Jean Jaurès, one hundred years after his assassination

Jean Jaurès

Leon Trotsky
Kievskaya Mysl
July 17, 1915

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A
 year has passed since the death of the greatest man of the Third Republic. Events the like of which history has not previously known have welled up almost as if to wash away Jaurès’ blood with new blood and to divert attention away from him and to swallow up even his memory. But even the very greatest events have only partially succeeded in this. In France’s political life a great void has been left behind. New leaders of the proletariat answering the revolutionary character of the new era have not yet arisen. The old leaders only make us remember the more clearly that there is now no Jaurès.

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The war has thrown on one side not only individual figures but a whole era with them: the era during which the present leading generation in all spheres of life had been educated and brought up. Today this departed era on the one hand attracts our thoughts by the obstinacy of its cultural heritage, the uninterrupted growth of its technology, science and workers’ organizations; and on the other seems petty and characterless in the conservatism of its political life and in the reformist methods of its class struggle.

After the Franco-Prussian War and the Paris Commune (1870-1871) a period of armed peace and political reaction set in. Europe, if one excluded Russia, knew neither war nor revolution. Capital developed on a mighty scale outgrowing the framework of nation-states and overflowing into the remaining countries and subjugating colonies. The working class built its trade unions and its socialist parties. However the whole of the proletarian struggle of this period was impregnated with the spirit of reformism, of adaptation to the existing order and to the nation’s industry and the nation’s state power. After the experience of the Paris Commune the European proletariat did not once pose the question of the conquest of political power in a practical, that is, a revolutionary way. This peaceful, “organic” character of the era reared a whole generation of proletarian leaders thoroughly steeped in distrust for the direct revolutionary mass struggle.

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When the war broke out and the nation-state embarked on its campaign with all its forces armed to the teeth, this generation could without difficulty place the majority of the “socialist” leaders down on their knees. The epoch of the Second International has thus ended with the violent wrecking of the official socialist parties. True they are still standing as monuments to a past age and supported both indirectly and forcibly by the governments. But the spirit of proletarian socialism has fled them and they are doomed to collapse. The working masses who have in the past accepted the ideas of socialism are only now, amid the terrible experience of the war, receiving their revolutionary baptism of fire. We are entering upon a period of unprecedented revolutionary earthquakes. New organizations will be brought to the fore by the masses and new leaders will stand at their head. Continue reading

Annenkov’s Potraits (1922) and Lunacharskii’s Silhouettes (1923)

Representations of the
Russian Revolution

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portrait-of-zinoviev-1926 (1) Анненков Каменев


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Revolutionary silhouettes

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The present book is made up of a series of articles written on various occasions about some of our comrades in the RCP.

I should begin with a warning that these are not biographies, not testimonials, not portraits, but merely profiles: it is their virtue and at the same time their limitation that they are entirely based on personal recollections.

In 1919 the publisher Grzhebin, whom I already knew and who had been recommended to me by Maxim Gorky, asked me to start writing my memoirs of the great revolution. I was soon able to deliver him the first — or more precisely the preliminary — volume, in which I attempted to acquaint the readers both with myself, as a point of reference in judging the rather more subjective aspects of my ‘chronicle’, and with the main dramatis personae of the revolution in so far as I knew them and in so far as a knowledge of their characters and the events of their pre-revolutionary lives seemed to me to merit further exposition.

That book, however, was overtaken by a strange fate. At a moment when circumstances precluded me from working on it and when I had become convinced that to write memoirs at a time when not a single event of the revolution had cooled down — we were still living in its very crucible — was simply impossible (Sukhanov’s multi-volume work on the revolution, among others, had already convinced me of this); at a time, as it seemed to me, when any premature description of those events without an adequate study of the documents would be too subjective and little more than essay-writing — it was then that Grzhebin, unknown to me, published the first volume of my proposed memoirs. He is apparently continuing to publish them abroad, entirely without my permission.

I think it essential to state these facts here, in order to avoid any misunderstanding about the nature of that book. Continue reading

Lenin’s tomb

Мавзолей.Строительство-2 Мавзолей.Строительство-3 Мавзолей.Строительство-4

The cult of Lenin

Boris Groys
The Total Artwork
of Stalinism
(1986)

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The Lenin cult was very significant both in the political legitimization of Stalin and in the evolution of socialist realism, since even before Stalin came to power Lenin had been proclaimed the model of the “new man,” “the most human of all human beings.” Maiakovskii’s slogan “Lenin is more alive than the living” adorning the streets of Soviet cities does not contradict the cult of Lenin’s mummy in the mausoleum (perhaps one of the most mysterious in the history of world religion). Although I shall not attempt an exhaustive description of the cult here, it does deserve a few words. It has undeniably exerted a hidden formative influence on all subsequent Stalinist and post-Stalinist Soviet culture, if for no other reason than the central position it occupies in the invisible Soviet sacred hierarchy. Twice a year, “the entire Soviet land” submits its “report” in parades and demonstrations that pass by the mausoleum, and the leaders who accept this report stand on the roof of the structure, symbolically basing their power on the mummy of Lenin concealed within.

The construction of the mausoleum on Red Square and the founding of the Lenin cult were vigorously opposed by traditional Marxists and the representatives of left art [LEF]. The former spoke of “Asiatic barbarism” and “savage customs unworthy of Marxists. ” LEF also reacted to the first temporary variant of the mausoleum, which was later slightly simplified, describing it as “a verbatim translation from the ancient Persian” that resembled the grave of King Cyrus near Mugraba. Such criticism today, of course, is no longer possible — not only because the mausoleum was long ago pronounced “sacred to all Soviet citizens, ” but also because everyone got used to it long ago.

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The LEF critics, who perceived in Lenin’s mausoleum only an analogy with ancient Asian tombs, were as usual blind to the originality of the new Stalinist culture taking shape before their very eyes. The mummies of the pharaohs and other ancient rulers were walled up in pyramids and concealed from mortals — opening such graves was considered sacrilege. Lenin, in contrast, is on public display as a work of art, and his mausoleum, as is evident from the long lines that have formed before it every day for decades, is without a doubt the most frequented museum in the Soviet Union. If the “militant atheists” of the time exhumed the relics of saints and exhibited them in museum-like displays as antireligious propaganda, Lenin was from the outset simultaneously buried and displayed. The Lenin mausoleum is a synthesis between a pyramid and a museum that exhibits Lenin’s body, the mortal husk he shed to become the personification of the building of socialism, “inspiring the Soviet people to heroic deeds.” Continue reading

Art and politics in class society

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BOOK REVIEW:

Ben Davis, 9.5 Theses on Art and Class (Haymarket. Chicago, IL: 2013)

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The following review was originally published by the CUNY Grad Center’s journal The Advocate. It is available in print and online, and I’d encourage anyone who’s interested to pick up a copy.

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Ben Davis’ 9.5 Theses on Art and Class has clearly struck a chord with contemporary artistic communities, critics and practitioners alike. Not all have responded the same way, however. While most applaud the admirable clarity of its arguments and readily acknowledge Davis’ gifts as a writer, some have lamented the book’s “rather bleak” tone and the seeming despondency of its conclusions. One review went so far as to accuse Davis of drawing “lazy caricatures” of his opponents, panning Art and Class as “crudely reductive” and given to “smug, self-righteous dismissals.” Yet others have welcomed its challenge to the conventional image of artists as born radicals, and praise Davis’ sober reassessment of the lofty political ambitions often claimed for their work.

Despite a few cautious endorsements from figures like Molly Crabapple and William Powhida, the book’s reception among actual producers of art has likewise been mixed. At a recent talk held at Housing Works in downtown Manhattan, Davis invited to the stage a group of practicing artists with whom he’d been in close dialogue while writing Art and Class. The discussion that followed was polite enough, touching on some of the book’s central themes, but there were moments in which the panelists could be seen practically squirming with discomfort at the language Davis used to characterize their vocation. Even though they’d all read it before, and were thus familiar with the text’s provocations, it was as if the wound was still fresh.

So what is it about Davis’ thesis that makes it such a bitter pill to swallow? Part of it is semantic. Though the sociological framework he employs throughout his investigation into art under capitalism is generally sound, Davis encounters terminological difficulties as soon as he tries to conceptualize class. How does one talk about a mode of creative activity that doesn’t neatly fit the division of society into workers and capitalists? What accounts for this peculiar survival of quasi-artisanal forms of labor within such a rarefied commercial sphere as today’s art market? Art and Class approaches these questions from an avowedly Marxist angle. But this presents problems of another sort. For although classical Marxism had at its disposal an arsenal of readymade categories with which to comprehend the position of the artist, Davis finds terms like “petit-bourgeois” (probably the most fitting designation for artists at one time) irretrievably démodé. Looking for a more accessible word that might replace it, he arrives at “middle-class.” Davis emphatically asserts that “the contemporary artist is the representative of middle-class creative labor par excellence.”1

This nomenclature is unfortunate for a whole host of reasons, not least of which is the confusing cluster of connotations that already surrounds notions of “middle-class.” Class is commonly (mis)understood as a purely quantitative relation, a function of “pay scale” or “income bracket.” As Davis points out, this distorts the more precise definition offered by Marxist theory, which sees class as a specific relationship to the means of production — namely of ownership or non-ownership, combined with some owners’ ability to hire others to operate them. Beyond such bland technicalities, however, Davis anticipates a more basic objection artists might raise to his analysis. “The issue of class has moral overtones,” he recognizes.2 Artists, who tend to sympathize with vaguely leftist political ideas and issues of social justice, bristle at the suggestion that they are somehow “middle-class.”

Gustav Klutsis, Multilingual propaganda machine (1923)

Once one gets past this initial allergic response, and accepts the meaning assigned to “middle-class,” the rest of the book’s contentions about art in class society fall into place. Davis is hardly indifferent to artists’ plight, either. Quite the opposite: the narrative he unfolds in Art and Class has profound implications for the way artists orient their politics. “The upshot is that artists’ middle-class position is not merely a limit on their relation to larger social struggle but also on their ability to organize to transform their own conditions,” Davis writes. He goes over some of the efforts to orchestrate artists’ strikes in the 1960s and 1970s, virtually none of which could be considered a success. “From whom would the artists be withholding their art if they did go on strike?” the book asks, quoting Carl Andre. “Alas, from no one but themselves.”3 By contrast, the closer artists get to wage-labor — those instances where they actually constitute a paid workforce, as with studio animators or industrial designers — the more effectively they can unionize and leverage demands. Continue reading

Internationalism fails

Chris Cutrone

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This article is reposted from Platypus Review no. 60. Generally, I agree with its assertions about “anti-imperialist” politics in the present. Nevertheless, this should not be taken to mean that I support US military aggression overseas (not that I have any say in the matter). On Facebook, a heated exchange between James Heartfield, Chris Cutrone, Spencer Leonard, and Reid Kotlas followed. If they don’t mind, I might repost snippets of that argument as a supplement.

The “anti-imperialist Left” considers itself opposed to all U.S. government action as “imperialist” on principle. But, as Trotsky wrote to his followers in 1938, “Learn to think!” while one may oppose the government politically, to oppose the government putting out a fire, especially when there is no alternative agency for doing so, is nonsense. But the “Left” today is not the inheritor of Trotsky, but rather of what he pitilessly assailed, the policy of the Stalinist “Popular Front Against War and Fascism” of the 1930s, for which the shibboleth was, “Which side are you on?”

The idea is that the defeat of imperialist policy creates possibility for an alternative, and therefore one must always be against imperialism to be on the side of an alternative to it. Historically, Marxists have understood such a strategy in terms of either “revolutionary defeatism” or “revolutionary defensism.” Simply put, the defeat of an imperialist power is seen as providing the possibility for a political alternative to the government of the imperialist country; whereas the defense of a country against imperialist attack is seen as providing the possibility for a political alternative in the subaltern country. Importantly, these are not pacifist positions against war, but rather political military strategies in time of war, moreover with the aim of revolution.

Pivertistes, Mai 1938: Royan, Daniel Guérin

Pivertistes, Mai 1938: Royan, Daniel Guérin

Historically, there are two examples of success of these strategies of revolutionary defeatism and revolutionary defensism: the role of the Bolsheviks in the Russian Revolution is regarded as a success of revolutionary defeatism, in which the defeat of the Tsarist Russian Empire undermined the government and gave rise to political and social revolution; and Mao’s Communists in the Chinese Revolution, in which the defense of China against Japanese imperialist attack undermined the nationalist Kuomintang and allowed for Communist-led revolution. Continue reading

The humanization of nature

A sorely-needed corrective 


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The socialist revolution calls for terrifying windowless towers, desolated lots and plazas, massive concrete slabs thrown into the earth.

It goes without saying that people ought only live in buildings that they might once have feared. Someday we may all feel so free and at ease in the world we have built as to dwell in buildings that would have formerly dwarfed and intimidated us.

This requires absolute atmospheric agency: the conquest of gravity, victory over the sun, fantastic weather machines, a translucent vault or dome to seal off the heavens (when need be). Inside the enclosed space, an architecture of the well-tempered environment, with universal ventilation and air purification [respiration exacte] to accommodate the human lung. Mosquitoes will have been abolished.

Not only this, however. The socialist reconstruction of nature [социалистической реконструкции природы] also demands total geological dominion: vast terraforming projects that effortlessly tunnel through tough silicate and shruggingly shear off the sides of mountains, complete orthogonality, a Vernean clockwork at the center of the Earth. No longer Níðhöggr gnawing at the roots of the world-tree — the wyrm instead replaced by gears and wires stemming from the centrifuge. Tectonic plates will still shift following the revolution, but only when they are compelled or granted permission.

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From this it clearly follows that the dictatorship of the proletariat [Diktatur des Proletariats] heralded by Marx would at the same time simultaneously constitute the dictatorship of the right angle [dictature de l’angle droit] attributed to Corbusier by Lefebvre. A common demiurgic impulse thus seems to underlie both the Ricostruzione futurista dell’universo envisioned by the Italian futurists (future fascists) Giacomo Balla and Fortunato Depero and some of Trotsky’s closing lines in Literature and Revolution: Continue reading

Reflections on resistance, reform, and revolution

The problematic forms of
contemporary anticapitalism

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Image: Cover to Rosa Luxemburg’s
Sozialreform oder Revolution? (1899)

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The following are the prepared remarks to a Platypus panel on “The 3 Rs: Reform, Revolution, and Resistance” with 1960s activist Todd Gitlin and WIL organizer Tom Trottier, held last March at NYU. A considerably expanded and improved version of this essay has been published by Upping the Anti (which I encourage everyone interested to buy):

Almost five years have passed since Platypus hosted its first panel on “The 3 Rs: Reform, Revolution, and Resistance.” At the time, many of us were trying to come to terms with the profound sense of disorientation we’d felt during our involvement in the antiwar movement, which was then in a process of rapid disintegration. We hoped to explore the relationship between these three categories, both to each other and to the greater project of human freedom, in order to determine whether an emancipatory politics was still even possible. How can the respective political modes of resistance, reform, and revolution be deployed to advance social and individual freedom? How might they reinforce each other on a reciprocal basis? Today, with the recent upsurge in global activism, we stand on the precipice of what promises to herald the rebirth of such a politics. These questions have acquired a renewed sense of urgency in this light. Now more than ever, they demand our attention if we are to forge a way forward without repeating the mistakes of the past.

Reform, revolution, and resistance — each of these concepts exercises a certain hold over the popular imagination of the Left. While they need not be conceived as mutually exclusive, the three have often sat in uneasy tension with one another over the course of the last century, however. The Polish Marxist Rosa Luxemburg famously counterposed the first two in her pamphlet Reform or Revolution?, written over a hundred years ago. In her view, this ultimately turned out to be a false dichotomy. Nevertheless, Luxemburg was addressing a real dilemma that had emerged along with the formation of the Second International and the development of mass working-class politics in the late nineteenth century. Even if she was able to conclude that reforms could still be pursued within the framework of a revolutionary program — that is, without falling into reformism — this was by no means an obvious position to take.

Still less should we consider the matter done and settled with respect to our current context, simply because a great figure like Luxemburg dealt with it in her own day. We do not have the luxury of resting on the accomplishments or insights of past thinkers. It is unclear whether the solution at which she arrived then holds true any longer. History can help us understand the momentum of the present carried over from the past, as well as possible futures toward which it may be tending. But it offers no prefabricated formulae for interpreting the present, no readymade guides to action. Continue reading

Cubo-futurist rendering of Trotsky, uncredited (probably Annenkov, 1922)

Trotskiana

1920s Trotsky memorabilia

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Back in 2008, Mansur Mirovalev wrote a piece for NBC News on a curious leftover from the late Cold War era:

The Soviet Union may be in the dustbin of history, but there’s one place the socialist utopia lives on: cyberspace.

And no, Mirovalev wasn’t talking about this blog, or Richard Seymour’s Lenin’s Tomb, Roland Boer’s Stalin’s Moustache, or Martin Gittins’ magnificent Kosmograd website.

He had something quite different in mind. Continue reading

Max Ajl vs. Alex Gourevitch in Jacobin on society, nature, and the Left: An intervention

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Alex Gourevitch
, whose presence I greatly appreciated on our environmentalism panel at the Left forum this last year, has been causing quite a stir with his articles “Two Hurricanes” and “Nature and Progress.”  Like Gourevitch, I “come from the minority on the Left that is skeptical of environmentalism.” Some of my polemics on the subject of “the ideology of ‘green’,” especially my long essay on “Man and Nature” (published in the speculative realist journal Thinking Nature), elicited a great deal of outrage from the “small-is-beautiful” Left as well. For example, this neat bit of screed from the environmental philosopher and ecofeminist Ronnie Hawkins:

I find myself virtually speechless in the wake of having read Ross Wolfe’s “Man and Nature,” however, especially in light of its concluding quotation, seemingly with approval, of Trotsky holding forth on “the Socialist man” who “will rule all nature by machine,” changing the course of rivers and cutting down mountains — I am left wondering whether this essay was intentionally crafted to be a cartoonish caricature of a position that has been undergoing an active process of rejection over many years now, and rightly so. At a time in which we are recognizing that we live in a world of limits — not only limits on how much GHG we can stuff into our atmosphere but limits on how much longer we can continue all the complex industrial processes that depend on fossil fuel consumption, including the translocation of staple foods from one continent to another, upon which some millions if not billions today depend — here is an author trotting out the same old, tired anti-Malthusian tirade, without giving the faintest hint of what sort of goal we might be “progressing” toward under his “vision of unlimited human freedom,” apparently unconstrained by any sort of planetary finitude. Wolfe provides not argument but ridicule against the positions of deep ecologists and animal rightists of various stripes, and he betrays an embarrassing lack of familiarity with philosophical ecofeminism. He does environmental philosophy a service, however, by addressing green anarchism head-on, something that the more mainstream journals have shied away from for all too long.

While I’m not quite ready to reject all that goes under the heading of “civilization,” I think a VERY deep critique of the presently dominant, near-global, industrial worldview (cutting at least as far down to the bone as John Zerzan’s problematization of language and the beginning of our primate symbol-use), to be followed by a REVERSAL of the trajectories of many of the activities that are currently being carried out by collective human action — for example, the building of a whole new round of nuclear reactors, and nuclear weapons, and mega-projects of many types as currently contemplated (all ultimately justified on the basis of continuing the growth of our human population indefinitely, though the proximal reasons are often very different) — is absolutely essential if our species is to make it through the twenty-first century. Without some kind of acknowledgment of the wrongness of continuing on in our current direction, and a turning away from it, we will indeed suffer the dystopian future heralded by the “zombie” genre — it will simply be natural selection acting on a species unwilling, to the bitter end, to relinquish its self-deception (one part of a finite system cannot continue to grow indefinitely — that’s very simple logic indeed). I’m afraid neither Marx nor Wolfe’s sort of contemporary Marxist ever got around to understanding “productivity” in terms of what REALLY keeps us all alive — NPP, the net primary productivity of green plants, not the sham “productivity” of human beings making plastic crap in sweatshops nor the complete fantasy of “production” in imagining we are creating something real by the calculation of compound interest.

Instead of continuing to converse in the worn-out terminology from another era, or to stay largely within disciplinary boundaries even with narrow, if more updated, concepts, I think we’re inhabiting a space now where all disciplines need to take an active role in addressing our common human situation, as Ted Toadvine may be advocating. But in that space we now all have access to certain significant findings of contemporary biological science, should we take the trouble to investigate, not the least of which are the astounding commonality (underlying a very broad spectrum of more superficial differences) of Earthly lifeforms, the complexity of organization of every living being, and the myriad interrelationships among them, some of which are importantly linked to considerations of finitude. There is a reality of “what it means to be alive,” in thermodynamic, organizational, and experiential dimensions, that needs to be recognized by everyone who would propose to philosophize about such matters, and a new vitalism — one that does not shy away from acknowledgment of the fact that the living IS different from the nonliving–may be very much in order. There are also interesting possibilities to explore with respect to the relationship between our collective level of awareness and our human social ontology: when we begin to ask questions like “what IS money?” or debt or any of the other socially agreed-upon symbols that we presently invest with power over ourselves but need not, for example, some things may change rapidly. Bumping up our self-reflexive awareness a level or two may well spell the end of globalized exploitative capitalism, which seems to be virtually synonymous with our highly centralized and now faltering industrialism (and let’s not forget patriarchal militarism). That’s why we need local agricultural communities of various sorts to spring up everywhere, by the way — so that there will be an alternative way of feeding people when the great “machine” grinds down — a pattern of social organization based on mistaken metaphysical assumptions that our species must finally leave far behind.

Émile Bayard, from Autour de la lune (All around the moon), by Jules Verne, Paris (Hetzel), circa 1870

Despite Hawkins’ insinuation that I “intentionally crafted [my essay] to be a cartoonish caricature of a position that has been undergoing an active process of rejection over many years now,” I was in fact and remain quite serious about the positions I laid out in that paper. The tendentiousness of her brief list of objections, including a complete misreading about what is meant by “production” in a specifically Marxist sense and her scientifically-misunderstood invocation of the second law of thermodynamics, should be obvious to anyone who knows the first thing about either Marxism as a social science or physics as a natural science. And yet many of the same arguments Hawkins makes in these lines are trotted out yet again by authors like Chris Bertram of Crooked Timber of Humanity or Max Ajl in his rejoinders to Gourevitch on Jacobin‘s online section, “Climate Change and the Politics of Responsibility” or “Really-Existing Environmentalism.” Ajl closes the second of these papers with the following lines:

Heavy industrialization has no answer to these questions of how to regulate the human interaction with the surrounding environment. But one thing is for sure, at its core, Gourevitch’s argument reduces to a call for total human control over nature and a destructive demand for the demobilization of all radical environmentalist social forces.

Both requests are criminally stupid. They have no place on the Left.

Criminally stupid, eh? No place on the Left, eh? I defer to the statements of both Friedrich Engels and Leon Trotskii included in the close to my essay on “Man and Nature.” The reader can decide for himself whether or not Engels or Trotskii were here behaving “criminally stupid” or if their opinions “have no place on the Left”:

In the final analysis, far from being a single, unitary ideology, the ideology of Green is rather just a hodgepodge of past ideological remnants — neo-Romanticism, vitalism, primitivism, Luddism, Eastern mysticism, and quasi-fascist Germanic naturalism. Though there is a small kernel of truth to its project insofar as it deals with sustainability (i.e., the ability to carry on the exploitation of natural resources without the threat of environmental catastrophe), more often than not there is an underlying notion amongst eco-activists that humanity should have some sort of “respect” for nature as an inviolable thing-in-itself. The Green movement therefore views nearly every industrial-technical instrumentalization of nature, plant and animal alike, as invasive and chauvinist. Insofar as it preaches “eating local” and “going organic,” and then promotes the long-outdated ideal of self-sufficiency, it’s tacitly advocating a return a semi-feudal mode of production, which would necessarily involve massive famine and urban depopulation.

Humanity does, indeed, stand alienated from nature. And yes, there is good scientific evidence that supports the theory of global warming, though the scientists are characteristically more cautious in their predictions. Those on the Right who insistently deny the fact of climate change are just as delusional as the hysterical dispensationalists on the Left who declare the world is doomed. But the present-day Green movement provides no real answers for reconciling man with nature, when posed as a social problem, outside of, perhaps, its notion of sustainable growth. So what might a Marxist approach to the societal problem of man’s relation to nature look like?

To begin with, it must acknowledge that the answer can only lie in radical social transformation. Since humanity’s alienation from nature began with the foundation of the first societies — i.e., the beginning of history as such — and since the precise form in which this alienation has manifested itself has varied throughout history, we are left two options. Either we renounce society in its entirety, with all its freedoms and higher sensibilities, and retreat into the dark recesses of prehistory (as the anarcho-primitivists suggest), or we must progress into a new, as-yet-unseen social formation. With the former option, nature would no longer present itself as a problem to humanity because there wouldn’t be a consciousness of anything different, and we would act on our every savage instinct. Following the latter course of action, human society must gain a more self-conscious mastery over nature, such that it would become merely an extension of our will. What we are faced with is thus clear: either we must accept the renaturalization of humanity, or, inversely, the humanization (or socialization) of nature. Only by pursuing one or the other of these options can the contradiction be overcome — only then might humanity be disalienated from the natural world.

For the Marxist, the choice is simple. Though regressions do occasionally take place throughout history, one cannot turn back the hands of time wholesale. Thus is the dream of the anarcho-primitivists only a nightmarish fantasy, never to be realized. One can only progress by moving forward. The only answer the Marxist can accept is worldwide revolution — the fundamental transformation of existing social relations. This revolution must honor neither regional convention nor national boundary, it must extend to encompass the globe. And only by eliminating society’s foundation on that insatiable category called Capital, only then can society exist for itself, only then can men truly make his own history, rather than be made by history. In the words of Marx, “[m]en make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past. The tradition of all dead generations weighs like a nightmare on the brains of the living.” Engels expanded on this in later work, Socialism, Utopian and Scientific:

With the seizing of the means of production by society, production of commodities is done away with, and, simultaneously, the mastery of the product over the producer. Anarchy in social production is replaced by systematic, definite organization. The struggle for individual existence disappears. Then, for the first time, man, in a certain sense, is finally marked off from the rest of the animal kingdom, and emerges from mere animal conditions of existence into really human ones. The whole sphere of the conditions of life which environ man, and which have hitherto ruled man, now comes under the dominion and control of man, who for the first time becomes the real, conscious lord of nature, because he has now become master of his own social organization. The laws of his own social action, hitherto standing face-to-face with man as laws of Nature foreign to, and dominating him, will then be used with full understanding, and so mastered by him. Man’s own social organization, hitherto confronting him as a necessity imposed by Nature and history, now becomes the result of his own free action.The extraneous objective forces that have, hitherto, governed history, pass under the control of man himself. Only from that time will man himself, more and more consciously, make his own history — only from that time will the social causes set in movement by him have, in the main and in a constantly growing measure, the results intended by him. It is the ascent of man from the kingdom of necessity to the kingdom of freedom. [my emphases]

How to achieve such a seizure of the means of production is a political question, one that has been dealt with historically by figures like Lenin and Trostkii. And although it would be utopian to speculate exactly what such a realized society would look like, a few possibilities seem plausible. First, such an emancipated society, freed from the rule of Capital and the forces of history, can now consciously direct its actions at a global level. No longer would there be the haphazard, chaotic hyperexploitation of nature that one sees under capitalism, which so often gives rise to crises and acute shortages. Secondly, humanity, liberated from its servitude to merely use technology as a tool to generate relative surplus-value, can now self-consciously harness the vast technological forces bestowed upon it by capitalist society. No longer beholden to these machines, gadgets, and other devices, but their master, human society can use these technological instruments to radically reshape nature for the benefit of both society and nature.Indeed, this would involve both the transformation of man and nature. Or, as Trotskii put it in the conclusion of his book, Literature and Revolution, in a quote that might as well serve as an appendix to our whole discussion:

The Socialist man will rule all nature by the machine, with its grouse and its sturgeons. He will point out places for mountains and for passes. He will change the course of the rivers, and he will lay down rules for the oceans. The idealist simpletons may say that this will be a bore, but that is why they are simpletons. Of course this does not mean that the entire globe will be marked off into boxes, that the forests will be turned into parks and gardens. Most likely, thickets and forests and grouse and tigers will remain, but only where man commands them to remain. And man will do it so well that the tiger won’t even notice the machine, or feel the change, but will live as he lived in primeval times. The machine is not in opposition to the earth.[…]

[And thus, t]he wall will fall not only between art and industry, but simultaneously between art and nature also. This is not meant in the sense of Jean-Jacques Rousseau, that art will come nearer to a state of nature, but that nature will become more “artificial.” The present distribution of mountains and rivers, of fields, of meadows, of steppes, of forests, and of seashores, cannot be considered final. Man has already made changes in the map of nature that are not few nor insignificant. But they are mere pupils’ practice in comparison with what is coming. Faith merely promises to move mountains; but technology, which takes nothing “on faith,” is actually able to cut down mountains and move them. Up to now this was done for industrial purposes (mines) or for railways (tunnels); in the future this will be done on an immeasurably larger scale, according to a general industrial and artistic plan. Man will occupy himself with re-registering mountains and rivers, and will earnestly and repeatedly make improvements in nature. In the end, he will have rebuilt the earth, if not in his own image, at least according to his own taste.

The Marxist vision of an emancipated society is one of abundance and plenitude, not of scarcity and shortage. It is a vision of unlimited human freedom, not within the constraints of an ascetic lifestyle. And these are precisely the terms that the Green movement have set up as unchallengeable, terms of shortage and “ecoscarcity.” And “[t]he danger here is of accepting, often without knowing it, concepts that preclude radical critique,” writes the Marxist theorist and radical geographer David Harvey. “Consider, for example, the way in which ‘ecoscarcity’ (and its cognate term of ‘overpopulation’) plays out in contemporary debate.” With such terms as “ecoscarcity” and the supposed dearth of natural resources, contemporary eco-activism shortchanges the possibilities of human freedom. Harvey continues, writing that the assumption of “ecoscarcity” by contemporary environmentalists implies “that we have not the will, wit or capacity to change our social goals, cultural modes, our technological mixes, or our form of economy and that we are powerless to modify ‘nature’ according to human requirements.” The history of capitalism supports none of these claims. There may be limitations in terms of what we might accomplish in transforming nature at the present moment, but that is no reason set arbitrary limits on what might be accomplished in the future. “Hitherto philosophers have only described the world; the point, however, is to change it,” reads Marx’s famous eleventh thesis on Feuerbach. We might close by saying that not only can the social world be changed, but our physical world as well.

Henri de Montaut, from De la terre à la lune (From the earth to the moon), by Jules Verne, Paris (Hetzel), 18??

Henri de Montaut, from De la terre à la lune (From the earth to the moon), by Jules Verne, Paris (Hetzel), 18??

In this vein, reading Marx on Feuerbach, I recall a passage from The German Ideology that Gourevitch himself cited toward the end of the discussion of environmentalism and Occupy at the Left Forum. With Ajl’s objections to Gourevitch I cannot help but be reminded of Marx’s brilliant critical insight into Feuerbach’s neo-Romantic ruminations on the supposed peace and tranquility one experiences in community with “nature.” Feuerbach, disgusted with the filth and soot of the industrial cities, fled to the countryside, where he contemplated the “natural simplicity” and appreciation human beings feel when surrounded by a natural setting. The specific object of his most sublime contemplations was a cherry blossom (prunus serrulata, I believe), which he commended for its beauty, untouched by the hand of mankind.

Marx pointed out, of course, that this particular species of cherry had actually been imported centuries ago from Japan, through trans-oceanic commerce. And so it was not that Feuerbach was appreciating some pristine bit of nature, apart from human influence; rather, it was only by virtue of human influence acting in history that he was able to sit there and appreciate it at all:

In reality and for the practical materialist, i.e. the communist, it is a question of revolutionizing the existing world, of practically attacking and changing existing things. When occasionally we find such views with Feuerbach, they are never more than isolated surmises and have much too little influence on his general outlook to be considered here as anything else than embryos capable of development. Feuerbach’s conception of the sensuous world is confined on the one hand to mere contemplation of it, and on the other to mere feeling…He does not see how the sensuous world around him is, not a thing given direct from all eternity, remaining ever the same, but the product of industry and of the state of society; and, indeed, in the sense that it is an historical product, the result of the activity of a whole succession of generations, each standing on the shoulders of the preceding one, developing its industry and its intercourse, modifying its social system according to the changed needs. Even the objects of the simplest “sensuous certainty” are only given him through social development, industry and commercial intercourse. The cherry-tree, like almost all fruit-trees, was, as is well known, only a few centuries ago transplanted by commerce into our zone, and therefore only by this action of a definite society in a definite age it has become “sensuous certainty” for Feuerbach.

Incidentally, when we conceive things thus, as they really are and happened, every profound philosophical problem is resolved…quite simply into an empirical fact. For instance, the important question of the relation of man to nature (Bruno [Bauer] goes so far as to speak of “the antitheses in nature and history,” as though these were two separate “things” and man did not always have before him an historical nature and a natural history), crumbles of itself when we understand that the celebrated “unity of man with nature” has always existed in industry and has existed in varying forms in every epoch according to the lesser or greater development of industry, just like the “struggle” of man with nature, right up to the development of his productive powers on a corresponding basis. Industry and commerce, production and the exchange of the necessities of life, themselves determine distribution, the structure of the different social classes and are, in turn, determined by it as to the mode in which they are carried on; and so it happens that in Manchester, for instance, Feuerbach sees only factories and machines, where a hundred years ago only spinning-wheels and weaving-rooms were to be seen, or in the Campagna of Rome he finds only pasture lands and swamps, where in the time of Augustus he would have found nothing but the vineyards and villas of Roman capitalists.

Feuerbach speaks in particular of the perception of natural science; he mentions secrets which are disclosed only to the eye of the physicist and chemist; but where would natural science be without industry and commerce? Even this pure natural science is provided with an aim, as with its material, only through trade and industry, through the sensuous activity of men. So much is this activity, this unceasing sensuous labour and creation, this production, the basis of the whole sensuous world as it now exists, that, were it interrupted only for a year, Feuerbach would not only find an enormous change in the natural world, but would very soon find that the whole world of men and his own perceptive faculty, nay his own existence, were missing. Of course, in all this the priority of external nature remains unassailed, and all this has no application to the original men produced by generatio aequivoca [spontaneous generation]; but this differentiation has meaning only insofar as man is considered to be distinct from nature. For that matter, nature, the nature that preceded human history, is not by any means the nature in which Feuerbach lives, it is nature which today no longer exists anywhere (except perhaps on a few Australian coral-islands of recent origin [!!]) and which, therefore, does not exist for Feuerbach.

There is truth, in part, to the nature/culture dichotomy, but it is precisely an historical truth, and nothing more. Positing a strict divide between humanity in nature is impossible. In light of such examples from Marx, Engels, and Trotskii, I cannot but conclude that it is in fact Max Ajl who is criminally stupid, and who has no place on the Left.

“What would (or should) a Leftist, revolutionary art and critical practice look like today?” (Guest post by Paul Brennan)

El Lissitzky - Sketch for PROUN 6B

by Paul Brennan

Like revolution, socialism, communism, and Marxism, like any conception that would have it that there is an alternative to capitalist ontology, today the avant-garde is as extinct as the proverbial dodo. The age of militant artistic publicity seems a long, long century ago. Back then there was still a future, one that could be determined by the productive, social imagination. The historical avant-gardes, pitting themselves against the demarcation that separated the creative from the social and political, were natural allies of revolution. Not always the right kind of revolution, of course, as the example of Italian Futurism, with its militarism and misogyny, and later fascism, shows. And not always, or even often, without a large quantity of crankery and self-indulgence to go with the inspiration. Still, surveying the early twentieth century scene, it is striking how different was the conception and practice of art compared to today. True, there were painters and writers and composers for whom art remained a trade, a form of petty commodity production, but there were others, many others, at work on projects which they pursued with an idealism that would make them a laughing stock today. These could be those like Breton or Maiakovskii, for whom the creative was inseparable from the idea of a new society, or those like Joyce or Pound, politically equivocal or even downright reactionary, but who made it so intensely new that to imagine proper readers for their works was to imagine an entirely different order. Today, figures like Joyce and Pound seem to belong to an entirely different world.

Last year Penguin Books published 100 Artists’ Manifestoes: From the Futurists to the Stuckists. It is an enthralling read, at least initially; after the excerpts from Situationist writings — and surely Situationism is the moment when the avant-garde achieves its most fully realized conception of the need to erase the boundary between life and art — the sad truth begins to sink in that the avant-garde has become a joke. The movements that define the boundaries of the text tell a story. Marinetti’s Futurists represent the Ur-form of the avant-garde — the moment when it was possible to declare that “time and space died yesterday” on the front page of Figaro and not only become a subject of mockery. By the time of the Stuckists any mockery one can imagine the artist’s tracts receiving seems completely justified. It is avant-gardism — or at least an avant-garde gesture — against the avant-garde, a silly, merely reactive whinge against conceptualism and a call for a return to figuration in painting.

One reviewer of 100 Artists’ Manifestoes suggested that Alex Danchev could have improved his book by including a selection of the documents published by a group that appeared in 1999, the International Necronautical Society, which threw down its marker by publishing its first manifesto, in an homage to Marinetti, on the front page of the London Times (http://necronauts.net/manifestos/1999_times_manifesto.html). The INS deserves attention; not at all because it has rekindled the true flame of the avant-garde, impossible anyway, but because it at least evinces some ambition and does represent a focused, immersed response to the historical avant-gardes and their place in modern cultural and political history.

The INS is a “parodic” or “ironic” avant-garde, indeed it styles itself a “semi-fictitious avant-garde network,” but it is not the self-consciousness of this organization that distinguishes it from the historical avant-gardes. Self-consciousness was a built-in, preconditional quality of those movements. The classic account of this may be Peter Bürger’s, in Theory of the Avant-Garde (1972). In this now somewhat derided text (it flatters no one and is hostile to any claim that there can be a valid “tradition” of the avant-garde) Bürger charts the history of modern art as a story of autonomy achieved (in the moment of the bourgeois revolutions of the late eighteenth century) and then relinquished, when artistic self-consciousness, by the time of the late nineteenth century found itself dissatisfied with the available alternatives of artistic practice as either petty commodity production or aestheticism. The avant-gardes, for Bürger, wished to surrender their autonomy in return for an art rejuvenated by social relevance — hence the radical politicizations of art of the early twentieth century.

The self-consciousness, the reflexivity, of the INS is different. It is a organization that at once holds itself aloof from the narrowness of (particularly) contemporary British art and literature, but seems equally incapable of taking seriously the utopian projects of the historical avant-gardes. For this reason it presents itself as a kind of parody of a totalitarian state or party, merged with the attributes of movements like Surrealism and Situationism. Members can be expelled for the slightest infraction, if not shot. There are committees and sub-committees, communiques, and “agents.” The military aspect of the avant-garde is maintained, but with acknowledgment that it is more appropriate today, in our society of spectacular capitalism, to think of such activity as a kind of espionage. All of this with tongue firmly in cheek.

More striking is the death-obsession of the INS. Its members conceive of themselves as “necronauts,” travels or voyagers into death. This seems to me symptomatic of the place that the avant-garde has arrived at. It is no longer possible to think of an expansive, adventurous artistic activity, one outside of the Culture Industry, other than as life placed in a relation of perpetual adjacency to death. Its “General Secretary,” the now well-known novelist Tom McCarthy (http://www.surplusmatter.com/) gives special importance to the Freud of the Death Drive, to Heidegger, Bataille, and to Blanchot. The philosophical stance of the group (Simon Critchley is the INS “Philosopher in Chief”) is decidedly anti-humanist, with a particular hostility to Hegel and Marx. The emphasis falls on the post-structuralist “textual” author, on literature and art as networks, and on technology.

If the near-corpse of the Left is to be revived, then art will have to be revived with it. In the past leftists argued over what a healthy form for a radical art might be. In the age of great realistic fiction, Engels criticized novelists too quick to believe that they had to sacrifice verisimilitude for the sake of propaganda. Trotskii, in Literature and Revolution (1924) endorsed the idea of the avant-garde, but had many cogent criticisms to make of the artistic and cultural schools of this day. Lukács provided a defense of the realist novel against modernism in The Historical Novel (1937). In the 1930s, Walter Benjamin and Theodor Adorno conducted a seminal discussion over the questions raised in the former’s “Artwork” essay (1936). Benjamin argued for an art appropriate to the “environment” which was “being prepared for us by technology” and advocated a practice that would seek to hurry along the extinction of the “aura” and that would be, at the very least, “completely useless” to fascism and its “aestheticization of politics.” Radical art would be a marriage of technology and tendency. Adorno responded by insisting on the value of artistic autonomy, emphasizing artistic technique over technology, as a last-line resistance to the onslaught of commodification. Examples could be multiplied, for Marxism has a rich legacy of aesthetic debate and discussion. (One place to look is the Fredric Jameson-edited anthology, Aesthetics and Politics, which contains writings by and exchanges between Lukács, Bloch, Benjamin, Adorno, and Sartre.)

Today art and literature mostly seem to be a business. One could be forgiven for characterizing them as merely a niche industry supplying a rather snooty form of entertainment commodity. The situation visàvis the critical understanding of art is little better. Who cares, you may say, there are other priorities. But the idea of art is inseparable from the idea of the imagination and the imagination is in turn inseparable from the idea of another world, and so I ask, what would (or should) a Leftist, revolutionary art and critical practice look like today?