Friday, August 30, 2024

The DNC Protests: Freedom That Extends Beyond the Platitudes of the Democratic Party




 
 August 30, 2024
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Photo by Steel Brooks.

From a pro-Palestine encampment at my local college in May, I booked a ticket to the DNC. The president of the college had just been forced to resign for “insubordination” for having the audacity to meet with demonstrators and listen to their demands. The student movement to oppose genocide and settler colonialism inspired me to such a degree that I thought the time might have come when radical left forces could unite effectively to pressure the Democratic Party. However, August looked different.

From the first reproductive rights demonstration on Sunday Aug 18th, where police vastly outnumbered protesters, it was clear there would be limited space for protest to be heard by decision makers, and the radical left groups organizing the events, while passionate, lacked the strategy and leadership to unite across a range of connected issues. Instead, the various groups–with some notable exceptions–followed a familiar pattern in the long history of the American left. Rather than seeking to connect to people’s frustrations and build a popular mass movement, they mainly sought to shout slogans that most people do not understand or do not yet believe. This is a recipe for exhaustion and isolation that will never achieve the pivotal systemic change we need.

There is also a related but far more complex problem. Unlike 2020 where the Democratic Party at least pretended to need the progressive wing of the party and gave space for movements to be heard providing leaders like Bernie Sanders and AOC the necessary threat to negotiate limited but nonetheless significant reforms, this time, Democratic leaders are banking on the assumption that people are sufficiently frightened of Trump that the left is unneeded. All that is needed is “good vibes” and “brat energy.”

The shouts of defiance at the DNC demonstrations disguise an ongoing crisis in the radical left. How does a person who seeks social justice, sees atrocities all around them, and knows we are at or approaching the zero hour of several interlocking crises, win over an organization that need not listen to them? And, moreover, how do they square that reality with the real feelings of exuberant joy that have burst forth from Harris’s campaign among masses of people? How does one resolve the seeming contradiction between the sober need to highlight catastrophe and the understandable need for people to feel the ecstasy of carnival? We need both, but the DNC focused on carnival. This feels good, but the bread and circus of the Roman empire most likely felt good for many before the fall.

Historians warn us not to compare 1968 to 2024. While I largely agree, when I read what leftist reporter Andrew Kopkind wrote in 1967 that to be radical in the late 60s is “to see horror and feel impotence…to watch the war grow and know no way to stop it…to realize that the politics of a generation has failed and the institutions of reform are bankrupt, and yet to have neither ideology, programs, nor the power to reconstruct them,” I am rendered dumbfounded at how closely that approximates my own feelings.

The next several months might be one of the most challenging times the radical left has experienced in decades. It will test our endurance, our faith in our beliefs, and our ability to navigate a groundswell of Harris supporters that want us to be mute and obedient to the Democratic Party leadership on the real threat of banishment to small corners of ‘illegitimacy’ that are heavily policed. We will need a strategy to assert our voice and recruit frustrated people, while not appearing like stogy radicals or worse lunatics that want Trump elected.

Senate Majority Leader Chuck Schumer articulated the overall message of the Democratic leadership to any dissent. Misquoting VP Harris, he snapped at a reporter asking about the Uncommitted delegates, “She said, ‘Be quiet unless you want to elect Trump’…A small handful of people does not represent close to even a sliver of where the Democratic Party is right now.” While there are around 29 official delegates from the Uncommitted movement inside the DNC, Data for Progress reports “Seven in 10 likely voters — including majorities of Democrats (83%), Independents (65%), and Republicans (56%) — support the U.S. calling for a permanent ceasefire.” The plain fact is that the Uncommitted movement is more representative of public opinion than Democratic Party leaders. Yet, the bombs and money keep being delivered. How can a majority of voters agree with the anti-colonial left yet have no power to compel the Democratic Party to even host a Palestinian speaker, let alone enact a cease-fire?

In fact, VP Harris actually said to the pro-Palestinian demonstrators in Detroit, “I am speaking now” not be quiet. How do we navigate a split reality where issues of genocide and issues of representation are grinding against each other? Her declaration can be read as a Black woman asserting her right to speak in the face of centuries of disruption; it also can be read as her asserting strength by chastising a loyal constituency seen by centrists as “extreme” much like Bill Clinton’s “Sister Souljah moment” in 1992, and it can also be read as a silencing of righteous dissent. Reasonable people can read it in very different ways making it harder to navigate than any one of those readings appears. This underscores the complicated terrain leftists find themselves in where the line ”I’m speaking now” is sold as a popular tee-shirt at vendor stands at the DNC and worn proudly.

Similarly, the typical leftist’s response to objections like Majority Leader Schumer is to say he is in the bag of the Israel lobby. AIPAC’s influence in elections should not be underestimated, as evidenced by the staggeringly unprecedented amounts of money they spent unseating Cori Bush and Jamaal Bowman, but Schumer overlooking opinion polls, the International Court of Justice findings of genocide, and popular international opinion can not solely be put in the hands of the Israel lobby. It has more to do with the Democratic Party’s bone-deep commitment to capitalism and social control at home and imperialism abroad–be it Israel or anywhere of strategic importance to the US empire. But, how does one bring up atrocity and brutality at a dance party without being a buzzkill?

More than anything, Democratic Party leaders want nothing to disturb what Will Bunch calls “the Great Vibe Shift of 2024.” Reading carefully, it is clear the vibe shift hoped for among leaders and pundits is not just away from the utter gloominess of the Biden campaign, but it is also a shift away from the hard conversations #MeToo, Black Lives Matter, Indigenous sovereignty, and pro-Palestine movements (among others) pushed to have in the last 10 years in venues large and small. The new mood insists those conversations were a real bummer and seeks revelry over anger. Any anger permitted was infrequent, highly curated, and carefully contained. However, while the Harris campaign correctly sees people’s hunger for hope and joy, it overlooks the depth and breadth of anger in this country. For a party that insisted, “it’s the economy stupid,” an analysis by the NY Times found that the word inflation was only mentioned one time at the DNC, whereas the RNC mentioned it 15 times.

Anand Giridharadas summarizes this focus on joy and not anger when he asks “were the Democrats clearly and objectively the more fun party? Not necessarily (or maybe at all)…There was the constant warning of a treacherous future, which is true but, again, Not Very Fun.” But, he argues the DNC proves “The Democrats are finally throwing a better party.” Nothing should interrupt this party. Not the fact of genocide or any of the other “bad vibes.” Lil Jon’s roll call song for Georgia was a beautiful moment, but the song “Turned Down for What” is undeniably an anthem for not stopping the party for anything. Democratic leaders worry about turning things down with discussions of genocide and inequality, so they just order “Another round of shots.” Uncommitted delegates who peacefully held a banner saying “Stop Arming Genocide” being beaten in the head with a “I heart Joe” sign from delegates in the row above them, while the Illinois Governor and other leaders turned a blind eye, is emblematic of this mood. Like the Democratic Party platform and convention program, their “beloved community” has sharp border walls excluding certain issues and peoples seeking the same freedom that signs across the convention hall celebrated.

Carefully orchestrated silences keep the good vibes going. Rabbi Brant Rosen, a founder of the Jewish Voice for Peace Rabbinical Council, speaking to a beautiful assembly of mostly Arab American demonstrators on the third day of the DNC, underscored the strategy of silencing: “The word Palestine is not allowed inside the Democratic National Convention. The word ceasefire has barely been uttered. This is a Hollywood-style coronation of a candidate.” This was by far the most significant and well organized demonstration of the DNC, yet you had to strain to hear the speakers because of the police helicopter flying obnoxiously low over the peaceful protestors. Early reports estimate “Chicago would spend as much as $25 million on Chicago Police overtime, another $10 million on salaries and $25 million on equipment, including a new helicopter, body cameras and additional items like van rentals and body armor.” The actual numbers will be published in a few weeks.

An equally unprecedented amount of money, access, and space was given to influencers to “flood social media with positive messages about Ms. Harris and Mr. Walz…” While protestors were being surveilled and policed, influencers were given special treatment often pushing out traditional reporters. VP Harris has not granted a single mainstream interview since Biden stepped down, but she granted three to influencers during the DNC. A “blue carpet” was set up for influencers to mingle with delegates and politicians who wanted to avoid traditional reporters. Elaborate nighttime parties with alluring titles like “Hotties for Harris” were funded by tech billionaire, LinkedIn founder Reid Hoffman. He recently made news advising Harris not to reappoint Federal Trade Commission chair Lina Khan, one of the most effective anti-trust leaders in decades.

Cops and influencers were given tremendous space, but no space was given to Palestinian American representatives like Ruwa Romman. Her proposed speech along with the activism of  her Palestinian American colleague Rashida Tlaib conceives of a politics that both seeks to defeat Trump by electing Harris and also uplift the voices of Palestinians and their supporters. In other words, it imagines a true beloved community that does not exclude oppressed people and hard conversations and seeks to address the root causes of settler colonial oppression. Congressperson Tlaib argues “It’s hard not to feel invisible as a Palestinian-American. Our trauma and pain feel unseen and ignored by both parties. One party uses our identity as a slur, and the other refuses to hear from us.” In the face of being repeatedly silenced, Abbas Alawieh, one of the founders of the Uncommitted Movement, broke down in a press conference saying to President Biden, “You are lying when you say you are working for a ceasefire, but you are sending more and more bombs that are killing babies.” Gaslighting in the face of atrocity produces boundless frustration that no dance party will quell.

For the DNC organizers, enforced silences existed without contradiction next to a new style of Democratic Party politics that encouraged carefully selected people to express themselves by telling their “authentic stories.” Stories of infertility, horrors experienced while seeking life-saving abortion care in Red states, the travesty of injustice inflicted on the Central Park 5, among others were given space. Civil Rights leaders like Jesse Jackson were paid tribute, but without mentioning that their struggle was at one time very unpopular and silenced at the DNC. The day VP Harris accepted the nomination was the 60th anniversary of civil rights leader Fannie Lou Hamer heroically arguing against being silenced by racists in the Democratic Party. Her name was invoked in Harris’s speech, but not the larger context of her struggle, all while Uncommitted delegates were holding a sit-in to protest the fact that a Palestinian was not invited to speak at the DNC. The blistering contradiction between providing space to narrate stories that are no longer necessarily controversial in the eyes of party pollsters, and the enforced silence of a loyal constituency in the city with the largest Palestinian community in the country, some experiencing over one hundred members of their family being murdered, reminds one of novelist Omar El Akkad’s tweet: “One day, when it’s safe, when there’s no personal downside to calling a thing what it is, when it’s too late to hold anyone accountable, everyone will have always been against this.” Dr. King can have a holiday, a postage stamp, and be celebrated as a saint now, but he died a radical pariah in the eyes of the Democratic Party and a shocking number of Americans.

Having given no major interviews, released only vague policy proposals, and scheduled no firm dates for debate, it is hard to know what a Harris presidency could look like. The deeply concerning part for leftists is that we have perhaps seen this movie before, and if we are right, we know that it does not end well. We only know that she rose up in a Democratic Party in the 90s that was quickly rejecting all bastions of social democracy to compete with the New Right for mythical “centrist voters.” The contest they chose was who could appear more tough and who could implement the austerity measures of neoliberalism more efficiently. The real trick is that they did this all while celebrating multiculturalism. Feminist political scientist Nancy Frazer calls this a shift to “progressive neoliberalism” as opposed to the “reactionary neoliberalism” of the Republicans. As a prosecutor and Attorney General, Harris was a loyal lieutenant, with a diverse and cosmopolitan identity that was different from the status quo. She championed the tough-on-crime policies that have been a lasting legacy of the Clinton era.

Viewed this way, the Harris campaign could be a revanchist centrism, like Obama before her. This is a class project to capture ground that progressive could win, or to regain ground lost to progressives. Progressive neoliberalism uses the very real existential threat of MAGA populism–or Bush or Reagan’s neoconservativism before–as its bludgeon to compel silence all the while enacting policies that protect billionaires at home and imperialism abroad. In fear of the greater evil, and even harassed by radicals from the 60s to the present, leftists remained too silent and did not organize hard enough to extract policies from Clinton or Obama that would address inequality and end wars, and the Obama years saw a surge of neo-fascist populism throughout the world. Nothing builds fascism more than hope crushed. Former Greek Finance Minister Yanis Varoufakis, no stranger to battling neo-fascist movements, argues this surge is fueled by “disillusion with middle-of-the-road politics of the kind that intensified the class war against them.” Frustration with failed centrist policies that refused to address the root causes of inequality at home and imperialist oppression abroad led to the election of Trump. Michael Moore called Trump’s election “the biggest ‘fuck you’ ever recorded in human history.” What could a centrist Harris administration lead to next if it does not pass needed structural reforms that unburden people’s lives? If recent history is a guide, it could lead to possibly a more popular and organized neo-fascist movement.

Progressive neoliberalism is a recruitment project that tantalizes with beautiful images of diversity, and a beautiful story of change, but underneath the sparkle lies dead bodies, bodies we are not allowed to talk about. We are especially not allowed to talk about the root cause of their deaths. Our complicity in this silence is leveraged with the fear that if we do not remain silent, the other side will win and there will be more bodies. All of my life, I’ve been lectured by Democrats and even leftists that I must vote for the lesser evil or the greater evil will win and run amuck. All the while the bodies at home and abroad keep piling up. In a conversation with Malcolm X in 1962, James Baldwin spoke to the silencing of racial justice: “You cannot live 30 years, let’s say, with something in your closet, which you know is there, and pretend it is not there, without something terrible happening to you. By and by, what I cannot say — if I know that any one of you, you know, has murdered your brother, your mother, and the corpse is in this room and under the table, and I know it and you know it, and you know I know it, and we cannot talk about it, it takes no time at all before we cannot talk about anything, before absolute silence descends.” The anti-colonial left must learn to talk with people and break through this absolute silence in a way that connects to millions.

To return to Lil Jon’s roll call performance. After singing his party jam, he led the Georgia delegation in a celebratory chant of “We’re not going back.” How can the left build on this slogan and celebrate not going back to progressive neoliberalism? One way to read the speeches of Bill Clinton and Obama is as a farewell tour of their version of politics. How can the left contribute to celebrating this farewell tour with a joyful vision of something new and more radical? During the height of the COVID shutdown, the great South Asian novelist and essayist, Arundhati Roy invited us to conceive of the “pandemic as a portal” to walk through to a different world. How can radical leftists conceive of the next few years as a portal to a movement dedicated to listening and not silencing oppressed voices? Returning to Will Bunch’s article. He states, “It turns out that millions of repressed Americans were dying inside to make their own statement for a kind of freedom that values diversity, a sleeper cell waiting to be activated.” Putting aside the negative connotation of “sleeper cell,” it is clear that millions of people want to wake up, but liberalism loves to lull people back to sleep after they get their vote. The key is to keep them awake and organize them to be active. Here the left can provide a radical material definition of freedom that extends beyond the platitudes of the Democratic Party.

Michael Hale is a professor of English at a community college in Northern California. He is a long-time social justice activist with an interest in education reform, racial justice, immigrant rights, and organized labor.

 

The Collective Creativity of Workers

From Unconscious Sleeping Giants to Conscious Builders of Barricades Part I

Orientation

One purpose of this article is to get you to think of creativity in a whole new way. Our notion of creative today is baked with the assumptions of a Romantic theory of art. These have their good points but they also limit us. In this article I want to argue that the most powerful forms of creativity are collective, not individual. One problem is that with the evolution of society into social classes the collective creativity of workers and peasants is buried in their alienated social-historical unconscious. Making this collective creativity conscious is inseparable from making a social revolution.

I proceed first by discussing individual creativity. I begin by describing the ways in which the artist is different from other workers. Then I connect this to the values and limitations of the romanticization of art.  Then I discuss what an artistic person is like. In the second part of my article I discuss the field of history. First, I talk about how all the arts were once integrated into magical activity in egalitarian hunting and gathering and horticultural societies.

There is the long shadow of alienation of collective creativity in caste and class societies. But then I show how even within capitalist societies there are instances during natural disasters, social movements and ultimately revolutionary times when workers express their collective creativity consciously in the construction of workers’ councils.

The Artist as a Visionary

The life of an artist provokes many, if not most, people. Whether dismissed as a good-for-nothing slacker, a vehicle through which the Muses may speak or just an eccentric personality, an artist in the 21st century West is not boring. One reason is that artistic activity flies in the face of that old sop, “you can’t mix business with pleasure”. In its highest moments, considered as a process (rather than a product), artistic activity approaches a synthesis of work and play as well as work and pleasure.

For most of my twenties I worked in various blue-collar jobs, unloading and loading trucks and driving a forklift in a warehouse. Wage-labor, especially the unskilled kind, is so mechanical and deadening it became associated with suffering. It was something I hated to do, a drudge to be gotten over with, a scourge to be wistfully contrasted to “the good life”. After years of this kind of work, it is difficult not to generalize from this particular job to work in general. Among workers not only is work avoided like the plague, as Marx says, but activity itself can come under suspicion. By activity I mean purposeful, non-frivolous deeds which require concentration and the exertion of will. When activity is done under alienated conditions, it is experienced as a dissipation. Rather than experiencing the outpouring of energy as producing more energy, the expenditure of energy is felt to be a loss.

One the other hand, if the hatred of work because synonymous with activity, then the good-life appears to be consuming sprees of mass media, sporting events and concerts, sensual, sexual pleasure, substance abuse and rest.  In the United States, even active play like table games, video games, dancing or travel far from home competes with TV, or internet surfing. Rather than an interlude, a moment of respite and fertilization for the more gratifying work to come, leisure becomes an end-in-itself. Bourgeois utopias are written about a time when leisure will be all there is.

However, we all need a rest from rest. Justifiably, there is a sense of uneasiness when idleness is posed as a way of life, and the discomfort is not limited to puritanical preachers. Many of us can sense this House of Death, jingling with the trappings of divine honors, as Nietzsche said, when we refuse to retire from jobs, even miserable ones, because we “wouldn’t know what to do with ourselves.” I wonder how many people unconsciously kill themselves before or soon after retirement, when we start to get a full dose of “leisure for leisure’s sake”. Contrary to superficial notions of pleasure, rest can be disturbing just as activity can be alienating.

The road in between the cycle of hard, mechanical work and passive consumption lies the road of the artist. And she is not alone. Skilled workers, middle class professionals such as teachers, along with upper-middle class professionals such as doctors and architects, know better and use what is called “best practices”. For these folks share with the artist a certain joy in the activity of working. Clearly there is a joy in making objects, pictures, music, in dancing and acting for anyone who does it as leisure. But engaging these activities as a way of life creates a sensitivity that escapes others.  It is not just the end result that sets the artist afire, in either joy or exasperation. It is the process of production over and over again which invites a sensitivity that we know as the creative process. If, as Nietzsche says, maternity is the love of what is growing within one, then the artist knows well the joys of expectant motherhood. Once impregnated with an idea, she gleefully muses on how it will come to be: who is the audience; what is the theme; which materials will I use; what technical obstacles will challenge me?

The careful ascertainment of how we shall do so, and the art of guiding it with consequent authority – this sense of authority is for the master builder, the treasure of treasures – renews in the modern alchemist something like the old dream of the secret of life (Creative Process, Brewster Ghiselin, p. 150).

In this self-contained magical workshop, in this valley of fertility, the artist pushes and pulls, she hems and haws, and when the oils dry, when the clay is fired, when the curtain falls a baby begins to make its way through the world.

Every artist is at heart a magician. Just as the shaman ventures into the forest or the desert on his vision-quest, so the artist heads for her secluded place of work, fitfully muttering “good riddance” to daily distractions. Alone at last, she surrounds herself with her talismans – a hat with a feather, a ring of beads. Like the Greek chorus, they whisper to her of previous glorious ventures, revelation. “Yes” they tell me, “this time you too can make magic on paper”.

Magical considerations of timing motivate the artist’s habits. Just as a magician studies the stars and arranges her correspondences, so too the artist becomes attuned to when and how she does her best work. What are the optimum conditions? What stage of the creative process is most appropriate based on her mood that day?  What non-artistic activities are most likely to stimulate further creativity? The artist becomes sensitive to knowing when persistence pays off and when it doesn’t.  In short, the artistic creative process is a secularization of a magical ritual:

In the minor occurrences of everyday life which passed unnoticed…the person disposed towards the creative life repeatedly finds clues, fragile portents which he seizes as the basis of some future identity at odds with the social pressures prevailing about. He lives like Schubert’s wanderer, in search of the land which speaks his language. (Dialectical Economics, L. Marcus, p. 100)

Artists can be understood as the link between the old world and the one which may be born:

How can an individual within capitalist society base his identity on a non-capitalist set of identity and world-outlook? In the study of creative personalities. (Dialectical Economics, p. 98)

Limitations of Romantic Theories of Art

The following bullets below are the beliefs and assumptions of Romantic theories of art. Let us take them one by one. The first two beliefs can be taken together. Like other animals, the human species has to adapt to its environment. Creativity is rooted in the capacity to solve problems that its environment presents. Since all human beings problem-solve, all human beings have some degree of creativity. The Romantic artist not only fails to see the creativity necessary for people to live in everyday life, he also images that the very involvement in the arts bestows upon him the mantle of creativity. By merely crossing the sacred portals of the arts each novice becomes initiated into the mysteries of creativity. It’s as if artists could never be accused of being mechanical or uncreative just because they are artists. But on the contrary, there can be instances of everyday problem solving that involve more creativity than an artistic product.

We can also combine tenets three and four. Romantic artists have a distrust of groups. Rooted in the individualist reaction to the mindless repetition of factory work of the industrial revolution, romantic artists think of groups only as a force for conformity or obedience to the authorities. The Romantic takes the alienation between the individual and society as given. He ignores the fact that extraordinary social circumstances, such as natural disasters and revolutions, can bring out the most of an individual’s creativity.

When the Romantic artist discounts planning and structure, he accepts that creativity is fundamentally unreasonable or irrational activity. On one side are the emotions, intuition and spontaneity and antithetical to that are reason, organization and constraints. It is hard to imagine how a Romantic artist who made their living from art could hold these beliefs. To sell a work to the public requires rationality, organization and deadlines. Only individuals who are supported by others or dabble in the arts as a form of therapy can imagine art as antithetical to organization, planning and setting priorities.

What is the place of shock in the arts? Surely one of the callings of the artist is to move a society beyond the comfortable, the taken-for-granted and the obvious. In the early part of the 20th century, Cubists, Dadaists and Surrealists did this as a reaction to the Renaissance and Baroque conventions. Before a society is crumbling this is a very important calling. However, once social cracks appear and spread, too much shock from the arts is counter-revolutionary. The Romantic artist imagines that shocking people might propel masses of people into social action. This may be true. But too much shock can result in anesthetizing, not moving people. Past a certain point artists should be creating constructive visions of the future not tripping over themselves about how to outrage a public already frightened by social conditions.

The values and beliefs of Romantic theories of art include:

  • All creativity is artistic. All other activities are less creative.
  • There are creative individuals and then there are the rest of us.
  • Maximum creativity is achieved in isolation (groups hold creativity back).
  • Creative activity has nothing to do with everyday life. It is an escape from that life.
  • Creativity and planning are mutually exclusive.

(Disciplined, intellectual and structured activity holds creativity back)

  • What is creative is what is shocking and incomprehensible
  • What is creative is what makes us feel better. Art as therapy (Feedback from an audience matters little to the creative process).
  • What is creative is what appears to be absolutely new.
  • Art expresses more creativity than craft. Art is non-utilitarian (the more people use the art, the more debased it becomes). Art is about ornaments and decorations.
  • Art is in the eye of the beholder. Objective judgments about what is creative are impossible. Judgment of creativity is purely subjective.
  • Art is secular and has little to do with sacred beliefs, mythology or rituals.
  • Art is all about the process and the product doesn’t matter.
  • Being an artist means you are eccentric, an outcast, unrealistic and a dreamer.
  • Art is the opposite of necessity. It is subjective and voluntary.
  • Art is fictional. It is an escape from reality.

Romantic artists turn art into therapy. However, while there are certainly therapeutic elements to the arts, the purpose of art is to move the public from more than it is to massage and prop up the emotional states of the artist. Romantics fancy themselves as undiscovered geniuses who are too sensitive to subject themselves to the barbaric tastes of the public. But without criticism from the world the artist loses a vital feedback loop that helps him to stay in touch with the socio-historic reality.

Is there anything that comes into the world that is absolutely new? Romantic artists imagine creativity in the Christian sense of God making the world out of nothing. In reality, the most creative work is always built upon the work of others in society, in the cross-currents between societies as well as the influence of those who have went before. There is no such thing as a genius creating something out of nothing.

Crafts are about making things for everyday use such as baskets, hats, pots, and beads. Crafts are embedded in everyday life and can be used by others in the spirit of carrying on a tradition of their kin and the ancestors. The separation of art from crafts in the modern period came about as part of the class divisions within society. Artists were hired by the Church to support its spiritual ideology and among the upper classes to immortalize themselves. During the Romantic period, artists began to rebel against these influences and began to make statements about societies that were somewhat independent of the upper classes. Unlike craft, art in this sense was more abstract, self-reflective, intended for fewer people and involved innovation as part of an ideology of change. To say that art is more creative than craft says that creativity has less to do with everyday life, large groups of people and that which has continuity across time and space. It is a hard case to make. At its worst, the Romantic artist can be accused of being elitist.

The notion that art is merely a matter of subjective taste is a relatively recent phenomenon. Western art became increasingly psychological in the 20th century and with that, the inner experience of the artist became a subject of consideration. This change in part was a reaction to the objective standards of the academic painting. Cross-cultural research on aesthetics together with evolutionary psychology has shown, however, that there is a set of objective standards that all cultures point to when making aesthetic judgments about beauty. Among them include bodies of water, places to hide, and available food.

The Romantic movement was not opposed to spirituality, but to organized religion. While many Romantics wanted to bring back myths and rituals, still for many of the Romantics spirituality was an individual experience so that art in the eyes of Romantics is separated from collective myths, rituals and religious practices. This stance ignores the fact that for most of human history, art was in the service of preparation and delivery of magical rituals and the making of costumes for acting out mythological stories.

While Romantic artists rightfully drew attention to and reflects on the creative process rather than just the product, there is a point at which process becomes everything and the product becomes incidental. Again, artists who make their living as artists must pay attention to the product and reactions of the public in order to continue to paint. It is only those who are supported by others or using art for therapeutic purposes who can afford to ignore the product.

“I will live on the fringes of society rather than compromise my art”. This image of an artist as being an outcast, an eccentric, unrealistic or a dreamer has not been typical of how artists have been seen throughout history. More times than not the artist was producing objects that supported the existing order. Many artists who lived during the Renaissance were well-off, conventional, realistic and by most standards, creative. Suffering based on feeling misunderstood is atypical in the history of art.

What does it mean to say that art is the opposite of necessity? By necessity I mean that there is some external crisis or constraint that the artist must respond to. In other words, making art is not a voluntary experience. This is offensive to the Romantic because art is imagined to be coming from within, a free choice uninhibited by external circumstances. But why can’t art begin in reaction to something that must be done for social or historical reasons? Art, like problem solving, is often most creative when forced by circumstances out of their control. Conversely, without the force of external events artist can fall asleep, falling back on the usual subject matter, materials and treatment or means of creativity. They can become obsessed by personal problems and lose their perspective.

Lastly, the belief that art is fictional is based on the assumption that reality is unchangeable, and the best you can do is escape it into an imaginary world or a future world. On the contrary, revolutionary art can change social and historical reality by being used in the service of a social movement.

The Artist’s Life as a Work of Art

Though Gertrude Stein and Henry Miller were both significant artists in the traditional sense, each understood that artistic products and artistic processes are just moments of living life. How creative is the artist beyond the activity of making art? Certainly, it is possible to be creative as an artist and uncreative in how life is lived. Both Stein and Miller understood that creativity should be extended beyond art. The artistic products and processes are like streams, which, if followed long enough, can converge into the river of how an individual lives their lives. Stein points out the shortsightedness of exclusively identifying creativity with being an artist:

They become writers. They cease to be creative men and they find that they are novelists, or critics or poets or biographers. When a man says “I am a novelist” he is simply a literary shoemaker (The Creative Process, Ghiselin, p. 162) – a very important thing – and I know because I have seen it kill so many writers – is not to make up your mind that you are any one thing…When one has discovered and evolved a new form, it is not the form, but the fact that you are the form that is important (Ghiselin, p. 167).  ‘This book will make literary history’ and I told him, ‘it will make some part of literary history, perhaps, but only if you can go on making a new part every day and grow with the history you are making, until you become part of it yourself’.

Henry Miller continues the same line of argument:

I don’t consider myself a writer in the ordinary sense of the word. I am a man telling the story of his life… I become more and more indifferent to my fate as a writer and more and more certain of my destiny as a man…My life itself becomes a work of art…Now I can easily not write as write, there is no longer any therapeutic aspect to it. (Ghiselin, 178-180)

These are modern artists aware of their own psychology. However, there were artists before them like Leonardo or Goethe who clearly as artists, lived extraordinary lives and their lives were works of art.

Coming Attractions: Conscious and Unconscious Creativity in History

Up to now I have argued that a) Romantic notions of art keep the artist imprisoned in their subjective life and alienated from society and history; b) the vocation of an artist can still be understood as a link between the old world and the world being born; c) even the artist’s life at its best has its limits. An individual’s entire life can be understood as a giant canvas which may include art, but is more than art. Are there more inclusive levels in which creativity can be expressed than an individual’s life? In Part II I discuss the history of human societies as going through three phases:

  • The conscious creativity of people in egalitarian hunting and gathering and simple horticultural societies;
  • the unconscious, alienated collective creativity of caste and class societies beginning with Bronze Age states and ending with capitalist societies;
  • the return of conscious creativity in capitalist society which can be seen in natural disasters, social movements and revolutionary situations which are expressed in workers’ councils.

• First published in https://socialistplanningbeyondcapitalism.orFacebook


Bruce Lerro has taught for 25 years as an adjunct college professor of psychology at Golden Gate University, Dominican University and Diablo Valley College in the San Francisco Bay Area. He has applied a Vygotskian socio-historical perspective to his three books found on Amazon. He is a co-founder, organizer and writer for Socialist Planning Beyond Capitalism. Read other articles by Bruce, or visit Bruce's website.

 

Searching for Monsters

“America goes not abroad in search of monsters to destroy …
She might become the dictatress of the world,
But she would no longer be the ruler of her own spirit.”

~ John Quincy Adams (1767-1848)

In the middle of his term as Secretary of State, the future president John Quincy Adams addressed a joint session of Congress. What prompted this unusual event?

The United States had just fought Britain to a draw in the War of 1812. It was fought almost entirely in Canada. Some historians believe the British began this war to win back their former colonies. Some believe the U.S. began it to seize Canada from Britain. Adams was worried that the cancer of war was spreading yet again throughout the Washington establishment, and he wanted to squelch it.

He did so successfully, but only for about 20 years, with his argument that offensive foreign wars don’t spread liberty, they spread violence.

Fast forward to 1992, when the U.S. was waging another fruitless foreign war, this one using the CIA and the DEA – to avoid the statutes that required reporting military conflicts to Congress and the need of a congressional declaration of war. This was the drug war the U.S. was waging against the Mexican government and Mexican civilians.

In the midst of that war, the George H.W. Bush administration decided to kidnap foreigners who had violated American laws elsewhere and hold them accountable here. The theory behind this imperialistic hubris was that these folks had harmed American agents in Mexico by resisting America’s violent drug wars, and in the U.S. by exporting drugs to America.

Never mind that drugs are purchased and taken voluntarily, and never mind that the Supreme Court had already ruled that we each own our bodies and what we do to them in private is none of the federal government’s business.

All this came to a head at the Supreme Court in 1992 where a Mexican physician challenged his violent kidnapping from his medical office in Mexico, which had been orchestrated and financed by the Bush Department of Justice.

The Supreme Court ruled that the kidnapping was lawful because the courts do not concern themselves with how the defendant was brought to the courtroom; they only concern themselves with what happens afterward. Moreover, since the U.S./Mexico extradition treaty is silent on government kidnapping, it is therefore lawful.

This twisted understanding of first principles, among which is that government must comply with its own laws, has led to the use of FBI, CIA and DEA operatives to kidnap foreigners in foreign countries who allegedly harmed Americans by violating U.S. laws. This is violent kidnapping, often directing the victim to a Third World country for torture and then to the U.S. for trial.

As horrific as all this is, U.S. law has always required an American harm nexus, which mandated that government kidnapping could only be justified as an initial step toward redressing harm caused by the kidnapped person to an American victim.

Until, that is, Joe Biden joined hands with congressional Republicans to show how tough they are.

Recent congressional legislation extends the authority of federal courts to cover crimes committed by foreign persons in foreign countries against foreign victims or property. By removing the American harm nexus, Congress has permitted the feds to charge whomever they please for foreign crimes committed elsewhere against foreign victims, and it has directed federal courts to hear these cases.

This will open the floodgates to more U.S. government kidnappings and expand radically the power of American presidents to seize political or journalist adversaries abroad just to silence them. It also gives American presidents another tool for war below the radar as they can now legally – but not constitutionally – send small armies of federal agents dressed in military garb and possessing military gear into any countries the president chooses in order to extract someone the president hates or fears.

And if the kidnapped person is eventually acquitted here in a criminal trial, because of the Supreme Court’s recent intellectually dishonest presidential immunity ruling, he cannot sue the president for authorizing his abduction.

This is not the rule of law. This is the rule of brute force. And because no American need be harmed and no American law need be broken, the president can target literally any foreigner he chooses.

Lest one think my warnings are fanciful, this has already happened.

When former President Barack Obama dispatched drones to kill Americans and their foreign companions in Yemen in 2011 – none of whom had been charged with an American crime, and all of whom were surrounded by 12 U.S. agents during the final 48 hours of their lives – he justified his murders by arguing that he killed fewer folks by his drones than those folks might have killed had they lived.

This tortuous, perverse and authoritarian rationale is a complete rejection of natural law principles and due process, which absolutely prohibit the first use of aggression against others and require jury trials before punishment.

Yet, public acceptance of American foreign excess – searching for monsters to destroy – leads to acceptance of war, and to acceptance of war by other means.

If it is lawful for the U.S. government to enter Mexico and kidnap a Mexican physician for prescribing drugs, is it lawful for the Chinese government to enter Hawaii and kidnap an American tech executive for bribing Chinese officials? Can the U.S. kidnap Benjamin Netanyahu and try him here for murder and genocide committed in Gaza? Yes, but don’t hold your breath. He’s America’s monster.

Thomas Paine warned that the passion to punish is dangerous to liberty, even the liberty of those doing the punishing. It often makes the law unrecognizable. “He that would make his own liberty secure must guard even his enemy from oppression; for if he violates this duty, he establishes a precedent that will reach to himself.”

Andrew P. Napolitano, a former judge of the Superior Court of New Jersey, is the senior judicial analyst at Fox News Channel. Judge Napolitano has written seven books on the US Constitution. The most recent is Suicide Pact: The Radical Expansion of Presidential Powers and the Lethal Threat to American Liberty. To learn more about Judge Andrew Napolitano, visit https://JudgeNap.com.

COPYRIGHT 2021 ANDREW P. NAPOLITANO – DISTRIBUTED BY CREATORS.COM

 

Erdan’s War on the UN: The Brutal Wish of Failed Israel Diplomat

Departing Israeli Ambassador to the United Nations, Gilad Erdan clearly had an unpleasant experience at the world’s largest international institution.

In an interview published in the Israeli newspaper Maariv on August 20, the disgruntled envoy said that “the UN building should be closed and wiped off from the face of the earth.”

Whether Erdan has made this realization or not, his aggressive statement indicates that his four-year career as Israel’s top UN diplomat was a failure.

In the interview, Erdan expressed his wish to become the head of Likud, the right-wing party of current Israeli Prime Minister Benjamin Netanyahu. Erdan’s violent language could be his way of appealing to the right and far-right constituencies that feed on such violence.

However, there is more to Erdan’s hatred for the UN than the mere frustration of a disappointed diplomat.

Israel has had a long and troubled history with the United Nations and other UN-linked institutions. According to Israel’s political discourse, the UN is an ‘antisemitic’ organization, a label Israelis often invoke when their country is subjected to the slightest criticism.

Israel’s relationship with the UN is particularly odd because Israel was created by a UN decision, itself a direct outcome of UN political intrigues and western pressure.

On November 29, 1947, the UN passed resolution 181, calling for the division of historic Palestine into a Jewish and an Arab state. It assigned most of the land, 56 percent, to the Jewish population, then a minority, and the rest to the Palestinian Arab natives.

Shortly after, Jewish Zionist leadership began a military campaign that conquered most of Palestine and ethnically cleansed most of its original population.

Israel was admitted as a full UN member on May 11, 1949, while native Palestinians remain stateless. Though Israel’s admission to the international body was conditioned on the acceptance of Resolutions 181 and 194 – on the status of Jerusalem and the right of return of Palestinian refugees – Israel’s violations of these and other resolutions, spared it punishment, thanks to strong backing from Washington and other western powers.

In June 1967, the rest of historic Palestine was conquered. Again, hundreds of thousands of Palestinians were ethnically cleansed and, ever since, the remaining Palestinians have lived under a draconian system of military occupation, apartheid, siege and a constant state of war.

The ongoing Israeli genocide in the Gaza Strip is the culmination of all the injustices inflicted on the Palestinian people throughout the decades. The war did not start on October 7, 2023, nor will it end when a ceasefire is finally declared.

Aside from the Balfour Declaration, where Britain pledged to construct a Jewish state in historic Palestine in November 1917, UN resolution 181, which allowed the establishment of Israel, could arguably be considered the genesis of all Palestinian suffering.

Throughout this bloody, unjust history, the UN neither penalized Israel nor granted Palestinians their long overdue justice. It even failed to implement or enforce any of its subsequent resolutions recognizing the illegality of the Israeli occupation of Palestine.

Yet, Palestinians continue to resort to the UN, since it is their only international platform that could constantly remind Israel, and the world, that Tel Aviv is an Occupying Power, and that international and humanitarian laws must apply to Palestinians as an occupied nation.

These reminders were made frequently in the past, at the UN General Assembly and even at the Security Council, always to the displeasure of Israel and its western benefactors, mainly the United States.

The last solid legal position was articulated through an Advisory Opinion by the International Court of Justice (ICJ) on July 19. After the testimonies and interventions made by at least 52 countries and countless experts, the ICJ resolved that “Israel’s occupation of the Gaza Strip and the West Bank, including East Jerusalem, is unlawful, along with the associated settlement regime, annexation and use of natural resources.”

Although the UN has not made any difference in forcing Israel to end its occupation, dismantle illegal settlements or respect the basic human rights of Palestinians, the international institution remains a source of frustration for Israel.

Since its establishment on the ruins of Palestinian homes, Israel has worked to change the status of Palestine and Palestinian refugees, and constantly challenged the very term “occupation”. It has done its utmost to rewrite history, illegally annexed Palestinian and Arab land, and built illegal settlements as if permanent ‘facts on the ground’.

In 2017, it looked as if Israel was succeeding in its quest to cancel the Palestinian cause altogether when Washington recognized Israel’s fraudulent claims to Occupied East Jerusalem, the West Bank and the Golan Heights. Yet, the world did not follow suit, as demonstrated in the ICJ’s recent legal ruling.

As far as the United Nations is concerned, Israel remains an Occupying Power, bound to international laws and norms.

Though for Palestinians, such facts remain devoid of practical meaning, for Israel, the UN position is a major obstacle in the face of its blatant settler colonial project. And this is why Erdan wants the UN “wiped off from the face of the earth”.

Even if the angry Israeli diplomat gets his wish, nothing will alter this historic truth: Israel will remain a colonial regime, and Palestine will continue to resist, till justice is finally restored.

Dr. Ramzy Baroud is a journalist, author and the Editor of The Palestine Chronicle. He is the author of six books. His latest book, co-edited with Ilan Pappé, is Our Vision for Liberation: Engaged Palestinian Leaders and Intellectuals Speak Out. His other books include My Father was a Freedom Fighter and The Last Earth. Baroud is a Non-resident Senior Research Fellow at the Center for Islam and Global Affairs (CIGA). His website is www.ramzybaroud.net.