When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s (...) conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature. (shrink)

‘Natural-History’ is one of the key concepts in the thought of the Frankfurt School critical theorist Theodor W. Adorno, appearing from his very earliest work through to his very last. Unfortunately, the existing literature provides little illumination as to what Adorno’s concept of natural-history is, or what it is supposed to do. This paper thus seeks to supply the required understanding. Ultimately, I argue that ‘natural-history’ is best understood as a sort of ‘therapeutic’ concept, intended to dissolve certain philosophical anxieties (...) which might otherwise present obstacles to our being able to obtain a critical-theoretical understanding of reality. (shrink)

Authenticity as an ideal is construed in general as an expression of existentialist unhappiness with the perceived dehumanization of man in modern society. Existential journalism can be seen as rejection of the demands of conformism and compromise of personal convictions that many journalists face. Ethically, existential journalism calls on journalists to live authentic lives, as private individuals as well as in their profession. This means to resist external pressures and to choose to follow a path that can be defended by (...) the individual journalist's inner conscience. Existential journalism, in general, has been more debated in the field of mass media ethics than authenticity. Authenticity is, however, a contested concept, and this essay applies a critical discussion about authenticity as an ethical guide to the field of journalism. Weaknesses in the idea of existential authenticity problematize the existential construal of authenticity as a route to heightened ethical awareness for contemporary journalists. (shrink)

Most readers of Habermas would not classify him as an existential thinker. The view of Habermas as a philosopher in German Idealist and Critical traditions from Kant to Hegel and Marx to the Frankfurt School prevails among Continental as much as among analytic philosophers. And the mainstream Anglo-American reception of his work and politics is shaped by the approaches of formal analysis rather than those of existential and social phenomenology or even current American pragmatism. One may argue that both these (...) readings eclipse richer existential dimensions of a thinker who challenges the notorious methodological and political splits among analytic, Continental and pragmatist orientations. I argue that Habermas’ critical relation to Heidegger’s a historical history of Being and his misguided political career cannot explain a competing narrative of his own affirmative appropriation of existential-ethical dimensions of thought and activism. Second, if one sets in the foreground this competing narrative, there emerges a weak thesis, whether or not a plausible complementarity between the communications critical social theory and concrete existential categories can be established. Third, one may inquire further into a stronger thesis whether or not this link must be developed in order to render Habermas’ own theory of a communicatively competent self sufficiently concrete and critical. (shrink)

In this paper, I do three things. First, I unpack and outline an intriguing but neglected aspect of the thought of the Frankfurt School critical theorist Theodor W. Adorno—namely, his critique of Aristotle, which can be found in two of his lecture series: the unpublished 1956 lectures on moral philosophy and the 1965 lectures published as Metaphysics: Concept and Problems. Second, I demonstrate how Adorno's Aristotle critique constitutes a powerful critique of contemporary neo-Aristotelian ethical naturalism, of the sort advocated by (...) thinkers such as Philippa Foot, Michael Thompson and John McDowell. Third, I expound upon where this critique leaves the prospect of formulating a robust ethical naturalism more generally. (shrink)

This article argues that the figure of Oedipus lies at the heart of Horkheimer and Adorno's Dialectic of Enlightenment. Oedipus is the prototypical Aufklärer as no one can rival him in his courageous attempt to employ his own autonomous reason `without direction from another'; yet self-knowledge remains beyond his grasp. Indeed, Oedipus' obsessive drive to bring the truth to light ultimately leads him to put out his own eyes because he is unable to bear the sight of the catastrophe that (...) this drive engenders. Oedipus' demise represents in allegorical form the self-destruction of enlightenment itself. Enlightenment is similarly driven to illuminate the world in its totality by reducing it to philosophical concepts. In the process, however, it becomes blind to the question of its dependence upon that which it purports to possess. In its attempt at total illumination, therefore, enlightenment does not effectuate an exit or Ausgang from the opacity of myth, as Kant had held, but rather is blinded, paradoxically, by the radiance of its own projections. Reading the dialectic of enlightenment through the tragedy of Oedipus leads back to the enigmatic question of art as the means by which the rationalization and disenchantment of the world can be reflected upon critically. (shrink)

The promise of interactivity is quietly but systematically undergoing a downgrade that will require a lot less activity on the part of the user – and a lot more on the dispersed ‘smart’ objects that will eventually populate their lives. This article reads the promotional literature on ‘smart’ clothes through the lens of Benjamin’s discussion of fetishism and flânerie, considering the ways in which such clothes provide a mobile form of bourgeois interiority: a ‘casing’ that allows the user to make (...) an individualized impression on the world. The promise is one of comfort and convenience, offered in exchange for the ability to gather detailed information about consumers. Smart clothing realizes the phantasmagoria of the commodity world described by Benjamin – one in which the commodities embark on a life of their own, taking on the active role ceded by the pacified consumer. At the same time, one can recognize in the digitally encased consumers the after-image of the flâneur insofar as they participate in the work of being watched. The article concludes with a discussion of the uncanniness of this re-emergent form of commodity fetishism. (shrink)