“In a society in which material wealth is the form of social wealth, increased productivity results either in a greater amount of wealth or in the possibility of a corresponding reduction in labor time. This is not the case when value is the form of wealth. Because the magnitude of value is solely a function of the socially-average labor time expended, the introduction of a new method of increasing productivity only results in a short-term increase in value yielded per unit time – that is, only as long as socially-average labor time remains determined by the older method of production. As soon as the newer level of productivity becomes socially general, the value yielded per unit time falls back to its original level. Thus, because the form of wealth is temporally determined, increased productivity only effects a new norm of socially-necessary labor time. The amount of value yielded per unit time remains the same. The necessity for the expenditure of labor time is consequently not diminished, but is retained. That time, moreover, becomes intensified. The productivity of concrete labor thus interacts with the abstract temporal form in a manner that drives the latter forward while reinforcing the compulsion it exerts on the producers. The value-form of wealth is constituted by and, hence, necessitates, the expenditure of human labor time regardless of the degree to which productivity is developed. The treadmill effect just outlined is immanent to the temporal determination of value. It implies a historical dynamic of production that cannot be grasped when Marx’s “law of value” is understood as an equilibrium theory of the market and when the differences between value and material wealth, abstract and concrete labor, are overlooked. That treadmill dynamic is the initial determination of what Marx developed as central to capitalism: capitalism necessarily must constantly accumulate to stand still. The dynamic becomes somewhat more complicated when one considers capital – “self-valorizing value.” The goal of capitalist production is not value, but the constant expansion of surplus value – the amount of value produced per unit time above and beyond that required for the workers’ reproduction. The category of surplus value not only reveals that the social surplus is indeed created by the workers, but also that the temporal determination of the surplus implies a particular logic of growth, as well as a particular form of the process of production.”
Source: Postone and Brick (1982) Critical Pessimism and the Limits of Traditional Marxism, Theory and Society, 11 (5) 636.
“Communes come into being when people find each other, get on with each other, and decide on a common path. The commune is perhaps what gets decided at the very moment when we would normally part ways. It’s the joy of an encounter that survives its expected end. It’s what makes us say “we,” and makes that an event. What’s strange isn’t that people who are attuned to each other form communes, but that they remain separated. Why shouldn’t communes proliferate everywhere? In every factory, every street, every village, every school. At long last, the reign of the base committees! Communes that accept being what they are, where they are. And if possible, a multiplicity of communes that will displace the institutions of society: family, school, union, sports club, etc. Communes that aren’t afraid, beyond their specifically political activities, to organize themselves for the material and moral survival of each of their members and of all those around them who remain adrift. Communes that would not define themselves – as collectives tend to do – by what’s inside and what’s outside them, but by the density of the ties at their core. Not by their membership, but by the spirit that animates them.
A commune forms every time a few people, freed of their individual straitjackets, decide to rely only on themselves and measure their strength against reality. Every wildcat strike is a commune; every building occupied collectively and on a clear basis is a commune, the action committees of 1968 were communes, as were the slave maroons in the United States, or Radio Alice in Bologna in 1977. Every commune seeks to be its own base. It seeks to dissolve the question of needs. It seeks to break all economic dependency and all political subjugation; it degenerates into a milieu the moment it loses contact with the truths on which it is founded. There are all kinds of communes that wait neither for the numbers nor the means to get organized, and even less for the “right moment” – which never arrives.”
~ The Invisible Committee
Yesterday, I attended the funeral of a close friend of my family. As part of the service, a shortened version of the following was read out, which I found especially moving.
“Love is a temporary madness. It erupts like an earthquake and then subsides. And when it subsides you have to make a decision. You have to work out whether your roots have become so entwined together that it is inconceivable that you should ever part. Because this is what love is. Love is not breathlessness, it is not excitement, it is not the promulgation of promises of eternal passion, it is not the desire to mate every second minute of the day, it is not lying awake at night imagining that he is kissing every cranny of your body. No, don’t blush, I am telling you some truths. That is just being “in love” which any of us can convince ourselves we are. Love itself is what is left over when being in love has burned away, and this is both an art and a fortunate accident. Your mother and I had it, we had roots that grew towards each other underground, and when all the pretty blossoms had fallen from our branches we found that we were one tree and not two.”
From Captain Corelli’s Mandolin
Angelus Novus is a copper etching plate, Intaglio printing with acidic watercolor on drypoint by Paul Klee, painted in 1920, and now in the collection of the Israel Museum in Jerusalem.
In his ninth thesis in the essay “Theses on the Philosophy of History,” Walter Benjamin, who owned the print for many years, describes:
A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.
Otto Karl Werckmeister has commented that Benjamin’s interpretation of the angel has led to it becoming “an icon of the left“.
The name and concept of the angel has inspired works by other artists and musicians.