The Dark Enlightenment (Part 4e)

Cross-coded history

Democracy is the opposite of freedom, almost inherent to the democratic process is that it tends towards less liberty instead of more, and democracy is not something to be fixed. Democracy is inherently broken, just like socialism. The only way to fix it is to break it up. Frank Karsten

Historian (mainly of science) Doug Fosnow called for the USA’s “red” counties to secede from the “blue” ones, forming a new federation. This was greeted with much skepticism by the audience, who noted that the “red” federation would get practically no seacoast. Did Doug really think such a secession was likely to happen? No, he admitted cheerfully, but anything would be better than the race war he does think is likely to happen, and it is intellectuals’ duty to come up with less horrific possibilities.John Derbyshire

Thus, rather than by means of a top-down reform, under the current conditions, one’s strategy must be one of a bottom-up revolution. At first, the realization of this insight would seem to make the task of a liberal-libertarian social revolution impossible, for does this not imply that one would have to persuade a majority of the public to vote for the abolition of democracy and an end to all taxes and legislation? And is this not sheer fantasy, given that the masses are always dull and indolent, and even more so given that democracy, as explained above, promotes moral and intellectual degeneration? How in the world can anyone expect that a majority of an increasingly degenerate people accustomed to the “right” to vote should ever voluntarily renounce the opportunity of looting other people’s property? Put this way, one must admit that the prospect of a social revolution must indeed be regarded as virtually nil. Rather, it is only on second thought, upon regarding secession as an integral part of any bottom-up strategy, that the task of a liberal-libertarian revolution appears less than impossible, even if it still remains a daunting one. – Hans-Hermann Hoppe

Conceived generically, modernity is a social condition defined by an integral trend, summarized as sustained economic growth rates that exceed population increases, and thus mark an escape from normal history, caged within the Malthusian trap. When, in the interest of dispassionate appraisal, analysis is restricted to the terms of this basic quantitative pattern, it supports sub-division into the (growth) positive and negative components of the trend: techno-industrial (scientific and commercial) contributions to accelerating development on the one hand, and socio-political counter-tendencies towards the capture of economic product by democratically empowered rent-seeking special interests on the other (demosclerosis). What classical liberalism gives (industrial revolution) mature liberalism takes away (via the cancerous entitlement state). In abstract geometry, it describes an S-curve of self-limiting runaway. As a drama of liberation, it is a broken promise.

Conceived particularly, as a singularity, or real thing, modernity has ethno-geographical characteristics that complicate and qualify its mathematical purity. It came from somewhere, imposed itself more widely, and brought the world’s various peoples into an extraordinary range of novel relations. These relations were characteristically ‘modern’ if they involved an overflowing of previous Malthusian limits, enabling capital accumulation, and initiating new demographic trends, but they conjoined concrete groups rather than abstract economic functions. At least in appearance, therefore, modernity was something done by people of a certain kind with, and not uncommonly to (or even against), other people, who were conspicuously unlike them. By the time it was faltering on the fading slope of the S-curve, in the early 20th century, resistance to its generic features (‘capitalistic alienation’) had become almost entirely indistinguishable from opposition to its particularity (‘European imperialism’ and ‘white supremacy’). As an inevitable consequence, the modernistic self-consciousness of the system’s ethno-geographical core slid towards racial panic, in a process that was only arrested by the rise and immolation of the Third Reich.

Given modernity’s inherent trend to degeneration or self-cancellation, three broad prospects open. These are not strictly exclusive, and are therefore not true alternatives, but for schematic purposes it is helpful to present them as such.

(1) Modernity 2.0. Global modernization is re-invigorated from a new ethno-geographical core, liberated from the degenerate structures of its Eurocentric predecessor, but no doubt confronting long range trends of an equally mortuary character. This is by far the most encouraging and plausible scenario (from a pro-modernist perspective), and if China remains even approximately on its current track it will be assuredly realized. (India, sadly, seems to be too far gone in its native version of demosclerosis to seriously compete.)

(2) Postmodernity. Amounting essentially to a new dark age, in which Malthusian limits brutally re-impose themselves, this scenario assumes that Modernity 1.0 has so radically globalized its own morbidity that the entire future of the world collapses around it. If the Cathedral ‘wins’ this is what we have coming.

(3) Western Renaissance. To be reborn it is first necessary to die, so the harder the ‘hard reboot’ the better. Comprehensive crisis and disintegration offers the best odds (most realistically as a sub-theme of option #1).

Because competition is good, a pinch of Western Renaissance would spice things up, even if – as is overwhelmingly probable — Modernity 2.0 is the world’s principal highway to the future. That depends upon the West stopping and reversing pretty much everything it has been doing for over a century, excepting only scientific, technological, and business innovation. It is advisable to maintain rhetorical discipline within a strictly hypothetical mode, because the possibility of any of these things is deeply colored by incredibility:

(1) Replacement of representational democracy by constitutional republicanism (or still more extreme anti-political governmental mechanisms).

(2) Massive downsizing of government and its rigorous confinement to core functions (at most).

(3) Restoration of hard money (precious metal coins and bullion deposit notes) and abolition of central banking.

(4) Dismantling of state monetary and fiscal discretion, thus abolishing practical macroeconomics and liberating the autonomous (or ‘catallactic’) economy. (This point is redundant, since it follows rigorously from 2 & 3 above, but it’s the real prize, so worth emphasizing.)

There’s more – which is to say, less politics – but it’s already absolutely clear that none of this is going to happen short of an existential civilizational cataclysm. Asking politicians to limit their own powers is a non-starter, but nothing less heads even remotely in the right direction. This, however, isn’t even the widest or deepest problem.

Democracy might begin as a defensible procedural mechanism for limiting government power, but it quickly and inexorably develops into something quite different: a culture of systematic thievery. As soon as politicians have learnt to buy political support from the ‘public purse’, and conditioned electorates to embrace looting and bribery, the democratic process reduces itself to the formation of (Mancur Olson’s) ‘distributional coalitions’ – electoral majorities mortared together by common interest in a collectively advantageous pattern of theft. Worse still, since people are, on average, not very bright, the scale of depredation available to the political establishment far exceeds even the demented sacking that is open to public scrutiny. Looting the future, through currency debauchment, debt accumulation, growth destruction, and techno-industrial retardation is especially easy to conceal, and thus reliably popular. Democracy is essentially tragic because it provides the populace with a weapon to destroy itself, one that is always eagerly seized, and used. Nobody ever says ‘no’ to free stuff. Scarcely anybody even sees that there is no free stuff. Utter cultural ruination is the necessary conclusion.

Within the final phase of Modernity 1.0, American history becomes the master narrative of the world. It is there that the great Abrahamic cultural conveyor culminates in the secularized neo-puritanism of the Cathedral, as it establishes the New Jerusalem in Washington DC. The apparatus of Messianic-revolutionary purpose is consolidated in the evangelical state, which is authorized by any means necessary to install a new world order of universal fraternity, in the name of equality, human rights, social justice, and – above all – democracy. The absolute moral confidence of the Cathedral underwrites the enthusiastic pursuit of unrestrained centralized power, optimally unlimited in its intensive penetration and its extensive scope.

With an irony altogether hidden from the witch-burners’ spawn themselves, the ascent of this squinting cohort of grim moral fanatics to previously unscaled heights of global power coincides with the descent of mass-democracy to previously unimagined depths of gluttonous corruption. Every five years America steals itself from itself again, and fences itself back in exchange for political support. This democracy thing is easy – you just vote for the guy who promises you the most stuff. An idiot could do it. Actually, it likes idiots, treats them with apparent kindness, and does everything it can to manufacture more of them.

Democracy’s relentless trend to degeneration presents an implicit case for reaction. Since every major threshold of socio-political ‘progress’ has ratcheted Western civilization towards comprehensive ruin, a retracing of its steps suggests a reversion from the society of pillage to an older order of self-reliance, honest industry and exchange, pre-propagandistic learning, and civic self-organization. The attractions of this reactionary vision are evidenced by the vogue for 18th century attire, symbols, and constitutional documents among the substantial (Tea Party) minority who clearly see the disastrous course of American political history.

Has the ‘race’ alarm sounded in your head yet? It would be amazing if it hadn’t. Stagger back in imagination before 2008, and the fraught whisper of conscience is already questioning your prejudices against Kenyan revolutionaries and black Marxist professors. Remain in reverse until the Great Society / Civil Rights era and the warnings reach hysterical pitch. It’s perfectly obvious by this point that American political history has progressed along twin, interlocking tracks, corresponding to the capacity and the legitimation of the state. To cast doubt upon its scale and scope is to simultaneously dispute the sanctity of its purpose, and the moral-spiritual necessity that it command whatever resources, and impose whatever legal restraints, may be required to effectively fulfill it. More specifically, to recoil from the magnitude of Leviathan is to demonstrate insensitivity to the immensity – indeed, near infinity – of inherited racial guilt, and the sole surviving categorical imperative of senescent modernity – government needs to do more. The possibility, indeed near certainty, that the pathological consequences of chronic government activism have long ago supplanted the problems they originally targeted, is a contention so utterly maladapted to the epoch of democratic religion that its practical insignificance is assured.

Even on the left, it would be extraordinary to find many who genuinely believe, after sustained reflection, that the primary driver of government expansion and centralization has been the burning desire to do good (not that intentions matter). Yet, as the twin tracks cross, such is the electric jolt of moral drama, leaping the gap from racial Golgotha to intrusive Leviathan, that skepticism is suspended, and the great progressive myth installed. The alternative to more government, doing ever more, was to stand there, negligently, whilst they lynched another Negro. This proposition contains the entire essential content of American progressive education.

The twin historical tracks of state capability and purpose can be conceived as a translation protocol, enabling any recommended restraint upon government power to be ‘decoded’ as malign obstruction of racial justice. This system of substitutions functions so smoothly that it provides an entire vocabulary of (bipartisan) ‘code-words’ or ‘dog-whistles’ – ‘welfare’, ‘freedom of association’, ‘states rights’ – ensuring that any intelligible utterance on the Principal (left-right) Political Dimension occupies a double registry, semi-saturated by racial evocations. Reactionary regression smells of strange fruit.

… and that is before backing out of the calamitous 20th century. It was not the Civil Rights Era, but the ‘American Civil War’ (in the terms of the victors) or ‘War between the States’ (in those of the vanquished) that first indissolubly cross-coded the practical question of Leviathan with (black/white) racial dialectics, laying down the central junction yard of subsequent political antagonism and rhetoric. The indispensable primary step in comprehending this fatality snakes along an awkward diagonal between mainstream statist and revisionist accounts, because the conflagration that consumed the American nation in the early 1860s was wholly but non-exclusively about emancipation from slavery and about states rights, with neither ‘cause’ reducible to the other, or sufficient to suppress the war’s enduring ambiguities. Whilst there are any number of ‘liberals’ happy to celebrate the consolidation of centralized government power in the triumphant Union, and, symmetrically, a (far smaller) number of neo-confederate apologists for the institution of chattel slavery in the southern states, neither of these unconflicted stances capture the dynamic cultural legacy of a war across the codes.

The war is a knot. By practically dissociating liberty into emancipation and independence, then hurling each against the other in a half-decade of carnage, blue against gray, it was settled that freedom would be broken on the battlefield, whatever the outcome of the conflict. Union victory determined that the emancipatory sense of liberty would prevail, not only in America, but throughout the world, and the eventual reign of the Cathedral was assured. Nevertheless, the crushing of American’s second war of secession made a mockery of the first. If the institution of slavery de-legitimated a war of independence, what survived of 1776? The moral coherence of the Union cause required that the founders were reconceived as politically illegitimate white patriarchal slave-owners, and American history combusted in progressive education and the culture wars.

If independence is the ideology of slave-holders, emancipation requires the programmatic destruction of independence. Within a cross-coded history, the realization of freedom is indistinguishable from its abolition.


Re-Animator (Part 4)

What does the world make of Shanghai?

If the deepest traditions of the World Expo are those cemented into its origin, it would be incautious to over-hastily dismiss one prominent feature of its inaugural instance. The Great Exhibition of the Works of Industry of all Nations, held in London, in 1851, was staged in the effective capital of the world. In this case, at least, the defining internationalism of the Expo is difficult to disentangle from the indisputable historical fact that the entire world was rapidly becoming London’s business. In a gesture of reciprocity so perfect that it approached simple identity, London invited the world to itself exactly as – and because – it was inviting itself to the world.

The Great Exhibition made irresistible sense because it put the future of the world on display in the only place that could. To see the concentrated, realistically sifted, programmatically arranged destiny of the earth, it was necessary to visit London, since it was in London that everything came together.

Over its first two decades (and four episodes), World Expo alternated between London (1851, 1862) and Paris (1855, 1867), as if oscillating between the relative historical potencies of maritime and continental power. Yet this apparent hesitation actually compresses and conceals two distinct, complementary, and unambiguous trends. Britain was ascending inexorably to global hegemony, whilst disengaging from World Expo, whilst France was managing equally inexorable comparative decline, as it made World Expo – to a remarkable extent – its special preserve.

It is tempting to propose a theory of institutional consolation to account for this pattern. Long after Britain had abandoned all claim to Expo leadership, France continued to invest heavily in the event, chalking-up a record of Expo hospitality unmatched by any other country and setting the course to Expo institutionalization through the Bureau of International Exhibitions (BIE). The BIE, established in 1928, has always been based in Paris, and remains a bastion of Anglo-French bilingualism.

French Expo-enthusiasm expresses a more general relationship to the world system of great importance. Having relinquished its (Napoleonic) role as a challenger to the world order in the early 19th century, France has maneuvered, with unique capability and determination, to remain an indispensable secondary power, or – more precisely – a balancer. Its relationship to the successive phases of Anglophone global hegemony has been guided by an extremely consistent deep policy of accommodation without acquiescence, characterized by imaginative and unrelenting, yet restrained rivalry. Close to the core, yet never quite part of it, France has been able to draw sustenance from the world order whilst contesting its cultural meaning (as English-speaking, protestant, and laissez-faire individualist).

World system challengers, it should be clearly noted, never host World Expos. The Expos held in Japan (Osaka 1970, Tsukuba 1985, Aichi 2005) and Germany (Hanover 2000) took place long after their armed resistance to the Anglo-American world order had been broken and both countries had been beaten into docility. Russia has never hosted one. Moscow of the USSR was offered the 1967 World Expo, but declined it (presumably judging it dangerously destabilizing to a closed society).

World Expo has thus acquired a secondary tradition, as a deliberately eccentric platform from which to contest the core future of the world system, and to propose a pluralized (or embryonically multicultural) alternative. Already in 1855 and 1867, and then in 1878, 1889, 1900, and 1937, World Expo staged the view from Paris, one that accepted the global reality of consolidated, revolutionary modernization, whilst systematically de-emphasizing its techno-commercial determinism and its convergence upon Anglophone cultural traits. Industrial globalization was reconfigured as a condition to be critically interrogated, rather than an opportunity to be vigorously promoted.

Between the primary and secondary impulses of the Expo, collision was inevitable. Predictably enough, the occasion was provided by the reconnection of Expo to the global core.

Even given this truncated and radically simplified schema of Expo history, which had been largely settled in its essentials by 1870, the significance of the two New York World Expos, staged in 1939-40 and 1964-5, comes clearly into focus. Mid-20th century New York, like every world systemic capital, represented the leading edge of modernization as a revolutionary global process — emergence and consolidation of a new world order and new age (novus ordo seclorum) – compared to which the authority of established international institutions counted for nothing.

Both New York Expos flagrantly violated BIE regulations in numerous respects, but even after the withdrawal of official sanction, they ahead anyway. These were, non-coincidentally, the first rogue Expos. They were also among the most memorable and influential in World Expo history.

For the first time since the mid-19th century, Expo had found its way back to the capital of the world, in order to provide an uncompromised and unambiguous foretaste of the World of Tomorrow in the place that was orchestrating it. BIE opinion mattered little, because Expo was not being hosted in New York so much as re-invented, echoing the originality of 1851. This was where the future would come from, and everyone knew it. All that was necessary was to tease the city into anticipating itself, and what resulted was a Futurama.

There was an additional message, easily overlooked due to the scarcity of data-points: hosting World Expo is one of the things the world capital has to do — as a kind of ritual responsibility, or a coming-out party. Shanghai has done that now. Precedent suggests that one additional Expo would be appropriate (perhaps in 2025, or 2030), although it might have to be unsanctioned next time.

Of course, Shanghai is not yet the capital of the world, but it is heading there. From the late-1970s, after centuries of exile and denigration, the offshore, diasporic-maritime, capitalistic China of the tianchao qimin — those ‘abandoned by the Celestial Empire’ – has been steadily, and rapidly, re-integrated with the continental mainland and its ‘market socialist’ structures. Floodgates of talent and investment have been opened, and as this scattered, sea-salt scented population has reconnected with the motherland, the ‘Chinese miracle’ of recent decades has taken place. Shanghai is the main-circuit socket that links this other China — oriented to oceanic trade, entrepreneurial opportunity, capital accumulation, international mobility, and a society of flexible networks — to the vast potentialities of the country (and flexible Sino-Marxist state) lying up the Yangzi, and beyond. If the process of reconnection is not interrupted, the next phase of modernity will be centered in this city, where China meets the sea.

Despite its self-identification as the ‘central country’ (or ‘middle kingdom’ – Zhongguo), China has not been at the core of the world process for centuries. Instead it has been a complacently declining legacy power and a badly-treated outsider, then successively a second-tier affiliate, a truculent challenger, and a cautious balancer, until its prospective status as core inheritor (or virtual hegemon) began to percolate into global popular awareness over the final decades of the 20th century. Very little of this is a matter of motivation, or strategic assertion. Quasi-Marxist assumptions of economic inevitability and directional base-superstructure causation come into their own in this respect. Global leadership is nominated by industrial reality, not political will, and hegemony can neither be perpetuated beyond the endurance of its economic foundations, nor long disdained once such foundations have been laid. Eventually a reality check becomes unavoidable, and policy is hammered into compliance with the demands of world system equilibrium. Core-periphery relations are decided by trade and capital flows, not by political declarations. Since comparative success and failure show no sign at all of disappearing, it can confidently be expected that hierarchical geography – however re-arranged – will not be withering away any time soon. Realists will follow the money.

There will be a new world capital (you can count on it), but will it be Shanghai? It would be reckless to presume so. The world system tradition, in its eagerness to anoint Tokyo as the successor to New York (during the 1980s), provides a cautionary lesson. There was no Tokyo World Expo, and it turns out that there was not an urgent or essential need for one.

So, is Shanghai next? That should have been the animating question of Expo 2010, and perhaps it will have been in the future. The whole world has a stake in it, because it tells us what is coming, and that is what World Expo was designed to do. For an emerging world capital to mask itself as a generic city passes beyond modesty into a species of accidental deception, but tact can easily be confused with pretence – especially by those on unfamiliar cultural terrain. It might be that Shanghai said everything that was necessary in 2010, and that what it said will eventually be heard, and understood.

Expo begins again in each new world capital, in 1851, in 1939, and – far more problematically – in 2010 (?). In Shanghai’s case, we are still too close to the event, and too entangled in the current revolution of modernity, to know for sure. What Expo 2010 will have been depends upon what the world becomes, how its center of economic gravity shifts, how its new center condenses, and what it makes of Shanghai.

(final lurch into this fog-bank coming next (yippee!))


Re-Animator (Part 3)

What makes a great city?

By far the most interesting element of World Expo 2010: Shanghai, was Shanghai. Whilst deeply-rooted regional traditions of courtesy sustained the fiction that this World Fair was about the world, it really wasn’t. Whatever the diplomatic benefits of the almost universally convenient internationalist pretense, to China and Expo’s foreign participants alike, Expo 2010 was about Shanghai, and for Shanghai. The Expo was global because Shanghai is, it was about China because Shanghai is China’s gateway to the world, it was about cities in order to be even more about Shanghai, nobody uninterested in Shanghai paid it the slightest attention, and Shanghai used it to restructure, intensify, and promote itself.

Expo as an institution was in decline before 2010, and continues to decline. Shanghai was rising before 2010, and continues to rise, but now infrastructurally upgraded, thoroughly renovated, and decorated with the historical merit-badge of Expo hospitality. Better City, Better Life, a typically airy and aspirational Expo theme, is a cold-sober description of the Expo-effect in Shanghai.

Cities are, in certain important respects, generic. There is such a thing as ‘the city in general’ as the work of Geoffrey West, in particular, has demonstrated. We know, thanks to West, that cities are negative organisms, with consistent scaling characteristics that structurally differentiate them from animals and corporations. As they grow they accelerate and intensify at a quantifiable and predictable rate, exhibiting increasing returns to scale (in sharp contrast to animals and businesses, which slow down in proportion to their size). Organisms and firms die normally and by necessity, cities only rarely and by accident.

Cities belong to a real genre, but they are also singularities, undergoing spontaneous individuation. In fact, they are generically singular – singular without exception – like black holes. It is not only that no city is like another, no city can be like another, and this is a feature that all cities share, arguably more than any other.

Beyond such generic singularity, there is an additional level of enhanced differentiation that emerges from the position cities occupy within larger systems. These systems are not only internally specialized, but also hierarchical, dividing core from periphery, and distributing influence unevenly between them. Ultimately, within the fully global incarnation of the ‘world system’, cities acquire secondary metropolitan characteristics, to very different degrees, in accordance with their geographical and functional proximity to the center of the world. They transcend their local histories, to become hubs or nodes in a global network that re-characterizes them as parts of a whole rather than wholes made of parts, as metropolis-versus-periphery rather than (or on top of) metropolis-versus-town.

The geographical structure and historical instability of modernity’s core-periphery architecture has been the focus of the ‘world system theory’ developed from the Annales School of Fernand Braudel (1902-85) by Immanuel Wallerstein (1930-) and – most impressively — Giovanni Arrighi (1937-2009). According to the world system theorists, the revolutions that matter most are not national regime changes, such as those in France (1789) and Russia (1917), but rather global re-organizations that mark out the basic phases of modern history, jolting the world into new core-periphery structures. Modernity has undergone four of these shifts up to the present, with each phase lasting for a ‘long century’, introducing a new core state, or hegemon, with enhanced capabilities, and a new urban center – successively, Venice, Amsterdam, London, and New York – that operate as an effective capital of the world.

As the example of New York attests, this status is not primarily political. Nor does prominence in manufacturing seem to be a relevant factor (the ‘world capital’ has never been the dominant industrial center of its respective region or state). Over the course of modern history to date, the crucial features of the world capital seem to be that it is the largest urban agglomeration in the leading (‘hegemonic’) region or state; that it is an established financial center that quite rapidly attains a position of global pre-eminence in this respect; that it is an open port city with clear maritime orientation; and that it has an exceptionally internationalized demographic profile, with a large segment of internationally-mobile, opportunistic residents. A significant period of leadership in the creative arts might plausibly be added to this list. Functionally, the world capital serves as the supreme nerve-center of the global economy, specialized nationally, and then super-specialized internationally, as the financial, logistics, and business services hub of a system whose global integrity is reflected in the city’s privileged singularity.

The exceptional drama of our age lies in its nature as a time of transition between phases of modernity, somewhere in the winter of a long century, when an epoch of hegemony is exhausted. More specifically, the walls are closing in on the American Age, as commentators of almost every intellectual and ideological stripe are increasingly aware. Overstretched, essentially bankrupted, politically paralyzed and disillusioned, America sinks into self-conscious crisis, its mood dark and clouded. It would be a mistake to limit attention to America, however, because the crisis is world-systemic, heralding the end of an international order that arose among the chaos of the world wars and achieved definition in the post-WWII United Nations and Bretton Woods institutions (IMF, World Bank, and the descendent of GATT, now the WTO). It affects not only the role of the US dollar as international reserve currency, an Atlantic-centered NATO and an Occidentally-skewed UN apparatus, but also the European Union, the post-colonial Middle Eastern state-system and (very) much else besides.

Over the next two decades, under the impact of economic forces of extreme profundity (far exceeding the responsive capacity of existing institutions), a revolutionary re-ordering of the world can be expected to unfold. If America succeeds in maintaining its position of leadership within the global system for a period that significantly exceeds the long 20th century (which began no earlier than 1914, and thus might be expected to persist for some additional years), it will have broken a pattern that has remained consistent throughout a half-millennium of history. Whilst not strictly impossible, perpetuation of the present hegemonic order would be, quite literally, a stretch.

Another vision of a break from historical precedent, this time transparently utopian, envisages – rather than the continuation of US pre-eminence — the obsolescence of the core-periphery global structure in its entirety, ending hierarchical geography and hegemony in general. Even If such a vision truly rises to the level of a definite expectation (rather than a nebulous exercise in wishful thinking), it remains ungrounded in reliable historical and theoretical foundations. Altruistic political intentions – were such ever credible – would still be quite insufficient to overcome the spontaneous, dynamic trend to approximate world systemic equilibrium, in which a core zone, and its metropolitan capital, are automatically nominated, by diffuse economic currents searching for a central clearing house.

Whilst no doubt deeply disappointing to utopian eschatology, and to all dreams of historical conclusion (or passage to the promised land), phase-shifts in the world-system are less ominous than they are often depicted as being. Among Arrighi’s most important insights is the reminder that whenever an attempted reconstruction of the world order has been based upon a frontal military and geo-strategic challenge to the hegemon, it has failed. This is exemplified, above all, by the German and Russian histories of the 19th and 20th centuries, in which repeated direct confrontations with the established Anglophone-dominated international system led only to frustration, regime collapse, and subaltern re-integration.

Perhaps ironically, a marked subjective aversion to hard power assertion and the assumption of hegemony can be quite reliably taken as a positive indicator for the objective emergence of hegemonic status. Holland, Great Britain, and the United States of America were all, in certain crucial respects, accidental imperialists, whose successive ascents to world dominance shared a prioritization of commercial motives, retarded state involvement, strong ‘isolationist’ and ‘anti-imperialist’ cultural currents, and a determined avoidance of ‘Clauswitzean’ decisive collision (especially with the prior hegemon). The British and American ways of war, in particular, are notable for their common emphasis upon hedging and triangulation, such as the exploitation of offshore position and maritime supremacy to avoid premature entanglement in high intensity ‘continental’ conflicts, the usage of financial and logistic capability to manipulate conflicts at a distance, and the diplomatic inclusion of defeated adversaries in reconstructed, poly-centric, ‘balanced’ systems of power. Hegemony was, in each case, peacefully inherited, even when it was cemented by war (in partnership with the previous hegemon) and later gave rise to opportunities for increasingly aggressive imperialistic adventurism.

Given this broadly uncontroversial historical pattern, it is all the more surprising that the German example is so widely invoked in discussions of China’s ‘peaceful rise’. In fact, China’s ascent has stuck far closer to the model of hegemonic hand-overs than to that of confrontational challenges, as indicated by the prioritization of commercial development, the highly cooperative (even synergistic or ‘Chimerican’) relationship with the prevailing hegemon, the gradual accumulation of financial power by way of spontaneous, systemic re-distribution, and the equally gradual consolidation of maritime interests, emerging out of the global trading system, which draw the focus of government strategic policy – perhaps reluctantly – from domestic concerns out into the high-seas.

Historically, China has been far more a continental than a maritime power, and this fact provides the single most persuasive objection to the assumption of an impending Chinese (Long) Century. The emergence of a continental world system core would be as decisive a departure from precedent as any yet discussed, and if such a possibility is entertained, disciplined prediction falters. If inverted, however, this problem becomes a forecast in itself: the trajectory of China’s rise necessarily implies its transformation into a maritime power (an insight already tacit in the controversial 1988 Chinese TV series River Elegy).

A vague intuition, partially but elusively crystallized by Expo 2010, is now precipitated by sheer historical pattern-recognition into the form of an explicit question:

Is Shanghai destined to become the capital of the world?
(Part 4 to come)


A Time-Travelers Guide to Shanghai (Part 2)

Dark intimations of the time-rift

Shanghai’s eclectic cityscape explores a variety of modernities simultaneously. The sheer scale of the city, exponentiated by its relentless dynamism, overflows the time-line.

During Shanghai’s early- to mid-20th century high modernist epoch, for instance, the city’s consolidating haipai culture was distinguished by the absence of a single core. It emerged, instead, as the outcome of loosely inter-articulated plural or parallel developments, including (but by no means limited to) the urban mores of a rising indigenous ‘bourgeoisie’, whose aspirational tributaries reached deep into the warrens of the lilongs; the hard accelerationism of the International Settlement business culture, dominated by near-limitless Shanghailander confidence in the city’s global significance and potential; and the left-slanted literary and political trends fostered in the coffee shop salons of the French Concession, where avant garde ideas cross-pollinated promiscuously. This heterogeneous, fertile chaos found its architectural echoes in the juxtaposition of building styles, quantitatively dominated by Shanghai’s native experiment in urban construction (the lilong block), but overawed in patches by Western neo-classical colonial edifices; Manhattanite cosmopolitan high-rises and Art Deco structures; bold adventures in Chinese modern designs (most prominently in Jiangwan); examples of proto-brutalist industrial and residential functionalism; and villas in a variety of international, hybrid, and advanced styles.

Since re-opening, in the early 1990s, Shanghai has added new ingredients to the mix, including its first major examples of construction indebted to the austere tenets of the International Style (although large rectilinear structures are still, thankfully, a rarity); neo-traditional and ethno-exotic kitsch (especially in the Old City and the peripheral ‘nine-towns’ respectively); neomodernist re-animations of derelicted structures; and ‘Googie’ evocations of imagined futures.

Whilst the city’s modernization has attained unprecedented velocity, however, its native modernism remains comparatively retarded. As an urban center in China, Shanghai’s distinctiveness is far less marked than it was in the early 20th century. Once occupying an overwhelmingly commanding cultural position as the engine-room and icon of Chinese modernity, today it participates in a far more generalized process of Chinese development. Its internationalism, commercial prowess, and technology absorption are no longer obviously peerless within China, its domination of the publishing and movie industries has passed, its retail giants and innovative advertising have surrendered their uniqueness, and its intellectual bohemia is matched, or surpassed, in a number of other urban centers. Whilst haipai tenuously persists, its dynamism has diffused and its confidence attenuated.

If Shanghai has a specific and coherent urban cultural identity today, emerging out of its sprawling multiplicity, and counterbalancing the vastly strengthened sense of national identity consolidated since the foundation of the PRC, it cannot – like haipai before it – be derived from the continuity of the city’s developmental trend, or from an urban exceptionalism, feeding on the contrast with a conservative, stagnant, or regressive national hinterland. A thoroughly renovated Shanghainese culture, or xin haipai, is inextricably entangled with the city’s historical discontinuity, or interruption, and with a broader Chinese national (or even civilizational) modernization that was anticipated by the ‘Old Shanghai’ and revives today as a futuristic memory.

The future that had seemed inevitable to the globalizing, technophilic, piratical capitalist Shanghai of the 1920s-‘30s went missing, as the momentum accumulated over a century of accelerating modernization was untracked by aerial destruction, invasion, revolution, and agrarian-oriented national integration. As the city trod water during the command economy era, the virtual future inherent in its ‘Golden Age’ continued to haunt it, surviving spectrally as an obscure intuition of urban destiny. Upon re-opening, in the early 1990s, this alternative fate flooded back. Under these circumstances, futurism is immediately retro-futurism, since urban innovation is what was happening before, and invention is bound to a process of re-discovery. ‘Renaissance’ always means something of this kind (and cannot, of course, be reduced to restoration).

This retro-futurist tendency, intrinsic to Shanghai’s revival of urban self-consciousness in the new millennium, creates a standing time-loop between two epochs of highly-accelerated modernistic advance. As it steadily adjusts itself into phase, heritage and development densely cross-reference each other, releasing streams of chatter in anachronistic, cybergothic codes, such as the deeply encrypted ‘language’ of Art Deco. Prophetic traditions inter-mesh with commemorative innovations, automatically hunting the point of fusion in which they become interchangeable, closing the circuit of time. The past was something other than it once seemed, as the present demonstrates, and the present is something other than it might seem, as the past attests.

The most accessible examples of Shanghai’s signature time-looping are spatially concentrated. At the limit, neo-modern renovation projects connect the city’s great waves of modernization within a single structure, making a retro-futural theme intrinsic to a current development, such as those at M50, Redtown, Bridge8, 1933, or the Hotel Waterhouse (among innumerable cases). Slightly wider and more thematically elaborate loops link new buildings to overt exhibitions of modernist history. Among the most conspicuous of these are the pairing of the Oriental Pearl TV Tower with the Shanghai History Museum (in its pedestal), and the Old Shanghai street-life diorama to be found beneath the Urban Planning Exhibition Hall.

Such examples can be misleading, however, if they distract from the fact that the retro-futurist principle of the new Shanghai culture is ambient. From ordinary residential restoration projects, to commercial signage, restaurant themes, hotel décor and home furnishings, the insistent message is re-emergence, an advance through the past. The latest and most stylish thing is typically that which re-attaches itself to the city’s modern heritage with maximum intensity. Reaching out beyond the city does nothing to break the pattern, because that’s precisely what the ‘Old Shanghai’ used to do. Cosmopolitan change is its native tradition.

Retro-futural couplings can be spatially dispersed. One especially prominent time loop lashes together two of the city’s most celebrated high-rises – the Park Hotel and the Jin Mao Tower – binding the Puxi of Old Shanghai with the Pudong New Area. Each was the tallest Shanghai building of its age (judged by highest occupied floor), the Park Hotel for five decades, the Jin Mao Tower for just nine years. This discrepancy masks a deeper time-symmetry in the completion dates of the two buildings: the Park Hotel seven years prior to the closing of the city (with the Japanese occupation of the International Settlement in 1941), the Jin Mao Tower seven years after the city’s formal re-opening (as the culmination of Deng Xiaoping’s Southern Tour, in 1992).

It takes only a glance (or two) to recognize these buildings as non-identical time twins, or mutant clones, communicating with each other darkly across the rift, in Art Decode. Reciprocally attracted by their structural and tonal resonances, the two buildings extract each other from their respective period identities and rush together into an alternative, occulted time, obscurely defined through contact with an absolute future, now partially recalled.

Both of these beautifully sinister buildings are at home in the Yin World, comfortable with secrets, and with night. Among the first of these secrets, shared in their stylistic communion, is darkness itself. Nothing could be further removed from the spirit of Le Corbusier’s Radiant City than the brooding opulence of these towers, glittering on the edge of an unfathomable nocturnal gulf, as if intoxicated by the abyss. They remind us that ‘Art Deco’ is a (retrospective) label patched crudely over mystery, that it never had a manifesto, or a master plan, and that – due to its inarticulate self-organization – it has eluded historical comprehension.

This is the sense, at least in part, of Art Deco’s pact with night and darkness. Beneath and beyond all ideologies and centralized schemes, the spontaneous culture of high-modernism that climaxed in the interbellum period remains deeply encrypted. As the new Shanghai excavates the old, it is an enigma that becomes ever more pressing.
(Coming next in the Time Traveler’s Guide to Shanghai: The Dieselpunk Plateau)


A Time-Traveler’s Guide to Shanghai (Part 1)

When did it all change?

There is a strange, time-fractured moment in the biopic Deng Xiaoping (2002, directed by Yinnan Ding). For most of its length, the film is sober, cautious, and respectful, exemplifying a didactic realism. It strictly conforms to the approved story of Deng’s leadership and its meaning (exactly as it is found today in the nation’s school textbooks). Beginning with Deng’s ascent to power in the ruined China of the late-1970s, in the wake of the Cultural Revolution, it follows the path of his decision-making, through the restoration (de-collectivization) of the rural economy, the re-habilitation of persecuted experts and intellectuals, and the beginning of the open-door policy, in Shenzhen, to the extension of market-oriented reform throughout the country, as symbolized by the opening of Shanghai.

Whilst clearly something of a carefully edited and precision- manufactured legend, this basic narrative of national regeneration, emancipation and growth – salvaged from the ashes of dead-end fanaticism and civilizational regression – is honest enough to inform, and even to inspire. It leaves no doubt that the ‘meaning’ of Deng Xiaoping is openness and renaissance (at least ’70/30′), a judgment that is both popularly endorsed in China, and historically attested universally.

As the movie approaches its conclusion, however, pedestrian realism is suddenly supplanted by something entirely different, whether due to the ‘deeper’ realism of budgetary constraint, or the ‘higher’ realism of artistic serendipity. Deng Xiaoping, from the vantage point of a ‘yet’ (in 1992) inexistent bridge, gestures towards Pudong and announces the green-light for its developmental liberation. Yet, in the background of the scene, the deliriously developed Lujiazui of 2002 already soars, as if the skyline had been condensed from a pre-emptive vision, drawing its substance from the historical implication of his words. The future couldn’t wait.

Perhaps the speed of Shanghai’s Reform-era urban development has led everything to get ahead of itself, disordering the structure of time. The Oriental Pearl TV Tower – first architectural statement of the new Shanghai and still the most iconic – certainly suggests so. Retro-deposited into the Pudong of 1992 by the Deng Xiaoping movie, historically completed in 1994, symbolically heralding the promised Shanghai of the third millennium, architecturally side-stepping into a science fiction fantasy of the 1950s, alluding to poetic imagery from the Tang Dynasty, and containing a museum devoted to the city’s modern history in its pedestal, when, exactly, does this structure belong? It’s hard to know where to begin.

The Emporis profile of the Oriental Pearl TV Tower describes its architectural style as simply ‘modernism’, which is unobjectionable, but extraordinarily under-determining. If the modern defines itself through the present, conceived as a break from the past and a projection into the future, the Oriental Pearl TV Tower unquestionably installs itself in modernity, but only by way of an elaborate path. It reverts to the present from a discarded future, whilst excavating an unused future from the past.

Buildings that arrive in the present in this way are, strictly speaking, ‘fabulous’, and for this reason, they are considered disreputable by the dominant traditions of international architecture. The fables they feed upon belong to the popular culture of science fiction, which makes them over-expressive, vulgarly communicative, and rapidly dated. Insofar as their style is recognized generically, it is tagged by ugly and dismissive labels such as Googie, Populuxe, and Doo-Wop. By reaching out too eagerly for the future, it is tacitly suggested, one quickly comes to look ridiculous (although, today, neomodernists such as Zaha Hadid and Rem Koolhaas are recuperating certain elements of this style more sympathetically).

Shanghai’s Radisson Hotel, set back from the north of People’s Square, is a quintessentially ‘Googie’ structure. It’s space-ship top participates exuberantly in a Shanghai tradition of weird roof-elaborations, and echoes a formally-comparable — though far smaller — classical modern structure to the east, down Nanjing Lu. The idea of high-rise rooftops as landing sites for flying vehicles, within a dynamic system of three-dimensional traffic, is a staple of ultramodernist speculation, whilst an alien arrival from a distant future is a transparent Shanghai fantasy.

In his path-breaking short story The Gernsback Continuum, William Gibson dubs this style ‘Raygun Gothic’, explicitly marking its time-complexity. He thus coaxes it into the wider cultural genre of retro-futurism, which applies to everything that evokes an out-dated future, and thereby transforms modernity into a counter-factual commentary on the present. This genre finds an especially rich hunting ground in Shanghai.

(This is the first post in a connected series on Shanghai’s retro-future, departing from the Oriental Pearl TV Tower. An outline examination of retro-futurism itself comes next …)