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                                             CAPITALISM ORGANIZED AND DISORGANIZED

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                a reflection of the phase of disorganized capitalism’. But they persist in
                what is at its core a reductionist argument nevertheless.
                  From a purely empirical, historical, point of view it is impossible to link
                postmodernism to changes in production techniques in this direct and
                mechanical sense – wherein ‘flexible’ production systems show them-
                selves, if you will, in ‘flexible’ imaginations. Such mechanistic notions
                reflect a profound lack of grasp of the Hegelian nature of Marx’s argument.
                The simple empirical fact is that modernist disenchantment began to
                develop many decades before the emergence of new production techniques
                while the liberal bourgeois economy was still the order of the day or just
                beginning to be superseded by monopoly. Modernist angst and postmod-
                ernist nihilism are a much broader and deeper phenomenon than simply
                a reflection of a change in production technique or in the scale and charac-
                ter of global capital flows. In the case of modernism what was at stake was
                precisely the collapse of liberal democratic ideals which began to occur
                even before the rise of monopoly capitalism. Even before then in Western
                Europe, with the failure of the 1848 revolutions and the suppression of the
                Paris Commune, it became apparent that bourgeois society not only could
                not make good substantively on its promises of freedom, but that the bour-
                geoisie would fight to defeat the very ideals which it once championed. The
                rise of global corporate capitalism and imperialism brought this crisis to a
                boil as Weber’s own work and life demonstrate most vividly. The carnage
                of World War I was the culmination of this very broad cultural crisis –
                expressing itself in all areas of intellectual, political and aesthetic life.
                  Likewise for postmodernism. We are here confronted with a cultural
                expression not of a production technique but of something much deeper.
                This is the deeply intractable contradictions of the broad way of life
                created by a system of monopoly capital and the complete failure of all
                attempts to resolve the social and psychological contradictions and crises
                which it generates – including crises for the well-heeled bourgeois per-
                sonality far removed from the production process. The social and per-
                sonal contradictions generated (crime, social bitterness, personal
                emptiness) are such that especially for the well-provided for, life has to
                be lived in a state of relative social seclusion which, however, offers no
                real respite – simply making bad worse. For the rest of us, it is the despair
                generated by the repeated failure of the remedies for capitalism – each of
                which seemed to hold such promise and then turned out to be at least as
                bad as the disease, if not worse – which is one major sources of the post-
                modern turn. Such an acute, sense of despair had developed even while
                ‘real existing socialism’ seemed to have some viability in the world. The
                collapse of bureaucratic socialism in the Soviet Union in 1989 was perhaps


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