#Occupy movement roundtable discussion: An invitation to a political dialogue hosted by the Platypus Affiliated Society

El Lissitzky's "Beat the White Circle with the Red Wedge" (1920)

FIRST ROUNDTABLE DISCUSSION

Friday 7pm | October 28, 2011

Kimmel, Room 406.  NYU

60 Washington Square S., NYC

What is the #Occupy movement? (PDF version)

The recent #Occupy protests are driven by discontent with the present state of affairs: glaring economic inequality, dead-end Democratic Party politics, and, for some, the suspicion that capitalism could never produce an equitable society.  These concerns are coupled with aspirations for social transformation at an international level.  For many, the protests at Wall St. and elsewhere provide an avenue to raise questions the Left has long fallen silent on:

  • What would it mean to challenge capitalism on a global scale?
  • How could we begin to overcome social conditions that adversely affect every part of life?
  • And, how could a new international radical movement address these concerns in practice?

Although participants at Occupy Wall St. have managed thus far to organize resources for their own daily needs, legal services, health services, sleeping arrangements, food supplies, defense against police brutality, and a consistent media presence, these pragmatic concerns have taken precedent over long-term goals of the movement.  Where can participants of this protest engage in formulating, debating, and questioning the ends of this movement? How can it affect the greater society beyond the occupied spaces?

We in the Platypus Affiliated Society ask participants, organizers, and interested observers of the #Occupy movement to consider the possibility that political disagreement could lead to clarification, further development and direction.  Only when we are able to create an active culture of thinking and debating on the Left without it proving prematurely divisive can we begin to imagine a Leftist politics adequate to the historical possibilities of our moment.  We may not know what these possibilities for transformation are.  This is why we think it is imperative to create avenues of engagement that will support these efforts.

Towards this goal, Platypus will be hosting a series of roundtable discussions with organizers and participants of the #Occupy movement.  These will start at campuses in New York and Chicago but will be moving to other North American cities, and to London, Germany, and Greece in the months to come.   We welcome any and all who would like to be a part of this project of self-education and potential rebuilding of the Left to join us in advancing this critical moment.

(The above is a general release intended for activists, organizers, and participants in the recent #Occupy movement who are interested in further exploring its political dimension.  We are open to any number of political orientations or affiliations within the broader spectrum of the Left, whether they be Marxist, anarchist, or more moderate.  Please contact me at rosslaurencewolfe@gmail.com if you would like to contribute or learn more.)

The Platypus Affiliated Society

October 2011

Platypus logo

Two Lefts? (Guest post by Konstantin Kaminskiy)

Protestors at Occupy Wall Street

The following is a post by my friend and fellow Platypus member Konstantin Kaminskiy, a Economics major at Baruch college and a Marxist.

by Konstantin Kaminskiy
Guest Writer
Dandelion Salad
Questions of Political Economy in Modernity
Oct. 14, 2011

This is a report on and some thoughts inspired by “American Dreamers: How the Left Changed a Nation with Michael Kazin,”a panel discussion hosted by Demos.  I have described them before as broadly wanting a New Deal.  I will add to that — they are progressives, or Left Democrats, or “Obama-pushers.”  This constitutes one of the Lefts represented at the event.  The other is Occupy Wall Street, which was represented by one of their organizers.

Michael Kazin’s new book is titled American Dreamers: How the Left Changed a Nation.  Actually the title sums up the framework pretty nicely.  The Left goes through stages.  First it dreams, in the form of Henry George, whose “Progress and Poverty” apparently sold more than anything Marx wrote and Edward Bellamy (“Looking Backward”).  These dreams are utopian and see the complete transformation of society as desirable.  The movement becomes large enough to pressure politicians to pay attention to them and enact some sort of changes.  Communists are important as far as they are a part, and sometimes at the heart, of this pushing.

Examples of this include the anti-monopoly laws and most significantly the creation of the American welfare state, connected by Kazin with pressure on Roosevelt from radical socialists and general strikes in multiple cities.  The argument is that the left has been “culturally successful but politically a failure.”  Anti-corporate films are, after all, successful at the box office, and that is the continued legacy of the New Left.  The Left has also been successful as far as it took society as it is, which means accepting all sorts of religiosity.  The Left is not, however, going to take power, or anything like that — the revolution, for Kazin, is impossible.  The best we can do with our utopian creativity is force what are really cosmetic changes.  He seems to not note the ways in which the “cultural left” has reinforced the system of capitalism.

The comments of Kelly Heresy, described as an Occupy Wall Street organizer, were refreshing by comparison.  OWS has failed to propose any creative demands.  It has failed to push politicians.  That seems like anathema to them, the corporate-funded system is not to be trusted to originate or secure any real changes.  Between the Democrats and Republicans there is no difference.  At OWS they are “having a conversation,” and have found that assembling at the park is a way to do that.  There is a core of devoted organizers, but “some college kids who think it’s a vacation” have also become involved and are bad for the image.

He sees us “at the beginning of a new era in human history” because we are so connected by modern media. OWS is about participatory democracy and direct action.  For Kazin this must eventually give way to the political process, to compromise — for those at OWS a new world of acting as individuals on a direct democracy basis, without representation, seems to be open.

These are two different ways of viewing the world, and the OWS way seems to me to be the more profound, open, and interesting way.  They take for inspiration the Paris Commune and the Greek Agora — to a Marxist there is deep irony in both.  But there is possibility — they have yet to decide that the best we can have is a “more fair” distribution of resources or “democracy in the workplace,” whatever those things might mean.  They hold open the possibility of “taking back the system for ourselves.”

When, time after time, Kelly Heresy defended against the “you must push power and vote” formula with the “greedy corporate funding runs everything” formula I wanted to scream out: “Lenin would agree!” Roosevelt was not funded in the same way that Obama was funded, but this matters little. Lenin says that the “real essence of bourgeois parliamentarism” is “to decide once every few years which member of the ruling class is to misrepresent the people” (The State and Revolution). This can be applied to Roosevelt as much as to Obama — Roosevelt and his class had something to fear, the radical left. Obama and his class have no such fears, OWS has not been able to shut down entire cities while keeping people fed and orderly. Kazin sees that time and time again concessions have resulted from this process — since the left has been able to get something it has been successful, and must do this and only this. OWS, by comparison, seems to hold history open.

In the Q&A I introduced myself as “an economics major at Baruch and a Marxist.”  My comment to the panel, and question, was almost word for word this — “I see two lefts here. The first left had at one point theorized about why the world is as it is and how it could be changed.  It now declares to us that the revolution is impossible, that the best we can do is little changes.  The other Left, in a very embryonic form, is thinking about systems and how they can actually be changed.  We have been pushing Obama for the last 150 years.  We are here, with some of the greatest inequality ever.  I could go on.  Is the pushing of Obama a viable strategy for meaningful change?”

To complete the paradigm: the historian Kazin did not understand the pun. Obama is not 150 years old, he pointed out. We must push the Democratic Party, not Obama.  The OWS organizer had no difficulty in seeing what I meant by the “Two Lefts.”

Seeing the General Assembly of OWS later that day forces me to add to my comments here — OWS seems to believe that the revolution has already been achieved, that the task now is to spread it to more places, occupation is revolution.  They have constituted a new society already.  But what is to become of them, of this movement, is at least more open-ended than the world of Kazin, in which the power as it is cannot be challenged or replaced, period.

The theatrical dimension of Occupy Wall Street: A brief excursus on the “carnivalesque” in politics

The iconic American anarchist Emma Goldman was famously quoted for her opposition to the joyless seriosity that characterized some of the more hard-nosed revolutionaries she had met in America, Russia, and around the world:

If I can’t dance, it’s not my revolution!
If I can’t dance, I don’t want your revolution!
If I can’t dance, I don’t want to be part of your revolution.
A revolution without dancing is not a revolution worth having.
If there won’t be dancing at the revolution, I’m not coming.

I have up to this point been fairly critical of some of more theatrical elements of the Occupy Wall Street movement.  This is a an issue that is more complex than my dyspeptic attitude toward this aspect of the demonstrations would indicate.  I should like to explore this issue with a little more depth in order to clarify the root and specificity of my critique.

To be fair, staging performances at demonstrations and political celebrations does have some revolutionary precedent.  The role of festivals in the France of the First Republic has been documented by Mona Ozouf in her book, Festivals and the French Revolution.  Likewise, the young Soviet avant-garde produced numerous plays and recreations in the 1920s designed to involve the masses in the building of a new, emancipated society.  An account of these is provided in James Von Geldern’s Bolshevik Festivals: 1917-1920.

The Festival of Unity during the French Revolution, 1793

Compared with the pantomime and harlequinism of contemporary politics, however, these public displays and productions tended to be much less improvisational, less of a free-for-all — they were more organized, coordinated, and choreographed.  But despite the fact that such past festivities were successful in stirring revolutionary emotion among the people, even then they had their shortcomings.  As the famous  19th-century historian Hippolyte Taine described in an account of such a celebration held in 1789, these revolutionary political carnivals often amounted to nothing more than rote theatrical repetition:

Whatever the imagination of the day offers [the Frenchman] to increase his emotion, all the classical, rhetorical, and dramatic material at his command, are employed for the embellishment of his festival.  Already wildly enthusiastic, he is anxious to increase his enthusiasm. — At Lyons, the fifty thousand confederates from the south range themselves in line of battle around an artificial rock, fifty feet high, covered with shrubs, and surmounted by a Temple of Concord in which stands a huge statue of Liberty; the steps of the rock are decked with flags, and a solemn mass precedes the administration of the oath. — At Paris, an altar dedicated to the country is erected in the middle of the Champ de Mars, which is transformed into a colossal circus…Never was such an effort made to intoxicate the senses and strain the nerves beyond their powers of endurance! — The moral machine is made to vibrate to the same and even to a greater extent.  For more than a year past, harangues, proclamations, addresses, newspapers and events have daily added one degree more to the pressure. On this occasion, thousands of speeches, multiplied by myriads of newspapers, carry the enthusiasm to the highest pitch.  Declamation foams and rolls along in a steady stream of rhetoric everywhere throughout France.  In this state of excitement the difference between magniloquence and sincerity, between the false and the true, between show and substance, is no longer distinguishable.  The Federation becomes an opera which is seriously played in the open street — children have parts assigned them in it; it occurs to no one that they are puppets, and that the words taken for an expression of the heart are simply memorized speeches that have been put into their mouths.  (Hippolyte Taine, The French Revolution, Volume 1).  Pgs. 220-221.

Taine was not alone in thus criticizing certain aspects of French revolutionary spectacles.  Even the famed Russian anarchist Petr Kropotkin, who regarded Taine as a vulgar bourgeois historian, had to agree that these festivals had their limitations.  “Taine disparages the festivals of the Revolution, and it is true that those of 1793 and 1794 were often too theatrical,” Kropotkin conceded.  (Petr Kropotkin, The Great French Revolution.  Pg. 177).

Harlequinism: Clowning around at Occupy Wall Street

Harlequinism: Clowning around at Occupy Wall Street

Marat

The OWS zombie march almost recalls scenes from the 1967 British film Marat/Sade, in which the revolutionary Marat is resurrected to witness the Marquis de Sade’s perverse reproduction of the history of the fifteen years after Marat’s death, held in a madhouse during the Empire with all the parts played by the inmates

In contemporary cultural theory, many postmodernists glorify the creativity, spontaneity, and ironic possibilities involved in acts of political theater.  Much of this sentiment is derived from the writings of the Situationists in France and the rediscovery of the works of Mikhail Bakhtin by the French avant-garde journal Tel Quel.  Bakhtin, a renowned early Soviet literary theorist loosely associated with the Formalist school, was the one who perhaps articulated best the way in which the “carnivalesque” can potentially act to transform social consciousness:

Negation in popular-festive imagery has never an abstract logical character.  It is always something obvious, tangible.  That which stands behind negation is by no means nothingness but the “other side” of that which is denied, the carnivalesque upside down.  Negation reconstructs the image of the object and first of all modifies the topographical position in space of the object as a whole, as well as its parts.  It transfers the object to the underworld, replaces the top by the bottom, or the front by the back, sharply exaggerating some traits at the expense of others.  Negation and destruction of the object are therefore their displacement and reconstruction in space.  The nonbeing of an object is its “other face,” its inside out.  […]

Carnival celebrates the destruction of the old and the birth of the new world — the new year, the new spring, the new kingdom.  The old world that has been destroyed is offered together with the new world and is represented with it as a dying part of the dual body.  This is why in carnivalesque images there is so much turnabout, so many opposite faces and intentionally upset proportions.  (Mikhail Bakhtin, Rabelais and His World.  Pg. 410).

The people sing to Marat: “Four years after the revolution/and the old king’s execution/String up every aristocrat Out with the priests/Let them live on their fat/Down with all of the ruling class/Throw all the generals out on their arse/Good old Marat by your side we’ll stand or fall/You’re the only one that we can trust at all/Fighting all the gentry and fighting every priest/Businessman the bourgeois the military beast/Marat, we’re poor, And the poor stay poor! Marat, don’t make Us wait anymore. We want our rights and we don’t care how, We want our revolution now. Why do they have the gold? Why do they have the power? Do they have the friends at the top? Why do they have the jobs at the top? We’ve got nothing! Always had nothing! Nothing but holes and millions of them. Living in holes dying in holes. Holes in our bellies and holes in our clothes.”

In these passages, Bakhtin tacitly relies on a Marxist concept inherited from the Hegelian dialectical legacy — that of determinate negation.  As Hegel observed:

[T]he skepticism which only ever sees pure nothingness in its result and abstracts from the fact that this nothingness is specifically the nothingness of that from which it results.  For it is only when it is taken as the result of that from which it emerges, that it is, in fact, the true result; in that case it is itself a determinate nothingness, one which has a content.  The skepticism that ends up with the bare abstraction of nothingness or emptiness cannot get any further from there, but must wait to see whether something new comes along and what it is, in order to throw it too into the same empty abyss.  But when, on the other hand, the result is conceived as it is in truth, namely, as a determinate negation, a new form has thereby immediately arisen, and in the negation the transition is made through which the progress through the complete series of forms comes about of itself.  (Georg Wilhelm Friedrich Hegel, The Phenomenology of Spirit.   §79, pg. 51).

Hegel himself carried this notion too far in terms of what he thought was its positive speculative power.  This is something Theodor Adorno picked up on: “The nonidentical is not to be obtained directly, as something positive on its part, nor is it obtainable by a negation of the negative.  This negation is not an affirmation itself, as it is to Hegel” (Theodor Adorno, Negative Dialectics.  Pg. 158).  Nevertheless, determinate negation still underwrites the critical apprehension of the present, and opens up the possibility that a new society could be born out of its negative image.

Celebration of May Day, Petrograd 1920

This was something of which Marx was fully aware.  In an 1846 letter to the Young Hegelian Arnold Ruge, Marx famously called for the “ruthless critique of everything existing.”  More than thirty years later, he repeated this sentiment in the brilliant postface to the second edition of Capital, Volume 1:

In its mystified form, the dialectic became the fashion in Germany, because it seemed to transfigure and glorify what exists.  In its rational form it is a scandal and an abomination to the bourgeoisie and its doctrinaire spokesmen, because it includes in its positive understanding of what exists a simultaneous recognition of its negation, its inevitable destruction; because it regards every historically developed form as being in a fluid state, in motion, and therefore grasps its transient aspect as well; and because it does not let itself be impressed by anything, being in its very essence critical and revolutionary.  (Marx, Capital, Volume 1.  Pg. 103).

Dmitrii Menshikov’s poster celebrating May Day, 1920

As I see it, the biggest problem with the rock-concert atmosphere and all the myriad performance pieces one sees down at Liberty Plaza is its quasi-Situationist character.  This French group — loosely involved with the 1968 protests (according to one of their main influences and later their rival, the French Marxist Henri Lefebvre, “they…greatly exaggerated their role in May ’68, after the fact”) — loosely argued for the subversive reappropriation of the spectacle as a sort of homeopathic method by which one could counteract the “society of the spectacle.”

To be sure, Guy Debord, the Situationist movement’s most brilliant exponent, did not prescribe such a course of action.  Debord remained (at least theoretically) committed to a critical approach founded upon the notion of negation, much like what we have been discussing so far and much closer the one advocated by the members of the Frankfurt School:

To effectively destroy the society of the spectacle, what is needed is men putting a practical force into action. The critical theory of the spectacle can be true only by uniting with the practical current of negation in society, and this negation, the resumption of revolutionary class struggle, will become conscious of itself by developing the critique of the spectacle which is the theory of its real conditions (the practical conditions of present oppression), and inversely by unveiling the secret of what this negation can be.  (Guy Debord, Society of the Spectacle.  §203).

Enragés et situationnistes dans le mouvement des occupations, 1968

However, not all the Situationists were so prudent, and Debord’s concept of political practice largely involved the creation of theatricized “situations,” intended to disrupt the prevailing spectacular order of society.  This can be seen partially in the Situationist International’s “Report on the Occupation [!!] of the Sorbonne.”  Much like the situation at Occupy Wall Street, primarily youths (or students) set the precedent for the occupation, which were then later joined by the factory workers in the various unions.  The student-led Comité d’Occupation de la Sorbonne managed the occupation of the University of Paris throughout the uprising.  The Situationists defended the students’ “festivity” against the more ascetic and austere measures being called for by the more traditional Marxist organizations:

At the very moment that the example of the occupation is beginning to be taken up in the factories it is collapsing at the Sorbonne. This development is all the more serious since the workers have against them a bureaucracy infinitely more powerful and entrenched than that of the student or leftist amateurs. To add to the confusion, the leftist bureaucrats, echoing the CGT [the Communist Party-dominated labor union] in the hope of being accorded a little marginal role alongside it, abstractly separate the workers from the students. (“The workers don’t need any lessons from the students.”) But the students have in fact already given an excellent lesson to the workers precisely by occupying the Sorbonne and briefly initiating a really democratic debate. The bureaucrats all tell us demagogically that the working class is grown up, in order to hide the fact that it is enchained — first of all by them (now or in their future hopes, depending on which group they’re in). They counterpose their lying seriousness to the “festivity” in the Sorbonne; but it was precisely that festiveness that bore within itself the only thing that is serious: the radical critique of prevailing conditions.

Student protestors marching from the occupied Sorbonne to the Renault factory in May 1968

Within Situationist political praxis, one of the primary means of spectacular subversion was what they called “détournement” — “the reuse of preexisting artistic elements in a new ensemble.”  As the Situationists averred: “Détournement has a peculiar power which obviously stems from the double meaning, from the enrichment of most of the terms by the coexistence within them of their old and new senses. And it is very practical because it’s so easy to use and because of its inexhaustible potential for reuse” (The Situationist International, “Détournement as Negation and Prelude”).  To their credit, however, the Situationists prior to 1968 realized that this tactic of ironic/parodic disruption was itself symptomatic of the political impotence of their moment:

This combination of parody and seriousness reflects the contradictions of an era in which we find ourselves confronted with both the urgent necessity and the near impossibility of initiating and carrying out a totally innovative collective action.  (The Situationist International, “Détournement as Negation and Prelude”).

Since the late 1960s, the practice of détournement has been generalized throughout post-New Left political culture.  According to Eleonore Kofman and Elizabeth Lebas, “Lefebvre…found [the Situationists’] strategies interesting but partial, too individualistic and theatrical.”  Brian Gallagher correctly noted the connection with this Situationist stratagem and the slogans held aloft by members of Occupy Wall Street in his comment on this post: “[T]he Situationists were attempting to subvert the status quo.  People had jobs but modern life wasn’t fulfilling.  Certainly, we see their legacy in the de facto requisite pithy slogans painted by protesters on Wall Street.”

This method, however, is unfortunately quite prone to narcissism and exhibitionism.  The theatrics one witnesses at Occupy Wall Street are politically empty.  The folk essence of political carnivals staged in societies where the agrarian peasant population still predominated has been lost, along with its freshness and ingenuous naïveté, replaced by the contrived political carnival of hypermediated youth culture.  I hate to be a buzzkill, but this atmosphere provokes my polemical temperament.

Update

A seemingly small — though I would say incredibly important — measure was passed last night (October 13) at the General Assembly of Occupy Wall Street, amidst all the chaos and confusion leading up to the projected eviction.

This was a proposal limiting the deafeningly loud and bombastic drum circles that have hitherto been continuously beating for almost twelve hours a day (every day).  From now on the drum circles are going to be limited to only two hours each day, chosen between 11:00am and 5:00pm.

While this may seem like an unfair concession and an impingement of the protestors’ freedom of self-expression, I have to say — and the other members of the GA pointed this out too — that this will allow the various workshops and teach-ins being held at OWS to be much more effective. Before it was almost impossible to find any place within that cramped park where you could be heard when addressing a crowd of listeners, or engage in a meaningful dialogue.

I am not categorically opposed to festive gatherings or musical celebrations or anything, but I have felt for some time now that this aspect of the OWS protests so far — the pseudo-tribal drumming, chanting, and dancing — has by and large been a distraction, almost a sideshow.  I’m not trying to recapitulate the puritanical attitude adopted by many members of the “Old Left” (Guevarist, Maoist, or Fourth Internationalist) toward the New Left during the late 1960s.  People should be able to enjoy themselves, of course, but I think that the spectacle of costuming and practically nonstop carnivalesque atmosphere down at OWS has prevented some of the participants in the protests from reflecting on the tough political questions more seriously.  A little more politics and a little less partying could be just what the doctor ordered.

Reflections on Occupy Wall Street: What it Represents, Its Prospects, and Its Deficiencies

“Populism, not Corporate Fascism” – Placards from Occupy Wall Street

When I posted my first impressions of the Occupy Wall Street phenomenon, I had been down to visit the raucous scene down at Liberty Plaza only once.  On that particular occasion, I ended up staying there for barely two hours.  By that point, I felt I had seen enough for one day.  Many of the things I witnessed there were simply all too familiar to me.  The endless beating of the drums, the pseudo-tribalistic dancing and chanting, the call-and-repeat sloganizing (“this is what democracy looks like” and other populist banalities, etc.), the predictable placards, the black-bandanaed anarchist chic — all this smacks a little too much of what has become par-for-the-course in the post-New Left political culture of orgiastic partying & protesting (it is no longer clear whether the two are separate activities).  Combine this with the more generally confused hodgepodge of vaguely leftish political sentiments expressed at the demonstrations — anything from “End Corporate Greed and Corruption” to “We are Killing our Planet,” “Jobs not War,” “Endangered Species,” and “Nazi Bankers” — apparently disconnected one another as well as any broader project of social emancipation, and there you have it: Occupy Wall Street in a nutshell.

As my rather caustic tone would imply, I was not very impressed with what I saw there that first day I visited.  My initial write-up of the events on Wall Street reflected this skepticism.  The feedback I received was, as one might have expected, almost uniformly negative.  To be sure, this response was not altogether unwelcome.  My post was largely intended as a provocation, a polemical volley aimed at some of the more superficial elements of the protests.  In light of the overwhelmingly hostile and defensive reaction it elicited, I can safely say that it achieved this goal.

Nevertheless, I realized then that to simply criticize Occupy Wall Street from the sidelines was not enough.  The significance of this sudden surge of political pathos was more serious than its more superficial aspects would suggest.  To simply dismiss these demonstrations out of hand — on account of their somewhat carnivalesque character — would be all too easy.

Of course one cannot demand ideological purity from a nascent political phenomenon, and these are still early days.  So far, the only thing uniting many of the participants in the Wall Street occupation is a generalized, intuitive discontent with the status quo.  The task incumbent upon the Left (or what remains of it) must be to push these demonstrators to articulate a political vision of social emancipation, to actively engage with the protesters.  We must seek to understand their reasons for being there, ask them what they hope to accomplish through their actions, and pose the broader question of where we stand in our own historical moment.

“The Left is Dead! Long Live the Left!” – Platypus at Occupy Wall Street (I am in the blue under the black umbrella; Jeremy Cohan is the other speaker)

Since my first trip down to the Occupy Wall Street demonstrations, I have returned three separate times. Much has gone on in the interim — OWS’ endorsement by leftish celebrities such as Michael Moore, Noam Chomsky, Cornel West, and Susan Sarandon; the alliance of various unions in support of the protests; the mass arrests that took place on the Brooklyn Bridge; and copycat occupations projected to take place in a number of cities in North America.

The movement seemed to be gaining momentum, and was at the very least drawing more media coverage.

This last Sunday, I joined a dozen or so members of the New York chapter of the Platypus Affiliated Society (a Marxist organization with which I identify) as part of a “coordinated intervention” into the muddled political mise-en-scène of the Occupation.  Yesterday and the day before I went down on my own, equipped with a DIY placard and some free time.  There I wound up bumping into a couple people visiting on behalf of the Kasama Project, one of the more thoughtful Marxist political groupings that’s cropped up in the last few years.  All in all, I feel like I’ve got a better sense of what’s going on down in the heart of the financial district, having now spent more time there.

Me holding a homemade sign (proudly made at the #Occupy Arts & Crafts station) with the Platypus slogan “The Left is Dead! Long Live the Left!”

In light of all the recent developments that have taken place at Occupy Wall Street, and with the added insight I feel I’ve gained through my participation in it, a follow-up piece to my original post on the demonstrations is well in order.  Though I will not hesitate to criticize those elements of the protests that I continue to find problematic, this post will be more of a reflection on the movement to this point — its significance, its possibilities, its deficiencies, etc.  I hope to take stock of all that’s gone on so far, situate it in terms of its greater historical context, and perhaps speculate as to what potential outcomes it might portend for emancipatory politics as a whole.

I will therefore ask the broadest and most basic questions: What does Occupy Wall Street represent? What kind of possibilities does it open up? What sort of scenarios can we realistically expect to result from it? What are its greatest strengths? And by that same token, what are its most glaring weaknesses?

What Occupy Wall Street represents

What is Occupy Wall Street? How does one classify it?

Answering these questions is not as simple as it might initially appear.  For the Occupy Wall Street phenomenon seems too ideologically nebulous to truly constitute a political “movement,” in the strictest sense of the term.  One might argue that its status as a movement is not dependent on its having a shared platform, list of concrete demands, or clear doctrine of beliefs.  Indeed, many have suggested that Occupy Wall Street’s great strength as a movement resides in its very flexibility — its all-encompassing “inclusiveness,” its ability to entertain a plurality of political positions without necessarily endorsing one over the other.  But this would seem to run counter to the generally-accepted idea of a political movement, which tend to possess a unified set of tactics, a common Weltanschauung, and a more organized structure.

Dress-up at Occupy Wall Street

On the other hand, labeling Occupy Wall Street merely as “demonstrations” or “protests” fails to capture its remarkable longevity, especially considering the connotations these words acquired during the anti-war years.  (This despite the fact that the opposition to the United States’ overseas military adventures was never all that impressive to begin with, and has almost disappeared entirely ever since Obama took office).  During this period, the idea of a “demonstration” or a “protest” was typically a quite ephemeral affair, lasting no more than a couple days.  Protestors would come out to rally for the march but then go home at the end of the day.  Such gatherings tended to be quite temporary in their duration.  One of the most noteworthy features of Occupy Wall Street, by contrast, has been its sheer endurance over the course of more than three weeks now (and counting).  Thus, the occupation would seem to defy classification as a mere “demonstration” or “protest,” at least of the variety seen in recent years.

Costuming at Occupy Wall Street

To be certain, however, some of the scenes one finds on Wall Street bear an undeniable resemblance to the kinds of antics that were witnessed at the antiwar marches of the last decade, as well as at the nearly annual anti-globalization demonstrations that have followed since Seattle 1999.  Without portraying myself as some sort of seasoned, world-weary veteran of Left activism, I have no reservations pointing out some of the more clear-cut congruencies that exist between the activist milieu at Occupy Wall Street and its earlier counterparts in the antiwar and anti-globalization protests of the last ten years.

One encounters many of the same things: the same catchphrases and sing-a-longs, the same Black Bloc ostentation, the same pseudo-bohemian pomp and pageantry, the same multi-generational mix of leftover hippies, blue-collar unionists, aging punk rawkers, along with the more recent horde of dissipated hipsters flowing in from Brooklyn.

Apropos the various similarities shared by the post-Iraq invasion antiwar demonstrations and the current occupation of Wall Street, we might briefly highlight a rather pointed irony that exists between them.

For years now, all I have been hearing at protest marches has been “End the occupation!” Now all one hears from protestors is “Occupy [insert location here]!” It’s all very confusing.

(I won’t bother going into some of the quasi-imperialist overtones of the ongoing “Occupy!” phenomenon because I find this to be a somewhat vicious criticism, but still).

Given all its festive features, might we perhaps classify Occupy Wall Street as a sort of quasi-political festival? The atmosphere there is largely celebratory; for some it seems like nothing more than an excuse to play dress-up or hold impromptu musical jamborees.  As Ashley Weger observed in an article on the G20 protests in Toronto: “Costuming and all, modern protests feel increasingly like a less sophisticated version of live action role playing, thriving off a spectacular but imaginary conception of one’s political context, walking and talking and Molotov-cocktail throwing like a revolutionary.”

Staging performances at demonstrations has some precedent, as with this 1920 Constructivist reenactment of the Storming of the Winter Palace

Encouraging creativity at political rallies also has a long history: The unveiling of Tatlin’s Monument to the Third International (1918)

So what is it, then, if not a movement, demonstration, protest, or festival? Some have proposed the more generic catchall of “resistance” to describe the Wall Street occupation.  Perhaps this might be the most fitting title for the occupation, given its own self-description as a “leaderless resistance movement.”

This moniker, however, comes with its own set of problems.  Ever since the close of the Second World War, the concept of “resistance” has risen to prominence within the discourse of the Left, ennobled by the French experience of La Résistance (mostly led by French communists) during the Vichy regime.  Unfortunately, the teleological valorization of resistance as a sort of virtue unto itself has had a rather perverse effect on protest culture over the last several decades.  Instead of calling for a broader project of social revolution, activists have substituted the notion of simply “resisting” the forces of structural domination that surrounds us.

Somehow — though the precise way that this operates is never made clear — this is supposed to “subvert” or “disrupt” the powers that be.  “Resistance” thus becomes fetishized as a supposedly heroic act of defiance, no matter how effective or ineffective it might ultimately be.

“Occupy/Resist” at Occupy Wall Street

Young woman arrested as part of the OWS march on the Brooklyn Bridge

On this point, members of Platypus have offered some analysis which is relevant to the present situation on Wall Street, especially insofar as it regards itself as a form of resistance.  In a panel discussion they hosted back in 2008, on “The Three Rs: Reform, Revolution, and ‘Resistance,’” Chris Cutrone noted how

[t]he Left today almost never speaks of freedom or emancipation, but only of ‘resistance’ to the dynamics of change associated with capital and its transformations.

With respect to this linguistic shift of emphasis from questions of freedom to questions of resistance, Cutrone finds “the current self-understanding of the Left as ‘resistance’ to express despair not only at prospects for revolutionary transformation, but also for substantial institutional reforms.”

Another member of Platypus, Laurie Rojas, drove this point home even further at a discussion of “The Politics of the Contemporary Student Left” that took place at the 2009 Left Forum in New York.  In the following passage, Rojas was specifically addressing the reborn Students for a Democratic Society (SDS), but her observations have equal application to the self-proclaimed “leaderless resistance movement” of Occupy Wall Street:

In the absence of effective leadership and long-term goals, these campaigns amount to a politics of acting out, an unreflective and compulsive desire for “agitation” and “resistance.”  The new SDS [or if you prefer, Occupy Wall Street] has become nothing more than an umbrella organization for participating in activism and resistance without strategy or goals. The activism-for-its-own-sake in SDS [or at Occupy Wall Street] indicates that it “refuses to reflect upon its own impotence,” as Adorno once said of the student activism in the ’60s.

If Occupy Wall Street doesn’t entirely fit into any of these readymade categories, however, then what exactly is it?

The answer, I think, is that it is an amalgamation of all these things we have mentioned.  It is important to recognize, as one of the observers in the Kasama Project reminded me, that this phenomenon should not be treated as a dead object, with static components that can be mechanically picked apart.  Rather, it is better to conceive it as a still-evolving subject (albeit one that is in large part unconscious of its own activities and motivations).

Of course, this is not to say that it defies any attempt to make sense of it.  Occupy Wall Street is — at least in its present configuration — part protest, part party, some parts solidarity, other parts hangout, and so on down the line.  At least tentatively, it might be most correctly termed a “sustained demonstration.”  (For lack of a more accurate definition, we may still fall back on the terms that are now regularly applied to this phenomenon).  Even at this early point, though, Occupy Wall Street appears to represent the most substantial upwelling of anti-capitalist sentiment in the West that has happened in some time.  What it ultimately signifies, however, remains to be seen.

Potential prospects for Occupy Wall Street

What might the occupation of Wall Street potentially lead to? What possibilities might it realistically present?

1968 demonstrations in Germany

Rio de Janeiro protest, 1968

A related question for those on the Left might be: How can we prevent Occupy Wall Street from turning into a farcical repeat of 1968? Though the younger generation of activists might not have much in the way of an historical memory, there are those among the protestors who participated in and remember the momentous events that took place in May through June of that year.  For that brief period of time, it seemed, the student and worker populations were radicalized to such an extent that it appeared that revolutionary social transformation might be imminent.  Unrest in Serbia and Czechoslovakia led the latter country to proclaim its independence from the Soviet Union and the Warsaw Pact.  In the West, mass protests swiftly spread across France, Germany, Britain, Mexico, Japan, and the United States, reacting against a variety of issues — from the war in Vietnam to the greater problem of “the administrative society” of high-Fordist capitalism, with its tripartite alliance of Big Business, Big Labor, and Big Government.

Protestor injured by police in 1968

1968 student uprising in Paris

Of course, the Soviets ended up crushing the attempts at democratic reforms that occurred in the short-lived “Prague Spring.”  Following the series of relatively spectacular protests, takeovers, walk-outs, and sit-ins that were orchestrated by members the New Left, the political turbulence that the major countries of the West were experiencing was calmed, and conditions generally stabilized.  Though it received a great deal of fanfare, the great political uprisings of 1968 came and went without doing much to change the existing state of affairs.

Ironically — at least compared with the radical politics of the 1960s — many of those who belong to the more moderate sections of the Occupy Wall Street demonstrations today dream for nothing more than a return to either the Clinton boom years, Johnson’s “Great Society,” or even further back, to a sort of Rooseveltian new “New Deal.”  They lament the systematic deregulation of business, the high wages, and the gutting of government social programs that have followed from the collapse of Fordist capitalism in the Oil Crisis of 1973 — which thus inaugurated the era of neoliberal capitalism, in which we are still currently mired.  As the leftist historian William Sewell has noted, such “progressives” as exist in the Occupy Wall Street movement, who hope to reinstate Glass-Steagall and return to the prelapsarian social-democracy “lite” of pre-1973, are trying to reestablish precisely the thing that student radicals in the 1960s were trying to overturn:

Sixties radicalism, especially its “countercultural” moment, must be seen as a rejection of the corporate political and cultural synthesis of “big government, big business, big labor” that became dominant in the 1950s and 1960s — what has since come to be called “Fordism.”  The term Fordism designates the mode of macrosocial and macroeconomic regulation that underwrote the long postwar economic boom, which stretched from the late 1940s to the early 1970s.  The Fordist package combined mass production technologies, relatively high wage levels, stable systems of collective bargaining, Keynesian management of aggregate demand, full employment strategies, welfare state institutions, and highly bureaucratized forms of both public and private management…

From the perspective of the hypercompetitive, predatory, and extraordinarily inegalitarian American capitalism of the early twenty-first century, the Fordist mode of regulation may seem remarkably humane, a kind of quasi-social-democratic “world we have lost.”  But from the point of view of young critics of the system in the 1960s, its benefits (for example, economic stability and steady productivity gains) were hardly noticed…Meanwhile the defects of Fordist capitalism — especially corporate conformity, bureaucratic monotony, repressive morality, and stultifying forms of mass culture — were highly visible and repugnant, at least to the youthful political intelligentsia who made up the student movement.  (William Sewell, The Logics of History.  Pg. 30)

Let us not deceive ourselves:

This is certainly one potential outcome of the Occupy Wall Street demonstrations.  The more radical elements of the movement would be pushed to the sidelines as the Democratic Party machine assuaged the more moderate participants in the occupation.

MoveOn.org already has shown some interest in “co-opting” (to use the fashionable term) the grassroots political energy on display at Wall Street.  With some luck, Obama might then come down from on high offering various concessions and campaign promises — doubtless as empty as the watchwords of “hope” and “change” used in the last election — even if he talks specifics.  This reassurance may be enough to calm down the vaguely left-of-center demonstrators that have been so outraged by Obama’s impotence in the face of (and indeed complicity with) the Republicans.

Abandoned by the more “mainstream” constituencies of Occupy Wall Street, the anarchists and the various paleo-Marxist sects would be left to fend for themselves.  The former (usually the default political orientation of young protestors) would probably soon grow bored now that no one would be paying attention to their theatrical gimmicks, while the latter (which tend to claim the allegiance of the older radicals — whether Maoist, Guevarist, or Fourth Internationalist) would pack up as soon as the media circus left town, returning to their more workaday activities of pamphleting and organizing strikes.

Another possibility, unlikely though it may be, is that Obama might promise all these things and then actually deliver them in his second term in office.  Let us say that Obama reinstitutes the old legislative and bureaucratic oversight and regulation of free market practices, taxes the top 1% more steeply, and funnels money into jobs programs, welfare benefits, and rebuilding infrastructure.  Would the protests thus have been a success? Certainly they might seem to have been in the minds of the more moderate members of the Occupy Wall Street phenomenon.  But this would be to simply replace one form of domination for another, exchange one capitalist constellation for one that is ostensibly more “humane.”

One thing that moderate, left-of-center “progressives” seem to share with the libertarian ideologues of the Tea Party movement is the delusion that laissez-faire capitalism is the only “true” form of capitalism.  In truth, however, state-interventionist capitalism is just as much capitalism as free-market capitalism.  Only superficially are they distinct; the underlying category of society remains the same — Capital.

This is, then, another potential outcome of the Occupy Wall Street protests:

The occupiers choose reformism over revolution, piecemeal legislation within the bounds of the existing (national) state rather than its abolition and replacement by a new state.  Such an outcome may seem preferable to some, but not to those who wish to fundamentally transform society and thereby emancipate all humanity.  Palliative reforms put in place under the aegis of bourgeois society treat only the symptoms of injustice, while leaving the disease, capitalism, untouched.

But what of the more leftist components of the Occupy Wall Street demonstrations? What more radical alternatives might possibly result from their activities in these events?

The storming of the Bastille during the French Revolution, 1789

Depiction of the 1848 Spring of Nations revolutions

In his immortal Eighteenth Brumaire of Louis Napoleon, Marx contrasts the political character of two separate periods of revolutionary activity, the Revolutions of 1789 and 1848.  He famously remarks that

Hegel observes somewhere that all the great events and characters of world history occur twice, so to speak.  He forgot to add: the first time as high tragedy, the second time as low farce.  Caussidière after Danton, Louis Blanc after Robespierre, the montagne [democratic socialists] of 1848-51 after the montagne [Jacobin democrats] of 1793-5, and then the London constable [Louis Bonaparte], with a dozen of the best debt-ridden lieutenants, after the little corporal [Napoleon Bonaparte], with his roundtable of military marshals! (Karl Marx, from Later Political Writings.  Pg. 31).

The trouble, as I see it, is thus: If 1968 was simply a farcical attempt to reenact (or perhaps even supersede) the tragedy of 1917, then what should we make of this latest wave of protests? For if 1968 is already a distant memory for some, then 1917 is even more remote from the public’s historical consciousness these days.  Of course, the danger here is that this new round of radical activity is already modeled on a farce, and might reduplicate its slapstick and its idiocies on an even grander scale.  If this proved to be the case, if we thus took 1968 the model for our action, we would thus be placing ourselves in a position twice removed from the tragic failure of 1917 — the moment at which the most concrete opportunity to realize a postcapitalist society was fatally missed.

Now, it is important that I not be misunderstood on this point.

I am not singling out 1968 as a total failure and exalting 1917 as a partial success.

The revolutionary enterprises that were associated with both of these years were failures.  (The revolution of 1917 was a failure at least by 1918-1919, when the Hungarian Soviet collapsed, and when the German revolution stalled out after Luxemburg and Leibkneckt were murdered — if not earlier, when Kautsky and the mainstream SPD voted to support buying war credits in 1914).  My only contention is that 1917, and the various figures and organizations that took part in those events, illustrate the most viable approach to the accomplishment of a worldwide revolution that have been seen to date.

Before someone leaps to correct me, I am fully aware that political and social conditions have changed drastically since that time.  That might even be the point of my contention — that certain conditions need to be fulfilled once again in order to establish a new society in the future.

One might well ask, what might be the best possible outcome we can expect from the Wall Street occupation?

Any sober analyst of our current situation, who has an adequate understanding of history and society, realizes that the Occupy Wall Street movement will not lead to the immediate toppling of the U.S. financial system, or even its spatial metonym in Wall Street.

From a leftist perspective, then, what might one hope for as the best-case scenario in which this could possibly play out?

In my view, Occupy Wall Street at best represents an opportunity, not for the immediate overthrow of the prevailing social order, but rather for the Left to engage with those who have become dissatisfied with the status quo.  The aim must be to turn this more or less intuitive sense of disenfranchisement, this generalized discontent with the capitalist social formation, and help them better understand the roots of the problem.

This is not, to be sure, a one-way street, in which elite circles of leftist intellectuals, academics, and theoreticians descend from their lofty position above the mêlée and simply “educate” the social masses.  In order for the inchoate anti-capitalism of Occupy Wall Street to acquire a more adequate historical and theoretical self-understanding, the Left must be responsive to the messiness of empirical reality, and sensitive to the legitimate grievances being voiced by those in Liberty Plaza.

Reciprocally, this will require a willingness on the part of the public disaffected by capitalism to deepen its understanding of the problem that confronts them, and commit itself to a longer-term program of political emancipation.  This means not getting impatient with the so-called “paralysis of analysis” and not simply showing up for the protests.  It will, moreover, involve a dedication to the greater project of reconstituting the Left.

Problems with Occupy Wall Street

What have been the shortcomings to the Occupy Wall Street movement so far? What are its most glaring deficiencies?

As I see it, the most problematic aspect of the Wall Street demonstrations is its inability to adequately conceptualize the capitalist social formation.

If you ask the protestors what the root of society’s woes is, one common response you will hear is “greed” or “corporate greed.”  Greed, however, is hardly unique to the capitalist mode of production.  Max Weber made this abundantly clear in his outstanding introduction to The Protestant Ethic and the Spirit of Capitalism:

Unlimited greed for gain is not in the least identical with capitalism, and is still less its spirit.  Capitalism may even be identical with the restraint, or at least a rational tempering, of this irrational impulse.  But capitalism is identical with the pursuit of profit, and forever renewed profit, by means of continuous, rational, capitalistic enterprise.  For it must be so: in a wholly capitalistic order of society, an individual capitalistic enterprise which did not take advantage of its opportunities for profit-making would be doomed to extinction. (Max Weber, The Protestant Ethic and the Spirit of Capitalism.  Pgs. xxxi-xxxii).

Beyond this basic point, the problem with seeing “greed” as the root of all society’s evils is that it mistakes an epiphenomenal characteristic of capitalism for something more fundamental.  As my friend Jeremy Cohan (also of Platypus) pointed out with reference to this text, it is remarkable the way that capitalism tames the traits of greed and competitiveness into our everyday patterns of behavior.  Capitalism exists in such a manner that it normalizes these personality traits throughout the whole of society.

Another consequence of blaming the gross disparity of wealth that exists between the highest echelons of the capitalist social order and the rest on a mere personality flaw (the poor moral constitution of the top 1%) is that it ignores the way that the capitalists themselves are implicated by the intrinsic logic of Capital.  This misunderstanding ultimately amounts to what might be called the “diabolical” view of society — the idea that all of society’s ills can be traced back to some scheming cabal of businessmen conspiring over how to best fuck over the general public.

(The “diabolical” view of society is not all that far removed from conspiracy theories about the “New World Order,” the Illuminati, or “International Jewry.”  Indeed, it is not surprising to see that shades of anti-capitalism misrecognized as anti-semitism have cropped up amongst some pockets of Occupy Wall Street; see Moishe Postone’s excellent essay on “Anti-Semitism and National Socialism”).

Capitalism is not a moral but rather a structural problem.  Though he obviously enjoys the benefits that his great wealth affords him, it is not as if the capitalist acts independently of the (reified) laws of bourgeois economics.  He is constantly compelled to reinvest his capital back into production in order to stay afloat.  In this way, even the capitalist is made subject to forces beyond his control.

The critical theorist Max Horkheimer picked up on this in a fragment from one of his early essays on “The Little Man and the Philosophy of Freedom”:

The businessman is subject to laws which neither he nor anyone else nor any power with such a mandate created with purpose and deliberation.  They are laws which the big capitalists and perhaps he himself skillfully make use of but whose existence must be accepted as a fact.  Boom, bust, inflation, wars, and even the qualities of things and human beings the present society demands are a function of such laws, of the anonymous social reality, just as the rotation of the earth expresses the laws of dead nature.  No single individual can do anything about them.  (Max Horkheimer, Dawn & Decline.  Pg. 50).

These laws of the capitalist mode of production are regarded by bourgeois economists as natural and thus transhistorical, operative in every society past and present.  This misrecognition of dynamics peculiar to capitalism as eternal laws of nature has been termed by Marx as “commodity fetishism,” and conceptualized by later Marxist theorists like Lukács as “reification.”

Such mistakes bear some relation to the old notion that wealth is acquired through the older (precapitalist) tactic of simple money-hoarding.  Marx himself pointed out the difference between the premodern miser and the modern capitalist, stressing the compulsive character of the logic of capital:

Only as a personification of capital is the capitalist respectable. As such, he shares with the [precapitalist] miser an absolute drive towards self-enrichment. But what appears in the miser as the mania of an individual is in the capitalist the effect of a social mechanism in which he is merely a cog. Moreover, the development of capitalist production makes it necessary constantly to increase the amount of capital laid out in a given industrial undertaking, and competition subordinates every individual capitalist to the immanent laws of capitalist production, as external and coercive laws. It compels him to keep extending his capital, so as to preserve it, and he can only extend it by means of progressive accumulation. (Karl Marx, Capital, Volume I. Pg. 739).

The logic of capitalist accumulation demands that value be ceaselessly thrown back into the circuit, the perpetuum mobile, of production and circulation.  Not even the highest 1% can afford to act outside this logic.  If they try to defy it, they go under, and swiftly rejoin the so-called 99%.

Another deficiency I commonly see in the Occupy Wall Street movement is its narrow understanding of the scope of the problem of capitalism.

Perhaps understandably, protestors often frame social inequality and class oppression within a merely national context.  They talk about the various ways in which “the American dream” has been abandoned, express their disbelief at the fact that America has allowed such rampant government corruption and the infiltration of special interest lobbyists into Washington, etc.

Now there is nothing wrong with such sentiments per se, but they fail to comprehend the scope of the capitalist world economy.  For capitalism is fundamentally a global phenomenon; it does not admit of localization to one single nation, even when it comes to such economic powerhouses as the United States.  This overly narrow understanding of the problem of capitalism is what has given rise in recent years to the equation of anti-capitalism with simple anti-Americanism.

The exclusive significance of United States is absurdly overemphasized in what might almost be called an inverted “American exceptionalism,” ignoring the fact that the European Union, Russia, and China are also heavyweights within the global market, with their own imperialist interests and networks of oppression.

If capitalism is to be overcome, it cannot be done on a merely national scale; it must be accomplished internationally, at least in the most advanced capitalist nations of the world (initially).  For this reason, any radical political movement that aspires to take up the mantle of the Left must intersect with anti-capitalist groups overseas and around the world.  Such action requires coordination, organization, and communication.  Occupy Wall Street-esque gatherings may be spreading throughout North America and in Europe (where demonstrations have actually been going on independently for some time), but their focus is still too much on national reform rather than international revolution.

One might object to the fact that I take issue with Occupy Wall Street on this score, especially in light of the fact that these protests were closely modeled on recent events that have transpired in Egypt and Greece.  To be fair, there is some inkling of international solidarity at least in this respect.  But the unique circumstances of the Greek and Egyptian protests (not to mention the armed rebellion in Libya) are all-too-often overlooked.  One cannot simply transpose the tactics employed in one national situation and expect them to produce the same results in another.  The claim that some overzealous protestors have hastily made is that Occupy Wall Street is “America’s version of the Arab Spring,” a delusion if ever there was one.

In truth, the demonstrations on Wall Street have much more in common with the protests and uprisings that we have seen in Spain and Greece than it has with any of the nations of the Arab Spring.  For the nations of the recent “Arab Spring” — Tunisia (oft-forgotten), Egypt, Libya, and Syria — the primary issue at stake has been of an almost entirely political nature.  That is to say, the grievances of the public in these countries had mostly to do with the suffocating and backwards dictatorships that had held sway in the region for so long.  The protests in Egypt, Tunisia, and Syria along with the bitterly violent struggle in Libya have all aimed to overthrow their existing governments, to redraft new political constitutions.

(It is important to remember that the success of the “Arab Spring” remains incomplete.  Dictators have been removed in Egypt, Tunisia, and Libya, but the Ba’athist regime in Syria continues to hold a deathgrip on power).

Occupy Wall Street, though it patterns itself after the Egyptian experience, concerns primarily socioeconomic grievances.  Very few of the protestors down at Liberty Plaza seem to be calling for the dissolution of the existing state apparatus; all they want to do is clean out the corruption so endemic to the system.  Likewise, in Greece and Spain — which are in far more dire straits economically than the U.S. — the demonstrations have been mostly the result of rampant unemployment, decreasing wages, and austerity measures that have been put in place.  Youth unemployment in Spain and Greece is approaching an astonishing 50%.

To continue in this vein, it is interesting to note the Wall Street occupation’s selective use of examples to be followed in their demonstrations.  Now I understand that the tactic of principled and categorical non-violence and civil disobedience is contentious among certain elements of the occupation, but the overwhelming attention paid to the example of Egypt is telling in this regard.  In Egypt, of course, non-violent demonstrations were successful in ousting the country’s longtime president and dictator Hosni Mubarak, this being accomplished in a relatively short period of time.

By contrast, similar measures proved completely ineffectual in Libya, where the Gaddafi regime violently suppressed peaceful demonstrations.  The Libyan people were forced to resort to armed conflict in order to carry out their political revolution.  In Syria, non-violent protesting has so far failed to overturn the ruling Ba’ath Party regime.  Passive resistance and peaceful protesting hardly produce uniform results.

Just to be clear, I am not interested in empty militant posturing on the part of the protestors.  At this point, there are neither the means nor the ammunition to seize power in some sort of violent overthrow.  Still, I find the blind adherence to the pacifist principles of Tolstoi, Gandhi, and King to be very problematic.

In connection with this, I feel I must touch on a problem associated with one of these celebrated figures — Gandhi.  To be more specific, the issue I have concerns a motto attributed to him (one that has since become so ubiquitously quoted amongst “progressives” that its significance has almost been reduced to a mere bumper sticker): “Be the change you want to see in the world.”  At the one General Assembly meeting I attended at Wall Street, this phrase was almost immediately trotted out, which instantly set off alarms in my head.  For while (on the surface of things) this phrase may seem unobjectionable, the thinking behind it and the ideology it gives rise to is actually quite pernicious.

What I am referring to is what has been termed by many on the Left as prefigurative utopianism.  In other words, what this phrase implies is that one must accept the various evils of the world, understanding that one individual alone cannot change them.  But at the same time, it suggests that if everyone simply lived their own life the way they would if they lived in a perfect world, that perfect world might somehow be realized.  The concept of prefigurative utopianism is thus closely linked with the phenomenon of lifestyle politics.  This mentality is captured by the line — so often delivered by pontificating Hollywood celebrities — that “it all begins with YOU.”  As Chris Cutrone has noted in an article on “Adorno’s Leninism”:

Mahatma Gandhi said, “Be the change you want to see in the world.”  This ethic of “pre-figuration,” the attempt to personally embody the principles of an emancipated world, was the classic expression of the moral problem of politics in service of radical social change in the 20th century. During the mid-20th century Cold War between the “liberal-democratic” West led by the United States and the Soviet Union, otherwise known as the Union of Workers’ Councils Socialist Republics, the contrasting examples of Gandhi, leader of non-violent resistance to British colonialism in India, and Lenin, leader of the October 1917 Bolshevik Revolution in Russia and of the international Communist movement inspired by it, were widely used to pose two very different models for understanding the politics of emancipation. One was seen as ethical, remaining true to its intentions, while the other was not. Why would…[a] Marxist [choose] Lenin over Gandhi?  [A Marxist’s] understanding of capitalism, what constituted it and what allowed it to reproduce itself as a social form, informed what he thought would be necessary, in theory and practice, to actually overcome it, in freedom.

Lately I have noticed that some of the protestors actually believe that what they are doing is constituting a real-world alternative to capitalist society.  They believe that Occupy Wall Street and its method of organization can serve as a model for an emancipated society.  While I perhaps understand this sentiment, I can’t help but find it incredibly naïve.  Nevermind that these “occupations” are nothing more than isolated pockets within capitalist society, largely funded and maintained from without through the normal mechanisms of the exchange economy.

Another related fallacy I have noticed among many of the Wall Street occupiers is their rather bizarre fascination of the notion of “direct democracy.”

For them, direct democracy is the undistilled expression of what Rousseau would have called the general will, bypassing the republican practicalities of representation in favor of the mass caucus (at Occupy Wall Street, this is embodied by the nightly meetings of the General Assembly).  The chaos, disorder, and confusion (and consequent inefficacy) one witnesses at these conventions even on the small scale of several hundred protestors makes one rightly wonder how such a political practice could ever become effectively generalized throughout the total population of a country, state, or even a single city.

The doctrinaire non-hierarchical stance taken by the “facilitators” of the General Assembly, and the amorphous political form of organizational “horizontality” that results from it, severely inhibits the potential for the Occupy Wall Street movement to formulate specific demands, coordinate decisive actions (beyond marches), and articulate a broader program of social change.  It might allow individuals to freely start up clubs or “workshop groups” by acting on their own initiative, but the nearly endless proliferation of such groups only adds to the confusion and the unstructured free-for-all of the protests.

Here the vaunted notion of direct democracy reveals itself t0 be the fetish-form of what protestors believe is the most “egalitarian” mode of coordination and administration.  In the general atmosphere of ahistoricism that permeates the demonstrations on Wall Street, people seem to forget that the only historical instance of any political organization that even resembled a direct democracy was in the ancient Greek polis of Athens, and that even on that limited scale it proved a failure (not to mention condemned Socrates to death).

This brings me to my final point of criticism of the Occupy Wall Street protests.

One of the other pervasive problems that is encountered amongst the activists on Wall Street is the stunning lack of any greater historical perspective on what is going on there.  This is perhaps symptomatic of cultural post-modernism, with its short memory and seeming obliviousness to any knowledge of the past.  An understanding of history is vital to any emancipatory politics, not in order to resurrect past slogans or party platforms, but to understand where we stand in terms of the sequence of events that has led up to our present moment.

Of all the conversations I had with the people down at Zuccotti park, one of the most stimulating discussions I had at Occupy Wall-Street by far was with a member of the Kasama Project, over the role of intellectuals and the Left with respect to spontaneous political formations like the protests at Liberty Plaza:

We went over the nuances of the famous Russian term that Lenin used to describe the position of the party in relation to the masses in What is to be Done?: “авангард” (which can be variously translated as either “vanguard” or “avant-garde”).  The member of the Kasama Project pointed out the useful distinction between these two terms that exists in English, as a political “vanguard” standing immanently at the forefront of the mass movement versus an artistic “avant-garde,” which seems to stand outside of the mainstream and tries to influence it from without.

This all led to an important historical revelation for me: When Lenin spoke of a revolutionary party standing as a vanguard to mass political movements, he was referring to a very concrete object — the international anti-capitalist workers’ movement, which had been building and amassing support continuously for nearly seven decades.  Today, we can speak of no equivalent movement that has either such continuity or consistency as the workers’ movement of Lenin’s day.

Paleo-Marxist groups might still cling dearly to the notion that their organization must act as a vanguard to mass political movements, but the question is: What mass political movement? What exactly is there that one can be a vanguard of?

The historical recognition of the extent to which the conditions necessary to foment social revolution have disappeared over the course of the last century is vital to any emancipatory political project in the present.  It indicates to us that there is much work that remains to be done, in order to sow the seeds of social consciousness that might lead to a more sustained opposition to the capitalist social order.

To be most optimistic, we might speculate that Occupy Wall Street and the other demonstrations it has inspired might portend a reawakening of the political Left from its decades-long torpor, a revivification of anti-capitalist sentiment in social consciousness that has for some time now been all but comatose.  The cultivation and elaboration of an historical understanding of our present moment, and the possibilities that the future might hold, is vital if Occupy Wall Street wants to be anything more than a fleeting glimmer of political radicalism that is then harmlessly reintegrated into “business as usual.”

The Soviet Avant-Garde: International Reflections of the OSA-ASNOVA (Constructivist-Rationalist) Split

Architectural Experiment from Nikolai Ladovskii's Studio at VKhUTEMAS, 1924

THE SOVIET AVANT-GARDE — INTERNATIONAL REFLECTIONS OF THE OSA-ASNOVA (CONSTRUCTIVIST-RATIONALIST) SPLIT

THE EFFICACIOUS VS. THE AESTHETIC

In his landmark structural analysis of the antinomical tendencies existing within Russian culture (broadly termed “Culture One” and “Culture Two”),[1] Vladimir Paperny locates a subset of contradictions operative in the context of the former considered by itself.  This second-order oppositional pair he identifies corresponds to the two main positive bases of modernist architecture we have already set forth: the contours of abstract art on the one hand, and modern industrialism (and more specifically, the machine) on the other.  While it is difficult to see how this opposition fits into Paperny’s broader scheme of Russian history as a whole — for he claims that these cultural patterns recur, and the existence of this particular binary in earlier epochs seems unlikely — his conceptual division of these two tendencies is entirely correct with reference to the 1920s.  He explained this internal tension within Soviet avant-garde culture as follows:

In Culture One there is yet another pair of opposing tendencies…One element in this pair is bespredmetnichestvo (nonfigurative art), the rejection of any resemblance between an artistic creation and life and thus the affirmation of the right of art to speak in its own language.  The other element is zhiznestroenie (life-building), the complete blending of art with life.

The first tendency in Culture One led to the appearance of abstract painting, the montage in cinematography, the experiments of Kandinsky and Ladovskii regarding the perception of forms and colors, the arkhitektons of Malevich, El Lissitzky’s PROUNs (Projects for the Affirmation of the New), and, ultimately, to rationalism [or formalism] in architecture.

The second tendency led to Maiakovskii’s political posters for the ROSTA (Russian Telegraph Agency) windows, Tatlin’s chair and flying device called Letatlin, the documentary films of Dziga Vertov and Esfir’Shub, the designs for a city of the future by the sculptor Anton Lavinskii, and, ultimately, to constructivism (or functionalism) in architecture.

Both these trends, as with the two preceding ones, barely existed in a pure form, and every position presented itself as an intervening point between the two poles…Culture One succeeded in seeing abstract beauty in efficacious structures and efficacy in abstract compositions.[2]

Cover of the Publication "Architecture of VKhUTEMAS" (1927), Designed by El Lissitzky

Cover of the Constructivist Journal "Modern Architecture," Tenth Anniversary of October 1917 Edition (1927), Designed by Aleksei Gan

Although many have made the point that in their realized structures — that is, in those buildings that were actually built — the works of the Rationalists in ASNOVA and of the Constructivists in OSA bear an undeniable resemblance to one another,[3] the theoretical differences between the two groups were by no means insignificant (even if they seemed to produce similar results).  Indeed, visiting the Soviet Union in 1929, no less an architect than Bruno Taut admitted that “it is really very difficult for an outsider to understand the difference between the so-called ‘constructivists’ and the ‘formalists.’”[4]  Even Moisei Ginzburg, who would come to be one of the staunchest representatives of Constructivist architecture, sought early on to minimize the differences between the two tendencies.  In 1923 he thus asserted: “‘Rationalism,’ ‘Constructivism,’ and all such nicknames are only outward representations of a striving for modernity, one which is more profound and fertile than might seem the case at first glance and which is engendered by the new aesthetic of a mechanized life.”[5]

Despite such admissions, there are still many good reasons for taking this split within the Soviet architectural avant-garde seriously.  Their differences were both presented on consistently principled grounds and were, moreover, symptomatic of a broader and more basic contradiction within modernist theory as a whole.  Though professional rivalries and personal antipathies no doubt played a role in these groups’ relations, it is important to examine their points of disagreement on their own terms, as historians like Catherine Cooke and Anatole Kopp have to some extent.[6]  The suggestion that such deep-seated disputes were motivated simply by jealousy, dislike, or competition over commissions fails to hold up when placed under scrutiny.  Too many other factors intervene: parallel developments in the arts (particularly in theater) and sciences (particularly in the field of industrial psychology), similar divisions along international lines (between, for example, the Dutch Neoplasticists and the German Functionalists), and the privileging of one set of positive principles over another (as with the emphasis on abstract form versus concrete function).  What is more, the inherently totalizing and systematic nature of modernist architectural thought, which will be the specific focus of the next subsection, prevented the members of these rival avant-garde factions from readily compromising their ideals or making concessions.  They rejected any approach they felt was incompatible with their own doctrines.  This all-or-nothing mentality of the modernists is further evidenced in the turn towards city planning, which gave rise to even greater disagreements and divisions within both OSA and ASNOVA.  Such later fragmentations as these will be dealt with in the course of our discussion of the international avant-garde’s eventual turn towards urbanism in the second half of the 1920s.

J.J.P. Oud's Cafe de Unie (1925) retains Neoplasticist overtones long after his split from De Stijl

Rietveld's very Neoplasticist Schroderhuis (1923)

Beyond those who were themselves involved in Soviet modernist architecture, there were a number of observers and commentators at the time who recognized these rival tendencies.  “[I]n Russia two tendencies can be discerned…: one of aesthetic experiment, and one of constructive functionalism,” noted Theo van Doesburg in his 1928 article, “Abstraction, Dream, and Utopia: Conflicting Movements in Russian Architecture.”[7]  This split he identifies, which corresponds to the distinction between the Rationalists and Constructivists in architecture, was in some sense mirrored in his own experience.  For while the division between painterly-aesthetic formalist tendencies on the one hand and industrial-constructive functionalist currents on the other was nowhere more pronounced than in Russia, especially at a national level, this tension could be seen at work in modern architecture elsewhere.  In some sense, this runs counter to Paperny’s thesis that no equivalent opposition existed in the West, but only superficially.[8]  Van Doesburg had witnessed firsthand the division between rigorous formalism based on abstract painting as practiced by himself and his countrymen — Robert van’t Hoff, and to a lesser extent, Gerrit Rietveld and Mart Stam — and rigorous functionalism based on industrial design as practiced by the (predominantly German) proponents of the Neue Sachlichkeit.  Even earlier, within the ranks of van Doesburg’s journal De Stijl, a similar feud had broken out between the architect Oud, who favored the examples of industrial machinery,[9] and the painter Mondrian, who favored his own Neoplasticist abstractions.[10]  Oud departed De Stijl in 1921 after van Doesburg sided with Mondrian on this issue,[11] though Oud would remain (at least tacitly) more committed to the aesthetic dimension of architecture than his more severe counterparts in German functionalism.[12]  At least in theory, the De Stijl architect Rietveld attempted to reconcile these two poles of modernist architecture by aiming “to determine the relationship between beauty and art, as well as the relationship between these two and utility and construction.”  He proposed (by way of negation) that architecture should seek a middle ground, choosing to take the somewhat safer position of neutrality: “It seems just as wrong to me to accept or reject constructional forms for aesthetic reasons as to accept or reject aesthetic elements on constructional or economic grounds.”[13]  And in practice, Rietveld was rather successful in compromising between the two poles, as his famous Schröderhuis attests.  Despite his earlier affiliation with De Stijl and painterly Neoplasticism, however, Rietveld eventually ended up identifying with the “international style” of functionalism by the beginning of the 1930s.[14]

Walter Gropius' famous Bauhaus Building at Dessau (1926)

The Bauhaus Dessau Building (1926) with notes

Scharoun's 'Panzerkreuzer' block at Siemmensstadt (1929-1934)

The rift that existed in Soviet avant-garde architecture between its positive basis in abstract art and its positive basis in industrial design was reproduced in miniature in the debates between van Doesburg and his followers and Walter Gropius’ Bauhaus school at both Weimar and Dessau.  In 1921, after being denied a position at the newly opened Bauhaus, van Doesburg set up shop in Weimar as a competitor to its course of design.[15]  While he praised the school’s stated goal of unifying the various arts under the rubric of architecture,[16] van Doesburg was highly critical of its actual achievements.[17]  Following the emergence of the Neue Sachlichkeit in German architecture around the Bauhaus, van Doesburg swiftly wrote an article “Defending the Spirit of Space: Against a Dogmatic Functionalism.”  As its title would suggest, this piece defended the spatiotemporal basis of architecture imparted by abstract art against the overzealous application of industrial forms and ideas.  “Undoubtedly, a so strictly functionalistic layout of the spaces will be considered the most appropriate and most economical one,” he admitted.  “In reality, though, this is not true.  Already from a purely practical perspective this architecture, because of its individual shape, does not lend itself to spatial expansion.”[18]  Later, van Doesburg derided the overly Taylorized, industrialist approach to architecture as creating “an absolute rigidity and sterilization of our lives.”[19]  Likewise, his former collaborator Rietveld (whom Gropius did end up hiring for the Bauhaus) — although he eventually came to embrace the mantle of functionalism — also took aim at what he identified as German functionalism’s peculiar inflexibility.  Rietveld did not blindly endorse every sort of functionalism: “Not only in Holland, but in Austria and France (and maybe Japan and Russia, currently very much influenced by Germany, will soon follow), people now see very clearly that the German program for a new functionalism is much too narrow, uncompromising, and lacking in flexibility.”[20]  Mondrian, though long since estranged from Rietveld and van Doesburg, also stressed the abstract formal properties of the new architecture over utilitarian considerations.  “At present, I see no chance of achieving perfect plastic expression by simply following the structure of what we build, studying its utility alone…,” wrote Mondrian.  “We therefore need a new aesthetic based on the pure relationships of pure lines and colors, for only pure relationships of pure constructive elements can result in pure beauty.”[21]

Theo van Doesburg and Cornelis van Eesteren, Architectural Sketch (1924)

Frederick Kiesler's "Cité dans l'espace" (1925)

Though Teige rightly credited the early De Stijl influence on the Bauhaus as helping “to eradicate [its] surviving expressionist tendencies,” the German functionalists coming out of this school toward the end of its years in Weimar and its first years in Dessau were mutually critical of the Dutch movement’s aesthetic adherence to “the new ‘orthogonal’ formalism.”[22]  In Gropius’ reflective 1934 “Appraisal of the Development of Modern Architecture,” he acknowledged its initial influence while dismissing its overall value, writing: “The ‘Stijl’ movement had a marked effect as propaganda, but it overemphasized formalistic tendencies, and so…made ‘cubic’ forms fashionable.”[23]  Indeed, though he viewed movements like the Neue Sachlichkeit as too limited and one-sided,[24] Gropius’ evolution from an organicist and expressionist architectural ideology to a functionalist approach can be witnessed by comparing his 1919 “Program of the Staatliches Bauhaus in Weimar” to his programmatic 1926 piece, written shortly after moving their operations to Dessau, “Principles of Bauhaus Production.”  In this latter essay, Gropius asserted that an object produced at the school “must serve its purpose perfectly, that is, it must fulfill its function usefully, be durable, economical, and ‘beautiful’.”[25]  Shortly thereafter, one of the great theoreticians of functionalism and Sachlichkeit in architecture, Adolf Behne, rejected the aestheticism of form to make way for purely functional construction.  “The surest guiding principle to absolutely sachlich, necessary, extra-aesthetic design,” wrote Behne in 1926, “seemed to be adaptation to technical and economic functions, which with consistent work must in fact lead to the dissolution of the concept of form.”[26]  On this point, Hannes Meyer, correctly noting the profound development of Bauhaus theory from Weimar to Dessau,[27] continued in his predecessor’s vein by warning against any “modishly-flat plane-surface ornamentation divided horizontally and vertically and all done up in Neoplastic style.”[28]

ABC Beiträge zum Bauen, designed by El Lissitzky (1925)

Van Nelle Factory in Rotterdam by Mart Stam, Johannes Brinkman, and Leendert van der Vlugt

Van Nelle Factory in Rotterdam by Mart Stam, Johannes Brinkman, and Leendert van der Vlugt (1928)

The final non-Russian example of this internal division within the international avant-garde between aesthetic formalism and utilitarian functionalism centers around the Swiss architectural journal ABC, edited primarily by Mart Stam and El Lissitzky.  In a way, this can be seen as a recapitulation of the controversy surrounding Lissitzky’s involvement with the earlier periodical Veshch/Gegenstand/Objet, as van Doesburg aptly remarked.[29]  This was intimately connected with theoretical formulas advanced in Russia by the group ASNOVA, which had close personal and editorial ties to Lissitzky.  At the same time, it was bound up with subsequent developments within Dutch architectural modernism, as Stam’s growth reflected this broader pattern.[30]  Insofar as Lissitzky was one of the four founding members of ASNOVA,[31] he used ABC as an organ through which he could disseminate the ideas of architectural Rationalism from Russia.[32]  However, the ideals espoused by Stam, the second-ranking member of the group, would have logically placed him more in alliance with the hyperfunctionalist OSA current of Soviet architecture than with ASNOVA.[33]  Though the journal ABC was initially quite supportive of ASNOVA’s architectural agenda,[34] the Swiss group that published it later distanced itself from this early alliance.  “In 1927, [the members of ABC] realized that their alliance with Lissitzky and ASNOVA was the core of their problem, steering them in a direction that deterred Western clients.”[35]  Of course, on a political level, Stam and the other radicals of ABC remained committed to the ideals of communism, and so they were still connected with Lissitzky after rejecting “the impractical ASNOVA approach.”[36]


[1] See above, pgs. 139-140.

[2] Paperny, Architecture in the Age of Stalin: Culture Two.  Pg. 207.

[3] Hudson maintains (wrongly) that the theoretical differences between OSA and ASNOVA were of little importance, considering the closeness of their results.  Hudson, Hugh.  Blueprints and Blood.  Pgs. 30-50.

Though Paperny offers a much more nuanced view of this division within the Soviet avant-garde, he does mention “the frequently noted similarity of these tendencies’ [Rationalism’s and Constructivism’s] formal results.”  Paperny, Architecture in the Age of Stalin: Culture Two.  Pg. 207.

Paperny explains this similarity of formal results as follows: “Bespredmetnichestvo and zhiznestroenie are identical in the respect that both are a symbolic and positive reaction to the scientific-technological civilization that arrived in Russia from the West.  Similarly, rationalism and constructivism are identical in the respect that both, as formulated by M. Ginzburg, ‘are only external expressions of the striving of contemporary life…of the birth of a new aesthetic by mechanized life.’  The same forms, introduced by the new civilization, were standing directly in the line of vision of both the rationalists and the constructivists — hence, the similarity of formal results.”  Ibid., pg. 210.

[4] Taut, Bruno.  “Russia’s Architectural Situation.”  Translated by Eric Dluhosch.  Russia: An Architecture for World Revolution.  (The MIT Press. Cambridge, MA: 1984).  Pg. 170.  Unpublished manuscript originally written in 1929.

[5] Ginzburg, Style and Epoch.  Pg. 102.  This is the same quote cited by Paperny.

[6] Kopp, a Russian-born French architect and historian, wrote: “It would appear that the differences between the OSA and ASNOVA were based at least as much on the almost inevitable spirit of contention between different and rival organizations as on fundamental points of doctrine.  Moreover, the views of each of these two groups on the action that needed to be taken to bring about an architectural renewal, the temperaments of their respective members, and their various attitudes, militant and didactic on the one side, less extrovert and more reflective on the other, also played an important part in the clashes and confrontations of the period.”  Kopp, Anatole.  Town and Revolution: Soviet Architecture and Town Planning, 1917-1935.  Translated by Thomas E. Burton.  (G. Braziller.  New York, NY: 1970).  Originally published as Ville et Révolution: Architecture et Urbanisme Soviétiques in 1967.  Pg. 76,

[7] “In the periodical Gegenstand, the text of which was dictated by Moscow, these two tendencies came into conflict.  Here, machine parts and illustrations of modern airplanes were to serve as incentives to build, manifesting the desire to impress and demonstrate the capacity for great achievements.  All these efforts ‘on paper’ and ‘in the sky’ showed very clearly that architecture had to serve here as a cover for disguising aesthetic fantasies, which were useless from the perspective of functional architecture, but, on the other hand, were most significant from a modern aesthetic viewpoint, as incentives, and beneficial to new building forms and constructions.”  Doesburg, Theo van.  “Abstraction, Dream, and Utopia: Conflicting Movements in Russian Architecture.”  Translated by Charlotte I. Loeb and Arthur L. Loeb.  On European Architecture: Complete Articles from Het Bouwbedrijf, 1924-1931.  (Birkhäuser Verlag.  Boston, MA: 1990).  Pg. 197.  Originally published in October 1928, Vol. V, № 22.  Pgs. 436-441.

[8] Paperny relates this claim through a very entertaining story: “Western civilization also went through various phases of an artistic assimilation of machine civilization (William Morris, Walter Gropius), but a sharp collision with a patriarchal culture, such as occurred in Russia in the 1900s (or in Japan after 1868), never happened in the West.  Therefore, the Western avant-garde never agreed with the extreme position of the Russian productionists — the full rejection of the aesthetic in favor of the efficacious.  Le Corbusier could say that the house is a machine for living, but after seeing the gloomy result with which his Russian sympathizers tried to embody his vision, he was compelled to remind them that architecture, all the same, ‘begins where the machine ends.’”  Paperny, Architecture in the Age of Stalin: Culture Two.  Pgs. 209-210.

[9] Oud asserted the primacy of machine-based architecture over the abstractions of Mondrian, though he claimed that painting was finally catching up with architecture: “Where architecture has already long been achieving plastic expression through the machine (Wright), painting is being impelled inevitably towards the same plastic means and a unity in the pure expression of the spirit of the age is making a spontaneous appearance.”  Oud, “Art and Machine.”  Pg. 97.

[10] Mondrian saw the utilitarian example of the machine as paving the way for a new aesthetic, but found that this aesthetic should be taken from abstract painting: “Architecture was purified by utilitarian building, with its new requirements, technology and materials.  Necessity, therefore, is already leading to a purer expression of equilibrium and to a purer beauty.  But without new aesthetic insight, this remains accidental, uncertain; or it is weakened by impure concepts, by concentration upon non-essentials.

“The new aesthetic for architecture is that of the new painting.  A purer architecture is now in a position to achieve the same consequences that painting, purified through Futurism and Cubism, realized in Neoplasticism.  Thanks to the unity of the new aesthetic, architecture and painting can merge into a single art and can resolve into each other.”  Mondrian, Piet.  “Is Painting Secondary to Architecture?” Translated by Hans L.C. Jaffé.  De Stijl.  (H.N. Abrams.  New York: 1971).  Pg. 184.  Originally published in De Stijl 1923, Vol. VI, № 5, pp. 62-64.

[11] “The basis of the quarrel between van Doesburg and Oud, in terms of the group, was an ongoing rivalry between the painters and the architects.”  White, Michael.  De Stijl and Dutch Modernism.  (Manchester University Press.  New York, NY: 2003).  Pg. 56.

[12] Banham brilliantly observes: “[The] idea of using concrete to create a purely apparent unification of load and support shows how much aesthetic parti-pris lurks even in the practicalities of a man like Oud who left De Stijl because he felt its aesthetics were becoming too precious.”  Banham, Theory and Design in the First Machine Age.  Pg. 161.

[13] Rietveld, Gerrit.  “Utility, Construction: (Beauty, Art).”  Translated by Tim Benton.  Architecture and Design, 1890-1939: An International Anthology of Original Articles.  (The Whitney Library of Design.  New York, NY: 1975).  Pg. 162.  Originally published in 1-10 1927, Vol. 1, № 3, pgs. 89-92.

[14] “The new functionalism in Dutch architecture is no different from that of other countries; when people talk about ‘international architecture’ there, they mean the same thing.”  Rietveld, “New Functionalism in Dutch Architecture.”  Pg. 33.

He posed the problem of functionalism as follows: “The program of the new functionalism is as follows: to determine scientifically the correct requirements for good housing; to ascertain the best systems for insulation, absorption, reflection, drainage, etc., including all these aspects in the construction of a single operation; and, finally, to industrialize the as yet primitive activities on construction sites.”  Ibid., pg. 35.

[15] Teige recalled: “At this time [1921] the Bauhaus betrayed a very strong influence from members of the De Stijl group.  Theo van Doesburg went so far as to found a kind of counterschool in Weimar.”  Teige, “Ten Years of Bauhaus.”  Pg. 633.

“In 1921 Theo van Doesburg came to Weimar, with his vital energy and his clear critical mind — Weimar, where the Bauhaus had been in existence since 1919, and where a considerable number of modern artists were living, attracted by the wind of progress that used to blow — in those far-off days — through Thuringia.  The credit for inviting Doesburg to Weimar goes to Adolf Meyer; straightforward, phlegmatic, and consistent, Meyer never diverged from the straight line that led from the buildings designed in cooperation with Gropius in Cologne and Alfeld to the works of his later, mature period in Frankfurt.  The teaching appointment as such was not a success, since it proved impossible to bridge the gap between Doesburg’s views and those of the then dominant Bauhaus personalities.”  Dexel, Walter.  “Theo van Doesburg.”  Translated by David Britt.  Between Two Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930.  (The MIT Press.  Cambridge, MA: 2002).  Pg. 724.  Originally published in Das neue Frankfurt in 1931.

[16] “The Bauhaus strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art — sculpture, painting, handicrafts, and the crafts — as inseparable components of a new architecture.”  Gropius, Walter.  “Program of the Staatliches Bauhaus in Weimar.”  Translated by Michael Bullock.  Programs and Manifestoes on 20th-Century Architecture.  (The MIT Press.  Cambridge, MA: 1971).  Pg. 50.  Originally published as a four-page leaflet in 1919.

[17] “[T]he results of this [the Bauhaus] Institute during the five years of its functioning as a state institution leave much to be desired.”  Doesburg, Theo van.  “Teaching at the Bauhaus and Elsewhere: From Copy to Experiment.”  Translated by Charlotte I. Loeb and Arthur L. Loeb.  On European Architecture: Complete Articles from Het Bouwbedrijf, 1924-1931.  (Birkhäuser Verlag.  Boston, MA: 1990).  Pg. 71.  Originally published in Het Bouwbedrijf, October 1925, Vol. II, № 10.  Pgs. 363-366.

[18] Doesburg, Theo van.  “Defending the Spirit of Space: Against a Dogmatic Functionalism.”  Translated by Charlotte I. Loeb and Arthur L. Loeb.  On European Architecture: Complete Articles from Het Bouwbedrijf, 1924-1931.  (Birkhäuser Verlag.  Boston, MA: 1990).  Pg. 89.  Originally published in Het Bouwbedrijf, May 1926, Vol. III, № 5.  Pgs. 191-194.

[19] “Assume for a moment that city planning and housing construction would be reduced to only those elements which would gratify our material requirements in the most economical way.  In that case it would be necessary, for instance, to define precisely the amount of cubic meters required for every practical need and to cut out all superfluous space.  The architectural shape would become totally dependent upon our movements, which then could be checked by means of a Taylor-system.  Would this not lead to an absolute rigidity and sterilization of our lives?” Ibid., pg. 91.

[20] Rietveld, “New Functionalism in Dutch Architecture.”  Pg. 35.

[21] Mondrian, Piet.  “Home — Street — City.”  Translated by Harry Holtzman and Martin S. James.  The New Art — The New Life: The Collected Writings of Piet Mondrian.  Pgs. 208-209.  Originally published in i, № 10, January 1927.

[22] “The influence of the Neoplasticism of De Stijl on the Bauhaus and on Gropius himself was healthy in the sense that it helped to eradicate the surviving expressionist tendencies, but at the same time this imbued its work with the new ‘orthogonal’ formalism.”  Teige, “Ten Years of Bauhaus.”  Pg. 633.

[23] Gropius, Walter.  “Appraisal of the Development of Modern Architecture.”  Translated by Roger Banham.  The Scope of Total Architecture.  (MacMillan Publishing Company.  New York, NY: 1980).  Pg. 63.  Originally published in 1934.

[24] “Catch phrases like ‘functionalism’ (die neue Sachlichkeit) and ‘fitness for purpose = beauty’ have had the effect of deflecting appreciation of the New Architecture into external channels or making it purely one-sided.”  Gropius, The New Architecture and the Bauhaus.  Pg. 23.

[25] “The Bauhaus fights against the cheap substitute, inferior workmanship, and the dilettantism of the handicrafts, for a new standard of quality work.”  Gropius, Walter.  “Principles of Bauhaus Production.”  Translated by Michael Bullock.  Programs and Manifestoes on 20th-Century Architecture.  (The MIT Press.  Cambridge, MA: 1971).  Pgs. 95, 97.  Originally published in 1926.

Compare this new attitude toward mechanical production, standardization, and so on, with Gropius’ more atavistic statements in his 1919 “Program”: “Architects, sculptors, painters, we all must return to the crafts!…There is no essential difference between the artist and the craftsman.  The artist is an exalted craftsman.”  Gropius, “Program for the Staatliches Bauhaus in Weimar.”  Pg. 49.

[26] Behne, The Modern Functional Building.  Pg. 119.

Behne keenly noted the way that German functionalism or Neue Sachlichkeit mirrored Constructivism in Russia: “At the time of the Russian Revolution artists in Russia and Germany began to negate the concept of ‘art.’  They no longer wanted to be producers of luxuries, they wanted to fulfill a necessary function in the life process of society.  They rejected decoration entirely, committed themselves to construction and artistic production, and opposed any sort of aesthetics or concern with form.”  Ibid., pg. 119.

[27] “I have various reasons for wanting to make a few more remarks on the years in Weimar.  It was the postwar period of revolution and romanticism.  All those who participated, feeling like the ‘children of their time,’ were right to do so.  It would not have been merely unnatural but indeed wrong not to have been moved in such stirring times.  But now the conflict for these people [which makes it difficult for them] in finding their way to us is [this]: They have not been aware that a new age has begun.  They should, for once, open their eyes and look around at their environment; then they would notice that conditions have changed radically.”  Meyer, Hannes.  “Address to the Student Representatives at the Bauhaus.”  Translated by Tim Benton.  Architecture and Design, 1890-1939: An International Anthology of Original Articles.  (The Whitney Library of Design.  New York, NY: 1975).  Pg. 169.  Originally delivered in 1928.

[28] Meyer, “bauhaus and society.”  Pg. 99.

[29] See footnote 478 on pg. 143.

[30] “In the short time that has elapsed since the world war, a certain clarification of views as well as of creative directions has taken place in Dutch architecture.  Oud, van der Vlugt, [Johannes] Brinkman, and Mart Stam abandoned earlier architectural cubism and Neoplasticism and founded their work on the scientific basis of constructivism.  Even among the Neoplasticists an evolutionary rift has taken place: van Doesburg, C[ornelis] van Eesteren, and G[errit] Rietveld now proclaim ‘elementarism,’ whereas the architect Jan Wils, the interior design [Vilmos] Huseár, and the painter Mondrian have remained faithful to Neoplasticism.  It is worth noting that even the current work of van Doesburg is by its a priori formalism and aestheticism still close in its substance to Mondrian and thus very foreign to the tendencies of the constructivists.”  Teige, Modern Architecture in Czechoslovakia.  Pg. 157.

[31] In a 1925 piece, Lissitzky introduced ASNOVA to the West, writing: “In order to concentrate the new forces, an Association of New Architects (ASNOVA) was formed in Moscow in the summer of 1923.  The first paragraph of their articles reads: ‘ASNOVA unites the architects-rationalists and the workers affiliated to them in all fields of architecture and experimental building, to raise architecture as an art to a level corresponding to the present-day position of technology and science.’  The founders are the directors of the new faculty of architecture and a few noteworthy engineers.  Contact has also been established with some modern architects abroad.”  Lissitzky, “Architecture in the USSR.”  Pg. 373.

Lissitzky himself recorded this history of ASNOVA’s emergence: “The elaboration of new methods for the scientific-objective elucidation of the elements of architectural design — such as mass, surface, space, proportion, rhythm, etc.  — was decisive in establishing the distinctive character of the new schools.  A new methodology had to be created.  This work, begun by such pioneers as Ladovskii, Dokuchaev, and Krinskii [co-founders of ASNOVA], was continued by men of the younger generation, such as Balikhin, Korshev, Lamtsov, and others.”  Lissitzky, The Reconstruction of Architecture in the Soviet Union.  Pg. 30.

[32] Although it is true that Lissitzky identified his own artwork of the early 1920s as “Constructivist,” his architectural proposals were most certainly not, especially insofar as OSA later defined Constructivist architecture.  Sima Ingbergman, author of an overview of the ABC group in Switzerland, thus wrongly calls the works of ASNOVA “Constructivist,” when they clearly categorized their own work as “Rationalist.”  Still, Ingbergman’s account is otherwise accurate: “El Lissitzky was obligated to publicize Constructivist architecture [because]…he owed it to his fellow ASNOVA architects to promote their work.”  Ingbergman, Sima.  ABC: International Constructivist Architecture, 1922-1939.  (The MIT Press.  Cambridge, MA: 1994).  Pg. 13.

“With Stam’s help, Lissitzky’s new European friends become converts [to ASNOVA]; Lissitzky wasted little time in educating them to the merits of ASNOVA constructivism in particular.”  Ibid., pg. 17.

[33] Ingbergman notices this as well: “The ABC-ASNOVA alliance should have been a most contradictory one.  Mart Stam was, by all accounts, a radical functionalist whose ideas were at odds with some of ASNOVA’s fundamental principles.”  Ibid., pg. 19.

[34] “ABC’s ideological support of Lissitzky and ASNOVA was quite pronounced in the first issues.”  Ibid., pg. 54.

[35] Ibid., pg. 79.

[36] Ibid., pg. 134.

Regressive “Resistance” on Wall Street: Notes on the Occupation

What passes for leftist politics these days

It seems I must take a brief break from my ongoing series of posts excerpted from my thesis in order to address a phenomenon that’s been grabbing a lot of headlines lately.  What is more, it involves a series of actions that has been glamorously branded (as so much other inconsequential activism has in recent years) as “resistance.”  The thing I’m referring to, of course, is the continuing occupation of Wall Street by a number of misguided and exhibitionistic protesters.

Now the obvious issue they’re upset about is the egregious inequality existing in contemporary neoliberal society.  The problem isn’t the statistics they cite or anything like that.  They’re impossible to deny: the disparity of wealth between the uppermost echelons of society and the rest is approaching an all-time high.  What is so disappointing about this most recent display of ineffectual “consciousness-raising” is rather the way that it perpetuates practices that have almost become perennial in post-New Left protest culture.  All the self-righteous antics of ostentatious pacifism and passive resistance that have become so obnoxiously enshrined in the popular imagination since Gandhi and Civil Rights are trotted out.  As per the usual, the protesters are celebrated for their heroism in standing up against the police.  If one of them gets arrested, it’s all the better, because then they get to wear that fact like a badge of honor, a sign of their selfless dedication to the cause.

An example of police overreaction, which only grants these protesters a false sense of legitimacy

Don’t get me wrong.  This isn’t intended as some sort of perverse apology for state oppression.  Of course there are many instances of police brutality and excess.  But that doesn’t somehow retroactively justify the harebrained theatrics of the protesters.  Their whole hackneyed routine has been reduced to spectacle; it receives some media coverage, but does nothing to actually bring about real social change.  Media coverage and publicity are all these stunts aim at.  But the public swiftly gets bored (if not annoyed) with all the pointless hullabaloo.  Audiences have become so desensitized to these meaningless shows of activist do-gooding that they are all soon forgotten.

Readers of my blog will know that I am a consistent critic of global capitalism.  My approach is thoroughly Marxist, and my analysis reflects that orientation.  Inequality is endemic to the capitalist system, and is hardly accidental.  Thoughtless activism does nothing to change the plight of the impoverished masses, however.  Neither does the reformism that these protesters usually fall back on, when pressed about their politics.  Conditions are presently unripe for the overcoming of the capitalist social formation.  Even if they were, such pornographic displays of protest occupations would hardly spark revolution.

AN ADDENDUM

Apparently the childish anti-capitalism on display on Wall Street has already drifted into a perverse form of anti-semitism.  Though I am usually loath to repost anything from the Huffington Post, whose lukewarm “progressivist” prattle tends to bore me to death, I was astonished to come across this article by Nathalie Rothschild.  In it, she links to a blatantly anti-semitic web article indicting her as a “Journalist and Jew.”  Of course, influenced I am by Moishe Postone’s reading of Marx and theory of capitalism, I am in the final analysis unsurprised by the misrecognition of capitalism’s abstract, global domination as domination by the cosmopolitan Jewish financier.  Still, that these carnivalesque demonstrations have so swiftly turned produced anti-semitic sentiments should indict these protests even further.

The Soviet Moment: The Turn toward Urbanism, the Crisis in the West, and the Crossroads of the Architectural Avant-Garde in Russia

Ivan Leonidov, proposal for a section of Magnitogorsk (1930)

Introduction to Part Two of The Graveyard of Utopia: Soviet Urbanism and the Fate of the International Avant-Garde

The Soviet architectural avant-garde was never as unified as its counterparts in the West.  Almost from the moment of its emergence in the early 1920s, its members were divided along theoretical and methodological lines.  The two main currents of modernist thought on architecture in the Soviet Union could not come to terms over which positive basis of the new architecture held primacy over the others.  One side upheld the formal properties of abstract art as the prime determinant of avant-garde architectural practice; the other side stressed the functional properties of the machine as its foundation.  A similar tension was always latent in modernist architecture internationally, but in no other nation did there result a full-on split like the one experienced by the Soviet avant-garde.  The two competing tendencies were organized into the groups OSA and ASNOVA, as mentioned previously,[1] though subsequent schisms would also occur.  These groups respectively identified themselves as Constructivists (disparagingly dubbed “functionalists” by their opponents) on the one hand and Rationalists (disparagingly dubbed “formalists” by their opponents) on the other.  Though no equivalent rift ever formed within the other national avant-gardes, the Soviet example serves to highlight some of the internal contradictions that existed in modernist ideology as a whole.

German Building in the USSR (1929)

Ernst May’s proposal for the city of Magnitogorsk (1931)

Though the modernist architects in the USSR were fully conversant with avant-garde developments in the West, this was the fractured and fragmented theoretical landscape on which their European and American colleagues would have to stake out their positions.  With the global crisis of capitalism in 1929 and the crisis of parliamentary democracy in the West — along with the ominous rise of ultranationalist (fascist) sentiments in Italy, Germany, Austria, and Spain — many architects outside the Soviet Union looked to the young socialist state as a beacon of hope in an increasingly dark world.  As fortune would have it, the Soviet government was launching its revolutionary program of centralized planning and deliberate industrialization just as the international avant-garde was starting to expound its theories of urban planning post-1925.  The Soviet Union seemed to offer an unprecedented opportunity to the modernists.  It presented a vast canvas onto which the architects could project their most utopian ambitions.

The New Russia, a German periodical (1928)

Mart Stam’s blueprints for Makeevka (1932)

Here, the inherently totalizing aspect of modernist architectural thought was first made manifest.  As the members of the avant-garde began to extrapolate their theories of urbanism from first principles, they came to a deadlock over which particular vision to follow.  While many of the foreign architects were invited to the Soviet Union in order to negotiate some of these impasses, they often found it difficult to make such compromises themselves.  New fissures surfaced as longstanding alliances between certain architects broke down.  Meanwhile, Russia’s technological deficit and relative paucity of advanced building materials led to insurmountable obstacles, preventing the practical realization of the modernists’ plans.  Even more troubling was a cultural shift that was taking place within the Soviet Union, as some of the more radical and novel forms introduced by the modernists in literature and the arts were condemned as “bourgeois” and illegible to the working masses.  The logic of this shift may have owed to a dynamic intrinsic to Russian culture, as Paperny has suggested,[2] but if so, I would like to advance the hypothesis that this occurred mainly as a consequence of the failure of social revolutions to spread in the West following World War I.  If socialism had been established on a more international basis, it is perhaps possible that the peculiarities of Russian culture might not have imposed their logic so unilaterally.  This is, of course, a counterfactual speculation, and it is admittedly a dangerous business to insinuate what alternate historical sequence might have resulted had things only played out differently.  Nevertheless, it is not a point of too much controversy to assert that the USSR’s political isolation had something to do with the grim turn of events that took place for the modernist enterprise in that country.  Also, it should not be thought impossible that some of the cultural binaries that Paperny locates within Russian history (horizontal/vertical,[3] uniform/hierarchical[4]) might not have reflected — or even been reinforced by — broader social binaries emerging out of the dialectical development of global capitalism (such as the spatiotemporal dialectic we have hitherto identified).

OSA’s proposal for Magnitogorsk, by Moisei Ginzburg, Mikhail Okhitovich, and Mikhail Barshch (1930)

Ivan Leonidov – Magnitogorsk Proposal (1930)

Either way, it is crucial to review some of the proposed solutions to the question of planning in the Soviet Union advanced by the international avant-garde, insofar as they sought to address the social problems that so preoccupied them — the housing shortage, the liberation of woman, urban alienation, the antithesis of town and country, and man’s greater estrangement from nature.  Even if these plans were never realized, even if their blatant utopianism foreclosed any possibility they might have possessed from the start, the fact that they were ever imagined at all is itself significant.  For no such visions of an ideal world had ever been dreamt up on such an extraordinary scale: from Plato to More and Campanella, from Renaissance sketches of the città ideale to the fantasies of Boullée and Ledoux, to Owen’s New Harmony, Fourier’s phalanstère, and beyond — never had these propositions amounted to anything more than idle thought experiments or modest programs for single cities existing in isolation from the rest of society.  “[The utopians] still dream of an experimental realization of their social utopias, the establishment of individual phalansteries, the foundation of home colonies, the building of a little Icaria — pocket editions of the new Jerusalem,” wrote Marx and Engels, in their famous Manifesto.[5]  Such utopias were doomed to fail, they argued, as they simply fled from bourgeois society rather than try to overcome it.  By the 1920s and 1930s, however, the Bolsheviks had seemingly uprooted capitalism in Russia, and the rest of the world still appeared ripe for revolution (especially with the onset of the Depression).  For with the maturation of capitalism over the latter half of the nineteenth century, utopia had now been reimagined on a global scale, reflecting at once the real commercial and economic interdependence of nations as well as socialist theories of world revolution.  H.G. Wells expressed this succinctly in his famous Modern Utopia (1905):

No less than a planet will serve the purpose of a modern Utopia.  Time was when a mountain valley or an island seemed to promise sufficient isolation for a polity to maintain itself intact from outward force; the Republic of Plato stood armed ready for defensive war, and the New Atlantis and the Utopia of More in theory, like China and Japan through many centuries of effectual practice, held themselves isolated from intruders.  Such late instances as Butler’s satirical “Erewhon,” and Mr. Stead’s queendom of inverted sexual conditions in Central Africa, found the Tibetan method of slaughtering the inquiring visitor a simple, sufficient rule.  But the whole trend of modern thought is against the permanence of any such enclosures…A state powerful enough to keep isolated under modern conditions would be powerful enough to rule the world, would be, indeed, if not actively ruling, yet passively acquiescent in all other human organizations, and so responsible for them altogether.  World-state, therefore, it must be.[6]

Nikolai Ladovskii’s dynamo-“parabolic” vision of “New Moscow”

Andrei Burov, Sergei Eisenstein, and Le Corbusier (1928)

A Modern Utopia, which in many ways marked the culmination of the series of utopian novels that started in the last decades of the nineteenth century, envisioned the world that was already beginning to emerge around Wells.  This world stood in stark contrast to the ones portrayed in previous utopias, especially in that it was all-encompassing.  It did not admit of localization; nothing could rightfully stand outside of it.  Thereby mirroring the abstract, globalizing spatiality of capitalism, the planetary scale of modern utopianism was combined with the social mission of modernist architecture in its ambition to reshape all of society.  Though Stalin already formulated the notion of sotsializm v’odnoi strane (“Socialism in One Country”) by 1924,[7] the architectural avant-garde within Russia and without retained its commitment to internationalism.  As Paperny has rightly observed, “‘Workers of the world unite!’ — this Marxist slogan, written in Culture One [Paperny’s term for avant-garde culture] on the covers of nearly all architectural publications (and totally absent from that venue in Culture Two [Paperny’s term for Stalinist culture]), indicates that the idea of the international unity of a single class clearly dominated in Culture One over the concepts of either national or state unity.”[8]  The last traces of this celebrated slogan from the end of the Manifesto only disappeared in 1934 from the covers of the popular architectural journals Building Moscow and Architecture of the USSR (successor to the 1931-1934 union journal Soviet Architecture, itself the successor to the iconic 1926-1930 Constructivist periodical Modern Architecture).

Plan for “New Moscow” (April 1929)

Moisei Ginzburg and Mikhail Barshch, Disurbanist scheme for a linear city (1930)

The ultimate collapse of the avant-garde project in the Soviet Union, symbolically marked first by the outcome of the 1932 design competition for the Palace of the Soviets and capped off by the expulsion of all foreign architects in 1937, signaled the demise of one important dimension of modernist architecture.  The social mission that had provided the avant-garde with such positive momentum in its early years was now abandoned.  Its fascination with the forms of industrial engineering and abstract composition remained, but its sense of duty to redress social grievances (or to even fundamentally transform society) vanished.  Curtis makes the following remark regarding this point: “The modern movement was a revolution in social purpose as well as architectural forms.  It tried to reconcile industrialism, society, and nature, projecting prototypes for mass housing and ideal plans for entire cities.”[9]  Following the Soviet fiasco and the general hiatus of new construction up through the end of the Second World War, this feeling of social purpose had evaporated.  Already by 1960, Banham could take stock of the way that modern architecture had come to be perceived as part of the armature of Fordist administrative capitalism.  “[I]f the [modern] style has finished up as the architecture of anonymous corporate domination,” reminded Banham, “it is worth remembering that this was not how it started out.”[10]  It is the thesis of the present study that the modernists’ experience in the USSR, the Soviet moment, marked the pivotal turning point in this development.


[1] See page 6 of the present paper.

[2] The principal focus of Paperny’s brilliant Culture Two is on the structural opposition of two patterns operative within Russian culture, which can be identified with the “avant-garde” 1920s and the “Stalinist” 1930s-1950s: “The concept of Culture One is constructed here primarily based on materials from the 1920s, whereas Culture Two is based on materials from the 1930s to 1950s.”

However, Paperny identifies these two cultural patterns as broader tendencies within Russian history as a whole, extending back at least as far as the ascension of the Muscovite principality in the sixteenth century: “The juxtaposition of Cultures One and Two is a convenient way to describe the events that transpired in the same space but at different times.  This work voices that a certain portion of the events in Russian history (including events having to do with changes in spatial conceptions) can be described in terms of an alternation of the ascendancy of Culture One and Culture Two.  Therefore, because I wish to trace a unifying principle throughout history, my attention is primarily focused on the territory of the Muscovite State under Ivan III, and especially Moscow.”  Paperny, Vladimir.  Architecture in the Age of Stalin: Culture Two.  Translated by John Hill and Roann Barris in collaboration with Vladimir Paperny.  (Cambridge University Press.  New York, NY: 2002).  Pg. xxiii.  Originally published in 1985.

[3] Ibid., pgs. 44-69.

[4] Ibid., pgs. 70-103.

[5] Marx and Engels, Manifesto of the Communist Party.  Pg. 28.

[6] Wells, H.G.  A Modern Utopia.  (University of Nebraska Press.  New York, NY: 1967).  Pgs. 11-12.

[7] “[T]he theory that the victory of socialism in one country is impossible, has proved to be an artificial and untenable theory.  The seven years’ history of the proletarian revolution in Russia speaks not for but against this theory.”  Stalin, Iosif.  “The October Revolution and the Tactics of the Russian Communists? [Preface to a book On the Road to October].”  Translator uncredited.  Collected Works, Volume 6: 1924.  (Foreign Languages Publishing House.  Moscow, Soviet Union: 1954).  Pg. 414.

[8] Paperny, Architecture in the Age of Stalin: Culture Two.  Pg. 44.

[9] Curtis, Modern Architecture Since 1900.  Pg. 15.

[10] Banham, Theory and Design in the First Machine Age.  Pg. 9.

Il'ia Golosov's Zuev House of Culture — Workers' Club (1928)

The sociohistoric mission of modernist architecture

The housing shortage, the urban proletariat,
and the liberation of woman

.

Housing in the Industrial Revolution

Workers’ Housing in the 19th Century

Modernist architecture — Positive Bases

.

Read the full-text PDF version of
Ross Wolfe’s “The Graveyard of Utopia:
Soviet Urbanism and the Fate of
the International Avant-Garde”

By industrializing the process of building houses and other structures, the avant-garde believed that it could help to solve many of the profound problems that had emerged out of industrial society. The housing question, about which Engels and many others wrote, as well as the divide between town and country, along with the intense overcrowding of the cities and the alienation that came with it — all these confronted the modernists as problems in need of solutions.  For Engels, the problem of housing shortages was more or less perennial.  The peculiarity of the modern crisis consisted mostly in the spectacular rate of its urbanization, the magnitude of the population it affected, and by the fact that it was felt not only by the lower classes but by members of the petit-bourgeoisie as well.[1]  While he correctly rejected the base analogy of the tenant-landlord relationship with the worker-capitalist relationship as Proudhonism,[2] Engels was emphatic that the housing question posed by industrial society could only be overcome by overthrowing capitalism as a whole.  Drawing upon an early theme he had developed in collaboration with Marx, this also meant resolving the “antithesis between town and country.”[3]  Although Engels insisted upon the dissolution of capitalist society, he wisely refrained from offering too much in the way of specifics as to what a postcapitalist solution would entail: “To speculate on how a future society might organize the distribution of food and dwellings leads directly to utopia.  The utmost we can do is to state…that with the downfall of the capitalist mode of production certain forms of appropriation which existed in society hitherto will become impossible.”[4]

The Working Poor in Substandard Housing, 19th Century

Workers’ Housing near Ebbw Vale steelworks in Wales, 19th Century

Engels was not the only one to notice the acute urban housing shortage as well as the widening divide between town and country that was taking place under heavy industrial production.  He himself was reacting polemically to treatments of the problem offered by “Proudhonist” Arthur Mülberger and “bourgeois” Emil Sax.  The problem was recognized by more moderate writers like Alfred Smith, who in his own work on The Housing Question in 1900 wrote that “the grim irony of the situation could not go further — the laboring population, who daily contribute to the wealth and comfort of the city, are for the most part driven on to congested areas and into overcrowded rooms.”[5]  A Christian socialist by the unlikely name of Moritz Kaufmann, who accused Marx of utopianism[6] and later briefly corresponded with him,[7] authored a text in 1907 on The Housing of the Working Classes and of the Poor.  In this work, Kaufmann wrote of the evils of “slumlords,” of rural depopulation, and of the different manifestations of the housing crisis in Germany, France, and Belgium.[8]  Ultimately, Kaufmann’s prescriptions for action in dealing with these matters were not far from what Social-Democratic architects like Ernst May would later put forth.  This mostly amounted to more government oversight in the provision of public programs and the bureaucratic deployment of specialists.[9]  The housing question was exacerbated by the Great War, at least in the estimation of Edgar Lauer and Victor House, members of the New York judicial system, who wrote a treatise on The Tenant and His Landlord in 1921.  “Recent housing difficulties are not a local phenomenon,” they wrote.  “Insufficiency and inadequacy of living accommodation appear to be part of the worldwide aftermaths of the Great War.”[10] Continue reading

Meeting Peter Marcuse, Urban Theorist and Son of Herbert Marcuse

Peter Marcuse

At a conference on the legacy of 9/11 for New York convening tomorrow at a site near Ground Zero, I will be attending a lecture of the son of the famed Frankfurt School critical theorist Herbert Marcuse, Peter, who is a professor of Urban Design at Columbia University.  Whatever my qualms with his father regarding the politics of the New Left, I am of course thrilled to have the chance to meet him.  I have added his blog to my blogroll, as well.

Industrialism and the genesis of modern architecture

Modernist Architecture — Positive Bases

The spatiotemporal properties of architecture that were developed by experiments in abstract art reached their highest expression in the work of Lissitzky and Moholy-Nagy.  Stepping back from our analysis of this development, however, we may witness a crucial conjuncture between the realm of abstract art and the other major positive basis for the existence of modernist architecture — industrialism (and more specifically, the machine). This conjuncture occurred on two levels. At one level, leading avant-garde artists and architects began to draw inspiration from the monumental improvements in both factory production and machine technologies, seeing in these an ideal of economy and efficiency.  On another level, however, the research into the abstract time of capitalism undertaken by the Futurists through their representation of kinetic dynamism and motion was advanced in a more systematic and precise form by the advocates of Taylorism, whose time-and-motion studies of labor established the foundation for scientific management in industry. Taylorism, as a science of the mechanics of movement and a means for the optimization of productivity, exerted huge influence over the modernists in architecture.  Moreover, the broader cult of the machine and of the engineer in particular provided the avant-garde with a positive image for the spirit of their age. The traditionalists, who remained lost studying the annals of architectural history and reproducing its forms, were thus blind to the most obvious feature of the modern epoch — industrialization. Continue reading