labor, were politically realized. Continue reading