Adam Smith’s neglected masterpiece?

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

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

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

Lenin on the bourgeois revolutions

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Contra the “Leninists”

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Image: Jacques Louis-David,
The Tennis Court Oath (1793)

Introduction: Against leftist senility

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I am posting this here because of the widespread incredulity witnessed recently on the part of self-declared “Marxists” toward the historical legacy of the bourgeois revolutions. This is, I contend, the flipside to the tendency of leftists to claim all manner of backwater populists like Chavez or Allende — their tendency to disclaim truly revolutionary figures who come out of the bourgeois tradition, Jacobins like Jefferson or Danton and radical Republicans like Lincoln. Since they’ve had so few notable political leaders and organizers in recent decades, leftists have lionized sheepish socialists and reformists of all sorts while denigrating the accomplishments of bourgeois revolutionaries. Engels, addressing a crowd gathered in 1845 to mark the “festival of nations,” commemorated the protagonists of the great bourgeois revolutions, adding that “[i]f that mighty epoch, these iron characters, did not still tower over our mercenary world, then humanity must indeed despair.”

Needless to say, this goes double in a time such as ours. Despite the admirable efforts of historians like Neil Davidson, whose recent book How Revolutionary Were the Bourgeois Revolutions? takes explicit aim at such blatant revisionism, neo-Stalinist academics like Domenico Losurdo insist that the category of “bourgeois revolution”

is at once too narrow and too broad. As regards the first aspect, it is difficult to subsume under the category of bourgeois revolution the Glorious Revolution and the parliamentary revolt that preceded the upheavals that began in France in 1789, not to mention the struggles against monarchical absolutism, explicitly led by the liberal nobility, which developed in Switzerland and other countries. On the other hand, the category of bourgeois revolution is too broad: it subsumes both the American Revolution that sealed the advent of a racial state and the French Revolution and the San Domingo Revolution, which involved complete emancipation of black slaves. (Liberalism: A Counter-History, pg. 321)

In an interview I conducted with him over a year ago, the Italian theorist expanded on this point with reference to bourgeois revolutions, faulting Marx himself. “I criticize Marx because he treats the bourgeois revolutions one-dimensionally, as an expression of political emancipation,” he told me. “I don’t accept this one-sided definition of political emancipation, because it implied the continuation and worsening of slavery…We have numerous U.S. historians who consider the American Revolution to be, in fact, a counter-revolution. The opinion of Marx in this case is one-sided.” (Losurdo conveniently forgets it was Engels — the “late” Engels of Anti-Dühring, no less, not a piece juvenilia penned by a supposedly “young” Marx — who maintained: “What the American Revolution had begun the French Revolution completed”). Continue reading →

Urbanization avant la lettre

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Bourgeois economists
on town and country

Untitled.
Image: Sir David Wilkie, The Parliament Close
and Public Characters 50 Years Since (1796)
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François Quesnay, Tableau Économique (1758)

“[It is important] that the children of farmers are settled in the countryside, so that there are always husbandmen there; for if they are harassed into abandoning the countryside and withdrawing to the towns, they take their fathers’ wealth which used to be employed in cultivation.”

James Steuart, An Inquiry into the Principle of Political Economy (1766)

Chapter 9

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“When the earth is not in common to those who live upon her spontaneous fruits, but is appropriated by a few, there either slavery or industry must be introduced among those who consume the surplus of the proprietors; because these will expect either service or work in return for their superfluity. In this case, the residence of the inhabitants will depend upon the circumstances we are going to consider; and the object of agriculture in countries where the surface of the earth is not broken up, being solely directed towards the gathering in of fruits, will determine the residence of those only who are necessary for that purpose: consequently it will follow, that in climates where the earth produces spontaneously, and in vast abundance, there may be found large cities; because the number of those who are necessary for gathering in the fruits is small in proportion to the quantity of them; whereas in other countries, where the earth’s productions are scanty, and where the climate refuses those of the copious and luxuriant kind, there will hardly be found any considerable town, because the number of those who are necessary for collecting the subsistence, bears a great proportion to the fruits themselves. I do not say, that in the first case there must be large towns, or that in the other there can be none; but I say that, in the first case, those who may be gathered into towns, bear a great proportion to the whole society; and that, in the second, they bear a small one.”

“I now proceed to the other class of inhabitants; the free hands who live upon the surplus of the farmers.

These I must subdivide into two conditions. The first, those to whom this surplus directly belongs, or who, with a revenue in money already acquired, can purchase it. The second, those who purchase it with their daily labor [proto-proletarians] or personal service.

Those of the first condition may live where they please; those of the second, must live where they can. The residence of the consumers determines, in many cases, that of the suppliers. In proportion, therefore, as those who live where they please choose to live together, in this proportion must the others follow them. And in proportion as the state thinks fit to place the administration of government in one place, in the same proportion must the administrators, and every one depending upon them, be gathered together. These I take to be principles which influence the swelling of the bulk of capitals, and smaller cities. Continue reading →

“Safe” spaces

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Making the world “safe”
for continued capitalism

Introduction

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Left Unity, making the world “safe” for the perpetuation of capitalist social relations without serious political opposition.

Policies like these seem to me the rhetorical equivalent of a panic room, a ridiculously oversecure place where small groups of people go to hide from the “evils” of society that lurk somewhere outside. As in a panic room, there are all sorts of procedures, protocols, and safeguards meant to ensure that the security perimeter is not breached.

Unfortunately, these problems originate in the world at large, and cannot be dealt with at the level of “rules of conduct” for bureaucratic enclaves supposedly resisting capitalism. This article by Paul Demarty on Left Unity’s recent “safe spaces” initiative originally appeared on the CPGB’s Weekly Worker website.

Safe spaces

Paul Demarty

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There was once an exchange on an internet discussion list run by the National Campaign against Fees and Cuts (NCAFC), a left student front associated with the Alliance for Workers’ Liberty.

During a particularly hot-headed intervention, a comrade made mention of the word “cunt” to describe an allegedly disreputable individual. Inevitably, a sea of complaints came forth. A feminist angrily denounced the allegedly sexist use of the word “cunt”; after all, a vagina is a beautiful thing, which should not be degraded by comparisons with an individual all were agreed was a bad egg.

Immediately, a trans woman took to her keyboard to decry the implicit association of womanhood with the possession of the full, double-X chromosome plumbing. Finally, the original poster argued that censoring the word “cunt” was oppressive to those from Scotland, where, apparently, it means something different (not that different, I suspect). Continue reading →

Criticism after utopian politics

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Zoltan “Pac” Pobric
The Brooklyn Rail
May 3rd, 2013
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Following up on yesterday’s “advice to critics,” I thought it would be appropriate to include a reflection on the state of criticism today. This short article was written by my friend Zoltan “Pac” Pobric, an editor of the Platypus Review. A few other pieces on the subject have been written lately that I’d recommend, such as Ben Davis’ “Crisis and criticism” and Laurie Rojas’ “Confronting the ‘death’ of art criticism.” Pac’s piece is posted here for its exceptional clarity and concision, qualities lacking in much of what passes for “criticism” in the present.

Originally published on The Brooklyn Rail‘s website. The image is Charles Baudelaire photographed in 1855.

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There has been no lack of talk, for the past ten or so years, of some kind of “crisis” in art criticism. James Elkins, Arthur Danto, Katy Siegel, Hal Foster, et al.; everyone seems to have some stake in the failure or ineptitude or impossibility of critical thought. Elkins says that judgment should return; Danto says it’s unnecessary. Siegel says critics have little, if any, real power, and Foster, when pressed, seems to conclude that contemporary criticism is too confused to pin down, which of course is true. Yet all the hand wringing has little to do with criticism per se. The deeper problem, no doubt, is political, and all the anxiety about whether or not we understand contemporary art and culture is misplaced from a deeper distress: do we even understand the world we live in? What’s unclear is not only how we got to our present historical condition, but also, by default, what progress beyond it would look like.

Jacques-Louis David, Death of Marat, 1793. Oil on canvas, 63 3/4 × 50 3/8". Royaux des Beaux-Arts/Koninklijke Musea voor Schone Kunsten, Brussels.

Jacques-Louis David, Death of Marat, 1793. Oil on canvas,
63 3/4 × 50 3/8″. Royaux des Beaux-Arts, Brussels.

Nor does culture seem to offer any directive past the impasse, although the problem isn’t the lack of excellent contemporary art. There is good art today, as there always has been. The deeper problem is that no one seems to be able to recognize it. Art, of course, relies on a receptive audience, and the fundamental question is whether or not one exists today. If even art, like politics, does not seem to be on the verge of a major breakthrough, that may simply be because we cannot imagine what that breakthrough might be.

Our historical moment is a peculiar one. We exist in a quite different universe from the political environments that produced Diderot, writing about the Salon on the eve of the French Revolution; or Baudelaire on Courbet in the wake of the Revolutions of 1848; or even Greenberg, writing about Abstract Expressionism at a time when Trotskyism was still a serious, if increasingly untenable, political position. Our climate is more pessimistic, and progress is more elusive. Revolutionary change is nowhere on the horizon today, as it was for the best critics of the past. Continue reading →

Advice for critics

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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 →

Heidegger’s Nazism

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A review of Victor Farías’
Heidegger and Nazism (1987)

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This one’s from the archives. I stumbled across it today while trying to dig up another file. Upon rereading it, I was surprised to see that I still agree with most of the sentiments it conveys. Of course, there are some bits that annoy me that I’d like to change, but I’m going to post it as is. Don’t be too hard on me; it’s from 2006.

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Very little can be written concerning Victor Farías’ polemical Heidegger and Nazism which has not already been extensively discussed. Since its release in French translation in 1987, the book has been the subject of furious criticism, defended by an army of staunch advocates while simultaneously decried by a host of equally resolute detractors. For both extremes this work merely provided a pretext for debate. The battle lines had for the most part already been drawn: the response on either side to its publication was generally automatic. More judicious commentators have since been able to appreciate the truly groundbreaking revelations of Farías’ study, at the same time recognizing its severe limitations. The question of an author’s reasons for conducting this sort of investigation must inevitably arise, after all, given the controversial nature of the issues at stake. This was no small undertaking on his part. The painstaking archival process by which Farías gathered his data was carried out systematically over the course of several years. This no doubt casts some suspicion on his motives. Moreover, the striking lack of ambiguity in his results (which invariably implicate Heidegger as a loyal Nazi all along), combined with a number of questionable arguments and characterizations he makes, only serves to damage the integrity of his otherwise impressive research. So what might then be salvaged from Farías’ contentious analysis? The reader might proceed with cautious reservation, acknowledging the disturbing discoveries it relates while sifting out its more dubious insinuations.

Brief memorandum circulated by Heidegger addressing the students at Freiburg, 1934

Brief memorandum circulated by Heidegger
addressing the students at Freiburg, 1933

We shall begin by examining the general methodology of the text. The technique Farías employs throughout in assessing Heidegger’s thought is primarily external. That is to say, the book does not look to excogitate the subtle nuances and abstractions of Heidegger’s philosophy from within. Instead, Farías devotes most of his attention to relatively minor documents (memos, speech transcripts, personal correspondences, etc.). Continue reading →

The antinomy of art and politics

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A critique of art as cultural resistance

Untitled.
Image: Gustave Courbet, Self-Portrait:
Man Smoking a Pipe (c. 1848-1849)
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Introduction

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This article first appeared in September 2011, the same month that Occupy Wall Street officially began its reclamation of public space. It was written by Chris Mansour, a good friend and member of the Platypus Affiliated Society, the organization to which I formerly belonged. My reasons for republishing it here are several: the two-year anniversary of the movement recently came and went to little fanfare, my ongoing interrogation of the relationship between architecture and politics, and my reposting yesterday of an article by the German-French Marxist and architecture critic Claude Schnaidt on “Architecture and Political Commitment.” In that reposting, I recommended Adorno’s essay on “Commitment” as supplementary reading. Chris draws upon this article in the course of his own exposition. A good piece that is worthy of reflection.

Platypus Review № 39, editorial introduction: At the 2011 Left Forum, held at Pace University between March 18–21, Platypus hosted a conversation on the theme of “aesthetics in protests.” Panelists Stephen Duncombe (Reclaim the Streets), Marc Herbst (Journal of Aesthetics and Protest), Chris Mansour (Platypus), Laurel Whitney (The Yes Men), were asked to consider: “What are the historical roots that contribute to the use of current aesthetic interventions in political protests? In what ways do they expand or limit the possibilities for protests to transform the social order? How does experimenting with aesthetic and artistic sensibilities influence our political consciousness and practice?” The same theme was the subject of another event held at the New School in NYC on May 23, which featured Marc Herbst (Journal of Aesthetics and Protest), Chris Mansour (Platypus), A.K. Burns (W.A.G.E.), and Beka Economopoulos (Not An Alternative). A full recording of the discussion at the Left Forum can be found online. The article that follows is a modified version of the opening remarks made by Chris Mansour of Platypus at both events.

The antinomy of art and politics

by Chris Mansour

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The very notion that art should have nothing to do with politics is itself a political position.

— George Orwell

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There is an interesting passage in Herbert Marcuse’s short book, Counterrevolution and Revolt, which aims to flesh out how art relates to politics. In reflecting on art’s role in revolutionary struggle, Marcuse writes,

In its practice, art does not abandon its own exigencies and does not quit its own dimension: it remains non-operational. In art, the political goal appears only in the transfiguration which is the aesthetic form. The revolution may well be absent from the oeuvre even while the artist himself is “engaged,” is a revolutionary.[1]

Marcuse cites the example of Courbet, whose paintings signal the birth of modernity, and who founded a socialist club in 1848 and was later a member of the governing council of the Paris Commune in 1871. Yet, counterintuitive though it is, Marcuse remarks that “[there is] no direct testimony of the revolution in his paintings…[they contain] no political content.”[2] The “weight and sensuality” of Courbet’s still lifes — which were painted shortly after the collapse of the Commune — are far more “powerful” than any “political painting” could ever be.[3] Writing these statements in 1972 — four years after the failed “revolutions” of 1968 — it was becoming clearer to Marcuse that the politics of the New Left were losing their grip and its revolutionary energy was deflating. Likewise, the situation that Courbet found himself in after 1848 or 1871 was probably similar to, if not more tragic than, 1968.

Gustave Courbet, Still Life: Fruit, c.1871-1872. Oil on canvas, 23 1/8" × 28 1/4" (59 × 72 cm)

Gustave Courbet, Still Life: Fruit (c. 1871). Oil on canvas, 59 × 72 cm.

The separation between art and political activity that Marcuse was pointing to in Courbet may appear a bit strange to self-proclaimed cultural radicals or art-activists today. From Marcuse’s point of view, art remains autonomous from any exterior motives other than itself, and art cannot — and should not — act merely as a functional device for putting forth political aims. [4]  Continue reading →

Architecture: Theory, history, politics

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So I’ve started a group called Architecture: Theory, history, politics on Facebook to act as a kind of decantation chamber for some of the discussions I’ve been involved in lately. Its main areas of focus are architectural theory, the history of architecture, and the relation of architecture to politics. We’ll see where it goes.

The group’s tentative description runs as follows:

This group aims to serve as a space for dialogue, discussion, and debate on the theoretical, historical, and political dimensions of architecture. Related fields — such as engineering, urbanism, and design — are also included under this rubric (though this itself is open to contention).

So long as posts pertain to these subjects and themes, all sorts of sources, input, and materials are welcome. A few additional guidelines might be appended in order to prevent spam and keep comment threads from being derailed, but these should be minimal.

Otherwise, membership is open.

Feel free to join if you’re interested, invite people who you think might be, or share it elsewhere. You can check it out by clicking the link above.

Architecture and political commitment

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by Claude Schnaidt

Untitled.
Image: Claude Schnaidt standing in the
middle at ULM during the 1960s
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The following lecture by Claude Schnaidt provides an interesting glimpse into his Marxist approach to the question of architecture and politics’ interrelation. It shows that peculiar mixture of nascent New Leftism rooted in Old Left intellectual inspirations that was characteristic of his thought. “Commitment” was not Schnaidt’s invention. Sartre introduced the idea of a politically “committed” literature to the older idea of literature as an autonomous practice or end-in-itself. Good supplementary material might include Theodor Adorno’s essay critiquing “commitment” in Sartre and Brecht.

Lecture at the Academy of Fine Arts

Hamburg (March 2, 1967)

In the days when the pioneers of modern architecture were still young they thought like William Morris that architecture should be an “art of the people for the people.” Instead of pandering to the tastes of the privileged few, they wanted to satisfy the requirements of the community. They wanted to build dwellings matched to human needs, to erect a Cité radieuse. But they had reckoned without the commercial instincts of the bourgeoisie who lost no time in arrogating their theories to themselves and pressing them into their service for the purpose of money­making. Utility quickly became synonymous with profitability. Anti-academic forms became the new decor of the ruling class. The rational dwelling was transformed into the minimum dwelling, the Cité radieuse into the urban conglomeration, and austerity of line into poverty of form. The architects of the trade unions, cooperatives and socialist municipalities were enlisted in the service of the whisky distillers, detergent manufacturers, bankers and the Vatican. Modern architecture, which wanted to play its part in the liberation of mankind by creating an new environment to live in, was transformed into a giant enterprise for the degradation of the human habitat. Modern architecture which proclaimed the end of formalism became itself a pastime for those who like to toy with forms. Modern architecture which began by aspiring to set man free so that he could enjoy the good things of life ended up by enslaving and alienating him. Admittedly there is something very odd about this transformation of a great movement into its opposite. What has happened? Was this development inevitable? What can be done to reverse it?

Ever since the first industrial revolution it has been the job of the architect not to build for a privileged few but to satisfy the needs of a constantly growing population. The problems of the architect and the city-planner have become social problems, i.e. problems which are propounded to society by society. This fact is no longer disputed. Yet there are very few who are ready to look squarely at a consequence that flows from it, viz. that no one can bring influence to bear on social and economic realities without becoming politically involved. Those 19th century thinkers like Owen, Cabet, Fourier, and Morris, the fathers of modern city-planning, were very much alive to this fact. Their proposals as urbanists were inseparable from an all-out criticism of capitalist society.

Soviet construction workers marching with models of modernist housing units mounted on poles, 1931

Soviet construction workers marching with models of
modernist housing units mounted on poles, 1931

When World War I came to an end one hundred years later, this committed view of city-planning was much less current than before. Nevertheless it was revitalized by the revolutionary wave that swept over Europe. The Russian Revolution engendered high hopes of an entirely new order in which everything was set fair for the creation of the city of the future. In Germany people hoped that once the monarchy had been swept away the time had come for drastic social reforms which would provide the population with the houses and cities of a new age. It was felt everywhere that the international settlement of political, economic and social problems and a change in social attitudes would mark the beginning of a new era. And people were determined that a material framework should be created for this new society. The dream was short-lived. The economic crisis brought a rude awakening. Then order was restored. But it was not the order people had dreamed about; it was the order imposed by capitalism, which was beginning to find its feet again. And then came Adolf Hitler with his own version of the “new order.” With him the dream became a nightmare that ended in World War II. There followed the cold war and finally neo-capitalism [Neokapitalismus] with its consumer society, another nightmare but this time fully air-conditioned. Continue reading →