Wednesday, September 29, 2010

An Overview of Marx's Economic Theory


Chris Craig’s “Some Thoughts on Ideology” explains some of the ways hegemony and ideology function in a capitalist culture, exploring a few subtle (and some not so subtle) ways in which we, as capitalist subjects, are conditioned to value a system which promotes exploitation and greed above all else. While these examples are certainly valuable insights upon which our understanding of Marxism depends, we thought it might be useful to think about the economic and historical aspects of Marxist theory. One could argue that Marxism in its most basic form is an economic theory, and that understanding the theories of economics it analyzes and promotes is basic to any further application of the theory, be it literary, cultural, or historical.
Central to Marxist economic theory is the commodity and commodity production. In the first chapter of Capital, Marx defines a commodity as “an object outside us, a thing that by its properties satisfies human wants of some sort or another.”  The production of commodities depends on two things: first, the existence of a market of exchange, and second, the social division of labor to produce different commodities for exchange. Marx holds that the conditions of this exchange are dependent on the use-value, the actually usefulness of the commodity, and the exchange-value, which is determined by the labor time necessary to produce any given commodity. The exchange value is what is expressed in the price of a commodity. The idea that the labor time required to produce a commodity determines its value is called the labor theory of value, which forms the premise of Marxist economic theory.
Marx argues that capitalism is a distinctive economic system because it not only involves the exchange of commodities, but also the advancement of capital, that is, money or assets that are available for investment. Capital that is ‘left over’ after the costs of production have been met is profit, the accumulation of which is the ultimate goal of capitalism. In order to generate profit, capitalism needs three things—exploitable resources, exploitable labor, and exploitable markets. Clearly, exploitation is a theme here. The capitalist always seeks to get more for less, much in the way a consumer bargain hunts at a sale. In terms of resources, lower prices or more efficient technology can allow the capitalist to pay less for the same quantity and quality of material. Chris mentioned the way that capitalists seek to exploit labor—wage slavery, meaning that the worker must produce surplus value, or value that exceeds the worth of the worker’s effort. On a basic level, this means that the capitalist must get the laborer to do ten hours of work for five hours of pay. Marx argues that it is this exploitation of the laborer that generates profit, an idea known as the surplus value theory of profit. The laborer is exploited from another angle as well, as a consumer in an exploitable market. If capitalists can produce more for less while demand increases, then prices can be set higher, generating further profit. In another way, if capitalists can find new commodities and create demand for them, this will also further profit.
As Chris explains, there are various ways of convincing the laborer and the consumer to participate in a system that exploits them. For the laborer, this means wage slavery. In wage slavery, the capitalist pays the laborer just enough to keep him or her coming back to work and producing, but not enough that he or she is able to take the steps to escape their enslaved position. This works because the laborers do not have capital of their own, thus all they have to sell is their labor. For the consumer in the capitalist market, hegemony and ideology work together to convince an individual to buy those jeans or that ipad. In either case, the capitalist creates conditions which trap the consumer and the laborer in their subservient position.
It is this fact that led Marx to write in the first chapter of the Communist Manifesto that “the history of all hitherto existing society is the history of class struggle.” Marx’s theory of historical materialism, something we spoke about in class, posits that societies progress and decline according to material conditions. That is, the economic base and superstructure’s ability to develop or diminish human productive power. Marx argues that humans are essentially productive beings, and that it is the structure of a society, in terms of economics, legal institutions, and political administration, which determine the degree of this production. It is important to note that Historical Materialism emphasizes the productiveness of the society of a whole, thereby defining this productiveness in terms of interdependent relationships and cooperation. This idea is explained in Marx's Outlines of the Critique of Political Economy, in which he says that "Society does not consist of individuals, but expresses the sum of interrelations, the relations within which these individuals stand." The failure of any society to promote productiveness, then, leads to the decline of that society. Furthermore, Marx suggest that at this point of decline, workers become aware of their subjugation and the alternatives available to, leading them to revolt. Hence, the Communist Manifesto call to arms, “Working men of all countries unite, you have nothing to lose but your chains.”
Marx’s theories of economics and historical materialism have, like all theories, developed over time as new scholars come to understand and interpret them. While many of Marx’s original theories have been altered to account for original gaps in logic or misconceptions generated by the text, the principles discussed here provide an overview of Marxist economic theory which is vital to understanding Marxism as a broader theory. A compilation of Marx’s work is available here. The Stanford Encyclopedia of Philosophy is also a useful site for getting a general background on many prominent theories, an overview of Marxism can be found here.

Wednesday, September 22, 2010

Some thoughts on Karlheinz Stockhausen


What does it mean to theorize 9/11 on a political or aesthetic level as something other than "attack" or "terrorist act"?
Both of the terms “attack” and “terrorist act” carry sentimental implications.  Both terms also carry negative connotations, thus turning the person or group carrying out the attack/terrorist act into the ‘bad guy’.  The receiver of these actions therefore becomes the ‘victim’.  To theorize 9/11 as something other than these sentimental ideas is to imply that the theorist does not adhere to the thought that the United States are the ‘good guys’ and al-Qaeda constitute the ‘bad guys’.  In turn, this insinuation suggests that whoever doesn’t sympathize with the United States may as well be a terrorist themselves (whatever that means).  The jingoism that erupted after 9/11 condemned any action that may have seemed unpatriotic.  American flags hung everywhere, not due to some surge of patriotic pride in everybody, but based on the national understanding that the lack of an American flag would be negatively regarded.

What are the aesthetic components of 9/11, according to Stockhausen?
The events of September 11, 2001 provoked many emotions on the international level; some portions of the world’s population were distraught, shocked, and appalled, others terrified and disturbed, while others felt a sense of satisfaction and perhaps euphoria.  This multitude of emotions is precisely what art is supposed to provoke.  The artist, while they may desire a certain reaction, has no control over the affect their work has on the viewer, as art is subjective.  As a composer, Stockhausen sought to reach people on a completely sensory and emotional level, and he appreciated that the events of 9/11 were able to do this.  As an artist, he viewed the amount of preparation and attention to detail executed by the participants in the event, and related it to slaving over a composition noting, ''You have people who are so concentrated on one performance, and then 5,000 people are dispatched into eternity, in a single moment. I couldn't do that. In comparison with that, we're nothing as composers.''  In addition to the overflow of emotion around the world, the victims of 9/11 were forever changed by the event (albeit through death).  Art has the potential to change for better or for worse, and whether the change is better or worse is entirely subjective.  Stockhausen’s assertion that the events of 9/11 were “the greatest work of art that is possible in the whole cosmos” is not necessarily praise for violence, but instead an appreciation of the effort necessary to orchestrate and produce a pervasive reaction.

How do we define terrorism? How do we define art?
There is no all-encompassing definition for what constitutes art anymore.  Through numerous movements, there has always been somebody driven towards the avant-garde. The outbreak of World War I corresponded to the beginnings of an especially revealing art movement, the Dada movement.  Dada begs the question, “What is art, and who is in charge of deciding?”  Dada brought any presupposed qualifications for art crashing to the ground.  Marcel Duchamp’s readymade sculpture Fountain, which premiered in New York City in 1917, galvanized the artistic community and forced its viewers to question their own views on the boundaries imposed on art.
To view
Fountain, click here: http://images.google.com/imgres?imgurl=http://www.shafe.co.uk/crystal/images/lshafe/Duchamp_Fountain.jpg&imgrefurl=http://www.shafe.co.uk/art/Marcel_Duchamp-_Fountain_%28Readymade-_1917%29-.asp&usg=__GCQu30DjDv35Na1gFyrcuG1NKx8=&h=520&w=403&sz=22&hl=en&start=1&sig2=1x3KVoOCLNmYWqlsuoLkyw&zoom=1&tbnid=kWwO-Xe9cLSZnM:&tbnh=131&tbnw=102&ei=5y2WTJW6I8K78gbztbCNDA&prev=/images%3Fq%3Dduchamp%2Bfountain%26hl%3Den%26biw%3D1280%26bih%3D587%26gbv%3D2%26tbs%3Disch:1&itbs=1
Duchamp’s Fountain is a urinal rotated 90 degrees and signed “R. Mutt.” The immediate reaction for some may be disgust. Perhaps the viewer would involuntarily visualize somebody using the urinal for its original purpose.  Others may simply state, “That’s not art, that’s just a urinal.”  Dada answers this dismissal with, “Why isn’t it art?” 

Personally, I would suggest that anything (including films, paintings, home furnishings, landscaping, Lego sculptures, literally ANYTHING) that moves one to feel a certain way – terrified, giddy, horny, serene – should be considered art.  Whether or not something induces a positive or negative reaction does not matter in the world of art.  What is important is that a reaction exists.  The most poisonous reaction one could have (not only to art, but to anything in life) is an indifferent reaction.  After 9/11, there was a gargantuan reaction worldwide, which is all an artist ever wants for his or her creation.  As a composer, Stockhausen is familiar with the artistic strive towards affecting people on an emotional level.  On some unconventional level, his remark expresses a degree of jealousy at his inability to affect people as intensely as 9/11 did.

According to Merriam-Webster (available online at http://www.merriam-webster.com/), terrorism is defined as “the systematic use of terror especially as a means of coercion.”  The organizers behind 9/11 plausibly fit into this definition; however, so does the schoolyard bully who beats other students up for their lunch money.  Angus Martyn’s article “The Right of Self-Defense Under International Law – the Response to the Terrorist Attacks of 11 September” (available at http://www.aph.gov.au/library/Pubs/CIB/2001-02/02cib08.htm#international) addresses this blurry definition, directly stating that the international community has never succeeded in developing an accepted comprehensive definition of terrorism.  In 1985, despite the failure to define terrorism, the United Nations General Assembly adopted a resolution “unequivocally condemn[ing], as criminal, all acts, methods and practices of terrorism wherever and by whomever committed...[and calling]s upon all States to fulfill their obligations under international law to refrain from organizing, instigating, assisting or participating in terrorist acts in other States, or acquiescing in activities within their territory directed towards the commission of such acts.”  How can one condemn an action fairly without being able to define it?