Alain Badiou’s recent book (2010) is titled with the phrase promoted by his and Slavoj Zizek’s work for the last few years, “the communist hypothesis.” Zizek has spoken of “the Badiou event” as opening new horizons for both philosophy and communism. Badiou and Zizek share a background in Lacanian and Althusserian “post-structuralist” French thought, in common with other prominent post-New Left thinkers — and former students of Louis Althusser — such as Etienne Balibar and Jacques Rancière. Althusser found, in the Russian and Chinese Revolutions, a salutary challenge to the notion of the Hegelian “logic of history,” that revolutionary change could and indeed did happen as a matter of contingency. For Badiou, this means that emancipation must be conceived of as an “event,” which involves a fundamental reconsideration of ontology.
Audio recording of presentation and discussion hosted by the Platypus Affiliated Society at the School of the Art Institute of Chicago, April 12, 2011
Chris Cutrone is a college educator, writer, and media artist, committed to critical thinking and artistic practice and the politics of social emancipation. ( . . . )
Presented on a panel with Paul LeBlanc and Lars T. Lih at the Left Forum 2011, PaceUniversity, New York, March 19, 2011 (audio recording); at the third annual Platypus Affiliated Society international convention, the School of the Art Institute of Chicago, April 30, 2011; and at the Marxist Literary Group summer Institute on Culture and Society, University of Illinois at Chicago, June 22, 2011.
Introduction
Lenin’s Marxist politics has been profoundly misconstrued and distorted, both positively and negatively, as supposedly having wanted to strip capitalist society of its deceptive veneer and assert the unadorned proletariat as the be-all and end-all of “socialist” society. Certainly not merely the later Stalinist history of the Soviet Union, but also practices of the Soviet state under Lenin’s leadership in the Civil War, so-called “War Communism,” and the Red Terror, lent themselves to a belief in Lenin as a ruthless destroyer of “bourgeois” conditions of life. But, then, what are we to make, for instance, of Lenin’s pamphlets on The State and Revolution and “Left-Wing” Communism: An Infantile Disorder? For they emphasized both the necessary persistence of “bourgeois right” among the workers in the long transition from socialism to communism, requiring the continuation of state mediation, and the fact that Marxists had understood their effort as trying to overcome capital “on the basis of capitalism” itself. A prime example of Lenin’s insistence on the mediation of politics in society was his opposition to Trotsky’s recommendation that labor unions be militarized and subsumed under the state. Lenin wanted to preserve, rather, the important non-identity of class, party, and state in the Soviet “workers’ state,” which he recognized as necessarily carrying on, for the foreseeable future, “state capitalism” (characterized by “bureaucratic deformations” due to Russian conditions). Lenin thus wanted to preserve the possibility of politics within the working class, a theme that reached back to his first major pamphlet, What is to be Done? Lenin’s “last struggle” (Moshe Lewin) was to prevent the strangling of politics in the Soviet state, a danger he regarded not merely in terms of Stalin’s leadership, but the condition of the Bolsheviks more generally. For instance, Lenin critically noted Trotsky’s predilection for “administrative” solutions.
Georg Lukács, Karl Korsch and Theodor Adorno, teasing out a “Hegelian” dimension to Lenin’s Marxism, derived from Lenin’s theoretical writings and political practice an elaboration of the Marxist theory of social mediation in capital, through the politics of proletarian socialism, that sought to recover Lenin from a bad utopian perspective of the desire to do away with politics altogether. Rather, such Marxist critical theory following Lenin understood overcoming the “alienation” and “reification” of capital as providing the possibility for the true practice of politics, a neglected but vital contribution Lenin made to the development of Marxism. Lenin did not attempt to destroy modern forms of political mediation, but rather to achieve the true mediation of theory and practice, in politics freed from society dominated by capital. This was the content of Lenin’s liberalism, his “dialectical” Marxist attempt, not to negate, but rather to fulfill the desiderata of bourgeois society, which capital had come to block, and which could only be worked through “immanently.”
The controversy about Lenin
Lenin is the most controversial figure in the history of Marxism, and perhaps one of the most controversial figures in all of history. As such, he is an impossible figure for sober consideration, without polemic. Nevertheless, it has become impossible, also, after Lenin, to consider Marxism without reference to him. Broadly, Marxism is divided into avowedly “Leninist” and “anti-Leninist” tendencies. In what ways was Lenin either an advance or a calamity for Marxism? But there is another way of approaching Lenin, which is as an expression of the historical crisis of Marxism. In other words, Lenin as a historical figure is unavoidably significant as manifesting a crisis of Marxism. The question is how Lenin provided the basis for advancing that crisis, how the polarization around Lenin could provide the basis for advancing the potential transformation of Marxism, in terms of resolving certain problems. What is clear from the various ways that Lenin is usually approached is that the necessity for such transformation and advance of Marxism has been expressed only in distorted ways. For instance, the question of Marxist “orthodoxy” hinders the proper evaluation of Lenin. There was a fundamental ambiguity in the way Marxism addressed its own historical crisis, in the question of fidelity to and revision of Marx, for instance in the so-called “Revisionist Dispute” of the late 19th century. Lenin was a leading anti-revisionist or “orthodox” Marxist. This was also true of other Second International radical Marxists, such as Rosa Luxemburg and Leon Trotsky. In what ways did these figures, and above all Lenin, think that being true to Marx was required for the advancement and transformation of Marxism?
The Frankfurt School Critical Theorist Theodor Adorno, in his 1966 book Negative Dialectics, wrote of the degeneration of Marxism due to “dogmatization and thought-taboos.” There is no other figure in the history of Marxism who has been subject to such “dogmatization and thought-taboos” as much as Lenin. For Adorno, figures in the history of Marxism such as Lenin or Luxemburg or Kautsky should not be approached in terms merely of their theoretical perspectives or practical actions they took or advocated, but rather in their relation of theory and practice, or, why they thought they did what they did when they did so. As Adorno put it, theory and practice have a changing relation that “fluctuates” historically.
Lenin, among other Marxists, thought that the political party served an important function with regard to consciousness, and wrote in What is to be Done? of the key “importance of the theoretical struggle” in forming such a party. Lenin thought that theory was not simply a matter of generalization from experience in terms of trial and error, as in traditional (pre-Kantian) epistemology, but, importantly, in the Hegelian “dialectical” sense of history: this is how Lenin understood “theory.” As Lenin put it, history did not advance in a line but rather in “spirals,” through repetitions and regressions, and not simple linear “progress.” In this respect, the past could be an advance on the present, or, the present could seek to attain moments of the past, but under changed conditions. And such changed conditions were themselves not to be regarded simply as “progressive.” Rather, there was an important ambivalence to history, in that it exhibited both progress and regress. In his 1915 Granat Encyclopedia entry on Karl Marx, describing “dialectics” from a Marxian perspective, Lenin wrote,
In our times, the idea of development, of evolution, has almost completely penetrated social consciousness, only in other ways, and not through Hegelian philosophy. Still, this idea, as formulated by Marx and Engels on the basis of Hegel’s philosophy, is far more comprehensive and far richer in content than the current idea of evolution is. A development that repeats, as it were, stages that have already been passed, but repeats them in a different way, on a higher basis (“the negation of the negation”), a development, so to speak, that proceeds in spirals, not in a straight line; a development by leaps, catastrophes, and revolutions; “breaks in continuity”; the transformation of quantity into quality; inner impulses towards development, imparted by the contradiction and conflict of the various forces and tendencies acting on a given body, or within a given phenomenon, or within a given society; the interdependence and the closest and indissoluble connection between all aspects of any phenomenon (history constantly revealing ever new aspects), a connection that provides a uniform, and universal process of motion, one that follows definite laws — these are some of the features of dialectics as a doctrine of development that is richer than the conventional one.
With Marxism, the “crisis” of bourgeois society was recognized. The crisis of bourgeois society circa 1848 was what Marx called “capital,” a provocative characterization. The spiral development through which Lenin, among other Second International radicals such as Luxemburg and Trotsky, thought that history in the modern era had regressed through the “progress” since Marx and Engels’s time in 1848, the moment of the Communist Manifesto, showed how and why the subsequent development of Marxism sought to re-attain 1848. Was history since 1848 progress or regress? In a certain sense, it was both. In this history, bourgeois society appeared to both fulfill and negate itself. In other words, bourgeois society had become more itself than ever; in other respects, however, it grew distant from its earlier achievements and even undermined them. (For instance, the recrudescence of slave labor in the decades leading up to the U.S. Civil War.) The Second International radicals thus sought to return to the original potential of bourgeois society in its first moment of crisis, circa 1848. As Karl Kraus put it, in a way that registered deeply with Walter Benjamin and Adorno, “Origin is the goal.” Even though the crisis of capital or bourgeois society grew, the question was whether the crisis advanced. The Second International radicals recognized that while the crisis of capital, in Marx’s sense, grows, the crisis must be made to advance, as history does not progress automatically. It was in this sense that there was, potentially, a return of the 1848 moment in the development of Marxism itself, which was the attempt to make the growing crisis — what Luxemburg and Lenin called “imperialism,” and what Lenin termed capitalism’s “highest stage” — a historical advance.
The paradox of such development and transformation of Marxism itself through the return to the past moment of potential and resultant “crisis” was expressed well by Karl Korsch, who wrote, in his 1923 essay on “Marxism and Philosophy,”
[The] transformation and development of Marxist theory has been effected under the peculiar ideological guise of a return to the pure teaching of original or true Marxism. Yet it is easy to understand both the reasons for this guise and the real character of the process which is concealed by it. What theoreticians like Rosa Luxemburg in Germany and Lenin in Russia have done, and are doing, in the field of Marxist theory is to liberate it from the inhibiting traditions of [Social Democracy]. They thereby answer the practical needs of the new revolutionary stage of proletarian class struggle, for these traditions weighed “like a nightmare” on the brain of the working masses whose objectively revolutionary socioeconomic position no longer corresponded to these [earlier] evolutionary doctrines. The apparent revival of original Marxist theory in the Third International is simply a result of the fact that in a new revolutionary period not only the workers’ movement itself, but the theoretical conceptions of communists which express it, must assume an explicitly revolutionary form. This is why large sections of the Marxist system, which seemed virtually forgotten in the final decades of the nineteenth century, have now come to life again.
So, what were these “revolutionary” aspects of Marxism that were recovered in the course of the “crisis of Marxism” (Korsch’s phrase), and how did Lenin help recover them?
Lenin: history not linear but spiral
Lenin and the political party
Lenin made a portentous but indicative remark in the first footnote to his book What is to be Done?, in which he stated that,
Incidentally, in the history of modern socialism [there] is a phenomenon . . . in its way very consoling, namely . . . the strife of the various trends within the socialist movement. . . . [In] the[se] disputes between Lassalleans and Eisenachers, between Guesdists and Possibilists, between Fabians and Social-Democrats, and between Narodnaya Volya adherents and Social-Democrats, . . . really [an] international battle with socialist opportunism, [will] international revolutionary Social-Democracy . . . perhaps become sufficiently strengthened to put an end to the political reaction that has long reigned in Europe?
In other words, could working through the issue of opportunist-reformist “revisionism” within Marxism be the means for overcoming capital? This would appear to be the self-centrality of Marxism taken to its fullest flower. But there was a rationale to this. Not only did Lenin (subsequent to What is to be Done?) want the Mensheviks thrown out of Russian Social Democracy (Lenin agreed with the Mensheviks on excluding the so-called “economistic” tendencies of Marxism and the Jewish Bund workers’ organizations), but a seldom remarked fact was that Luxemburg, too, wanted the reformist Revisionists thrown out of the German Social Democratic Party (Kautsky waffled on the issue). Lenin and Luxemburg wanted to split the Second International from its reformists (or, “opportunists”).
Lenin not only thought that splits, that is, political divisions, in the Left or the workers’ movement were possible and desirable, but also necessary. The only differences Lenin had with figures such as Luxemburg or Kautsky were over particular concrete instances in which such splits did or could or should have occurred. For instance, Luxemburg thought that the split in Russian Social Democracy in 1903 was premature and so did not concur with Lenin and the Bolsheviks on its benefits. And, importantly, the question was not merely over whether a political split could or should take place, but how, and, also, when. Politics was a historical phenomenon.
There is the specific question of the “party” as a form of politics. Marx and Engels had written in the Communist Manifesto that, “The Communists do not form a separate party opposed to the other working-class parties.” So, this would appear to present a problem in the case of Lenin, who is notorious for the “party question.” But it poses a problem for the question of Marxism in general, for Marxism confronted other, opposed, political tendencies in the working class, for instance anarchism in the First International. What had changed between Marx and Engels’s time and Lenin’s?
As Marxists, Lenin and Luxemburg considered themselves to be vying for leadership of the social democratic workers’ movement and its political party; they didn’t simply identify with either the party or the movement, both of which originated independently of them. Both the workers’ movement and the social-democratic party would have existed without Marxism. For them, the party was an instrument, as was the workers’ movement itself. In responding to Eduard Bernstein’s remark that the “movement is everything, the goal nothing,” Luxemburg went so far as to say that without the goal of socialism the workers’ movement was nothing, or perhaps even worse than nothing, in that it exacerbated the problem of capitalism, for instance giving rise to the “imperialist” form of capitalism in the late 19th century. How were the social-democratic movement and its political parties understood by Marxists? For considering this, it is necessary to note well Marx’s critique of the Gotha Programme that had founded the German SPD and Engels’s subsequent critique of the Erfurt Programme that had made Marxism the official perspective of the Social Democratic Party. They critiqued these programmes because that’s what Marxists do: critique. No matter what had been written in these programmes, it was certain to elicit critiques from Marx and Engels.
The Marxists, that is, Marx and Engels, seem to have reluctantly gone along with the formation of a permanent party of social democracy, but not without serious reservations and caveats. The endorsement of party politics was provisional and conditional. For instance, in 1917, Lenin himself threatened to quit the Bolshevik party. Lenin thought that he could quit the party and continue to lead the revolution, that he would quit the party in order to lead the revolution.
Luxemburg’s biographer, British political scientist J.P. Nettl, traced the question of the social-democratic party to a set of problematic conceptions, all of which were challenged in practice and theory by the radical Left in the Second International, in figures such as Luxemburg and Lenin. The party could be conceived as an interest-aggregator and pressure-group on the state, advancing the interests of the working class. Or it could be conceived, as it was most overtly by its leadership, under its organizational leader August Bebel and its leading theorist Karl Kautsky, as a “state within the state,” or what Nettl termed an “inheritor party,” aiming to take power. Involved in the latter was a theory not only of revolution but also of socialism, both of which were problematical. Specifically troublesome was the idea of building up the working class’s own organization within capitalism so that when its final crisis came, political power would fall into the hands of the social democrats, who had organized the working class in anticipation of such an eventuality. But these were conceptions that were challenged and critiqued, not only by later radicals such as Luxemburg and Lenin, but also by Marx and Engels themselves. Marxists such as Marx and Engels and Lenin and Luxemburg were, rightly, deeply suspicious of the social-democratic party as a permanent political institution of the working class.
The problem of party politics
To situate this discussion properly, it is important to return to the classical liberal scorn for political parties. There was no term of political contempt greater than “party man,” or “partisan” politics, which violated not only the value of individuals thinking for themselves but also, perhaps more importantly, the very notion of politics in the liberal-democratic conception, especially with regard to the distinction between the state and civil society. Whereas the state was compulsory, civil society institutions were voluntary. While political parties, as forms of association, could be considered civil society organizations, the articulation of such formations with political power in the state struck classical liberal thinkers as particularly dangerous. Hegel, for one, explicitly preferred hereditary monarchy over democracy as a form of executive authority, precisely because it was free of such a problem. For Hegel, civil society would remain more free under a monarchy than under democracy, in which he thought political authority could be distorted by private interests. The danger lay in the potential for a civil society group to capture state power in its narrow, private interests. Moreover, in the classical liberal tradition, the idea of the professional “politician” was severely objectionable; rather, state-political figures rose through other civil society institutions, as entrepreneurs, professors, priests, etc., and only reluctantly took on the duty of public office: “It’s a dirty job, but somebody has to do it.”
This problem of modern politics and its forms recurred in the late 19th and early 20th centuries to thinkers such as Robert Michels, a student and associate of Max Weber, similarly concerned with the problem of modern “bureaucracy,” who, in a landmark study, compared the German SPD to the Democratic Party in the U.S., specifically with regard to the issue of the “party machine,” with its “ward bosses,” or machine-party politics, and the resulting tendency towards what Michels called “oligarchy.” Michels had been a member of the SPD, in its radical wing, until 1907. (Michels, who also studied the Socialist Party in Italy, went on to join Italian fascism under the former Socialist Benito Mussolini, because he thought fascism was a solution to the problem of “bureaucracy,” but that’s another story.) So the problem of party-politics was a well-known issue in Lenin’s time. For Second International radical Marxists such as Luxemburg and Lenin, the workers’ social-democratic party was not to be an interest-aggregator and permanent political institution of social power like the Democratic Party in the U.S. (which ultimately became the party of the labor unions). What, then, was the function of the social-democratic party, for figures such as Lenin and Luxemburg?
Obviously, Lenin’s concerns with politics were not the same as those of liberals, who sought to prevent the ossification of political authority from stymieing the dynamism of civil society in capitalism. For Lenin’s concern was above all with revolution, that is, fundamental social transformation. But was the issue of politics thus so different in Lenin’s case? This raises the important issue of in what way social revolution and transformation was related to “politics,” in the modern sense. That is, whether Lenin was interested in the “end” of politics as conceived in liberalism and practiced under capitalism, or instead concerned with overcoming the obstacle to the practice of politics that capitalism had become. How was overcoming the social problem capitalism had become a new beginning, for the true practice of politics? In this sense, it is important to address how political mediation was brought into being but ultimately shaped and distorted by the modern society of capital, especially after the Industrial Revolution.
“Politics” is a modern phenomenon. Modern politics is conditioned by the crisis of capital in modern history. Traditional civilization, prior to the bourgeois, capitalist epoch, was subject to crises that could only be considered natural or divine in origin. Modern society is subject, for Marxists (as well as for liberals), rather, to human-made crisis thus potentially subject to politics. Bourgeois politics indeed responds to the permanent crisis of capitalism — in a sense, that’s all it does — but in inadequate terms, naturalizing aspects of capitalism that should be regarded as changeable, but can only be so regarded, for Marxists, as radically and consistently changeable, from a proletarian or working-class socialist perspective. Thus, modern politics has been haunted by the “specter of communism,” or socialism. As Marx put it, in The Eighteenth Brumaire of Louis Bonaparte,
Every demand of the simplest bourgeois financial reform, of the most ordinary liberalism, of the most formal republicanism, of the most insipid democracy, is . . . stigmatized as “socialism.”
Furthermore, the concrete meaning of socialism or communism is subject to change. For Marxists, the demand for socialism in the 19th century was itself an engine of capitalist development, historically. The story of socialism, then, is bound up with the development of capital, and the question of whether and how its crisis was growing and advancing.
Moreover, the question of party-politics per se is a post-1848 phenomenon, in which modern socialism was bound up. In other words, the crisis of bourgeois society in capital after the Industrial Revolution and the failure of the “social republic” in 1848, was the crisis of bourgeois society as liberal. The rise of party-politics was thus a feature of the growing authoritarianism of bourgeois society, or, the failure of liberalism. As such, socialism needed to take up the problems of bourgeois society in capital that liberalism had failed to anticipate or adequately meet, or, to take up the cause of liberalism that bourgeois politics had dropped in the post-1848 world. For Marx, the problem was found most saliently in Louis Bonaparte’s popular authoritarianism against the liberals in Second Republic France, culminating in the coup d’état and establishment of the Second Empire. As Marx put it, the capitalists were no longer and the workers not yet able, politically, to master the bourgeois society of capital. Party-politics was thus bound up with the historical phenomenon of Bonapartism.
Lenin and the crisis of Marxism
The period of close collaboration between Luxemburg and Lenin around the 1905 Russian Revolution saw Luxemburg leveling a critique of the relation that had developed between the social-democratic party and the labor unions in her pamphlet on The Mass Strike, the Political Party, and the Trade Unions. (Also, during this time Luxemburg wrote a defense of Lenin against the Menshevik charge of “Blanquism,” which she called “pedantic,” and thought said more of the reformist opportunism of those leveling the charge against Lenin than about its target.) In her Mass Strike pamphlet, Luxemburg delineated specific and non-identical roles for the various elements she mentioned in her title, that is to say, general strike committees, political parties, and labor unions (not mentioned specifically were the “soviets,” or workers’ councils). In this sense, the “mass strike” was for Luxemburg a symptom of the historical development and crisis of social democracy itself. This made it a political and not merely tactical issue. That is, for Luxemburg, the mass strike was a phenomenon of how social democracy had developed its political parties and labor unions, and what new historical necessities had thus been brought into being. Luxemburg’s pamphlet was, above all, a critique of the social-democratic party, which she regarded as a historical symptom. This was prefigured in Luxemburg’s earlier pamphlet on Reform or Revolution?, where she addressed the question of the raison d’être of the social-democratic movement (the combination of political party and labor unions).
From this perspective of regarding the history of the workers’ movement and Marxism itself as intrinsic to the history of capitalism, then, it becomes possible to make sense of Lenin’s further articulations of politics in his later works, The State and Revolution and “Left-Wing” Communism: An Infantile Disorder, as well as in the political disputes that attended the young Soviet state that had issued from the Russian Revolution and had endured the Civil War and stabilization of international capitalism in the aftermath of WWI. Lenin maintained a strictly minimal conception of the state, restricting it to the monopoly of authority for the exercise of force, precisely in order to avoid an all-encompassing conception of the state as the be-all and end-all of politics. Similarly, Lenin deemed “infantile” the impatience of supposed radicals with existing forms of political mediation, such as parliaments, stating unequivocally that while Marxism may have “theoretically” surpassed a liberal conception of the state, this had not yet been achieved “politically,” that is, in practice. In response to Trotsky’s recommendation that labor unions be militarized in the Soviet state, Lenin maintained that unions needed to remain independent not only of the state, but also of the Communist Party itself. The workers needed the ability, according to Lenin, of asserting their rights against the party and the state. Lenin recognized the necessity of an articulated non-identity of state, political parties, and other voluntary civil society institutions such as labor unions. This was grounded in Lenin’s perspective that capitalist social relations could not be abolished in one stroke through political revolution, that, even though the state had been “smashed,” it was reconstituted, not on the basis of a new social principle, but on the continuation of what Lenin called “bourgeois right,” long after the political overthrow and even social elimination of a separate capitalist class. “Bourgeois right” persisted precisely among the workers (and other previously subordinate members of society) and so necessarily governed their social relations, necessitating a state that could thus only “wither away.” Politics could be only slowly transformed.
Finally, there is the question of Adorno’s continued adherence to Lenin, despite what at first glance may appear to be some jarring contradictions with respect to Lenin’s own perspective and political practice. For instance, in a late essay from 1969, “Critique,” Adorno praised the U.S. Constitutional system of “divisions of powers” and “checks and balances” as essential to preserving the critical function of reason in the exercise of political authority. But this was an example for Adorno, and not necessarily to be hypostatized as such. The making common of executive and legislative authority in the “soviet” system of “workers’ councils” was understood by Lenin, as Adorno well knew, to coexist with separate civil society organizations such as political parties, labor unions and other voluntary groups, and so did not necessarily and certainly did not intentionally violate the critical role of political mediation, at various levels of society.
It has been a fundamental mistake to conflate and confuse Lenin’s model of party politics for a form of state in pursuing socialism. Lenin presupposed their important non-identity. The party was meant to be one element among many mediating factors in society and politics. Moreover, Lenin’s party was meant to be one among many parties, including multiple parties of the working class, vying for its adherence, and even multiple “Marxist” parties, differing in their relation of theory and practice, or means and ends.
By contrast, there was nothing so repressive and authoritarian as the Kautskyan (or Bebelian) social-democratic “party of the whole class” (or, the “one class, one party” model of social democracy, that is, that since the capitalists are of one interest in confronting the workers, the workers need to be unified against the capitalists). The social-democratic party, after all, waged the counterrevolution against Lenin and Luxemburg.
Lenin preserved politics by splitting Marxism. For this, Lenin has never been forgiven. But, precisely for this, Lenin needs to be remembered. | §
Originally published in The Platypus Review 36 (June 2011).
Perhaps the most condemnatory thing that could be said of Badiou’s “communism” was something Badiou himself wrote, when he defined “communism” as a “Kantian regulatory idea,” a norm to be aspired to, rather than a concrete reality to be achieved. This not only besmirched the historical Marxist idea of “communism,” but also Kant! For Kant addressed freedom as something that could and should be, not as a utopia. And Marx remained deeply engaged in practical politics. Leon Trotsky wrote, more than a hundred years ago, after the 1905 Russian Revolution (in the 1906 pamphlet Results and Prospects), that “Marxism converted socialism into a science, but this does not prevent some ‘Marxists’ from converting Marxism into a Utopia.” Trotsky also wrote that, “[I]n academies . . . it might be possible artificially to detain the proletariat for fifty, a hundred or five hundred years, but in the course of all-round life in capitalist society, on the basis of unceasing class struggle[,] . . . [t]he growth of the consciousness of the proletariat transforms this class struggle, gives it a deeper and more purposeful character.” Trotsky was not a utopian any more than Kant or Marx were.
However, as we know, such “unceasing class struggle” that Trotsky had in mind, which could “transform” the “consciousness of the proletariat” and potentially “give it a deeper and more purposeful character,” is precisely what the world has been missing, for at least a generation. The Marxist vision for proletarian socialism has passed, almost completely into oblivion. Badiou’s late redefinition of “communism” is a response — an adaptation — to this historical reality. Indeed, Trotsky was writing at the crest of 2nd International Marxism, which developed in the period from 1871 to 1917, whose history Badiou deliberately seeks to bury. Badiou characterizes this period, like our own, as an “interval,” in which “the communist hypothesis was declared to be untenable,” “with the adversary in the ascendant.” What is the basis of Badiou’s judgment of this period, 1871 to 1917, in which, not only did bourgeois society go through its last great flowering, in the Belle Époque, but Marxism flourished as an international workers’ movement, commanding a dedication to socialist revolution by millions in the core capitalist countries? The period between the Paris Commune and the October Revolution was not in any way like ours; it was not cynical, but optimistic in the sense of historical mission and the real potential of human progress. Badiou shares the skepticism that has developed regarding such historical potential. Indeed, we can say that Badiou is typical of the 1960s-era New Left in this regard. Badiou cannot recognize 2nd Intl. Marxism as an advance. Moreover, Badiou is, in Trotsky’s sense, “academic,” despite his avowed intentions. The last thing Badiou imagines is that he has conceded. Badiou’s entire philosophy was developed out of concern for “fidelity,” resisting the apostasies of the 1968 generation in the decades that followed. — The question is, to what does Badiou claim fidelity? Certainly not Marxism.
What has sanctioned Badiou to bury the admittedly obscure history of the first wave of Marxism in the 2nd Intl., today? And why does Badiou find an affinity in our moment with that of the pre-WWI world, which otherwise seems so unlikely? In certain respects, Badiou is rather optimistic in finding such an affinity, hoping that today we are in a period of preparation for the realization of more radical social transformation — “revolution” — down the road. Badiou thus tries to keep fidelity to “the revolution” in his estimation of the present. But which “revolution?” Badiou is clear that his model for revolution is May 1968 in France and the contemporaneous Great Proletarian Cultural Revolution in China. Presumably, in the latter case, this means a commitment to Mao and “Marxism-Leninism.” But, beneath this, there is a certain unmistakable pessimism to the characterization of the formative era of Lenin’s Marxism in the 2nd Intl., as being, like ours, one of conservative reaction. — Was the growth of Marxism in the late 19th and early 20th centuries really a retreat, after the defeat of the Paris Commune? Or, has Badiou mistaken one revolution for another? Badiou has maintained fidelity, not to “communism,” in Marx’s sense, but rather to “democracy,” that is, the eternal bourgeois revolution. It is thus significant that Badiou dates modern communism, not to Marx in 1848, but to the Jacobins in 1792. This obscures the history that came between.
The truth is that Badiou’s “communism” is deeply anti-Marxist. Not merely non-Marxist, in the sense of what it tends to leave out, but actually hostile to historical Marxism. Perhaps this is unremarkable. Perhaps it is not a problem in itself. But it may bear some inquiry into the potential consequences that might flow from this. Perhaps Badiou is quietly acknowledging that Marxism may have become an obstacle to the kind of social change that, in his estimation, is possible and desirable — and necessary. That is a real question. Does Marxism speak to the needs of the present? But to consider this — to consider what Badiou may have to offer as an alternative to Marxism — we must address what Badiou means by “communism.”
Badiou defines communism as “radical democratic equality.” The “hypothesis” that motivates communism, according to Badiou, is that,
the logic of class — the fundamental subordination of labour to a dominant class, the arrangement that has persisted since Antiquity — is not inevitable; it can be overcome. . . . [A] different collective organization is practicable, one that will eliminate the inequality of wealth and even the division of labour. . . . The existence of a coercive state, separate from civil society, will no longer appear a necessity: a long process of reorganization based on a free association of producers will see it withering away.
Furthermore,
As a pure Idea of equality, the communist hypothesis has no doubt existed since the beginnings of the state. As soon as mass action opposes state coercion in the name of egalitarian justice, rudiments or fragments of the hypothesis start to appear. Popular revolts — the slaves led by Spartacus, the peasants led by Müntzer — might be identified as practical examples of this “communist invariant.” With the French Revolution, the communist hypothesis then inaugurates the epoch of political modernity.
However, the potential for emancipated humanity expressed in communism that Marx recognized in the modern history of capital is not assimilable without remainder to pre- or non-Marxian socialism. Marx’s thought and politics are not continuous with the Spartacus slave revolt against Rome or the teachings of the Apostles — or with the radical egalitarianism of the Protestants or the Jacobins. So what was Marx’s distinct contribution? As Marx put it, “Communism is the necessary form and the dynamic principle of the immediate future, but communism as such is not the goal of human development, the form of human society.” This was because, according to Marx, “Communism is a dogmatic abstraction and . . . only a particular manifestation of the humanistic principle and is infected by its opposite, private property.” Marx was not the preeminent communist of his time but rather its critic, seeking to push it further. The best Marxists who followed, such as Lenin, Luxemburg and Trotsky, similarly sought to push their respective political movement of “revolutionary social democracy” in the 2nd Intl. further. In so doing, they revealed and grappled with the form of capital of their moment in history, what they called “imperialism,” seeking to make it into capital’s “highest” and last stage, the eve of revolution. Badiou, by contrast, addresses inequality as a timeless, perennial problem. He thus departs fundamentally from Marx and Marxism, and liquidates the revolution of capital.
Badiou conceives of the relation between freedom and equality as an ontological one, in the mathematical terms of set theory, transhistoricizing it. Badiou’s background is in Lacanian and Althusserian “post-structuralist” French thought, in common with other prominent New Left-era thinkers — and former students of Louis Althusser — such as Étienne Balibar and Jacques Rancière. Althusser found, in the Russian and Chinese Revolutions, a salutary challenge to the notion of the Hegelian “logic of history,” that revolutionary change could and indeed did happen as a matter of contingency. Althusser took great inspiration from Mao in China and Lenin in Russia for advancing the possibility of emancipation against a passive expectancy of automatic evolution in the historical process of capital. For Badiou, this means that emancipation must be conceived of as an “event,” which involves a fundamental reconsideration of ontology. Badiou does not conceive of the transformation of the capitalist mode of production that would allow for overcoming the socially pernicious aspects of specifically capitalist forms of inequality. By contrast, Marx looked forward to the potential for overcoming the conditions of possibility for the reproduction of capitalist class dynamics in the mode of production itself: capital’s overcoming of the need to accumulate the value of surplus labor-time. Marx saw the historical potential to overcome this socially mediating aspect of labor, expressed, for instance, in automated machine production. However, Marx also foresaw that, short of socialism, the drive to accumulate surplus-value results in producing a surplus population, an “industrial reserve army” of potential “workers” who thus remain vulnerable to exploitation. A politics based only in their “democratic” discontents can result, not in the overcoming of the social need for labor, but in the (capitalist) demand for more labor, the demand to be put to work. Or, as Max Horkheimer, director of the Marxist Frankfurt Institute for Social Research, put it, machines “have made not work but the workers superfluous.” Marx anticipated this when he warned that realization of the socialist demand to abolish “private property” would (merely) make society as a whole into one giant capitalist dominating its members. Marx even went so far as to analogize this with socialist calls to abolish marriage as a “bourgeois” institution, which he said would result only in universal prostitution — indeed, that capitalism was already bringing this about.
For Marx, elimination of a separate capitalist class would not in itself be emancipatory unless a transformation in the “mode of production” and its social relations came about. Marx did not think that the capitalists were the cause, but the effect of capital, calling them its “character masks.” Nonetheless, Marx endorsed, however critically, the traditional socialist demand to abolish private property and “expropriate the expropriators,” regarding this as a necessary first step: necessary, but not sufficient, to realize a society beyond the mode of production and social relations of capital. As Lenin underscored this, in The State and Revolution,on the eve of the October 1917 Revolution in Russia, such social relations of bourgeois society, namely, the mutual exchange of labor as the form of social solidarity in capital, could only be transformed gradually and thus “wither away,” and not be abolished and replaced at a stroke. The proletarian socialist revolution was supposed to open the door to this transformation. But, since then, the history of the Russian and Chinese Revolutions showed another potential, that is, the reconstitution of capital, under the guise of “socialism.” Marx had already foreseen such a possibility in the limited consciousness of his socialist and communist contemporaries of the 19th century, and he criticized them “ruthlessly” for this. Marx and Lenin recognized a problem in “socialism” itself that their supposed followers have neglected or avoided.
All this remains hidden to Badiou. But it was precisely this Marxist approach to capital as a “mode of production,” or form of society, that distinguishes Marx from other socialists or communists, and motivated revolutionaries who followed Marx, such as Lenin, maintaining that Marxism pursued the possibility of overcoming capital “on the basis of capitalism” itself. Badiou situates emancipatory possibilities rather atavistically, in a pre-historical ontology, to which the philosophy of mathematics — for instance, the question of “number and numbers” (the title of one of his books) — can be an adequate guide. For Badiou, in a procedure that recalls a self-criticism session or assembly at a “reeducation” camp, matter itself, in its open-ended recombinations, poses the solution to what Marx called “communism,” the “riddle of history.” Each element must be broken down to its radical potentiality for permutation — for instance, in the Maoist “revolutionary people,” for emancipatory change to take place. It is not for nothing that Badiou conceives of revolution not as a process but an event, or, that his conception of “process” is founded on a conception of the “event.” On the other hand, Badiou finds Marxists such as Lenin (and Marx himself) conceding to the existing social hierarchies and thus betraying the “idea of communism,” for instance in the party-state, which Badiou regards in retrospect as a “failed experiment.” Thus, Badiou.
What of Marx and Marxism? Marx distinguished capitalist inequality from that of the traditional caste system that had characterized civilization for millennia before the emergence of bourgeois society in the post-Renaissance world. As Adorno pointed out, to call all of history the “history of class struggles” was to indict all of (“recorded”) history, and to thus consign it to the mere “pre-history” of authentic humanity. But this humanity was itself historically specific, and emergent — to the era of capital. Just as traditional inequality was not the cause of the form of community that the ancients regarded as being divine in origin, capitalist inequality was not the cause but the effect, the product of the cosmos of capital. Marx’s magnum opus, Capital, explored how the post-Industrial Revolution society of capital produced a new form of inequality, between capitalist and worker, but one liable to be cast and responded to in the form of the original Revolt of the Third Estate that had ushered in modern bourgeois society in the 17th and 18th centuries. Marx found an important disparity — a self-contradiction — to have developed between the political aspirations of the subjects of capital, for “social democracy,” and the potential of capital to go beyond bourgeois society and its forms of politics — liberalism and democracy. This did not make Marx and those who followed him illiberal or anti-democratic, but they did regard liberalism and democracy — the combined libertarian and social-egalitarian impulses in modern politics — as means and not ends in and of themselves. This is because they regarded capitalism itself as a process and not merely a state of being. Marx and his best followers, such as Lenin, looked forward not merely to more liberalism and more democracy, but to the potential transcendence of the need for both liberalism and democracy, an “end” to politics as presently practiced. But not all at once, and not by denying them in the present. Capital is not an eternal event of inequality that needs to be met with the event of revolution. Badiou does not deny liberalism and democracy, but rather unconsciously reaffirms their present, bourgeois forms, at a deeper and more obscure level. Badiou’s ontology of “radical egalitarian democracy,” provides not a critical recognition, but a philosophical affirmation of the way bourgeois society already proceeds, however contradictorily. Badiou mystifies.
The challenge is to recognize the symptomatic character of liberalism and democracy in the crisis of capital, as it had developed in the 19th century, setting the stage for the history that came later. But such symptomology was not to be “cured” in the sense of elimination, but rather undergone and worked through — as Nietzsche put it, modernity is an “illness, but the way pregnancy is an illness,” bringing forth new life. The problem, as Marx recognized it, was that, by the mid-19th century, when bourgeois society entered into crisis, after the Industrial Revolution, and became “proletarianized,” humanity faced a situation in which, as Engels later described it, the capitalists were no longer and the workers not yet able to master the society of capital. Marx regarded this as the source of the authoritarianism of the modern, capitalist (nation-)state, despite the promises of classical bourgeois liberalism for a minimal state and a free, cosmopolitan civil society that would, for instance, reduce legislatures to, at most, sites of public debate and political recognition of social facts already accomplished on the ground — what Kant, for one, expected. But the bourgeoisie could no longer and the proletariat not yet rule modern society. The genie of capital had been let loose. The historical task of emancipating humanity had thus fallen from the bourgeois to the proletarian members of society. Marxists have recognized that this is the situation in which the world has remained stuck ever since then — ever since the failed “social democratic” Revolutions of 1848, on the eve of which Marx and Engels had published their inaugural Manifesto. For Marx, the demand for “social democracy” was part of the history of capital, to be worked through “immanently” and transcended. But none of this registers for Badiou. Marx marked a potential turning point for humanity; he was not merely one in a chain of prophets reaching back for thousands of years. He was thinker and political actor for our, modern time.
The cost of liquidating the specific history of capital — its peculiar constraint on society and its potential beyond itself — is Badiou’s reduction of “communism” to the perennial complaint of the subaltern, the millennial dream of social equality, as a specter haunting the world that has more in common with eschatological “justice,” posed by religion at the end of time, than with the pathology of the modern, bourgeois world of capital, in which humanity actually suffers today. We must awaken from this nightmare — the vain wish that things be otherwise — of the oppressed. For we are not only oppressed, but tasked by capital.
Nevertheless, the failure of historical Marxism has made Badiou an evidently adequate symptomatic expression of our time — its confusion and diminished expectations, well shy of the epochal transformation that had motivated Marx and the best Marxists, historically. We must remember Marxism, so we can forget Badiou: forget the time that made such ideology — such naturalization, indeed ontologization — of defeat so appealing, and finally consign it, where it belongs, to pre-history. | §
J.M. Bernstein, Lydia Goehr, Gregg Horowitz, and Chris Cutrone
On Saturday, November 20, 2010, Platypus hosted a panel entitled “The Relevance of Critical Theory to Art Today” moderated by Chris Mansour at The New School for Social Research in New York. The panel consisted of Philosophy Professors J.M. Bernstein (The New School), Lydia Goehr (Columbia University), and Gregg Horowitz (Pratt Institute and Vanderbilt University), and Chris Cutrone (Adjunct Assistant Professor of Art History, Theory and Criticism, School of the Art Institute of Chicago), member of Platypus. What follows is an edited transcript of the event. Full video is available online at <http://newyork.platypus1917.org/what-is-critique-symposium-video-documents>.
Opening remarks
Chardin, The House of Cards (1735)
J.M. (Jay) Bernstein: Some 25 years ago, I asked Terry Eagleton and Fredric Jameson why two revolutionary Marxists spend so much time talking about Jane Austen. They replied, “Because that’s where the bourgeoisie have pitched their tent.” I felt that answer was true, but also insufficient. If the bourgeoisie have a stake in high culture, as one of the ways society reproduces itself, then it makes sense for Marxists to critique the practices that constitute high culture. But, beyond the issue of social integration, what stake do Marxists have in art?
The Marxist story runs something like this: By a certain moment, everyday life in modernity had become formed by the reduction of use-values to exchange-values, the fungibility and exchangeability of all material artifacts, the rule of technology, the rule of bureaucracy, the domination of capital markets, and the disenchantment of nature. Now, if you were Adorno, you would say that all of this amounts to the hegemony of instrumental reason over all forms of human reasoning. You would further say that art, in becoming purposeless, could become a refuge for another form of world address. Artworks are not fungible, not replaceable by one another, and not quantifiable. Rather, artworks make a claim on us simply by virtue of their material complexion, their ordering of sensual materials.
Modern art—I see modernism as the extension of modern art—is the attempt to think through this moment. First and foremost, the autonomy of art from politics, from science, from all the functions it might have in the world, was a world-historical calamity. Modern art begins as a kind of disaster. To understand the meaning of art is to understand the nature of that disaster. Art was taken out of the world and deposited in this realm where it has to make sense of its practice wholly in terms of itself. The puzzle of modern art is this functional emptiness that is nonetheless a form of content. First for Friedrich von Schiller, then for Adorno, the autonomy of art became a sort of opportunity. I think you can read all of modern art, right through high modernism into certain versions of postmodernism, as having embarked on the same project.
Caravaggio, Conversion on the Way to Damascus (1601)
Yves-Alain Bois, along with all the writers who are part of what I will call “the aesthetic,” agree in one way or another that the primary gesture of modern art is the tearing away from materials, ideologies, and formalisms. At first—that is, with Dutch Realism in the 17th century, as with Caravaggio and, later, Chardin—this tearing away is emancipatory. It frees art from religious and related forms of reference, allowing representations to become immanent in gesture, rather than exemplifying some presumptively eternal idea. It is here that we see art becoming autonomous. In this respect, modern art was part of the secularizing of the world, but with this secularization came the idea that a wholly secular world could be infinitely valuable. Thus, with secularization came the project of sacralizing the everyday, but in a wholly secular way.
However, this project became increasingly harassed and defensive as modernity itself became an ideology, a series of forms of closure and domination. At that moment modernity ceased to be the emancipator, and became a problem. I would place that moment somewhere around 1848, with the failure of the bourgeois revolutions, though of course for some, notably Rousseau and Schiller, modernity had become a significant problem much earlier.
The notion of decoding, for Yves-Alain Bois, is broadly what Jacques Rancière means by the shift from the representational regime to the aesthetic regime. It is what Adorno means by the retreat of form in the face of materials that are in-formed, and what Gilles Deleuze means by the shift from representation to sensation. All of these I take to be riffs on the notion of purposefulness without purpose, which has this thought behind it: What painting provides is an account of our conviction in, and connection to, the world through visual experience. With modern art it became natural to find the authority of painting in its capacity to demonstrate how objects have a more than instrumental call on our capacity to live with them. That thought is fully there, for example, in Dutch Realism and in the tradition of the still life. By placing physical things in the visual environment and purifying them of any uplifting or instrumental features, by just letting them be there for our visual inspection, art returns us to this world. It allows us to be present to ourselves and for the world to be present to us.
Van Gogh, Chair (1888)
This is both enthralling and a disaster, because it means that everyday life has begun to disintegrate. I think of Van Gogh’s Chair (1888) as an eloquent moment connecting the dignity of the mere thing with the dignity of paint on canvas. Van Gogh’s moment is just that, a moment in which object and canvas speak to one another, each lending the other its authority. In the very moments of art’s so-called existential emptiness, of its not being about the world, there is the appearance of the world. This is art’s power.
Philistines hate art for that moment of emptiness. This moment, at one level, is irredeemable. But this moment of emptiness is art’s moment of fullness. Modern art imbricates and provides a refuge for a disenchanted but affirmative materialism in which objects could be meaningful in themselves, and not just in what they are useful for. These objects are sources of compelling experience amidst a world of sensory bombardment. They are a promise of happiness.
Though this promise is wildly different from Benjamin to Adorno to Rancière, these thinkers all avow some version of it. The promise is often taken to be insufficient as, after all, artworks are not life. What they promise is a different future, and in so doing artworks threaten to leave our present evacuated. This is the central difficulty of all modern art practices: If art has no other power than its mere presence, the attempt to provide it with political significance from the outside is always bound to fail. Art can only have what it offers, namely the salience of visual experience, by embracing the difficulty of that moment of protest by allowing for visual fullness.
Having said that, I need to return to where I began. This moment of protest in art only has cultural significance if the world cares about culture. I take the problem of the present not to be that art has gone awry, but that culture has gone awry. The bourgeoisie has discovered that capital can reproduce itself without social integration. Capital can get on very well with a dispersed, fragmented, wholly disarticulated cultural domain. The difficulty of modern art, in my judgement, is this: How can art address the problem of cultural weight when the bourgeoisie has disavowed it altogether?
Lydia Goehr: To Adorno critique is not the promise of happiness, nor the promise of freedom. It is always immanent critique, the turning of thought back upon itself. Asking the question, “What is critique?” might indicate that we have raised the very notion of critique to a concept. In that respect we fetishize the concept of critique, just as we have fetishized the concepts of “happiness,” “life,” “history,” and so on. Critical theory is about the immanent critique of our language, which is to say, the language of our thought and the language of our concepts. Language is our concepts, our concepts are our social logics. The way in which we think through thought is by producing a challenge to that which has authority over us, namely our concepts, like “personality,” “narrative,” and “subject.” The paradox, or the extreme difficulty, of doing immanent critique is that we have to use the tools that are the subject of our critique, so the critique always has to turn back on itself as an ongoing process. In that sense it has no external objects, although it is constantly mediated by the objects that are antithetical to our thinking—namely, things like works of art.
The real difficulty is that you can never break out of the thinking about thinking. You are constantly confronted by the things that have most authority over you, namely the concepts you are actually implying. I want to illustrate this by one example I like to use from the field of music. When we perform a musical work there’s this idea of Werktreue, of being true to the work. We know that the work has authority over our performance insofar as we are performing a work, but Adorno suggests that the way we are true to a work is precisely by being untrue to it. What he meant was that, insofar as we perform the work against its grain, by not just trying to replicate it, but by playing with it, we challenge the authority that the work-concept has over us. To be true to the work ends up being untrue to the concept of the work. Performance of music, then, becomes a way to redeem something about the musical work, if the musical work is resisting the concept under which it falls, namely the concept of “a musical work.”
This is the way that some of the so-called “social truth content” comes out of critique: It exposes the authority that concepts have over us. My suggestion is that one way to think about critique is in terms of looking for ways in our thinking to break the authority our thinking has over us. In that sense, there is nowhere to go outside of our own capacity to think.
Gregg Horowitz:I started really thinking about this panel around ten days ago. At the end of every day, it was almost tomorrow, which meant that the thoughts were already too late. I only found my way out of this conundrum through this extraordinary document that has been published in a recent issue of the New Left Review, of a discussion between Adorno and Horkheimer in 1956, which Gretel Adorno recorded. [1] They discussed what it would mean to rewrite the Communist Manifesto. And I thought—that’s a thought about today. It is visibly a thought about today. For such a project, you would think the main themes in connecting up the past, the present, and the future, would be something like this: The past was the revolution, the present is actually existing socialism, and the future depends on whether actually existing socialism points in a meaningful way to a socialism worth endorsing. But that’s not what they talk about. Rather, the past is the party, understood as an audience whom a writer interested in socialism might address. Marx, after all, begins the Communist Manifesto with an address to the party. The future, then, is a question of who would care about the writing. And the present, it turns out, is largely a matter of motorbikes. This is Europe in 1956, and youths are riding on motorbikes all over, making pestiferous noise. The question kept occuring to Horkheimer and Adorno, “Why does everybody love motorbikes?” Now this seems to be what it means to think about the present: thinking about the sound of motorbikes roaring in your ears as you think through the party, on the one hand, and whom to address, on the other.
If our future is anywhere, the thought usually goes, it will be in the present. No other future can matter other than the future that is here in the present. This self-conscious entrenchment in the present reminds us that critical theory, both as it was articulated but also, more importantly, as we have to receive it, was not simply a response to social regression, but a symptom of social regression. As Adorno said, philosophy carries on because its moment of realization was missed. For philosophy, as for critical theory, something has migrated into the realm of thought that is somehow not at home in the realm of thought. In this sense philosophy is struck by the same regression that critical theory takes itself to be reflecting on.
To put this point in a more general register, thinking is not self-determining, but is always shaped by the practices out of which it emerges and to which it instinctively tries to return. The more it is frustrated in this endeavor, the more insistent it is to return. The idea that thinking is not self-determining represents the decay of a certain image of philosophy. At that point one wants to assert that the whole project of spinning a system of thought out of concepts is now simply behind us. It is for this reason that we can say that Marx, Nietzsche, and Freud remain the central background figures, because they sought to think through, not the future completion, but the radical incompleteness of philosophy. That philosophy, of all disciplines, would be radically incomplete implies that all practices are radically incomplete. No thought, no practice, can cordon itself off from the social world of which it is a part. Critique wants to get behind the veil, to get to the bottom of things from which we can start over in the full light of truth. But precisely this impulse, this thought, has to be treated as symptomatic—it ends up inhibiting thought.
We always start exactly where we are. This is neither to say that nothing of the past is left, nor that everything is so thoroughly mediated that the origin has disappeared. Rather, there is no starting over because nothing of the past ever goes away. The urge to start over attests to a learned distrust in our capacity to remember, to sustain experience. Memory is weak, and in response to this weakness the feeling arises that things are going away, and we want to get back to the things themselves. This weakness is crucial to reflect on. For it is not in the strength, but in this moment of memory’s weakness that the past rises up in the light of that future which we cannot determine in the present.
All understanding of the present has to start with the acknowledgement that we are not the future the past had in mind and that, for this reason, in some sense we stand in the way of the future the past had in mind. I do not know how to sustain this thought for long—it hurts. One task that we can pose to critique, insofar as we turn against ourselves in this moment of weakness, is to unlock another future—perhaps another modernity.
I am putting to critique the task of understanding the present, but to understand the present is to grasp it as if it has already passed away. In the dialogue between Adorno and Horkheimer, Adorno makes the comment that the horror of the present is that we live in a world where we cannot imagine a better one. To say that we live in a world where we cannot imagine a better one is to say that we cannot see this world as one that has passed away. We cannot see the present in the light of a future that the present does not intend. The standard line is that, for critical theory, to grasp the world as past has meant totalizing the world, or seeing it from the point of view of its completeness, with nothing falling outside the totality. But this is a limited conception of totalization. It is not merely that nothing falls outside, but that anything that does fall outside of the totality is a harbinger or an ambassador of a different world. This thought has been susceptible to a religious interpretation that I am going to do everything I can to avoid. Totalization in this respect is the precondition for opening up the cracks through which the light of the future can shine, right now, on the past and the present. Horkheimer says in his dialogue with Adorno, “I don’t believe things will turn out well.” And by “things” he means everything. But the thought that things might turn out well is indispensable. Nothing falls outside but the thought that something in the present does shine a light on the past.
With regard to art, I agree with Jay that modernist art has been taken up as a kind of self-overcoming of the present. Modernist art is not the future—Heaven forbid—but, rather, it is the light that shines from the future onto the past, the light whose uselessness is what the present does not yet know how to make use of. Adorno only articulated this thought retrospectively. That is, Adorno felt that the moment of modernist art’s capacity to be this light had already passed. Modernist art had been absorbed by the culture industry.
The contrast between the culture industry and modernist art is often articulated so radically that absorption is thought of as cancellation. But absorption is not the same as negation. Rather, I think of absorption the way I think of how, when you wash your dishes, the sponge absorbs the odor of what is being discarded. It is retained in trace form. The inevitability of the absorption is clear once the demand for a different future has been articulated. Once made, that demand is already on the way to becoming a commodity. What we need is not a demand for another future, but for another past. We need the paradoxical demand of a past that will steer us toward a future that we cannot anticipate. From this it follows that no art practice can ever be “subversive.” Art practices can be subverted, but no art practice can ever be subversive. Art is, and should be, too much in love with experience in the present to ever be subversive. For any art that is worth taking seriously, absorption in the culture industry seems inevitable.
However controversial this statement may be, I believe critical theory has before it now the task of demolishing the false overvaluation of art, in order to save us from the idea that art will save us. Perhaps critical theory is tasked with helping us to expect less of art. At one point in this exchange between Horkheimer and Adorno, Horkheimer says, “The more eager one is to break the taboo, the more harmless it is…. One must be very down to earth, measured, and considered so that the impression that something or other is not possible does not arise.” [2] What Horkheimer calls for here is a toning down of the rhetoric, because with every moment of melodrama in the effort to cancel the present moment, we render the weight of the present moment insignificant. It becomes the occasion for a spectacular display of pathos, which Horkheimer is trying to resist. Perhaps what we should drive toward, critically, is lower expectations for art, so that we have an opportunity to experience, not our distance from, but our proximity to, what is better—though this proximity is also a kind of distance, and what is better remains obscure.
Chris Cutrone: The scholar of Benjamin’s and Adorno’s work, Susan Buck-Morss provided a pithy formulation for defining the tasks of both art and criticism in the modern era: “[Artists’] work is to sustain the critical moment of aesthetic experience; our job as critics is to recognize this.” [3] Two aspects of Buck-Morss’s formulation of the work of artists need to be emphasized—“sustaining the critical moment” and “aesthetic experience.” The subjective experience of the aesthetic is what artists work on, and they do so in order to capture and sustain, or make available, subjectivity’s “critical moment.”
Adorno, in his 1932 essay “The Social Situation of Music,” analogized the position of modern art to that of critical social theory: The role of both was to provoke recognition. Adorno further warned that there could be no progress in art without that of society. His posthumously published but unfinished monograph Aesthetic Theory can be considered to have at its center, organizing the entire discussion of the modern experience of art, the theme of the simultaneous necessity and impossibility of art. In this, Adorno was elaborating in the aesthetic realm his thesis in Negative Dialectics, that philosophy and critical theory were both necessary and impossible, simultaneously.
What does it mean to practice art in an epoch of its impossibility and continuing necessity? A clue can be found in Adorno’s claim in Negative Dialectics that “philosophy lives on because its moment of realization was missed.”[4] Adorno’s treatment of philosophy and art is modeled on Marx’s treatment of capital. The potential for a dialectical historical transformation, in which capital would be simultaneously realized and abolished, became for Adorno the question of what it would mean to simultaneously realize and overcome the aspirations of modern philosophy and art. What would it mean to overcome the necessity that is expressed in modern practices of art? The Hegelian thought figure of art’s attaining to its own concept, while transcending it through a qualitative transformation, was mobilized by Adorno to grasp both the history of modern art and the desire to overcome its practices.
The Hegel scholar Robert Pippin, in his response to the journal Critical Inquiry’s 2003 forum on the current state and potential future for critical theory, described postmodernism as a repetition of the “Romantic recoil” from modernity. [5] Specifically, Pippin pointed to modern literary and artistic forms as derived from such Romanticism, of which postmodernism was the mere continuation, but in denial of its repetition. And Pippin pointed out that such repetition is in fact a “regression,” because consciousness of the historical condition of the problem had grown worse.
Hegel posed the question of the “end” of art. He meant by this not the cessation of practices of art, but rather the ability of those practices to make the activity of “Spirit” appear in a self-contained and self-sufficient manner. While religion had been superseded by art, art had come to be superseded by “philosophy.” By this, Hegel meant that art needed philosophical interpretation to be able to mean what it meant. Art needed criticism in order to be itself. This was a specifically modern condition for art, which Hegel addressed in a rather optimistic manner, seeing art’s need for criticism as a hallmark of enlightenment rather than a disability or liability.
But Adorno took this Hegelianism with respect to art and turned it from an explanation of art’s historical condition to a critique of those historical conditions. Like Marx who had turned Hegel on his head, or put Hegel back on his feet, Adorno inverted the significance of Hegel’s philosophical observation. Where Hegel had, for instance, regarded modern politics as the realm of reflection on the state, and by extension the self-objectification of civil society in the state, Marx regarded the modern distinction between state and civil society as expressing the pathological necessity of capital, in which the self-contradiction of capital was projected. Adorno similarly addressed the complementary necessities of art and criticism as expressing a self-contradiction in (aesthetic) subjectivity.
As Adorno put it, however, this did not mean that one should aspire to any “reconciliation” of art and philosophy, nor of theory and practice. Just as Marx critiqued the Left Hegelians for their Romantic desire to merely dissolve the distinction between state and civil society, so too did Marx and Adorno alike regard this separation as the hallmark of freedom. In a late essay, “Marginalia to Theory and Practice” (1969), Adorno attacked “Romantic socialism” for wanting to dissolve the distinction and critical relationship between theory and practice, maintaining that, by contrast with traditional society, the modern separation of theory and practice was “progressive” and emancipatory. So too was the separation in meaning between art, as non-conceptual knowledge, and criticism, informed by theoretical concepts.
Adorno, like Marx, looks forward, not to a return to a pre-modern or pre-capitalist unity of theory and practice, nor to a reconciliation of form and content, as had been the case in traditional culture, but to a qualitative transformation of the modern division of meaning in art and criticism, in which each would be simultaneously realized and abolished as presently practiced. The problem is that, rather than being raised to ever more acute levels, there was already in Adorno’s lifetime a retreat from the productive antagonism, the dialectic of theory and practice, or in this case art and criticism.
Adorno drew upon and sought to further elaborate the approach of his friend and mentor Walter Benjamin, who argued in his 1934 essay “The Author as Producer” that no art could be of correct “political tendency” unless it was also of good aesthetic quality. [6] Furthermore, Benjamin argued that every great work of art “either founds or dissolves a genre.” [7] As Benjamin put it, the work of art that fails to teach artists teaches no one. Artists do not “distribute” aesthetic experience, but produce it. New art re-works and transforms, retrospectively, the history of art. Benjamin argued that there could be no progress in society without that of art, for necessarily involved in both is the transformation of subjectivity.
The history of modern art, as Benjamin and Adorno recognized, presents a diverse multiplicity of practices, none of which has been able to come to full fruition. Benjamin described this poignantly in his Arcades Project as “living in hell.” [8] Benjamin and Adorno’s thought-figure for such historical consciousness of modern art comes from Trotsky, who pointed out, in a June 1938 letter to the editors of the American journal Partisan Review, that the modern capitalist epoch displayed the following phenomenon in its historical course:
[N]ew tendencies take on a more and more violent character, alternating between hope and despair. The artistic schools of the [first] few decades [of the 20th century]—cubism, futurism, dadaism, surrealism—follow each other without reaching a complete development. Art, which is the most complex part of culture, the most sensitive and at the same time the least protected, suffers most from the decline and decay of bourgeois society.[9]
This was because, as Trotsky put it,
The decline of bourgeois society means an intolerable exacerbation of social contradictions, which are transformed inevitably into personal contradictions, calling forth an ever more burning need for a liberating art. Furthermore, a declining capitalism already finds itself completely incapable of offering the minimum conditions for the development of tendencies in art which correspond, however little, to our epoch…. The oppressed masses live their own life. Bohemianism offers too limited a social base.[10]
Trotsky said of art that, “a protest against reality, either conscious or unconscious, active or passive, optimistic or pessimistic, always forms part of a really creative piece of work. Every new tendency in art has begun with rebellion.” [11] And not merely rebellion against existing conventions of art, but against the conditions of life in capitalism.
But what, then, would be a “liberating art?” Adorno addresses this in terms of the aspiration for “artistic autonomy,” or the self-justification of aesthetic experience. This is related to how Kant described the experience of the beautiful, in nature or art, as the sympathetic resonance the subject experiences of an object, which thus appears to embody “purposiveness without purpose,” or a telos—an end-in-itself. Except, for Adorno, this empathy between subject and object in Kant’s account of aesthetic experience is not affirmative, but critical. In Adorno’s account of the modern experience of art, the subject recognizes not the power of experiential capacities and the transformative freedom of the human faculties, but rather their constraint and unfreedom, their self-contradictory and self-undermining powers. The subject experiences not its freedom in self-transformation, but rather the need for transformation in freedom. Adorno emphasized that the autonomy of art, as of the subject, remains under capitalism an aspiration rather than an achieved state. Works of art embody the striving for autonomy that is denied the subject of the modern society of capital, and thus artworks also embody failure. Hence, the history of art furnishes a rich inventory of failed attempts. This is why this history remains unsettled and constantly returns. Modern works of art are necessarily failures, but are nonetheless valuable as embodiments of possibility, of unfulfilled potential.
The constrained possibilities embodied in modern art are, according to Benjamin’s formulation, approached by the subject with a combination of “desire and fear.” Modern artworks embody not only human but “inhuman” potentials—that is, the possibilities for the qualitative transformation of humanity, which we regard with desire and fear. They thus have simultaneously utopian and dystopian aspects. Modern artworks are as ambivalent as the historical conditions they refract in themselves, “prismatically.” But it is in such ambivalence that art instantiates freedom. It is the task of theory, or critique, to register the non-conceptual while attempting to bring it within the range of concepts. As Adorno put it, the aspiration of modern art is to “produce something without knowing what it is.” [12] In so doing, art acts not only on the future, but also on history.
Modern artworks find inspiration in art history. This is the potentially emancipatory character of repetition. Artists are motivated by art history to re-attain lost moments by achieving them again, but differently. Artists produce new works that, in their newness, unlock the potentials of past art, allowing us to re-experience history. But this work on history is not without its dangers. As Benjamin put it, “even the dead are not safe” from the ambivalent “progress” of history, because this history unfolds in capital as a “mounting catastrophe.” [13] The history of modern art, like that of capital more generally, furnishes a compendium of ruins. The simultaneously progressive and regressive dynamics of history find their purchase in this: that historical forms of experience and consciousness inform present practices, for better or worse. It is the work of critique to attempt to better inform, through greater consciousness, the inevitable repetition in the continuing practices of art, and thus attempt to overcome the worst effects of the regression involved in such practices.
In the Hegelian sense adopted by both Marx and Adorno, the greater consciousness of freedom is the only available path for freedom’s possible realization. Consciousness is tasked to recognize the potential that is its own condition of possibility. This is why Adorno and Benjamin addressed works of art as forms of consciousness. Art can be ideological or it can enlighten, provoking consciousness to push itself further.
The dialectic of art and criticism is necessary for the vitality of art. The self-abnegation of criticism, on the other hand—the disenchantment of consciousness that characterized “postmodernism”—has clearly demonstrated the barrenness of such abdication of responsibility on the part of critics and theorists more so than artists, who were thus left at the mercy of poor, unclarified concepts. The challenge posed by modern critical-theoretical approaches to art has been warded off rather than engaged and pushed further.
Artists’ work continues to demand critical recognition, whether the critics recognize this or not. What such critical recognition of the work of history taken up by art would mean is what Marxist aesthetic theorists like Adorno and Benjamin pursued, and from whose efforts we can and indeed must learn. For a new condition of art has not been attained, but only an old set of conditions repeated, without their repetition being properly recognized. The relation between art and social modernity, or capital, continues to task both art and theory. Art is not merely conditioned by, but is itself an instance of the modern society of capital. But, like society, for art to progress, theory must do its work.
Panelists’ responses
LG: Chris, you seemed to read Adorno’s distinction between regression and progression as if progress is simply the bit we want, but it seems to me that Adorno’s point was that the progressive and the regressive are two sides of the same coin, both of which lead to catastrophe.
CC:In Benjamin and Adorno’s philosophy of history, which they are deriving from Marx, capital is simultaneously progressive and regressive. Capital progresses through a kind of recursive movement, and so they understand overcoming capital as also completing capital. Benjamin and Adorno take up the concept of Aufhebung—the sublation, the realization through negation, or the self-overcoming—to articulate this “completion.” Art, far from being outside capital, is part and parcel of capital’s historical movement. Art moves historically through a “progress,” if you will, of progress and regress—like capital. Of course, this raises the question of emancipation. Colloquially, progress is usually thought of in these terms: “Are we making progress? Is progress progress? Or, is it actually progress in domination, in which case it is not progress?” I feel that an unfamiliar aspect of Benjamin and Adorno’s thought is an idea they take from Marx, which complicates the relationship between progress and regress: Capital moves through a process of the discontents capital itself produces. The opposition to capital that these discontents engender form the basis for the reconstitution of capital in a new form, though there are important differences in the form these discontents take. You can have a system of discontents that advances capital in one way, or in a completely different way.
Goebbels touring a Nazi exhibition of "degenerate" modernist art, Berlin, 1937
To take perhaps the most dramatic example, I’m sure we are familiar with the anti-totalitarian idea that communism and fascism are simply two sides of the same coin. In a way, for Benjamin and Adorno, fascism was the necessary doppelgänger of communism, in that both communism and fascism had an ambivalent relationship to the progress and regress of capital. Nevertheless, one could distinguish between communism and fascism, as Benjamin and Adorno themselves did. One could distinguish between how the contradiction of capital is being pushed through communism versus the way it was being pushed, in a more obscure manner, through fascism. One salient point here would be Wilhelm Reich’s argument, in “Ideology as a Material Force” (1933), that Marxists had failed to recognize the progressive character of fascism, which of course did not mean that Reich found fascism “progressive.” Rather, Reich meant that fascists were more in tune with the ambivalent progress and regress of capital than the Marxists were. The Marxists, in a sense, were helpless in the face of the progress of capital—therefore, the ambivalent progress of capital took the form of fascism rather than communism in Germany.
GH: Of course, after 1848, modernity becomes not the solution, but the problem. However, I resist a certain version of the argument which posits that, since modernity is the problem, there must be something which is not modernity that provides, if not the solution, at least the answer. The full secularization of history entails that there is nothing outside history. So I think modernity has to be the answer to the problem it raises. In my remarks I held up what I am calling “another modernity,” which I acknowledge to be only a sort of marker. It is possible we may have to make out this other modernity by figuring out, again, the difference between communism and fascism, though I find this possibility a bit dreadful. However, this would mean withdrawing from the language of disaster and catastrophe—a withdrawal I would justify on the basis of Adorno’s resistance to pessimism. Pessimism is the conviction that things will inevitably get worse. But, for Adorno, it is the dark gift of history that this is false. The only gift of having survived 1945 is the dead certainty that things cannot get any worse. From this anti-pessimistic thought, I think there must emerge something like an anti-catastrophic line of thinking.
JB: You would have to think past Adorno to do that, though. I keep pointing back to early modern art, and to what I have called the “secular sacralization” of the everyday. I do this because one of the things Adorno thematized, but did not see in the art he loved, was the burden of giving everyday life the intensity and fullness of satisfactions once found in religious forms of life. Adorno and Benjamin were overly impressed by the sacred, or the messianic, and this was their worst temptation. If they were alive now, I fear they would be doing political theology, which is the worst thing to happen in political thought since Carl Schmitt. As I see it, Adorno’s anti-representationalism ultimately led him to think of what was utopian in distorted ways.
Bartolomeo Manfredi, Cupid Chastised (1613)
CC: Your critique of Benjamin and Adorno points to the difference between understanding modernity as post-Renaissance, versus understanding modernity as post-1848. Art after 1848 is about disenchantment, secularization, and sacralization of the everyday, but in a fundamentally different way than the art from the Renaissance period through the Romantic period, up until the time of Hegel. This difference hinges on the difference between Kant and Hegel, on the one hand, and Marx, on the other, which should not be understood simply as a difference in thinking. Rather, it is a matter of the real historical difference between the pre-1848 and post-1848 world, which makes it necessary to pose quite differently the question of Enlightenment, disenchantment, desacralization, and resacralization.
Jay, I think you have posed art as occupying a space outside capital, outside modernity, representing a romantic response to the instrumentalization of the world. I believe there were elements of this in Lydia’s remarks as well. In contrast, I think Adorno and Benjamin challenge us to see how art also becomes instrumental reason, in the sense that art is an instrument of capital. It is not as though there is reason that is used instrumentally, and reason that is not used instrumentally. Rather, reason becomes instrumentalized by capital so that the Enlightenment becomes a more ambiguous phenomenon after 1848. There is a reversal of means and ends after 1848 such that one can no longer understand capital as the advance of Enlightenment, but can only see the Enlightenment as the means of capital. Rather than “non-conceptual knowledge,” Adorno and Benjamin see art as part of the reason of capital, but also, therefore, as bearing the ambivalence of capital and potentially making that ambivalence recognizable.
A similar difficulty, which came up in Gregg’s presentation, is getting beyond an understanding of emancipation in terms of cracks or fragments in society. This conception of emancipation traces back to a kind of Romantic Counter-Enlightenment, from which Marx and, thus, Benjamin and Adorno, would have to be distinguished. I take great issue with the claim that Adorno and Benjamin were enchanted by the sacred. Like Hegel, they were tasked with understanding continuity and change in the desacralization of the world. Hegel had to account for the ways that religious metaphysics remain with us in spite of, and even through, the disenchantment of the world. Kant and Hegel understood this in the sense that religion was a prior form of reason, but I do not think they argue for a Romantic re-enchantment of the sacred against the disenchanted world. Marx, Benjamin, and Adorno certainly do not.
LG:This treats Adorno and Benjamin as if they are producing a theory of society or a theory of art in a traditional sense—that is, taking a step back, coming up with a theory, and then imposing it upon society, art, or capitalism. What Adorno and Benjamin share in their writing is precisely this turning back on themselves to ask how, actually, does one write about this. They always turn back on the structures of thought and writing.
CC:I don’t think I implied that Adorno and Benjamin felt they could step outside their object of critique. They consider their own thinking symptomatic of capital, which means that they understand their own opposition to capital as itself being a symptom of capital. In this sense the only difference they could establish between their own thinking and others’ was the measure of self-clarification and self-awareness they achieved, which is an issue of the philosophy of history. There is a difficulty in understanding what opposition to capitalism means. The usual approach is to look at how capital breaks down—to look for apparent cracks, which provide the grounds for “resistance.” This is the typical language of the Left in the late 20th century, down to the present. In contrast, Benjamin and Adorno follow from Marx in recognizing that it is not the case that capital moves by a smooth logic, interrupted by moments of collapse representing something outside of capital. Rather, part of what makes capital an “alienated” logic is that it is no logic at all; it reproduces itself not in spite of, but precisely through breakdown, resistance, discontents, and a host of contingent or “spontaneous” factors.
There is an undigested Romantic legacy, in the wake of 1789, of positioning oneself, along with all humanity, under the treads of history. This tends toward a one-sided understanding of capital as instrumental reason, whereas in fact Adorno and Benjamin, like Marx and Hegel, are actually trying to overcome a Romantic rejection of modernity. Trying not to fall on one side of that Romantic rejection is hard without seeming to speak from some kind of objective view outside of the phenomenon, but I think that is primarily an issue of style and presentation.
Q & A
Q: In your comments, Gregg, you said that returning to the distinction between fascism and communism seemed dreadful. But what hope for the redemptive power of art, or even of thought itself, exists outside of the hope for socialism, a movement that the revolutionary Marxist tradition understood as the attempt, for the first time, to put social relations under the dominion of social consciousness?
GH: My expression of despair was only at the prospect of having to frame the problem that way. The articulation of socialism necessarily involves the retrieval of the emancipatory moment of “actually existing socialism.” But what must we return to in order to retrieve this emancipatory moment? I don’t have an answer to that, but if there is an answer afoot, we need to hear it. Several times in the last month I have heard the following remarkable thought—and when I say remarkable I simply mean I want to know more—that Khrushchev represented an actual breakthrough, from which we might retrieve a different practice of communism. That is the kind of thought that I do not know how to make use of, even in trying to think about what you and I share, which is a view of socialism as the horizon of emancipatory political practice.
Q: Jay, in your remarks you have described our culture as being problematic in its relation to art, which I took to mean that we have a “wrong culture.” What do you mean by this?
JB: “Wrong culture” would be optimistic. I am interested in how the culture question has lapsed. It was standard even in the 1960s to articulate how system integration, the way in which various institutions make capital reproduction possible, required social integration, whereby people would have harmonious beliefs, values, and ideals. At a certain moment, capital recognized that this was not strictly necessity, and that people did not actually need a whole lot of ideological forming. My claim is that an image of radical culture was parasitic on the idea that there was a dominant culture. There is no longer a coherent dominant culture against which to mount a critique that could push forward the formation of an alternative political will. This is what requires us to rethink the notion of critique.
CC: I think the world appears to lack a common culture holding the system together because the common culture that exists is poorly recognized. Counterintuitively, I think there are a great deal of assumptions shared by Islamic fundamentalists, Christian fundamentalists, postmodern bohemians, and so on, but these common assumptions go unrecognized and unremarked. These assumptions have become ideology in a classic sense. The task would be provoking recognition of this commonality in order to make legible the unity of the opposites in our world, rather than thinking that we live in some sort of cultural plurality that resists any attempt to understand it as a totality. That this appears to be the case is simply an artifact of our failure to understand it. One could just as well make a plausible argument, from the standpoint of the 19th century, that the world was being held together without a hegemonic culture in 1830, 1848, or 1870. The task would be to find the hegemonic culture that is there, but which is completely naturalized.
LG:But are we talking here about culture with a small C, or Kultur with a capital K?
GH: I had a version of that question in mind. In a review of the Anselm Kiefer art show that appeared recently in the New York Times, Roberta Smith hauled out of the dustbin of history a critical concept you almost never see anymore: She referred to Kiefer as a “middlebrow painter.” [14] The concept seemed archaic to me. Even though it was clearly meant as a slander, “middlebrow” had none of the negative charge it used to have. Suddenly there was, in the concept of middlebrow, a whiff of democracy. It sounded optimistic, as though it is something to aspire to. So, I don’t mean to imply by this that Anselm Kiefer is a great painter or anything, but reading this review of his work suggested to me that, whatever might come to count as a common culture, it is definitely not going to be culture with a capital K—it is not going to be a matter of cultivation, in that sense.
JB: With respect to what I am calling the breakdown or the loss of culture, I am thinking about what goes on, for instance, in Philip Roth’s novel American Pastoral, which captures how ideality or hopefulness is no longer available as something that could be transformative. It is not simply “ideology,” or a series of false beliefs, that make a culture, even with a small C. There has to be a notion of ideality. That notion, which appeared in Germany under the phrase “critique of pure cynicism,” really has its American moment now, and it is that difficulty I was pointing to.
LG: From that, it follows that the real confrontation now would not be between critical theory and capital, directly, but between critical theory and democracy. This is really where the issue is for politics.
Stravinsky, The Rite of Spring (1913)
CC: The word I want to introduce into the discussion is “kitsch.” Maybe we now have kitsch culture and kitsch politics. There are interesting parallels between Clement Greenberg and Benjamin and Adorno. It is interesting that Greenberg foregrounds the question of democracy by treating avant-garde and kitsch as symptoms of democracy. But in this way Greenberg also raises the question of the relationship between capital and democracy. The culture industry was a concept that Adorno meant to embrace high art as well. Schoenberg and Stravinsky were also a part of the culture industry. In that respect I think one has to see how avant-garde and kitsch practices subsist on a common ground and how Schoenberg and Stravinsky are two sides of the same coin. Adorno certainly was not just a partisan for Schoenberg over Stravinsky, which is how Adorno is usually read.
Q: A few of you tonight have touched upon the concept that an artwork is not successful unless critique is doing its job. But what is critique’s job description, so to speak, in relation to art today? And what should it be?
Beethoven, Symphony 5 (1804–08), I. Allegro con brio
LG:It is not that art will not function unless critique does its job, but that critique is this ongoing process of rethinking what is being asserted. One of the reasons Adorno admired Schoenberg was that he thought you could not reduce Schoenberg to whistling, and this meant that in some way Schoenberg was not assimilable by the culture—in its form it would always rub up against culture. If you understood what it was that made Schoenberg so difficult and so unassimilable, so unwhistleable, you could perhaps understand again what was amazing about a Beethoven symphony or even, in my view, a Puccini opera like La Bohème. This is where I think even Adorno got himself wrong, in that he made too many blanket statements about the kind of music that was subsumable by this society. The real resistant potential is to try and listen to Puccini as a great composer, not to listen to Puccini as a composer under the conditions of commodification.
Puccini, La bohème (1896), O soave fanciulla
CC:I don’t think Schoenberg was unassimilable—if anything, his work was assimilated. But I also do not think that Adorno thought Schoenberg was unassimilable, and so I don’t think unassimilability is what Adorno valued in Schoenberg. Adorno talks about Schoenberg and the culture industry in terms of “the inevitable” versus “the incomprehensible,” as a sort of antinomy within a historical moment of the culture industry. Inevitability and incomprehensibility are, to Adorno, two aspects of the same thing. The operation of capital is not comprehensible by individuals but it is clearly socially assimilable. In this sense, capital is inevitable and incomprehensible. What Adorno valued about Schoenberg was that, in Schoenberg, you cannot escape that simultaneous inevitability and incomprehensibility as easily as you can escape it by putting on Puccini, for instance, or Stravinsky, who gives you the comprehensible sublime.
Q: In your comments, Jay, you have proposed the everyday as a different route to go besides the messianic or sacred. But how is the everyday supposed to get beyond all the problems you have raised with shareability, for instance? Doesn’t everydayness run into all the same problems we run into with culture?
Schoenberg, Erwartung/Expectation (1909)
JB: I think the everyday has always been the question for modern art. Whatever we might mean by modernity, it has to be the thought of a wholly secular form of life. What we don’t know is what shareability is going to look like. That is something art practices will need to invent, in the sense of figuring out, as they go along, variations on this idea of immanent sharebility, which comes out of the practice itself and yet remains a practice. What makes art particular, at least for me, is that it bears this burden.
Q: I think the theme of the failure of postmodernism to advance historical consciousness has not been fully fleshed out. What is it about how postmodernism saw art that has left us with less access to historical self-awareness or consciousness?
CC:There have been assumed but, unfortunately, naturalized and invisible categories we have used in discussing art and critique, and I think the invisibility of these categories points to problems of historical consciousness. In a sense, we necessarily read figures like Adorno or Benjamin—or, as I pointed out before, Marx—in terms of categories that they themselves wanted to transcend. One thinks of how the classic postmodernist art critics, the October group, separated the avant-garde from modernism. I do not think critics like Benjamin and Adorno, or Clement Greenberg for that matter, would have accepted the opposition of the avant-garde to modernism in the way that postmodern critics superimpose on the history of modern art. Similarly, the relationship between Romanticism and modernism has been a troubled one throughout our discussion. To the degree there has been a critique of Adorno and Benjamin, the critique was of a residual Romanticism they purportedly exhibit. That they appear to retain a Romantic understanding of modernity is itself a signal of how much influence postmodernism, and particularly postmodern art criticism, has exerted on how we think about modernism. Thus, for instance, modernist art becomes a kind of secular religion. A return to these figures as points of reference—especially Adorno, as someone who anticipated but preceded emphatic postmodernism in art criticism—is salient today precisely to the extent it allows us to estrange ourselves from these kinds of rhetorics. We should resist the notion of Adorno and Benjamin as mandarin intellectuals and holdover Romantics, and we should resist a Romantic conception of modernism, whether we use that term positively or negatively. I say this in hopes of at least pointing to how our discussion bears the damage that has been done by the way we talk about art after postmodernism. Our discussion bears the traces of an abdication of criticism over at least the last 40 years, since Adorno’s time. In all the ways we have talked about the modern work of art—in terms of whether modernism is finished or unfinished, how it subsists, how and why it is still necessary, and so on—I think we have been forced to concede something. | §
Originally published in The Platypus Review #31 (January 2011). Transcribed by Andony Melathopoulos
1. Theodor Adorno and Max Horkheimer, “Towards a New Manifesto?” New Left Review 65 (September-October 2010). This document is available in full at <http://www.newleftreview.org/?view=2860>.
The scholar of Benjamin and Adorno’s work Susan Buck-Morss, in her response to the October art journal’s 1996 Visual Culture Questionnaire, provided a pithy formulation for defining the tasks of both art and criticism in the modern era, “[Artists’] work is to sustain the critical moment of aesthetic experience; our job as critics is to recognize this.” Two aspects of Buck-Morss’s formulation of the work of artists need to be emphasized, “sustaining the critical moment” and “aesthetic experience.” The subjective experience of the aesthetic is what artists work on. And they do so in order to capture and sustain, or make available, subjectivity’s “critical moment.”
Adorno, in his 1932 essay on “The Social Situation of Music,” analogized the position of modern art to that of critical social theory. The role of both was to provoke recognition. Furthermore, Adorno warned that there can be no progress in art without that of society. Adorno’s posthumously published but unfinished monograph Aesthetic Theory can be considered to have a central theme organizing all its discussion of the modern experience of art, the simultaneous necessity and impossibility of art. In this, Adorno was elaborating in the aesthetic realm his thesis in Negative Dialectics, the simultaneous necessity and impossibility of philosophy and critical theory. What does it mean to practice art in an epoch of its simultaneous continuing necessity and impossibility? A clue can be found in Adorno’s claim in Negative Dialectics, that “philosophy lives on because its moment of realization was missed.”
Philosophy of art
Adorno’s treatment of philosophy and art are modeled on Marx’s treatment of capital. The potential for a dialectical historical transformation, in which capital would be simultaneously realized and abolished, became for Adorno the question of what it would mean to simultaneously realize and overcome the aspirations of modern philosophy and art. What would it mean to overcome the necessity that is expressed in modern practices of art? The Hegelian thought-figure of art’s attaining to its own concept while transcending it, through a qualitative transformation, was mobilized by Adorno to grasp both the history of modern art and the desire to overcome its practices.
The Hegel scholar Robert Pippin, in his response to the 2003 Critical Inquiry journal’s forum on the current state and potential future for critical theory, described postmodernism as a repetition of the “Romantic recoil” from modernity. Specifically, Pippin pointed to modern literary and artistic forms as derived from such Romanticism, of which postmodernism was the mere continuation, but in denial of its repetition. But Pippin also pointed out that such repetition is in fact a “regression,” because consciousness of the historical condition of the problem had grown worse.
Hegel had posed the question of the “end” of art. But Hegel meant by this not the cessation of practices of art, but rather their ability to make the activity of “Spirit” appear in a self-contained manner. While religion had been superseded by art, art had come to be superseded by “philosophy.” What did Hegel mean by this? Nothing but that art needed philosophical interpretation to be able to mean what it meant. Art needed criticism in order to be itself. This was a specifically modern condition for art, which Hegel addressed in a rather optimistic manner, seeing such need for criticism in art as a hallmark of enlightenment rather than a disability of art.
But Adorno took this Hegelianism of art and turned it, from a historical explanation of its condition, into a critique of such circumstances of history. Like Marx who had turned Hegel “on his head,” or put Hegel back “on his feet,” Adorno inverted the significance of Hegel’s philosophical observation. Where Hegel had, for instance, regarded modern politics as the realm of reflection on, the self-objectification of civil society in the state, Marx regarded the modern state and civil society distinction as expressing the pathological necessity of capital, in which the self-contradiction of capital was projected. Adorno similarly addressed the complementary necessities of art and criticism, as expressing a self-contradiction in (aesthetic) subjectivity.
As Adorno put it, however, this did not mean that one should aspire to a “reconciliation” of art and philosophy or theory. Just as Marx critiqued the Left Hegelians for their Romantic desire to dissolve the distinction between state and “civil” society, the separation was regarded, by Marx and Adorno alike, as the hallmark of freedom. In a late essay, the “Marginalia on Theory and Practice” (1969), Adorno attacked “Romantic socialism” for wanting to dissolve the distinction and critical relationship between theory and practice, maintaining that, by contrast with traditional society, the modern separation of theory and practice was “progressive” and emancipatory. So was the separation in meaning between art, as “non-conceptual knowledge,” and criticism, informed by “theoretical” concepts.
Artistic modernism
So Adorno, like Marx, looked forward, not to a return to a pre-modern or pre-capitalist unity of theory and practice and reconciliation of form and content, as had been the case in traditional culture, but a qualitative transformation of the modern division of meaning in art and criticism, in which each would be simultaneously realized and abolished, as presently practiced. The problem is that, rather than being raised to ever more acute levels, already in Adorno’s time there was a retreat from the productive antagonism, the dialectic of theory and practice, or art and criticism.
Adorno drew upon and sought to further elaborate the approach of his friend and mentor Walter Benjamin, who argued, in his 1934 essay “The Author as Producer,” that no art could be of correct political “tendency” unless it was also of good aesthetic “quality.” Furthermore, Benjamin argued that every great work of art “either founds or dissolves a genre.” As Benjamin put it, the work of art that fails to teach artists teaches no one. Artists do not “distribute” aesthetic experience but produce it. New art re-works and transforms, retrospectively, the history of art. Benjamin argued that there can be progress in society without that of art, for necessarily involved in both is the transformation of subjectivity.
Politics of art
The history of modern art, as Benjamin and Adorno recognized, presents a diverse multiplicity of practices, none of which have been able to come to full fruition. Benjamin described this poignantly in his Arcades Project as “living in hell.” Benjamin and Adorno’s thought-figure for such historical consciousness of modern art comes from Trotsky, who pointed out, in a 1938 letter to the editors of the American journal Partisan Review, that the modern capitalist epoch displayed the following phenomenon in its historical course:
[N]ew tendencies take on a more and more violent character, alternating between hope and despair. The artistic schools of the [first] few decades [of the 20th century] — cubism, futurism, dadaism, surrealism — follow each other without reaching a complete development. Art, which is the most complex part of culture, the most sensitive and at the same time the least protected, suffers most from the decline and decay of bourgeois society.
This was because, as Trotsky put it,
The decline of bourgeois society means an intolerable exacerbation of social contradictions, which are transformed inevitably into personal contradictions, calling forth an ever more burning need for a liberating art. Furthermore, a declining capitalism already finds itself completely incapable of offering the minimum conditions for the development of tendencies in art which correspond, however little, to our epoch. . . . The oppressed masses live their own life. Bohemianism offers too limited a social base.
Trotsky said of art that, “a protest against reality, either conscious or unconscious, active or passive, optimistic or pessimistic, always forms part of a really creative piece of work. Every new tendency in art has begun with rebellion.” And not merely rebellion against existing conventions of art, but the greater conditions for life in capitalist modernity.
So, what would be a “liberating art?” Adorno addresses this in terms of the aspiration for “artistic autonomy,” or the self-justification of aesthetic experience. This is related to how Kant had described the experience of the beautiful, in nature or art, as the sympathetic resonance the subject experiences of an object, which thus appears to embody “purposiveness without purpose,” or a telos, an end-in-itself. Except, for Adorno, this empathy between subject and object in Kant’s account of aesthetic experience, is not to be affirmative but critical. In Adorno’s account of the modern experience of art, the subject recognizes, not the power of experiential capacities, and the transformative freedom of the human faculties, but rather their constraint and unfreedom, their self-contradictory and self-undermining powers. The subject experiences not its freedom in self-transformation, but rather the need for transformation in freedom. Adorno emphasized that the autonomy of art, as of the subject, remains, under capitalism, an aspiration rather than an achieved state. Works of art embody the striving for autonomy that is denied the subject of the modern society of capital, and thus also embody failure. Hence, the history of art furnishes a rich inventory of failed attempts. This is why its history is unsettled and constantly returns. Modern works of art are necessarily failures, but are nonetheless valuable as embodiments of possibility, of unfulfilled potential.
The constrained possibilities embodied in modern art are, according to Benjamin’s formulation, approached by the subject with a combination of “desire and fear.” Modern artworks embody not only human but “inhuman” potentials, or, the possibilities for the qualitative transformation of humanity. They thus have simultaneously utopian and dystopian aspects. Modern artworks are as ambivalent as the historical conditions they refract in themselves, “prismatically.” But it is in such ambivalence that art instantiates freedom. It is the task of theory, or critique, to register and attempt to bring the non-conceptual within the range of concepts. As Adorno put it, the aspiration of modern art is to “produce something without knowing what it is.” In so doing, art acts not only on the future, but also on history.
Art history
Modern artworks find inspiration in art history. This is the potentially emancipatory character of repetition. Artists are motivated by art history to re-attain lost moments by achieving them again, but differently. Artists produce new works that, in their newness, unlock the potentials of past art, allowing us to re-experience history. But this work on history is not without its dangers. As Benjamin put it, “even the dead are not safe” from the ambivalent “progress” of history, which unfolds in capital as a “mounting catastrophe.” The history of modern art, like that of capital more generally, furnishes a compendium of ruins. The simultaneously progressive and regressive dynamics of history find their purchase in this, that historical forms of experience and consciousness inform present practices, for better or worse. It is the work of critique to attempt to better inform, through greater consciousness, the inevitable repetition in the continuing practices of art, and thus attempt to overcome the worst effects of the regression involved in such practices.
In the Hegelian sense adopted by both Marx and Adorno, the greater consciousness of freedom is the only available path for freedom’s possible realization. Consciousness is tasked to recognize the potential that is its own condition of possibility. This is why Adorno and Benjamin addressed works of art as forms of consciousness. Art can be ideological or it can enlighten, provoking consciousness to push itself further.
The dialectic of art and criticism is necessary for the vitality of art. The self-abnegation of criticism, the disenchantment of consciousness that characterized “postmodernism” has clearly demonstrated the barrenness of such abdication of responsibility, on the part of critics and theorists even more than artists, who were thus left at the mercy of poor, unclarified concepts. The challenge posed by modern critical-theoretical approaches to art have been warded off rather than engaged and pushed further.
Artists’ work continues to demand critical recognition, whether the “critics” recognize this or not. What such critical recognition, of the work of history taken up by art, would mean is what Marxist critical aesthetic theorists like Adorno and Benjamin pursued, and from whose efforts we can and indeed must learn. For a new condition of art has not been attained, but only an old set of conditions repeated, however without their being properly recognized. The relation between art and social modernity, or capital, continues to task both art and theory. Art is not merely conditioned by, but is itself an instance of the modern society of capital. But, like society, for art to progress, theory must do its work. | §
Presented at the School of the Art Institute of Chicago, October 26, 2010. Originally published in 491 #2 (November 2010).
What was postmodernism? — Habermas’s critique
Postmodernism challenged the institutionalized modernism of the mid-20th century, offering more radical forms of social discontents and cultural practice. It meant unmasking the values of progress as involving ideologies of the political status-quo, the problems of which were manifest to a new generation in the 1960s. But, more recently, postmodernism itself has begun to age, and reveal its own concerns as those of the post-1960s situation of global capitalism rather than an emancipated End of History.
In 1980, Jürgen Habermas, on the occasion of receiving the Adorno prize in Frankfurt, predicted the exhaustion of postmodernism, characterizing its conservative tendencies. Habermas called this situation the “incomplete project” of modernity, a set of unresolved problems that have meant the eventual return of history, if not the return of “modernism.” How does Habermas’s note of dissent, from the moment of highest vitality of postmodernism, help us situate the concerns of contemporary art in light of society and politics today?
In his Adorno prize talk, Habermas emphasized the question of the “aesthetic experience . . . drawn into individual life history and . . . ordinary life,” and “not [already] framed by experts’ critical judgments” (12–13). Habermas thinks that such aesthetic experience “does justice to . . . Brecht’s and Benjamin’s interests in how artworks, having lost their aura, could yet be received in illuminating ways,” a “project [that] aims at a differentiated re-linking of modern culture with an everyday praxis that [would be impoverished by mere traditionalism][, a] new connection [that] that can only be established on condition that societal modernization will also be steered in a different direction [than capitalism].” (13). Habermas admitted that “the chances for this today are not very good” (13).
Instead, Habermas points out at that, “The disillusionment with the very failures of those programs that called for the negation of art and philosophy has come to serve as a pretense for conservative positions” (13–14). This is how Habermas characterized postmodernism, an anti-modernism that was an ideology of the “young conservatives,” namely Foucault and Derrida (among others).
Habermas drew a parallel of the postmodernism of Derrida and Foucault to the “neo-conservatives,” for which he took the Frankfurt School critical theorists Horkheimer and Adorno’s former secretary, in their time of exile in the U.S. during WWII, Daniel Bell, as representative. Bell had described the “cultural contradictions of capitalism” as resulting in what he called “antinomian culture,” which produced a nihilistic “culturati” in a “counterfeit” high culture of “multiples,” hedonism for the middle class, and a “pornotopia for the masses.” What Bell, as a self-styled “conservative,” deplored, such as the “conformism” of a liberal “heterodoxy” that became a “prescription in its confusions,” postmodernists celebrated. But they agreed on what Habermas called the destructive aspects of the “negation of art and philosophy,” against which various “hopeless” “Surrealist revolts” had been mounted, as an inevitable result of modernity. Whereas Bell, for instance, explicitly called for the return of religion as a way of staving off the nihilism of modernity, the postmodernists implicitly agreed with the conservative diagnosis of such nihilism, for they explicitly abandoned what Habermas called modernity’s “incomplete project” of enlightenment and emancipation. Postmodernism was a form of anti-modernity.
Critical art, liquidated
So, how does art figure in such a project of enlightened emancipation? The scholar of Benjamin and Adorno’s work Susan Buck-Morss wrote, in response to the postmodernist art journal October’s 1996 Visual Culture Questionnaire, that, “[Artists’] work is to sustain the critical moment of aesthetic experience. Our work as critics is to recognize it.” Buck-Morss protested against what she called the “liquidation” of art in the move of “attacking the museum,” “producing subjects for the next stage of global capitalism” by replacing concern with the “critical moment of aesthetic experience” with a discourse that “legitimates culture.” In so doing, Buck-Morss pointed out that failing to properly grasp the social stakes of aesthetic experience resulted in the “virtuality of representation,” ignoring how, for Benjamin and the Surrealists he critically championed “images in the mind motivate the will” and thus have “effect in the realm of deeds.”
Indeed, prominent October journal writer Hal Foster had, in the 1982 essay “Re: Post,” gone so far as to call for going “beyond critique,” really, abandoning it, for in critique Foster found precisely the motor of (deplorable) “modernism,” which he characterized as consciousness of “historical moment” that “advanced a dialectic.” Foster stated unequivocally that critical “self-reflexivity” needed to be abandoned because it (supposedly) “enforces closure.” Foster called the Brechtian terms “defamiliarization” and “estrangement” “quintessentially modernist.” But Foster remained equivocal regarding the matter of art’s potential to “initiate new ways of seeing,” even if he stayed suspicious of “the old imperative of the avant-garde and its language of crisis.”
The crisis of criticism — driving art underground
But the concern, for Foster, as with the other leading October writers (such as Rosalind Krauss and Douglas Crimp), was reduced, from social problems, to problematizing art: (in Crimp’s words) “on the museum’s ruins.” But the museum is still standing. The question is whether it still houses art. As Buck-Morss pointed out, the museum is the “very institution that sustains the illusion that art exists.” What this means is that, disenchanted with art, the “realm of deeds,” in which “images in the mind motivate the will,” abandoned by the critics, is ceded instead to the “advertising industry.” The museum, lacking a critical response, is not overcome as an institution of invidious power, but, instead of sustaining the socially necessary “illusion” that “art exists,” however domesticated, becomes an embodiment of the power of kitsch, that is, predigested and denatured aesthetic experience, to affirm the status-quo: high-class trash. Art becomes precisely what the postmodernists thought it was. The museum has not faced the crisis of meaning the postmodernists wished of it, only the meaning has become shallower. In Adorno’s terms, the museum has become an advertising for itself, but the use of its experience has become occulted, in favor of its exchange-value: the feeling of the worth of the price of the ticket. But the experience of art is still (potentially) there, if unrecognized.
For Buck-Morss, there is indeed a crisis — of (lack of) recognition. Criticism, and hence consciousness of aesthetic experience objectified in artistic practices, was in crisis in postmodernism. Critical theory ceased to be critical — and thus became affirmative, even if it was confused about this. This was the result, in Habermas’s terms, of the “postmodernist” turning away from the “incomplete project” of modern art’s critical response to social modernity: a conservative result, by default, even if under the “pretense” that it was progressive or even radical.
Against such postmodernist abdication and thus affirmation of existing “culture,” Buck-Morss called for approaching art “emblematically and symptomatically, in terms of the most fundamental questions of social life,” “bringing to consciousness what was before only dimly perceived, so that it becomes available for critical reflection.” Otherwise, Buck-Morss warned that “tomorrow’s artists may opt to go underground,” and “do their work esoterically, while employed as producers of visual culture.” We might also say that there is the option of continuing to make “art,” but without recognition of its stakes by critics, impaired by a discourse of “visual culture” and supposed “institutional” critique or opposition — that is, an institutionalized opposition to the institution (such as effected by the October writers, who have since entered the canon of academicism, for instance in the academic art of the postmodernist art school). This outcome represses, or drives “underground,” the concerns of artists regarding aesthetic experience, which, according to Habermas and Buck-Morss, following Benjamin and Brecht, are potentially “vital” and “fundamental” to “questions of social life.”
“Relational” aesthetics
The question of the more recent phenomenon of “relational aesthetics” needs to be addressed in such terms, for “relational aesthetics” claims to be about mobilizing attention to the aesthetic experience of the social for critical ends, in society as well as art.
Several important critical accounts of relational aesthetics have been attempted. Claire Bishop has addressed the problem of relational aesthetics raising the social at the expense of recognition of social antagonisms. Stewart Martin has questioned the relational aesthetics opposition of the social to the (autonomous) art object of traditional (modernist) aesthetics. But Martin has also interrogated the hypostatization of the social, whether considered either as a relatively unproblematic value in itself or as a zone of antagonism, as in Bishop’s criticism. Additionally, Martin has addressed shared problems of the late paradigmatic but opposed attempts on the Left to politicize aesthetics by Jacques Rancière and Alain Badiou. Martin has deployed a sophisticated understanding of Marx and Adorno on the commodity form towards these ends. Thus it becomes possible for Martin to address relational aesthetics practices’ “naïve mimesis or aestheticization of novel forms of capitalist exploitation,” in treating art as a “form of social exchange” that advocates an “inter-subjective art of conviviality” (370–371), as well as address the potential political stakes of various approaches to art. — Conversely, it becomes possible for Martin to address what he calls the otherwise naturalized “commodity form of the political” (372).
Martin is concerned to be able to preserve a social-critical approach to what he calls the “arty non-art of late capitalist culture.” It is necessary, according to Martin, to avoid the “Hegelian trap” of “harmonious rapprochement,” through a dialectic of “anti-art and pure art,” resulting in an “artification of the world” that however “breaks” with attempts to “critique bourgeois culture.” Instead, Martin recalls Adorno’s recognition that art’s “autonomy,” its simultaneously “anti-social” and “non-subjective” or “objective” aspect, was inherent both in its commodity character and in its “resistance to commodification,” through “immanent critique or self-criticism” (373). It is this aspect of art, common to both “anti-art” and “pure art,” that, for Martin, “relational” aesthetics, with its emphasis on the supposedly “inter-subjective” character of the social, occludes.
Historical temporality of artworks not linear succession
John Roberts, in his recovery of Adorno, has focused as well on the “asocial” aspect of art as the potential source of its critical value. Roberts recovers the key idea, from Benjamin and Adorno, of artworks’ “pre-history” and “after-life” in history, in order to introduce the problem of the historical temporality of the experience of works of art, which is not reducible to their immediate aesthetic experience or the thoughts and feelings of the artists who produced them. Works of art are “objective” in that they are non-identical with themselves, in the sense of non-identity in time. In Adorno’s terms, artworks have a “historical nucleus,” a “truth-content” revealed only as a function of transformations in history. According to Benjamin, this is how artworks can gain stature and power with time.
The example Roberts uses is the late, delayed reception of early 20th century avant-garde artworks in the 1960s, which inspired artists. This is a very different account from the notion, common in postmodernist criticism, of artists rebelling against the preceding styles and art criticism and historical discourses of abstract expressionism. Artists may have remained innocent of the cloistered disputes of the art critics and historians, though their works were used as evidence in these disputes; and they may have remained more sympathetic to abstract expressionism as art than the postmodernist critics were. The pendulum-swing or grandfather-rule accounts of the vicissitudes of history are inadequate to the non-linear temporality Roberts highlights.
Roberts discusses works of art as forms of “deferred action” in history, with which artists and viewers engage in new forms of art production and reception, which belie notions of successions of styles traditional to art history. This allows works of art to be understood as embodiments of objectified experience that change as a function of historical transformations, as potentially informing a proliferation of experiences unfolding in history, rather than, as Foster, for example, feared, forms of “closure.”
Neo-avant garde or neo-modernist?
It is important that neither Habermas (nor Bell) nor Buck-Morss accepted the idea that gained traction in the 1970s of a division between modernist and avant-garde art. For neither did Benjamin or Adorno. (Peter Bürger’s influential study, Theory of the Avant-Garde, was, importantly, a critique of Adorno’s Aesthetic Theory on this score.)
What Martin calls the “dialectic” of “anti-art” and “pure art” has continued, though not necessarily in terms of opposed camps, but rather in what Adorno recognized as the necessary element of the non-artistic in artworks. Now that postmodernism has been exhausted as a trend in criticism (as seen by significant reversals on the part of its standard-bearers such as Foster), it becomes possible to recognize how postmodernism reacted inadequately and problematically to this dialectic, conflating realms of art and social life, and thus repressed it, obscuring its operations from proper recognition.
The emergence of “relational” aesthetics in the 1990s marked the exhaustion of postmodernism, as both its culmination and its negation (it is significant that Foster was hostile, calling it a mere “arty party”), but also a terminal phase of the recrudescence of the problem of the social and of politics, long wandering lost through the postmodernist desert of the 1970s and ’80s, during which Adorno, for example, could only be received as an old-fashioned modernist. But, since the 1990s, critics and theorists have found it increasingly necessary to reconsider Adorno.
Today, which may be considered a post-postmodernist moment, art practices can be broadly grouped into two seemingly unrelated tendencies, neo-avant garde (such as in relational aesthetics) and neo-modernist (in the revival of the traditional plastic arts of objects such as painting and sculpture). The task would be to understand what these apparently independent tendencies in art have in common as phenomena of history, the society and politics with which art practices are bound up. Postmodernist art criticism has made it impossible to properly grasp such shared history of the present, hence its exhaustion today, leaving current art unrecognized.
But, in the midst of the high era of postmodernist criticism, Habermas sounded an important note of dissent and warning against this trend, reminding of what postmodernism left aside in terms of society and politics. For it is with respect to society and political ideology that art remained potentially vital and necessary, if under-recognized as such. In his Adorno prize talk, Habermas raised the problem of art as an exemplary task for the “critical intellectual.” This is because, as more recent critics such as Bishop, Martin and Roberts have noted, art, in its dialectical transformations, allows for the recognition of history, the present as historical, revealing not only the history of art, but of modern capitalist society and its unfulfilled forms of discontent, as registered in aesthetic experience. | §
Sources
Theodor W. Adorno, Aesthetic Theory (1970), trans. Robert Hullot-Kentor (Minneapolis: University of Minnesota, 1997).
Daniel Bell, “Foreword: 1978,” The Cultural Contradictions of Capitalism (New York: Basic Books, 1978), xi–xxix.
Walter Benjamin, “The Task of the Translator,” Illuminations (New York: Schocken, 1969), 69–82.
Claire Bishop, “Antagonism and Relational Aesthetics,” October 110 (Fall 2004), 51–79.
Claire Bishop, “The Social Turn: Collaboration and its Discontents,” Artforum (February 2006), 179–185.
Susan Buck-Morss, Response to the Visual Culture Questionnaire, October 77 (Summer 1996), 29–31.
Hal Foster, “Re:Post,” Art after Modernism, ed. Brian Wallis (Boston: David R. Godine, 1992), 189–201.
Jürgen Habermas, “Modernity — An Incomplete Project,” The Anti-Aesthetic, ed. Hal Foster (Port Townsend, WA: Bay Press, 1983), 3–15.
Stewart Martin, “Critique of Relational Aesthetics,” Third Text 21.4 (July 2007), 369–386.
On Juliet Mitchell, “Women: The Longest Revolution” (1966)
Chris Cutrone
Presented at the University of Chicago, May 18, 2010.
In my presentation, I will be drawing from but not citing a variety of readings we do in Platypus, including Georg Lukács’s book History and Class Consciousness (1923), Theodor W. Adorno’s essay “Sexual Taboos and the Law Today” (1963) and John D’Emilio’s essay “Capitalism and Gay Identity” (1983), as well as University of Chicago Professor Moishe Postone’s interpretation of Marx’s critique of capital (in Time, Labor, and Social Domination, 1993).
I want to start with a quotation from Juliet Mitchell’s groundbreaking essay “Women: The Longest Revolution,” published in the New Left Review in 1966, that will establish some categories I wish to explore in considering a Marxist approach to problems of sexuality and gender in capital:
Socialism will be a process of change, of becoming. A fixed image of the future is in the worst sense ahistorical. . . . As Marx wrote (in Precapitalist Economic Formations): “What is progress if not the absolute elaboration of humanity’s creative dispositions . . . unmeasured by any previously established yardstick[,] an end in itself . . . the absolute movement of becoming?” . . . The liberation of women under socialism will [be] . . . a human achievement, in the long passage from Nature to Culture which is the definition of history and society. (37)
Here, Mitchell concludes her essay with an emphasis on the issue of “becoming,” or the open-ended transformation of gender and sexuality that capital makes possible but constrains.
To illustrate the problem regarding the history of the Left, including Marxism, on issues of gender and sexuality, it should suffice to address a poorly registered shift that occurred in the 20th century in the social imagination and ideology of discontents with capital between two crucial periods, the early 20th century “Old Left” of the 1930s and ’40s, and the “New Left” of the 1960s and ’70s. In the earlier period, of the “Old” Left, the predominant form of discontent and grievance regarding capitalism, which had some continuity with similar forms of the 19th century workers’ movement, was how capitalism undermined the working class family and sexual life, breaking up the “hearth and home,” and denying the benefits of the bourgeois family to the workers, in exploiting not only men but also women and children. In the late 20th century “New Left,” by contrast, there was a reversal of the discontent and grievance with capitalism, in that it made women and children (and men) prisoners of the “bourgeois” family. Where once capitalism was seen as barring the family life of the workers, now capitalism was seen as depending upon and thus keeping workers constrained in the conventional family. Where once the demand was to have the freedom to have a family, there arose the demand to abolish the family along with capitalism. Where once, in supposed “Marxism-Leninism,” that is, Stalinist, Maoist, and Guevarist, etc., Communism, the family was regarded as the “fighting unit of socialism,” for “New Left” Marxists, the family was seen as a bulwark of capitalism. Similarly, where once, in such supposed “Marxism,” homosexuality and other “deviance” was seen as the result of “bourgeois decadence,” for the “New Left,” sexual liberation found pride of place. What accounts for this shift?
As shown by the fact that today, paradoxically, a central concern of politics around homosexuality is the demand for equal rights to marital and “family” status, it is not a simple matter of “progress,” in which at one time Marxists had been unaware of the depth of issues of gender and sexual oppression, and then came to be aware, trying to incorporate issues of gender and sexuality into their critiques of capital. For, as Mitchell points out, not only Marx and Engels themselves, but also later Marxists, such as the German Social-Democratic Party leader August Bebel, as well as younger Marxist political activists, such as Lenin, Rosa Luxemburg, and Trotsky, were very much aware of how gender and sexual liberation were central concerns for overcoming capital. For instance, in the late 19th century, August Bebel was the first modern parliamentarian to call for the decriminalization of homosexuality. When Bebel’s party later inherited power in the Weimar Republic after the German Revolution of 1918 at the end of the First World War, it became the first modern democratic state to decriminalize homosexuality, but only after the Bolsheviks had already done so in the Russian Revolution of 1917. It was the demise of the Weimar Republic with the 1933 Nazi seizure of power that recriminalized homosexuality (and, incidentally, this was one of very few laws implemented by the Nazis that was not repealed with their defeat at the end of World War II). In the Soviet Union, it was only in the process of conservatization that occurred through Stalinism, the degeneration of the Russian Revolution, that homosexuality was recriminalized, and the conventional heterosexual family was reinforced (for instance through the recriminalization of abortion and the restoration of legal obstacles to divorce) around the same time, in the 1930s. As a result, subsequent “Marxists” took as axiomatic the celebration of heterosexuality and the family, and the pathologization of homosexuality, neither of which had been the case for earlier Marxist radicals.
Thus, conventional but false “Marxist” accounts that came later have posed the issue of “gender vs. class,” or, in “socialist feminist” versions, have tried to demonstrate the “interconnectedness” of “gender, sexuality and class,” where what needed to be addressed was how gender or sexuality could, equally as well as socioeconomic “class” accounts could do, describe the problem of capital, in terms of the problem of emancipatory transformation. To do so it would be necessary to show how gender and sexuality are in themselves issues of class, or, perhaps more importantly, how class is an issue of sexuality and gender. For gender and sexuality are capital. That is, they comprise its conditions of reproduction, as much as socioeconomic classes do. And, like modern classes, gender and sexuality have themselves been formed by the history of capital.
One way to disentangle the problems that have usually beset and confounded purported “Marxist” anticapitalist approaches to gender and sexual liberation is to recognize that a Marxian account of capital is concerned with conditions of possibility and not causal-deterministic explanations for oppression. So, the question would not be how capitalism causes sexual and gender oppression, which could indeed be shown, but, rather, how capital could be grasped as the historically specific social condition of possibility for forms of sexual and gender constraint and oppression. This is especially important with regard to how, in the modern era, sexuality and gender roles have taken a variety of forms, but all nonetheless remained problematical and ultimately constraining of social possibilities for developing greater human potential.
The modern era of capital, beginning in the late 18th and early 19th centuries, has demonstrated a great deal of potential, in a variety of different forms, for sexual life and gender relations. Such potential has been inherent in the overcoming of traditional ways of life in capital. Conservatives have responded to such changes as the dangerous break-down of traditional values, but, from the beginning, Marxists, among other bohemian socialists of the 19th and early 20th centuries, had been interested in how to push such potential further, in an open-ended way. They regarded capital as a constraint, an obstacle to this. At the same time, however, they regarded capital as the inevitable condition of possibility for emancipatory transformation. As regards changes already underway, Marxists found them expressing potential capital already embodied. Marxists thus distinguished themselves sharply from conservative responses to capital’s dynamic of change. Capital undermined traditional ways of life, but not nearly enough, according to Marxism, because modern capitalist society allowed for the reproduction of (new forms of) gender and sexual oppression. Capital not only undermined, but allowed the recrudescence of the worst forms of supposed “traditional” ways of life.
An example I’d like to raise is the phenomenon of the return of the traditional sexual prostitution of boys in Afghanistan after the U.S.-led NATO coalition ousted the Taliban. This has been chronicled in a recent PBS Frontline documentary. Whereas the former Soviet client regime and the Taliban radical Islamic fundamentalists, each in their own ways and for their own reasons, had suppressed the practice of the “dancing boys” in Afghanistan, the post-U.S. invasion and occupation regime, while formally outlawing it, has largely tolerated its return. This is because the Mujahideen fighters (for instance of the Russian- and Indian- and then U.S.-backed Northern Alliance) that had fought the Soviet-backed regime and then had been ousted in turn by the Taliban, but now form pillars of the new, post-NATO intervention regime, had cultivated the practice of “dancing boy” prostitution among themselves over the course of the past 30 years. Indeed, their opposition to Afghanistan’s pro-Soviet regime in the 1970s and ’80s could be attributed almost as much to their adherence to this “traditional” sexual practice as to their opposition to the unveiling, education, public life and rights of women. As one adherent put it in the Frontline documentary, “Women are for children, but boys are for pleasure.” In Afghanistan, as elsewhere, the nexus of pressure of a money economy with conditions of wretched, abject poverty, massive social dislocation, including conditions of far-ranging migrant labor markets, and some dubious “traditional” cultural values, results in the worst of both modern and traditional forms of social life. How would a Marxist approach address a phenomenon like the Afghan “dancing boys?”
While there is no simple, straightforward answer, it is clear that “dancing boy” prostitution in Afghanistan today bears only superficial resemblance to anything that was practiced traditionally in a prior historical era, itself nothing to celebrate. So the practice can and should be condemned, as in the liberal sensibility of the Frontline documentary, directed at scandalizing a Western audience towards opposing present U.S. and NATO/European policy in Afghanistan that tolerates such abuses by the regime they have fostered there. But opposing the prostitution of the “dancing boys” on the basis of some “hetero-normative” (and hence homophobic) assumption of conventional sexual and gender life elsewhere, such as found in America and Europe, is problematic, to say the least, however much it may appear to be a possible improvement, as advocates in Afghanistan seeking to put an end to the “dancing boys” may imagine.
Such supposed “traditional” practices of male inter-generational, pederastic homosexuality that finds grotesque expression today in Afghanistan can obviously in no way be found to express the full potential of male homosexuality — or of child sexuality, for that matter. So, the solution is not to try to get Afghan men to adopt a more “normal” sexual orientation towards relations with (adult) women and the modern (Western) marriage based on love and (heterosexual) intimacy, which is highly unlikely under present social conditions in a place like Afghanistan, anyway. And, as anyone concerned with sexual and gender emancipation in places like America and Europe would point out, not only the conventional forms of intimate life and family practices that take place hegemonically “here,” but also those found in the gay/lesbian/bisexual/transgender subcultures, are hardly the final word in terms of sexual and gender emancipation. And, just as importantly, as can be observed in the society of “law and order” such as practiced in places like the U.S., criminalization of sexual practices of any kind offers no solution.
Another example I’d raise is female genital mutilation, as “traditionally” practiced in parts of Africa and the Middle East and also among immigrant communities from such places in North America and Europe. While socio-biologists have desperately tried to find a biological-evolutionary “reason” for female orgasm, it turns out to be entirely extraneous from survival imperatives of natural selection. As one writer put it, female orgasm, unlike the male orgasm, seems to exist naturally just “for fun.” Biology is a condition, and not a “destiny.” There is nothing simply “natural” about human biological conditions. But these can indeed play out in a variety of different ways, depending on society. It can also, for instance, allow whole cultures to practice the sexual mutilation of — the excising of sexual pleasure from — female children, as occurs routinely for millions of girls around the world each year. It is a “voluntary” practice, by and among women. But this is only an extreme example of how “culture” shapes “nature,” or, how society forms “sexuality,” through gender roles, among other practices, all of which, to one degree or another, could be understood as forms of “mutilation,” including psychologically, when seen from the standpoint of potential emancipation. How would Marxists respond? — Especially, as regards female genital mutilation, when what is at stake concerns marital eligibility, and, hence, a whole host of life-chances for women, if the “traditional” practice is abrogated. We could broaden this concern in addressing the phenomenon of “honor killings” of women for sexual infractions, including involuntary ones such as being raped, in the Arab world and elsewhere. Even more broadly, sex work, especially as a global phenomenon, for instance among millions of migrant workers, points to problems of life chances, for the men who are clients no less than for the women who are prostituted. It is not merely a matter of gender oppression, although gender oppression as a condition certainly plays a key role. Clearly, as in the case of the Afghan “dancing boys,” what is required is some kind of increased scope for both individual and collective possibilities. The task is to grasp capital, the social-historical moment of the present in a process of becoming, as a matter of economics, politics and culture, including gender and sexuality, as embodying both potential and constraint for such possibilities. How could a less destructive way for humanity be opened?
Addressing capital as the fundamental and global context for such phenomena is a challenging but necessary requirement for even beginning to approach the question and problem of what it would take to open possibilities for gender and sexual practices for the vast majority, if not simply the totality of humanity in our modern epoch. In the forms of purportedly “inhuman” practices as can be found in the phenomena of gender and sexuality with which the present world is rife, can be seen, in however distorted form, potential possibilities for becoming human, in ways that can only be barely imagined today. As Mitchell warned in her essay more than 40 years ago, we need to attend to the problem of our present discontents taking static, hypostatized forms, and beware of the normative principles we may be tempted to offer against manifest destructive practices we face and want to overcome. For what is necessary is to grasp the “movement of becoming” in capital that must be transformed, from the break-down of tradition, as well as the specious re-positing of “tradition” in the face of the onslaught of modernity, into a truly “human achievement” of emancipation. | §
Presented on the panel “Reconsiderations in Western Marxism: Lukács, Korsch, Adorno, Marcuse,” with panelist Baolinh Dang, at the Historical Materialism conference, York University, Toronto, May 14, 2010; and on the panel “Hegel, Marx, and Modern Philosophy,” with panelists Patrick Murray and Richard Westerman at the Weissbourd 2011 Annual Conference, the University of Chicago, May 6, 2011. Excerpted from “Book review: Karl Korsch, Marxism and Philosophy” and “Rejoinder on Korsch,” originally published in The Platypus Review (#15, September 2009, and #20, February 2010).
The publication of Karl Korsch’s seminal essay “Marxism and Philosophy” in 1923 coincided with the publication of Georg Lukács’s landmark collection of essays, History and Class Consciousness. While Lukács’s book has the word “history” in its title, it follows Marx’s Capital in addressing the problem of social being and consciousness in a primarily “philosophical” and categorial manner, as the subjectivity of the commodity form. Korsch’s essay on philosophy in Marxism, by contrast, is actually a historical treatment of the problem, from Marx and Engels’s time, through the 2nd International, to what Korsch called the “crisis of Marxism” and the revolutions of 1917–19. More specifically, Korsch’s essay takes up the development and vicissitudes of the relation between theory and practice in the history of Marxism, which Korsch considered the “philosophical” problem of Marxism.
Independently of one another, both Korsch’s and Lukács’s 1923 works shared an interest in recovering the Hegelian or “idealist” dimension of Marx’s thought and politics. Both were motivated to establish the coherence of the Marxist revolutionaries Lenin and Luxemburg, and these 2nd International-era radicals’ shared grounding in what Korsch called “Marx’s own Marxism.” Due to a perceived shortcoming in the expounding of revolutionary Marxism, the problem for Korsch and Lukács was interpreting Marxism as both theory and practice, or how the politics of Lenin and Luxemburg (rightly) considered itself “dialectical.” Both Lukács and Korsch explicitly sought to provide this missing exposition and elaboration.
Lukács and Korsch were later denounced as “professors” in the Communist International, a controversy that erupted after the deaths of Luxemburg and Lenin. In the face of this party criticism, Lukács acquiesced and made his peace with “orthodoxy,” disavowing his work of 1919–24 as comprising a misguided attempt to “out-Hegel Hegel.”
Korsch responded differently to the party’s criticism. Quitting the 3rd International Communist movement entirely, he became associated with the “Left” or “council” communism of Antonie Pannekoek and Paul Mattick. Though making a choice very different from Lukács and distancing himself from official “Marxism-Leninism,” Korsch also came to disavow his earlier argument in “Marxism and Philosophy.” Specifically, he abandoned the attempt to establish the coherence of Lenin’s theory and practice with that of Marx, going so far as to critique Marx. Thus, in the 1930 essay “The Present State of the Problem of ‘Marxism and Philosophy:’ An Anti-Critique,” Korsch argued that, to the degree Marx shared a common basis with Lenin, this was an expression of limitations in Marx’s own critical theory and political practice. Indeed, for Korsch it was a problem of “Marxism” in general, including Kautsky and Luxemburg. Ultimately, Korsch called for “going beyond” Marxism.
The complementary, if divergent, trajectories of Korsch and Lukács are indicative of the historical disintegration of the perspective both shared in their writings of 1923. Both had understood the “subjective” aspect of Marxism to have been clarified by Lenin’s role in the October Revolution. The figure of Lenin was irreducible, and brought out dimensions of the Marxian project that otherwise lay unacknowledged. No less than Lukács’s History and Class Consciousness, Korsch’s essay on “Marxism and Philosophy” inspired the work of the Marxist critical theorists associated with the Frankfurt School — Horkheimer, Marcuse, Benjamin, and Adorno. But the reputation of Korsch’s work has been eclipsed by that of Lukács. What the usual interpretive emphasis on Lukács occludes is that the Frankfurt School writers grappled not only with the problem of Stalinism but “anti-Stalinism” as well. Both Korsch’s and Lukács’s post-1923 trajectories were critiqued by the Frankfurt School writers.[1] Korsch, in the 1930 “Anti-Critique,” distanced himself from the problem Adorno sought to address, of the constitutive non-identity of theory and practice. Writing 40 years later, in Negative Dialectics (1966), Adorno thought, like Korsch and Lukács in the early 1920s, that Lenin and Luxemburg’s theoretical self-understanding, together with their revolutionary political practice, comprised the most advanced attempt yet to work through precisely this non-identity.
In Adorno’s terms, both the later Korsch and official “dialectical materialism” (including the later Lukács) assumed “identity thinking,” an identity of effective theory and practice, rather than their articulated non-identity, to which Korsch and Lukács had drawn attention earlier. Instead of this recognition of the actuality of the symptom of “philosophical” thinking, of the mutually constitutive separation of theory and practice, Korsch, by embracing “council” communism, and shunning Marxian theory in the years after writing his famously condemned work, succumbed to what Adorno termed “identity thinking” — just as Lukács had done in adapting to Stalinist “orthodoxy.” By assuming the identity of theory and practice, or of social being and consciousness in the workers’ movement, Korsch sought their “reconciliation,” instead of discerning and critically grasping their persistent antagonism, as would necessarily be articulated in any purported politics of emancipation.
Just as Adorno tried to hold fast to the Lukács of History and Class Consciousness in the face of Lukács’s own subsequent disavowals, the first sentence of Adorno’s Negative Dialectics reiterated Korsch’s statement in “Marxism and Philosophy” that “Philosophy cannot be abolished without being realized” (“Marxism and Philosophy,” in Marxism and Philosophy, trans. Fred Halliday [NY: Monthly Review Press, 1970 and 2008], 97). As Adorno put it,
Philosophy, which once seemed outmoded, remains alive because the moment of its realization was missed. The summary judgment that it had merely interpreted the world is itself crippled by resignation before reality, and becomes a defeatism of reason after the transformation of the world failed.[2]
In 1923, Korsch had explicitly tied the question of “philosophy” to Lenin’s treatment of the problem of the state in The State and Revolution (1917). Just as, with the overcoming of capitalism, the necessity of the state would “wither,” and not be done away with at one stroke, so too the necessity of “philosophical” thinking, specifically the critical reflection on the relation of theory and practice, as it appeared in the epoch of capital, would dissolve. This side of emancipation, “theoretical” self-reflection, thought’s reflecting on its own conditions of possibility, remains necessary, precisely because it expresses an unresolved social-historical problem.
Korsch divided the relation of Marx’s thought to philosophy roughly into three periods: pre-1848, circa 1848, and post-1848. These periods were distinguished by the different ways they related theory and practice: the first period was the critique of philosophy calling for its simultaneous realization and self-abolition; the second, the sublimation of philosophy in revolution; and the third, the recrudescence of the problem of relating theory and practice.
Korsch’s third period in the history of Marxism, post-1848, extended into what he termed the “crisis of Marxism” beginning in the 1890s with the reformist “revisionist” dispute of Eduard Bernstein against the “orthodox Marxism” of the 2nd International — when the “revolutionary Marxism” of Luxemburg and Lenin originated — and continuing into the acutely revolutionary period of 1917–19, from the Russian Revolution of 1917 through the German Revolution and civil war of 1918–19, to the Hungarian Soviet Republic (in which Lukács participated) and the workers’ uprisings in Italy (in which Antonio Gramsci participated) in 1919.
It was in this revolutionary period of the early 20th century that “Marx’s own Marxism” of 1848, as expressed in the Communist Manifesto, regained its saliency, but in ways that Korsch thought remained not entirely resolved as a matter of relating theory to practice. In “Marxism and Philosophy,” Korsch found that while Lenin and Luxemburg had tried to better relate Marxian theory and practice than 2nd International Marxism had done, they had recognized this as an on-going task and aspiration, and not already achieved in some finished sense. In the words of the epigraph from Lenin that introduces Korsch’s 1923 essay, “We must organize a systematic study of the Hegelian dialectic from a materialist standpoint” (“On the Significance of Militant Materialism,” 1922). If Marxism continued to be subject to a “Hegelian dialectic,” thus requiring the “historical materialist” analysis and explanation that Korsch sought to provide of it, this was because it was not itself the reconciled unity of theory and practice but remained, as theory, the critical reflection on the problem of relating theory and practice — which in turn prompted further theoretical development as well as practical political advances.
For Korsch in the 1923 “Marxism and Philosophy,” Lenin and Luxemburg’s “revolutionary Marxism” was bound up in the “crisis of Marxism,” while advancing it to a new stage. As Korsch commented,
This transformation and development of Marxist theory has been effected under the peculiar ideological guise of a return to the pure teaching of original or true Marxism. Yet it is easy to understand both the reasons for this guise and the real character of the process which is concealed by it. What theoreticians like Rosa Luxemburg in Germany and Lenin in Russia have done, and are doing, in the field of Marxist theory is to liberate it from the inhibiting traditions of [Social Democracy]. They thereby answer the practical needs of the new revolutionary stage of proletarian class struggle, for these traditions weighed “like a nightmare” on the brain of the working masses whose objectively revolutionary socioeconomic position no longer corresponded to these [earlier] evolutionary doctrines. The apparent revival of original Marxist theory in the Third International is simply a result of the fact that in a new revolutionary period not only the workers’ movement itself, but the theoretical conceptions of communists which express it, must assume an explicitly revolutionary form. This is why large sections of the Marxist system, which seemed virtually forgotten in the final decades of the nineteenth century, have now come to life again. . . . [T]he internal connection of theory and practice within revolutionary Marxism had been consciously re-established. (67–68)
Korsch thus established the importance for what Adorno later called the “historically changing” relation of theory and practice, making sense of their vicissitudes in the history of the politics of Marxism. Furthermore, by establishing the character of the “crisis of Marxism” as a matter of theoretical reflection, Korsch re-established the role of consciousness in a Marxian conception of social revolution, why the abandonment or distancing of the practical perspective of revolution necessitates a degradation of theory.
Adorno, in one of his last writings, the “Marginalia to Theory and Praxis” (1969), stated that,
If, to make an exception for once, one risks what is called a grand perspective, beyond the historical differences in which the concepts of theory and praxis have their life, one discovers the infinitely progressive aspect of the separation of theory and praxis, which was deplored by the Romantics and denounced by the Socialists in their wake — except for the mature Marx.[3]
According to Adorno, Marx had a critical theory of the relation of theory and practice — recognizing it as a historically specific and not merely “philosophical” problem, or, a problem that called for the critical theory of the philosophy of history — and a political practice of the relation of theory and practice. Adorno noted that the relation of theory and practice is “not settled once and for all, but fluctuates historically.”[4] There is not simply a theoretical or practical problem, but also, and more profoundly, a problem of relating theory and practice. It is not a matter of finding either a correct theory or correct practice, but of trying to judge and affect their changing relation and recognizing this as a problem of history. This is a function of the past’s problematic legacy in the present.
The revolutionary politics of Lenin and Luxemburg, following Marx, which inspired the Marxian critical theory of Lukács, Korsch and Adorno, recovered and struggled through the problem of theory and practice for their time, precipitating a crisis in Marxism, and thus potentially advancing it. Overcoming the “vulgar Marxist” ossification of theory and practice in the 2nd International opened the way to their critical relation, which Adorno elaborated. This meant the Marxist critique of Marxism, or, a Left critique of the Left. This was not a finished but an on-going task. Adorno’s focus, following Korsch, on the constitutive non-identity of theory and practice, is key to recovering a Marxian approach to the problem of an emancipatory, “dialectical” politics, an unresolved but neglected problem in the history of Marxism. | §
1. The reverse was also true. Korsch, in distancing himself from his 1923 work that was so seminal for the Frankfurt School writers, also came to critique them:
[Korsch] intended to try and interest Horkheimer and the [Frankfurt] Institute [for Social Research] in Pannekoek’s book Lenin as Philosopher (1938) [which traced the bureaucratization of the USSR back to the supposedly crude materialism of Lenin’s 1909 book Materialism and Empirio-Criticism]. . . . [Either] Korsch [or, the Director of the Institute, Horkheimer himself] would write a review for [the Institute’s journal] the Zeitschrift. . . . Yet no such review appeared. . . . [Korsch suffered] total disillusionment with the Institute and their “impotent philosophy.” Korsch [was] particularly bitter about the “metaphysician Horkheimer.” [Phil Slater, Origin and Significance of the FrankfurtSchool: A Marxist Perspective (London: Routledge & Kegan Paul, 1977), 73–74.]
The record for Korsch’s deteriorating relations with the Frankfurt Institute in exile is found in his private letters to Paul Mattick, editor of the journal Living Marxism: International Council Correspondence.
3. Adorno, “Marginalia to Theory and Praxis,” in Critical Models, trans. by Henry W. Pickford (New York: Columbia University Press, 1998), 266. This essay, a “dialectical epilegomenon” to his book Negative Dialectics that Adorno said intended to bring together “philosophical speculation and drastic experience” (Critical Models, 126), reflected his dispute with fellow Frankfurt School critical theorist Hebert Marcuse over the student protests of the Vietnam War (see Adorno and Marcuse, “Correspondence on the German Student Movement,” trans. by Esther Leslie, New Left Review I/233, Jan.–Feb. 1999, 123–136). As Adorno put it in his May 5, 1969 letter to Marcuse,
[T]here are moments in which theory is pushed on further by practice. But such a situation neither exists objectively today, nor does the barren and brutal practicism that confronts us here have the slightest thing to do with theory anyhow. (“Correspondence,” 127.)
4. Theodor W. Adorno, Negative Dialectics, trans. by E. B. Ashton (New York: Continuum Publishing, 1983), 143.
The German Marxist critical social theorist and practicing musician and composer Theodor W. Adorno, in his 1932 essay on “The Social Situation Music,” observed that the “contradictions and flaws which cut through present-day society” are traced in the “clearest possible lines” through art, and that, “at the same time,” art is “separated from this same society by the deepest of all flaws produced by this society itself” (Adorno, Essays on Music, 391). He pointed out that art finds itself in the same position as “social theory,” tasked with provoking recognition (393). Art, like theory, must “decide whether and how the entrance into social reality might be made” (393).
Susan Buck-Morss, in her response to the October art journal’s 1996 “Visual Culture Questionnaire,” wrote that “the role of artists is to sustain the critical moment of aesthetic experience; the role of critics is to recognize this.” In saying so, Buck-Morss cut against almost 20 years at that point of “postmodernism,” which was concerned, as Hal Foster, one of the principal writers for October, who we recently interviewed in The Platypus Review, argued in the early 1980s, to get out from under the constraints of modernism by moving “beyond critique.” Buck-Morss argued, to the contrary, that what was needed was precisely critique and not merely discourses whose role is to “legitimate culture.” Without this, Buck-Morss argued, artists might “opt to go underground” and express the critical content of aesthetic experience only “esoterically,” as producers for the culture industry. This has indeed happened.
The topic of “culture industry” is notoriously difficult and so is easily misconstrued. One common way of misapprehending Adorno’s critique of the culture industry is to address it only in terms of concrete institutions. It is misunderstood that art outside Hollywood, museums, or the art market’s galleries is somehow outside, resistant to or otherwise opposed to the culture industry. But, for Adorno, the culture industry, a term he used as an alternative to the more misleading categories of mass or popular culture, was the cultural guise of capital. The culture industry was a concept meant by Adorno to grasp the overall social context for cultural production, and was inclusive of both the industrially distributed products of the emphatic “industry” and of the most hermetically produced and experienced works of art. The stakes of Adorno’s critique were the stakes of aesthetic experience in modern society, the forms of subjectivity that Adorno considered social in nature, and thus characteristic of the historical moment of capital. The politics of aesthetic experience was thus engaged by Adorno.
Walter Benjamin famously wrote, at the end of his 1936 essay “The Work of Art in the Age of Mechanical Reproduction,” that whereas fascism aestheticized politics, communism responded by politicizing art. Earlier, in his 1934 essay “The Author as Producer,” Benjamin wrote that not only poverty but the struggle against poverty could be turned into an object of aesthetic contemplation. Benjamin wrote that art that doesn’t teach artists teaches no one, and that only work of good aesthetic quality could be of good, emancipatory political tendency. Benjamin is usually interpreted on the “Left” in ways that deprecate the aesthetic in favor of the political. But a further and different interpretation than is usually offered on the “Left” of Benjamin’s point — and Adorno’s following him, regarding the culture industry — is that the problem with both art and politics is that the essential dialectic of art and politics, in which it becomes possible to have a political critique of aesthetic experience and an aesthetic critique of politics, has been forgotten and thus repressed.
This is an era of bad art because of bad politics, and bad politics due to bad art. Good art would involve not only the critique of bad art but of bad politics; good politics would involve not only the critique of bad politics but of bad art. For bad art is bad politics, and bad politics is bad art.
When Benjamin called for politicizing art, this did not mean for him suspending the aesthetic but rather inquiring into and critiquing the political stakes of aesthetic experience. What would it mean to critique and problematize, and thus politicize, the aesthetic experience of bad politics as bad art, and bad art as bad politics? It means challenging established patterns of feeling and thinking that constitute our subjectivity, whether for the experience of art or participation in politics. For what Benjamin was concerned with, along with Adorno following him, was the transformation of the subject for both art and politics. By giving up on addressing questions and problems of aesthetic form, a deeper engagement with problematic forms of politics is abdicated. For both aesthetics and politics involve social forms, even and perhaps especially when such social forms seem to take place only within the hermetic realm of private aesthetic experience. The abjection of the aesthetic in postmodernism is a form of political repression — a repressive form of politics.
Fredric Jameson, in his 1991 book Postmodernism, or, The Cultural Logic of Late Capitalism, wrote that,
It is . . . necessary to add about the “media” that it . . . failed to come into being; it did not, finally, become identical with its own “concept,” as Hegel liked to say, and can thus be counted among innumerable “unfinished projects” of the modern and the postmodern. . . . What we have now, what we call “media” is not that, or not yet that, as might be demonstrated by one of its more revealing episodes. In modern North American history, of course, the assassination of John F. Kennedy was a unique event, not least because it was a unique collective (and media, communicational) experience, which trained people to read such events in a new way. . . .
[T]he projection of a new collective experience of reception . . . this event was something like the coming of age of the whole media culture. . . . Suddenly, and for a brief moment (which, however, lasted several long days), television showed what it could really do and what it really meant — a prodigious new display of synchronicity and a communicational situation. . . . Yet this inaugural event . . . gave what we call a Utopian glimpse into some collective communicational “festival” whose ultimate logic and promise is incompatible with our mode of production. . . .
No wonder, then, that the small screen longs for yet another chance at rebirth by way of unexpected violence; no wonder also that its truncated afterlife is available for new semiotic combinations and prosthetic symbioses of all kinds, of which the marriage to the market has been the most elegant and socially successful.
Media populism, however, suggests a deeper social determinant, at one and the same time more abstract and more concrete, and a feature of whose essential materialism can be measured by its scandalousness for the mind, which avoids it or hides it away like plumbing. (355–356)
The event of “unexpected violence” that gave the media yet another chance at rebirth was, of course, the September 11, 2001 World Trade Center attack — also, as media art.
A subsequent, recent work of art that recalls the 9/11 attack is (the School of the Art Institute alumnus) Paul Chan’s 2005 video installation 1st Light.
The morning of the 9/11 attack, I moved through my day in a disjointed, out-of-body way, floating in an unreal reality, a timeless time, under an absolutely clear blue sky without a plane anywhere to be seen, a dream-world impelled by a real nightmare. All the while I trembled like the nervously frenetic flickering or vibrating electrical lines in the sky of Chan’s video.
Chan has described his work as “light and the lack of light — light struck through” referring to its use of silhouette imagery.[1] Chan said he was “wary” of its “hypnotic” effect (225). His interviewer, Adam Phillips, observed the paradox that viewers “looked into it as though it had tremendous depths. Which of course it does” (225). Chan commented, in response to Phillips’s question about how the “relationship between . . . political activism and art . . . would no longer be of any interest,” that those asking such questions “don’t know that they’re uncomfortable talking about art . . . because there’s no quick and easy and right solution to it” (227). But Chan concluded that art is “a shared conflict in which [he] want[s] to invest as much time as possible, because [he] [doesn’t] know what other form provides the opportunity, the challenge, to reimagine the contradictions in such a way” (227).
Chan’s piece captures well what his interviewer called the “anti-redemptive” but “gentle” trauma — of the 9/11 attack (225). Chan’s work is a good representation of us, as we are. But (how) does it present potential possibilities for how we could and indeed should be? How, if redemption is ruled out of court, along with any notion of freedom that goes beyond “mistakes,” or the “failure” to be “like everyone else,” in which, as Chan put it, “things [can] become light. They can move in a way in which they were not originally intended to move” (224), like so much debris of a terror attack?
The question is whether and how work such as Chan’s makes available, for critique, this feeling, or merely exemplifies it, in a readily readable way, for its viewers. What is the politics of endlessly contemplating ourselves in such a suspended manner, and how could practices of art challenge such politics? | §
1. Paul Chan interviewed by Hans Ulrich Obrist and Adam Phillips, in Utopias: Whitechapel Gallery Documents of Contemporary Art, ed. Richard Noble (Cambridge, MA: MIT Press, 2009), 224–227.
Presented at Loyola University, Chicago, April 21, 2010 (audio recording), Woodlawn Collaborative, Chicago, May 8, 2010, and the Platypus Affiliated Society 2nd annual international convention, Chicago, May 29, 2010.
Adorno
Theodor W. Adorno, who was born in 1903 and lived until 1969, has a continuing purchase on problems of politics on the Left by virtue of his critical engagement with two crucial periods in the history of the Left: the 1930s “Old” Left and the 1960s “New Left.” Adorno’s critical theory, spanning this historical interval of the mid-20th century, can help make sense of the problems of the combined and ramified legacy of both periods.
Adorno is the key thinker for understanding 20th century Marxism and its discontents. As T. J. Clark has put it (in “Should Benjamin Have Read Marx?,” 2003), Adorno “[spent a lifetime] building ever more elaborate conceptual trenches to outflank the Third International.” The period of Adorno’s life, coming of age in the 1920s, in the wake of the failed international anticapitalist revolution that had opened in Russia in 1917 and continued but was defeated in Germany, Hungary and Italy in 1919, and living through the darkest periods of fascism and war in the mid-20th century to the end of the 1960s, profoundly informed his critical theory. As he put it in the introduction to the last collection of his essays he edited for publication before he died, he sought to bring together “philosophical speculation and drastic experience.” Adorno reflected on his “drastic” historical experience through the immanent critique, the critique from within, of Marxism. Adorno thought Marxism had failed as an emancipatory politics but still demanded redemption, and that this could be achieved only on the basis of Marxism itself. Adorno’s critical theory was a Marxist critique of Marxism, and as such reveals key aspects of Marxism that had otherwise become buried, as a function of the degenerations Marxism suffered from the 1930s through the 1960s. Several of Adorno’s writings, from the 1930s–40s and the 1960s, illustrate the abiding concerns of his critical theory throughout this period.
In the late 1920s, the director of the Frankfurt Institute for Social Research Max Horkheimer wrote an aphorism titled “The Little Man and the Philosophy of Freedom” that is an excellent conspectus on the politics of Marxism.
The “Marxist clarification of the concept of freedom” that Horkheimer calls for is the usually neglected aspect of Marxism. Marxism is usually regarded as an ideology of material redistribution or “social justice,” championing the working class and other oppressed groups, where it should be seen as a philosophy of freedom.
There is a fundamentally different problem at stake in either regarding capitalism as a materially oppressive force, as a problem of exploitation, or as a problem of human freedom. The question of freedom raises the issue of possibilities for radical social-historical transformation, which was central to Adorno’s thought. Whereas by the 1930s, with the triumph of Stalinist and social-democratic reformist politics in the workers’ movement, on the defensive against fascism, Marxism had degenerated into an ideology merely affirming the interests of the working class, Marx himself had started out with a perspective on what he called the necessity of the working class’s own self-abolition (Critique of Hegel’s Philosophy of Right, 1843).
Marx inquired into the potential overcoming of historical conditions of possibility for labor as the justification for social existence, which is how he understood capitalist society. Marx’s point was to elucidate the possibilities for overcoming labor as a social form. But Marx thought that this could only happen in and through the working class’s own political activity. How was it possible that the working class would abolish itself?
Politics not pre-figurative
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 Adorno, like any Marxist, have chosen Lenin over Gandhi? Adorno’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.
Adorno, as a Marxist critical theorist, followed the discussion by Leon Trotsky, who had been the 26 year-old leader of the Petersburg Soviet or Workers’ Council during the 1905 Revolution in Russia, of the “pre-requisites of socialism” in his 1906 pamphlet Results and Prospects, where he wrote about the problem of achieving what he called “socialist psychology,” as follows:
Marxism converted socialism into a science, but this does not prevent some “Marxists” from converting Marxism into a Utopia. . . .
[M]any socialist ideologues (ideologues in the bad sense of the word — those who stand everything on its head) speak of preparing the proletariat for socialism in the sense of its being morally regenerated. The proletariat, and even “humanity” in general, must first of all cast out its old egoistical nature, and altruism must become predominant in social life, etc. As we are as yet far from such a state of affairs, and “human nature” changes very slowly, socialism is put off for several centuries. Such a point of view probably seems very realistic and evolutionary, and so forth, but as a matter of fact it is really nothing but shallow moralizing.
It is assumed that a socialist psychology must be developed before the coming of socialism, in other words that it is possible for the masses to acquire a socialist psychology under capitalism. One must not confuse here the conscious striving towards socialism with socialist psychology. The latter presupposes the absence of egotistical motives in economic life; whereas the striving towards socialism and the struggle for it arise from the class psychology of the proletariat. However many points of contact there may be between the class psychology of the proletariat and classless socialist psychology, nevertheless a deep chasm divides them.
The joint struggle against exploitation engenders splendid shoots of idealism, comradely solidarity and self-sacrifice, but at the same time the individual struggle for existence, the ever-yawning abyss of poverty, the differentiation in the ranks of the workers themselves, the pressure of the ignorant masses from below, and the corrupting influence of the bourgeois parties do not permit these splendid shoots to develop fully. For all that, in spite of his remaining philistinely egoistic, and without his exceeding in “human” worth the average representative of the bourgeois classes, the average worker knows from experience that his simplest requirements and natural desires can be satisfied only on the ruins of the capitalist system.
The idealists picture the distant future generation which shall have become worthy of socialism exactly as Christians picture the members of the first Christian communes.
Whatever the psychology of the first proselytes of Christianity may have been — we know from the Acts of the Apostles of cases of embezzlement of communal property — in any case, as it became more widespread, Christianity not only failed to regenerate the souls of all the people, but itself degenerated, became materialistic and bureaucratic; from the practice of fraternal teaching one of another it changed into papalism, from wandering beggary into monastic parasitism; in short, not only did Christianity fail to subject to itself the social conditions of the milieu in which it spread, but it was itself subjected by them. This did not result from the lack of ability or the greed of the fathers and teachers of Christianity, but as a consequence of the inexorable laws of the dependence of human psychology upon the conditions of social life and labour, and the fathers and teachers of Christianity showed this dependence in their own persons.
If socialism aimed at creating a new human nature within the limits of the old society it would be nothing more than a new edition of the moralistic utopias. Socialism does not aim at creating a socialist psychology as a pre-requisite to socialism but at creating socialist conditions of life as a pre-requisite to socialist psychology. [Leon Trotsky, Results and Prospects (1906), in The Permanent Revolution & Results and Prospects 3rd edition (New York: Pathfinder Press, 1969), 82, 97–99.]
In this passage, Trotsky expressed a view common to the Marxism of that era, which Adorno summed up in a 1936 letter to Walter Benjamin as follows:
[The] proletariat . . . is itself a product of bourgeois society. . . . [T]he actual consciousness of actual workers . . . [has] absolutely no advantage over the bourgeois except . . . interest in the revolution, but otherwise bear[s] all the marks of mutilation of the typical bourgeois character. . . . [W]e maintain our solidarity with the proletariat instead of making of our own necessity a virtue of the proletariat, as we are always tempted to do — the proletariat which itself experiences the same necessity and needs us for knowledge as much as we need the proletariat to make the revolution . . . a true accounting of the relationship of the intellectuals to the working class. [Letter of March 18, 1936, in Adorno, et al., Aesthetics and Politics (London: Verso, 1980), 123–125.]
Adorno’s philosophical idea of the “non-identity” of social being and consciousness, of practice and theory, of means and ends, is related to this, what he called the priority or “preponderance” of the “object.” Society needs to be changed before consciousness.
Adorno’s thought was preceded by Georg Lukács’s treatment of the problem of “reification,” or “reified consciousness.” Citing Lenin, Lukács wrote, on “The Standpoint of the Proletariat,” the third section of his 1923 essay “Reification and the Consciousness of the Proletariat,” that,
Reification is . . . the necessary, immediate reality of every person living in capitalist society. It can be overcome only by constant and constantly renewed efforts to disrupt the reified structure of existence by concretely relating to the concretely manifested contradictions of the total development, by becoming conscious of the immanent meanings of these contradictions for the total development. But it must be emphasised that . . . the structure can be disrupted only if the immanent contradictions of the process are made conscious. Only when the consciousness of the proletariat is able to point out the road along which the dialectics of history is objectively impelled, but which it cannot travel unaided, will the consciousness of the proletariat awaken to a consciousness of the process, and only then will the proletariat become the identical subject-object of history whose praxis will change reality. If the proletariat fails to take this step the contradiction will remain unresolved and will be reproduced by the dialectical mechanics of history at a higher level, in an altered form and with increased intensity. It is in this that the objective necessity of history consists. The deed of the proletariat can never be more than to take the next step in the process. Whether it is “decisive” or “episodic” depends on the concrete circumstances [of this on-going struggle.] [Lukács, History and Class Consciousness, trans. Rodney Livingstone (Cambridge, MA: MIT Press, 1971), 197–198.]
Lukács thought that,
Lenin’s achievement is that he rediscovered this side of Marxism that points the way to an understanding of its practical core. His constantly reiterated warning to seize the “next link” in the chain with all one’s might, that link on which the fate of the totality depends in that one moment, his dismissal of all utopian demands, i.e. his “relativism” and his “Realpolitik:” all these things are nothing less than the practical realisation of the young Marx’s [1845] Theses on Feuerbach. (Lukács, History and Class Consciousness, 221n60)
In his third “Thesis” on Feuerbach, Marx wrote that,
The materialist doctrine that men are products of circumstances and upbringing, and that, therefore, changed men are products of other circumstances and changed upbringing, forgets that it is men who change circumstances and that it is essential to educate the educator himself. Hence, this doctrine necessarily arrives at dividing society into two parts, one of which is superior to society.
The coincidence of the changing of circumstances and of human activity can be conceived and rationally understood only as revolutionizing practice. [Robert C, Tucker, ed., The Marx-Engels Reader 2nd edition (New York: Norton, 1978), 144.]
So, what, for Adorno, counted as “revolutionary practice,” and what is the role of “critical theory,” and, hence, the role of Marxist “intellectuals,” in relation to this?
The politics of Critical Theory
In his 1936 letter to Benjamin, Adorno pointed out that,
[I]f [one] legitimately interpret[s] technical progress and alienation in a dialectical fashion, without doing the same in equal measure for the world of objectified subjectivity . . . then the political effect of this is to credit the proletariat directly with an achievement which, according to Lenin, it can only accomplish through the theory introduced by intellectuals as dialectical subjects. . . . “Les extrèmes me touchent” [“The extremes touch me” (André Gide)] . . . but only if the dialectic of the lowest has the same value as the dialectic of the highest. . . . Both bear the stigmata of capitalism, both contain elements of change. . . . Both are torn halves of an integral freedom, to which, however, they do not add up. It would be romantic to sacrifice one to the other . . . [as] with that romantic anarchism which places blind trust in the spontaneous powers of the proletariat within the historical process — a proletariat which is itself a product of bourgeois society. [Theodor W. Adorno and Walter Benjamin, The Complete Correspondence 1928–40, ed. Henri Lonitz, trans. Nicholas Walker (Cambridge, MA: Harvard University Press, 1999), 129–130.]
This conception of the dialectic of the “extremes” was developed by Adorno in two writings of the 1940s, “Reflections on Class Theory,” and “Imaginative Excesses.” In these writings, Adorno drew upon not only Marx and the best in the history of Marxist politics, but also the critical-theoretical digestion of this politics by Lukács.
In his 1920 essay on “Class Consciousness,” Lukács wrote that,
Only the consciousness of the proletariat can point to the way that leads out of the impasse of capitalism. As long as this consciousness is lacking, the crisis remains permanent, it goes back to its starting-point, repeats the cycle until after infinite sufferings and terrible detours the school of history completes the education of the proletariat and confers upon it the leadership of mankind. But the proletariat is not given any choice. As Marx says, it must become a class not only “as against capital” but also “for itself;” that is to say, the class struggle must be raised from the level of economic necessity to the level of conscious aim and effective class consciousness. The pacifists and humanitarians of the class struggle whose efforts tend whether they will or no to retard this lengthy, painful and crisis-ridden process would be horrified if they could but see what sufferings they inflict on the proletariat by extending this course of education. But the proletariat cannot abdicate its mission. The only question at issue is how much it has to suffer before it achieves ideological maturity, before it acquires a true understanding of its class situation and a true class consciousness.
Of course this uncertainty and lack of clarity are themselves the symptoms of the crisis in bourgeois society. As the product of capitalism the proletariat must necessarily be subject to the modes of existence of its creator. This mode of existence is inhumanity and reification. No doubt the very existence of the proletariat implies criticism and the negation of this form of life. But until the objective crisis of capitalism has matured and until the proletariat has achieved true class consciousness, and the ability to understand the crisis fully, it cannot go beyond the criticism of reification and so it is only negatively superior to its antagonist. . . . Indeed, if it can do no more than negate some aspects of capitalism, if it cannot at least aspire to a critique of the whole, then it will not even achieve a negative superiority. . . .
The reified consciousness must also remain hopelessly trapped in the two extremes of crude empiricism and abstract utopianism. In the one case, consciousness becomes either a completely passive observer moving in obedience to laws which it can never control. In the other it regards itself as a power which is able of its own — subjective — volition to master the essentially meaningless motion of objects. (Lukács, History and Class Consciousness, 76–77)
In “The Standpoint of the Proletariat,” Lukács elaborated further that,
[T]here arises what at first sight seems to be the paradoxical situation that this projected, mythological world [of capital] seems closer to consciousness than does the immediate reality. But the paradox dissolves as soon as we remind ourselves that we must abandon the standpoint of immediacy and solve the problem if immediate reality is to be mastered in truth. Whereas[,] mythology is simply the reproduction in imagination of the problem in its insolubility. Thus immediacy is merely reinstated on a higher level. . . .
Of course, [the alternative of] “indeterminism” does not lead to a way out of the difficulty for the individual. . . . [It is] nothing but the acquisition of that margin of “freedom” that the conflicting claims and irrationality of the reified laws can offer the individual in capitalist society. It ultimately turns into a mystique of intuition which leaves the fatalism of the external reified world even more intact than before[,] [despite having] rebelled in the name of “humanism” against the tyranny of the “law.” . . .
Even worse, having failed to perceive that man in his negative immediacy was a moment in a dialectical process, such a philosophy, when consciously directed toward the restructuring of society, is forced to distort the social reality in order to discover the positive side, man as he exists, in one of its manifestations. . . . In support of this we may cite as a typical illustration the well-known passage [from Marx’s great adversary, the German socialist Ferdinand Lassalle]: “There is no social way that leads out of this social situation. The vain efforts of things to behave like human beings can be seen in the English [labor] strikes whose melancholy outcome is familiar enough. The only way out for the workers is to be found in that sphere within which they can still be human beings. . . .”
[I]t is important to establish that the abstract and absolute separation[,] . . . the rigid division between man as thing, on the one hand, and man as man, on the other, is not without consequences. . . . [T]his means that every path leading to a change in this reality is systematically blocked.
This disintegration of a dialectical, practical unity into an inorganic aggregate of the empirical and the utopian, a clinging to the “facts” (in their untranscended immediacy) and a faith in illusions[,] as alien to the past as to the present[,] is characteristic. . . .
The danger to which the proletariat has been exposed since its appearance on the historical stage was that it might remain imprisoned in its immediacy together with the bourgeoisie. (Lukács, History and Class Consciousness, 194–196)
In “Reflections on Class Theory,” Adorno provided a striking re-interpretation of Marx and Engels’s Communist Manifesto as a theory of emancipation from history:
According to [Marxian] theory, history is the history of class struggles. But the concept of class is bound up with the [historical] emergence of the proletariat. . . . By extending the concept of class to prehistory, theory denounces not just the bourgeois . . . [but] turns against prehistory itself. . . . By exposing the historical necessity that had brought capitalism into being, [the critique of] political economy became the critique of history as a whole. . . . All history is the history of class struggles because it was always the same thing, namely, prehistory. . . . This means, however, that the dehumanization is also its opposite. . . . Only when the victims completely assume the features of the ruling civilization will they be capable of wresting them from the dominant power. [Theodor W. Adorno, “Reflections on Class Theory” (1942), in Can One Live After Auschwitz? A Philosophical Reader, ed. Rolf Tiedemann (Stanford, CA: Stanford University Press, 2003), 93–110.]
Adorno elaborated this further in the aphorism “Imaginative Excesses,” which was orphaned from the published version of Adorno’s book Minima Moralia: Reflections from Damaged Life (1944–47). Adorno wrote that,
Those schooled in dialectical theory are reluctant to indulge in positive images of the proper society, of its members, even of those who would accomplish it. . . . The leap into the future, clean over the conditions of the present, lands in the past. In other words: ends and means cannot be formulated in isolation from each other. Dialectics will have no truck with the maxim that the former justify the latter, no matter how close it seems to come to the doctrine of the ruse of reason or, for that matter, the subordination of individual spontaneity to party discipline. The belief that the blind play of means could be summarily displaced by the sovereignty of rational ends was bourgeois utopianism. It is the antithesis of means and ends itself that should be criticized. Both are reified in bourgeois thinking. . . . [Their] petrified antithesis holds good for the world that produced it, but not for the effort to change it. Solidarity can call on us to subordinate not only individual interests but even our better insight. . . . Hence the precariousness of any statement about those on whom the transformation depends. . . . The dissident wholly governed by the end is today in any case so thoroughly despised by friend and foe as an “idealist” and daydreamer. . . . Certainly, however, no more faith can be placed in those equated with the means; the subjectless beings whom historical wrong has robbed of the strength to right it, adapted to technology and unemployment, conforming and squalid, hard to distinguish from the wind-jackets of fascism: their actual state disclaims the idea that puts its trust in them. Both types are theatre masks of class society projected on to the night-sky of the future . . . on one hand the abstract rigorist, helplessly striving to realize chimeras, and on the other the subhuman creature who as dishonour’s progeny shall never be allowed to avert it.
What the rescuers would be like cannot be prophesied without obscuring their image with falsehood. . . . What can be perceived, however, is what they will not be like: neither personalities nor bundles of reflexes, but least of all a synthesis of the two, hardboiled realists with a sense of higher things. When the constitution of human beings has grown adapted to social antagonisms heightened to the extreme, the humane constitution sufficient to hold antagonism in check will be mediated by the extremes, not an average mingling of the two. The bearers of technical progress, now still mechanized mechanics, will, in evolving their special abilities, reach the point already indicated by technology where specialization grows superfluous. Once their consciousness has been converted into pure means without any qualification, it may cease to be a means and breach, with its attachment to particular objects, the last heteronomous barrier; its last entrapment in the existing state, the last fetishism of the status quo, including that of its own self, which is dissolved in its radical implementation as an instrument. Drawing breath at last, it may grow aware of the incongruence between its rational development and the irrationality of its ends, and act accordingly.
At the same time, however, the producers are more than ever thrown back on theory, to which the idea of a just condition evolves in their own medium, self-consistent thought, by virtue of insistent self-criticism. The class division of society is also maintained by those who oppose class society: following the schematic division of physical and mental labour, they split themselves up into workers and intellectuals. This division cripples the practice which is called for. It cannot be arbitrarily set aside. But while those professionally concerned with things of the mind are themselves turned more and more into technicians, the growing opacity of capitalist mass society makes an association between intellectuals who still are such, with workers who still know themselves to be such, more timely than thirty years ago [at the time of the 1917 Bolshevik Revolution]. . . . Today, when the concept of the proletariat, unshaken in its economic essence, is so occluded by technology that in the greatest industrial country [the United States of America] there can be no question of proletarian class-consciousness, the role of intellectuals would no longer be to alert the torpid to their most obvious interests, but to strip the veil from the eyes of the wise-guys, the illusion that capitalism, which makes them its temporary beneficiaries, is based on anything other than their exploitation and oppression. The deluded workers are directly dependent on those who can still just see and tell of their delusion. Their hatred of intellectuals has changed accordingly. It has aligned itself to the prevailing commonsense views. The masses no longer mistrust intellectuals because they betray the revolution, but because they might want it, and thereby reveal how great is their own need of intellectuals. Only if the extremes come together will humanity survive. [Theodor W. Adorno, “Messages in a Bottle,” New Left Review I/200 (July–August 1993), 12–14.]
The problem of means and ends
A principal trope of Stalinophobic Cold War liberalism in the 20th century was the idea that Bolshevism thought that the “ends justify the means,” in some Machiavellian manner, that Leninists were willing to do anything to achieve socialism. This made a mockery not only of the realties of socialist politics up to that time, but also of the self-conscious relation within Marxism itself between theory and practice, what came to be known as “alienation.” Instead, Marxism became an example for the liberal caveat, supposedly according to Kant, that something “may be true in theory but not in practice.” Marxist politics had historically succumbed to the theory-practice problem, but that does not mean that Marxists had been unaware of this problem, nor that Marxist theory had not developed a self-understanding of what it means to inhabit and work through this problem.
As Adorno put it in his 1966 book Negative Dialectics,
The liquidation of theory by dogmatization and thought taboos contributed to the bad practice. . . . The interrelation of both moments [of theory and practice] is not settled once and for all but fluctuates historically. . . . Those who chide theory [for being] anachronistic obey the topos of dismissing, as obsolete, what remains painful [because it was] thwarted. . . . The fact that history has rolled over certain positions will be respected as a verdict on their truth content only by those who agree with Schiller that “world history is the world tribunal.” What has been cast aside but not absorbed theoretically will often yield its truth content only later. It festers as a sore on the prevailing health; this will lead back to it in changed situations. [Adorno, Negative Dialectics (1966), trans. E. B. Ashton (Continuum: New York, 1983), 143–144.]
What this meant for Adorno is that past emancipatory politics could not be superseded or rendered irrelevant the degree to which they remained unfulfilled. A task could be forgotten but it would continue to task the present. This means an inevitable return to it. The most broad-gauged question raised by this approach is the degree to which we may still live under capital in the way Marx understood it. If Marx’s work is still able to provoke critical recognition of our present realities, then we are tasked to grasp the ways it continues to do so. This is not merely a matter of theoretical “analysis,” however, but also raises issues of practical politics. This means inquiring into the ways Marx understood the relation of theory and practice, most especially his own. Adorno thought that this was not a matter of simply emulating Marx’s political practice or theoretical perspectives, but rather trying to grasp the relation of theory and practice under changed conditions.
This articulated non-identity, antagonism and even contradiction of theory and practice, observable in the history of Marxism most of all, was not taken to be defeating for Adorno, but was in fact precisely where Marxism pointed acutely to the problem of freedom in capital, and how it might be possible to transform and transcend it. Adorno put it this way, in a late, posthumously published essay from 1969, “Marginalia to Theory and Praxis,” inspired by his conflicts with both student activists and his old friend and colleague Herbert Marcuse, who he thought had regressed to a Romantic rejection of capital:
If, to make an exception for once, one risks what is called a grand perspective, beyond the historical differences in which the concepts of theory and praxis have their life, one discovers the infinitely progressive aspect of the separation of theory and praxis, which was deplored by the Romantics and denounced by the Socialists in their wake — except for the mature Marx. [Adorno, “Marginalia to Theory and Praxis” (1969), in Critical Models, trans. Henry W. Pickford (New York: Columbia University Press, 1998), 266.]
As Adorno put it in a [May 5, 1969] letter to Marcuse,
[T]here are moments in which theory is pushed on further by practice. But such a situation neither exists objectively today, nor does the barren and brutal practicism that confronts us here have the slightest thing to do with theory anyhow. [Adorno and Marcuse, “Correspondence on the German Student Movement,” trans. Esther Leslie, New Left Review I/233, Jan.–Feb. 1999, 127.]
In his final published essay, “Resignation” (1969), which became a kind of testament, Adorno pointed out that,
Even political undertakings can sink into pseudo-activities, into theater. It is no coincidence that the ideals of immediate action, even the propaganda of the [deed], have been resurrected after the willing integration of formerly progressive organizations that now in all countries of the earth are developing the characteristic traits of what they once opposed. Yet this does not invalidate the [Marxist] critique of anarchism. Its return is that of a ghost. The impatience with [Marxian] theory that manifests itself with its return does not advance thought beyond itself. By forgetting thought, the impatience falls back below it. [Adorno, “Resignation,” (1969), in Critical Models, trans. Henry W. Pickford (New York: Columbia University Press, 1998), 292.]
This is almost a direct paraphrase of Lenin, who wrote in his 1920 pamphlet “Left-Wing” Communism: An Infantile Disorder that,
[D]riven to frenzy by the horrors of capitalism . . . anarchism is characteristic of all capitalist countries. The instability of such revolutionism, its barrenness, and its tendency to turn rapidly into submission, apathy, phantasms, and even a frenzied infatuation with one bourgeois fad or another — all this is common knowledge. . . .
Anarchism was not infrequently a kind of penalty for the opportunist sins of the working-class movement. The two monstrosities complemented each other. [Robert C. Tucker, ed., The Lenin Anthology (New York: Norton, 1975), 559–560.]
Adorno paralleled Lenin’s discussion of the “phantasms” of non-Marxian socialism, and defense of a Marxist approach, stating that, “Thought, enlightenment conscious of itself, threatens to disenchant the pseudo-reality within which actionism moves.” Immediately prior to Adorno’s comment on anarchism, he discussed the antinomy of spontaneity and organization, as follows,
Pseudo-activity is generally the attempt to rescue enclaves of immediacy in the midst of a thoroughly mediated and rigidified society. Such attempts are rationalized by saying that the small change is one step in the long path toward the transformation of the whole. The disastrous model of pseudo-activity is the “do-it-yourself.” . . . The do-it-yourself approach in politics is not completely of the same caliber [as the quasi-rational purpose of inspiring in the unfree individuals, paralyzed in their spontaneity, the assurance that everything depends on them]. The society that impenetrably confronts people is nonetheless these very people. The trust in the limited action of small groups recalls the spontaneity that withers beneath the encrusted totality and without which this totality cannot become something different. The administered world has the tendency to strangle all spontaneity, or at least to channel it into pseudo-activities. At least this does not function as smoothly as the agents of the administered world would hope. However, spontaneity should not be absolutized, just as little as it should be split off from the objective situation or idolized the way the administered world itself is. (Adorno, “Resignation,” Critical Models, 291–292)
Adorno’s poignant defense of Marxism was expressed most pithily in the final lines with which his “Marginalia to Theory and Praxis” concludes, that,
Marx by no means surrendered himself to praxis. Praxis is a source of power for theory but cannot be prescribed by it. It appears in theory merely, and indeed necessarily, as a blind spot, as an obsession with what it being criticized. . . . This admixture of delusion, however, warns of the excesses in which it incessantly grows. (Adorno, “Marginalia to Theory and Praxis,” Critical Models, 278)
Marxism is both true and untrue; the question is how one recognizes its truth and untruth, and the necessity — the inevitability — of its being both.
Adorno acknowledged his indebtedness to the best of historical Marxism when he wrote that,
The theorist who intervenes in practical controversies nowadays discovers on a regular basis and to his shame that whatever ideas he might contribute were expressed long ago — and usually better the first time around. [Adorno, “Sexual Taboos and the Law Today” (1963), in Critical Models, trans. Henry W. Pickford (New York: Columbia University Press, 1998), 71.]
