Socialism refers to a set of economic systems in which the means of production and distribution are under social ownership, management within economic institutions is based on collective decision-making or worker self-management, and the economy is primarily geared toward production for use. It also refers to a broad array of ideologies and political movements which have the goal of achieving this type of socio-economic system. Control of production may be either direct—exercised through popular collectives such as workers' councils—or indirect—exercised on behalf of the people by the state. As an economic system, socialism is often characterized by state, worker, or community ownership of the means of production, goals which have been attributed to, and claimed by, a number of political parties throughout history. For Karl Marx, who helped establish and define the modern socialist movement, socialism would be the socioeconomic system that arises after a proletarian revolution, in which the means of production are owned co-operatively by the working class so that the surplus product generated would be used to benefit all of society, and the economy would no longer be structured upon the law of value.
Claude Henri de Rouvroy, comte de Saint-Simon, often referred to as Henri de Saint-Simon (17 October 1760 – 19 May 1825) was a French early socialist theorist whose thought influenced the foundations of various 19th century philosophies; perhaps most notably Marxism, positivism and the discipline of sociology. He was born an aristocrat; the political ideologies he adopted in later life, however, do not fall into the aristocratic category.
In opposition to the feudal and military system he advocated a form of state-technocratic socialism, an arrangement where industrialists would lead society and found a national community based upon cooperation and technological progress, which would be capable of eliminating poverty of the lower classes. In place of the church, he felt the direction of society should fall to the men of science. Men who are fitted to organize society for productive labour are entitled to rule it.
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The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition. This tradition itself is thoroughly alive and extremely changeable. An ancient statue of Venus, for example, stood in a different traditional context with the Greeks, who made it an object of veneration, than with the clerics of the Middle Ages, who viewed it as an ominous idol. Both of them, however, were equally confronted with its uniqueness, that is, its aura. Originally the contextual integration of art in tradition found its expression in the cult. We know that the earliest art works originated in the service of a ritual – first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function. In other words, the unique value of the “authentic” work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty. The secular cult of beauty, developed during the Renaissance and prevailing for three centuries, clearly showed that ritualistic basis in its decline and the first deep crisis which befell it. With the advent of the first truly revolutionary means of reproduction, photography, simultaneously with the rise of socialism, art sensed the approaching crisis which has become evident a century later. At the time, art reacted with the doctrine of l’art pour l’art, that is, with a theology of art. This gave rise to what might be called a negative theology in the form of the idea of “pure” art, which not only denied any social function of art but also any categorizing by subject matter. (In poetry, Mallarme was the first to take this position.)
An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.
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| — Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1936 |
Photo credit: Adam Jones Defending socialism -- a street scene in Pinar del Rio, Cuba. December 2006.
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