Nietzsche: “God is dead.”
Althusser: “Man Is Dead.”

To A Student:

All of what you say about Louis Althusser is essentially correct, though it does seem to me that you’re concentrating only on the opening section of his essay. That part, as I said in a previous post, is interesting and important, but in many ways, as Althusser himself avers, is not terrifically different from Antonio Gramsci‘s writings on hegemony. The opening, in retrospect, will appear quite different, far more thematically nuanced and critically insightful, after you’ve read through the end of the essay, which is simply staggering.

It’s in the later half that Althusser puts forth his whole theory of interpelation, wherein he presents not just an argument about the oppressiveness for workers of the relations of production, but, far more fundamental, an account of the process whereby the working $ubject is produced. Yes, churches, schools and offices are sites where this takes place. But the key for Althusser, something I tried to point out in class with my presentation of the semiotic square, is that one is not a subject who after the fact enters into “the relationships of the relations of production”.


Just to bring you up to speed, not only should the duplication of the stem “relat-” catch your eye, but in particular Althusser’s use of the word “relation-ships“. This is not a Marxist economic terms of the sort Gramsci would have used but rather an anthropological term, one taken directly from Claude Levi-Strauss. It refers to the superstar anthropologist’s presentation, in Structural Anthropology, of the “elementary structure of kinship”, an atomic set of basic familial relationship which inform all identities, activities and even attitudes within primitive cultures. The point Levi-Strauss wants to make in this essay is that within such structures the individual means nothing. Each individual body enters into the structure, which is to say into culture, only insofar as loses its individuality and takes up a functional role within the larger whole. Not only does the discrete biological body no longer exist in the raw form after this moment of “interpelation” (as if it ever did in the first place), but indeed the individual unit of consciousness does not exists before this moment of entry into larger structure. Even before its birth, as Althusser insists, the individual was “always already” a $ubject.


This is the crucial difference between Marx and Althusser; or, between the early Marx and Althusser. Because one of Althusser’s greatest projects, a life-long project, was to demonstrate something I discussed in class yesterday – that at a certain moment in Marx’s life, around 1848, a fundamental epistemological shift (“decalage”) occurs. In the same way that pre-history of modern sculpture, at a point around 1900, can be seen to meet an agonized end in the failed commisions of August Rodin; or just as the historical “moment” that was modernist sculpture in turn meets its demise around 1964, when a welter of previously unimagined but nevertheless mappable forms begins to arise; so, at a certain moment in the mid-19th century it becomes possible to think the end of another historical “moment”, that of Man. The end of Humanism, a tradition apparently going back a number of centuries, according to this argument which is made in structuralist terms akin to those used by Krauss, in fact only dates back to the late 18th century, with the rise of a particular set of ideas, question and disciplines known as the Sciences of Man – all of which focused on the human body as a scientifically knowable entity, and all of which maintained a face that the scientific investigation of Human nature would eventually lead to a just, equitable and peaceble brotherhood of Humanity.


Althusser’s argument, quite simply, is that sometime just around 1948 – when he wrote the “Theses on Feurbach” (the last and greatest exponent of Humanism) and The Communist Manifesto, Marx was able to think the end of Man, to realize man is neither the apex of creation nor the perfection of nature, nor is Man even an entity which has a continuous and unified history which will eventually culminate in self-knowledge and self-actualization. Rather, Man is an ideological construct of relatively recent advent. I say ‘advent’, instead of ‘invent’, specifically because Marx, as Althusser constructs him, does not believe anyone in particular invented the myth of Human History. Rather, Human History arises as an “event”, and takes the form a total “moment”, a comprehensive structure outside of which it is not possible to think at all. Or, to say it contrariwise, it is only by fully mapping out the extended field within with the Human is but one term or position (and for that reason it can no longer be seen as a privileged), that one is able to project the end of Man. One can only think the end of Man from within, and at a particular moment during, the History of Man. In other words, the critique of Man must be a radically immanent critique, because thought itself, consciousness itself, only exists within a structure.


To put it in psychoanalytic terms, which Althusser also admits to adopting, it is only possible to map the Unconscious from the position of consciousness. This is the fundamental difference between the early Marx and the later Marx, the early Marx and Althusser. The former believe in the original dignity and eventual sovereignty of Man. Ideology, according to this view, is a state of false consciousness into which humanity fell. In the middle of his essay, Althusser points out the two prevailing beliefs about this fall: 1) That of the 18th-century French philosophes was that false ideas has been foisted on the majority by the priest and despots in order to exploit them. God, here, is a weapon to crush. 2) That of the 19th-century German philosophers and historians (a veritable new science) was that false consciousness was a phase that humanity needed to pass through over the course of it natural development. God, here, is a fantasy construct through which humanity darkly contemplates its own image. Of course, for Althusser, both of these are wrong. Because each supposes that it is possible to overcome ideology, to start, “in the final instant”, outside of ideology and come to consciousness per se. Hence, the obvious contrast is between false consciousness and free consciousness. What Althusser claims Marx saw, though still dimly because he lacked the methods and insights later furnished by structural anthropology, what the free consciousness was itself a form of false consciousness.


In fact, free consciousness, the belief that we are in control of our own minds and actions and destinies, is false consciousness par excellance. The very feeling, to put it as plainly as can be, that we have finally stepped free of all ideology and at last stand in the clear, this is the surest indication that in that very moment we have entered into Ideology completely. This, again, is the famous moment of recognition, the moment of the production of the $ubject, of his entry not into the relations of production but into the relationships of the relations of production; which Althusser calls “interpelation”, or “hailing”. It is both a total event which happens at various key moments in our individual lives, but even more importantly for Althusser, it is a ongoing process we repeat, moment by moment, every instant of our waking lives. Each time we say to ourselves not just, That’s where I work; or, Now it’s time to pay my bills and do my taxes; but indeed each time we say to ourselves, These are my pants and thank God the key are in the pocket; or, Man, I really feel like myself today; we are in that same instant hailed into $ubjectivity, as term which must be heard in its pure ambivalence.

Robert Gober
“Untitled” (1992)
Site-Specific Installation (2007)
At Schaulager, Basel

There is no outside to Ideology. In the same way the outside of the total social practice we call Text can only be thought as a logically necessary aspect of Text, one which must properly be understood as Not-Text; so the outside of the total social practice we call Enlightenment, or Freedom, can only be thought as a logically necessary aspect of the same structure which must be properly be understood as Ideology, or Necessity. As Lacan, so famously put it, “There is no other of the Other.”

Must See! Tonight!

Posted: April 26, 2012 in Uncategorized

Tonight! Thursday, 7:00pm at UMFA – Utah Museum Of Fine Arts!

Journey back in time as cave art expert Dr. Jean Clottes explores man’s early mastery of artistic expression in the Chauvet Cave, one of the best-known sanctuaries of prehistoric painting in the world.

Dr. Clottes is an internationally acclaimed cave art expert. He recently served as scientific adviser on prehistoric art to the French Ministry of Culture, and has led excavations of prehistoric sites throughout southern France for over thirty years.

This event is free and open to the public, however, space is limited so arrive early and secure your seat.

YOGA!

Posted: April 26, 2012 in Uncategorized

After consulting with all five sections of IT, it appears the most popular time to meet for yoga is this Friday, April 27th, at 1:30 PM. We’ll meet at the Honors Building and hope that weather is good enough for us to hold class outside. If it’s ugly out I think we might actually be able to practice yoga in the gazebo located by the dorms. Or maybe we can just do it in the classrooms. I think we’ll be OK.

Natalie has asked me to ask you to bring mats or blankets if you have them, though she will bring a few extras. The session will last about 90 minutes and will end in a practice of yoga nidra, a sort of guided meditation will former students of mine have enjoyed immensely. It’s designed to help you chose and focus on a goal you hope to realize in the future. Bring an open mind and come ready to drift off to a happy place.

As in the past, I will pay for the class. A normal yoga class ordinarily costs $10 – $15, and a group session of this sort $80 – $100. If you want to slip me a few dollars before or after class to help defray the cost, I would be most grateful, though I leave that up to you. Just do whatever will make you feel good about attending the class and help you get the most out of the experience.

More Recent Developments

Posted: April 24, 2012 in Uncategorized

2012 Distinguished Scholar Session
Honors Rosalind Krauss

College Art Association

The 2012 Distinguished Scholar Session, taking place at the 100th Annual Conference in Los Angeles, will honor Rosalind Krauss, University Professor at Columbia University in New York. Yve-Alain Bois of the Institute for Advanced Studies will chair a session, called “The Theoretical Turn,” in which five to six participants—among them Harry Cooper, Jonathan Crary, Benjamin H. D. Buchloh, and Hal Foster—will explore and celebrate Krauss’s many contributions to the history of art. The Distinguished Scholar Session will be held in Room 515B at the Los Angeles Convention Center on Thursday, February 23, 2:30–5:00 PM.

Krauss’s acute observation of twentieth-century art began at Wellesley College in Massachusetts, where she received her undergraduate degree in 1962. She began writing criticism in 1966, mostly for Artforum, while working on her PhD at Harvard University, which she earned in 1969. MIT Press published an expanded version of her dissertation as Terminal Iron Works: The Sculpture of David Smith in 1971.

Krauss continued writing criticism and generating art-historical essays that challenged steadfast analyses of Auguste Rodin, the Surrealists, and Jackson Pollock, to name a few topics. She joined the Artforum editorial board in the late 1960s and appeared on the masthead as assistant editor from 1971 to 1974. Krauss and her colleague Annette Michelson left the magazine in 1975 to establish the scholarly October, which strove to forge a relationship between contemporary concerns and scholarship, with particular emphases on the history of modernism, its fundamental premises, and the ability of writing to reinvigorate the era. For Krauss and others, October was an opportunity to integrate artists such as Richard Serra and Sol LeWitt into their theoretical convictions and investigative criticism.

(read more)

Recent Developments

Posted: April 24, 2012 in Uncategorized

Professor Rosalind Krauss Receives Honorary Degree from Harvard University

Columbia University
Art and Archaeology
Department News

University Professor Rosalind Krauss received an honorary Doctor of Arts degree from Harvard University at their 360th Commencement on May 26, 2011.

The citation for her degree was read at the ceremony in Cambridge by University President Drew G. Faust:

In a long and remarkable career of many parts—art historian, critic, curator, and founder-editor of the journal October—Rosalind Krauss has played a defining role in our understanding of post-1960s avant-garde art in America. Her highly influential books and essays, marked by her partisan brilliance, have proposed a range of compelling concepts—indexicality, the expanded field, the formless, the post-medium condition—that have defined the order, and disorder, of contemporary art.

(read more)

I’ve been very impressed by the interest and capacity that a great number of you have shown for our recent readings and films. Congratulations, and thanks! These next readings continue to respond to Hegel’s ideas about art and history, as they do the critique of Emerson’s ideas on authentic experience. These are very challenging and exciting essays, by my very favorite critic. I can’t tell you how profound an influence her writing has had on my own humble accomplishments. I don’t imagine we will have time to discuss all three essay on Tuesday. My plan is to cover “Expanded Field” as thoroughly as possible and also to dip in “Sign”. If anyone happens to have questions or comments regarding “Originality,” I’ll do my best to address those, though you might want to consider that reading strictly optional. Do the best you can, and enjoy these final readings! It’s almost over.


Rosalind E. Krauss

“a forceful and oftentimes fearsome presence
in the art world for over forty years now”
–The New Yorker

~ “Sculpture in The Expanded Field” (1979)

Robert Smithson
Spiral Jetty, 1970
Rozel Point, UT

~ “The Originality of The Avant-Garde” (1981)

Allan McCollum
The Natural Copies from the Coal Mines of Central Utah, 1993

~ “The Motivation of The Sign” (1992)

Pablo Picasso
Violin, 1912

Gallery Stroll

Posted: April 20, 2012 in Uncategorized

Hi,

I’ll be meeting students Friday at 6pm, at the Phillips Gallery, on 2nd South. I plan to wander around for an hour or two. The weather promises to be decent. I hope a few of you will be able to join me.

B