The Decline of the Left in the 20th Century
Toward a Theory of Historical Regression
THE DATE PROPOSED for me to discuss, 1933, immediately summons up two names: Roosevelt and Hitler—Reformism or Barbarism. I wish, though, to couple them with another pair, and another date. The date is 1940. The names are Trotsky and Benjamin. These four names are meant both as contrasts and parallels. At first glance, Hitler and Roosevelt, the New Deal and fascism, might seem polar opposites. But many contemporaries understood Roosevelt and fascism as addressing comparable problems, albeit by somewhat different methods. Similarly, while Benjamin the melancholic mandarin and Trotsky the fiery revolutionary might seem at opposite poles of Marxist discourse, it is the thesis of Platypus that they are both responses to the same crisis of Marxism, just as Hitler and Roosevelt are responses to the crisis of capitalism. These two crises, the crisis of capitalism and the crisis of Marxism, have determined the history of the 20th century, and continue to weigh on the history of the 21st.
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The Decline of the Left in the 20th Century
Toward a Theory of Historical Regression
Chris Cutrone
THE YEAR 1917 is the most enigmatic and hence controversial date in the history of the Left. It is therefore necessarily the focal point for the Platypus philosophy of history of the Left, which seeks to grasp problems in the present as those that had already manifested in the past, but have not yet been overcome. Until we make historical sense of the problems associated with the events and self-conscious actors of 1917, we will be haunted by their legacy. Therefore, whether we are aware of this or not, we are tasked with grappling with 1917, a year marked by the most profound attempt to change the world that has ever taken place.
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On April 18, 2009, the Platypus Affiliated Society conducted the following panel discussion at the Left Forum Conference at Pace University in New York City. The panel was organized around four significant moments in the progressive separation of theory and practice over the course of the 20th century: 2001 (Spencer A. Leonard), 1968 (Atiya Khan), 1933 (Richard Rubin), and 1917 (Chris Cutrone). The following is an edited transcript of the introduction to the panel by Benjamin Blumberg, the panelists’ prepared statements, and the Q&A session that followed.
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FOR YEARS Theodor Adorno’s theoretical work has suffered from either neglect or semi-hostile “interpretation.” It is therefore refreshing to see Detlev Claussen, who studied under Adorno at the Institute for Social Research in Frankfurt from 1966 to 1971, take a more sympathetic approach to the study of Adorno’s philosophy and intellectual life. In Theodor W. Adorno: One Last Genius, Claussen attempts to track the historical and biographical factors that influenced Adorno’s critical theory and, in doing so, strives to carefully reconstruct both the changing context and the abiding problematic that Adorno was attempting to grasp in and through his work.
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THE AESTHETIC EXPERIENCE OF DRONE MUSIC is not just aesthetically defined, but socially and historically located. The significance of this location is especially intriguing when concealed in a music legacy that aims exclusively at the pure presentation of sound, a music intent upon expelling all that is foreign to the aesthetic experience while underscoring a formal, perceptual physicality. As such, it is difficult to review an instance of drone music in isolation from either the widespread classification of the genre that increasingly defines the music listening experience or drone music’s historically accumulated predilection for spatial sound masses over temporal themes.
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