February 24, 2013
Response to Patrick Lee’s “Pro-life Argument from Substantive Identity”

In this essay Patrick Lee is responding to a number of critics who pointed out various mistakes in his earlier argument against abortion. Here he attempts to reassert his position, and clarify some points in his argument. His main theses are that life is inherently valuable, and it is valuable because of its being life. Human’s are biological entities, and because what makes us human begins at conception, that is also when our “value” kicks in. The same arguments one would have against murdering a full grown adult should also be relevant to killing a fetus. Though the fetus does not immediately have the capacity for complex thought and desire, it will develop these characteristics if not prevented. Lee argues that the essence of human life is not separated from its biological existence, despite what point it exists in the spectrum of life, therefor a corpse would not constitute life, but a fetus would. Responding to another critic, Lee points out that despite the fetus not having the ability to value its own life, the social act of valuing is where such value is derived, not in the subject psyche of the being in question. The fetus’ right to life is different than voting rights for instance, because rights such as “the right to life” exist regardless of an entities age. His argument primarily hinges on asserting that the fetus is the same “substantial entity” as it will always be.


Lee argues that “…between the embryonic human being and that same human being at any stage of her maturation, there is only a difference in degree”, and quantity alone can not be an important enough factor to substantively alter the essence of what is increasing along this spectrum. What Lee does not grasp is a law Hegel noted that shows quantity evolves into quality. What at first is just a simple development increasing the essence of a thing, eventually can change form so significantly that we have to begin to call it a different thing. This is something we see taking place in all life, for instance in evolution. When an entity develops to a certain point, its relationship to its surroundings and others of it kind can become so different that it can no longer even breed with others of its former kind. It is the same way with the development of a fetus: its essential nature is so radically altered by its interaction with its surroundings and other humans, we can only apply the same rules for the entity at both points by making some extreme abstractions. Of course you would have to believe in evolution to understand these kinds of scientific truths, which excludes the vast majority of pro-life proponents.


This is why Lee’s argument has to hinge on promoting the essential “substantive essence” of humans, a category that is impossible to prove in any meaningful way. With matured humans we can have an empiric understanding of how violating another human’s sovereignty negatively impacts society as a whole, whereas the case is actually quite the opposite for a fetus. Why is it that Lee’s argument does not even once mention the rights or essence of the human being carrying the fetus? Women rarely factor at all into pro-life arguments, and this more than anything indicates how concerned for human life pro-lifers actually are. Whenever I debate with a pro-lifer, I always ask: “So if a women does abort her child, should she be tried for murder?”, not only have I never received an answer to this query, but I realize quickly that they have never even thought about it. This is relevant to Lee’s argument which carries on the tradition of ignoring the women entirely, thus making the ethical question a purely abstract one relating to the cognizance of the fetus. Even if we could consider the fetus as a human, its rights have to exist in conflict to the rights of its host, and that requires a mediation between the contesting parties. As one of the contesting parties is unlikely to show up to court, but will continue engaging in the practice being disputed (I.E. occupying the woman’s body without consent), it is clear which side we should rule in favor of. This might require more nuance if the entity in question had any understanding of its existence, or any desire to continue it, but as only the woman is capable of that kind of consciousness, her feelings about her own reproduction are the only admissible evidence.

The detrimental effects of not allowing a woman control of her of body run far deeper than violating her autonomy as an individual, and even deeper than the way women as a class are controlled and dominated by such decisions; the detrimental effects on society as a whole are beyond question. Not allowing adequate access to birth control and abortion has disastrous effects on the education of women, their ability to function economically in society, and on population levels. Progressive societies with any degree of equality between women and men share certain commonalities: readily-available birth control, universal healthcare, sex education, government sponsored education, and access to abortion. The need for abortion can actually be reduced by providing women access to it now, as the children born will be born by those who are ready for it, allowing a structure and plan for the child to develop constructively, and with the adequate resources.


Lee’s argument is scientifically ignorant, shows no consideration for women, and doesn’t even consider the concrete social problems that relate to the abortion issue. No conclusive argument on the subject can completely ignore why we are having this debate in the first place. As long as these abstract superstitions continue to have weight in society, women will be controlled and punished based on their reproductive functions, and society as a whole will face dire consequences. Though Lee attempts to circumvent the built-in responses to the abortion debate that occur when one invokes religion, he proves that having such a baseless starting point will bankrupt any type of argument stemming from it.

December 9, 2011
What is communist freedom?

“Every artist, everyone who considers themselves an artist, has the right to create freely according to his ideal, independently of everything. However, we are Communists and we must not stand with folded hands and let chaos develop as it pleases.” -Lenin

In a recent TED lecture Sheena Iyengar discussed some preconceptions people have in making choices. One of the principle questions is whether more choices are necessarily better, which she believes to be be a common idea for Americans. It is interesting that Americans identified several choices when shown several varieties of soda, whereas Russians nearly across the board said there was only one choice: soda. There is a problem in terms of the framing of the question of choice, which once shifted significantly questions some seemingly common sense based ideas.

I think when we talk in general about what “freedom” means in the United States, there are some tacit assumptions about what we are referring to. Freedom is aligned with “agency”, or ones ability to decide on their actions based on their own volition without external coercion. This definition of freedom which I align with liberalism begins to fall apart nearly immediately when we scratch the surface. The choices we make are always influenced by our historical experience, our relationship to law, and what we desire or aim toward in our actions is influenced in the extreme by our cultural circumstances. There is a coded language of universal and abstract “will” behind the discourse of freedom which ignores history, circumstance, conditioning, and especially the way the discourse of freedom itself is framed. I have argued else-where about the absurdity of the “pure realm” of art—  it is imperative that we see the same to be true of freedom.

In Marcuse’s essay on liberal tolerance, he does an excellent job of explaining why “free speech” in a general sense can actually be detrimental to freedom considered socially. We are living in circumstances of hierarchical power structures to such an extent that an equal playing field would actually entail the necessity of silencing and coercing some people who have power in a given situation. The argument that racist voices should be given equal rights as voices advocating for the dismantling of racist systems must necessarily ignore the structural racism at play. The problem of framing is involved, as the two sides are seen as isolated entities rather then two forces being swept along by an already existing tide of public opinion, international domination of people of colour, a prison-industrial complex that is disproportionately filled with poc people, and brutal anti-immigration tactics.  Any idea of “freedom” that doesn’t factor in the general direction on a wider social level is going to be a severely impoverished account.

Lenin’s quote with which I opened this discussion seems to be a sort of “have-your-cake-and-eat-it-too-ism”, where the artist is able to produce with complete impunity, but also needs to consider their role and position in the class struggle. I think rather that these two sides are congruent in a way that is difficult to grasp for people (like myself) fostered in a society that is structured monadically. “Social responsibility” is an increasingly unpopular topic, and most people would defend themselves in the interest of freedom against their social responsibility, whether it be as an artist, or chemist. If we re-frame the way we look at morality on terms of issues like class, I think we get a more holistic image of social well-being that actually renders the conditions for the possibility of a meaningful freedom.

Hegel offers an interesting and provocative definition of freedom that I think it would be wise for us to consider socially. Freedom is a relationship to un-freedom, in other words, freedom itself only exists as left does to right, rather than as an abstract category of individual volition. This definition by necessity points us toward taking a wider scope in our definition of morality, and also locates it in concrete instances of oppression. What I think needs to be added to this understanding to make it complete, is an approach which seeks to account for systemic instances of non-freedom, rather than simply saying “that’s the way it is”, ascribing it to some trans-historical definition of human nature. One of Marxism’s great intellectual achievements was the realization that freedom means something extremely more complicated than “doing what one wants”, and positing that true freedom is a dialectic interplay between the desire and responsibility to the society in which it plays out. I am interested in the radical non-subject oriented perspective this brings up, which non-the-less understands that there is no objective standpoint to critique from, nor a properly speaking “social whole” that can act as an object of critique. The dialectic process is a method of illuminating social relationships and adjusting based on the interplay of various perspectives.

This idea is especially important when we talk more specifically about what the stakes are for achieving freedom, and what the role of the Communist in trying to develop them is. In Benjamin’s essay on The Role of the Artist as Producer we are given one of the best descriptions of communisms role in the arts. Rather than the focus on the individual genius, issues like class antagonism actually bar the possibilities for the creative outlet of proletarian people. When Steve Jobs died there was a strong outpour of voices defending his genius, and ability to understand and program devices people wanted. No one asked the question: How many brilliant people were never given the chance to develop their ability because they were working in a sweatshop producing these devices? The fantasy of the genius who through sheer talent and ability is able to become rich seems almost absurd when we consider the conditions of the proletarian forces who are coerced into signing statements that they won’t commit suicide or their family will face financial consequences.

Reframing freedom as a task for communists would more accurately be described as “refracting” freedom, a balancing that considers the point where it interacts, and alters its course through this interaction.
-M

November 27, 2011
Preliminary notes for a discussion of inter-subjectivity

There are a few axis points I think are important for the discussion on subjectivity, one being inter-subjectivity in the embodied Hegelian sense, against a Habermasian conception of communicative inter-subjectivity that focuses on the deeper stratum of rationality and (soft) linguistic teleology. The second is Liebnizian/Spinozian/Deleuzian subject monism versus a comparative structure. Of course there is an unavoidable ground for some degree of comparison, but the monistic account can suffer that on the instance of the subject being validated on its own standards.

It is difficult to plot the axis for this distinction before parsing out whether a Spinozian subject monism meets the anti-humanist claims which are made for it. Before really going through with a critique of this it would perhaps be important to reread some of Delueze’s work on Spinoza. However, I think there are substantial grounds in the Ethica for dismissing a radical anti-humanist interpretation. Especially looking into the affects there is an almost liberal account of subjectivity, combining Liebniz’ monad with some proto-version of the will to power, or more accurately an Epicurean relationship to activity and passivity which seeks to rationally plot life in such a way as to become most happy/active. Spinoza believes there is some space for being affected in a positive way (in “love”, and “nobility”) but generally relies on the core argument that utter self-sufficiency and control are the stabilizing factors in maintaining a happy life. This is at the heart of the Ethics, and plugs deeply into the metaphysical structure of the book, as the active subject becomes more and more godly the less it relies on others, or merely receives affects as “passions”. There is something profoundly humanistic in the account, and perhaps even hubristic despite Spinoza’s warnings against pride. Most notably perhaps in Spinoza’s disdain for humility, which he describes as degrading to the individual.


Of course this is all to be taken in terms of a more general structure which certainly dethrones the human in a way, especially when we’re given the anti-Cartesian A2 in EII, which mockingly states: “Man thinks”, and the definition of a body itself (EIId1): “By body I understand a mode that in a certain and determinate way expresses God’s essence insofar as he is considered as an extended thing.” This brings up another intresting axis of the Ethica generally, which is that the focus on “The mind” in the chapter on the affects, and its ability to overcome the passions, seems to almost reintroduce a mind/body duality, despite such radical definitions of mind as just the idea of the body (this of course opens up a whole discourse regarding parallelism which I will skip for now). There is a way in which these more general structures that seem exciting are undermined in the chapter on the affects, by rendering them almost void in the way the structural elements actually play out.


So the question of “anti-humanism” in Spinoza seems far more complicated than the charts I am constructing will allow, though the Hegelian in me wants to just stuff him the subject-based monad corner. This corner is extremely problematic in its own right, as it certainly plays a huge role in liberal idealogy/individualism (perhaps I should look at Spinoza and the Rise of Liberalism), but also seems to be making a re-emergence as a radical idea. This is the question of “pluralism”, which I am excited about, but my gut reaction is to qualify it as inter-subjective pluralism, rather than monadic, perhaps falling somewhere between my provisional designation for Spinoza and the Habermasian completely structure-based account (maybe a slightly less consciousness oriented Hegelianism). If anyone has some clarifying passages or books on this topic please send them over!

My final concern, having just finished Kompridis’ book on Habermas, is his brand of what I will call “hard inter-subjectivity”, which reacts to Habermas’ structural account to such an extent that there is the romantic stink of humanism. There is a good reason to take the other to reason perhaps, especially if were going to have an account that considers factors like environment and non-human animals (though I am generally critical of many accounts which focus too hard on these issues, and miss some of the deeper problems occurring). The useful bit that I got from Critique and Disclosure, is that idea of “receptivity” as method of being active in receiving, which beautifully disrupts the rigidity of the Spinozian active/passive grid.

I am also  interested in thinking about this in terms of Marx’ Economic and Philosophic Manuscripts of 1844, and the Hegelian account of “Substance as Subject”, which construct a really solid account of the dialectic interplay which undermines the traditional narrative of “consciousness versus nature”, but in the end are perhaps a bit too far on the consciousness side of it. Marcuse will probably be helpful in such a consideration.

The main thing I hope to work out from this discussion would be getting at the wiring behind class-consciousness, and how to think about a collective phenomenology of class struggle. I want to work around sites of common oppression in such a way that harmonizes between the collective totality and the particular, so that dialogue and structures can be built without the necessity of folding in difference. Mainly I want to explore how we can consider difference not to be a problem, but as strategic towards achieving an intersectional, broad-based, and militant party structure.
-M

November 26, 2011
Hijacking Queerness

This post is a response to an article I read on Reality Sandwich which argues for Psychedelic Studies justification as an interdisciplinary academic field due to its close relation with queer studies. However, I feel my critique is viable for any of the various abuses composed from the snatched dwarf fruit of queer theory, particularly Judith Butlers concept of gender performativity.

Performativity is important in that it is a critique of decisionism, a philosophical position that argues that authorities or aggregate “social contract” style decisions maintain legitimacy by the nature of their authority, rather than semantically in the specifics of their decree, or through empirical checks against implementation. Gender is performative in that a gender binary is a construct rather than a concrete relationship between biological sex organs and being. This claim importantly shows the context of a gender binary which punishes those who fall outside of it, not simply that a willful individual is capable of shattering this entire context through their actions.

The petitio principii committed in discussion of “performativity” in post-modern discourse lends itself consistently to this misapplication. A queer or performative turn is not some Yakov Smirnoff joke which simply inverts what we take for granted. There is still a grounding in reality, or what Heidegger calls a disclosure of a world. Kompridis splits disclosure into a pre-reflective and reflective disclosure, the latter being aligned with performativity to some degree, in that it reinterprets and alters a pre-reflective or “given-ness” of belonging to a specific historical period. The importance of the context one is altering through their action is not simply an important factor, it is a factor that renders the discourse intelligible at all. “Becoming” as the Heraclitian condition of being is insolubly linked to what it overcomes, it is conditioned and not determined by its historical being.

The solipsistic argument for performativity argued for time and time again by those unable to rectify their position without reverting to such sad lengths leaves a gap as wide as the discourse of “reason” in modernity: namely in ignoring that reason itself is a historically developed and contingent element. Without an account of historical activity and its current existence as a historic context/totality, we leave room for real disaster in denying people the right to organize around experiences of violence that align along lines of gender, or race. This is not an “essentialist” claim, it is one that locates sites of violence and reacts to them through inter-subjective and embodied resistance. The misuse of performativity could also be critiqued as a form of liberalism that results from what Habermas calls “dramaturgical action”, an action which communicates an element of the subject performing rather than between acting agents.

Also the extreme reliance on the word “essentialism” has become the easiest indication that someone is trying to misuse queer theory for something nefarious.
-H

July 13, 2011
Submit to Facebook or starve to death

Midatlantic Editon, Spring 2011: “Think of yourself as a “product.” Just like a certain brand of toothpaste of automobile offers attractive features to various consumers, you offer particular attributes that would be beneficial to certain companies or corporations. The key is to make sure that hiring managers know that you’re out there.”

Marx’s unveiling of labour power itself as a commodity is perhaps one of the most important things to grasp from a study of his thought. At the heart of profit is labour, at the heart of labour is self. A self is is primarily defined by action, rather than in an abstract distinction from movement and will. When the majority of action takes place under the coercive construction of the wage system, a large portion of actions are done for another, a large part of action becomes insignificant to the development of the self. What happens when one is hired, is that person’s labour power is purchased, meaning it no longer belongs to the labourer. There is a philosophical problem in this kind of exploitation, which grows more complex and dangerous as capitalism advances.

“Look into sites such as Facebook and LinkedIn that allow you to connect with individuals and to join “groups” that can help you get in touch with like-minded people who all bring their own set of contacts to the table. Best of all, they don’t cost you a thing to join.”

By a thing, they of course mean financially, but the real costs of such self-inflicted degradation are far more severe. Beyond ones labour power becoming a commodity, this article argues for a subject-totality as an abstract commodity, where self-hood is more properly defined by not simply what one does, but by its relativity to its virtual abstraction. Magritte’s trope has truth beyond representation in art, your photo is not you, nor is your abstract internet profile; it is decidedly something other. But what occurs when one surrenders themselves to an image of themselves is a portioning, both with the time one spends maintaining online being, and within the way one understands and interacts socially at all.

“Remember that looking for employment should be treated like a full-time job.”

This sentence should be treated as a warning, especially following sentences like “As many as 80-85% of all jobs at any given time are never advertised”, the feeling you are meant to be left with is the failure to assign yourself a virtual representative can very possibly lead to poverty and even death. Attachment of your virtual person to the commodity circuit is the logical extension of the already inherent market logic of Facebook, one that reduces the depth and beauty of subjectivity to a 2D abstraction, a virtual doppelgänger. The absolute blending of the subject and the market was never possible until this extraction, until the concrete and finite self could be wholly dispensed with save for its labour power. This is the most complete version of alienation to have threatened subjectivity. The magazines wording is choice “The key is to make sure hiring-managers know you’re out there”, the implication being that without Facebook, you are not out there, you don’t even exist in a significant way: not enough to obtain a way to eat and house yourself. Beyond replacing the way we socialize, Facebook now threatens the way we keep our concrete bodies from pre-mature decay.

We have fed the doubles until they have grown bigger than us, now we need them to feed us. 

-M 

June 24, 2011
Pathologically Defiant: Passion-As-Flux: Existential Marxism

ardentseekr:

The production of ideas, of conceptions, of consciousness, is at first directly interwoven with the material activity and the material intercourse of men, the language of real life. Conceiving, thinking, the mental intercourse of men, appear at this stage as the direct efflux…

“The production is at -first- directly interwoven with the material activity and the material intercourse of men…”  “efflux” here is used here to describe the mental realm as something like steam, the mental being a product of a set of  material conditions. The “real active men” and their existential thoughts are “conditioned by a definite development of their productive forces and of the intercourse corresponding to these, up to its furthest forms.”

This is not the existential position, this is a response to it. Marx is calling for recognizing the historical/political conditions of the possibility of thought, and complicating the existential line that consciousness is primary. Consciousness rather exists in dialectic relation to law, history, extension, etc.

Marx’ thought is not existentialist, unless you really stretch the definition. Substance-as-subject is an immanent non-ontological idea of materialism (which we can source from Spinoza, though less crudely in Hegel). The nature of experience and substance-subject being the center (as it is an anthropological status) should not be confused for the solipsistic center of the individual consciousness championed by existentialism. There is a real danger in such a misinterpretation, a great example is when Simone De Beauvoir argued against Simone Weil that the most important question was of existence, whereas Weil felt it was more important to feed hungry people. Substance-subject comes from notion that develops as we close the gap between an observing consciousness and a thing-in-itself, where this substance becomes conscious of itself: for Marx in the proletarian revolutionary consciousness.

The ding an sich isn’t separate, nor is it identical to a conscious receiver, but rather as either “side” shifts, both will; this is a labour process (both revolutionary and general production). The relationship of material existence and consciousness complete one another in a constantly shifting dialectic oscillation. One might say that consciousness extends beyond the individual, as the material world, but more accurately put: individual consciousness is the extension of substance-consciousnesses: The material world.

-M 

(via defiantlyours-deactivated201304)

May 26, 2011
Preliminary thoughts on Żuławski’s “Trzecia część nocy” (Third Part of the Night)

[I haven’t done even half of what I would like to with looking at this film: it is as brilliant as it is cryptic. I thought I would post the base I am going to work from for a more complete view firstly to get feedback, and secondly that there would be something on the internet that doesn’t leave their critique at “it is about loss” or “it is about heart-ache”, which seems to be as far as the 5 or 6 other reviews I read got. ]


“I’m not sure whether there is insurance against diseases”

The third term is the negative mediating agent, the synthesizing moment of objecthood, but not followed through greed but liberation; from lack of option. The determinacy of real action swallowed in the mediation abyss of disease; replacing the possibility of significant action, or life at all. The film opens with a revelation quote foreshadowing the elimination of possibility, the apocalypse. The four angels in the quote foreshadow the four horsemen, the harbingers of the apocalypse; both the four Nazi soldiers who murder the Michal’s wife and son, and those dramatically shot at the very end of the film. The revolutionary partisan leader Michal joins up with sees it clearly when he says, “We’re sinking into a world where all things have become alike, activity and non-activity; cruelty and indifference.” – the world of total objecthood, but rather than a movement through alienation, the alienation is total, inescapable, indeterminate. Later Marian, Michal’s connection to the lab that breeds the disease, gives another hint saying: “It’s time we talked with god, some appeal, some waves, for if all of this means nothing, or only history, only a medieval darkness…” Marian recognizes the real threat of this barbarism, the ideology taking a physical form in the disease, and thus giving us an angle generally missed in approaches to understand the horrors of fascism: the philosophical angle. “It means nothing…  the time that is to come will be a time of despair.”

In Hegelian dialectic determinate negation indicates a historical motion where “evil” and transgression of norms have positive aspects, and help to advance history despite that the method employed might be less than ideal. A concrete example could be a revolutionary struggle, or the tragedy surrounding Antigone in Sophocles. Indeterminate negation is when violence and cruelty have no purpose, and advance nothing; an example of this might be modern apartheid situations. “Pity, kindness, and faith cease to exist when blood has been infected” only cruelty remains. The dialectic movement at the heart of Marxist analysis in its corroded Stalinist form (through the example of the Nazi occupation of Poland in the film), and becomes a term of indeterminacy; a motion that drags reality into a diamatic ditch. The heart of motion becomes dogma, and the very thought meant to advance temporally and economically becomes the stagnant cesspool of cruelty. The part-to-whole logic of the ontological scheme of indeterminate negation is grandly effective in this approach, the disease that effects the individual has sweeping social implications. The metabolic relationship of reproduction in a contradiction as an epidemic, which neither resolves nor continues with redefined barriers: the community in parallax.

When Michal returns home he releases all the objects collected in his home constitute his being. The art narrative kept through fire famines and war, the bourgeoisie. Michal’s father is a biological essentialist… Women are determined to bear children at all costs, Michal has his mother’s features, and we observe it in the art object. He wants him to play with him, to escape everything into the timeless games and artwork. He is also obsessed with blood, bloodlines…

“You want to talk to god on equal terms, it’s impossible. You should only ask him silent questions.”

Mistaken identity saves Michal’s life in the beginning, but confusion relating to identity likewise will destroy him by the end. Identity ellipses in the mistake, but what of when this type of ‘mistake’ becomes permanent? The typhus testing is a facade masking and mirroring the real disease, which creates the double. Michal is replaced; the fever is a symptom of alienation. The lice are the physical parasites that help instate the ontological parasite, the clone. The bodies he sees at the end aren’t symbolic devises on the part of the filmmaker, they are real corpses developed through experimentation with a disease designed for mass extermination. The subjects are tricked into helping develop it. The replacement is an indeterminate negation, a subject-void designed to eradicate a population and replace it with object versions of themselves: versions “with no self-preservation instinct”: the death-drive. It is a government extermination program, the same one we see in his later film Possession: but here in its genesis we are given the close to the political origin of the disease. The notable difference between the two films is that lack of the monstrous middle stage.

 The disease in this film has a personal aspect not unlike in Possession, Michal experiences attachment to the double of his wife who he doesn’t have access too.
The likeness of Marta and Helena is uncanny of course (as the two women are played by the same actress), Michal explains to Marta: “When I’m looking at you, I feel I’ve got another chance to experience what I’ve already experienced in a wrong way.” And when the feverish image of Helena approaches while he is in bed with Marta: “You mustn’t come here, I don’t want to see how your both alike. Everything happens in the same places and with the same words…” to which his Helena’s apparition responds “No, words are always new.” The relationship isn’t repeating directly, as the experience with his first wife is still in his memory, qualifying it. “I’ve been finding you again” Michal says, and Helena responds “Yes, in other people who aren’t us. “. The personal quality helps to draw up the problems of systemically confused cultural production, besides that it leads simply to death.

The structure of the film as interlaced with flashbacks, complicated by the current and remembered relationship to the two women. The film intentionally distorts the viewers perception, to confuse and complicate the narrative, and mirror Michal’s confusion between the Marta and Helena. There is a complicated sub-narrative relating to the sin of adultery, and further the relationship between how an adulterous relationship is navigated with an alternate version of oneself— the difference between Michal’s first act of adultery with Helena, and then against a version of himself? Do Marta and Helena actually look the same, or does the alienated subject project viciously grasping at a semblance of his former life where none is to be found, as with Helena’s first husband and the women at the diner? Doubles, projection, mimesis as relationship functions.

The movie concludes with the shadowy figures of the four horseman of the apocalypse, a sign that the end of the world is at hand as the disease grows out of control.  The government is trying to keep it in control by killing those who are fully infected, thus why they come and kill Michal’s family, and why they were after Helena’s husband even before they mistake him for Michal. Their ideological position, fascism or Stalin’s diamat, become the third part, the third term, the arrest of the dialectic process that freezes it into static and visceral cruelty.


“Lord, don’t leave us that we may not be lost in your wrath”.
-M

May 15, 2011
Three pieces on Vladimir Nabokov 3/3: Pale Fire

[This piece has not been edited, it was the final paper I wrote for a class I audited on Nabokov at the art school I work at. The teacher really liked me, despite that I sort of invaded the class without going through the official auditing channels, and confronted all of his bourgeois students with a healthy dose of Marxism. He even offered to write me a recommendation if I ever decided to go to school.]


                     Reality – Theater – Art
I have found it helpful to divide the conceptual spaces around a work of art into three parts. The first is reality in all its mundane drudgery, and then there is art on another side, the ego-image world creation. To work toward the art as an outside we have the reading/consuming act, and those working toward us from the work of art have theatre. Considering “Pale Fire” is a pecuilar task, and I explored several angles before opting on one. Here are some of the ideas I toyed with:
Idea 1: Was to turn in the entirety of the original text with the gross amount of marginal notation I added, but perhaps the novelty of this would be simpler in lending it to a friend, as I imagine 200 pages exceeds our 5 page limitation. The same problem occurs in Idea 1a: Which was chopping the text to bits and rearranging it more appropriately to my approach (not unlike Nabokov himself when giving a lecture on Don Quixote wherein he stood in front of a horrified audience ripping the text apart).
Idea 2: The second possibility was to read the text backwards and give an alternate notation exactly counterbalancing Kinbote’s with the intent of reviving poor John Shade at the end (a reverse bouncing off the window pane, little Bombycilla Shadei). However I think the vulgarity of this approach is only superseded by the method I ultimately decided on. I simply gave up trying to approach it any other way, as I would repetitively incorporate myself into the text however I tried: the story simply grows bigger if anything is said about it, like a snowball rolling down a hill.
Idea 3: An alternate poem on note cards incorporating and synthesizing the two ends into a concise unified whole. This did hold some promise, but unfortunately despite being an aspiring poet, a 999 line epic in 3 weeks would be out of my capabilities (though I’ll note the time table would correlate exactly to Mr. Shades poem!).
Idea 4: An idea I think you really would have appreciated. I thought I would do a series of note-cards, with different colours and there would be a sort of “key” system… well I suppose the genius of it is really lost unless I go in depth. Unlike Kinbote’s young nymph guide I wanted to avoid the messy realm of theater with sound reason, and precise charting. The note cards were to be a ladder into the text, acting more like reverse reading than theatre, going from inside the work toward you. This way we can keep our footing, move in and out, and not get lost and muddy in its winding caverns. You could keep these “key” cards on the side of the actual review, so that you could avoid flipping all around like a dizzy dog on two legs.
Idea 5: Eventually I decided on a mostly linear layout following the model of idea 4 without the cards. I decided for the sake of space to stick with considering just line 130, which occupies an important and curious space in the novel. You can probably rip out the page with the keys and put it on the side if you don’t mind wasting the staple.


Tiers of immersion
A). The A tier represents the concrete, the real (whatever avoids falling into the text, the reader’s footing outside) this includes our (mostly) direct conversations, and these very notes concerning the keys (maybe…) I also use brackets to locate this tier in places where a key won’t quite fit.
B). The B tier (or the “dialectic” tier) is that of the keys themselves, the maxims and charts necessary to approach the text without getting lost and submerged. These are our anchor into tier one; the ladder up in case it all starts slipping away.
C). The C tier is that of the criticism text totality: the hybridization, the alternation, the notation, and the passages in which to insert the keys. Unfortunately there is no time or space to explore the whole text (see the problem in Idea 3). Due to spatial issues there are points we will have to refer to the text itself by citing the line, though I warn you that it is rather a tricky place to go without the proper footing.

The Keys:
Key 1: The mirror key. This helps illuminate moments of symmetry between the two sides of the text, which are exactly identical in form-content, but not form or content (see line 26). Also a helpful quote: “Highly organized music must too be heard multidimensionally, forward and backward at the same time”. - Adorno
Key 2: The ghost key! The main thing to keep in mind is they are more afraid of us then we are of them, and as they aren’t real but are internal to the fiction, this card is to remind you of the way out, back to tier A (don’t get dragged away!). [Ghosts are mostly an externalized fear that someone has, so there is sort of a grey area between key 1 and 3.] This key is also for noting the texts peculiar, or perhaps planned, method of creating disturbing similarities between all the characters.
Key 3: The meta-key. This is to keep in mind the thesis: {Tier A} <—> {Keys} <—>{text}, or, {reality} <—> {Theater/reading act} <—> {Art}


The Text

Line 130: The prominence of the 3’s and 13’s is an almost mocking numeric pattern I keep coming across. To start with in the notes to line 1-4 we have the three heraldic animals, the faun, the reindeer, and the merman. Naturally I thought: Otar, Oleg, and Odon, especially as Oleg is referred to as a faun, and Odon acts in a play called The Merman (“…a fine old melodrama which has not been performed, he said, for at least three decades). This of course defaults Otar as the reindeer (though I couldn’t locate a reference in the text to staple this in). Both Canto 1 and 4 are said to have been written on 13 cards, notably they are the first and last canto [key 1]. Likewise in this note there are 3 custodians, “three custodians and as many as four”; putting it this way I think was intentional to set the number into the reader’s mind as they approach the rest of the note. The number 3 is perhaps significant in the mock fairy-tale aspect line 130 presents (“Thither the prince betook himself”). Let’s not forget Thurgus the Third, who died in 1900, thus beginning his son’s reign in the same year (when divided by 3 this number becomes 63.33 repeating.) On page 80 (how I would like to believe that in the original draft the page numbers correlated at well! [key 3] ) Kinbote directs us back to “…a certain afternoon in May three decades earlier when he was a dark strong lad of thirteen…” (emphasis mine). Once again the number crops up in the number of shelves barring the way to the secret passage. Following the fairy tale theme, we can imagine that the number in representing the fairy-tale (art realm) serves as a grounding in it, sort of a mirror-reversal of our keys [key 1 and 3]. Kinbote follows this with some playful math regarding the contents of the shelves: “a thirty-twomo edition of Timon of Athens translated into Zemblan by his uncle Conmal, the Queen’s brother; a seaside situla (toy pail); a sixty-five carat blue diamond…” now, perhaps I am simply aloof, but the addition of the “mo” onto the thirty-two seems to represent a half, making it 65 when doubled. I think this is only significant in holding together the theme of numeric divisibility… Another important correlation is that the “ascending grade” of the pedometer reaches 1,888 yards at the end of the secret tunnel, the very spot where Iris Acht would meet with Kinbote’s grandfather during their affair. This very same Iris died in the year 1888…coincidence? Perhaps, but more likely an intentional and clever textual interplay [key 1]. Interestingly when we divide 1888 we get 629.33 repeating, so the infinite 3’s come from a division by the fairy tale number in the death of both Kinbote’s grandfather Thurgus, and his mistress Iris. This is all spelled out for us in the moment of the tunnel out of the fairy tale, a poignant reference to an idea Nabokov obsessed over: that the realm of art is an infinite one. These fairy tale castles stand completely the test of time, unlike the real world with it’s Graduses and revolutionary Russians.

We can see another moment of the pattern in Oleg’s death at 15 (a division of 3) in a toboggan accident. Kinbote practices getting in an out of the closet and notes that he can complete the whole operation in 90 seconds (I needn’t continue noting the relational aspect of the numbers). 90 also happens to be the age noted in the index of Iris Acht’s killer, a member of The Shadows. During Kinbote’s escape through the secret passage, he counts the invisible (divisible more like!) eighteen steps, where he sees a 30-year-old imprint of Oleg’s shoe, “as the tracks of an Egyptian child’s tame gazelle made thirty centuries ago…”(See line 26 [key 1]) (pg. 87). And of course, this is all on the notes to line 130. Outside of this line we have the fact that John Shade marries Sybil Shade exactly 3 decades before Charles marries Desa [key 2].
One may say I am only finding these numbers because I am looking, but if we consider that the notes to line 120-121 concern a moot mathematic point involving division, I think it is not too grand a stretch. Immediately following that note is the one we’ve considered, and the sheer volume of synchronicities I think further attests to my not simply imagining the correlations. In either case as Adorno said of Hegel “the process of understanding is a progressive self-correcting of projections through comparison with the text”: wise-words for Kinbote and myself. I think the explanation for these synchronicities, other than the one offered regarding the fairy-tale connection, is to create the threshold space between the two worlds in the commentary to line 130. The secret passage occupies a middle ground between the moment when Kinbote occupied the space of art, and his being forced into reality. This can also partially explain Kinbote’s obsession with looking into the glass-house world of Shade’s art as an attempt to recapture his nostalgic storybook past, a fairy-tale infinity. The references to mirrors, reflections, acting, windows, and keys make this a dense and intricately crafted part of the story; I’m certain I haven’t gotten completely to the bottom of all the connections. Kinbote’s “detailed recollection whose structure and maculation have taken some time to describe in this note” is likely the culprit for subconsciously inserting the mathematic acrobatics, which is why I feel we can decipher a great deal about the rest of the text in careful study of this section. Describing the memory further Kinbote says: “Certain creatures of the past, and this was one of them, may lie dormant for 30 years as this one had, while their natural habitat undergoes calamitous alterations”. The memory holds the nexus of that past moment, complete with what the mind adds and subtracts, the actual physical space changed during the 30 year period between Kinbote’s two visits, but in constructing the note he managed to arrange a ladder that connects back to the rooms and shadows he once knew[key 2].


-Nabokov, Vladimir Pale Fire New York, NY Berkley Books, 1962
-Adorno, Theodor Hegel: Three Studies translated by Shierry Nicholsen. Cambridge, MA MIT Press, 1924

-M

May 11, 2011
Existentialism, Objectivism, and their unintelligibility.

De Beauvoir

[Rough draft, I am sorry I used two men to critique two women, it was an accident. Need to flesh out relationship between existentialism and objectivism more specifically.]


 One specifically infamous concept that comes from misreading Hegel’s Phenomenology of Spirit is that it concludes with the end of all history, where the dialectic consciousness’ movement through time halts in the positive circular infinity of absolute knowing. Fukayama concretely likens this to the Japanese tea ceremony, an endless movement divorced from change and contingency. This sort of deterministic reading is central to many critics of both Marx and Hegel, and thusly the source of much great error and comedy. Marx’s shift from his young and Humanist conceptions to economic matters wasn’t also a shift toward economic determinacy, as Hegel’s meta-structure of consciousness developing as the general Notion doesn’t likewise demand a determinate adherence or coercion. Part of the genius of Gramsci’s understanding of Marxism is that he was able to grasp this aspect of Marxist thought, despite not having access to the materials where Marx and Engel’s lay this out explicitly. Some have interpreted this as a reinvention, or modernizing of Marx’s theory, but I will argue that it was not Marx’s intention to display any sort of historical determinacy, but rather a shifting, and contingent structure at both the base and super-structure of historic blocks, a position that avoids both vulgar humanism and determinacy.

Engel’s letters on Dialectic Materialism detail explicitly his contempt of those whose reading of Marx are akin to when “…Descartes declares animals to be machines…” and that he is “…sorry for the man who can write such a thing.” He notes after this the origin of the famously abused quote from Marx that he himself is not a Marxist. Marx said this in response to the French “Marxists” of the seventies who relied heavily on explaining everything by the material conditions and economic structure. Perhaps however the height of folly from the deterministic reading of Marxism comes later in Simone De Beauvoir’s introduction to her book “The Ethics of Ambiguity”, which draws the worst mistakes of Marx’s reading of Hegel together with history’s worst reading of Marx.

[She notes: “For in Hegel the surpassed terms are preserved only as abstract moments, whereas we consider that existence still remains a negativity in the positive affirmation of itself”; one must have skimmed Hegel’s chapters on Antigone to miss that he makes that exact point regarding existence. De Beauvoir does however seem to understand Hegel’s assertion that both individual and collective must be equally important, but goes on to establish the existentialist party-line: that this isn’t good enough, and primacy must be wholly located in the self. The existentialist position eliminates the possibility of anything outside itself, becoming inbred in the twisted maze of perpetual self-reflection. “All positions are positions of negation”, the terms set for existentialist knowledge can only be self-set terms, and therefor can only acknowledge a type of relativism.  “In Marxism,” she proclaims, “if it is true that the goal and the meaning of action are defined by human wills, these wills do not appear free. They are the reflection of the objective conditions by which the situation of the class or the people under consideration is defined”. Her assertion is that despite the emphasis in Marxism on revolutionary potential, and its contingent possibility (which she also mistakenly asserts as an “individual act”), the fact that this action is rooted in a historical and economic framework reduces it to determinacy. Assuming that being grounded in a circumstance is equivalent to a mere reflection of them asserted onto a “passive” subject is nowhere to be found in Marx (or reality). The oscillating and contingent position of the proletarian revolutionary subject is not completely ground-able any more than is its base or super-structure. The proletariat isn’t a mere “idea” divorced from its flesh and blood; it is the real people who are exploited, and notably exploited by abstractions. The simple dismissal of the idea by calling it an abstraction (besides being far from the case) is actual a rather uncreative dodge to avoid analysing the content of whats being argued against by ontologizing its form with a projection.


Marx understood the ideological position of capitalism as one that reifies abstractions as demands on the working class. The idea of surplus value itself (at the heart of Marx’s critique of capitalism) is ideological and abstract; it only becomes concrete in the practice of the exploitation of real labor. The dual point of this argument is firstly that far from being a vulgar materialist, Marx understood how important ideological abstractions can be, and secondly that despite this they must come to act upon actual individual lives. When we look at those who experience this particular kind of exploitation, we have the proletariat; this is a definition and can’t be critiqued in the De Beauvoir offers any more than can the definition of “daughter”, or “fire-fighter”. If someone else makes profit based on the labour they produce, they are the proletariat. The idea that this entire class must be immediately conscious of their situation is a bourgeoisie absurdity. A part of understanding a class, without leveling it into a homogenous organism, is to recognize that within it there are individuals with different goals and orientations. Some of these goals might actually be personally gratifying at the expense of others in a similar position. Far from reducing the proletariat to an idea as De Beauvoir claims, this understanding recognizes the part to whole is a dynamic, while emphasizing that as dynamic totality the working class has the potential for contingency and power. Only an ideology festering with individual supremacy could assume that a collective has to be completely homogenous to work toward a goal together.

Like Hegel’s “Beautiful soul”, De Beauvoir thinks that any content “contains the blemish of determinateness from which pure knowing can disdainfully reject, or equally can accept. Every content, because it is determinate, stands on the same level as any other, even if it does seem to be characterized by the elimination in it of the element of particularity”. [Emphasis Hegel’s!] If we are speaking against these totalizing determinisms De Beauvoir is worried about, we might very well discuss ideologies like her’s that say all content necessarily eliminates all particularity. Without factoring in history or social positions, the particular cases simply don’t exist. This, however, doesn’t condemn them to being mere examples of those factors: those factors condition and provide content for a real, contingent, and free willed individual. How De Beauvoir got through this chapter in Hegel on morality without noticing the moments that explicitly address the flaw in her logic is staggering. Instead of responding to the arguments located there, or actually in Marx, she simply attacks both Marx and Hegel in terms of general abstractions she constructs from her personal opinions, without even quoting them or specifying which Marxists she is talking about.

De Beauvoir’s critique begins by noting: “Like all radical humanism, Marxism rejects the idea of an inhuman objectivity and locates itself in the tradition of Kant and Hegel…only the will of men decides…” The conflations here are so dense they are difficult to parse through, but to begin with “radical humanism” is a label I think few Marxists would agree well characterizes them. Also putting Kant and Hegel in the same camp carries almost as much problems as placing Marxism in their trajectory in such a wholesale manner. Where Marx took from Hegel, he was incredibly critical of him. Marxist’s like Althusser even assert that the Hegelian portions of Marx could be completely dispensed with without hurting the idea (though I will note I disagree with this assertion). Finally to make this abrupt severance between human objectivity and an external objectivity is a gross reduction. The Marxist project is centrally concerned with human’s relation to the material: what someone who couldn’t get around the distinction would call “objects”. The proletariat only develops as a subject because it works with and through material. This idea comes from Hegel’s master and slave dialectic, and is the grounds from which Marxism interpreted that we understand subjectivity as always related to the real, external, and physical world, which shapes and is shaped by the human subject (thus the materialism part of dialectic materialism). The moving dialectic isn’t a simplistic collective agent rolling above reality: the main point of Marx’s critique of Hegel was (unjustly) that Hegel made exactly this mistake. The part is necessary to a whole, the subject necessary to the object: without both there can be neither.

De Beauvoir continues: “In the present moment of the development of capitalism, the proletariat can not help wanting its elimination as a class. Subjectivity is re-absorbed into the objectivity of the given world”; now, it seems this is a direct contradiction of her version of Marxism she critiqued earlier as one that “rejects the idea of an inhuman objectivity”… De Beauvoir cannot grasp that perhaps the division between those two elements in the first place has some issues, or that it needn’t always be one extreme or the other (If I, as a downright fanatic, am saying this there really must be an issue). Most of her argument hinges on having set Marxism up as nearly equivalent to determinism, and then of course she can enjoy kicking over this crude castle of sand she’s built and written “Marxism!” on.

In the next paragraph De Beauvoir continues to make a straw man absurdity of the Marxist position by claiming that to the Marxist “…this movement [the revolution] appears so essential […] that if an intellectual or a bourgeois also claims to want revolution, they distrust him.” I am unsure where you could reasonably (or possibly) source the idea that Marxists don’t trust intellectuals (my critique would actually be the exact opposite…). Besides, a great number of bourgeois became class traitors, not to mention the fact that that before Marxism there is a long history of bourgeoisie figures who recognized class oppression (Owen, Rousseau, Comte…). Few Marxists would say the bourgeoisie are determined by their class to be totally beyond sympathizing and aiding the struggle of the proletariat, though I think there was a certain wisdom in the Russian muzhik’s distrust of the sympathetic members of the bourgeois. It is not a determination but a propensity for those in power to serve their own interest; if there is some evidence in Marxist thought to the contrary of this it is certainly not actually presented by De Beauvoir.

Rand
The extreme but logical conclusion of the existentialist position is the Objectivist position (in the Randian sense). Hegel describes the Beautiful Soul: “Conscience is free from any content whatever; it absolves itself from any specific duty which is supposed to have the validity of law. In the strength of its own self-assurance it possesses the majesty of absolute autarky, to bind and to loose”. The division in this chapter of the Phenomenology of Spirit is on Morality in Spirit, which subdivides into the Beautiful Soul, and then once again into “The Moral Genius”, a character that leaves the world it sees as evil or lazy to form a kind of cult. Ironically, this is where we can locate more specifically where Miss Rand falls into Hegel’s scheme. Rand would be alarmed and furious to know that Hegel deals with her ideas in the same exact attack that could be directed toward the full-time members of the rainbow family (or any modern hippy separatists). Rand’s idea that all the successful and hard working people should separate from the evils of collective society and form their own community is a very curious proposition for a militant individualist. We can use here the reverse of one of De Beauvoir’s arguments: “It appears evident to us that in order to adhere to Marxism, to enroll in a party, and in one rather than another, to be actively attached to it, even a Marxist needs a decision whose source is only in himself.”[emphasis mine]. I am very curious how Miss De Beauvoir would suppose someone could join such a group if the group didn’t exist to join, and if there were no social pressure or value derived from joining one. The fact is that people often gravitate to and choose Marxism for themselves because it corresponds to their interest as part of a class: both part and whole are necessary. Here she falls into the trap that a number of the characters in Hegel’s Phenomenology of Spirit fall into: not recognizing that exact opposites have a deep connection, and can often be approached with the same string of logic (continuing with her straw man approach she seems to characterize Marxists here as arguing blatantly against “freedom”: a pathetic trick akin to when conservative news brilliantly deduces that “terrorists” attack us because they “Hate our freedom”).

This all connects again to Miss Rand who doesn’t see that her community of radical individuals is just what she says it is: a community. It is hardly a stretch to see how Rand’s ideas are similar to those described by Hegel’s Moral Genius, who “knows the inner voice of what it immediately knows to be a divine voice; and since, in knowing this, it has an equally immediate knowledge of existence, it is the divine creative power which in its Notion possesses the spontaneity of life. Equally, it is in its own self divine worship, for its action is the contemplation of its own divinity.” Let’s compare this with a line from Rand’s Anthem: “And now I see the face of god, and I raise this god over the earth, this god whom men have sought since men came into being, this god who will grant them joy and peace and pride. This god, this one word: I”. “I” of course does and doesn’t refer to Rand herself; it is the universal “I”, the leveling reduction of the wealth of humyn life into an abstract category. Hegel explains: “This solitary divine worship is at the same time essentially the divine worship of a community, and the pure inner knowing and perceiving of itself advances to the moment of consciousness. The contemplation of itself is its objective existence and this objective element is the declaration of its knowing and willing as something universal.”[believe it or not the emphasis is Hegel’s again]. The objective-subjective split is erased in this “moral” form of consciousness; the self-validation is immediately the content of morality itself. Far from saying it must act a certain way though it is wrong to do so, or that it acts from cowardice, this form of consciousness thinks selfishness is virtue (See Rand’s book The Virtue of Selfishness). I think people are mistaken in approaching Rand’s philosophy as simply espousing the Hobbesian dog-eat-dog capitalist world: it is an explicitly moral format, even dogmatically so. Calling the “content” of individual thought “Objective” is to say that it immediately takes its own position to be the truth, closing the gap between part and whole, subject and object. As we will see, however, this immediacy and dogmatic self-orientation quickly falls apart.


Referring to the attempted isolation of the Moral Genius, Hegel explains: “It lives in dread of besmirching the splendor of its inner being by action and an existence; and in order to preserve the purity of its heart, it flees from contact with the actual world, and persists in its self-willed impotence to renounce its self which is reduced to the extreme of ultimate abstraction, and to give itself a substantial existence, or to transform its thought into being and put its trust in the absolute difference [between thought and being]. The hollow object which it has produced for itself now fills it, therefore, with a sense of emptiness”. Hegel even describes it further, saying, “its light dies away within it”, which is a cute coincidence if we consider that the individualist hero of Rand’s Anthem asserts his power in re-inventing the light bulb. Like De Beauvoir, the abstract and empty Universalist conception of subjectivity will be forced into recognition of the bored, contentless position it occupies: whether at an individual level, such as when this happens to Nietzsche’s Zarathustra, or collectively in the isolated community of those who think they have the right idea compared to society with all its evils (it might be a bit of a stretch but I want to at least bring up Trotsky’s critique of one state socialism as a social mode doomed to failure). The individual is a necessary moment of the collective, and the fall into championing either side is not only dangerous, but in many ways nearly the same position: the two sides are dialectically related. On a less complex level, it is not a stretch to say the individualist rhetoric and the people that espouse it bear a remarkable similarity (usually white, and male…), leading them to act like what I call “Randroids”.

Marx and Engel’s project was to recognize the intensive pull of and conditioning by material conditions, without assuming they are totalizing: a point Gramsci does more justice to in his more in depth analysis of the relationship between base (material) and super-structure (ideology). If the ideological forces can contingently shift in positive directions, oppressive power can condition these possibilities, but not totally defeat them with simple brutality. We can see many situations like this throughout history, and power has certainly learned from these situations. If the United States felt like it could simple bash its subjects into submission it would do so, as it does in the third world countries where it can get away with it. But here, and increasingly in other places in the world, it relies on a notion of power which is less force-oriented, and more directed ideologically. This is a dangerous turn for the people, but also for theory as many post-modernist thinkers misread this as a complete erasure of central power. Marxism is valuable for me because it can offer an incredible critique of either side without falling into the binary logic. It can consider the relationship between ideology and economics, and should (as Marx himself did) recognize that our economic situation is ideological, and vice versa. Arguments that reduce all understanding of history and society to a type of coercive imposition on a subject are equally as short sighted as those which say any type of collective project is authoritarian; and both are equally unintelligible. The issues of the Moral Genius in Hegel do eventually develop into a new form: the “ acting consciousness”, an updated version of Hegel’s Antigone. The possibility of the rest of the Phenomenology comes from acting-consciousness confessing to judging-consciousness—a new version of Creone’s collective social expectations and laws. I personally see little hope for the Objectivist reaching the point of the confession, and have trouble with Hegel’s limiting of legislative transgression to the individual act. Instead I would offer the solution of a collective that acts in transgression for the sake of creating a new social universal. The perpetual transgressive mode Hegel details must be true for the collective revolutionary subject as well, even after we consider that a collective has an internal part to whole logic. This continual dialectic reconstitution of social norms and economic structures is the real aim of the proletariat, a party that seeks fluidity, and contradicts the misreading of Marxism as deterministic. I suppose for myself, the last section of the chapter of Spirit would have been more rightfully titled “Class War”, though I guess that was Marx’s thought as well.


-Hegel, G.W.F Phenomenology of Spirit, New York, NY Oxford University Press,1977
-De Beauvoir, Simon The Ethics of Ambiguity New York, NY Citadel Press, 1948 
-Engels, Friedrich ”Letters on Dialectic Materialism”
Marx & Engels Basic Writings on Politics and Philosophy Ed. Lewis Feuer, New York, NY Doubleday Publishing, 1959
-Rand, Ayn. Anthem. London: Cassell, 1946

-M

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