politics

Politics, a dead language

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Politics — in the emphatic sense — can sometimes feel like a dead language.

Terms and concepts that today should still retain some of their original descriptive purchase (like “lumpenproletariat” or “petit-bourgeois”) are only greeted with blank stares and bewildered incomprehension. It’s like you’re speaking Middle English or something. But then words and phrases that should actually raise a great deal more doubt (like “imperialism,” the “Third World,” or even “the precariat”) are taken for granted, as if everyone knows what they mean, even though it’s not clear at all if they remotely correspond to reality.

Obviously, I’m not interested in adopting some kind of false orthodoxy. Nor would I insist that everyone drop the way they’d ordinarily talk about something. It’s just that when it comes to serious discourse and debate, there needs to be at least some understanding of what these categories once meant and what they might mean today (if anything). Many of them are quite loaded, historically. Continue reading →

Architecture and politics

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“Architecture as politics is by now such an exhausted myth that it is pointless to waste anymore words on it,” sighed Manfredo Tafuri at the outset of his magnum opus, The Sphere and the Labyrinth (1980). Despite Tafuri’s dismissive gesture, many today still insist that architecture possesses considerable political agency. Personally, I’m more inclined to agree with Tafuri. While it would be mistaken to regard architecture and politics as totally unrelated, the precise nature of their interconnection is not at all what most advocates of architecture’s political role seem to think.

And so, without reopening this discussion wholesale, I think there are some basic clarifications that must be made before issuing any judgment about their relationship to architecture. Continue reading →

Critical comments on Nick Axel’s recent gloss of Walter Benjamin, “Critique of violence” (1921)

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History or metaphysics?

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Image: Walter Benjamin as a young man,
photographed smoking a cigarette (1922)
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Nick Axel recently wrote up an exegetical piece going over Walter Benjamin’s 1921 essay, “The critique of violence” on his blog, Awaking Lucid (mentioned in the last post). I came across it in connection with the other piece Axel wrote, “What is the problem?”, in which Benjamin’s essay likewise plays a crucial role.

Perhaps I’d need the aid of Agamben here, as he is Axel’s primary interlocutor in reading Benjamin, but as things stand I find his account of the essay virtually unrecognizable. At first I thought I must just be misremembering its contents, but upon rereading it I’m left even more confused. Though Axel begins by suggesting that the relation between ethics and violence is his overriding concern, and that Benjamin’s article only interests him insofar as it elucidates this relation, it’s sometimes difficult to distinguish between his concerns and those he ascribes to Benjamin. He writes:

Benjamin starts by declaring that the force of law becomes violent when it infringes on ethical issues, and that it is therefore in relation to law that both ethics and violence exist. Although this strongly echoes the reflex mentioned above with ethics and violence composing the two ends of a spectrum, this juridical framework is fundamentally inadequate as this would sanction violence as ethical as long as history records it as righteous, as is often the case (if not the impetus) of those who write history and depend on its words for the maintenance of their powerful status as embodiments of law.

For one thing, the main tension does not in my view consist in an opposition of ethics to violence. Indeed, “ethics” is almost nowhere to be found in the essay. (Perhaps Axel takes Benjamin to mean “ethics” whenever he speaks of “justice,” and thus ethical/unethical to just/unjust? This seems to me slightly more plausible). Rather, there is the fundamental opposition between means and ends in modes of justification, and then in the sphere of legality between natural and positive law. There is a further gradation between “legitimate” (sanctioned) and “illegitimate” (unsanctioned) uses of violence.

What strikes me most about this text is not what it says about the complexities of violence and its potential deployment or non-deployment toward an end irrespective of place and time, but rather the way Benjamin was attempting to work through the political exigencies of his day. Violence was a salient issue in 1921 because the world had just witnessed the greatest concentrated bloodbath in history to that point. Not only from the interimperialist war, but from the many domestic struggles throughout and the revolutionary struggles between 1917-1923. How could violence be justified in one case and not in the other? Why was it that the unjust slaughter of millions in the trenches of Northern France was perfectly legal according to agreed-upon international rights of war, while the violent attempt to overthrow unjust social relations was everywhere decried as illegal? Continue reading →

The “death” of modern architecture?

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Giedion reflects, 1963

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Image: Architectural historian Sigfried Giedion
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Responding to my post yesterday on Claude Schnaidt, Nick Axel of the blog Awaking Lucid asked whether I could “recommend a book or some resource that could explain…in greater detail…the ‘sociohistoric mission’ [of architecture]…in relation to style, that you, and Schnaidt, find problematically lacking today?” Furthermore, he wondered: “What does it mean to have a ‘sociohistoric mission’?”

These are the right questions to ask. You see, Nick and I recently entered into dialogue (at my initiation) so as to find some common ground between our concepts and thereby clarify whatever points similarities or dissimilarities might exist in our respective appraisals of the present state of architecture. Currently I’m preparing a response to a brief piece published by Leopold Lambert on his Funambulist platform along with Sammy Medina, and with the invaluable assistance of our colleague and comrade Reid Kane.

Axel’s approach, to be sure, varies from mine greatly. Despite some authors we both invoke, we speak in almost entirely different philosophical-theoretical idioms. Even if we were to understand each other completely, I suspect there would be a great deal that divides us in terms of our assessment of the relationship between architecture and politics. Nevertheless, I am convinced that we can at least attain to this level of mutually intelligible disagreement.

Put simply, the “sociohistoric mission” of modern architecture I sometimes mention is the same to which every modern discipline aspires: the world-historical transformation of society. Generally, this transformation is implicitly linked to, or participates in, a broader project of emancipation. Its task is the self-overcoming of bourgeois society, and as a consequence (eo ipso) the realization of freedom in time. A couple years back I outlined some of the ways this manifested itself in the architecture of the twentieth century. This might be a helpful place to start.

Regarding “style,” this is rather old hat in the propaganda of the classical avant-garde. Yet it is rooted in reality. All the great modernists rejected the idea that they were simply founding a new “style.” “Architecture has nothing to do whatsoever with the styles,” Corbu wrote in Toward an Architecture. Similarly, one can detect in the following passage from Giedion’s 1963 edition of Space, Time, and Architecture the contempt he feels toward theorists like Philip Johnson, who had branded the modern movement with the utterly false and misleading title of being “an international style.” The nineteenth century was, of course, characterized by Muthesius as dominated by Stilarchitektur, and involved a “battle of the styles.”

Here’s Giedion’s reintroduction to his classic work:

Confusion and boredom

In the sixties a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion. Everyone is aware of it. Fatigue is normally accompanied by uncertainty, what to do and where to go. Fatigue is the mother of indecision, opening the door to escapism, to superficialities of all kinds.

A symposium at the Metropolitan Museum of New York in the spring of 1961 discussed the question, “Modern Architecture, Death or Metamorphosis?” As this topic indicates, contemporary architecture is regarded by some as a fashion and — as an American architect expressed it — many designers who had adopted the fashionable aspects of the “International Style,” now found the fashion had worn thin and were engaged in a romantic orgy. This fashion, with its historical fragments picked at random, unfortunately infected many gifted architects. By the sixties its results could be seen everywhere: in small-breasted, gothic-styled colleges, in a lacework of glittering details inside and outside, in the toothpick stilts and assembly of isolated buildings of the largest cultural center. Continue reading →

Research and editorial consultation

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Image: Erik Desmazieres, original illustration to
Jorge Luis Borges’ The Library of Babel (1941)
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In the hopes of supplementing my income — which is rather modest as things currently stand — I’m hereby offering my services to the public as a freelance research and editorial consultant, available for a negotiable fee. Since a number of readers have already contacted me with questions regarding the content on this site (hoping to track down a specific quote or source an image), or seeking my advice about their own studies and intellectual pursuits, I figured I’d formalize the process.

Normally, of course, in the past this has all been done pro bono. But as the volume of inquiries I receive has begun to significantly increase in recent months, to the point where it’s become unmanageable, this is no longer a viable option for me. This, I hope, will help me prioritize those tasks which I can actually take on and commit myself to fully. Longer-term projects under different arrangements would be welcome as well. So if any groups, individuals, or institutions would be interested in hiring someone with my qualifications on a more permanent basis, don’t hesitate to ask.

Jorge Luis Borges

Erik Desmazieres, original illustration to Jorge Luis Borges’ The Library of Babel (1941)

While nothing has been cast in stone as yet, the cost of a given assignment will depend upon the amount of work it requires, measured in terms of both the size and difficulty of the project. At first the price will probably be relatively lower, until I’ve gotten a few under my belt and have a better sense of how much time and energy demand. Still, it’s not as if I haven’t done this sort of thing before, albeit in a slightly different setting and under different arrangements. Whether in an academic or professional capacity, the quality and consistency of my work is self-evident throughout.

On this page, I’m thus including a copy of my CV in PDF format, with clickable hyperlinks to examples of my writing and a copy of my employment history. My areas of greatest specialty include politics, philosophy, architecture, Russo-Soviet and European history, and archival research in multiple languages (especially Russian). However, I’d be happy to work in an editorial capacity on written pieces as well, helping to iron out any problems with grammar, style, formatting, or flow that that might exist. Given my extensive experience with visual media, also, I’d be willing to edit and curate any photos or videos you might need.

Please feel free to contact me with questions or requests. I can be reached at rosslaurencewolfe@gmail.com.

Curriculum Vitae

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Some preliminary thoughts on Endnotes’ critique of Platypus

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On materialism and idealism

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Image: Johann Friedrich Blumenbach (1752-1840) 
grenzt sich mit dem Begriff „Bildungstrieb“ (1781)
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A few ruminations on Endnotes’ critique of Platypus, as laid out in the closing plenary to the 2013 Platypus International Convention. These are just my thoughts, and as such are not necessarily indicative of anyone else’s opinion.

The contraposition some have latched onto lately  ⎯ whereby the focus on politics/history of the Left = “idealist” while the focus on economics/history of the capital’s transformations = “materialist” ⎯ is more than a little crude. Of course, this is not at all to suggest that those members of Endnotes who first advanced the critique fall victim to such an unnuanced view. Considerably more intractable problems arise, however,  for those who’ve tried to assimilate this critique to their own polemics against various “idealist” groupings they’ve recently vowed to destroy. Since their own aspiration is simply to erect a new international propaganda tribune (webzine) from which to spread socialism to the ignorant masses, they are forced to confront the embarrassing logical consequence of programmatic politics’ impossibility that the argument implies.

Doubtless, the argument is to be taken seriously. Its validity or invalidity cannot just be assumed. It would be overhasty to dismiss the thesis advanced by Théorie Communiste and others regarding programmatism out of hand. Part of the interest in critically engaging with the various currents of communization theory is that I feel there is quite a bit of common ground in our diagnosis of the present state of politics, especially as regards the (non-)viability of working-class militancy or mass forms of organization today. This remains so even if the emphasis we lay on the accumulation of past political defeats versus Théorie Communiste’s (and others’) emphasis on subsequent (post-1917, post-1968) transformations within capitalism’s mode of subsumption, real vs. formal, is somewhat different. Continue reading →

Fragments

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by Reid Kane Kotlas 

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Image: Georges Braques,
Bottles and Fish (1909)
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Originally posted on Reid Kane’s tumblog.

To have a system and to have none

Contrary to Hegel, who sought to consummate in theory the system that emerged as humanity rendered itself the necessary product of history, Marx is thought to have definitively indicted this system, or at least what it became. Marx’s critique is understood as a ‘systemic’ critique, a critique not of the actions of individuals or groups but of the whole social structure within which individuals and groups are bound to adopt the social roles that give them actuality. Marx offered no alternative system however, and that alternative which was eventually offered in his name ended in calamity.

Yet Marx did not offer such a critique. Rather, he recognized that the system had already become self-critical, and that this criticism was now advancing in the form of the struggles of the proletariat. It was with this struggle that Marx identified his criticism, a criticism which is nothing if not a critical participation in the political struggle, and thus a struggle to transform the ‘system’ on its own basis. “By raising the representative system from its political form to the universal form and by bringing out the true significance underlying this system, the critic at the same time compels this party to go beyond its own confines, for its victory is at the same time its defeat.” Continue reading →

NYC panel event: THE MANY DEATHS OF ART

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   Julieta Aranda | Gregg Horowitz
Paul Mattick | Yates Mckee

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65 W 11th St.
Wollman Hall (5th fl)
New School

February 23, 2013
6-9pm

Please register on our official event page
Join the event on Facebook

The “death of art” has been a recurring theme within aesthetic and philosophical discourse for over two centuries. At times, this “death” has been proclaimed as an accomplished fact; at others, artists themselves have taken the “death of art” as a goal to be accomplished. So while this widely perceived “death” is lamented by many as a loss, it is celebrated by others as a moment of life renewed. For them, art is all the better for having disburdened itself of the baggage of outmoded modernist ideologies. Insofar as the “death” of longstanding cultural traditions has in the past typically been understood to signal a deeper crisis in society at large, however, the meaning of death necessarily takes on a different aspect today — especially when the tradition in question is modernism, the so-called the “tradition of the new” (Rosenberg). Because the very ideas of “death” and “crisis” appear to belong to the edifice of modernity that has been rejected, these too are are to be jettisoned as part of its conventional yoke. Modernity itself having become passé, even the notion of art’s “death” seems to have died along with modernism.

We thus ask our panelists not merely whether art is at present “dead,” but also if traditions are even permitted the right to perish in conservative times. If some once held that the persistence of philosophy indicated the persistence of obsolete social conditions, does the persistence of art signal ongoing social conditions that ought to have long ago withered away? If so, what forms of political and artistic practice would be sufficient to realize art, and in what ways would realizing art signal something beyond art? Marx felt that the increasing worldliness of philosophy in his time (heralded by the culmination of philosophy in Hegel) demanded not only the end of philosophy, but also that the world itself become philosophical. If avant-garde movements once declared uncompromising war on art in order to tear down the barrier between art and life, would the end or overcoming of art not similarly require that the world itself become artistic?

The Many Deaths of Art event poster

Continue reading →

Updated list of links

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Platypus reading group series in New York continues

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

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