On this episode, commentary on:
(1) "The negative-sum internet" (Weekly Worker)
Paul Demarty reviews: Angela Nagle, Kill all normies: the online culture wars from Tumblr and 4chan to the alt-right and Trump (Zero Books, 2017)
https://weeklyworker.co.uk/worker/1176/the-negative-sum-internet/
(2) Platypus Berkeley panel: "Antifascism in the Age of Trump"
Description: Since the Nazi seizure of power eighty years ago, anti-fascism has been a component of left-wing politics. In response to the Trump presidency, the politics of anti-fascism, reminiscent of the Popular Front of the 1930s or the Black Bloc politics of the 1990s, have—once again—been resurrected by the Left. How is anti-fascism the same or different today? Why anti-fascism now?
Speakers: Eugene Ruyle (CPUSA/DSA Member, runs Niebyl Proctor Marxist Library); Luma Nichol (Freedom Socialist Party, Communities Against Racism and Fascism); Victoria Fierce (DSA Member, East Bay for Everyone); Ramsey Kanaan (PM Press)
Audio recording: https://archive.org/details/berkeley-antifascism-panel
(3) Platypus Review articles (issue 100, October 2017)
- “Not your grandfather’s anti-fascism: Challenges facing the anti-fascist movement in the age of Trump” by Participants in CrimethInc. Ex-Workers’ Collective
https://platypus1917.org/2017/10/01/not-grandfathers-anti-fascism-challenges-facing-anti-fascist-movement-age-trump/
- "The Millennial Left is dead" by Chris Cutrone (Platypus)
https://platypus1917.org/2017/10/01/millennial-left-dead/
Hosted by Audrey Crescenti, Pamela Nogales and Laurie Rojas.
A panel discussion with audience Q & A on the problematic forms of "anticapitalism" today.
Held on Wednesday 13th June, 7pm at the University of London Union (ULU), Malet Street, London.
SPEAKERS:
Clare Solomon (co-editor of Springtime: The New Student Rebellions (2011); President of the University Of London Union in 2010)
James Heartfield (active in extra-parliamentary Left for thirty years; author of The 'Death of the Subject" Explained (2002), and the forthcoming Unpatriotic History of the Second World War (2012)).
James Turley (member of the Communist Party of Great Britain (CPGB) for five years, and a regular writer for the Weekly Worker; co-editor and contributer to Red Mist, a blog of Marxist cultural commentary)
Matt Cole (organizer, researcher, editor, writer, Rousseauist; Kingston University)
Moderated by:
Laurie Rojas (founding member of the Platypus Affiliated Society, editor of the Platypus Review).
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"[After the 1960s, the] underlying despair with regard to the real efficacy of political will, of political agency [. . .] in a historical situation of heightened helplessness [. . .] became a self-constitution as outsider, as other [. . .] focused on the bureaucratic stasis of the [Fordist/late 20th Century] world: it echoed the destruction of that world by the dynamics of capital [with the neo-liberal turn after 1973, and especially after 1989].
The idea of a fundamental transformation became bracketed and, instead, was replaced by the more ambiguous notion of âresistance.â The notion of resistance, however, says little about the nature of that which is being resisted or of the politics of the resistance involved â that is, the character of determinate forms of critique, opposition, rebellion, and ârevolution.â The notion of 'resistance' frequently expresses a deeply dualistic worldview that tends to reify both the system of domination and the idea of agency.
'Resistance' is rarely based on a reflexive analysis of possibilities for fundamental change that are both generated and suppressed by [the] dynamic heteronomous order [of capital]. ['Resistance'] is an undialectical category that does not grasp its own conditions of possibility; that is, it fails to grasp the dynamic historical context of which it is a part."
- Moishe Postone, "History and Helplessness: Mass Mobilization and Contemporary Forms of Anticapitalism"
(Public Culture 18:1, 2006)
1. Since the 1960s, and especially since the 1990s, struggles for social, economic and political emancipation have been conceived less in terms of structural reforms or revolutionary transformation and more in terms of "resistance." How do you define âresistanceâ and how do you understand its role in possibilities for social change?
2. One powerful way "resistance" has been conceived has been in terms of "culture" and practices of âeveryday life.â How do you understand the implicit (if not explicit) distinction thus made of politics directed at society as a whole, from the more apparently mundane concerns and stakes of quotidian existence?
3. What, in your understanding, are the reasons for and the consequences of this historical shift away from movements for reform or revolutionary politics, to tactics, strategies, and self-understandings in terms of "resistance?"
4. Where do the new forms of politics of âresistanceâ point, in your estimation, for social-emancipatory possibilities, today and in the future?
5. What kinds of change do you envision on the horizon of present social concerns? How do you imagine the potential manifestations of such change?
6. What can and should those on the Left and those interested in working towards social emancipation do, tactically and strategically, in view of such possibilities for change?
The closing plenary of the 3rd Annual Platypus Affiliated Society international convention, School of the Art Institute of Chicago, May 1, 2011.
Panelists:
Spencer Leonard
Laurie Rojas
Benjamin Shepard
An all day symposium, "What is Critique?" was held on Nov. 20th, 2010 at the New School in New York City. The first video is from the afternoon panel, entitled The Art Critique: Its History, Theories, and Practices. This panel consisted of Tom Butter, Simone Douglas, and James Elkins; it was moderated by Laurie Rojas. The second video is documentation of the evening panel, entitled The Relevance of Critical Theory to Art Today. The panel consisted of J.M. Bernstein, Chris Cutrone, Lydia Goehr, and Gregg Horowitz; it was moderated by Chris Mansour.
Abstract: What is Critique? is an all day symposium that consists of panel discussions with artists, critics, teachers, and students city-wide that investigates the role that art critiques and criticism play in art production. The first half of the day will focus on the nature and function of art critiques as a form criticism and pedagogy. The latter part of the day will be a panel discussion addressing the relationship between critical theory, art production and art reception.
The Art Critique: Its History, Theories, and Practices
The Relevance of Critical Theory to Art Today
A transcript of Chris Mansour's opening remarks to The Relevance of Critical Theory to Art Today can be found in the Platypus Review #39 (Click below):
An edited transcript of The Relevance of Critical Theory to Art Today can be found in Platypus Review #31 (Click below):
Speaker Biographies:
James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer.
He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism.
His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).
Current projects include a series called the Stone Summer Theory Institutes, a book called The Project of Painting: 1900-2000, a series calledTheories of Modernism and Postmodernism in the Visual Art, and a book written against Camera Lucida.
He married Margaret MacNamidhe in 1994 on Inishmore, one of the Aran Islands, off the West coast of Ireland. Margaret is also an art historian, with a specialty in Delacroix. Jim’s interests include microscopy (with a Zeiss Nomarski differential interference microscope and Anoptral phase contrast), optics (he owns an ophthalmologist’s slit-lamp microscope), stereo photography (with a Realist camera), playing piano, and (whenever possible) winter ocean diving.
Tom Butter has been exhibiting sculpture, drawings and prints in NYC and internationally since 1980. His work is included in several museum collections in the United States, and has been reviewed in many art publications. Recipient of 3 NEA Grants and 2 New York Foundation for the Arts Grants, Butter has taught in many east coast fine art programs, including those at RISD, Tyler, Yale University, Harvard, University of the Arts, School of the Museum of Fine Arts, MICA. A member of the faculty at Parsons the New School for Design in the Fine Arts Department since 1986, he was recently Director of the MFA Program ’06-’07. Currently adjunct faculty at Parsons and Brooklyn College (CUNY), staff writer Whitehot Magazine, website:www.tombutter.com
Simone Douglas is the director of the MFA in Fine Arts at Parsons. She works across photography, video and installation, and has curated numerous exhibitions. Her works have been exhibited internationally at, and are held in, collections including the Victoria & Albert Museum, London; the Art Gallery of NSW, Sydney; and the National Gallery of Victoria, Melbourne. Additional exhibitions include at the Photographers Gallery, London; the Museum of Contemporary Art, Sydney; and the Australian Centre for Photography, Sydney. She was project director and curator for Picture Sydney: landmarks of a new generation at the Australian Museum, a Getty Conservation Institute Initiative. She has been a guest scholar at Koln International School of Design, and initiated the international art and design collective Conjecture and served on the Board of Directors at First Draft Gallery, Sydney. Most recently, Simone is running an international visual research project, The Exquisite Corpse. Before joining the faculty at Parsons, Simone held faculty posts at the College of Fine Arts, University of NSW; National Art School, Sydney; and Sydney College of the Arts, University of Sydney (tenured) where she is currently an honorary faculty member. She holds an M.F.A. and a Grad. Dip. Prof. Art Studies from the College of Fine Arts, University of NSW and a B.A. in Visual Arts from Sydney College of the Arts, University of Sydney
Gregg M. Horowitz is Chair of Social Science and Cultural Studies at Pratt Institute and Associate Professor of Philosophy at Vanderbilt University. He works on the philosophy of art and art history, political philosophy, and psychoanalysis. He has special research interests in the relation of aesthetics, cultural theory and art criticism to critical social theory.
Horowitz is the author of SUSTAINING LOSS: ART AND MOURNFUL LIFE (Stanford University Press, 2001), and, with A. Danto and T. Huhn, THE WAKE OF ART: CRITICISM, PHILOSOPHY, AND THE ENDS OF TASTE (Gordon and Breech, 1998). More recently, he has authored “The Residue of History: Dark Play in Schiller and Hegel” in GERMAN IDEALISM – AN INTERNATIONAL YEARBOOK (Walter de Gruyter, 2007), pp.179-98 and essays on Andreas Gursky, Tony Oursler, and Wallace Stevens.
Lydia Goehr is Professor of Philosophy at Columbia University. She is one of the 2009-2010 recipients of the Lenfest Distinguished Columbia Faculty Award for exceptional teaching in Arts & Sciences. In 2005, she received a Columbia University Presidential Award for Outstanding Teaching and in 2007-8 was recipient The Graduate Student Advisory Council (GSAC)’s Faculty Mentoring Award (FMA). She has also been a recipient of Mellon, Getty, and Guggenheim Fellowships, and in 1997 was the Visiting Ernest Bloch Professor in the Music Department at U. California, Berkeley, where she gave a series of lectures on Richard Wagner. She has been a Trustee of the American Society for Aesthetics. In 2002-3, she was the visiting Aby Warburg Professor in Hamburg and a fellow at the Wissenschaftskolleg zu Berlin. In 2005-6, she delivered the Royal Holloway-British Library Lectures in Musicology in London and the Wort Lectures at Cambridge University. In 2008, she was a Visiting Professor at the Freie Universität, Berlin (Cluster: “The Language of Emotions”) and in 2009, a visiting professor in the FU-Berlin SFB Theater und Fest. She is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1992; second edition with a new essay, 2007); The Quest for Voice: Music, Politics, and the Limits of Philosophy [essays on Richard Wagner] (1998); Elective Affinities: Musical Essays on the History of Aesthetic Theory [essays on Adorno and Danto] (2008), and co-editor with Daniel Herwitz of The Don Giovanni Moment. Essays on the legacy of an Opera (2006). She has written many articles, most recently on the work of Theodor W. Adorno, Maurice Merleau-Ponty, and Arthur Danto. She offers courses in the history of aesthetic theory, the contemporary philosophy of the arts, critical theory, and the philosophy of history. Her research interests are in German aesthetic theory and in particular in the relationship between philosophy, politics, history, and music. With Gregg Horowitz, she is series editor of Columbia Themes in Philosophy, Social Criticism, and the Arts, Columbia University Press. She is presently writing a book on the contest of the arts.
Jay Bernstein is Chair and University Distinguished Professor in Philosophy at The New School for Social Research. He received his BA in 1970 from Trinity College in Religion and his PhD in 1975 from the University of Edinburgh. He is the author of numerous books and articles on philosophy; his recent books on art include The Fate of Art and Against Voluptuous Bodies: Late Modernism and the Meaning of Painting.
Chris Cutrone teaches at the School of the Art Institute of Chicago and the University of Chicago, where he is completing his dissertation on Adorno’s Marxism. He is the original lead organizer of Platypus.
The Platypus Affiliated Society hosted a panel discussion on the Politics of the Contemporary Student Left at the U.S. Social Forum (USSF) in Detroit on June 26, 2010. Moderated by Laurie Rojas, assistant editor for the Platypus Review, the panel consisted of Will Klatt, member of the new Students for a Democratic Society (SDS) and organizer for Service Employees International Union (SEIU); Luis Brennan, a student organizer at University of Chicago and former member of the new SDS; Aaron Petcov, formerly of the new SDS and currently a member of the Organization for a Free Society (OFS); and Ashley Weger, an organizer for Platypus and a former organizer for UNITE HERE.
Transcript in Platypus Review #27 (Click below):
