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"THE POOR
Vogelfrei, "bird free," is the term Marx used to describe the proletariat, which at the beginning of modernity in the processes of primitive accumulation was freed twice over: in the first place, it was freed from being the property of the master (that is, freed from servitude); and in the second place, it was "freed" from the means of production, separated from the soil, with nothing to sell but its own labor power. In this sense, the proletariat was forced to become the pure possibility of wealth. The dominant stream of the Marxist tradition, however, has always hated the poor, precisely for their being "free as birds," for being immune to the discipline of the factory and the discipline necessary for the construction of socialism. Consider how, when in the early 1950s Vittorio De Sica and Cesare Zavattini set the poor to fly away on broomsticks at the end of their beautiful film Miracle in Milan, they were so violently denounced for utopianism by the spokesmen of socialist realism.
The Vogelfrei is an angel or an intractable demon. And here, after so many attempts to transform the poor into proletarians and proletarians into a liberation army (the idea of army weighed heavily on that of liberation), once again in postmodernity emerges in the blinding light of clear day the multitude, the common name of the poor. It comes out fully in the open because in postmodernity the subjugated has absorbed the exploited. In other words, the poor, every poor person, the multitude of poor people, have eaten up and digested the multitude of proletarians. By that fact itself the poor have become productive. Even the prostituted body, the destitute person, the hunger of the multitude-all forms of the poor have become productive. And the poor have therefore become ever more important: the life of the poor invests the planet and envelops it with its desire for creativity and freedom. The poor is the condition of every production.
The story goes that at the root of the postmodernist sensibility and the construction of the concept of postmodernism are those French socialist philosophers who in their youth celebrated factory discipline and the shining horizons of real socialism, but who became repentant after the crisis of 1968 and gave up, proclaiming the futility of the pretense of communism to reappropriate social wealth. Today these same philosophers cynically deconstruct, banalize, and laugh at every social struggle that contests the universal triumph of exchange value. The media and the culture of the media tell us that those philosophers are the ones who recognized this new era of the world, but that is not true. The discovery of postmodernity consisted in the reproposition of the poor at the center of the political and productive terrain. What was really prophetic was the poor, bird-free laugh of Charlie Chaplin when, free from any utopian illusions and above all from any discipline of liberation, he interpreted the "modern times" of poverty, but at the same time linked the name of the poor to that of life, a liberated life and a liberated productivity. (...) There is an ancient legend that might serve to illuminate the future life of communist militancy: that of Saint Francis of Assisi. Consider his work. To denounce the poverty of the multitude he adopted that common condition and discovered there the ontological power of a new society. The communist militant does the same, identifying in the common condition of the multitude its enormous wealth. Francis in opposition to nascent capitalism refused every instrumental discipline, and in opposition to the mortification of the flesh (in poverty and in the constituted order) he posed a joyous life, including all of being and nature, the animals, sister moon, brother sun, the birds of the field, the poor and exploited humans, together against the will of power and corruption. Once again in postmodernity we find ourselves in Francis's situation, posing against the misery of power the joy of being. This is a revolution that no power will control-because biopower and communism, cooperation and revolution remain together, in love, simplicity, and also innocence. This is the irrepressible lightness and joy of being communist." Toni Negri, Michael Hardt: Empire.
Hello from Germany, Dirk
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