That our wielding of the weapon of criticism does not exhaust and preclude the task of criticising with weapons is something Marx says in his A Contribution to the Critique of Hegel’s Philosophy of Right. Needless to say, old chap Karl is right on the mark. But through this formulation of his, Marx is also clearly drawing our attention to the fact that the weapon of criticism and criticism with weapons are two different levels of abstraction of the indivisible real movement of the universalisability of the singular. And in revealing that real movement in and through its two different levels of abstraction, Marx is asking us, his readers, to be attentive to the fact that the indivisibility of the movement – precisely that which renders such movement real — from one level of abstraction to the other does not mean those levels stand conflated. Clearly, one cannot have criticism with weapons at the level that is constitutive of the wielding of the weapon of criticism, even as the movement from the one to the other has to be uninterrupted for it to be real. The respective discursive specificities that operationalise through inscription the different activitities of criticism (which are singularities in and as those different activities) of respectively different discursivised rationalities must be attended to, and maintained in and as their difference, for them to retain their respective singularity. This, needless to say, is not a blow for local ideology formation and discursive rationalities. It’s precisely meant to be a critique of such local ideology formation, albeit obviously in the specificity of the local. The universality of such singularities is, therefore, clearly not about rendering them mutually conflatable, and thus replaceable, which would amount to their de-singularisation.
Such universal-singular is, instead, a movement constituted in and by the unlapsed indivisibility of different moments of criticism (as activity) of respectively different discursive rationalities. These different moments of activities of determinate criticism of different discursive rationalities (read ideologies) are nothing but different moments of performativity of differing away from different identities. This is precisely what many of our comrades — who have fallen into the easy but extremely damaging habit of getting drunk on Marx’s Eleventh Thesis on Feurbach without any sense of how one is supposed to drink this potion — miss when they seek to drag criticism with weapons on to the level of the weapon of criticism. The result: ad-hominem attack on producers of ‘rightwing’ philosophical, scientific and aesthetic works passing itself off as polemical criticism of their works. As a consequence, what the weapon of criticism amounts to, in such circumstances when it stands conflated with criticising with weapons, is throwing out the baby of such theoretical, scientific and aesthetic thinking and production with the bathwater of what the practitioners of such thinking and/or producers of such theoretical, scientific and aesthetic works would have their engagement in such practice yield. So, ad-hominem attacks on producers of such works on account of their politics as thinkers, scientists, artists is extended seamlessly to the politics of the process of theoretical and/or aesthetic production they are engaged in. Hence, the labeling, and rejectionist abuse of such theoretical and artistic work — without any attempt to dialectically separate such work as the instantiation of the process of its production that renders the work text from the work per se in its asserted completeness — has become de rigueur at the level of abstraction constitutive of the weapon of criticism.
Of course, there cannot be any dispute that the task constitutive of the level of abstraction of weapon of criticism is to inquire into how a particular theoretical, scientific, or aesthetic practice (and thus process of production) produces the ontic effects it does to dialectically brush the former against the latter in order to reclaim it in, as and for itself. That is what Althusser’s class struggle in philosophy – or Marx’s wielding of the weapon of criticism at the theoretical level of abstraction it is constitutive of – arguably amounts to. However, that, contrary to the widespread assumption among comrades, is not at all the same as judging such theoretical, scientific, and/or aesthetic practices (or processes of production) by the effects or the ontic violence they produce. In other words, while class struggle in philosophy – or Adorno’s theoretical moment of class struggle – is all about figuring out the particular articulation of theoretical, scientific, and/or aesthetic practice (or process of production) that produces a certain kind of effect or ontic violence, it’s certainly not about rejecting theoretical, scientific, and/or aesthetic works that when grasped as such effects are rendered thinkable as instantiators of those theoretical, scientific, and/or aesthetic practices (or processes of production) in the specificity of their concrete articulations.
In short, while a theorist/philosopher, scientist and/or artist must be criticised with weapons – i.e. shot – for politically practising and purveying the violent and oppressive ontic effects they produce a la their rightwing discourses; those discourses as instantiations of theoretical/philosophical, scientific, and/or aesthetic practices (or processes of production) cannot be labelled rightwing, counter-revolutionary, status-quoist philosophy, science and/or art, and thus junked into the waste-bin of history. Rather, they should, as mentioned above, be engaged in the internality or immanence of their practices, or processes of production. This, in order to grasp their incompleteness, and lapse of rigour, that leads them to produce the violent, reactionary, status-quoist ontic effects they do. For, without such engagement — and their rejection would amount precisely to a refusal to engage with them in their processual internality – theoretical, scientific, and/or aesthetic practice will always remain open to such lapse of rigour, and thus also to the politically pernicious consequences concomitant with such lapse. And being a card-carrying radical is absolutely no guarantee that one will not be the locus of such lapse of rigour in theoretical, scientific and/or aesthetic practices (or processes of production). History has, time and time again, demonstrated that.
Therefore, in order to be a committed militant of revolutionary transformation one must be committed to the actuality of the real movement in its indivisible unfolding from the level of abstraction of the weapon of criticism to the level of abstraction of criticism with weapons, precisely by maintaining their separation from one another as two distinct levels of abstraction. A committed militant would, therefore, be one who makes himself/herself constantly aware that while there are thinkers/philosophers, scientists, and/or artists, who are rightwing, reactionary and/or status-quoist, there is or can be no rightwing theory/philosophy (better philosophising), science, and/or art. For instance, Heidegger and Schmitt, and Pirandello and the Italian Futurists were, as philosopher-individuals and artist-individuals, part of rightwing political projects in their respective countries (Nazism in Germany, Fascism in Italy). But that does not, therefore, make their philosophising/thinking and writing rightwing as such. Rather, what we need to figure is how and why do they have their philosophising and aesthetic production construe themselves as things that seamlessly blends with the reactionary political projects they participate in as philosopher-individuals and artist-individuals. That, presumably, is how one ought to also approach the ‘relationship’ between anti-communist and/or anti-working-class politics of such Indian writers and poets as Nirmal Verma, Ajneya, Ashok Vajpeyi, Kunwar Narayan, Satinath Bhaduri and O.V. Vijayan and their literary production.
Not surprisingly, the absence of such awareness among most militant comrades has ended up making their practice an integral part of the pernicious political logic that they seek to destroy and which is supposedly affirmed only by their opponents, who claim that the theoretical and artistic works they produce exhaust the task of criticism in its entirety by having the level of abstraction of criticism with weapons – or the singularising moment respective to that level of abstraction — disappear into the level of abstraction of the weapon of criticism. [Of course, the militant task even here is to make sense of this lack of awareness in supposedly militant political practices in terms of its material basis.] This, then, amounts to a reinforcement of the constitutive duality of “party of philosophy” and “party of practice” that Marx had criticised in the Introduction to his ‘A Contribution to the Critique of Hegel’s Philosophy of Right’ in order to break with it.
Pragmatism and theoreticism – notwithstanding the appearance of their unmitigated enmity with one another and, in fact, precisely on account of such ‘enmity’ – are essentially the same. They are a constitutive diremption; a disjunctive synthesis. Revolution, or communism, can, in such circumstances, be nothing else but a movement that is real. And a movement will be real only when it’s a movement of breaking with this constitutive duality – this disjunctive synthesis – of pragmatism and theoreticism. Hence, a movement is a real movement only when it constitutes itself through abolishing, resisting and precluding the suture of the level of abstraction of criticism with weapons (the level of practice, wherein practice is the instantiation of its own immanent thought) with the level of abstraction of weapon of criticism (the level of philosophy, wherein thought is its own practice of thinking). As the Swiss-German writer Robert Walser put so acutely: “Everything at its proper time. So, fighting and throwing stones at its, and good intentions at its. It’s important to know every side.”
