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The Frankfurt school, part 5: Walter Benjamin, fascism and the future The Frankfurt school, part 5: Walter Benjamin, fascism and the future
(5 months later)
Quoting Hegel, Walter Benjamin reminds us that before all philosophy comes the struggle for material existence: "Secure at first food and clothing, and the kingdom of God will come to you of itself – Hegel, 1807", or as Brecht – Benjamin's greatest and closest friend – put it "first bread, then morality". But this precisely did not mean that abstraction, speculation and thought per se had to be rejected in favour of an entirely mechanistic historical materialism. What sets all of the thinkers in this series apart from many of their more orthodox Marxist contemporaries is precisely their concern with those issues which cannot be measured, tested and decided upon but which remain undecided and undecidable.Quoting Hegel, Walter Benjamin reminds us that before all philosophy comes the struggle for material existence: "Secure at first food and clothing, and the kingdom of God will come to you of itself – Hegel, 1807", or as Brecht – Benjamin's greatest and closest friend – put it "first bread, then morality". But this precisely did not mean that abstraction, speculation and thought per se had to be rejected in favour of an entirely mechanistic historical materialism. What sets all of the thinkers in this series apart from many of their more orthodox Marxist contemporaries is precisely their concern with those issues which cannot be measured, tested and decided upon but which remain undecided and undecidable.
As Benjamin puts it in his On the Concept of History: "The class struggle, which always remains in view for a historian schooled in Marx, is a struggle for the rough and material things, without which there is nothing fine and spiritual. Nevertheless these latter are present in the class struggle as something other than mere booty, which falls to the victor. They are present as confidence, as courage, as humour, as cunning, as steadfastness in this struggle, and they reach far back into the mists of time. They will, ever and anon, call every victory which has ever been won by the rulers into question. Just as flowers turn their heads towards the sun, so too does that which has been turned, by virtue of a secret kind of heliotropism, towards the sun which is dawning in the sky of history. To this most inconspicuous of all transformations the historical materialist must pay heed."As Benjamin puts it in his On the Concept of History: "The class struggle, which always remains in view for a historian schooled in Marx, is a struggle for the rough and material things, without which there is nothing fine and spiritual. Nevertheless these latter are present in the class struggle as something other than mere booty, which falls to the victor. They are present as confidence, as courage, as humour, as cunning, as steadfastness in this struggle, and they reach far back into the mists of time. They will, ever and anon, call every victory which has ever been won by the rulers into question. Just as flowers turn their heads towards the sun, so too does that which has been turned, by virtue of a secret kind of heliotropism, towards the sun which is dawning in the sky of history. To this most inconspicuous of all transformations the historical materialist must pay heed."
On this reading, history escapes a linear or teleological path around a fixed point and becomes a mixture of points at which possibilities are either realised or rejected but never disappear completely. Again, this continues the theme that Marx took up in his 1844 letter to Ruge, which I have quoted before, about the realisation of a long-held human dream. Benjamin calls this "messianic time" in which historical possibility is resurrected over and over again in order to inform our choices at specific historical junctures. For this reason his historical materialism called upon the services of theology, which, however, had to be kept well-hidden from public view even though it was often pulling the strings. To those who criticise communism and Marxism as "merely" a new form of religious belief, Benjamin's position – as with Ernst Bloch, whom I shall look at next week – was that religion was actually a vessel that contained within its authoritarian history and structures the spark of liberation which could only be fully realised through historical materialist transformation. In that sense religion is "merely" an old form of a future and as yet unrealisable dream.On this reading, history escapes a linear or teleological path around a fixed point and becomes a mixture of points at which possibilities are either realised or rejected but never disappear completely. Again, this continues the theme that Marx took up in his 1844 letter to Ruge, which I have quoted before, about the realisation of a long-held human dream. Benjamin calls this "messianic time" in which historical possibility is resurrected over and over again in order to inform our choices at specific historical junctures. For this reason his historical materialism called upon the services of theology, which, however, had to be kept well-hidden from public view even though it was often pulling the strings. To those who criticise communism and Marxism as "merely" a new form of religious belief, Benjamin's position – as with Ernst Bloch, whom I shall look at next week – was that religion was actually a vessel that contained within its authoritarian history and structures the spark of liberation which could only be fully realised through historical materialist transformation. In that sense religion is "merely" an old form of a future and as yet unrealisable dream.
Until this unrealisable future becomes realisable its traces have to be read into the symbolic forms of human expression in various different historical epochs. To return to Adorno's take on history in Negative Dialectics, Benjamin's position is that we find the solution to the apparent non-identity of the material and the transcendental within the symbolic. We can see here quite clearly another point of contact between Marx and Freud where transcendental thoughts exist not as something separate from material reality but as something both produced by and also affecting and influencing that material reality. In Marx this is the interpenetrating relationship between base and superstructure, to put it at its simplest, and in Freud it exists in the relationship between the conscious and the unconscious realms. In Freud the symbolic plays the role of expression of that which is unknown to us but which we secretly know; namely, the unconscious. In Marx this symbolic expression is present in ideology, which, far from being a straightforward linear relationship between base and superstructure is constantly in flux and which can be captured and changed by the attempted realisations of human possibility. Ideas change as society changes but ideas also create social change.Until this unrealisable future becomes realisable its traces have to be read into the symbolic forms of human expression in various different historical epochs. To return to Adorno's take on history in Negative Dialectics, Benjamin's position is that we find the solution to the apparent non-identity of the material and the transcendental within the symbolic. We can see here quite clearly another point of contact between Marx and Freud where transcendental thoughts exist not as something separate from material reality but as something both produced by and also affecting and influencing that material reality. In Marx this is the interpenetrating relationship between base and superstructure, to put it at its simplest, and in Freud it exists in the relationship between the conscious and the unconscious realms. In Freud the symbolic plays the role of expression of that which is unknown to us but which we secretly know; namely, the unconscious. In Marx this symbolic expression is present in ideology, which, far from being a straightforward linear relationship between base and superstructure is constantly in flux and which can be captured and changed by the attempted realisations of human possibility. Ideas change as society changes but ideas also create social change.
For Benjamin the role of the symbolic in art thus takes on a transitional historical role. His work on the Baroque, for example, posits it as the turning point between medieval religiosity and renaissance secularisation and the Trauerspiel (Mourning-Play) of that period, with its obsession with violence and death, reflects the growing yet still largely unconscious realisation that there is no happy end in heaven and that – as Bloch puts it – death becomes the harshest of all anti-utopias. Art and culture in his era though, in the era of what he hoped was the transition from capitalism to socialism, had to grasp the dual possibilities of technology so that it could be harnessed not to master nature but to master the relationship between humanity and nature.For Benjamin the role of the symbolic in art thus takes on a transitional historical role. His work on the Baroque, for example, posits it as the turning point between medieval religiosity and renaissance secularisation and the Trauerspiel (Mourning-Play) of that period, with its obsession with violence and death, reflects the growing yet still largely unconscious realisation that there is no happy end in heaven and that – as Bloch puts it – death becomes the harshest of all anti-utopias. Art and culture in his era though, in the era of what he hoped was the transition from capitalism to socialism, had to grasp the dual possibilities of technology so that it could be harnessed not to master nature but to master the relationship between humanity and nature.
This means that art had to take on a political role in increasing the awareness of what was at long last the real human potential for the realisation of the old dreams. It could go either way though; down the Adornian route from the slingshot to the megaton bomb or onwards and upwards to the sunlit uplands of social liberation. Art and technology therefore become interlinked and politicised, predominantly in film. The "aura" of traditional art may have been destroyed by modernity but the future "aura" of liberated humanity as a living work of art had to take its place. If fascism represented the aestheticisation of politics then the fight against fascism had to involve the politicisation of aesthetics and the active creation of the aura of potential.This means that art had to take on a political role in increasing the awareness of what was at long last the real human potential for the realisation of the old dreams. It could go either way though; down the Adornian route from the slingshot to the megaton bomb or onwards and upwards to the sunlit uplands of social liberation. Art and technology therefore become interlinked and politicised, predominantly in film. The "aura" of traditional art may have been destroyed by modernity but the future "aura" of liberated humanity as a living work of art had to take its place. If fascism represented the aestheticisation of politics then the fight against fascism had to involve the politicisation of aesthetics and the active creation of the aura of potential.
This is why Benjamin states that "the tradition of the oppressed teaches us that the 'state of emergency' in which we live is not the exception but the rule. We must attain to a conception of history that is in keeping with this insight. Then we shall clearly realise that it is our task to bring about a real state of emergency, and this will improve our position in the struggle against fascism." In other words, all class society is a permanent state of emergency in which the rulers are always under threat. Fascism is thus not some sort of breakdown of tradition but a continuation of traditional class rule by other means. Overcoming it thus requires not just anti-fascist attitudes but also a destruction of its roots in class oppression. Or, as Horkheimer put it in 1939: "If you don't want to talk about capitalism then you had better keep quiet about fascism."  This is why Benjamin states that "the tradition of the oppressed teaches us that the 'state of emergency' in which we live is not the exception but the rule. We must attain to a conception of history that is in keeping with this insight. Then we shall clearly realise that it is our task to bring about a real state of emergency, and this will improve our position in the struggle against fascism." In other words, all class society is a permanent state of emergency in which the rulers are always under threat. Fascism is thus not some sort of breakdown of tradition but a continuation of traditional class rule by other means. Overcoming it thus requires not just anti-fascist attitudes but also a destruction of its roots in class oppression. Or, as Horkheimer put it in 1939: "If you don't want to talk about capitalism then you had better keep quiet about fascism."  
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