This paper revisits an old question that neither I nor anyone has been able to answer very well, namely, why is it that nineteenth century composers, who had fairly easy access to nonwestern musics in notation, rarely quoted them? But by the early twentieth century, such quotations became quite common. This article argues that the rise of finance capital, as theorized by Rudolf Hilferding in the early twentieth century, marked the ascendance of exchange value over use value. As a rise (...) of the ideologies accompanying finance capital, composers, and everyone else, began to regard other musics, other sounds—other objects—as something that could be exchanged. This process is exceptionally clear in works by Igor Stravinsky such as Le Sacre du printemps, which, while drawing on nineteenth century nationalistic impulses, also shows a relationship to other musics, appropriated as raw material. The new ideology of exchangeability introduced by the rise of finance capital continued through musique concrète in the 1940s and into the rise of digital sampling in the 1980s and after. (shrink)

Many theorists, including Nietzsche, Adorno, and Foucault, have regarded genealogy as an important technique for social criticism. But it has been unclear how genealogy can go beyond the accomplishments of other, more mundane, critical methods. I propose a new approach to understanding the critical potential of history. I argue that theorists have been misled by the assumption that if a claim is deserving of criticism, it is because the claim is false. Turning to the criticism of concepts rather than criticism (...) of claims, I expand on the distinction between "descriptive semantics" and "foundational semantics" to show that genealogy can be uniquely qualified to explore the foundations of concepts, and hence to criticize concepts that are problematic in nonobvious ways. (shrink)

Heidegger’s essays “The Origin of the Work of Art” and “The Question Concerning Technology” provide a revealing insight into the importance of exemplarity to artworks. Originally the notion that exemplarity is essential to art is Kantian: As Kant puts it, since originality can produce “original nonsense, [beautiful art’s] products must be models, i.e. exemplary.” However, what Heidegger recognizes is that even if exemplarity allows us to take art seriously in spite of its excesses, it exposes the artwork to new dangers: (...) on the one hand, to the “world withdrawal of the work” as occurs in consignment to the museum shelf, and on the other, to the conditions of Enframing as “challenging-forth,” under which art is taken as a means to an end—dangers which point to the division of artworks between “fine” art and “popular” art. Since Heidegger’s approach favors the former, we will try to gain new critical insight by considering his arguments in the light of a “popular” work that allows us to formulate an exemplarity of popular art as the necessary complement to that of traditional art. By means of an understanding of the exemplarities (in the plural) of artworks, we will be able to reconsider the significance of Heidegger’s notions of reliability, Enframing, and poiesis for our current technological conditions. (shrink)

This paper articulates the similarities and differences between Adorno's and Dewey's aesthetics, showing the way in which these theories juxtapose real art against other forms of cultural expression which, in their duplication and strengthening of existing modes of culture, may be seen as progressively closing off the possibilities for the realization of true democracy or (what may be the same thing) the end of alienation. The paper distinguishes between art and propaganda and argues that, despite obvious differences between their philosophies (...) taken as a whole, they are not so far apart in their aesthetic judgments of what the art object is and what effect it has or may have on individuals and society. (shrink)

Acknowledging the power of the id-drives, Freud held on to the authority of reason as the ego’s best tool to control instinctual desire. He thereby placed analytic reason at the foundation of his own ambivalent social theory, which, on the one hand, held utopian promise based upon psychoanalytic insight, and, on the other hand, despaired of reason’s capacity to control the self-destructive elements of the psyche. Moving beyond the recourse of sublimation, post-Freudians attacked reason’s hegemony in quelling disruptive psycho-dynamics and, (...) focusing upon the social domain, they sought strategies to counter the oppressive (repressive) social restrictions and conformist impositions impeding individual freedom that result from thwarted desire. Postmodern celebration of desire at the expense of reason and sublimation leaves the Enlightenment prospects altogether and moves psychoanalysis into a new terrain, where the very notion of rationality and an autonomous ego upon which much of Freudianism rests has been deconstructed. Thus the debate that begins with Freud’s social theories reflects the deeper divisions, which arose with postmodern ethics and discarded Cartesian–Kantian notions of personal identity. Here we consider the moral framework in which Freudian social theory sits and a contrasting understanding of agency that confronts his modernist conception. In that debate, we discern the larger humanist confrontation with postmodernity. Yet, all who engaged Freud shared some version of his utopian ethos, albeit radically restructuring the theory upon which social reform might occur. (shrink)

Acknowledging the power of the id-drives, Freud held on to the authority of reason as the ego’s best tool to control instinctual desire. He thereby placed analytic reason at the foundation of his own ambivalent social theory, which, on the one hand, held utopian promise based upon psychoanalytic insight, and, on the other hand, despaired of reason’s capacity to control the self-destructive elements of the psyche. Moving beyond the recourse of sublimation, post-Freudians attacked reason’s hegemony in quelling disruptive psycho-dynamics and, (...) focusing upon the social domain, they sought strategies to counter the oppressive (repressive) social restrictions and conformist impositions impeding individual freedom that result from thwarted desire. Postmodern celebration of desire at the expense of reason and sublimation leaves the Enlightenment prospects altogether and moves psychoanalysis into a new terrain, where the very notion of rationality and an autonomous ego upon which much of Freudianism rests has been deconstructed. Thus the debate that begins with Freud’s social theories reflects the deeper divisions, which arose with postmodern ethics and discarded Cartesian–Kantian notions of personal identity. Here we consider the moral framework in which Freudian social theory sits and a contrasting understanding of agency that confronts his modernist conception. In that debate, we discern the larger humanist confrontation with postmodernity. Yet, all who engaged Freud shared some version of his utopian ethos, albeit radically restructuring the theory upon which social reform might occur. (shrink)

Music is an ancient and ubiquitous form of human expression. One important component for which music is sought after is its aesthetic value, whose appreciation has typically been associated with largely learned, culturally determined factors, such as education, exposure, and social pressure. However, neuroscientific evidence shows that the aesthetic response to music is often associated with automatic, physically- and biologically-grounded events, such as shivers, chills, increased heart rate, and motor synchronization, suggesting the existence of an underlying biological platform upon which (...) contextual factors may act. Drawing on philosophical notions and neuroscientific evidence, I argue that, although there is no denying that social and cultural context play a substantial role in shaping the aesthetic response to music, these act upon largely universal, biological mechanisms involved with neural processing. I propose that the simultaneous presence of culturally-influenced and biologically-determined contributions to the aesthetic response to music epitomizes Baumgarten’s equation of sensory perception with taste. Taking the argument one step further, I suggest that the heavily embodied aesthetic response to music bridges the cleavage between the two discrepant meanings—the one referring to sensory perception, the other referring to judgments of taste—traditionally attributed to the word “aesthetics” in the sciences and the humanities. (shrink)

ABSTRACTIn this paper, I consider Adorno's claim that art is at, or is coming to, an ‘end’. I consider Adorno's account in relation to the work of Arthur Danto and G. W. F. Hegel. I employ Danto's account, together with two distinct interpretive glosses of Hegel's account, as heuristic devices in order to clarify both Adorno's own arguments, and the context within which they are being advanced. I argue that while Danto and Hegel see art as coming to an end (...) autonomously, owing to art's successful realization of its governing principle, Adorno by contrast sees art as coming to an end heteronomously. Art's narrative is forcibly broken off, rather than completed. Adorno's account, indebted to Hegel, of art's commitment both to autonomy and the realization of ‘spiritual needs’ is explored in order to clarify how, on Adorno's view, this has happened to art; and why, precisely, he believes art is coming to an end. (shrink)

This paper consists of an introduction to the life and work of Iring Fetscher by the interviewer, followed by a conversation with Fetscher, and notes. In the interview, Fetscher discusses his relationship to Marxism, Hegelianism, Lukács, and the Frankfurt School, as well as his critique of Althusser. The contribution of Fetscher, an extremely well-known German specialist on Soviet and Marxist thought, is here discussed in greater detail than anywhere else to date in the English-language scholarly literature.

Real Fit: Identity, Society, and Viewer Investment in Reality TV is first and foremost a philosophical experiment in how to articulate the space between viewer and screen. Its driven by a methodological investment in bringing theories of normativity into an experiential terrain typically dominated by media studies. What does it mean to study an audience? And how does this knowledge speak to, or challenge our existing models? Its an investigation into the political dimension of seemingly innocuous entertainment, and a deep (...) consideration of how this comes to bear on invested viewers. Staying within the confines of the virtual, my dissertation studies the ways that TV exploits affect to reinforce current personalized narratives of obesity as a problem that can be managed by self-discipline. (shrink)

Frankfurt School critical theory is perhaps the most significant theory of society to have developed directly from a research programme focused on the critique of political authoritarianism, as it manifested during the interwar decades of the 20th century. The Frankfurt School’s analysis of the persistent roots – and therefore the perennial nature – of what it describes as the ‘authoritarian personality’ remains influential in the analysis of authoritarian populism in the contemporary world, as evidenced by several recent studies. Yet the (...) tendency in these studies is to reference the final formulation of the category, as expressed in Theodor Adorno and co-thinkers’ The Authoritarian Personality, as if this were a theoretical readymade that can be unproblematically inserted into a measured assessment of the threat to democracy posed by current authoritarian trends. It is high time that the theoretical commitments and political stakes in the category of the authoritarian personality are re-evaluated, in light of the evolution of the Frankfurt School. In this paper, I review the classical theories of the authoritarian personality, arguing that two quite different versions of the theory – one characterological, the other psychodynamic – can be extracted from Frankfurt School research. (shrink)

The text deals with the novel Doctor Faustus by Thomas Mann as a source of a musico-literary poetics and mythopoetics. The archetypical symbol of the shadow is interpreted and amplified through the literary character of Adrian Leverkühn and a broader imagination tendencies of art and society in the first half of the 20th century. For this goal have been used approaches of the deep hermeneutics and the analytical psychology. The motif of the Faust has strong potential to express not only (...) an archetyp of the shadow, but its present is significant in the time of transformation and changes. (shrink)

Using theories by Pierre Bourdieu and the Frankfurt School that causally link art to class interests, this article examines the differential development of modern architecture in the United States and central Europe during the early 20th century. Modern architecture was the aesthetic expression of technocracy, a movement of the new class of professionals, managers and engineers to place itself at the center of rationalized capitalism. The aesthetic of modernism, which glorified technology and instrumental reason, was weak and undeveloped in the (...) US, because this class defined by its cultural capital was quickly integrated into modernizing corporations, where it was compelled to cater to the emerging mass market and drop its distinctive aesthetic. Modern architecture emerged mainly in interwar central Europe, because here industrial modernization was blocked, forcing the new class to pursue an alliance with state managers pushing modernization. Thus unencumbered by the demands of the mass market, modern architects were free to express their machine aesthetic in state-financed housing projects. (shrink)

Jean-Francois Lyotard's essay `Adorno as the Devil' had argued that Theodor Adorno's Philosophy of Modern Music was a `diabolic' work of `negative theology' which attributed to Schoenberg's music a secret redemptive power. However, in his later writings, such as the essays in The Inhuman, Lyotard has himself moved close to a `negative theological' position with respect to modernity, time, aesthetics and music. The paper uses the occasion of Lyotard's own theologically inspired essays on music, `God and Puppet' and `Obedience', to (...) re-evaluate the following: Adorno's claims that music transcends mere language and `reaches' for the theological; and more general claims within modern western culture on behalf of music's ability to express the inexpressible. The argument is that the music as negative theology position is not inherently metaphysical but rather that it reflects the importance of the `unsayable' to modern conceptions of reason. In resisting the `closure' of the modern narrative of reason, music, as a temporal art, has often given expression to the more radical forms of alterity present within modern forms of time. In other words, negative theology is not the discourse of the devil; it is the impossible discourse of western reason and its internal fracturing. (shrink)

ABSTRACT This study bears upon the ‘Heidegger case,’ that is, the relation of Heidegger’s philosophizing to his political involvements as Rector of the University of Freiburg 1933-4, and his subsequent silences on the subject of the Holocaust. I use the phrase ‘bears upon’ for Heidegger’s political involvement will serve as the ‘horizon’ for the study, my concern being the genesis of Heidegger’s position. Grounded in a musical ‘intuition’ and attunement, I take up the Nietzschean cipher for understanding proposed by Heidegger (...) himself for the self-understanding of the German people: the Apollonian-Dionysian duality, which I apply to the ‘being’ of Heidegger’s own philosophizing. Through this approach I hope to make an original contribution to Heidegger scholarship by showing that Heidegger’s fundamental ontology is overdetermined, evolving out of both the phenomenological demand for a rigorous method in establishing fundamental structures of existence and - at the same time – out of an Apollonian attempt to ‘tame’ Dionysian existence, including Heidegger’s own. Inextricably interlinked will be the argument that Heidegger’s Auseinandersetzung, his ‘confrontation,’ with Nietzsche precedes the overt engagement of his ‘Nietzsche’ lectures of the 1930s, and, further, that this more pervasive concern with Nietzsche figures in the Apollonian-Dionysian strife within Heidegger’s thinking and within his ‘being.’ Heidegger’s silences in the face of the Dionysian - as well as the Auseinandersetzung with Nietzsche - will be seen to precede his ‘silence’ in the face of the actuality and history of the Third Reich. What I am proposing one might characterize as Heidegger’s Auseinandersetzung - through Nietzsche - with v Heidegger, in a disclosure of the ontic roots of Heidegger’s ontology, an exercise in his own hermeneutics of facticity. I will pursue the trace of the Apollonian-Dionysian duality: in the Western philosophical tradition which Heidegger confronts, using Husserl and Nietzsche as exemplars; in Heidegger interpretation; in the relation between his texts and his letters; and in the suppressions and intensifications within Being and Time. And I will propose that the fugue and the mutually generative duality of suppression and intensification within Heidegger’s academic thinking were conditions of the possibility of Heidegger’s ‘way’ towards political involvement. (shrink)