Soviet avant-garde architectural journal Izvestiia ASNOVA [Известия АСНОВА] (1926)

Me reading one of the original printings of Izvestiia ASNOVA, formatted and designed by El Lissitzky in 1926

My comrade Brian Hioe reading one of the original copies of Izvestiia ASNOVA

Download the full-text, PDF version of Izvestiia ASNOVA/Известия АСНОВА (1926)

I recently happened across a copy of the Soviet architectural avant-garde group ASNOVA’s sole publication, Izvestiia ASNOVA (Известия АСНОВА), from 1926. Unlike their rivals, the architectural Constructivists in OSA, the Rationalists of ASNOVA were never able to maintain a steady periodical of their own. Still, it’s a beautifully designed text; none other than El Lissitzky worked on its layout. It has some interesting theoretical pieces by Nikolai Ladovskii on architectural pedagogy and the insights of Münsterburgian psychotechnics into the effects of various formal combinations on the mind. Also, it includes the article in which El Lissitzky unveils his famous Wolkenbügel proposal, describing some of the specifics of the project. Continue reading

Platypus primary Marxist reading group, Fall 2012–Winter 2013

Fall 2012 – Winter 2013

I. What is the Left? — What is Marxism?

Sundays, 2–5PM EST

Eugene Lang College Building
The New School for Social Research
65 West 11th Street, Room 258
New York, NY 10011

• required / + recommended reading

Marx and Engels readings pp. from Robert C. Tucker, ed., Marx-Engels Reader (Norton 2nd ed., 1978)


Week A. Aug. 4–5, 2012

Whoever dares undertake to establish a people’s institutions must feel himself capable of changing, as it were, human nature, of transforming each individual, who by himself is a complete and solitary whole, into a part of a larger whole, from which, in a sense, the individual receives his life and his being, of substituting a limited and mental existence for the physical and independent existence. He has to take from man his own powers, and give him in exchange alien powers which he cannot employ without the help of other men.
– Jean-Jacques Rousseau, On the Social Contract (1762)

• epigraphs on modern history and freedom by James Miller (on Jean-Jacques Rousseau), Louis Menand (on Edmund Wilson), Karl Marx, on “becoming” (from the Grundrisse, 1857–58), and Peter Preuss (on Nietzsche)
+ Rainer Maria Rilke, “Archaic Torso of Apollo” (1908)
+ Robert Pippin, “On Critical Theory” (2004)
• Jean-Jacques Rousseau, Discourse on the Origin of Inequality (1754) PDFs of preferred translation (5 parts):[1] [2] [3] [4] [5]
• Rousseau, selection from On the Social Contract (1762)


Week B. Aug. 11–12, 2012

• G.W.F. Hegel, Introduction to the Philosophy of History (1831) [HTML] [PDF pp. 14-128]


Week C. Aug. 18–19, 2012

• Friedrich Nietzsche, On the Use and Abuse of History for Life (1874) [translator’s introduction by Peter Preuss]


Week D. Aug. 25–26, 2012

+ Human, All Too Human: Nietzsche: Beyond Good and Evil (1999)
• Nietzsche, selection from On Truth and Lie in an Extra-Moral Sense (1873)
• Nietzsche, On the Genealogy of Morals: A Polemic (1887)


Week E. Sep. 1–2, 2012 Labor Day weekend

• Martin Nicolaus, “The unknown Marx” (1968)
• Moishe Postone, “Necessity, labor, and time” (1978)
• Postone, “History and helplessness: Mass mobilization and contemporary forms of anticapitalism” (2006)
+ Postone, “Theorizing the contemporary world: Brenner, Arrighi, Harvey” (2006)


Week F. Sep. 8–9, 2012

• Juliet Mitchell, “Women: The longest revolution” (1966)
• Clara Zetkin and Vladimir Lenin, “An interview on the woman question” (1920)
• Theodor W. Adorno, “Sexual taboos and the law today” (1963)
• John D’Emilio, “Capitalism and gay identity” (1983)


Week G. Sep. 15–16, 2012

• Richard Fraser, “Two lectures on the black question in America and revolutionary integrationism” (1953)
• James Robertson and Shirley Stoute, “For black Trotskyism” (1963)
+ Spartacist League, “Black and red: Class struggle road to Negro freedom” (1966)
+ Bayard Rustin, “The failure of black separatism” (1970) 
• Adolph Reed, “Black particularity reconsidered” (1979)
+ Reed, “Paths to Critical Theory” (1984)


Week H. Sep. 22–23, 2012

• Wilhelm Reich, “Ideology as material power” (1933/46)
• Siegfried Kracauer, “The mass ornament” (1927)
+ Kracauer, “Photography” (1927)


Week 1. Sep. 29–30, 2012

• epigraphs on modern history and freedom by Louis Menand (on Marx and Engels) and Karl Marx, on “becoming” (from the Grundrisse, 1857–58)
• Chris Cutrone, “Capital in history” (2008)
• Cutrone, “The Marxist hypothesis” (2010)


Week 2. Oct. 6–7, 2012

• Immanuel Kant, “Idea for a universal history from a cosmopolitan point of view” and “What is Enlightenment?”(1784)
• Benjamin Constant, “The liberty of the ancients compared with that of the moderns” (1819)
+ Jean-Jacques Rousseau, Discourse on the origin of inequality (1754)
+ Rousseau, selection from On the social contract (1762)


Week 3. Oct. 13–14, 2012

• Max Horkheimer, selections from Dämmerung (1926–31)
• Adorno, “Imaginative Excesses” (1944–47)


Week 4. Oct. 20–21, 2012

• Leszek Kolakowski, “The concept of the Left” (1968)
• Marx, To make the world philosophical (from Marx’s dissertation, 1839–41), pp. 9–11
• Marx, For the ruthless criticism of everything existing (letter to Arnold Ruge, September 1843), pp. 12–15


Week 5. Oct. 27–28, 2012

• Marx, selections from Economic and philosophic manuscripts (1844), pp. 70–101
• Marx and Friedrich Engels, selections from the Manifesto of the Communist Party (1848), pp. 469-500
• Marx, Address to the Central Committee of the Communist League (1850), pp. 501–511


Week 6. Nov. 3–4, 2012

• Engels, The tactics of social democracy (Engels’s 1895 introduction to Marx, The Class Struggles in France), pp. 556–573
• Marx, selections from The Class Struggles in France 1848–50 (1850), pp. 586–593
• Marx, selections from The 18th Brumaire of Louis Bonaparte (1852), pp. 594–617


Week 7. Nov. 10–11, 2012

+ Karl Korsch, “The Marxism of the First International” (1924)
• Marx, Inaugural address to the First International (1864), pp. 512–519
• Marx, selections from The Civil War in France (1871, including Engels’s 1891 Introduction), pp. 618–652
+ Korsch, Introduction to Marx, Critique of the Gotha Programme (1922)
• Marx, Critique of the Gotha Programme, pp. 525–541
• Marx, Programme of the Parti Ouvrier (1880)


Week 8. Nov. 17–18, 2012

• Marx, selections from the Grundrisse (1857–61), pp. 222–226, 236–244, 247–250, 282–294
• Marx, Capital Vol. I, Ch. 1 Sec. 4 “The fetishism of commodities” (1867), pp. 319–329


Week 9. Nov. 24–25, 2012 Thanksgiving break


Winter break readings

+ Richard Appignanesi and Oscar Zarate / A&Z, Introducing Lenin and the Russian Revolution / Lenin for Beginners (1977)
+ Sebastian Haffner, Failure of a Revolution: Germany 1918–19 (1968)
+ Edmund Wilson, To the Finland Station: A Study in the Writing and Acting of History (1940), Part II. Ch. (1–4,) 5–10, 12–16; Part III. Ch. 1–6
+ Tariq Ali and Phil Evans, Introducing Trotsky and Marxism / Trotsky for Beginners (1980)
+ James Joll, The Second International 1889–1914 (1966)


Week 10. Dec. 1–2, 2012 / Jan. 5–6, 2013

• Georg Lukács, “The phenomenon of reification” (Part I of “Reification and the consciousness of the proletariat,”History and Class Consciousness, 1923)


Week 11. Dec. 8–9, 2012 / Jan. 12–13, 2013

• Lukács, Original Preface (1922), “What is Orthodox Marxism?” (1919), “Class Consciousness” (1920),History and Class Consciousness (1923)
+ Marx, Preface to the First German Edition and Afterword to the Second German Edition (1873) of Capital(1867), pp. 294–298, 299–302


Week 12. Dec. 15–16, 2012 / Jan. 19–20, 2013

• Korsch, “Marxism and philosophy” (1923)
+ Marx, To make the world philosophical (from Marx’s dissertation, 1839–41), pp. 9–11
+ Marx, For the ruthless criticism of everything existing (letter to Arnold Ruge, September 1843), pp. 12–15
+ Marx, “Theses on Feuerbach” (1845), pp. 143–145

Models of Soviet avant-garde architecture

Some gorgeous models I found of Soviet avant-garde architecture (both realized and unrealized structures) designed by Australian students.

Яков Чернихов, «Архитектурные фантазии: 101 композиция» (1925-33) — Along with fully searchable, downloadable PDFs of the original Russian texts

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Forty-five sketches by the brilliant former Suprematist painter and visionary architect Iakov Chernikhov, all composed between 1925-1933 and published together in his book Architectural Fantasies: 101 Compositions.

For any of my readers who know Russian, please feel free to download the full-text, searchable PDFs of these brilliant texts:

Full-text PDFs of the Platypus Review

Reformatted for reading,
and not for printing

Untitled.
Image: Friedrich Engels and
the “hoax” of the platypus

untitled2
.

Below are reformatted PDF versions of those issues of the Platypus Review that have appeared to date.  I make these available in this layout for ease of reading online, as the actual printed copies are made on a foldable broadsheet that does not conform to ordinary viewing from page to page.  It should be noted, then, that these texts are reformatted for reading, and are thus not intended for printing.  The versions intended to go to the printers can be found on http://archive.org.  My original reason for providing these reformatted versions is in case anyone was interested in citing from the individual pages as they appeared in print, something I have done quite a bit in my own writing.

Reviewing they body of work accumulated in the Platypus Review so far, I have to say that its output in terms of both quantity and quality of contributions, as well as in design, is far greater than I thought.  This comes as quite a surprise to me, considering I’ve been reading its issues for years now, and even served as an editor for several months.  Anyway, I suppose readers can decide for themselves.  Compiling them all here in one place makes for a nice retrospective, though, I think. Continue reading

DADA â„– 1, Juillet 1917 (wholly restored full-text download)

Cover of DADA № 1, Juillet 1917

Download DADA № 1, Juillet 1917

NOTE 18 SUR L’ART

à l’occasion de l’expositon de gravures, broderies et reliefs dans la Galerie Dada

(4-29 Mai 1917)

L’art est à présent la sf’ule chose construite, accomplie en soi, dont on ne peut plus rien dire, tellement richesse vitalité sens sagesse: comprendre voir.

Décrire une fleur — rélative poésie plus ou moins fleur de papier.  Voir.

Jusqu’à ce qu’on ne, découvrira les vibrations intimes de la dernière c’ellule dans un cerveaudieumathématîque et l’explication des astronomies primaires: l’essence, on décrira toujours l’impossibilité avec des éléments logiques de la continuelle contradiction marécage d’étoiles et de sonneries inutiles.  Crapauds des lampions froids aplatis sur l’intelligence déscriptive du ventrerouge.  Ce qu’on écrit sur l’art est oeuvre d’éducation et dans ce sens elle peut exister.  Nous voulons rendre les hommes meilleurs, qu’ils comprennent que la seule fraternité est dans un moment d’intensité oil le beau est la vie concentrée sur la hauteur d’un fil-defer montant vers l’éclat, tremblement bleu lié à la trrre par nos regards aimants qui couvrent de neige le pic.  Le miracle.  J’ouvre mon coeur que les hommes soient meilleurs.

Nombre d’artistes ne’ cherchent plus les solutions dans l’objet et dans les relations de l’extérieur, ils sont cosmiques ou primaires décidés simples sages sérieux.

La diversité des artistes d’aujourd’hui serre le jet-d’eau dans une grande liberté-cristal.  Et leurs efforts créent de nouveaux organismes clairs.  Dans le monde pureté avec les transparences et matérialités de la construction cachée d’une simple image qui se forme. Ils continuent la tradition le passé et leur évolution pousse, lente comme un serpent vers les conséquences intérieures, directes, au delà des surfaces et des réalités.

— TRISTAN TZARA

Updated list of links

Platypus reading group series in New York continues

It’s been quite a while since I updated the Charnel-House’s links.  Recently, however, I made a number of additions and revisions.  So I thought I would devote a blog post to the new list of blogs and websites I link to.

Also, I’m posting the poster I designed for the new Platypus reading group series in New York.

Post-Futurist Anti-Capitalism (re-blogged from Anti-National Translation), as well as Notes and Oscuridades (UK), and my Tumblr

Entrance to the Perisphere, 1939 New York’s World Fair, Queens.  Designed by Harrison and Fouilhoux.

Post-Futurist Anti-Capitalism

A recent summation of my post “Memories of the Future” appears on the excellent Anti-National Translation website.  It is reproduced below.  My thanks to the author of that blog.

Ross Wolfe, of the Charnel House, has a long post on the temporality of radical politics, criticising, among other temporal orientations, various forms of hankering after divers real and imaginary pasts, and particularly the longing for a ‘prelapsarian past, of the “good old days” before everything went wrong’.  Much of the post is devoted to Franco “Bifo” Berardi and  his latest book, After the Future (2011).

Among the targets are Jewbonics/MondoWeiss blogger Max Ajl.  His text “Planet of the Fields” was in Jacobin magazine and not published online, as far as I know.  Wolfe alleges that:

It soon becomes clear, however, that the only way the author thinks humanity can survive is for it to reinstate the past.  Against bourgeois society’s “ceaseless drive to urbanization, industrialization, and capital- and input-intensive agriculture,” Ajl follows Colin Duncan in stressing “the centrality of [‘low-impact’] agriculture.”  He thus counterposes an order founded upon a more modest, traditional agrarian model to the megalopolitan nightmare-city of the last couple centuries.[34]  In order to carry out this neo-Neolithic revolution, Ajl calls for a policy of “repeasantization” — a telling slip-of-the-pen.[35]  Presumably, what he means by this is not literally the restoration of some sort of peasantry, as this feudal title tends to imply a certain legal and political status: enserfment, congenital bondage to the land (the manor or estate of a local nobleman), and the compulsory alienation of one’s property and labor to his lord as part of a corvée system.  Most farmers are not peasants.  Rather, what Ajl probably has in mind is a new yeomanry, tilling the soil in the bucolic splendor of the countryside.  Although he insists that “smallholder agriculture is not an antiquarian curio,” the spirit that animates Ajl’s atavistic vision is clearly conjured out of the ideological ectoplasm of romantic anti-capitalism.[36]  It is nourished on “the view that if only capitalism had not come into existence we could all be living in a happy hobbit-land of freed peasants and independent small producers.”[37]

(Personally, I have a problem with the simplistic ortho-Marxism Wolfe seems to be channelling in his criticism of the term “peasantry,” as I believe that the peasantry as a class are defined by the objective contradiction between proletarianisation and autonomy/communisation, but that’s a discussion for another day.)

Wolfe continues, and this is where it becomes relevant to the concerns of this blog:

This would perhaps seem a neat bit of buffoonery — a quaint throwback to the petit-bourgeois socialism dismissed in the Manifesto as “reactionary and Utopian”[38] — were it not for the widespread support it enjoys in anti-capitalist circles today.  The idyllic past it portrays is, of course, a fiction.  Family farming has since the 1970s become fetishized by the “small is beautiful” Left, roughly around the same time as family-owned farms began to go extinct (transformed into subsidiaries of large-scale agribusiness).  Leftish urbanites and self-proclaimed student radicals today often see in traditional agriculture the vestiges of a simple, honest, and upright way of life that has otherwise been lost in modern times.  Seldom is it remembered that in former times the provincial homestead was a bastion of conservatismand bulwark of the ancien régime, home to ignorance, illiteracy, patriarchy, superstition, and the domestic slavery of women.[39]  Not for nothing did Marx and Engels contemptuously refer to it as a haven for “the idiocy of rural life.”[40]…

In the absence of any viable future, the gaze of all humanity turns impotently toward the past.  What emerges from such inauspicious times as these is thus a renovated passéism, in which the only imaginable society other than the one which presently endures must be seen as reminiscent of its earlier incarnations.[41]  Instead of forging a way forward into the great unknown, into an as-yet-unseen social formation, the only path that presently seems feasible for humanity is to flee into the familiar comfort of a new dark age.  Even Ajl’s “Planet of Fields” is just one step removed from Zerzanite primitivism.  To their credit, Mohandesi and Haider explicitly reject this latter-day Neo-Luddism,[42] reasserting the openness of the present.  Ajl, by contrast, addresses the primitivists’ challenge only en passant, obliquely brushing it aside on the grounds that nomadic hunter-gatherer society could never support a large population.[43]  And yet the Zerzanites can be said to possess at least one undeniable, if somewhat dubious, merit — the extreme lucidity with which they express their madness.

The post continues developing its critique of Bifo and gestures towards some alternative orientations to the past and future.  What I want to push, though, is the point that various forms of “post-futurist” romanticisms have become the default mode for anti-capitalism today, pervading the #Occupy movement, for example.  While the critique of this sort of romantic anti-capitalism is well developed on the Marxish left (see e.g. 3WF), the important messages is that that some apparently Marxist anti-capitalisms (Ajl is above all an anti-imperialist) are also mired in the “post-futurist” romance.

Also read: Ben Lear on lifeboat communism.

Related articles

Notes publication, Oscuridades, etc.

Jamie Patel of the publication Notes, run by students at Oxford and Cambridge in the UK, approached me about contributing a piece for the publication.  A worthy endeavor, methinks.  A journal of theory, creative writing, and poetry, Notes caters to a market that has up to this point been sorely neglected on campus: critical thought and investigation, accepting and promoting “anything that involves and would stimulate original thought.”  In the meantime, Jamie has been kind enough to re-blog my recent post “Memories of the Future.”  My own tastes incline me away from much of the post-Henri Lefebvre French theory they discuss on the site, but this is hardly a matter of principle.  It is encouraging to see these kinds of initiatives taking shape.

Also, many thanks to my friend Lucas Sutton from London, author of the blog Oscuridades, where Astorian noir is still gestating, for his thoughtful notes and comments in response to the post.

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I now have a Tumblr account.  Follow me if you’d like.

art is dead dada

Notes on the Death of Art

Just a few prefatory remarks for what follows.  The collection of quotes assembled here is by no means exhaustive, nor even definitive.  Some figures, like Hans Sedlmayr, are decidedly overrepresented here.  This is perhaps because he is so woefully underrepresented elsewhere, and because of the way in which his reactionary (but fascinating) viewpoint is symptomatic of the age.  Other figures, like Hegel, are underrepresented, because they receive so much coverage and attention.  (Although much of the original force and emphasis of his “end of art” thesis was edited out by his student, H.C. Hotho).

Nor should the quotes from these authors be thought to provide some sort of indisputable proof that art is, in fact, dead.  Whatever authority these authors might individually possess, or even collectively pooled together, I doubt that it would be enough to confirm art’s death once and for all.  Quite the contrary.  If anything, the variety of quotes listed below should demonstrate the obscurity of the notion that art is dead.  Despite their abbreviated appearance here, it should be clear that these authors mean quite different things by the “end of art.”  The motto has been fashionable for some time now, and much of its provocative character has worn thin.  My friend and fellow member of Platypus Bret Schneider pointed out to me recently that

the death of art and the ‘post’ condition is theorized everywhere in unfruitful ways.  I’m not sure if we can make it fruitful, but we can at least try to push theorists on this.  Mostly, it’s important not to assume too much about the ‘death of art’, which ought to be registered as in part just degraded to mumbo-jumbo, but perhaps in meaningful ways.  I can’t help but feel the whole ‘death of art’ thing is a ruse, and it is an older theory of art inadequately applied to new forms of culture that are not understood as new, specifically for this reason.

In any case, these quotes are for the most part lifted from texts in which they comprise some part of an argument, and because of the fragmentary form in which they are presented, that context is largely lost.  It might be possible to  construct a narrative out of it by piecing together little snippets of each (and believe me I have), but that is not at all the intention.

Finally, the topicality of this subject should be noted.  The debate over whether or not art can continue on or if it has nothing left to offer is far from settled.  Even recently, Paul Mason wrote a widely disseminated article, “Does #Occupy signal the death of contemporary art?” Dear readers (hypocrite lecteurs!), what do you think? Continue reading