Showing posts with label Marxism. Show all posts
Showing posts with label Marxism. Show all posts

Sunday, 26 April 2015

A (Somewhat Brief) Critique of Historical Materialism

If one surveys the political landscape of the Anglosphere (United Kingdom, United States, Canada, Ireland, Australia, and New Zealand) one thing become apparent: all these governments operate from some form of capitalist, and indeed fiscally conservative, ideology. Even the Obama Administration in the United States is just capitalism-lite (or naïvely labeled socialism by far-right decriers) in contrast to its Republican critics. Nevertheless, any interventionist economic policy during the remaining years of Obama’s Presidency have been hampered by the Republican Party gaining control of the legislature in the 2014 mid-term elections. This turn in history could not surely be put down to mere coincidence? Despite what Karl Marx argued, capitalism seems destined to stay for the foreseeable future. Regardless of a brief Keynesian respite between the 1930s and 1960s, capitalism has become cemented as our mode of political economy. Even centrist labour parties have conformed to capitalism such as Britain under Tony Blair by adopting the acquiescent Third Way. So was Marx wrong about emergence of socialism and in turn communism? To answer this it is pertinent to understand historical materialism, Marx’s theoretical exposition of how we came to be in our present circumstances.
Marx developed his materialist conception of history not in a single work but gradually over several works, which makes it difficult to understand, and it can seemingly appear to be lacking coherence.[1] To find Marx’s roots for historical materialism we need to consider one of his forebears, Georg Hegel. In the Phenomenology of Spirit (as well as other works) Hegel developed a speculative logical system that served as the basis for his metaphysical and political thinking.[2] Hegel’s thinking was based on a dialectical methodology whereby successive categories are implicitly self-contradictory and give rise to a hierarchical evolution of categories: an initial thesis is contrary to its antithesis, and the two are united in a synthesis by the positive outcomes of each by avoiding both their self-contradictions.[3] Marx uses Hegel’s dialectical methodology but uses it within the circumstances of material conditions, not as an agent for history, but as a story of class struggle as defined by those material conditions. Marx’s history is therefore regarded as “materialist” in contrast to Hegel’s “idealist” history guided by the human spirit (Geist) that is directed towards freedom. In The German Ideology Marx elucidates how stages of material and productive development give rise to certain social arrangements related to division of labour and ownership of the means of production.[4] Certain antagonisms between modes of production have brought us from hunter-gatherer societies to primitive communal ownership, to feudal societies, and finally to capitalism. Capitalism however, has simplified class antagonism into two simple camps: the owners of production, the bourgeoisie, and those who must sell their labour to subsist, the proletariat.[5] When class is reduced to this definition it clarifies any grey areas that might suggest a fluidity between classes that is often the cornerstone of liberalism. This antagonism is still axiomatic in the same sense that aristocratic privilege was the defining feature of pre-revolutionary France. The repulsive aspects of capitalism’s contradictions would eventually create its collapse and give birth by way of revolution to a socialist society where the proletariat retain common ownership of the means of production.[6]
Class conflict because of material circumstances is inevitable; one class will always attempt to dominate the other whatever the historical circumstances.[7] Marx recognises this, however, the desire to overcome this relationship is tentative, especially in a world dominated by capital's hegemony. Marx's interpretation of class conflict suggests to the casual reader it is aimed at a specific end point: communism, or, a classless society. While idealistic, there is nothing to suggest that one system will triumph over another, and history will be drawn to an ideological terminus. Ideas will always arise from present material circumstances. But understanding Marx is more about the possible rather than the inevitable. Historical materialism is often misinterpreted or misappropriated as a historiographical methodology, as pointed out by Terry Eagleton, to explain the unfolding of history, especially in terms of class conflict.[8] What should be taken from Marx is a general theory of social change. Marx is not suggesting an internal determinist mechanism for history’s unfolding as well as its future, but putting forward an economic and well as technological argument for historical development of social formations. Humans are conditioned to execute a development in their productive relationships.[9]
The picture Marx paints however is not exempt from criticism: while Marx's explanation of the transition from primitive societies, to feudalism, and then to capitalism is plausible and well understood, his theory seems hollow when contrasted with the history of the twentieth century. The establishment of the Soviet Union after the 1917 Russian Revolution failed to follow the development of socialism according to historical materialism because it was a largely feudal society (in the loosest sense, especially in contrast to the industrialised capitalist economies of Germany, Britain, and the United States). The Soviet Union only heavily industrialised after transition to socialism, undermining Marx's logical development of communism. The collectivisation of agriculture and the dictatorship of Joseph Stalin cost millions of lives and failed to produce the means to create a classless society. Even China’s ruling communist party is gradually reforming its economy to what appears to be more capitalistic. This has led some commentators such as Francis Fukuyama, to suggest the inevitability of liberal democracy (and implicitly capitalism). Fukuyama has suggested the collapse of the Soviet Union has proved capitalism as the natural condition of human affairs and therefore the end of history.[10] Fukuyama is very much influenced in this regard by Hegel in an explanation for the unfolding of History. Marx also could not have foreseen to ideological power of the fusion of capital and technology to exacerbate what Fredrich Engles described as a false consciousness in the proletariat.[11] The ability of media corporations to distract and disseminate ideas that work in favour of capital is incredibly powerful.
Postmodern interpretations of history are dismissive of grand historical narratives whether they be materialist or otherwise.[12] However, the scepticism expressed by postmodernism towards any form of teleological inevitability need not undermine the theoretical basis for socialism or even the impetus to make all human lives better. A critique of Marx's historical materialism does not necessarily mean an outright rejection of all Marxist theory or socialism as a viable economic alternative to capitalism, but this also does not mean embracing Fukuyama's End of History thesis, which is teleological in itself being a derivative of Hegel.[13] There is nothing to suggest the present ideological epoch will not be undermined by some catastrophic event—say, anthropogenic climate change, or a dramatic financial collapse worse than the Great Depression, or a nuclear war—that will cause some regressive state of affairs to arise: one of the many flavours of anarchism or potentially a totalitarian government that derives its power from control of what little post-apocalyptic resources exist. So that leaves us with the question: if the historical march to communism is not inevitable, how does society overcome the vicissitudinous nature of capitalism? One can either wallow in the nihilism that Marx was wrong and we are all doomed to capitalism’s negativities, or we can use Marx as a theoretical impetus to critique capitalism without being locked into the dogmatism of inevitability. To quote Marx himself, "philosophers have only interpreted the world; the point is to change it".[14]



[1]  Terrence Ball, "History: Critique and irony," in The Cambridge Companion to Marx, ed. Terrell Carver (Cambridge: Cambridge University Press, 1991).
[2] Georg Wilhelm Friedrich Hegel and J. N. Findlay, Phenomenology of spirit, trans. Arnold V. Miller (Oxford: Oxford University Press, 1977); Allen Wood, "Hegel and Marxism," in The Cambridge Companion to Hegel, ed. Frederick  C. Beiser (Cambridge: Cambridge University Press, 1993).
[3] Hegel and Findlay, Phenomenology of Spirit; Michael Forster, "Hegel's dialectical method," in The Cambridge Companion to Hegel, ed. Frederick  C. Beiser (Cambridge [England]: Cambridge University Press, 1993), 131-3.
[4]  Karl Marx and Friedrich Engels, The German Ideology, ed. C. J. Arthur (London: Lawrence & Wishart, 1970).
[5] Karl Marx and Fredrich Engels, The Communist Manifesto (London: Penguin Books, 2002).
[6] ibid.
[7] ibid.
[8] Terry Eagleton, Why Marx Was Right (New Haven, CT: Yale University Press, 2011).
[9] Marx and Engles, The German Ideology, 47.
[10] Francis Fukuyama, The End of History and the Last Man (New York: Free Press, 1992).
[11]  Fredrich Engles, "Letters: Marx-Engels Correspondence 1893," accessed March 27, 2015, https://www.marxists.org/archive/marx/works/1893/letters/93_07_14.htm.
[12]  Jean-François Lyotard et al., The postmodern condition: a report on knowledge (Manchester: Manchester University Press, 1984).
[13] Fukuyama, The End of History and the Last Man.
[14] Karl Marx, "Theses on Feuerbach," in Early Writings. Introduced by Lucio Colletti. trans. Rodney Livingstone and Gregor Benton, ed. Lucio Colletti. translated by Gregor Benton and Rodney L. Livingstone (Harmondsworth: Penguin, in association with New Left Review, 1975), 423.

———————————————————————————————————————— "... we can explore space together, both inner and outer, forever in peace." —W. M. Hicks.

Monday, 27 October 2014

Labour Day...

Are we seeing a reversal of accepted rights and an erosion of humane conditions? Is self-interest gaining momentum at the expense of the have-nots and the powerless? Standing up to authority, for what you believe is a fair and just way to be treated is now insubordination and not justice. We reluctantly accept these conditions because we have lost the belief in ourselves to change them. We too often submit to what we are told by those in-charge of what is essentially our livelihood. Too often this is a debilitating dependence that can have negative consequences on a persona: depression, delusion, greed, hopelessness, despondency, selfishness. We are locked in a prison we cannot see. We are no longer free to govern ourselves. Those who have lost sight of their own conditions will often justify others power over them with a mutual co-existent relationship; that their own labour has become a commodity. Why bite the hand that feeds?
            Tell that to the people who stood up for your rights as a human and not a slave. Tell that to the millions of exploited factory workers who have fought degrading and inequitable conditions so you wouldn't have to. Tell that to the people who fought so you could be paid enough to live; the people who fought for your right to be given appropriate rest periods. Tell that to the people who stood up so your voice could be heard.
            These are the people that stood up for your rights, not because you were the current generation, but because you were the future generation that mattered the most. When humanity ceases to exist we only have self-interest to blame. For those who stood up for you, did so in the interests of humanity.

———————————————————————————————————————— "... we can explore space together, both inner and outer, forever in peace." 
 —W. M. Hicks.

Tuesday, 7 October 2014

Quote of the Week: Jürgen Habermas

"The state apparatus becomes dependent on the media-steered subsystem of the economy; this forces it to reorganise and leads, among other things, to assimilation of power to the structure of a steering medium: power becomes assimilated to money."
Theory of Communicative Action , Volume Two, 1987.

———————————————————————————————————————— "... we can explore space together, both inner and outer, forever in peace." —W. M. Hicks.

Saturday, 27 September 2014

Cultural Capital or Cultural Cringe:
A Critique of the 2014 FIFA World Cup


“There was a whole chain of separate departments dealing with proletarian literature, music, drama, and entertainment generally. Here were produced rubbishy newspapers containing almost nothing except sport, crime and astrology, sensational five-cent novelettes, films oozing with sex, and sentimental songs which were composed entirely by mechanical means …”
George Orwell, Nineteen Eighty-Four.[1]

In 1949, George Orwell Painted a bleak picture of a vast totalitarian government in the future, influenced by his witnessing of both totalitarian governments in Nazi Germany and the Soviet Union. Orwell’s vision, although unrealised, shares some similarities with twentieth century capitalist democracies, namely what Theodor Ardorno and Max Horkeimer called the “Culture industry”—the deliberate manufacture of mass-produced and largely homogeneous artworks not simply for consumption, but for systematic ideological control.[2] Adorno and Horkheimer’s perceivably righteous and sustained critique of mass culture was part of a wider project aimed at what they believed was an underlying totalitarianism that was built into the supposedly liberating philosophical movement of the Enlightenment.[3] The culture industry is undoubtedly alive and well today; its pervasiveness is nothing short of ubiquitous. Nowhere is this more present than the multi-faceted cultural spectacle of one of the world’s largest sporting tournaments: the Fédération Internationale de Football Association (FIFA) World Cup. This essay will approach the FIFA World Cup in the same guise that Adorno and Horkheimer's critical theory assesses the culture industry, specifically the tournament's fusion of culture with Capital as a form of effective marketing for the purpose of creating a docile consumer culture. I will assess, and critique, two of the official songs commissioned for the tournament against the backdrop of its entirety.
Adorno and Horkheimer have argued that the same objectifying of knowledge throughout human history as a means of control over nature, and other humans, is no less different in the means of Enlightenment thinking. The rationality of the Enlightenment uses abstraction as its methodology: the process of characterising reality with quantifiable properties.[4] This allows the mathematical characterisation of the reality we perceive, but reduces reality to a multiplicity of objects that are just representations, with the result that "factuality wins the day; cognition is restricted to its repetition; and thought becomes mere tautology".[5] This has the presupposition of distancing the subject from the object, allowing for its domination by a master.[6] Adorno and Horkheimer have criticised this rational domination as merely a replacement of pre-Enlightenment conceptions of knowledge and therefore subsumed into myth itself. In agreement with Hegel, they have argued that the Enlightenment's abstraction of reality has reduced knowledge to numbers for manipulation, and in doing so has over looked the cognitive process of determinate negation: rather than conforming the perceivable to absolutes, the truth is derived by a process of dialectic.[7] From the outset Adorno and Horkheimer point out the implications of the Enlightenment's "axiomatic self-restriction" in thought as "an automatic, self-activating process; an impersonation of the machine that reproduces itself so that ultimately the machine can replace it".[8]
Adorno and Horkheimer have asserted that the hyper-rationality of positivism—the paradigm thought of Enlightenment—has allowed the domination and alienation of humans through economic means. Humanity, robbed of its subjectivity, is absorbed into the capitalist "economic apparatus ... [which] equips commodities with values which decide human behavior".[9] With the onset of modernity it is the market's objectivity that dictates all social life and "whoever resigns himself to the life without any rational reference to self-preservation would according to the Enlightenment—and Protestantism—regress to prehistory".[10] The capitalist division of labour and imposition of alienation requires individuals to conform "their body and soul according to the technical apparatus".[11] The rational domination of instrumental reason serves to meet economic ends. This is the foundation for Adorno and Horkheimer's argument, which suggests art is being absorbed into, and conforming to, commodification to serve Capital and cement a consumer ideology in society.
I will now turn to the FIFA World Cup itself and apply Adorno and Horkeimer's theoretical analysis of the culture industry to it. This will include an analysis of two of the tournament's officially commissioned songs: 'We Are One' by Pitbull, Jennifer Lopez, and Claudia Leitte; and 'Vida' by Ricky Martin.[12][13] Adorno and Horkeimer's views on modernity’s commodification of art are nothing short of scathing, and their remarks are justified when one looks behind the veil of the culture industry. For its one aim is not to offer any intrinsic or aesthetic value embedded in it, but to offer a cultural product that is congruent with the aims of capitalism—profit.[14] The officialdom of FIFA's musical accompaniments to the World Cup are not conceived in an intrinsic manifestation of culture but to justify their manufacture to its own ends.
Adorno and Horkeimer have drawn attention to Kant's aesthetic theory of ‘purposiveness without purpose’ to criticise the intent of the culture industry. For Kant, an artist will produce a piece with purpose, that is, some conception of the final product, but the final product has no further purpose other than aesthetic. Adorno and Horkeimer have suggested the culture industry has reversed this notion and has made systematic control for profit the final purpose of the modern artwork.[15] Ricky Martin's performance of 'Vida' bears all the hallmarks of a product for consumption: Martin was the established musical icon chosen to perform a song that was largely not by his own pen, but hand-picked by judges from thousands of compositions submitted into a competition that sought the song's choosing. The judges knew the standard they were looking for even before they found it: mass appeal, and therefore, profitability. There have even been some accusations that Sony Music Entertainment had beforehand chosen 'Vida' and encouraged the song's writer to enter the competition, nevertheless offering some prefabricated semblance of culture[16]
The marketability wrought by the homogenisation of these two songs becomes apparent upon closer critical inspection. They offer catchy melodies and hooks with basic lyrics that repeat many of the same themes: solidarity, unity, competition, and cosmopolitanism. While these values are undeniably important, the manner in which they are expressed is far from genuine—they are just the face of a product. Adorno and Horkheimer suggest the familiarity, and therefore the ability to be easily swallowed by the average listener, is what has consigned manufactured popular music to the “worn grooves of association”.[17] This is not Martin’s only contribution to official the FIFA World Cup soundtrack; in 1998 he provided vocals for ‘The Cup of Life’, also not written by himself. Vida is Spanish for ‘life’ and not coincidentally, ‘The Cup of Life’ translates to Spanish as ‘La Copa de la Vida’, recycling similar motifs for their ability to be grasped easily. “No independent thinking must be expected from the audience: the product prescribes every reaction” through the use of what corporate manufacturing dictates so that “any logical connection calling for mental effort is painstakingly avoided”.[18]
These songs and their associated videos paint (or impose) an idealised version of Brazil, with sun, beaches, happy children, and scantily clad tanned and toned women, interspersed with footage of the exhilarating moments of previous tournaments to remind the viewer of the product they are consuming. They present a homogenised and stereotyped representation of Latin American culture, ignoring the myriad of localised cultures that make up the continent. While both songs have the appearance of Latin American musicians—and unashamedly the culture industry has crafted this appearance with ethnically Latin American musicians—they are, inexorably in one way or another, the product of American commercial interests: Pitbull being from Miami, Jenifer Lopez from New York, and Ricky Martin from Pueto Rico (an American territory). They have provided a token amount of lyrics in Spanish and Portuguese—which are just repetitions of the English lyrics—despite the fact that the vast majority of the tournament's participants do not come from English speaking countries. This is a product carefully manufactured for the English-speaking consumer—the lucrative power of the American market is not exempt from FIFA's glare. However, these songs would not dare mention the uncomfortable costs the tournament has brought to the Brazilian people, or the juxtaposition of its material wealth with the slums of São Paulo—the elephant in the room FIFA conveniently chooses to ignore.
The ubiquitous blinding gloss of the tournament’s multimedia presentation conceals the inconvenience of capitalist exploitation; FIFA’s mechanisms of control are too powerful to be resisted, or even contemplated, en masse. The multi-faceted audio-visual components of the tournament can be clearly discerned as what Adorno and Horkheimer link to the Wagnerian concept of Gesamkunstwerk—“the fusion of all the arts in one work”. [19] It is not surprising then to regard the FIFA World Cup as a perfect “alliance of word, image, and music … because the sensuous elements which all approvingly reflect the surface of social reality are in principle embodied in the same technical process, the unity of which becomes its distinctive content”.[20] The necessity of control dictated by Capital has the consequence of expanding its commodities to include every possible object and subject of which culture is not exempt.
The sacrosanct of artwork, in the minds of Adorno and Horkheimer, has been subjugated by mere commodity fetishism and stripped of its truly human function, a pure aesthetic value, in order to dominate them with a blindfolded consumer ideology. Undoubtedly, their critique of the culture industry is soul-crushingly pessimistic, and they have every right given the endless cycle of predictability that is offered to consumers as popular culture, but their criticisms can be construed as somewhat pretentious and even Eurocentric.[21] Despite this, Adrono and Horkheimer could be forgiven, given the manipulative power of the Nazi propaganda machine that eventuated in the barbarity that took hold of their homeland; for their concern is not culture itself, but its absorption into the technical apparatus that serves to reproduce it in ways so as to create a docility among citizens. Mass production for mass consumption.





[1] George Orwell, Nineteen Eighty-Four (New York: Penguin Books in association with Martin Secker & Warburg, 2008), 45-6.
[2] Theodor W. Adorno and Max Horkheimer Dialectic of Enlightenment, trans. John Cumming. London: Verso, 2010, 120-4.
[3] ibid., 6.
[4] ibid., 13.
[5] ibid., 27.
[6] ibid., 9.
[7] ibid., 24; Lambert Zuidervaart, "Theodor W. Adorno," Stanford Encyclopedia of Philosophy, last modified October 10, 2011, http://plato.stanford.edu/entries/adorno/.
[8] ibid., 25.
[9] ibid., 28.
[10] ibid., 29.
[11] ibid., 29-30.
[12] Martin, Ricky, “Vida,” Ricky Martin, Salaam Remi, and Elijah King, recorded 2014, One Love, One Rhythm – The 2014 FIFA World Cup Official Album, Sony Music Entertainment.
[13] Pitbull, Jennifer Lopez, Claudia Leitte, “We Are One (Ole Ola),” Armando Christian Pérez, Thomas Troelsen, Jennifer Lopez, Claudia Leitte, Daniel Murcia, Sia Furler, Lukasz Gottwald, Henry Walter and Nadir Khayat, recorded 2014, One Love, One Rhythm – The 2014 FIFA World Cup Official Album, Sony Music Entertainment.
[14] Ian Buchanan, Oxford Dictionary of Critical Theory (Oxford: Oxford University Press, 2010), 106.
[15] Adorno and Horkheimer, Dialectic of Enlightenment, 124.
[16] Carolina Moreno and Mandy Fridmann, "Sony Accused Of Fraud In FIFA World Cup SuperSong Contest," The Huffington Post, Accessed August 15, 2014, http://www.huffingtonpost.com/2014/04/23/sony-supersong-lawsuit_n_5201298.html.
[17] Adorno and Horkheimer, Dialectic of Enlightenment, 137.
[18] ibid.
[19] ibid., 124.
[20] ibid.
[21] ibid., 127-8; Even Jazz—much to the dismay of its American aficionados—is not exempt from their criticism, which may even be interpreted as a righteous insult to the African roots to which it traces its cultural origins.

———————————————————————————————————————— "... we can explore space together, both inner and outer, forever in peace." 
 —W. M. Hicks.