A panel event held at the School for Visual Arts on February 25th, 2014.

Panelists:

Alan Akrivos (Socialist Alternative)
Dick Howard (Stony Brook)
Alan Milchman (Internationalist Perspective)
Joseph Schwartz (DSA)

Panel Description:

From the financial crisis and the bank bail-outs to the question of “sovereign debt”; from the Arab Spring to Occupy Wall Street; from the struggle for a unified European-wide policy to the elections in Greece and Egypt that seem to have threatened so much and promised so little -- the need to go beyond mere “protest” has asserted itself: political revolution is in the air, again.

At the same time, the elections in US and recently in Germany, by comparison, to be a non-event, despite potentially having far-reaching consequences for teeming issues word-wide. Today, the people -- the demos -- seem resigned to their political powerlessness, even as they rage against the corruption of politics.  Hence, while contemporary demands for democracy to politicize the demos, they are also indicative of social and political regression that asks urgently for recognition and reflection. Demands for democracy “from below” end up being expressed “from above”: The 99%, in its already obscure and unorganized character, didn’t express itself as such in the various recent elections, but was split in various tendencies, many of them very reactionary.

Democracy retains an enigmatic character, since it always slips any fixed form and content, since people under the dynamic of capital keep demanding at times “more” democracy and “real” democracy. But democracy can be like Janus: it often expresses both the progressive social and emancipatory demands, but also their defeat, their hijacking by an elected “Bonaparte”.

What is the history informing the demands for greater democracy today, and how does the Left adequately promote -- or not -- the cause of popular empowerment? What are the potential futures for "democratic" revolution, especially as understood by the Left?

Questions:

1. What would you consider as “real” democracy, as this has been a primary demand of recent spontaneous forms of discontent (e.g. Arab Spring, Occupy, anti-austerity protests, student strikes)?

2. What is the relationship between democracy and the working class today? Do you consider historical struggles for democracy by workers as the medium by which they got “assimilated” to the system, or the only path to emancipation that they couldn’t avoid trying to take?

3. Do you consider it as necessary to eschew established forms of mass politics in favor of new forms in order to build a democratic movement?  Or are current mass form of politics adequate for a democratic society?

4. Why has democracy emerged as the primary demand of spontaneous forms of discontent?  Do you also consider it necessary, or adequate, to deal with the pathologies of our era?

5. Engels wrote that “A revolution is certainly the most authoritarian thing there is”. Do you agree? Can this conception be compatible with the struggle for democracy?

6. How is democracy related with the issue of possibly overcoming capital?

7. Is there a difference between the ancient and the modern notion of democracy and, if so, what is the source of that difference? Does “real” democracy share more with the direct democracy of ancient polis?

8. Is democracy oppressive, or can it be such? How you judge Lenin’s formulation that: “…democracy is also a state and that, consequently, democracy will also disappear when the state disappears.”

A panel discussion held at Left Forum 2013, at Pace University, on June 9, 2013.

This panel was transcripted in Platypus Review #61 (Click on banner below to see):

Description:
Bourgeois society came into full recognition with Rousseau, who in the Discourse on the Origin of Inequality and On the Social Contract, opened its radical critique. Hegel wrote: "The principle of freedom dawned on the world in Rousseau." Marx quoted Rousseau favorably that "Whoever dares undertake to establish a people’s institutions must feel himself capable of changing, as it were, human nature... to take from man his own powers, and give him in exchange alien powers which he cannot employ without the help of other men." Rousseau posed the question of society, which Adorno wrote is a "concept of the Third Estate." Marx recognized the crisis of bourgeois society in the Industrial Revolution and workers' call for socialism. But proletarian socialism is no longer the rising force it was in Marx's time. So what remains of thinking the unrealized radicalism of bourgeois society without Marx? Kant stated that if the potential of bourgeois society was not fully achieved as the “mid-point” of freedom then Rousseau may have been right to prefer savagery against civilization’s “glittering misery.” Nietzsche warned that we might continue to be "living at the expense of the future:" "Perhaps more comfortably, less dangerously, but at the same time in a meaner style, more basely." How have thinkers of the revolutionary epoch after Rousseau, Adam Smith, Kant, Hegel, Benjamin Constant, and Nietzsche himself, contributed to the possibility of emancipation in a world after Marxism?

Speakers:
Chris Cutrone
Spencer Leonard
Sunit Singh

A talk and guided discussion held at Left Forum 2013, at Pace University, on June 8th, 2013.

Description:
If it is true that the 'commodity-structure' (Lukacs) is the defining feature of modern capitalism down through the present, then it stands to reason that it has no less impacted the way art is produced, consumed, circulated, and exchanged. This shift in art's character happened both objectively (e.g., as in an article produced for exchange on the market), and subjectively (i.e., as a kind of experience and form of expression for the social and individual body). However, art's relationship to its status as a commodity is an ambivalent one: Art has become at once more free from past forms of domination, but its freedom is constrained when subject to the dynamics of capital. Art as a commodity is both its cure and poison, and has become a social problem for its practice. Since becoming aware of this problem, artists, philosophers, curators, and critics have taken various approaches in seeking to overcome it. How has art under a capitalist society changed from its pre-capitalist practices? What is the commodity-form, and what is art's relationship to its logic? Must art seek emancipation from the commodity-form, or is it at home in it? In what sense does art take part in the Left and emancipatory politics -- a practice also seeking to overcome the commodity-form -- if at all? By asking these questions, this panel seeks to reinvestigate art's relationship to the commodity form, and make intelligible how this problematic relationship still sticks with us today.

Discussion Questions:
1. How do you define the terms ‘art,’ and ‘commodity?’ In what ways does art in capitalist society differ from art in precapitalist society? How would you posit the relationship between art and the ‘commodity-structure’ of capitalism? Is art already a commodity from the start, or does it get ‘commodified’ only when integrated in the market? Are there ways that art can resist its commodification, and if so, how?

2. Acknowledging that the issue of art and commodity is not a new question, what troubles this discourse today? How has art’s relationship to the commodity-form changed over time, and what does it look like now? Do we understand the problem better than our predecessors, or are we in a worse mode of understanding?

3. If emancipatory politics is the objective, does overcoming capitalism necessarily follow the abolition of art’s status as a commodity? Do contemporary attempts in ‘dematerialized’ or ‘process-based’ art practices (e.g., social practice, pedagogical projects, or institutional critique) challenge the commodity status of the art object, and if so, how? Should art even seek emancipation from the commodity? In what sense does art take part in the Left and emancipatory politics -- a practice also seeking to overcome the commodity-form -- if at all? 4. How do you position yourself as cultural production within this dialogue? If this is a question about the work of arts’ mode of production in society, and opens up the question of class, then in what ways specifically does your work—or other contemporary art work—respond to class consciousness? What role does criticism or art play towards an emancipatory politics?

Speakers:
Ben Blumberg
Victoria Campbell
Chris Mansour