Thursday, June 14, 2012

Ideology, Science, and Existence

It strikes me that, at the time of The German Ideology, Marx has become (under the influence of Stirner, whom he nevertheless appropriates in a very critical manner) basically an 'existentialist,' in the broadest and most generic sense of the term. His text centers on a critique of ideology. What ideology means for Marx is the following: Ideology is first of all (1) the mistaken notion that human beings suffer under “the rule of concepts.” Secondly, (2) Marx and Engels call these concepts themselves ideology, and thirdly (3) certain spheres of society or “estates” are said to be ideological.

In other words, concepts abstracted from actual existence are ideological. But actual existence can never be apprehended without abstraction because actual existence is singular. Therefore all concepts have an ideological drive, as it were, and any concept can be ideological if it is not in some way referred to existence.

There is not one but two term complements to "ideology"--on the one hand "science," and on the other revolutionary activity, or praxis. Marx does not consider that thinking can be anything other than representation: the method of science is abstraction, but warranted abstraction that is not ideological because it remains referred to existence, and in doing so recognizes its own inherent incompletion. 

Marx leaves the middle ground between existence and representation vacant, and this is why he has often been misinterpreted as some sort of economic or even technological determinist. This is a misinterpretation because it assumes that there is some sort of pure activity or process that is distinct from thinking, but that is wrong--in fact there is no pure process, it's just that there is always a remainder in any representation. Since representation is conceptual abstraction, at the very least it cannot account for its own singularity. Marx does not want to give a complete representation of a pure process, rather he recognizes the constitutive incompletion of representation as such and thus wants to limit thinking, which is his biggest differend in relation to Hegel, of course. Theory is always referred back to practice, not as something wholly other (unlike for Althusser, who thus gets into an epistemological quandary) but as otherwise incomplete. 

What Marx does not consider is the possibility that there may be a non-representational thinking that is precisely concerned with singularity. Marx's thought points to the necessity of (without fully cashing out) an 'existentialism' that does not simply invert the traditional order of priority between essence and existence but (to use an apt but lamentably loaded term) deconstructs the polarity between the two. This would not simply be a method of abstraction, but a hermeneutic approach to the world-forming potency of that which exists. 

Ultimately, however, in order to do this a constructive approach, which goes wholly beyond Marx, would also be needed--to think without representing. This is what Heidegger often describes and also, less often, attempts to enact.  His most notable attempts at enacting such a thinking are probably his essays that deal with the fourfold. 

This non-representational thinking would open up possibilities for thought and action that are non-ideological, in other words it would not be a conceptual precis of what lies in existence but a signpost and guide for a kind of thinking and action (the polarity of which would thus also become entirely questionable) that shelter singularity rather than seizing it conceptually. In other words, this sort of thinking would be neither science nor ideology, nor even distinct from action in any essential manner.

Hence: Marx and Heidegger, Heidegger and Marx.


P.S.

Here is my current best attempt at star ratings for all the Ramones studio albums (except Acid Eaters) and Joey's solo albums:


Ramones *****
Leave Home*****
Rocket to Russia *****
Road to Ruin *****
End of the Century ****
Pleasant Dreams ****
Subterranean Jungle ***1/2
Too Tough to Die ***
Animal Boy **
Halfway to Sanity **1/2
Brain Drain **1/2
Mondo Bizarro ***1/2
Adios Amigos*1/2

Joey Ramone:

Don't Worry About Me ***
...Ya Know?  ***1/2





Leave Home and (maybe) Final (for now) Ramones Thoughts

First, Leave Home:  This is probably the greatest Ramones album, especially now that it's the 90s and "Carbona Not Glue" has been restored to it. For one thing, it has three of the greatest two-song pairs in music history: "Glad to See You Go" then "Gimme Gimme Shock Treatment," "Oh, Oh, I Love Her So" then "Carbona," and "Swallow My Pride" then "What's Your Game?" Oddly this is treated as the weak sister of the first three, judging by the internet and the musical press. The cd version has an entire show from 1976 on the special features, and it is amazing. But that doesn't factor into my judgment of course, that would be wrong.

I never heard "Carbona" until 2005! That is like a little gift from heaven, to be allowed to come upon something like that so late in life. Also, "Babysitter" is included in the special features, and that is also a fantastic song that I never knew until '05.


Least Favorite Ramones Classics

One thing about the early Ramones is, the songs are so incredibly great that it's hard to know which ones I like less than the others, since I can potentially always be talked out of it, by myself or by others. In any case, they are all songs I've sang along to and loved and cranked and cherished for decades. Looking at the first four albums, these are probably the songs that hit me a little less than others (leaving aside the covers, of which "Surfing Bird" is the only one that I don't love unequivocally).

First album: nothing.

Leave Home: Sometimes "Suzy is a Headbanger" seems less great than some of the others. This confuses me, since it is clearly so great and I never would think of skipping it, and I love every second of it when I listen to it. "Now I Wanna Be A Good Boy" has at times been one of my favorites on the album but right now it seems to me to be less than, say, "Commando." The last two ("You're Gonna Kill That Girl" and "You Should Never Have Opened That Door") are also confusingly brilliant but nevertheless maybe slightly inferior to "Swallow My Pride," for instance.

"Oh, Oh, I Love Her So"--I used to like this less than others. A friend recently mentioned it was a favorite of his, and for some reason something clicked after that and now it is my current favorite Ramones song. This is why this question is so confusing. (And I have no doubt it is also uninteresting to anyone but a Ramones maniac. You don't have to keep reading. I'll even do the little page break thing.)



Road to Ruin

I have been listening near-obsessively, or anyway pretty much exclusively, to the Ramones lately. Looking at the blog history, I was surprised--I thought this latest Ramones phase had lasted a couple of months, but I was listening to Too Tough to Die back in October, and I know by the time I bought Mondo Bizarro I was listening to nothing but Ramones. I would have guessed this was in April, but the blog tells me it was February. So almost half a year of nothing (voluntarily) but Ramones! Anyway I should have been able to review all the albums by now, but I'm running out of stamina--recently I've been listening to The Kinks, Cheap Trick and Big Star, so the Ramones phase is winding down a bit and that means I may not even listen to them at all for a while--I usually have tunnel vision when it comes to music, I may like a variety of things but I am generally passionately in love with one band, artist, or at least style at a time, and at these times I'm unable to enjoy large doses of much of anything else.

So I will wrap it up (maybe) with a few comments. First, Road to Ruin. This is the hardest album for me to figure out. First of all, there is no question in my mind that this is a five out of five, in terms of stars. Not the slightest doubt, it is a masterpiece. But within that range, when put up against the other three five star Ramones albums, I vacillate about its status. Sometimes I am sure that it is their best album--on paper it would have the best claim to that title apart from the first, which has simplicity, brilliance and epoch-making significance to recommend it. I mean, all of their albums have simplicity and brilliance, of course...the first one has the most simplicity, and also earns a lot of cachet by coming first.


...Ya Know?

This is the title of the new Joey Ramone album released a few weeks ago. The album consists of demos that were stripped down to just the vocals, then instruments were added. It is a lot better than I expected it to be, considering it is composed of leftovers. In fact, it's better than Joey's previous solo album Don't Worry About Me. This clearly isn't four stars out of five; it's definitely three and a half. Hence, this makes me realize I need to downgrade Don't Worry About Me to three stars (which I consider a good rating; a three-star album on Allmusic is usually crap, at least when the rating isn't just random and unrelated to the review! Anyone who reads Allmusic knows what I'm talking about...)

Every song is at least decent, several are very good, and there is one masterpiece, a number called "Waiting for that Railroad." My only quibble is that this song is done up to be basically a power ballad; it might have been better served keeping it a little more understated (for comparison, listen to the acoustic radio version from the early 90s on Youtube). In any case, it's still clearly the rock & roll classic of 2012. Not that anyone seems to have realized this.

There is more stylistic variety on this album than its predecessor, and that is also good. It is a long album (15 songs) and might be better in two installments. This is because, despite the fact that there is more variety, there is a certain similarity of tempo throughout.

Ed Stasium, the producer, said Joey's pitch was perfect on the demos, and so nothing was auto-tuned. I was a little skeptical about this, but today I saw a short promo video with Richie Ramone (who plays drums on a few tracks) and he also said that Joey's pitch was perfect--and then added that this is surprising because, if you listen to a live Ramones recording, no matter how well or poorly the band could hear themselves, Joey's pitch was always off! This seems like a bit of an exaggeration but Joey's live vocals in the 80s were often definitely not great (although in the studio they usually were great. [According to me, not Richie] ).

Other highlights: "Going Nowhere Fast," "New York City," "What Did I Do To Deserve You?", "Seven Days of Gloom,""Party Line." That's a lot of highlights, but it is a long album. Again, nothing on it is bad.