Immanent critique WHENEVER APPROACHING ANY PHENOMENON, Adorno’s procedure is one of immanent dialectical critique. The phenomenon is treated as not accidental or arbitrary but as a necessary form of appearance that points beyond itself, indicating conditions of possibility for change. It is a phenomenon of the necessity for change. The conditions of possibility for change indicated by the phenomenon in question are explored immanently, from within. The possibility for change is indicated by a phenomenon’s self-contradictions, which unfold from within itself, from its own movement, and develop from within its historical moment.
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Art And The Commodity Form, London
Audio Recording Your browser does not support the audio element Panelists Rex Dunn (Writer)
Zhoe Granger (Director, Arcadia Missa) Peter Osborne (Professor Of Modern European Philosophy, Kingston University) Description If it is true that the ‘commodity-structure’ (Lukács) is the defining feature of modern capitalism down through the present, then it stands to reason that it has no less impacted the way art is produced, consumed, circulated, and exchanged. This shift in art’s character happened both objectively (e.
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Horkheimer in 1943 on party and class
Without a socialist party, there is no class struggle, only rackets
HORKHEIMER’S REMARKABLE ESSAY “On the sociology of class relations” (1943)1 is continuous with Adorno’s contemporaneous “Reflections on class theory” (1942) as well as his own “The authoritarian state” (1940/42), which similarly mark the transformation of Marx and Engels’s famous injunction in the Communist Manifesto that “history is the history of class struggles.” All of these writings were inspired by Walter Benjamin’s “On the concept of history” (AKA “Theses on the philosophy of history,” 1940), which registered history’s fundamental crisis.
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Art, Culture, and Politics
Marxist Approaches
Panel held as part of the third annual Platypus International Convention, on Saturday, April 30, 2011, at the School of the Art Institute of Chicago.
Audio Recording Your browser does not support the audio element A transcript of Bret Schneider’s remarks appears in Platypus Review #37
Panelists Omair Hussain
Lucy Parker
Pac Pobric
Bret Schneider
Description After its apparent exhaustion as a project of social transformation, Marxism seems to remain alive as a cultural and hermeneutic endeavor.
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Egypt, or, history's invidious comparisons
1979, 1789, and 1848
THE UPRISING IN EGYPT, which followed soon after the toppling of the old regime in Tunisia, succeeded in bringing down Hosni Mubarak on February 11, the 32nd anniversary to the day of the 1979 Islamic Revolution in Iran. Already, before this timely coincidence, comparisons between the Iranian Revolution and the revolts gripping the Arab world had started to be made. But other historical similarities offered themselves: the various “color revolutions” in Eastern Europe and former Soviet Central Asian states and Lebanon in recent years, and the collapse of Communism in the Soviet bloc and beyond (the former Yugoslavia) starting with the fall of the Berlin Wall in 1989.
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The relevance of critical theory to art today
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.
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The Marxist hypothesis
A response to Alain Badiou's 'communist hypothesis'
Against Badiou ALAIN BADIOU’S RECENT BOOK (2010) is titled with the phrase promoted by his and Slavoj Žižek’s work for the last few years, “the communist hypothesis.”1 This is also the title of Badiou’s 2008 essay in New Left Review2 on the historical significance of the 2007 election of Nicolas Sarkozy to the French Presidency.3 There, Badiou explains his approach to communism as follows:
What is the communist hypothesis?
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1933
The Decline of the Left in the 20th Century: Toward a Theory of Historical Regression
ON APRIL 18, 2009, the Platypus Affiliated Society conducted the following panel discussion at the Left Forum Conference at Pace University in New York City. The panel was organized around four significant moments in the progressive separation of theory and practice over the course of the 20th century: 2001 (Spencer A. Leonard), 1968 (Atiya Khan), 1933 (Richard Rubin), and 1917 (Chris Cutrone). The following is an edited transcript of the 1933 presentation by Richard Rubin.
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notes on Adorno in 1968-69
I am writing with some very brief notes on Adorno’s last writings from 1968-69, the “Marginalia to Theory and Praxis,” “Resignation,” “Late Capitalism or Industrial Society? (AKA “Is Marx Obsolete?”),” and the Adorno-Marcuse correspondence of 1969.
The center of Adorno’s critique of the 1960s New Left was their romantic opposition to capitalism, found, for example, in their desideratum of the unity of theory and practice. Rather, Adorno asserted the progressive-emancipatory aspect of the separation of theory and practice.
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notes on Lukács
I am writing with some brief, partial notes from our discussion at UChicago at yesterday’s (Sun. 3/8/09) reading group, on several essays from György Lukács’s 1923 book History and Class Consciousness.
I want to emphasize and discuss in particular a couple of passages, from the (original, 1922) Preface, and the essay “What is Orthodox Marxism?” (1919).
Specifically, I wish to discuss Lukács’s use of categories, “materialist dialectics,” and his meaning of Marxism as a “method,” which might otherwise prove confusing or tricky.
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