Showing posts with label interview. Show all posts
Showing posts with label interview. Show all posts

Wednesday, July 31, 2019

TIMEFULNESS: A GEOLOGIST'S STORY. INTERVIEW WITH MARCIA BJORNERUD





Geologist Marcia Bjornerud’s latest book, Timefulness: How Thinking Like a Geologist Can Help Save the World, can easily capture your inner philosopher, scientist, activist, and writer. When I received this book from Princeton University Press, I was immediately intrigued by the book’s cover. I’ve always been fascinated by ideas that necessarily mix up life’s ingredients into creative nature stories, and this book does just that. The choice of title and cover design (with its elegant series of mineralogy lithographs) offers clues to the layered Earth-story within: unwrapping the scientific ways of knowing our home’s deep planetary history; how we humans have come to discover these stories; how knowing them can re-educate us and thus drive us to become better citizens as part of the whole community of life

Bjornerud’s title, Timefulness, intrigued me as a grander understanding of our current temporal limitations. The subtitle, “Thinking Like a Geologist Can Help Save the World,” shares how looking into the deep time of Earth’s rocks breaks open an opportunity for us to become more aware of the damage we have done while concurrently offering hope. Bjornerud offers tips on re-imagining how we can comprehend our humanness on this planet by coming to re-know ourselves as Earthlings. Marcia Bjornerud’s Earth story elaborates this interweaving of a deep past with a deeper future and explores how we might expand our human sense of temporal directions in order to arrive at some meaningful place of resilience.

Anja Claus (AC): In Timefulness, you breathed great life into this magical story of rocks; that’s a big feat in our flashy, fast-paced, capitalist culture.
Marcia Bjornerud (MB): In most people’s minds rocks are dumb, mute, and dull perhaps. So I tried to bring them back to life and share the stories that they have to tell us.
AC: In a way, your book is a storytelling of Earth—Earth’s past but also its now. You say in your book, “The dramatic narratives of the geologic past are perfectly suited to the human appetite for storytelling.” Why do you think that? What is it that makes for such good storytelling?
MB: I’m positioning the idea of storytelling in contrast to the physical, pure sciences of physics and chemistry, which are of course important fields—and I am partly trained myself as a physicist. But what’s lacking in them is this sense of narrative arc. The triumph of physics is that it has distilled out these universal, timeless laws and rules. But if something is timeless, there’s no story to really tell. There’s no character development.
Earth as a whole system has had a very interesting series of personalities, in a sense. It’s had a childhood, an adolescence, a middle-age. It’s seen cataclysm and wonderful, bountiful times as well. So that’s what I mean. That there are stories in the natural world, and they match our appetite for seeing how things unfold. I think that’s the way to draw people in: Tell these Earth stories, develop some kind of relationship with the protagonist, and they’re hooked.  

Thursday, August 15, 2013

Peasants' professor



Not many university rectors can fire a Sten gun. Even fewer have lived through Siberian exile, endured starvation, raised a siege, defied a government, founded a discipline, and in retirement returned to serve the land of their boyhood persecution.
So if Teodor Shanin, 71, is the toughest-looking gong-holder at Buckingham Palace next month, when the Queen awards him the OBE for services to Russian tertiary education, it is because life has made him so. Otherwise the eminent sociologist and creator of the first Russian-British university would never have survived.
Despite his harsh childhood experiences under Stalin, when the Soviet Union collapsed, Shanin felt "an obligation", as one of the few British academics who spoke Russian, to help rebuild the country. His idea was to create a new Russian-British university to train and retrain Russian professionals and academics.
By 1992 he had raised money from the British Council, the Macarthur Foundation and the Hungarian financier George Soros, with the Russian government agreeing to pay 10% of the cost and provide a building. Neither materialised. After a series of broken promises, he called a meeting with the Russian education minister to cancel the project.
Eventually, in 1995, backed by the Russian Academy of National Economy, but not the Russian government, the new Moscow School of Social and Economic Sciences opened. Today it runs MBAs and masters courses for Russian sociologists, lawyers, social workers, political scientists, and cultural and educational managers, taught predominantly by Russian academics trained in England, and validated by Manchester and Kingston Universities.
Shanin, who is now retired from Manchester and spends four weeks out of five in Moscow as the school's first rector, still has battles on his hands. The first year's promised Russian money did not arrive. This year, academy rents and facilities charges rocketed unexpectedly.
It sounds a typical story of corruption and chaos - the only story westerners tend to hear about Russia. Concerned about precisely that, Shanin has for some time been taking groups of lawyers, businesspeople and journalists to Russia to see the self-sacrifice and idealism - including that of his own staff - which never make the headlines. "For a year my staff worked on two-thirds salaries. Now we have another crisis and they have agreed to cut their salaries by 10%. To work with such people is an honour."
But nevertheless not combat-free. Though would the professor want it otherwise? "Moscow is a most peculiar environment: difficult interesting, exciting. When I come back to England, for my first few days there's an incredible relief. To be somewhere you don't have to fight like hell simply to survive, where people smile at you in the street.
"But after a week I often begin to feel under-used. I am ready for hard work. Not for a row. I don't look for rows. I am a gentle man. But I will not give way if I think I am right."
Until Teodor was 10, the Shanins had led a comfortable and secure life as wealthy, intellectual, Polish-speaking Jews in the Russian city of Vilnius. His mother was a university graduate; his father, who fought as a stu dent alongside workers and peasants in the 1917 Revolution, ran the family galoshes factory.
Then, in 1941, Stalin's police arrived at the Shanin bourgeois front door. Teodor's father was to be imprisoned in Siberia. Teodor and his mother were to follow him into exile. Teodor's younger sister, a frail four-year-old, was left behind with their grandfather.
Weeks after the family's departure, the Nazis marched into Vilnius and murdered every Jew in the city. Teodor and his mother travelled first to Siberia and, a year later, by cattle train to Samarkand.
Samarkand's black marketeers almost immediately offered the newly arrived 11-year-old a "job" carrying loaves stolen from the state-owned bakery. Over the next two years he and his mother lived off his earnings until his father arrived: "It was impossible to do the bread any more. To me it was a game. But my father was afraid of doing something illegal. You can only do this when you are not afraid. Once you are afraid, your eyes will give you away."
Instead his parents sent him to school. He raced through the grades, matriculating a year early at 17 when his family left Eastern Europe for France. On their way they stopped in Vilnius, searching fruitlessly for his sister. Enraged by her loss, he was spoiling for a fight: "I was a violent Zionist. I wanted to get arms and go to Palestine. That was my reaction to what had happened to me."
By March 1948 he was there. He spent two months learning Hebrew, and then joined Palmah, the SAS equivalent of Israel's proto-army.
When the war ended he trained as a social worker and took a job in the poorest Jewish quarter of Jerusalem. His clients' conditions appalled him. He entered left-wing politics; took a part-time degree in sociology and economics and then made his way to Britain.
When Shanin arrived in 1963 at Birmingham University's Centre for Russian and East European Studies, he was homeless and jobless. Despite making angrily clear his lack of interest in the subject suggested by his supervisor, he began a PhD on the peasants' role in the Russian Revolution. It was the start of an academic career that would last almost 50 years, and an entirely new research field known as peasantology.
Peasants inhabit an economic structure entirely different from either capitalism or socialist state ownership, he came to argue. Their work, food and housing are dependent on what he calls the "informal economy" - the network of family, unofficial and even criminal activity.
Marxist and market economists had always dismissed such activity as marginal. He argued: "How can you call it marginal when half of mankind lives like this?"
His books included Peasants and Peasant Society and The Awkward Class. Colleagues, unsurprisingly, nicknamed him Awkward Teodor. He had a burst of cult status as a Sheffield University lecturer in the late 60s, when radical students and academics fell upon the argument that Vietnamese peasants, secure in their informal economy, would not want to be "liberated" by American capitalism.
In 1970 Shanin left Sheffield to become professor of sociology at Haifa University, which then had the most Arab students in Israel. Almost at once he was embroiled in a row. The university, on security service advice, had dismissed a Palestinian lecturer whose uncle was a political radical. Shanin and three colleagues protested in the senate: "We had a vicious argument. It's not like Britain where everybody is polite and nice even if they hate each other. It's Israel. So we shouted."
They also lost. He joined the political opposition and the Peace Now campaign. He had fought for Israeli independence under a promise that Arabs would be equal citizens in the new land. None of it had made any difference. His eyes are watery now as he remembers: "After three years I said I wouldn't live in a land like South Africa. I said I never took from this country anything. I always gave it. I am going."
He returned to England in 1973, together with his wife, Shulamit Ramon, professor of social work at Anglia Polytechnic University. After a brief spell in Oxford he was offered a chair of sociology at Manchester. He stayed there for 25 years, taking British nationality, travelling to research the informal economy, the Russian Revolution, the development of Africa, peasants across the world.
During the 1980s, on a visit to Russia, his Soviet "minders" warned him against meeting unapproved academics. They picked the wrong man for a fight. "I told them to get lost. I said, I am not your subject. I am a subject of the Queen of England." The Russians refused him a subsequent visa; he encouraged the British Council to retaliate by refusing visas to Russian academics. The stand-off lasted four years before the Russians caved in.


Karen Gold, The Guardian, Tuesday 10 September 2002 01.11

Saturday, February 4, 2012

The Story of Klement Tchtatelnikov

This interview took place back in January on the occasion of the exhibition of Stephanos Kamaris at the Cheap Art Gallery in Athens, 7/2-9/3/2012. The interview is also published in an exhibition catalogue by the editions Futura, 2012.

Kostis Velonis - You engage with the Soviet past, while being aware of both sides. There is, indeed, a good side, that of those who resisted Stalin’s hell, through poetry and the various ingenious inventions of escape, as in the case of your hero, K. Tchtatelnikov.

Stephanos Kamaris - When I built my first wish-machine several years ago, I didn’t know anything about all that - and I still don’t. I placed a plexiglass lid on the machine and then thought of adding a label: “Wish-machine. Found in ... (date) in the frozen lands of Siberia. Considered to be the Soviet answer to Aladdin’s lamp.” I suppose I just really liked Cyrillic letters, both visually and due to that lovely mystery they create - you can understand a bit (it’s not Chinese, say), but not enough. More generally, it must also be due to that rather strange sensation that Russian history inspires, it may also be due to the various odd objects I used to see in my grandmother’s house, or even the badges and handkerchiefs my godfather used to give me when I was small - my other grandfather went on to use the handkerchiefs, when he and my grandmother still visited Greece, for cleaning shoes and other items. I think that this last detail (and the combination in general) may explain quite a lot (not to go into family matters) and is probably the reason why I can view this Soviet past more easily and critically, but also relatively cheerfully. But it’s their fault too, I mean it’s not just my impression that these Soviet objects were often very amusing and identified with self-destruction. I can think of quite a few. In any case, this story gradually took on its present form - and perhaps it was logical that it should take this direction - once the word “Siberia” appeared on the first label. The first wish-machines, however, were intended to throw coins into a well I’d built.


Stephanos Kamaris "Klement Tchtatelnikov - Magic Machine/ Icarus II", circa 1929 (80x50x40 cm)

K.Velonis- Your morphological undertaking has to do with the attempt to gather and ultimately group together narrative “utilitarian” objects in an oppositional relationship between Tchtatelnikov and Bozov. Good versus evil, which can also be a complementary relationship.

S.Kamaris- Certainly. In one of the boxes containing the personal items of the two protagonists, you can see a large pair of scissors. There I mention that the scissors once belonged to Bozov, who was a very good friend of Tchtatelnikov until he discovered that Tchtatelnikov had stolen them. So this great conflict is sparked off by this incident, with Bozov taking on the role of the bad guy more out of obstinacy than anything else. But as the story unfolds, I find Bozov becoming more and more likeable, because despite his medals and his obvious copying of his former friend’s wish-machine with the prescribed-wish machine (the one with the hammer-and-sickle that stops at an ex-voto), for me he is the truly unhappy one. And I thought of restoring his honour somehow... by having him commit suicide, or suddenly become paranoid at some gathering and start to shoot officers indiscriminately and so on. But anyway, yes, here he roughly symbolises evil, but I deliberately gave him a round and rather funny face, because I probably want him to be saved too.

K.V- While the plot of your work and the consistency of your materials is reminiscent of the atmosphere of a Dostoyevsky, Gorky or Solzhenitsyn novel, the way in which you remake your relationship with the material has a wider cultural significance; sometimes it even makes me think of the California School, for instance the assemblage guru Edward Kienholz.

S.K -I’m getting quite embarrassed now, as, after my ignorance of Soviet history, my ignorance of art and sculpture history is revealed. I might say that my excuse is that I supposedly studied painting, while my first work was probably on comics... That’s gone now, but anyway, I’ve just looked at Kienholz, I knew a few of his works (mainly the one with the pinball machine), and I can make out the affinities you mentioned. I only wish I could make things like that one day, though to be honest I’ve no idea what direction I might take in future. But I see a rather caustic mood in his work, and a mixture of different materials which I find quite familiar. Due to my origins, my dual nationality if you will, and the various disparate stimuli I received growing up, I often feel closer to certain foreign artists. The Balkan or the oriental element, so to say, are much more foreign to me, even though I’ve lived here in Greece almost my whole life. So maybe thanks to this rather fresh, if I can call it that, multiculturalism which distinguishes American history, I can more easily find affinities with artists there - when, of course, there are also affinities in character and way of thinking... I’m probably just talking at random. Never mind.

Stephanos Kamaris, "Klement Tchtatelnikov - Wish Monument", circa 1929 (120x70x50cm)


K.V- It’s probably not very important whether you know your “spiritual” relatives or not; once some possible similarities arise due to idiosyncrasy and common cultural references, it is inevitable that this story of genealogy will be repeated ad infinitum even if you or anybody else is disinclined to take it seriously. Do you believe that the viewer has the right to perceive your sculpture exclusively in static terms, as a composition in which he does not need to perceive the mechanical movement? Because in all your constructions there is always the ghost of a structure in progress, an imminent event, due to the fact that they are constructions that can offer movement, like the wish-machines for example, and also their noise when they are put into operation.


S.K- What I realise, and really makes me think, is that I’m not at all sure of my works. I don’t know if they can stand up if I remove all this history, if I remove the glass boxes and labels. But there again, I like writing and making up mythologies, I mean to say that I have never used anything with an ulterior motive, to conceal some other weakness. As to the other thing, what you’re probably really asking, I’m afraid the answer’s yes. But unfortunately, I too have got used to them being motionless and soundless, mainly for practical reasons. The machines are particularly sensitive, so half the time when I put them into operation something goes wrong and they won’t work. And even when they do, I stop them quickly because I’m afraid the worst might happen. Sometimes they seem to be avenging themselves for all the previous failed attempts and start speeding up exponentially. At least with the Antimachine, for example, I know that I can’t leave it on by definition, because - if it works - in about a minute (more or less) it will have sawn through its base and become something else. Also, in “Me and Bozov #2 and 3” (I gave it two numbers because I thought the character could change depending on the side it’s viewed from), the combustion construction, I made sure it was inoperable from the start (which wasn’t difficult), to avoid causing any damage. And you’re quite right about the noise you mention. Unfortunately though, purely for practical reasons of the machines’ survival, I can’t have them working for more than a very short time.



Stephanos Kamaris "Vitaliy Bozov - “Ready-Wish Machine”, also known as the “commissioned wish machine”, circa 1930.

K.V- Observing your constructions, I am tempted to find some analogies with modern art history, particularly a pioneering view that envisioned the application of science and engineering to sculpture, for example the industrial universe of kinetic sculpture.

S.K- I would love to have the knowledge to be able to combine science and art, but unfortunately I can’t. Of course, even there I believe that something always predominates. Searching for influences, I think first of Da Vinci, who was always been my favourite hero. But physics and chemistry were lessons I was always extremely bad at, although I would have liked it to be otherwise. All these machines are based mostly on the conversion of circular into linear motion, just as we see in train wheels, in the way they are connected. There’s nothing clever about them (I mean my own machines). I don’t think Tinguely influenced me either, as I wasn’t aware of him when I started building the machines. Duchamp probably did, and so did the famous German band Einstürzende Neubauten, with the various crazy instruments made by its members.
I’ve just remembered a small photograph I once saw in an art history book. It must have been by Giacometti, a very simple and beautiful structure, something like a male-female, with a sort of banana if I remember right, revolving or going up and down over a sphere - without an engine - but probably perpetually. That has certainly influenced me subconsciously in the construction with the theoretical combustion - where Klement Tchtatelnikov as a sphere with matches moves towards a revolving pyramid with sandpaper rings - Bozov. In two more works, again, the wish-machine with the rat built by Tchtatelnikov in prison and the Antimachine, in the little red sticks bearing the razor blades, I think I’ve been influenced by your own works.
K.V- You are referring to the best-known photographic version of the “Suspended Ball” in the Guggenheim Museum, from what I believe is Giacometti’s most creative period, before he became identified with his famous thin, elongated Impressionist figures. This playful mood of a metaphysics of mechanics which is common to you and to his early work, helps me to better apprehend a sort of Dadaist transcendence in your work, with technological know-how being used in order to be refuted, to lead from the invention to its ridicule, something which is evident in the construction with the sphere of matches moving towards the revolving sandpaper pyramid.


S.Kamaris, "Klement Tchtatelnikov - Wish-Machine № 5" (/Rat Machine),found in Solovki, where Klement Tchtatelnikov spent 8 years as a prisoner

S.K -Yes, that’s the one I meant, I hadn’t seen it since then and I still love it. Now, as regards the machines... They really do have something comical and ridiculous about them... But I’d better start at the beginning, with the completely useless and malfunctioning wish-machines, which just push a few coins, without of course being able to fulfil their promises. The starting-point was the habit, probably human above all (?), of dreaming and wishing for something better. When we throw a coin in the water and wish for something. I love this habit... maybe visually too, with the metal and the water. And it’s something that never stops. As a priest says, probably in 8½, we didn’t come into this world to be happy. With the “wish monument” - which does not have any mechanical function - I am also referring to this last, drawing a parallel with the wishes we make on falling stars: in this work, the wish-stars which have been fulfilled are essentially dead, as they have a bullet in their centre. So although this should normally have been a work symbolising happiness, it’s a common graveyard. But on the right we see a new star appearing again, and we start over... On the other hand, the inability of these machines to fulfil their promises clearly has something human and vulnerable about it. And from a political point of view, one could contrast these machines with the faceless and terrifying Communist regime. For me, in other words, these machines are more human than the supposedly joyful faces we see in Soviet propaganda posters. They are certainly machines, but machines running in reverse...
Let me refer here to the “Antimachine”, since you mentioned transcendence. This machine, whose concept, to be honest, seems far too simple for me not to have copied it from somewhere else - even if unconsciously - is a machine that becomes detached from itself. It is supported solely on a couple of springs and gnaws away at itself, or at least at its truly mechanical part, that which has nothing human about it, until it finally falls and is released from it. I’d originally given it a second title, “Scorpion Committing Suicide”. I’d also written a short poem (in English and then I developed it a bit), along the lines of:
Two insects dream of their future helmets,
I’ll be an astronaut, says the ant,
I’ll be a fireman, says the scorpion.
Something like that... So there goes the scorpion... But I finally decided that this was all wrong, because the Antimachine probably doesn’t commit suicide. It’s rather that it kills one of its selves, the purely mechanical one. In any case the title “Antimachine” is fairly appropriate and I think it’s enough. Now I think the poem was wrong too, as the scorpion might have achieved its transcendence, but then it would have had to be called “The Scorpion’s Revenge”, which I wouldn’t have liked at all.

K.V-The beginning of the poem is amazing... but let’s move on to the other works. The contest between Bozov and Tchtatelnikov in a final chess game with quite radically altered rules. What does this difference in the rules constitute? Evolution, revolution or sabotage?

S.K- Thank you very much... These different rules are obviously sabotage against Klement Tchtatelnikov, but one that he is probably responsible for, since I don’t think the game was ever played - I don’t think even Bozov himself would have agreed to play on such favourable terms, with over twice as many pawns and roughly an extra 4 points. Obviously the knight in chess is identified with the unexpected, with freedom (as opposed to the bishop of the same value, for example, which is a tower that moves diagonally), and therefore with the revolution. One could also say this of the pawn, since this is the only piece - with a lot of work, of course - which has the magical property of transformation. Practically, however, as any chess-player knows, the pawn always turns into a queen (like some powerful trade unionists). So I chose to use it basically for Bozov’s needs, as two rows of pawns would give him a sense of safety to start with, and of course he could also sacrifice many of them as required. So we have six knights versus two rooks, four bishops and another eight pawns, which probably means admitting defeat in advance - so this game expresses a more general futility. I tried to make them both play as well as possible (or at least make Bozov play relatively tolerably), and the fact that the game managed to reach 33 moves shows that there may have been some small hope for Klement Tchtatelnikov. The title, apart from the obvious political references, also refers to the “Evergreen Game”, an actual game played between Anderssen and Dufresne in 1852 which has gone down in history for its beauty.


Klement Tchtatelnikov - Me and Bozov # 2&3, circa 1945 (30x33x18cm)

K.V- Tchtatelnikov is recognised as a humble mortal who will be glorified for his ingenuity, his resourcefulness and, finally, his actual sense of humour, which sometimes makes the human race seem likeable. In fact, however, in the gulags there was no intention among all those thousands of dissidents of having a heroic and glorious death.
Does your own antihero represent these souls consciously, as far as you are concerned, or do you limit yourself to the requirements of the narrative? What is your ideological position?

S.K- Although I haven’t read any books on the subject, I did glance at Appelbaum’s on the Internet and bought the encyclopaedia of Russian prison tattoos (2 and 3), and I also remember I saw a book on eBay referring to plays being put on in Solovki Gulag itself. From the tattoo books I learnt that political prisoners were tortured by various common murderers, etc., with the blessings of the guards. And that the usual term for political dissidents was eight years. That’s what Tchtatelnikov got. Since, as I told you, I knew nothing about the subject, I wanted to avoid something completely simplistic like “he was sent to the gulag and died there”. From what I read, many people managed to survive. In a museum in Riga I also saw various beautiful objects made by inmates, and I thought that maybe - depending on the circumstances and at least in secret - someone might be able to make something while he was a prisoner. And of course it suited the story itself that Klement Tchtatelnikov should get out of there alive, so he would be able to refer to his experiences afterwards. (I’ve also thought of sending him to America to make completely different works, or to Uruguay where he could have, unbeknown to him, a former Nazi for a neighbour - more for fun than anything else).
Now, to answer the question, I won’t say anything groundbreaking: I’m in favour of freedom of the individual, and in favour of honesty, in a rather vague and general way. I don’t know if there are any perfect systems of government, but I do know that there is always a huge gap between theory and practice. I could call myself a leftist, but again I don’t know; all that requires a consistency that I haven’t got, and I don’t know whether people like me should appropriate the term just because it sounds good. And when I see certain public figures, especially, trying to identify themselves with the left, just making a noise, while their whole life’s attitude is based on abuse of power, I get really annoyed. So I’d better not say anything. If I talk about anarchism, maybe again it’s just a convenient word which can be applied to anything, and in my case means simply opportunism in a supposedly revolutionary wrapping. I really don’t know how to answer at all. If, of course, I didn’t think there was something good in the Communist system, I wouldn’t bother with it or criticise it. I mean to say, I wouldn’t be as interested in portraying a comparable case of a hero in the Nazi regime. There, I think things would be much simpler, and the potential hero would immediately be a superhero... So I was interested in this coexistence of good and evil, not in evil in its pure form. That, again, may sound pro-Stalinist... What can I say, I’m against all those organised situations...

K.V- With your myth-making you are sharing your knowledge of a man’s past, as though you were responsible for preserving and finally exhibiting his personal archive. By this choice you are undermining, at least theoretically, your own quality of creator, since the executor of the work is K. Tchtatelnikov himself and, in a few cases, Bozov. Apart from the special circumstances of the concept of the group, which demand distancing as a technique for better utilisation of the narrative, might there also be other reasons for this?


Stephanos Kamaris, "Klement Tchtatelnikov – Tchtatelnikov Square Model", 1/15 scale, circa 1929 (30x35x40 cm)

S.K -All right, I think this undermining is quite theoretical, as you say. But I must admit that I felt quite strange when, in one of the first versions of Klement Tchtatelnikov’s self-portrait after the gulag - the door with many eyes - I signed with his initials at the bottom… The initials have now been removed, though for aesthetic reasons. Certainly the answer requires a lot of psychoanalysis… Because it’s not the first time I’ve done something like this, and it can’t just be chance. As I told you before, I used to work - as a complete amateur - on comics. The technical part of my degree dissertation at the School of Fine Arts in Italy was entitled “The signature of Matthew Longthroat”. It was the story of a failed (at least until the final page, when things are reversed) artist, who was ashamed to sign his works, and who, whenever he did, quickly regretted it and erased his signature. I am very emotionally attached to this story, particularly the last panel. Later I also tried to write a novel, which I abandoned after some time. The hero was, again, a painter, but a relatively well-known one - as opposed to the previous hero. The plot, of course, was rather far-fetched - the painter had three secret pseudonyms (and identities), and a younger half-sister (with whom he had of course lost touch), who knew one of them because the hero had used it in the paintings he used to draw for her when they were both small. Things were so twisted that another, fourth identity of the hero was that of an art critic who constantly abused him in his reviews... So I think all this could do with psychoanalysis. It must be some sort of persecution complex. Perhaps I’m trying, out of fear or embarrassment, to find a somewhat safe point between creation and criticism, although these concepts are peculiarly relative and mutually inclusive to some degree in each case...

Monday, January 30, 2012

‘Decommission, Rewrite, and Change’ Franco Berardi alias Bifo


Franco Berardi in a demonstration in in the seventies

Franco Berardi is one of the controversial Italian thinkers who are seeking a solution for the gradually collapsing capitalistic system. For him, the best method of fighting today’s abuses comes from an unexpected corner, through love. Only in this manner can the tormented social body recover after years of being driven into the ground.

Merijn Oudenampsen:
How do you look at the present crisis from the perspective on capitalism that you have developed in your work, which revolves around the interconnectedness of economy, language and psychology?
Franco Berardi:

‘Do you remember what happened at the end of the nineties and especially in the spring of the year 2000? After a decade of development, after the belief in the possibility of the infinite expansion of a virtual capitalism based on new technologies, there was a collapse. The bursting of the dot-com bubble. It was a very important moment. And in a sense, what happened in September 2008 in the United States and what is happening now in Europe can be considered as the long after-effects of the crisis of 2000. Because in that crisis, all the elements of novelty, of the new forms of capitalism which I like to call semiocapitalism, became apparent.

The idea of semiocapitalism is based on the interconnection of information technology and the production of economic value. But in this kind of relationship, the human brain and human sensibility is deeply involved as part of the production process, and it also has a fundamental role to play in consumption. The boom of the nineties was based on the exploitation of the human brain, if we look at it from the point of view of immaterial labour and from the attention economy, or rather, the invasion and occupation of our attention by new technologies. Writers like Kevin Kelly, Peter Schwartz, Nicholas Negroponte: all those people were theorizing the possibility of what they called a long boom, an infinite boom. Their theories were deeply flawed, because they were unable to understand that the capacities of the human brain are not infinite. The human brain is limited with regard to physical energy, with regard to affection, with regard to desire, suffering and depression. The days of the long boom, the decade of the nineties, were also the years of Prozac. These were also the years of excitement, produced by the hyper-exploitation of the human mind and the intense use of euphoric drugs.

Now, the crisis of 2000 has been forgotten, because immediately after came the shock of September 11, the beginning of the infinite war launched by the Bush administration. This has been an insane escape from the effects of the crisis. It was an attempt to renew military production, but the war has not been a good pharmaceutic. You can compare it with a person who is in a deep depression, taking amphetamines. It is not the right therapy for depression.
Year after year, the global schizo-economy – a concept I use to bring together economic production and the exploitation of the mind – has been building up to a new, and I think final, collapse. What we see is the coming true of an old prediction, that of the Club of Rome, who in the year of 1972 published a report titled The Limits to Growth. Economic growth cannot be infinite, for a very simple reason. Namely that physical resources are limited, as well as the psychic and mental resources of human kind. The network form has hugely enlarged the possibilities of production, but we are limited as human beings.’
Merijn Oudenampsen:
One could say that whereas before, politics revolved around the promise to increase the size of the pie, characterized by ‘win-win’, presently it is limited to the evermore-bitter struggle over the distribution of what is left of it, a ‘zero-sum-game’. To give you an example, currently in the Netherlands the government has money to bail out the banks, to subsidize home-owners, to build roads, but in order to do that it extracts money from education, from culture, from handicapped people, from healthcare, from social housing and so on. Similar things are happening in Italy now, with the austerity package being implemented by Berlusconi. What is your take on that?
Franco Berardi:

‘I just came back from a demonstration that happened this morning in the city of Bologna. Students were protesting in front of the Banca de Italia, chanting slogans such as ‘more money for the schools, less money for the banks’ and so on. These kinds of protests are spreading all over Europe nowadays. Everybody understands that if you destroy the school system or something simple like the sewage system, let’s say the basic infrastructure of production, it will not help the future economy. But this is the current policy of the European Central Bank, this is the policy for dealing with the financial crisis at the European level. Look at what is happening in Greece, for instance. In Greece, in April 2010, the problem of that country’s huge public debt exploded. The Greek government was obliged to start a policy aimed at extracting resources from the economy in order to pay the German and French banks. Now, one and a half years after that decision, the Greece’s gross national product has fallen by seven percent. The result is that production is going down, and the debt, unavoidably, is skyrocketing up. It makes you wonder: Are those people leading the central bank crazy? Do they understand that what they are doing is totally crippling the basis of what is a healthy economy? Because you cannot withdraw resources from production, from effective demand, from society, and ask for the payment of the debt. That is impossible. I have the suspicion that they are not working on fixing the European economy. They perceive the end of something and they are looking towards a sort of hold-up, a robbery, a huge displacement of wealth from workers, from society, from education, towards the banks and the financial class.

I know that this can seem paranoid, and I do not like to be paranoid. But this is not the effect of a human conspiracy; I do not think it is Angela Merkel, Jean Claude Trichet or Nicolas Sarkozy who are masterminding this dark future. I think it is something that is deeply inscribed in the software of the financial architecture. We have been producing a machine that is only able to think in terms of fighting inflation, enhancing profits, and enforcing competition. The automated system, I mean the software, has been conceived in a form that has now turned destructive in relation to social wealth.
Just to say a word or two on Italy: during the last two years, eight billion Euros have been withdrawn from education. And a hundred thirty thousand teachers have been fired in the Italian schools. What do you think, is this the way to renew growth in Italy? Is it the way to think of the future of Italian society? Obviously not.’
Merijn Oudenampsen:
You just published a new book, After the Future. Could you tell us something about the book?
Franco Berardi:

‘I started writing the book in February of 2009. It was the hundredth anniversary of the publication of the Futurist Manifesto. Futurism is a literary and artistic movement that has been hugely important, both culturally and politically. It can be seen as the first avant-garde movement, which was actively out to overturn society. What defines the Futurist Manifesto, and the Futurist culture in general? It is the exaltation of the virtues of the future. In a sense the futurist movement is an extreme version of the modern veneration of the future as progress, as expansion, and finally, as growth. There is no reason to assume that our idea of the future is something natural. Just think of the theological man of the middle ages: for him, perfection was not in the future. For him perfection was in the past, the time of paradise lost, when God created the world. Then there’s the Renaissance, when the idea comes up of a future produced by man, in a conscious and voluntarist way, politically and economically. In the nineteenth century, the idea of the future as progress becomes part of the human psyche. At the end of the twentieth century, this mythology comes to an end. First of all because of the crisis in the field of energy resources, especially fossil fuels, because of the awareness that growth cannot be infinite.

The beginning of that awareness was already present in the seventies, especially in the year 1977. The year when Sid Vicious and Johnny Rotten of the Sex Pistols went in the streets of London, crying ‘NO FUTURE’. That cry produced deep ripples in the youth culture of the following decades. After the Future is an attempt to rethink the present moment. We live in a time when the expectation of a progressive, expansive future proves illusionary. And it is a dangerous illusion, also because the world is getting old. The human population, not only in Europe but also in China, in India, in Latin America, with the exception of the Arabic world, is ageing. People are living longer and birth rates are going down. The physical energies of the planet are running out. So we have to live with the exhaustion, which can be a very interesting experience if we are able to face it in a non-aggressive and non-competitive way. We don’t need more things. We have too many things in our houses. We need more time, more affection, more solidarity. If we do not understand that, then war will become the only language between humans.
To finish, let me talk about an initiative, a call that I have written together with Geert Lovink. It is directed at the large army of lovers and the small army of software programmers. This is a call to resist, and our main point is that the movement that is coming to the streets in New York and Europe will not win this fight, because this fight cannot be won in the streets. Going to the streets is important, absolutely necessary. It is the way to start the real fight that will come afterwards. And what is the real fight? It is the fight of love. The ability to reactivate the bodies, the social and erotic body, that has been paralyzed by twenty years of precarization, by twenty years of impoverishment. Secondly, the real fight is the fight of software developers, of the people who have been writing the software of the financial system. We call on them in order for them to do what Wikileaks has done in the field of information: decommission, rewrite, and change the course of the future.


Source: http://metropolism.com
Metropolis M

Wednesday, September 7, 2011

The Last Word

Daniel BellDaniel Bell reflects on Friends, Foes, Influences, Ideologies, the State of the Novel, the State of the Union, and the Old Neighborhood.
This interview was conducted on September 21, 2010, a few months before Daniel Bell’s death, at his home in Cambridge, Massachusetts.



I. Adversaries

Who was your adversary when you were writing The End of Ideology and The Cultural Contradictions of Capitalism?

I’m not sure there’s a single person. It was more against a whole current of writers, against whole ideological ways of thinking.

It goes very far back, to a crucial personal episode which defined my life when I was in City College. I had joined the Young People’s Socialist League at the age of 13. It’s crazy, but there it is. And I did so for very basic reasons: my father died when I was an infant; my mother raised me; she worked in a factory. There were two seasons in the year — busy and slack. When it was slack, my mother would be home to take care of me. In the busy season, I was in an orphanage. The orphanage was supported by the Jewish community. There were these personal ties that were important.

I grew up on the Lower East Side, which juts out into the river. Before the highways came, there were these long piers. They still remain on the West Side, these long piers. And they had these so-called “Hoovervilles” on the piers, which were tin shacks, and people living there. Everything was in the open. You could see people fornicating, fighting, everything. There were big garbage scowls which turned up, and we’d jump on the top of these to see if there were bits of food. At 11 o’clock at night we’d go to the West Side markets and we’d break open crates, and run away.

Everything was marked out by turf and ethnicity. The Italians were here, the Ukrainian kids were there, the Polish kids were there, the Jewish kids here. And there was “turf.” Before E.O. Wilson, it was about “turf.” We really believed in biological determinism, with every group having its place. There’d be fights. And — this was particularly true of the Polish kids — they’d take potatoes, and put in the potatoes these double-edged razor blades, and throw them at you. A hail of potatoes with razor blades being thrown at you! What you’d do then is you took the top of the garbage cans, and those were our shields. And then our brave socialist women would go on top of the building and throw down hot water to get the kids scattered. And that was life, life on the Lower East Side.

People talk about “rent checks” and such now. About how poor people are because they don’t have enough to get their rent check. In those days, you didn’t have anything like a rent check! We lived in backyard tenements.

So I looked around, and I said to myself: what’s going on here? Twenty percent of the country was unemployed. At that time, there was no social security, there was no government aid of any kind. No unemployment insurance, no old age pensions, nothing. As a kid of thirteen, I figured capitalism was doomed. And so, through a couple of friends, we all became socialists.

Like a number of my young comrades, we in the Young People’s Socialist League were moving towards the Trotskyists. But I had some anarchist cousins who lived in the Mohegan colony which was near Peekskill, and there was a man named Rudolf Rocker, an anarchist. Even though he was gentile, he learned Yiddish. He was the editor of a magazine called the Freie Arbeiter Stimme, the Free Voice of Labor, and my cousin took me to see him. Rocker said to me: “Look, whatever you do, don’t join the Trotskyists.” I said: “Why?” He gave me a book by Alexander Berkman, called The Bolshevik Myth.

Berkman had been deported during the Palmer raids, during World War I. Anarchists went to Russia eagerly because, as they saw it, the anarchists had made the revolution. This wasn’t completely true, but at that time the country was still being led by the Soviets, or workers’ councils. And this is what the anarchists had always wanted: spontaneous movements by workers and peasants. So they went with great expectations.

But by 1921 sailors at Kronstadt were saying: “Look, you promised us free elections. What’s going on here?” And Trotsky said: “This is mutiny.” And that’s that. The sailors said: “We’re the ones who made the revolution in Kronstadt.” And he said: “Stop. I’ll shoot you down.” And Berkman tells this story, day by day.

He was in Kronstadt. He wrote about how he heard shouting, how he heard shots firing. “Trotsky has shot down the Kronstadt sailors! Thousands of bodies, thousands lie in the streets.” The very next day, Trotsky gave a lecture celebrating the Paris Commune. So I could never become a Trotskyist.

And yet I find myself being labeled at the end of my life as an “ex-Trotskyist.” But I was never an ex-Trotskyist — because I was never a Trotskyist!


But when you talked to Irving Howe, or people who were Trotskyites, were you unable to convince them?

We debated. We debated!

There was a group called the Shachtmanites, in City College. It was underground. The Shermanites were a group of radicals besides Irving Howe: [they] included Philip Selznick, the Berkeley academic who died just recently; there was also Irving Kristol. Marty Lipset was there — he took the name Mark Eden. And there was Marty Diamond. He was an extraordinary man who died young, who became a leading Straussian, probably the leading Straussian in American thought. And there was a man named Peter Rossi, and he took a Jewish name, Rosenthal.

There were these debates. I had read a book before the others had, by Robert Michels, called Political Parties. Michels had been a student of Weber and he wrote a famous book which Lipset used in his book on Union Democracy, about the bureaucratic tendency in every organization. That no organization is immune to the bureaucratic tendency. And it targeted the Social Democratic leadership. The Iron Law of Oligarchy. So I would debate Irving Howe, I would say — we would adopt this tone — “And you think, Comrade Sherman, that James P. Cannon is immune to the Iron Law of Oligarchy?” These were my rhetorical smashes against Howe.

Howe was a Commissar at that time. A real Commissar. His real name was Horenstein. My name was Belotsky, originally. And Howe took as his Party name Hugh Ivan. Hugh for the gentleman that he wanted to be … and Ivan for the Muzhik that he was. (Laughs.) Then when he married Arien Mack, he became humanized. Unfortunately, he was later cuckholded and that almost destroyed him.


II. A Liberal Utopian

Are you a utopian?

In a way, I consider myself a utopian. There’s a book I’ve started to write — I’m not sure I’m ever going to finish it — about the historical tension between messianism and utopianism. And it is an attack on messianism. Because I would argue that too many problems of the last two thousand years or so are due to messianism. A messiah has a great vision, usually of redemption. Messianism requires following a leader. It requires pulling everybody into the scheme of a leader. Whereas utopianism basically consists in co-opting people to build things together. There is no overall, overarching scheme.

But the historical difficulty of utopianism is precisely that it doesn’t have a messiah, or a similarly overarching, emotionally powerful actor. So that the tension between utopianism and messianism is frequently to the unfair advantage of the messianic. I believe more and more that if we can have utopian movements we’ll do better than if we have messianic movements.

Is there a place for utopianism in a liberal society?

I think utopianism is a necessary framework. People want some ideals. And that’s why in the book I’m planning the only antagonist to utopianism is messianism. Take the example of what I suspect would be one of the worst examples of messianism — the Jonestown episode, where 700 people simply drank a drug that killed them, at the command of Mr. Jones. The point about messianism is that it always leads to a system of command: you have to follow the messiah. Utopianism has no such system of command. It has only a cooperative imperative: to build.

The problem with utopianism, historically, is that it has a tinge of going back to some presumed ideal. There’s a source of utopianism which is somewhat beautiful in its way, but pulls it back — back to arcadia. Historically, the tension has been between utopianism and arcadia. What I want to do is to say: I don’t want to go from arcadia against messianism. I’d rather have utopianism. So there’s a triangulation there.

But the nineteenth-century utopians — men like Fourier — were not backward-oriented utopians. Were they somehow different?

It depends. Fourier was a madman. A real madman. A brilliant genius of a madman.

The best utopian was Saint-Simon. He had these schemes, these triangular schemes. You know how they Saint-Simonians would get dressed? They dressed with the buttons on the back of their suits. That way, you couldn’t dress yourself. You needed someone to help you. So that’s a wonderful situation, where you are creating communities because you can’t get dressed without them.

What did you take from the Saint-Simonians?

Theories of development. If you look at the theories of development, there are two streams which have never been worked out completely. One is the idea of capitalism, which comes from Marx. The other is industrialism.

The whole stream of “industrial society” begins with Saint-Simon, and from there you have Auguste Comte; then you have the positivism which develops from that, and then in modern times you have Raymond Aron, and finally someone like myself, following from Aron. Instead of capitalism, which in its own way is based upon notions of exploitation, and industrialism, which is based on the idea of technology, one can think of the development of society; of a positive scheme. It is only in the last 50 years or so that the theme of “industrialism” has come forward, and it is largely through the efforts of Aron.



I’m curious to hear you say this, because I don’t see you fitting in with this French line. There’s a deep Weberian pessimism in your work, and a sense of history that seems to owe more to Vico than to these enthusiastic Frenchmen.

That’s completely true. I think you are right that Weber is the lynchpin of my ideas. But no ideas are ever simply lineal. You always have a variety of influences. In a way, the other sort of pole is Durkheim, because Durkheim at bottom had a religious foundation.

III Literature and Politics

We haven’t talked about literature.

Well, I haven’t really kept up with contemporary novels.

But there’s a bunch in your office upstairs.

No one writes today about the larger element of society. Not Paul Auster, not any of the others. Everything is a falling away from the whole emphasis of social realism. But this is a pulling away.

Take this new book of Franzen’s. At the most it is about the family, and the hidden tensions within a family.

It is interesting that with the collapse of the psychological movement you get more emphasis on psychology. But no one talks about society anymore. Instead they talk about human rights. Because human rights then covers everything. The problem with human rights is that it doesn’t have boundaries.

Isn’t that Hannah Arendt’s criticism?

Hannah is a more complicated element. I knew her very well, particularly during the year I spent at Chicago. But I would say that Hannah’s book, The Origins of Totalitarianism, was wrong. Very few societies have ever been totalitarian, at least for long. You can’t simply smash everything. There’s always something left. No society can ever live that way.

The one thing the theory of totalitarianism never confronted is the family. People live by the family, and there’s no mention of families in The Origins of Totalitarianism. So that the idea that you smash a society… — but she changed her mind, interestingly enough, during the Hungarian Revolution. If you look at the introduction to the reissue of the book, you’ll see she changed her mind.


You speak very affectionately about communities and families, in particular of the ones you grew up in. Were you ever attracted to the communitarians?

Well, not in the way communitarians have developed. When I think of communitarianism, I think of two people. I think of Amitai Etzioni and Michael Sandel. As I used to say to Michael: “The trouble with your view is that I’m a Jew. And your communitarianism never mentions the right of Jews to be Jews.”

We’re a community, and yet the communitarian movement exists with respect to a national polity. And by existing in relation to a national polity, it tends to put aside the particularity of real communities, like the Jewish community. So communitarianism to me has always seemed an abstract option. And to the extent that it is a doctrine, it is related to a national polity, so that… — to some extent this reflects my anarchist background, that I want to diminish the national polity. Abolish it as a polity, not as an economy. I’ve written, as you probably know, that I’m a socialist in economics, a liberal in politics, and a conservative in culture.

And you’ve never had any trouble reconciling those?

Not in the least! I’m against the idea of totality, which is a whole Marxist concept. I believe there are different logics in the different realms. The economy is, more or less, a system in which interdependence is established through the different variables of supply and demand. The polity is not a system, it is an order, held together by coercion and consent. Culture has two dimensions. One is the dimension of forms that exist, and the other is the dimension of meanings.

Two things broke me away from Marxism. One is the fact that if you look at the great historic religions, going back to what Jaspers called the Axial Age, the cores are still recognizable today — Judaism, Christianity, Confucianism. Economies have disappeared, political empires have crumbled, yet the greatest religions remain. The question is: how can this be, if the mode of production determines the superstructure? How come they remain? So to me, the very nature of these great historic religions is a repudiation of Marxism.

The second is the idea of substructure and superstructure — the idea that the substructure determines the superstructure. Well, that’s silly. Look at Germany from the eighteenth century to the present. You have a Wilhelmine Empire, a Federal Republic, you have a Nazi period, you have the new Federal Republic — yet the substructure is basically still capitalist. Now how can that be? How, on a Marxist view, can you have a single substructure and yet such a variety of superstructures?


Ok, so the realms may be autonomous. But do you not think they are intimately related? In Cultural Contradictions, you write of how America’s crumbling cultural values threaten the economic realm.

Let me go back for a minute because this is crucial. If there’s no single dimension that runs across these different realms, then what is so special about them? I’m a socialist in economics because I believe that every human being has a right — if you want to put it that way — to a decent living standard. It goes back to Aristotle. If a man is not a member of the polity, he is either a beast or a God. So that there ought to be a “right” to give everybody a decent standard of living. Being a member of the society gives rise to a claim on the economy.

I’m a liberal in politics because I believe in merit. And I therefore believe that one’s position in society ought to be determined on the basis of merit.

In culture, I’m a conservative because I believe in judgment, forms, and meanings.

So that’s why I can assume a certain logical coherence to the idea of being a socialist in economics, a liberal in politics, and a conservative in culture.


But in Cultural Contradictions of Capitalism you precisely describe a contradiction between an economy that requires people to work and to save, and a cultural ethic that tells people to enjoy leisure, and to consume.

Well, here there is a contradiction between production and consumption. Go back to the original theories of Weber. Capitalism requires delayed gratification, savings, not going into debt, saving up for tomorrow. Whereas a modern society is a consumer society.

The beginning of the story of capitalism in the last century is a story of the 1920s. It was invented by a man named Paul Mazer. It is called the installment plan. Instead of saving up for it, you can get it now and pay later. This is an invitation to expand the market.

So there are always these little contradictions. Nothing is ever seamless. That’s one of the problems with the Catholic Church — it believes everything is seamless.


Do you think that in some ways the present financial crisis has vindicated your theory? Public and private debt in the United States are now three times GDP …

The financial crisis violates the most fundamental theorem of Weber: the only time that you go into debt is if you buy land in order to buy a house. But you can’t go into debt for other things. So that this tension of savings versus debt has always been there.

In this country, for the last 10-15 years or more, there’s been almost no savings. You go into debt. The debt was leveraged, because the notion was that house prices would always go up. One of the problems with the foreclosure thing today is that no one knows how many people speculated and flipped. If 10 per cent of people bought a house on speculation, with the idea of flipping it, they are stuck. And that’s a typical thing, if you try to deal with the issue of foreclosures: these people were buying just to flip it. So why the hell should you save them? No one had the courage to say: “Let’s see how many people bought extra houses to flip them.”

But the real question is: how can people, very smart people at Goldman Sachs and others, go on with the idea that you can leverage a whole society? They are living by leverage, and not realizing that there is a simple law in statistics: that we have a growth pattern that is an S curve. It goes up, and then you reach a midpoint, when it begins to come down. All these people are mathematical. So they’d have to say: “Hey, how can this thing keep going up?”

The answer, I suspect, is that enough people behind the scenes are saying: “That’s how I’ll make my money, at their expense. I’ll get out in time!” But they themselves then got trapped.

I have a former father-in-law, through a previous marriage, who wanted me to come into the family business. His name is Benjamin Graham. Benjamin Graham, you probably know, was the founder of value analysis. He said: “I have a bright young man here, named Warren Buffett. I’ll pair you with Warren Buffett!” And I said, Ben, the problem is, I have no stomach for the “timing,” and that’s crucial in this business. Well, anyhow, I worked for Ben, and I made some money with it. I do understand the markets.


IV. Past and Future

You used to serve on the Commission on the Year 2000. Some of that work came through in The Coming of Post-Industrial Society, which was really futurology: looking forward and trying to predict where society will be in 20 or 30 years.

There’s a misunderstanding to some extent, which is probably my fault. The Commission on the Year 2000, when I was involved in organizing it, was never really interested in the future. There is something called the Encyclopedia of the Future, which came out of a group in Washington, for which I wrote a long essay, attacking the idea of the future.


You mean attacking futurology?

Attacking futurology, yes, and in particular attacking Alvin Toffler, and what I called “future shlock.” (Laughs.)

There are two problems with futurology. One is that no one can do prediction. Why? Because predictions are point events, and you never know the internal dynamics. I think of my erstwhile colleague Zbigniew Brzezinski, with whom I taught at Columbia. During a debate on television he was asked: “Professor Brzezinski, are you a Kremlinologist?” And he said: “Well, if you like, though it is an ugly word.” “So you are someone who studies the Soviet Union? If so, Professor Brzezinski, how come you failed to predict the ouster of Khrushchev?” And Zbig said: “Tell me: if Khrushchev couldn’t predict his own ouster, how do you expect me to do it?!”

So you can’t predict. What you can do is deal with structural change. If you move from an agricultural to an industrial economy then there are obvious changes you have to make in the educational system, and various other places. That’s why I make a distinction between prediction and forecasting.

The other problem is that we weren’t interested in the future, per se. We were interested in the fact that once you make a decision it becomes binding and lays out the lines for the next time period. If you build a city, and build it on a grid pattern, then it becomes a constraint on how you build in the future. Whether you build in a circular pattern or a grid pattern affects the lives of people in the future. So we’re not only interested in forecasting the future, but in saying: let’s pay attention to how we make decisions now, because they are going to affect our legacy in the future.


What do you make of the confrontation between rival forms of capitalism, between state—directed capitalism in China, and whatever it is we have in the West?

Well, the story of the West begins in 1453.


The fall of Constantinople?

Yes, the fall of Constantinople. Good for you. (Laughter.)

What the fall of Constantinople meant was a shift to the Atlantic littoral. Holland, England, Spain, and Portugal became the main actors.

Now, there are certain kinds of large-scale, cyclical elements. In the nineteenth century, to the extent that there is any single indicator, and it is a difficult one, it would be steel. England based its industrial revolution on steel, and on the availability of coal. Eventually the United States overtook Britain on steel, and we became dominant. And then Japan, and Korea, who were able to undercut us on price. The only way you can avoid that, the way the Italians avoided some of it, is to move to specialized and niche production, as opposed to mass production. The Italians lost out on textiles, but then they began to specialize in a niche market, as did Benetton and others.

When the Russians managed to increase their productivity it was for the same reason the Chinese are now increasing their productivity: the movement of people off the land and into cities. The urbanization process. The Chinese have these huge internal migrant populations. Now, of course, the Chinese are beginning to get worried about countries like Vietnam undercutting them in turn.

So these large-scale shifts are taking place, and we’ve lost out almost completely. What we have to do is either go into niche production, or find new areas. I think in the next 20-30 years, maybe longer, space will be a major area, undersea resources, biology, some elements of basic research.

I think the U.S. is in a difficult position. The recent recession is a blip. It is a consequence of overleveraging, speculation and so on — but it doesn’t really have anything to do with the fundamental structural problems confronting this society.



The recession was a blip?

It might not have been a blip. The financial system is responsible for shifting money into resources. It overdid that, and failed. The question is whether you can really recreate a viable financial system. But all of that is secondary.

The real issue for leadership is that very few people pay attention to fundamental structural changes. We can identify fundamental structural changes, and that is the only defense we have against cyclical changes.

But in this country now, unfortunately, nobody really looks at trying to find out what the historic precedents and trends might tell us. There is no sense of history in these matters.

Daniel Bell was a sociologist and Professor Emeritus at Harvard University. He served as managing editor of The New Leader (1941–1945), labor editor of Fortune (1948–1958) and later co-editor (with Irving Kristol) of The Public Interest (1965–1973). Among his best-known books are The End of Ideology (1960), The Coming of a Post-Industrial Society (1973), and The Cultural Contradictions of Capitalism (1976). His book, The Reforming of General Education: The Columbia Experience in Its National Setting, has recently been republished by Transaction with a new introduction.
Roberto Foa is a PhD Candidate at Harvard University.
Thomas Meaney is an editor of The Utopian

Source: www.the-utopian.org, February 10th, 2011.

Saturday, May 21, 2011

"If you can improve the corner of your street"

Kaelen Wilson- Goldie, Kader Attia, Vasif Kortun and Wael Shawky on Art in the Middle East


Kader Attia
Untitled (Skyline) 2007
© Kader Attia
140 fridges, mirrors


Camille Zakharia
Hut 15 Muharraq, Bahrain 2010
Courtesy Galerie Lucy Mackintosh, Lausanne © Camille Zakharia
Archival inkjet print
56 x 56 cm



Model of Jean Nouvel's Louvre Abu Dhabi on Saadiyat Island
© Ateliers Jean Nouvel, Courtesy Louvre


Kaelen Wilson-Goldie: There is a common assertion, whether it’s right or wrong, supportable or not, that the contemporary artworks that have been produced in the Middle East over the past ten to fifteen years are quite heavy on politics, more so than in other regions. I think maybe you can approach this assertion several different ways. You could say it’s a matter of interpretation: that certain curators and critics over-emphasise the political content of the work that’s coming out of this part of the world; that they look to the art for what it tells them – or confirms for them – about various conflicts in the region. In effect, they instrumentalise the work. Or you could say it’s a matter of selection: that institutions and curators are immediately drawn to political work at the expense of everything else that’s out there. The assumption is that what audiences, particularly those outside the Middle East, really want to see is how the region’s troubles and tragedies are reflected in or expressed through artistic practices. So you end up with a really distorted representation of what’s happening artistically. Or you could say that it’s precisely the politics of the Middle East that shape the forms and strategies of artistic practice. Is contemporary art from the Middle East more political than from elsewhere, or is the work so politically loaded because the region itself is so politically charged?

Vasif Kortun: Quite a lot of work is interested in forms of narrative, producing meaning from different angles, engaging in the present, and that seems to come across as political, or is seen as political. I think if you asked that question about other places, for example the Balkans ten years ago, you’d get a similar answer. It’s not about the art from one region or another being more political. It’s about the position from which we ask the question. The people who pose that question seem to be asking it from a “centralist” position where there is actually a certain gamut of art that works in a particular way. I don’t think it’s a good question to ask. It isolates, and actually marginalises a context.

Kader Attia: In one way, I agree about the central position of who asks the question. But we also need to remember that the Middle East, from Morocco to Tehran, is an area where the presence of political authorities in everyday life (both the local actors, as in Algeria, Egypt, Tunisia, etc, and the Western ones, as in Iraq for instance) and strong censorship systems gives artists (including writers, directors, etc) only little room for contestation.

Kaelen Wilson-Goldie: What about the category itself? What does contemporary art from the Middle East mean? How has it been constructed? Is it a field of artistic production? Is it tied to a certain art historical lineage? Is it a market? Is it a larger infrastructure that includes a market, museum projects and different funding bodies? Given that all of you live in different cities, work in different ways and deal with different state systems, how did you see yourself or find yourself in this category?

Vasif Kortun: That’s a tough question. For me, it is predicated on the context of Turkey in particular, because having come from a place that actually occupied the region for a very long time – I mean, all except Iran – there is an historical trajectory. But up until almost the end of the 1990s, there was very little visible give and take between Middle East countries. The region did not exist for practitioners in Turkey. The order of discourse was vertical, in the sense that borders were closer to New York than Cairo, or wherever, depending on what the imagined power centre was at the time. After 1989 the Balkans came into focus following the break-up of the Soviet states. That was the watershed. It changed everything, which also made it inevitable that practitioners would start paying attention closer to home. I did, at least. In the past decade the region became in many ways the subject of great interest. This meant I was able to orientate my institution, the Platform Garanti Contemporary Art Centre, towards establishing very close links with places such as Ashkal Alwan in Beirut, or the Townhouse Gallery of Contemporary Art in Cairo – to start residencies and try to build relations with places that one feels much closer to. Incidentally, I don’t go to Europe any more, almost never. Even the travel routes and the context have changed. This all started around the time of 9/11, or right after it. Now we see a completely different situation in which we have to navigate everything differently.

Wael Shawky: Usually I feel defensive of the category, of course, but actually I felt it most when I was in the residency programme at Platform in Istanbul. I lived in Mecca during my childhood, and then I came to Egypt. Most of my work deals with ideas of nomadism, emigration and religion. I hadn’t been aware of any pressure to deal with or try to define an identity – of coming from an Islamic country, or from the East or the West. But I felt this tension during my stay in Istanbul. I didn’t make too many pieces in Istanbul, just The Cave (2005). I was trying to translate my experience there. That was around the time when everyone was talking about Turkey’s bid to join the European Union. At the same time, it is an Islamic country – you go to the mosques and you hear people praying. But then again, most of them don’t understand exactly what they’re saying, because they don’t speak Arabic. All these questions made me think back to my childhood in Mecca.


Still from Wael Shawky's The Cave (2005)
Courtesy Galerie Enrico Navarra © Wael Shawky


Kader Attia: The situation is a little different for me because Algeria is a country that has been colonised for most of the last 2,000 years of its history, by the Romans, the Arabs, the Ottomans and the French. This idea of categorising an identity, such as Arab art world or contemporary Middle East art scene, is actually very French, something that developed during the Age of Reason with René Descartes. I fear the idea of giving a name to an area as huge as the Middle East. Edward Said said that the Orient starts in Rabat and goes to Tokyo. So I don’t regard my work as being inside of or beyond any frontiers or boundaries of the Middle East. I try to be an artist first.

Kaelen Wilson-Goldie: In the period after 9/11, and before all the new museum projects were announced in the Gulf, institutions in Europe and North America seemed to become, very suddenly, interested in doing exhibitions of contemporary art from the Middle East. How have you grappled with that interest in your work? Have you tried to frustrate or complicate the expectations involved?


Kader Attia
The Landing Strip 2000 - 2002
Courtesy Musée d'Art Moderne de la Ville de Paris © Kader Attia
C-type print


Figure #63 from Wael Shawky's film Cabaret Crusades: The Horror Show File (2010)
Courtesy Sfeir-Semler Gallery, Beirut © Wael Shawky

Kader Attia: I don’t try to fulfil or frustrate any expectations. When I am invited to participate in an exhibition, should it deal with religion or the Middle East, or with any other theme, I first read the statement of the curator and see if he or she tries to tackle questions that seem interesting to me, or that I feel linked to. That will be the reason why I take part in a project. I have to feel 100 per cent concerned by what the curator is trying to do. As an artist, my main concern is to raise questions, with no specificity of geographical area or religious background, even if these areas and religions are part of who I am. This will show through my work, but not in a literal way.

Wael Shawky: I have been involved in many shows under the banner of Middle Eastern art and Islamic art, etc. And I have started to refuse to take part in them. Many artists now are doing the same. Because of 9/11, this interest touches the political or religious aspects I’m using in my work. But it’s because I’m coming from this religious background in Mecca that my work is dealing with these topics, so I don’t think I feel the problem myself. At the same time, of course, I have to reject this interest, as a political position.

Kaelen Wilson-Goldie: Let’s look at the rise of these museum projects in the Gulf, such as the Guggenheim and the Louvre in Abu Dhabi, and Mathaf, the Arab Museum of Modern Art in Doha, and also the new sources of funding for production in the region, such as the Sharjah Art Foundation’s programme, or the number of commissions for the Sharjah Biennial, for Art Dubai, or for the opening of Mathaf. The focus of Mathaf’s collection is on twentieth-century modernism, but it opened in December with the exhibition ‘Told/Untold/Retold’, which featured 23 newly commissioned works by artists “with roots” in the region. If your work were to be acquired by these museums and added to their permanent collections, would you feel that it would be at home there, however loaded the term home may be?

Vasif Kortun: I thought you were going to be facetious and say, would you feel your works would be marginalised! From the way I look at it, it is better for an artist’s work to be in a regional public collection than in the Tate Collection.

Wael Shawky: I don’t have a problem with that, honestly. I don’t even have a problem if these museums organise those kinds of shows with Middle Eastern themes that I was just talking about, because I think it’s very important to start with this, somehow. Then, in time, it will change. I think it’s fine. Contemporary art in this region in general is very, very new, and I believe it is important to start somewhere, with something, even if it’s not perfect.

Kader Attia: For me, it’s also fine. I think it’s another step, as Wael says. I was in Doha for the opening of the Museum of Islamic Art in 2008, and I think they did well. What I like very much is that they are doing it step by step. They have built this beautiful museum designed by IM Pei, and they have the collection. Even if the works have been seen before, this new dynamism is now visible. But to answer your question, I think all artworks, mine or those of other artists from any background, are at home in any museum of the world.


Scale model of Frank Gehry's Guggenheim Abu Dhabi
Courtesy Gehry Partners, LLP. Photo: Tarik Iles


Artist's rendering of the exterior of Mathaf: Arab Museum of Modern Art, Qatar
Courtesy Nafas Art Magazine, Berlin

Kaelen Wilson-Goldie: How would you compare the Gulf museum projects with the Modern Art Museum of Algeria (MAMA), which opened in 2007?

Kader Attia: I support the MAMA. Algeria has a lot of problems with fundamentalists, especially in the south now, and it’s a country that only recently came out of a civil war. The fact that the government invested money in culture is very important. It’s more than a sign, it’s real. When the MAMA opened, it was amazing to see the people who came. There was a great sense of energy. I think the director, Mohammed Djehiche, is very open minded and is really aware of how difficult it is today to show contemporary art in a country like Algeria. My involvement with the museum is not just as an artist; I’ve also been asked to propose curatorial projects. Nevertheless, in relation to what I said earlier about the tight space available for criticism of the political system in Arab countries, I think showing political contemporary art in the MAMA is going to be a difficult job for everyone. Let’s see…

Vasif Kortun: At Platform, we have developed an active resentment against projects that put forward this kind of representational politics. I try to dissuade artists from participating in such projects. I am not sure if an artist’s work is at home everywhere. Also, I don’t see any museums in the Western hemisphere destabilising their narrative. I don’t see any creating situations where there is a serious openness to artists that come from other places, unless those artists are used to perform certain premeditated roles for the collection. I think that the acquisition policies of such institutions are still very much about buttressing the narrative and working with a very limited stable of galleries. So a project such as Mathaf – which has a very, very impressive collection – seems more like home to me. If I were an artist, then I would feel very much at home there, because there is space for me, there is room for me, and it is possible to interact with a different kind of narrative for me.


Dia Al-Azzawi
Folklore Mythology 1968
Courtesy Mathaf, Arab Museum of Modern Art © Dia Al-Azzawi
Oil on canvas
58.1 x 181.3 cm


Ahmed Basiony
Performing Symmetrical System at Mawlawiyah Palace, Cairo, 2009
Courtesy Nafas Art Magazine, Berlin © Estate of Ahmed Basiony

Kaelen Wilson-Goldie:All of you are involved in the running of art spaces in your respective cities. Why, in addition to your work as artists or curators, are you doing this? Are these spaces responding to specific needs that you’ve identified as crucial in the art scenes of Istanbul, Alexandria and Algiers?

Vasif Kortun: We are just shifting from a contemporary art institution, Platform, which had a basic library and an archive and a residency programme and an exhibition space, to a larger institution, SALT, which is much more based on research, archives and intellectual production. We are moving into publishing, which we had not done before in any serious way. We are moving away from contemporary art as a privileged medium. This also has to do with the fact that we are expanding with and utilising the experience of two other institutions – the Garanti Galeri, which is about urbanism and architecture, and the Ottoman Bank Research and Archives, which is about social and economic history – so it is inevitable that we move on, but we are trying to move to an interdisciplinary format, where questions of medium and discipline are not our primary concern.


Walid Raad
Let's be Honest, the weather helped (plat 008_Finland) - Detail 1998/2006-7
Courtesy Anthony Reynolds Gallery, London © Walid Raad
Lightjet print
48.8 x 72.4 cm


Jeffar Khaldi
From Fade Away 2010
Courtesy Mathaf, Arab Museum of Modern Art © Jeffar Khaldi
Oil on canvas. Series of one diptych and four paintings
Dimensions variable


Wael Shawky: MASS Alexandria opened recently. Originally, it was my studio, but I decided to divide it into eight studios for eight students. Each will have his or her space for six months, during which time they will host professionals, artists and curators, and organise workshops, seminars and talks. I felt this was the only way to create something parallel to the University of Alexandria’s art faculty, because it has a lot of problems. It’s extremely conservative and academic. The idea is for MASS Alexandria to create a channel for students to gain exposure to contemporary art. Alexandria is my home town. I graduated from the university. Every year, more than 500 students graduate from the art faculty. Yet we still don’t have a contemporary art scene. Somehow, I knew that opening MASS Alexandria wasn’t my responsibility, that it wasn’t up to me to make this space alive. But I was pushed to do it. I always talked about it, and I always said this must happen, we need to have this space in Alexandria. I never thought I would do it. But somehow everyone was just waiting for me to do it.

Kader Attia: We, the artist Zineb Sedira and I, have been working on our space for two years now. We are scheduled to open with an exhibition in the next year. The idea of this project, which will be named ‘Art in Algiers’, is to use both the geographical and historical situations of the country as a bridge linking the culture of Africa to the Arab world. It’s an Afro-Arab project. We’ll be inviting artists, curators, philosophers and critics – many different sorts of intellectuals from all over the world – to come to Algiers to give lectures and share their knowledge with Algerian people, because many of our art students are not allowed to travel to Western countries. They won’t get a visa for the West, but they will for the rest of Africa and Arab countries. We want to create an agora to gather people from all over the world with this idea of discovering each other and sharing Afro-Arab culture. It is something I’ve wanted to do for many years, because I grew up between Algeria and France. I have both French and Algerian nationalities and passports, but I always felt the huge gap between the West and the East. I want to fill that gap. And maybe in the end it will become a bookshop, because in the beginning the nature of the project was more editorial. The aim was to produce publications, because it is difficult, technically and politically, to publish books or reviews in Algeria. But I need to think about it. It’s also just about opening something in the country where I’m from, and where all my family lives. It’s not a sort of militant project, but it’s the idea that you can improve your country by yourself, even if it is on a small scale. If you can improve the corner of your street, that’s the beginning of something – that’s progress.
Exterior of the Townhouse Gallery, Cairo


Exterior of the Townhouse Gallery, Cairo
Courtesy Townhouse Gallery, Cairo
Kader Attia is a French- Algerian artist. His works Untitled (Ghardaia) (2009), Oil & Sugar #2 (2007) and Untitled (Concrete Blocks) (2008) were recently acquired by Tate. His art is featured in the Cornerhouse exhibition 'New Cartographies, Algeria-France-UK', Manchester, until 5 June, while his 'Art in Algiers' project with Zineb Sedira opens in November 2012 in Algiers.

Wael Shawky is an Egyptian artist based in Alexandria. He is the founding director of MASS Alexandria, an independent education space for young artists. His work Telematch Sadat (2007) is in the Tate Collection. His exhibition at Nottingham Contemporary runs until 26 June.

Vasif Kortun is a curator, writer and teacher, and director of research and programmes of SALT, Istanbul, and curator, UAE Pavilion, Venice Biennale 2011.

Kaelen Wilson-Goldie is a journalist and critic based in Beirut.

Further recent Middle Eastern and North African art acquisitions by Tate include work by Mahmoud Bakhshi Moakhar, Hala Elkoussy, Samira Eskandarfar, Lamia Joreige, Emre Hüner, Rabih Mroué, Marwan Rechmaoui and Nazgol Ansarinia.

The Modern Art Museum of Algiers opened in 2007, Mathaf, Arab Museum of Modern Art, Doha, Qatar, opened in December 2010; Zaha Hadid's Museum of Contemporary Art, Bahrain, is due to open in 2012, Guggenheim and Louvre Abu Dhabi, designed respectively by Frank Gehry and Jean Nouvel, will open in 2013. The new National Museum of Qatar, designed by Jean Nouvel, is scheduled to open in late 2014.

Source: Tate etc, Issue 22 / Summer 2011