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Bolshevik Opposition to Lenin:
G. T. Miasnikov and the Workers' Group
Paul Avrich

During Lenin's years in power, from October 1917 until his death in January 1924, a number of groups took shape within the Russian Communist Party-the Democratic Centralists and the Workers' Opposition are the best known-which criticized the Bolshevik leadership for abandoning the principles of the revolution.

The revolution, as sketched by Lenin in The State and Revolution and other works had promised the destruction of the centralized bureaucratic state and its replacement with a new social order, modeled on the Paris Commune of 1871, in which the direct democracy of the workers would be realized. The cardinal feature of this "commune state," as Lenin called it, was to be its repudiation of bureaucratic authority. The workers themselves would administer the government through grass-roots organizations, of which the soviets were the foremost example. Workers' control, through factory committees and trade unions, would function similarly in economic life, replacing private ownership and management with a system of industrial democracy and self-administration in which the rank and file would shape their own destiny. Mistakes would be made, Lenin conceded, but the workers would learn by experience. "The most important thing," he declared, "is to instill in the oppressed and laboring masses confidence in their own power."' Such was Lenin's vision before October.

Once in power, however, he saw things from a different perspective. Overnight, as it were, the Bolsheviks were transformed from a revolutionary into a governing party, from an organization that encouraged spontaneous action against existing institutions into one that sought to contain it.

Arbeitselig, or, Blissful Work
Gustav Landauer
Originally published as “Arbeitselig”, Der Sozialist, May 1, 1913.
Translated by Gabriel Kuhn

Every era of a people has different cultural layers, next to and above one another. This applies to the words that are being used as well. Words are full of nuances that have strong effects, yet people do not pay attention to these unless someone points them out. The word Heim (home/house), for example (a word that is slowly disappearing from everyday speech, entering the realm of “poetic” language), no longer evokes feelings of joy and comfort, but of yearning and alienation. We just need to look at the word Heimarbeit (housework), which refers to something unpleasant, shameful, full of privation. It is not that the home loses grace, comfort, and tranquility because of the work, but the work is considered dishonorable and dangerous instead of acceptable and endurable, as it would be if it occurred outside of the home. If we pay attention to these subtleties, we understand more deeply what the bare facts should already tell us, namely that, today, the home is a beautiful reality to some, the object of occasional nostalgic longing to all, and a cause of great concern to parts of the working class.

How about the word Arbeit (work)? In itself, it has become a neutral term. What is important is how it is used, that is, the sentence, in which it appears. This is what makes the implications clear; implications that may differ greatly. On the one hand, there might be an artist who, after domestic quarrels or problems with friends, pulls himself together, flexes his muscles, and says with utter conviction: I still have my work! On the other hand, there might be a factory worker who, after spending a few minutes in the early morning hours with his wife and children, tears himself away from the family by explaining: I have to go to work.

Looking Deep Into the Dark Matter
review of Dark Matter by Gregory Sholette: Mass Artistic Resistance to the Neoliberalization of Everyday Life
Molly Hankwitz

Finally, a history of collective precarity from a politicized artist. Author/writer, Gregory Sholette, in the final paragraph of Dark Matter: Art and Politics in the Age of Enterprise Culture, at last clarifies the frequently cited metaphor of “zombies” and enormous digital casts, which likes of Annalee Newitz? have been preoccupied with in terms of popular culture and most noticeably, the big budget extravaganza digital films of recent decades. He writes:

“We go on picking the rags, but every now and again, this other social [non] productivity appears to mobilize its own redundancy, seems to acknowledge that it is indeed just so much surplus---talent, labor, subjectivity, even sheer physical-genetic materiality and in so doing frees itself from even attempting to be usefully productive for capitalism?, though all the while identifying itself with a far larger ocean of “dark matter”, that ungainly surfeit of seemingly useless actors and activity that the market views as waste, or perhaps at best as a raw, interchangeable resource for biometric information and crowd sourcing. The archive has split open. We are its dead capital. It is the dawn of the dead.”

This blatant appeal to the use-value of our necrophilia, artistic waste, the products of our labor and time, runs throughout an historical text, alternately conscious of its own limitations and brilliantly pervasive in its political critique and arts research. Sholette devotes himself to describing the animation of a diverse, selection of contemporary artists collectives and collective projects, American, European, South American, and “other”, for whom relationships as cultural workers to the neo-liberal art world in recent decades of the 21st century, has been a central concern. Among this history are crisp critical frameworks for understanding the art and its positioning against what he calls “enterprise culture” Or the current era of marked precarity in which artists are force to live, which is also marked by “enforced creativity” imposed on all forms of labor.

"Preoccupied"
Occupied Times Interviews Michael Hardt

[Michael Hardt has combined his role as Professor of Literature and Italian at Duke University with political writings and activism. Together with the Italian Marxist Antonio Negri, he has produced an influential critique of our present time. Their trilogy of books – titled “Empire”, “Multitude”, and “Commonwealth” – have been described by Slavoj Zizek as a “Communist manifesto for the 21st Century.”]

The Occupied Times: In your recent work, Declaration, you and Professor Negri identified four political archetypes or ‘paradigmatic subjectivities’, as you call them, that you believe will be crucial to any political change. These are: the indebted, the represented, the mediatised and the securitised. In looking at the indebted, how can we transform what starts as consciousness-raising about the importance of ‘the debtor’ as a subject under post-Fordist capitalism, into a more viable means to challenge those who make us the indebted?

"Work: The Great Illusion"
Viviane Forrester

[An edited extract from the English translation of the late author's L'Horreur Economique. Viviane Forrester, a co-founder of ATTAC, died in April 2013.]

We are living in the midst of a deception, where artificial policies claim to perpetuate a world that has in fact gone for ever. Millions of human lives are devastated and annihilated by this anachronism, which asserts the immutability of our most sacred concept: work.

Work is the foundation stone of western civilisation. The two seem so much a part of each other that even now, when work is vanishing into thin air, no one ever officially questions it. Doesn't it order all distribution and thus all survival? The networks of exchange deriving from it seem as indisputably vital as the circulation of blood. Yet today, work, regarded as our natural driving force, has become an entity without substance.

Our concepts of work, and thus of unemployment, around which politics revolve (or claim to revolve), have become illusory. Our struggles with them are as much of a hallucination as Don Quixote's tilting at the windmills. Yet we still ask the same phantasmal questions, allowing us to ignore the disappearance of a world where there was still some point in asking them. The climate of that world remains in the air we breathe. We still belong to it viscerally, whether we profited or suffered from it. We are still fiddling with the vestiges of that world, busily plugging gaps, patching up emptiness, fudging up substitutes around a system that has not just collapsed but vanished.

The Quiet Realization of Ivan Illich's Ideas in the Contemporary Commons Movement
David Bollier

I come here today as an ambassador of the commons movement – a growing international movement of activists, thinkers, project leaders and academics who are attempting to build a new world from the ground up. It’s not just about politics and policy. It’s about social practices and the design of societal institutions that help us live as caring, intelligent human beings in spiritually satisfying ways.

Many Americans have not heard of the commons except in connection with the word “tragedy.” We’ve all heard the famous tragedy of the commons parable. It holds that any shared resource invariably gets over-exploited and ruined. Since the “tragedy meme” appeared in a famous 1968 essay by Garrett Hardin, it has been drummed into the minds of undergraduates in economics, sociology and political science classes. It serves as a secular catechism to propagandize the virtues of private property and so-called free markets.

Thanks to the tragedy smear, most people don’t realize that the commons is in fact a success story – that it is a durable artifact of human history, that it is a way to effectively manage shared resources, and that it lies at the heart of a growing political and cultural movement.

Labor Day, May Day, What’s to Celebrate?
Bernard Marszalek

I suspect that more than a few people would accept as historic fact that Stalin created May Day, and to checkmate Stalin’s evil, communist attempt to influence US workers, FDR initiated Labor Day. Two utopias in conflict: the Workers’ Paradise vs. the American Dream. The Communist Manifesto or FDR’s Second Bill of Rights.

Oddly enough, there is symmetry at play here as both leaders corrupted the original meaning of these workers’ holidays. Neither Stalin nor FDR cared two figs for the historic struggle of the working class; their intent, like the Fathers of the Church before them, was to seize dissentsion, drain it of its original content and fill it with a conformist ideology.

May Day grew internationally to memorialize the struggle of the working class as exemplified by the Haymarket Martyrs, however, in America, the home of this infamy, workers were expected to “Honor Labor.” In other words, on Labor Day the workers celebrate work, while on May Day workers commemorate the struggle to gain control of it, in fact, to abolish it.

An esoteric interpretation of the IWW preamble
Hakim Bey
From The International Review, 1991

People who think that they know our politics, who know that we are individualists (or even worse, “neo-individualists”), will no doubt be shocked to discover us taking an interest in the IWW. They’ll be even more flabbergasted to hear that Mark Sullivan & I joined the NY Artists & Writers Job Branch of the IWW this January at the urging of Mel Most (who subsequently went & died on us!). Actually, we’re a bit shocked ourselves. “Never complain, never explain” ......; but perhaps this time we’ll relax the rule a bit – hence the apologia.

The Mackay Society, of which Mark & I are active members, is devoted to the anarchism of Max Stirner, Benj. Tucker & John Henry Mackay. Moreover, I’ve associated myself with various currents of post-situationism, “zero work”, neo-dada, autonomia & “type 3” anarchy, all of which are supposed to be anathema to the IWW & syndicalism in general. Other members of the NY Artists Branch are also individualists or pacifist-anarchists (in the Julian Beck line of transmission); some unease has already been expressed during meetings about the Preamble & other IWW texts.....; so, aside from making a sentimental gesture in honor of Mel’s memory..... why are we collaborating with the IWW?

June 1st in Turkey, Multitude: The desiring-machine of expression against representation
Otonom

June 1, 2013 is the rise of a new understanding of the political from the perspective of expression against that of representation. June 1 is not a “fact” which corresponds to measurement of time through its spatialization, but it is an “event” that is the flow and intersection of singular immeasurable durations. It does not refer to a practice of reason or subject that turns life into an object, but to an event as life, as the flows of bodies and affects. It is the expression of an affect which has its idea, it is a becoming. Hence June 1 cannot be considered in terms of a nation or a people who acts within the hierarchy of the universal, the representation and the subject. It presents us a multitude in act that is a desiring-machine functioning in unconscious virtuality of singularity, body, affect and life.

A new plane of the political is in becoming. It is obvious that the fault lines of modernism which is the plane of representation, subject, reason and hierarchy have been moving. In the immeasurable virtuality, this act is nothing less than an earthquake. The political from the perspective of representation is replaced with the plane of “expression” that signifies the political from the perspective of body. The discourse of the new plane of the political centers around “dignity”, which is the bodily expression of de-classification against classification by representation. June 1 is the scream of honor, conscious, and ethics against morality. In contrast to affects regulated in accordance with the movement of concepts and consciousness, we are standing on a plane of concepts shaped by the flows and intersections of affects, differences and differentiations. The political plane of sense and signification seems to undergo a radical change. The leftist language of representation seems to be paralyzed and we witness constitution of a new language of the left. That which is political moves from the language of representation to that of expression since the former proves to be impotent and insufficient to signify the plane of the political.

Open Letter to the Frieze Art Fair
OWS Arts & Labor

To artists, gallerists, workers, and fairgoers attending Frieze New York:

For the second year in a row, Frieze and its subcontractor Production Glue have hired low-wage, non-unionized workers to construct their fair, bringing in people from as far away as Wisconsin. This breaks with the industry standard: the major New York City art fairs including the Armory and the ADAA, as well as many other cultural and business expositions, employ unionized workers to construct and run their shows.

Frieze is a for-profit private event that takes over a municipal public park for two months to serve a global clientele of wealthy art collectors. The fair pays less than $1 per square foot to lease the land from the city. With a ticket price of $42 per day, Frieze is inaccessible to many working New Yorkers. However, despite the cheap rent and high admission prices to an event that generates millions of dollars in art sales, Frieze claims it cannot afford to pay decent wages to local workers.