1/26/2021

Insights on work and creativity from the life of mathematician Claude Shannon

11 Life Lessons From History’s Most Underrated Genius

Insights on work and creativity from the life of mathematician Claude Shannon, the most influential figure you’ve never heard of



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Photo: Nokia Bell Labs

By Rob Goodman and Jimmy Soni, co-authors of A Mind at Play

For five years, we lived with one of the most brilliant people on the planet.

Sort of.

See, we spent those all-consuming five years writing our biography of American mathematician Claude Shannon, whose work in the 1930s and ’40s earned him the title of “father of the information age.” That’s how long it took us to understand the influence of the most important genius you’ve never heard of, a man whose intellect was on par with that of Albert Einstein and Isaac Newton.

During that time, we spent more time with the deceased Claude Shannon than we have with many of our living friends. He became something like the roommate in the spare bedroom of our minds, the guy who was always hanging around and occupying our headspace.

Geniuses have a unique way of engaging with the world, and if you spend enough time examining their habits, you discover the behaviors behind their brilliance. Whether or not we intended it to, understanding Claude Shannon’s life gave us lessons on how to better live our own.

That’s what follows in this essay. It’s the good stuff our roommate left behind.

Claude who?

His name may not ring a bell. Don’t worry—we initially didn’t know much about him, either.

So, who was Claude Shannon?

Within engineering and mathematics circles, Shannon is a revered figure. At 21, he published what’s been called the most important master’s thesis of all time, explaining how binary switches could do logic and laying the foundation for all future digital computers. At the age of 32, he published A Mathematical Theory of Communication, which Scientific American called “the Magna Carta of the information age.” Shannon’s masterwork invented the bit, or the objective measurement of information, and explained how digital codes could allow us to compress and send any message with perfect accuracy.

But Shannon wasn’t just a brilliant theoretical mind — he was a remarkably fun, practical, and inventive one as well. There are plenty of mathematicians and engineers who write great papers. There are fewer who, like Shannon, are also jugglers, unicyclists, gadgeteers, first-rate chess players, codebreakers, expert stock pickers, and amateur poets.

Shannon worked on the top-secret transatlantic phone line connecting FDR and Winston Churchill during World War II and co-built what was arguably the world’s first wearable computer. He learned to fly airplanes and played the jazz clarinet. He rigged up a false wall in his house that could rotate with the press of a button, and he once built a gadget whose only purpose when it was turned on was to open up, release a mechanical hand, and turn itself off. Oh, and he once had a photo spread in Vogue.

Think of him as a cross between Albert Einstein and the Dos Equis guy.


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Vintage Claude. Photo courtesy of the Shannon family

Asking the questions he probably wouldn’t

We aren’t mathematicians or engineers; we write books and speeches, not code. That meant we had a steep learning curve in making sense of Shannon’s work.

Because we approached this book as learners, we were particularly interested in a broader, more generalist set of questions: How does a mind like Shannon’s work? What shapes a mind like that? What does a mind like that do for fun? What can we take from it to be just a bit more brilliant in our own pursuits, whatever they happen to be?

Shannon was never especially interested in offering direct answers to questions like those. If he were alive to read this piece, he’d probably laugh at us. What got him up in the morning was dissecting how things worked, not digressions into creativity and productivity. Still, he has plenty to teach us in those areas. To that end, we’ve distilled what we’ve learned from Shannon over these past few years into this piece. It isn’t a comprehensive list by any means, but it does begin, we hope, to reveal what this unknown genius can teach the rest of us about thinking — and living.

Cull your inputs, inbox zero be damned

We know that staying focused is considerably more difficult now, with the constant distractions of smartphones and social media, than it was in Shannon’s mid-20th-century America (and yes, we suppose he bears some inadvertent blame for this). But distractions are a permanent feature of life in any era, and Shannon shows us that shutting them out isn’t just a matter of achieving random bursts of concentration. It’s about consciously designing one’s life and work habits to minimize them.

For one, Shannon didn’t allow himself to get caught up in clearing out his inbox. Letters he didn’t want to respond to went into a bin labeled “Letters I’ve Procrastinated On for Too Long.” In fact, we pored over Shannon’s correspondence at the Library of Congress in Washington, D.C., which keeps his papers on file, and we found far more incoming letters than outgoing ones. All that time saved was more time to plow into research and tinkering.

Shannon extended the same attitude to his time in the office, where his colleagues regularly expected to find his door closed (a rarity in Bell Labs’ generally open-door culture). None of Shannon’s colleagues, to our knowledge, remembered him as rude or unfriendly, but they do remember him as someone who valued his privacy and quiet time for thinking.

On the other hand, colleagues who came to Shannon with bold new ideas or fascinating engineering puzzles remembered hours of productive conversations. That’s just to say that Shannon was deliberate about how he invested his time: in stimulating ideas, not in small talk. Even for those of us who are more extraverted than he was—and, to be honest, that’s nearly all of us—there’s something to learn from how intentionally and consistently Shannon turned his work hours into a distraction-free zone.


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“I am a chronic procrastinator,” Claude Shannon wrote. Image: Shannon Papers/Library of Congress

Big picture first, details later

In his mathematical work, Shannon had a quality of leaping right to the central insight and leaving the details to be filled in later. As he once explained it, “I think I’m more visual than symbolic. I try to get a feeling of what’s going on. Equations come later.” It was as if he saw solutions before he could explain why they were correct.

As his graduate student Bob Gallager, who went on to become a leading information theorist himself, recalled, “He would say, ‘Something like this should be true’… and he was usually right… You can’t develop an entire field out of whole cloth if you don’t have superb intuition.”

Occasionally, this got Shannon into trouble: Academic mathematicians sometimes accused him of being insufficiently rigorous in his work. Usually, though, their critiques were misguided. “In reality,” said mathematician Solomon Golomb, “Shannon had almost unfailing instinct for what was actually true.” If the details of the journey needed filling in, the destination was almost always correct.

Most of us, of course, aren’t geniuses, and most of us don’t have Shannon-level intuition. So, is there anything to learn from him here? We think there is: Even if our intuitions don’t lead us to anything groundbreaking, they often have a wisdom that we can choose to tune in to.

Worrying about missing details and intermediate steps is a sure way to shut down our intuitions and miss out on some of our best shots at creative breakthroughs. Expecting our big ideas to unfold logically from premise to conclusion is a misunderstanding of the way creativity usually works in practice. Waiting for a neat and tidy epiphany usually means waiting for a train that’s never arriving.

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Claude Shannon with Theseus the mouse. He built a maze-solving mouse as an early illustration of artificial intelligence. Photo: Wikimedia Commons

Don’t just find a mentor—allow yourself to be mentored

A lot of writing about mentorship tends to treat a mentor as something you acquire: Find the right smart, successful person to back your career and you’re all set.

It’s not that simple. Making the most of mentorship doesn’t just require the confidence to approach someone whose guidance can make a difference in your development. It requires the humility to take that guidance to heart, even when it’s uncomfortable, challenging, or counterintuitive. Otherwise, what’s the point?

Shannon’s most pivotal mentor was probably his graduate school adviser at MIT, Vannevar Bush, who went on to coordinate the American scientific effort in World War II and became the first presidential science adviser. Bush recognized Shannon’s genius, but he also did what mentors are supposed to do: He pushed Shannon out of his comfort zone in some productive ways.

For instance, after the success of Shannon’s master’s thesis, Bush urged him to write his PhD dissertation on theoretical genetics, a subject Shannon had to pick up from scratch and that was far afield from the engineering and mathematics he had spent years working on. That Bush pushed Shannon to do so testifies to his trust in his protégé’s ability to rise to the challenge; that Shannon agreed testifies to his willingness to stretch himself. Bush knew what he was doing, and Shannon was humble enough to trust his judgment and let himself be mentored.

Accepting real mentorship is, in part, an act of humility: The best of it comes when you’re actually willing to trust that your mentor sees something you don’t. There’s a reason, after all, that you sought them out in the first place. Be humble enough to listen.

You don’t have to ship everything you make

Bush left his imprint on Shannon in another way: He defended the value of generalizing over specializing. As he told a group of MIT professors:

In these days, when there is a tendency to specialize so closely, it is well for us to be reminded that the possibilities of being at once broad and deep did not pass with Leonardo da Vinci or even Benjamin Franklin. Men of our profession — we teachers — are bound to be impressed with the tendency of youths of strikingly capable minds to become interested in one small corner of science and uninterested in the rest of the world… It is unfortunate when a brilliant and creative mind insists upon living in a modern monastic cell.

Bush encouraged Shannon to avoid cells of all kinds — and Shannon’s subsequent career proves how deeply he absorbed the lesson.

We know: Bush’s advice would probably sound unfashionable these days. So many of the pressures in our professional lives push us to specialize at all costs, to cultivate that one niche skill that sets us apart from the competition, and to keep hammering away at it. In this view, people whose interests are broad rather than deep are basically unserious. What’s worse, they’re doomed to be overtaken by rivals who know how to really focus.

It’s a view that would have exasperated Shannon. Bush’s generalist gospel struck such a deep chord with him, we think, because it accorded with Shannon’s natural curiosity. He was so successful in his chosen fields not just because of his raw intellectual horsepower, but because of how deliberately he kept his interests diverse. His remarkable master’s thesis combined his interests in Boolean logic and computer-building, two subjects that were considered entirely unrelated until they fused in Shannon’s brain. His information theory paper drew on his fascination with codebreaking, language, and literature. As Shannon once explained to Bush, “I’ve been working on three different ideas simultaneously, and strangely enough it seems a more productive method than sticking to one problem.”

While he was diving into these intellectual pursuits, Shannon kept his mind agile by taking up an array of hobbies: jazz music, unicycling, juggling, chess, gadgeteering, amateur poetry. He was a person who could have used his talents to burrow ever deeper and deeper into a chosen field, wringing out variations on the same theme for his entire career. But we’re fortunate that he chose to be a dabbler instead.

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Photo courtesy of the Shannon Family

Chaos is okay

When he partnered with Shannon in 1961 to build a pioneering wearable computer to beat the house at roulette, mathematician Ed Thorp got to see Shannon’s work environment up close — in particular, the huge home workshop where Shannon did the bulk of his tinkering.

Thorp later described the workshop as “a gadgeteer’s paradise… There were hundreds of mechanical and electrical categories, such as motors, transistors, switches, pulleys, gears, condensers, transformers, and on and on.” Shannon had no qualms about getting his hands dirty, leaving machine parts and half-finished projects scattered all over the place, and jumping from project to project as he followed his curiosity.

Shannon’s more academic pursuits also resembled that workshop. His attic was stuffed with notes, half-finished articles, and “good questions” on ruled paper.

On one hand, we can regret the amount of unfinished work Shannon never got around to sending out into the world. On the other hand, we can recognize that chaos was the condition of the remarkable work he did do: Rather than pouring mental energy into tidying up his papers and workspace, Shannon poured it into investigating chess, robotics, or investment strategies. Call him an early adopter of The Joy of Leaving Your Shit All Over the Place.

Time is the soil in which great ideas grow

Shannon’s breadth of interests meant that his insights sometimes took time to come to fruition. Often, unfortunately, he never got around to publishing his findings at all. But if Shannon’s tendency to follow his curiosity sometimes rendered him less productive, he also had the patience to keep coming back to his best ideas over the course of years.

For instance, his 1948 information theory paper was nearly a decade in the making: He was just finishing grad school in 1939 when he first conceived the idea of studying “some of the fundamental properties of general systems for the transmission of intelligence, including telephony, radio, television, telegraphy, etc.” The years between the first inkling of the idea and its publication would take Shannon not only deeper into the study of information but also into work aiding America’s World War II effort, including research on anti-aircraft gunnery and cryptography. All along, Shannon’s information theory continued to germinate, even when he had to work on it in his free time.

This is probably the hardest lesson for us to swallow, living in the age that we do. We bathe in instant gratification. But for people in the creative, entrepreneurial, and idea-making worlds, there may be no more useful advice we need to hear: Genius takes time.

Remember also: Shannon wasn’t working on information theory full-time for 10 years. It was, for many of those years, his side hustle. Maybe the ultimate side hustle. But his endurance in sticking with it yielded the most important work he’d ever produce.

What could we do in our spare time if we stuck with something for long enough?

Consider the content of your friendships

Shannon was never one to get caught up in jockeying for status, play office politics, or try to win over every critic. The pleasure of problem-solving was worth more to him than all of that, and so when it came to choosing his relatively small number of friends, Shannon deliberately chose those who took pleasure in the same thing and who helped bring out the best in him.

During World War II, those friends included Alan Turing, with whom Shannon struck up a lively intellectual exchange during Turing’s fact-finding trip to study American cryptography on behalf of the British government. At Bell Labs, Shannon also bonded with fellow engineers Barney Oliver and John Pierce, each of whom was a pioneering figure in the history of information technology in his own right.

Shannon grew smarter and more creative because he chose to surround himself, almost exclusively, with people whose smarts and creativity he admired. More than most of us, he was deliberate in his friendships, choosing only the friends who drew out his best.

What does that mean for the rest of us nongeniuses? It means asking yourself not just who your friends are but also what you do together. Think more deliberately about the substance of your time with them, and if you find it lacking, change it.

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Photo courtesy of the Shannon family

Put money in its place

There’s a great line from stoic philosopher Seneca: “He is a great man who uses earthenware dishes as if they were silver; but he is equally great who uses silver as if it were earthenware. It is the sign of an unstable mind not to be able to endure riches.” Seneca’s point: The pursuit of money is a powerful distraction from the pursuit of what truly matters. Money is neither the root of all evil nor the solution to all of our problems. The question is whether it gets in the way of what’s morally important.

Shannon, who was a successful investor in early Silicon Valley companies and pursued stock-picking as one of his many hobbies, is an excellent example of what it looks like to be wealthy without being consumed by the pursuit of wealth. He saw his financial success as an opportunity, not to live lavishly, but to spend more time on the gadgeteering projects he loved. His investment returns funded, for instance, his research into the physics of juggling, as well as his invention with Thorp of their roulette-beating wearable computer.

None of us need to be told that the pursuit of money can obscure what’s important and valuable. But it is useful to remind ourselves that wealth nearly always comes as an indirect effect of incredible work rather than as the end goal. Silicon Valley entrepreneur Paul Graham has put it like this: “I get a lot of criticism for telling founders to focus first on making something great, instead of worrying about how to make money. And yet, that is exactly what Google did. And Apple, for that matter. You’d think examples like that would be enough to convince people.”

Fancy is easy. Simple is hard.

Shannon wasn’t impressed by his colleagues who wrote the most detailed tomes or whose theories were the most complex. What impressed him the most — in a way that reminds us of Steve Jobs — was radical simplicity.

In a 1952 talk to his fellow Bell Labs engineers, Shannon offered a crash course in the problem-solving strategies that had proven most productive for him. At the top of the list: You should first approach your problem by simplifying.

“Almost every problem that you come across is befuddled with all kinds of extraneous data of one sort or another,” Shannon said, “and if you can bring this problem down into the main issues, you can see more clearly what you’re trying to do.”

Gallager, Shannon’s graduate student, saw this process of radical simplification in action when he came to Shannon’s office one day with a new research idea. As Gallagher recalled:

He looked at it, sort of puzzled, and said, “Well, do you really need this assumption?” And I said, “Well, I suppose we could look at the problem without that assumption.” And we went on for a while. And then he said, again, “Do you need this other assumption?”… And he kept doing this, about five or six times… At a certain point, I was getting upset, because I saw this neat research problem of mine had become almost trivial. But at a certain point, with all these pieces stripped out, we both saw how to solve it. And then we gradually put all these little assumptions back in, and then, suddenly, we saw the solution to the whole problem. And that was just the way he worked.

A lot of us are trained to think that our ability to grapple with ever-more-complex concepts is the measure of our intelligence. The more complicated the problem, the smarter the person needed to solve it, right? Maybe. Shannon helps us see how the opposite might also be true. Achieving simplicity may actually be the more intellectually demanding endeavor.

Never confuse simplicity with simplemindedness. It takes work to distill, to get at the essence of things. If you stop yourself from saying something in a meeting because you’ve just thought, “Well, that’s just too simple,” you might want to think again. It may be that it’s the very thing that needs to be said.

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Shannon built this chess-playing machine, an ancestor of Deep Blue. It could play six moves of an endgame. Photo courtesy of the Shannon family

Value freedom over status

Reflecting on the arc of his career, Shannon confessed, “I don’t think I was ever motivated by the notion of winning prizes, although I have a couple of dozen of them in the other room. I was more motivated by curiosity. Never by the desire for financial gain. I just wondered how things were put together. Or what laws or rules govern a situation, or if there are theorems about what one can’t or can do. Mainly because I wanted to know myself.”

He wasn’t exaggerating. Shannon was regularly given awards that he wouldn’t go to the trouble of accepting. Envelopes inviting him to give prestigious lectures would arrive; he’d toss them into the “Procrastination” bin we mentioned earlier. He accumulated so many honorary degrees that he hung the doctoral hoods from a device that resembled a rotating tie rack (which he built with his own hands). Whether the awarding institutions would have found that treatment fitting or insulting, it speaks to the lightness with which Shannon took the work of being lauded.

There were, of course, certain strategic and personal advantages to being immune to the pull of trophies and plaques. For Shannon, it gave him the ability to explore areas of research that no other “respectable” scientist might have ventured into: toy robots, chess, juggling, unicycles. He built machines that juggled balls and a trumpet that could breathe fire when it was played. Time and again, he pursued projects that might have caused others embarrassment, engaged questions that seemed trivial or minor, and then managed to wring breakthroughs out of them.

Would Shannon have been able to do all of that while chasing a Nobel? Possibly. But the fact that he didn’t give much thought to those external achievements allowed him to devote far more thought to the work itself.

We admit: It’s easier to write those words than to live by them. We’re all conscious of our status, and for the ambitious and talented, it’s especially tough to be indifferent to it. Shannon can help us break that hold, though, because his example points us to the rich prize on the other side of indifference: freedom. Even when it risked his status, Shannon pointedly did not stay in his lane. He gave himself the freedom to explore whichever discipline caught his fancy, and that freedom came, in part, from not caring what other people thought of him.

When we’re in the midst of chasing awards and honors, we often forget the way they can crowd out freedom. Nothing weighs you down like too many pieces of flair.

Don’t look for inspiration—look for irritation

How many of us, in search of a breakthrough, sit around waiting for inspiration to strike? That’s the wrong way to go about it.

One of the people who explained this the most trenchantly was painter Chuck Close. As he put it, “Inspiration is for amateurs — the rest of us just show up and get to work… If you hang in there, you will get somewhere.”

Shannon believed something quite similar when it came to looking for a great “science idea.” The idea might come from a good conversation, tinkering in the workshop, or the kind of aimless play he indulged in for much of his life — but above all, it came from doing, not waiting.

As Shannon told his fellow Bell Labs engineers, the defining mark of a great scientific mind is not some ethereal capacity for inspiration, but rather a quality of “motivation… some kind of desire to find out the answer, the desire to find out what makes things tick.” That fundamental drive was indispensable: “If you don’t have that, you may have all the training and intelligence in the world, [but] you don’t have the questions and you won’t just find the answers.”

Where does that fundamental drive come from? Shannon’s most evocative formulation of that elusive quality put it like this: It was “a slight irritation when things don’t look quite right,” or a “constructive dissatisfaction.” In the end, Shannon’s account of genius was a refreshingly unsentimental one: A genius is simply someone who is usefully irritated. And that useful irritation doesn’t come until, somewhere in the midst of the work, you stumble onto something that troubles you, pulls at you, doesn’t look quite right.

Don’t run away from those moments. Hold onto them at all costs.

A final thought: The internet, the digital age, the technologies that underlie it all — these are remarkable human achievements. But we can too easily forget what their origins are, where they sit in the flow of our history, and what kinds of people brought them about. We think there is something important in beginning to learn these things.

Learning isn’t just about understanding the substance of what’s been built—it’s also about understanding the spirit in which it was built. So many of the great sparks of innovation that made our world possible grew from the spirit of curiosity and creativity. They came from minds that, like Claude Shannon’s, saw their work as a game.

We think that’s a spirit worth remembering. More than that, we think it’s one worth living by.

 

 

 

The inspiration for this post comes from a marvelous essay by author and entrepreneur Ben Casnocha. In 2015, he wrote a piece summarizing the lessons he took from spending several years at the elbow of LinkedIn founder and Greylock partner Reid Hoffman. It’s a fantastic read.

We’d love to hear from readers. Rob can be contacted at goodman1@gmail.com and Jimmy at jimmysoniwriting@gmail.com. We promise not to put you in the “Procrastination” folder. You can also subscribe to our articles here.

Written by

Co-Author, A MIND AT PLAY: How Claude Shannon Invented the Information Age (http://amzn.to/2pasLMz)


on Leonardo’s Salvator Mundi

 


Disarming new findings on Leonardo’s Salvator Mundi

The Louvre’s examination of the picture and independent analysis suggest blessing hand and arm were not part of the artist’s original concept

 
Two examinations of Leonardo’s Salvator Mundi suggest that it was initially conceived as just a head and shoulders, with the hands and arms added later on. © CNN ANALYSIS

What is the most characteristic element of a Salvator Mundi, the archetypal image of Christ as Saviour of the World? It is Christ’s right hand raised in blessing. The left hand cradling an orb completes the type, which was fashionable in north-eastern Italy from around 1500, originating in Northern Europe.

But now, two very different kinds of examination of Leonardo’s enigmatic picture, which sold for $450m at Christie’s New York in 2017 and is now owned by the Saudi Arabian culture ministry, suggest that this “Salvator Mundi” was initially conceived as just a head and shoulders, with the hands and arms added later on. One analysis was conducted by the Louvre’s experts, when Saudi Arabia’s Ministry of Culture permitted detailed scientific analysis of its picture in 2018; the other was conducted by a computer scientist and an art historian, and has just been accepted for publication in The MIT Press’s Leonardo journal. The computer-generated findings go further in their conclusions, classifying the blessing arm and hand as strongly “not Leonardo”.

The results of the Louvre analysis have not been publicly scrutinised: they are the subject of a book produced in the latter part of 2019, whose publication was cancelled when the loan of the picture to the Louvre’s Leonardo exhibition was refused. (The museum is barred from commenting on privately owned paintings that it has not displayed.) The Art Newspaper revealed the existence of stray copies of the book last year and has now seen a further copy, enabling us to report on the modifications made during the picture’s evolution. Key to the book’s conclusions is a preface by the Louvre’s president Jean-Luc Martinez, in which he fully supports the attribution to Leonardo. 

 The Franks’s analysis comes with this colour coded “probability” map, showing which areas of the Saudi-owned Salvator Mundi were likely painted by Leonardo: red is highly likely, gold moderately likely, green moderately unlikely and blue (the blessing hand above) highly unlikely

The Franks’s analysis comes with this colour coded “probability” map, showing which areas of the Saudi-owned Salvator Mundi were likely painted by Leonardo: red is highly likely, gold moderately likely, green moderately unlikely and blue (the blessing hand above) highly unlikely

A time lapse

Prior to the Louvre’s examination, the website of Dianne Modestini—the restorer who worked on the Salvator Mundi before its Christie’s sale—has been the authoritative source of scientific information. In a section called “The Order of Painting”, she suggests that the head and blessing hand belong to the same evolutionary stage of the picture. She discusses the “black wash” behind the upper part of the hand, speculating that it was originally in a lower position.

However, the Louvre’s curatorial and restoration experts—Vincent Delieuvin, Myriam Eveno and Elisabeth Ravaud—, appear to contradict Modestini’s view. They state that, because the upper part of the blessing hand is painted directly on top of the black background, unlike the rest of the picture, this “proves that Leonardo has not envisaged it at the beginning of the pictorial execution”. This darker area behind the hand was noted in a Sotheby’s valuation of the picture in January 2015, which was highlighted in Ben Lewis’s 2019 book The Last Leonardo and identified as “meriting further investigation” in the Heritage Science Journal in April 2020.

The Louvre’s 2018 analysis concludes that the picture evolved slowly, and that Leonardo may have added the blessing arm and hand after a time lapse. Comparison with the Mona Lisa and the theories around that painting’s four phases of execution help support this view. The Louvre experts therefore ask “if there [was] not an initial more hieratic project, or perhaps no [blessing] hand appeared”. They believe, however, that this “substantial” modification occurred early enough in the process for Leonardo to subsequently apply other layers to the black background around it.

 https://www.theartnewspaper.com/news/stolen-salvator-mundi-recovered-in-naples-leonardo

The Naples Salvator Mundi (around 1508-13) is attributed to a follower of Leonardo, likely Salaì © SAN DOMENICO MAGGIORE, NAPLES

The Louvre book also raises questions regarding the left hand holding the orb. It refutes the claim that the orb is made of rock crystal, which—for some—is a key element in the attribution to Leonardo. For the Louvre team, the little circular forms at the lower base of the orb convincingly represent air bubbles imprisoned in glass. They also remark that the globe has a double contour and that the fingers of the hand were originally in a higher position (as noted by Modestini).

Fascinatingly, a superb recently restored Salvator Mundi dating from around 1508 to 1513, in San Domenico Maggiore, Naples—which Modestini thinks could be by Leonardo’s pupil Salai—shows the orb hand in the higher position, suggesting that it chronologically preceded the late-stage revision in the Saudi version. (The Naples picture was recently reported stolen and then retrieved.) This suggests that there may have been an initial batch of Salvator Mundi pictures, produced as a creative studio effort, a theory first suggested by the restorer and curator Antonio Forcellino in the catalogue of his exhibition Leonardo a Roma: Influenza e Eredita, held at Rome’s Villa Farnesina last year.

 

The Franks’s CNN analysis suggests that the orb hand is “not Leonardo” © CNN ANALYSIS

Computer analysis

Meanwhile, unaware of the Louvre’s analysis, the computer scientist Steven Frank and generalist art historian Andrea Frank, who use convolutional neural networks (CNNs) to shed light on forgeries and controversial attributions, decided to train their sights on Leonardo’s Salvator Mundi. They were intrigued by their findings, which are soon to be published in the journal Leonardo (MIT Press).

Their system, devised specifically for works of art, divides images into tiled segments that are small enough to be processed by the CNN and have proved 97% accurate in their own comparative tests, designed to rule out false positives and negatives. Their analysis concluded that the head and upper portion of the figure were highly likely to have been painted by Leonardo himself, but that the blessing hand and arm were highly likely not to have been executed by the master at all. A similar conclusion, based on analysis of smaller tiles (which gives a slightly less accurate result but permits consideration of the less detailed lower portion of the image), also produced a strongly “not Leonardo” result for the left hand with the orb.

 

Salai’s Head of Christ the Redeemer (1511) may be the closest to Leonardo’s original composition

Supporting views

Taken on their own, the Franks’s results are arresting—especially as there is no conscious confirmation bias in their methodology. Taken together with the Louvre’s analysis, they independently support the Louvre’s view that the Christ the Redeemer (1511) in the Pinacoteca Ambrosiana, Milan, a bold self-portrait by Leonardo’s beloved pupil Salai, may be the closest we have to Leonardo’s original composition.

Separately, the Leonardo specialist Frank Zöllner, who has always felt that the pale, waxy complexion of the blessing hand undermines any unreserved attribution to Leonardo, proffered a fresh theory in an academic conference paper published in 2020. He proposed that Leonardo may have begun and then lost interest in a somewhat traditional commission. This, Zöllner says, is supported by the fact that the Saudi Salvator Mundi bafflingly has no beard (unlike all the copies, which are standard representations of the subject), that the drapery folds are poorly delineated, and that there is a complete misunderstanding of the omega-shaped fold that in certain other copies clearly delineates Christ’s wound (to his right side). Possibly the painting was finished by one of Leonardo’s pupils, associates or a follower.

At this point it is worth referring to a marginal note made by the Florentine official Agostino Vespucci in his copy of Cicero’s letters (October 1503), which cites the example of Mona Lisa: “Apelles perfected the head and bust of his Venus but left the rest of the body roughly rendered. This is how Leonardo does all his paintings.” Not withstanding this contemporary observation, it is hard to imagine that the vital attributes of a Salvator Mundi, those hands and arms, played no part in Leonardo’s original conception. This re-opens the debate about the Saudi picture’s status as a prototype Salvator Mundi, the role played by Leonardo’s studio, and begs the question: When and by whom was Leonardo’s Christ “armed”?


1/25/2021

Ironic Little Nazis by John Steppling


The Ironic Little Nazis

Guillaume Burger (Studio for Manfredo Tafuri).

“As states have hastily emulated measures adopted elsewhere, in particular through the imposition of curfews, nationwide lockdowns and travel bans, and escalation of citizen surveillance, a wave of authoritarian governance has swept the globe with profound, worldwide implications for democracy, the rule of law, and human rights, dignity, and autonomy. Reinforced by threats of criminal sanction, from fines to imprisonment, states have exerted tremendous vertical, paternalist power on citizens, despite serious questions as to the efficacy, sustainability, and proportionality of adopted measures. Day-to-day life was essentially suspended worldwide, with borders closed, social gatherings banned, business operations ceased, sports events canceled, and religious services suspended; no less than 1.5 billion students in 188 countries were globally affected by school closures.”
Stephen Thomson (COVID-19 emergency measures and the impending authoritarian pandemic, Journal of Law and Biosciences, Sept. 2020)

“But we must be completely clear…if nationalism is truly the hallmark of a people in the prime of its youth and energies, how does it happen that under its aegis morality decays, ancient customs die out—that men are uprooted, the steadfast derided, the thoughtful branded, the rivers poisoned, and the forests destroyed? Why, if this is a high watermark of our national life, has our speech been vulgarized in this unprecedented way?”
Friedrich Reck-Malleczewen (Diary of a Man in Despair)

“Ah! Our nice little ego is back again!”
Jacques Lacan (Seminar II)

“When wrong, we mistake for objective verification the selection and solicitation (more or less deliberate) of the evidence, which is forced to confirm the presuppositions (more or less
explicit) of the research itself. The dog thinks it is biting the bone and is
instead biting its own tail.”

Carlo Ginzburg and Adriano Prosperi (A Seminar on the Benefit of Christ, 1975)

I wanted to try to assemble a few random, or somewhat random, thoughts here. Many have written on the Reset and at Aesthetic Resistance ( https://soundcloud.com/aestheticresistance )

we have done several podcasts on this subject, so this time I want to touch on less discussed implications of what is going on globally. Psychological implications, but also psychological precursors. And several things have come to mind. One is contemporary architecture , and the legacy of Philip Johnson. The second is the misreading of Freud and psychoanalysis altogether.

“Indeed, for him ( Lacan) the ego is no less a “historic result,” which is to say, a product of modernity, than it was for Marx. At the beginning of the Seminar on the ego, he warns his students against retrospectively projecting our modern conception of the ego into the past when we attempt, for example, to understand the Greeks{  } ‘It is very difficult for us to imagine that the whole of this psychology isn’t eternal.'”
Joel Whitebook (Perversion and Utopia )

Chidinma Nnoli

Whitebook quotes Lacan again on the formation of ego…“a product of our industrial age { } his relationship to this machine is so very intimate that it is almost as if the two were actually conjoined.” This is a fascinating observation in the context of psychoanalysis. And in terms of later mis-readings of Lacan. And Lacan also notes the intense emotional attachment that people have to machines. For the machine, as he put it, ‘exteriorizes the protective shell of his ego’. The machine is the reflection of the reified self. And this then brings us to Philip Johnson.

Johnson came from a wealthy Cleveland family. He was charming and witty, so accounts have it, and was decidedly a social climber. Today he would be called an influencer.

The Vanity Fair piece on Johnson (Marc Wortman, 2016) notes…” he used his personal funds to establish the new Museum of Modern Art’s Department of Architecture, making it the first major American museum to exhibit contemporary architecture and design. At age 26, he collaborated in curating MoMA’s landmark 1932 show, “The International Style: Architecture Since 1922.” This groundbreaking exhibition introduced Americans to masters of modern European architectural style, such as Walter Gropius and Berlin’s Bauhaus school and the French master Le Corbusier, along with a few American practitioners, including Frank Lloyd Wright, Richard Neutra, and Raymond Hood. The exhibition and the accompanying book would set the course of world architecture for the next 40 years.”

Philip Johnson, at his desk in the Seagam’s bldg.

Johnson was to hold an enormous amount of influence on architecture in the U.S. And he was deeply enamoured of the Third Reich and Hitler himself. He recounts the erotic charge of attending a rally in Potsdam in 1932. All those blond boys in black leather. So here we have wealth, privilege, and a mythos of fascism, the same blond Aryan volkish seductiveness that is still be marketed today.

“Sharing the Protestant social elite’s then common disdain for Jews and its fear of organized labor, he had no problem with the Nazis’ scapegoating of Jews or excoriation of Communists. He wrote of a visit to Paris, “Lack of leadership and direction in the [French] state has let the one group get control who always gain power in a nation’s time of weakness—the Jews.” To his bigotry he added a personal snobbery toward mass democratic society. In an age of social collapse, Germany had figured out solutions he thought right for the crisis of democracy. He was sure Fascism could transform America, if perhaps occasioning some temporary dislocations for certain “alien” groups, much as it had in Germany. He felt ready to embark on an effort to import Fascism to America.”
Marc Wortman (Ibid)

Plan for Palace of the Soviets, Boris Iofan, architect.

And racism, anti-semitism. Johnson first looked to Huey Long as an American Hitler, but Long was shot dead. No matter, he moved on the Roman Catholic ‘Radio Priest’ Father Charles Edward Coughlin. And Coughlin was invested deeply in classical antisemitism. It was the usual Jewish banker cabal mixed with anti communism. Johnson was to champion Coughlin and quote him often. Johnson was to eventually, as it became clear the U.S. would enter the war, try to change his image. The FBI followed him and raided his New York apartment (finding books by leading fascists and Nazis, some autographed).

“How did Johnson, virtually alone among his Fascist associates, manage to avoid indictment? The answer may lie in the influence of powerful friends. One man in particular could well have been influential: Washington’s powerful Latin-American intelligence-and-propaganda czar Nelson Rockefeller, who knew Johnson well from his New York days. Rockefeller’s mother, Abby Aldrich Rockefeller, was the force behind the Museum of Modern Art. Rockefeller regarded himself as a connoisseur of art, particularly architecture, and had helped his father develop the monumental Rockefeller Center. He was a leading patron of modern art in America and served as president of the Museum of Modern Art, where he had taken a particular interest in Johnson’s Department of Architecture.”
Marc Wortman (Ibid)

Centro Direzionale e Commerciale Fontivegge. Aldo Rossi, architect.


Ah, Rockefeller. The name is always somewhere close to fascist ideals and American power. But to focus more aesthetics here, Johnson was to become the cheerleader and prime exponent of the ‘International Style’ in architecture. Wortman quotes Robert Hughes’ interview with Albert Speer (which I believe I quoted here in the blog several years ago as I have long hated Johnson’s work):

“Suppose a new Führer were to appear tomorrow. Perhaps he would need a state architect? You, Herr Speer, are too old for the job. Whom would you pick? “Well,” Speer said with a half-smile, “I hope Philip Johnson will not mind if I mention his name. Johnson understands what the small man thinks of as grandeur. The fine materials, the size of the space.”
Albert Speer (Guardian, 2003)

There is a sort of tepid backlash now, finally, against Johnson. Twenty years after his death almost. Its hard, though, to overestimate his influence on architecture in the 20th century. And, it is interesting to see the links to Mies Van der Rohe, and Le Corbusier.
https://www.theguardian.com/artanddesign/2002/nov/30/architecture.artsfeatures

Van der Rohe occupies a curious and conflicted position in this discussion. He was both the anti-Johnson, and an unwitting (I think) accomplice to this sense of architecture as a reified protective shell. Le Corbusier was pretty openly a fascist. And an anti semite. He was also a vastly superior architect to Johnson. And maybe simply a great architect. But therein lies the heart of this discussion in a sense. Was there a quality of the fascistic in Corbusier’s work? I don’t know if I can answer that. I certainly think in his case this becomes a complex question and many leftists I know simply will not look at fascist art. That such a thing as great fascist art is an impossibility. I think its possible, but with qualifications, some of which feel, even to me, as labyrinthine and obtuse. Corbusier was also an opportunist who sought employment in Soviet Russia. He self identified as socialist, only to change that a year later and identify as fascist (well, conservative, but this was amid the rise of European fascism). Le Corbusier’s work is also conflicted in general. I have always rather loved Villa Savoye. Many don’t, and I understand the criticisms of it, but for me, like much of his work, there is something beautiful in all that is not there. Still, it is not hard to imagine his work seeming less impressive in another fifty years. And I admit, from certain perspectives, or angles, the Villa Savoye can resemble a beach front restaurant in Pattaya as much as a cherished architectural masterpiece.

Emily Mason

“In 1943, Le Corbusier created “The Modulor” as a physical (anthropometry) system of measurement based on the height of the average man (183 cm) that he promoted through a book he wrote entitled The Modulor: A Harmonious Measure to the Human Scale, Universally Applicable to Architecture and Mechanics, that was published in 1950. The Nazis would rely on anthropometric measurements to distinguish Aryans from Jews. Like anthropology, Le Corbusier’s theory of proportion was presented as a philosophical, mathematical, and historical truth. It imposed on the world a supposed “universal body”: an inane geometrical standard that, in the words of the architect, “constructed beings.” Yes, “The Modulor” constructed machine bodies for his “machine for living” houses. But living how, one might ask? “
Joseph Nechvatal (Hyperallergic 2015)

In a sense Le Corbusier is the more apt precursor to the AI fantasies and post post modernism of many of today’s *stararchitects* . For he was building not for the human, and rarely at a human scale. It is sort of interesting to compare Villa Savoye with the house Wittgenstein designed for his sister. Which she described as unliveable, a house for a god. Perhaps, but both remain difficult to fully grasp, and maybe that is in part because they were expressions of something anti-human, even if only partly in the case of Wittgenstein. They were also Utopian, in an odd way, and aspirations to something transcendent. They were metaphorical.

I am reminded of a quote I have used before…

“If before the 1970s (roughly speaking) buildings were primarily regarded as (public) expenditure, after the 1970s buildings became mostly a means of revenue – which fact ironically only contributed to further downward pressure on construction budgets. Once discovered as a form of capital, there is no choice for buildings but to operate according to the logic of capital. In that sense there may ultimately be no such thing as Modern or Postmodern architecture, but simply architecture before and after its annexation by capital.”
Rainier de Graaf

550 Madison Ave. Philip Johnson, architect


There are several registers of meaning when examining architecture. And certainly if one wants to dissect the contemporary erasure of citation, because there is the simultaneous erasure of history, one is going to have to dissect the industrial age ego as it has evolved.

“Among the more radical implications of the CCA’s show is its repositioning of Stalinist architecture as a precursor to the architectural postmodernism that emerged in Western Europe and North America several decades later. It would have been inconceivable a decade ago to see an image of the 1934 Boris Iofan–designed Palace of Soviets, a hallmark project of the Stalin era, emblazoned on an architecture museum’s facade. Critics and historians in the West have long dismissed the building as tasteless kitsch, “wedding-cake architecture,” and the conservative expression of a repressive regime. The CCA’s gesture, as well as Cohen’s inclusion of Iofan’s original drawings for the project and his photographs of New York skyscrapers from a 1934 visit, documents the architect’s fondness for the eclecticism of American prewar high-rises and acknowledges the period’s complex mechanisms of citation. Elsewhere in the gallery, a contemporary model of Lev Rudnev’s 1953 building for Moscow State University and original drawings for Vyacheslav Oltarzhevsky’s 1957 Hotel Ukraina building in Moscow underscore the Stalin era’s inventive reconstitution of Italian sources. With their flagrant disregard for the rules of proportion and order that traditionally governed Renaissance architectural ornament, both projects show the affinity for decontextualized historical imagery, the urbanistic organization around grand avenues, and the “decorated shed” fetishization of facade and surface that would later manifest in the work of Aldo Rossi, Robert Venturi, and their postmodern sympathizers. Indeed, Rossi first traveled to the Soviet Union during the ’50s, later writing about his profound experience of Stalinist architecture and his admiration for its scale and ability to communicate in an emotional register. “I am proud that I have always defended the great architecture of the Stalinist period,” reflected Rossi in his 1981 Scientific Autobiography, “which could have been transformed into an important alternative for modern architecture but was abandoned.””
Anna Kats (Missed Connections, Artforum, 2020)

Roadside architecture. California. Date unknown, Photographer unknown.

It is unsurprising that Rossi was an admirer of Soviet design and architecture. Rossi’s work in infused with exactly opposite qualities to that of a Johnson. I have written before about my admiration for the San Cataldo Cemetery in Moderna. It is among the greatest architectural works of the last century. And today, more than ever, it feels like the corrective to the architecture of capital. And a corrective or answer to the annexed-by-capital architecture of Johnson, or Hadid, or Meier et al.

A very good photo portrait of the San Caltaldo cemetery here https://www.inessabinenbaum.com/aldo-rossi

I use another quote I have used before from Hilton Kramer..

“In the period that saw Andy Warhol emerge as the very model of the new artist-celebrity, moreover, sheer corniness was no longer looked upon as a failure of sensibility, nor was superficiality—or even vulgarity—regarded as a fault. Bad taste might even be taken as a sign of energy and vitality, and “stupid art”—as its champions cheerfully characterized some of the newer styles that began to flourish in the late Seventies and early Eighties—could be cherished for its happy repudiation of cerebration, profundity, and critical stringency. Try to imagine Arshile Gorky or Mark Rothko or Robert Motherwell countenancing such a turnabout in attitudes and you have a vivid sense of the differences separating the last stages of modernist orthodoxy from the very different moral climate of postmodernist art.”
Hilton Kramer (Postmodern: Art and Culture in the 1980s)

Kim Inbai

Kramer also notes perceptively that ironic camp, while mocked, is never really disparaged. That mocking encloses a good deal of validation and appreciation. And like so much else, this change in cultural taste began in the early 80s. The eighties marked, I suspect anyway, the beginning of the current phase of ironic kitsch conservatism. And the front edges of psychic breakdown. The fascist leaning bourgeois taste for triviality was gaining traction. For what today’s Elon Musks or Jeff Bezos represent are ironic little Nazis, little prancing empty holograms of elitism and white supremacism. But it is mock elitism. And this post modern , or post post modern irony encloses and normalizes Hitler by rendering kitsch ironic Hitlers. Hitler and the Third Reich become ironic style codes. It is interesting that Prince Harry dressed as a Nazi for some costume party is treated with mock approbation, but Harry clearly doesn’t know where the joke begins or ends. And running beneath it is a sadistic eroticism. Or as Philip Johnson wrote a friend after attending the Potsdam rally…breathless in tone….“all those blond boys in black leather”.

I was thinking of Friedrich Reck-Malleczewen’s description of Hitler as a Machiavelli for the chambermaids. And it is worth noting that Reck Malleczewen’s book Diary of a Man in Despair is absolute essential reading today.

“For Lacan, Freud’s “Copernican Revolution” consists in the “subversion” of the “pre-analytical notion of the ego,” which is to say, the centered, self-present, and transparent ego more or less shared by common sense, Cartesian philosophy, and academic psychology.’ This subversion consists, according to Lacan, in the decentering of the ego vis-a-vis the unconscious, that is, the demonstration that the unconscious, or the “subject of the unconscious,” as he calls it, and not the ego, constitutes “the core of our being” [derKern unseres Wesens}.”
Joel Whitebook (Ibid)

Now Lacan saw the idea of human’s premature birth as critical. That homosapiens are born far earlier than other animals in terms of the infant’s helplessness.

Alberto Garcia Alix, phtography.

“During the mirror stage, the child anticipates a future situation in which its helplessness would have been overcome. In contradiction to its actually fragmented and uncoordinated state, in the mirror-or, more precisely, in the mirroring experience-the child perceives a synthesized image of himself or herself as already integrated and no longer helpless…”
Joel Whitebook (Ibid)

The ego is formed with this fictional image of a unified self. This fiction is both alienating and rigid. The ego is always struggling to maintain a fiction. So, for Lacan, the ego is not testing reality but is refusing to address reality in its entirety. Whatever one thinks regards Lacan, this fundamental observation seems relevant today. Certainly volumes have been devoted to tweezing apart all aspects of the mirror phase and its endless implications. But this denial of the de centered self seems hugely important for the Spectacle, for the waning days of Capitalism. Now the Covid lockdowns have created an opportunity for more transference of wealth to the top few billionaires and their friends. It is almost by definition delusional. And I suspect it cannot work as they imagine, for many reasons, some of them to do with the fiction of AI. But, the fact remains that the lockdowns have already thrown millions into destitution and desperation. That anyone can accept the official narrative speaks to this basic fiction in the maturation of the self.

The loss of the unconscious has meant an ever drier and more repressed and repressing Ego. Now its interesting in the Covid discussion that the embrace of the official narrative has played well with the haute bourgeosie, but far less well with the blue collar working class. Perhaps they have had more experience in the betrayal that is embedded in screen manipulation. And it may be that the lumpen classes, having been less directly plugged into the apparatus, simply exist more directly in the material world. But I want to return to this at the end.

The loss of what Adorno called the non-identical is critical to now evaluating the forces that oppress and disorient contemporary thought. The idea of the self is always in a struggle to find something in the constant assault of the Spectacle, of media, which is not in a sense a reflection of him or herself.

Adolph Gottlieb

Now, that the reflection is also an illusion should be evident. But that does negate the suffering of the struggle for a self. The lockdowns are taking a far more destructive quality the longer they go on for it is the accrued losses, however small, however seemingly minimal, that are now coming to haunt people’s emotions.

“Adorno perceives that compulsive identity, the sacrifice of the moment for the future, was necessary at a certain stage of history, in order for human beings to liberate themselves from blind subjugation to nature. To this extent such identity already contains a moment of freedom. Accordingly, the ‘spell of selfhood’ cannot be seen simply as an extension of natural coercion; rather, it is an illusion which could, in principle, be reflectively
broken through by the subject which it generates although the full realization of this process would be inseparable from a transformation of social relations.”

Peter Dews (The Limits of Disenchantment)

Social revolution is the path toward a liberation from suffering. I am often struck by the realization of just how many people are watching images on a screen, the identical images I am watching at that moment. There are vast implications that are rarely addressed.

Santa Maria del Priorato, (1765) Giovanni Piranesi architect.

But then, how does the fascist aesthetic of Philip Johnson intersect here? The answer is that as the unwelcoming reflective front of 550 Madison avenue implies the superiority of those in the penthouse, and denies any dialectical relationship to the people on the street– so does fascist theorizing deny any dialectical relationship. The pure mythos of the fascist leader is one of rejection. It is an ideology of erasure. And so the manufacturing of the world must erase, and this erasure is partly entwined with the narcissism of the golden reflections. The silver, the metal of the coin.

“The absolute void, the silence of the “things by themselves,” the tautological affirmation of the pure sign, turned solely back onto itself:in the Campo Marzio we have already glimpsed the demonstration ad absurdium of this necessary nullification of the signified. In the church of the Priorato that semantic void is no longer hinted at. Now it is finally spoken of as it is, in all its brutal nakedness. The authentic horrid of Piranesi is here, and not in the still ambiguous metaphors of the Carceri. Precisely because Piranesi has to demonstrate that the silence of architecture, the reduction to zero of its symbolic and communicative attributes, is the inevitable consequence of the “constraint” to variation-here once again we have the theme of the Parere–the two faces of the altar cannot be separated. The destruction of the symbolic universe is seen to be closely linked to the last, pathetic triumph of the allegory, which unfolds itself on the side facing the faithful.”
Manfredo Tafuri (The Sphere and the Labyrinth)

Peter Peryer, photography.


Tafuri saw Piranesi as the creator of Ur-theatre. At least for the modern world. As he wrote… “The Carceri are theatres in which are staged the acrobatics performed by an apostate anxious to drag his own spectators into the universe of “virtuous wickedness. ” (Ibid). There is a chapter in The Sphere and The Labyrinth that is crucial to understanding the unconscious of architecture, as it were, of a Piranesi, or a Rossi for that matter. An unconscious that is the only pathway to collectivism and the only way to use the back door to the Johnson skyscraper. And when I say unconscious, I mean the non identical of Adorno (and Lacan), the Dionysian that was rejected and denied by the greek rationalists, and the myth that the Enlightenment attempted to correct. Which they DID correct, only to eventually realize it contained within itself the seeds of its opposite, of that which was corrected.

The chapter though is more about theatre. And there is an interesting quote of Lukacs, one which speaks to a basic confusion about the stage, about both drama and theatre overall.

Statue of Piranesi, by Giuseppe Angelini. (Chuch of the Knights of Malta).

“The fact is that there no longer exists a real mass corresponding to the mass sentiments that determine dramatic form. The true modern theatre can be imposed on the mass public only by arriving at a compromise. It sometimes happens, in fact, that the audience of today accepts even the essential, but only when it is presented to it together with other things: this audience is incapable of accepting the essential by itself. In Elizabethan times-not to mention the tragic age of the Greeks-this distinction did not exist, because then the individual dramas could have varying degrees of success while the essential of their intentions was and remained always the same.”
Grygory Lukacs (Writings on Sociology)

This reminds me of Habermas saying modern art cannot provide moral inspiration. The difference being Habermas is an asshole and Lukacs is not. But Lukacs is wrong that mass sentiment was what drove Greek tragedy or any theatre. First off its impossible to know, or really even guess what the intention of Sophocles was, or John Ford or Christopher Marlowe. Tafuri grasps this in his remarks on Piranesi. The problem has been the text. Artaud and Fuchs both said theatre without words was possible. But its not. Or its not really theatre. But theatre can exist without anything BUT text. And audience. And here one would need a long dissertation on audiences. Still this is a digression. The issue is the Carceri of Piranesi are like the basement storage rooms for Trump tower or any Johnson bulding, or pretty much anyone in the International school. For that was the capitalist dream, or anti dream, ascendent for half a century, and it was a part of the instrumental thought serving as the currency for western consciousness and sense of self.

Capitalism has had an enormous effect on human perception. It is more than just a fascist aesthetics, though it is that, too. It is the incremental accrued strangulation of the non identical, it is the imposition of a policed world vision, the literal reflecting back of not just gold shiny surfaces, anonymous and cold, but increasingly now a sense of digitalization, of the world as if it were itself a screen. The world is increasingly experienced as if it were a screen, and exactly with the loss of dimension, and one that blurs at too close an inspection.

But the viewer does not posit a screen. This is natural for many people, now. The facade of the Santa Maria del Priorato, designed by Piranesi, works oppositionally to 550 Madison Avenue. The church welcomes one in, seduces one in, even for all its severity and austerity.

Tafuri always wrote within the shadow of fascism, Italian and German.

Stefan Banz, installation.


“Italian futurism thus furnishes a list of instruments and of problems, from which emerge the thematic of the grotesque; “the identification with the assassin” characteristic of the worship of the machine; the use of nonsense, of the “language of madness,” placed next to a language of the dreariest banality. We are, here, on the inside of a totally formal perception of the new metropolitan universe. Not the domination of it: if anything, a mimesis, a “wanting to dominate because of not being able to.”
Manfredo Tafuri (Ibid)

His was the architectural critique of the screen, which he anticipated. And the undeniable fascistic quality embedded in screens. He also noted the compulsion to repeat was constitutive of fascism.

“In other words, the exorcism of chaos can reconstruct the theatre as an institution.”
Manfredo Tafuri (Ibid)

The reliance today on selling AI is a defensive one. It smacks of desperation.

“Schlemmer writes: “Everything that is mechanizable becomes mechanized. Result: the recognition of what is not mechanizable.” The theatre thus becomes a search for the unfillable interstices that constitute the cracks in the technological universe. Given the loss of the authentic, “in the name of the ludic and of the marvelous,” the theatre can still occupy the entire domain that “lies between the religious cult and naive popular entertainment,” marking precisely the borders of legitimate meanings.”
Manfredo Tafuri (Ibid)

It is telling that Tafuri quotes Kleist’s essay on Marionettes. For it is in the sublime indifference of the marionette that one finds a divinity. Much Asian theatrical tradition samples this idea as well. Actor as marionette poses the question of what is lost or gained here. Tafuri adds the puppet is the metaphorical figure of dead labour. What (per Tafuri) Hitler called ‘neopathetic’. And connects the disjointed gestures of the marionette to the Benjamin and his descriptions of the assembly line.

But the unmechanized, the undigitalized, or rather the undigitalizable, is seen as subversive.

Juan Munoz

It is worth quoting the concluding paragraph of this chapter…

“In a place that refuses to present itself as space and that is destined to vanish like a circus tent, Mies gives life to a language composed of empty and The Stage as “Virtual City” isolated signifiers, in which things are portrayed as mute events. The sorcery of the theatre of the avant-garde dies out in the wandering without exits of the spectator of Mies’s pavilion, within the forest of pure “data .” The liberating laugh freezes at the perception of a new “duty.” The utopia no longer resides in the city, nor does its spectacular metaphor, except as a game or a productive structure disguised as the imaginary. “
Manfredo Tafuri (Ibid)

And here we return to Van der Rohe. Who Tafuri described as creating metaphoric cathedrals. He also created, within the grammar of Capital, theatre spaces. And the Seagram building, on which Philip Johnson worked also ( he designed the restaurant), remains so loved and loathed. Tafuri speaks of Mies ‘unio mystica’, a kind of sacred solipsism. And throughout there is (especially in the Seagram building) the emptiness of the space. For an office building this is a remarkable quality. But Van der Rohe had sublime taste, firstly. One can look at Stirling or Johnson, or an E.M. Pei and feel the anxious sense of insecurity. Not with Van der Rohe, whose austerity is confident and disturbing. But it is also the expression of western Capital, and it serves that master. But the service is that of a perfect butler, and it is never a complaint.

Friedrichstrasse office building entry, Mies Van der Rohe, 1922.

“…man himself has become, after God and nature, an anthropomorphism”.
Herbert Schnadelbach (The Face in the Sand; Foucault and the Anthropological Slumber)

Somewhere Brecht noted the strong desire in some to proclaim the truth when they do not know what is true. This feels like an intro to social media. Tafuri said Johnson’s style was self satisfied. It is also deeply and troublingly hierarchical. Not all tall buildings are. Johnson’s are. For Johnson (and later, Meier, and Hadid and Piano, and quite a few others) is purposefully keeping the architectural idea safely within the tradition of capitalist optimism. That is to say, they are about progress. So is Walt Disney of course. Rossi and Kahn or even Barragan, are not — progress is in fact excluded. The risk of a kind of nostalgia is always there, but I find none in Rossi or Kahn. Progress, in the case of Johnson is intwined with coercion. It is a false fake purity that Johnson expresses. And hence a dangerous expression.

Meier often (in his obsessive white) feels as if he designing a vernacular architecture for the Jetsons landscape. Or, as someone said about the Getty Center, ‘it looks like dental clinic’. But these are the worlds produced when the ineffable is discarded. There is a note in Tarfuri too, about James Stirling, and information theory. Again, this feels like an anticipation of the era of mass data mining, and of surveillance. That architects for big money projects were beginning to reflect something about mass meaninglessness.

Nicolas Grospierre, photography (ticket booth, Powisle station warsaw, 2004)

Brutalism was the last architectural movement, if that’s what it was, that was made up of working class architects, by and large. Architects from lesser schools. It may account for the durability of its appeal. In fact a half dozen new books are out on Brutalism. It photographs well for one thing, but its more, it is the sense of connection with this de centered Ego. One responds to Brutalism because of its ineffability — its uncanniness often.Without digressing too far into Brutalism, I only mention it because of its class characteristics. The ticket booth above is one familiar to me, as I road that number two line frequently on the way back to Lodz. But there is something unsettling about concrete structures. Owen Hatherley, of all people, noted the influence of Bernd and Hilla Becher, the husband and wife photography team that made black and white de-contextualized portraits of abandoned industrial sites for this renewed interest and appreciation of Brutalism. The lack of context is important. One could also mention the new topographic photographers,perhaps especially the late and great Lewis Baltz. Except that Baltz was commenting on the context he left out. Perhaps the Becher’s were, too, to some degree.

“The architecture of Aldo Rossi { } excludes all justifications from outside. The distinctive features of architecture are inserted into a world of rigorously selected signs, within which the law of exclusion dominates. From the monument of Segrate (1965) to the projects for the cemetery in Modena (1971) and for student housing in Chieti (1976), Rossi elaborates an alphabet of forms that rejects all facile articulation. “
Manfredo Tafuri (Ibid)

Trent Parke, photography.

It is not enough to just leave it out. Exclusion is by itself, often, self conscious. In a sense one needs rigorous removal of that which might be loved. I used to have an exercise for playwrights (well, I still do) to rewrite a scene they were working on by eliminating every other line, regardless of who was speaking. It never failed to improve the scene. Rossi’s genius is to not have to comment on what is left out. In a sense nothing is actually left out.

But exclusion is also recognition.

“Freud’s “official position,” up to the 1920s at least, was that the ego’s primary job was defensive and that the main function of the psychic apparatus was to reduce tension.The ego used repression, isolation, and projection to exclude ,that is to say,“get rid of” excitation arising from inner nature.The ego was considered strong and rational to the extent it maintained its solid boundaries and prevented the stimuli of instinctual-unconscious life from penetrating its domain. Freud’s view of the ego, moreover, was tied up with his conviction that “scientific man,” that is, the rational subject -the individual who has renounced magical thinking and been purified of the subjective distortions (Entsellungen) of fantasy and affect – represented “the most advanced form of human development.”
Joel Whitebook (The Marriage of Marx and Freud, Psychoanalysis and the Frankfurt School)

Hans Loewald suggested that this official position was really a description of the obsessive neurotic. And to suggest it as anything more than pathological would result in confusion. There is truth in this, but not entirely. Kleinian psychoanalysis echoes the Freudian (and Horkheimer and Adorno) version of the ego. And while Loewald was partly correct, there is a danger in not examining the truths of this official position. But the point here is that the role of the excluded was critical for Adorno, and for Lacan. And really, for Marcuse, too. And the excluded, the absent, in artworks (from painting to theatre to even novels and films) is an expression of the non identical in a sense. Uncanniness rubs up against this, too. The removal of context (and this could also mean utilitarian didacticism, and even the moralising of identity prescriptions) does not mean the context is gone, it more means the context is replaced with that illusive scene of primal trauma, with the stage space of existential dread, of the recognition of human suffering. There is a paradox in this, wherein the artist who insists on representing the suffering in fact nearly always negates that suffering, or trivializes it. For the suffering is intimately bound up with the unconscious and with repression. With guilt, denial, and shame. With abjection. And even when such experiences of the (lets call it) excluding artwork are fleeting, or not fully made conscious, they leave a residue. A residue of the truth. And nearly everyone on some level shares this.

Marie-José Jongerius, photography.

“Glamour cannot exist without personal social envy being a common and widespread emotion. The industrial society which has moved towards democracy and then stopped half way is the ideal society for generating such an emotion. The pursuit of individual happiness has been acknowledged as a universal right. Yet the existing social conditions make the individual feel powerless. He lives in the contradiction between what he is and what he would like to be. Either he then becomes fully conscious of the contradiction and its causes, and so joins the political struggle for a full democracy which entails, amongst other things, the overthrow of capitalism; or else he lives, continually subject to an envy which compounded with his sense of powerlessness, dissolves into recurrent day-dreams.”
John Berger (Ways of Seeing)

The entire Covid narrative, as the mainstream media and world governments and health organizations have crafted it is absurd. And yet many huddle in their homes, terrified. Only leaving, mask on face, to buy more toilet paper. However, many people (half approximately given recent polls) reject the narrative. And I think one reason is that the educated classes (institutionally educated) are both more indoctrinated but also more invested in an idea of progress and society that demands repression and domination. It was Marcuse who wanted a regression of progress, a return to imagination and fantasy, to a register of the archaic. I think it is also, now, in the post Fordist world, where the very forms repression took were expressed in more inflexible bodies, more mechanical gestures and facial expressions, the gestures have become imprecise and often soft (or they become caricatures of heavy machinery). The human as a machine, a worker machine, unless you were of the ruling class and then you were not a machine but a divinity. That was the model.

The idea of civilization being predicated upon instinctual repression is a basic Freudian tenant. It is also grossly oversimplified, even in Freud. But certainly the tensions of class struggle will lessen under a system that demands equality. The so called ‘new normal’, which is simply a techno driven solution to market capitalism (a solution where a few hundred people own the planet) will do nothin to lessen tensions, but quite the opposite. This is why one cannot discount the death drive in such discourses, for that dynamic is at the heart of class struggle.

George Tooker (1971)


“The character structure of modern man, who reproduces a six-thousand-year-old patriarchal authoritarian culture is typified by characterological armoring against his inner nature and against the social misery which surrounds him. This characterolgical armoring of the character is the basis of isolation, indigence, craving for authority, fear of responsibility, mystic longing, sexual misery, and neurotically impotent rebelliousness.”
Wilhelm Reich (The Function of the Orgasm)

The conventional idea of progress is complacent, but also narcissistic. It is self congratulatory. And has been shaped for two hundred years by the ruling class. By the propertied class. Progress as an idea is already now being revised by those opinion shapers at mass media. For as the potential for an end to capitalism looms, there needs be a marketed version explaining what comes after.

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