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This paper aims to demonstrate the contemporary relevance of Adorno's thought for business ethicists working in the critical tradition by showing how his critique of modern social life anticipated, and offers continuing illumination of, recent technological transformations of capitalism. It develops and extrapolates Adorno's thought regarding three central spheres of modern society, which have seen radical changes in light of recent technological developments: work, in which employee monitoring has become ever more sophisticated and intrusive; leisure consumption, in which the algorithmic developments of the culture industry have paved the way for entertainment products to dominate us; and political discourse, in which social media has exacerbated the anti-democratic tendencies Adorno warned of in the mid-twentieth century. We conclude by presenting, as a rejoinder to these developments, the contours of an Adornian ethics of resistance to the reification and dehumanisation of such developments. [ABSTRACT FROM AUTHOR]

"I am extremely interested in the new upheavals taking place in music - I was completely isolated from all this in Hungary"2, Ligeti wrote to Wolfgang Steinecke, then director of the Darmstadt Summer Course for New Music, in spring 1957. In the summer of the same year, he attended his first seminars and lectures at this internationally renowned forum - and just a few years later, he took on the same place an important role as a lecturer and source of inspiration. Despite this and many other clear indications of Ligeti's central role in new music since 1950, the references to other important European composers of the 20th/21st century are sometimes downplayed in Musicology, to simultaneously emphasize the conservative aspects of some of his statements about music. But does this help us to understand Ligeti's music? It seems to me that the answer to this question is clearly in the negative. [ABSTRACT FROM AUTHOR]

This study discusses how People's Music (1950-2019) in relation to the path of Taiwan's pop as a discourse has undergone the 'hostility', 'yellow music', 'spiritual pollution', followed by a 'legitimation'. The paper then identifies the later decline in importance for social critique and the move towards a 'media & culture' discourse after 2001. The paper argues that this has involved the binary structure of a feeling of sacred-profane construction, and negotiates its role as a propaganda institute in the dominant discourse of the Chinese Communist Party (CCP). It reveals the governmentality of the CCP towards foreign cultures. This article problematized the musical discourse of People's Music as a sociological discourse, in the hope of expanding the direction of cultural sociology. This paper finds that Taiwanese pop has transitioned from the sacred-profane to an acceptable form of media culture, and that its legitimacy has contributed to its gradual absence from People's Music. [ABSTRACT FROM AUTHOR]

The new avant-garde art of the mid-nineteenth century and beyond firmly rejected the old normative aesthetics as inadequate. It effectively addressed the theoretical gap by introducing manifestos and other public creative programs. Suddenly the obsolete aesthetics fell into a deep crisis and was forced to seek - through various new paradigms - a close, immediate contact with avant-garde artistic achievements. On this path of theoretical renewal, it has been moving faster or slower ever since. Aesthetics cannot exist outside the world of art. [ABSTRACT FROM AUTHOR]

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In this paper, I assess some recent critical realist constructive criticisms of Theodor Adorno, one of the leading thinkers of the Frankfurt School tradition of critical theory. I argue that while there are similarities between Adorno's treatment of causality and the critical realist notion of powers, these connections should not be taken to imply that Adorno's conception of critique requires a critical realist powers ontology. I show that Bhaskar's transcendental realism is at odds with the basic commitments of Adorno's historical materialism. I go on to clarify such materialism and show that to Adorno, capital is the historical compulsion characteristic of modernity. [ABSTRACT FROM AUTHOR]

In this essay I evaluate Larry Alan Busk's critique of contemporary democratic theorists and contemporary "democratic" politics in Democracy in Spite of the Demos in the context of Carl Schmitt's critique of modern democracy. I argue that Busk shares Schmitt's general conception of democracy and of the dangers attending any appeal to it. Though Busk presents Herbert Marcuse and Theodor Adorno as alternatives to the current crop of democratic theorists, I demonstrate that Marcuse fell prey to the most significant of the paradoxes and ambivalences that Schmitt prognosticated. Adorno, I argue, is less unsteady an ally, but one that stays further back from politics than Busk evidently wishes. In the end, Busk's Schmittian critique of democracy and democratic theory extends further than he himself suggests and reveals, not to a solution to our problems, but a new way of understanding them and their severity. [ABSTRACT FROM AUTHOR]

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This article considers how students, reflecting on a pedagogy combining academic literacies and critical analysis, emphasised the importance of the learning community it promoted. The pedagogy drew on insights from the work of Theodor Adorno. Through qualitative research, the students confirmed their experience of a vibrant, productive learning community. They wholeheartedly accepted the invitation to be a part of the creation of this community, a community they reported ownership of. They felt responsible for each other, gave and received support and encouragement and developed trust; enough trust to push past their comfort zones and certainties and experiment, drawing on their own knowledges and experience. Their view of the pedagogy highlights the significance of relationships as the key to building strong learning communities that enable effective learning. Significantly they argue, the pedagogy itself was instrumental in fostering these relationships and countering repressive liberal ways of being, which idealise decontextualised, value-neutral knowledge. [ABSTRACT FROM AUTHOR]

As Wittgenstein still eludes classification as either an analytic or a poetic philosopher, this article considers his work under the perspective of essayism as a hybrid intellectual attitude that combines elements from both modes of thinking. Drawing on Adorno's and Musil's accounts, I present four characteristics of essayism that can be applied to Wittgenstein's writing: (a) essayism does not claim access to primal knowledge or an absolute starting point of thought, but typically reacts to given ideas; (b) it is systematic insofar as it is concerned with words, things, and events in systemic contexts rather than in isolation; (c) it is anti‐systematic insofar as it neither accepts the given conceptual system nor strives for an ultimate system in which all things are in their place and all problems ultimately solved; (d) it is aware of, and emphasizes, the mediatedness of its objects and warns of any equation of the conceptual ordering with the order of reality. As a consequence, essayism goes beyond a particular text form, but concerns an attitude towards the world that manifests itself in various forms. It thus turns out to be not merely a form of writing but ultimately a form of life. [ABSTRACT FROM AUTHOR]

This special issue is devoted to highlighting thinkers who have been overlooked within business ethics and who have important contributions to make to our field. We make the case that, as scholars of a hybrid discipline that also aims to address important issues of business practice, we need to look continually for new sources of insight and wisdom that can both enrich our discourse and improve our ability to generate ideas that have a positive impact on business practice. In this introductory essay, we discuss our rationale for creating this special issue, summarize the articles contained within, and close with thoughts on its significance for the field going forward. [ABSTRACT FROM AUTHOR]

Given his view that the modern world is "radically evil," Theodor Adorno is an unlikely contributor to business ethics. Despite this, we argue that his work has a number of provocative implications for the field that warrant wider attention. Adorno regards our social world as damaged, unfree, and false, and we draw on this critique to outline why the achievement of good work is so rare in contemporary society, focusing in particular on the ethical demands of roles and the ideological nature of management's self-understanding. Nevertheless, we show that Adorno's comments on activities such as art and philosophy mean that it is possible to draw on his work in a way that contributes constructively to the conversation about good and meaningful work within business ethics. [ABSTRACT FROM AUTHOR]

Adorno and Benjamin's common intellectual project has been labeled, by Adorno, an Inverse Theology. This re-translation of theology into it's metaphysical truth contents can be only fully comprehended by taking into account their position towards the work of art. In this article, I locate the place where the categorical framework of "inverse theology" is displayed in a most complete manner in the discussion of Kafka's prose and extrapolate the outline of an Inverse theology from Adorno and Benjamin's readings of some of his most famous texts. [ABSTRACT FROM AUTHOR]

This article argues that our current situation is one that both prevents us from telling 'grand narratives' and necessitates us to 'think big'. This makes the task of the essay today a dialectical one. Following Adorno, the essay is not merely seen as a literary genre but also as a mode of thought that reflects and criticises a particular socio-historical condition. The essayistic mode of thought attempts to reinstate or revive particularity as well as our experience of it, in a world wherein all things appear as a function or exemplar of something else. At the same time, however, and exactly through this intense focus on the particular object or experience, the essay brings to light something universal. This makes the essay the philosophical and aesthetic form par excellence of our current time. [ABSTRACT FROM AUTHOR]

Adorno's social theory is enjoying renewed attention, as is the debate to what extent is it Marxist. A central issue remains Adorno's concept of social totality: capitalism as a fully integrated society in which every difference is levelled. One problem this raises is why is he still committed to the Marxist concept of class. And second, how to understand his critique of the idea of proletarian class-consciousness, which seems to leave his critical theory without an addressee. The article suggests that, for Adorno, capitalist society exhibits what is termed here "differential integration." It is predicated both on the labor/capital distinction and, at the same time, on sufficient homology between the two, such that the qualitative class divide is experienced as mere quantitative variance. This efficacious gap between social structure and social experience is at the center of his concept of ideology. Ideology-critique for Adorno is mainly the critique of symptomatic misconceptions of how ideology functions, due to lack of attention to how the class structure is in fact not experienced as such. Adorno's alternative to proletarian class consciousness is "differential solidarity": consciousness of social domination that is on the one hand found across class divides yet is experienced differentially between them. [ABSTRACT FROM AUTHOR]

Copyright of Wenshan Review of Literature & Culture is the property of National Chengchi University, Department of English and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There are at least five obstacles to the viability of ideology critique as a method of analysis in current conditions: (1) there is no ideology-free, God's-eye view through which the critical theorist can analyze other ideologies; (2) few people really believe in explicit ideological justifications for exploitation and domination today, a widespread skepticism that could annul the warrant for ideology critique; (3) conspiracy theories and identity politics have superseded more universalistic and structural forms of critique, which, due to their real and superficial similarities with ideology critique, represent troublesome competitors; (4) ecological degradation is undermining the possibility of the free future that ideology critique implicitly anticipates; and (5) due to the decline of radical labor movements and near-absolute control of consciousness by the culture industry, the audience for ideology critique is so small and distracted that thoughtful, written analyses of ideology may be pointless. Despite these obstacles, I defend ideology critique as a viable and beneficial method. Barrier (5) is the only obstacle that I think has the potential to deliver a death blow to ideology critique in the foreseeable future. [ABSTRACT FROM AUTHOR]

In this paper, my purpose is to take into serious consideration Adorno's explicit conception of the artwork as a force field. With this expression he intends to emphasize the inner constitution of the artwork as a movement of antagonistic tensions, a dynamic of elements that are not simply juxtaposed, but dialectically interacting with one another. In a similar configuration, the aesthetic experience of the artwork consists in letting their friction explode to its extreme, achieving a balance which remains nevertheless substantially precarious and inconclusive, ready to be immediately set in motion again. Thanks to the aesthetic trait of the force field, these tensions are brought to unity in a way that it does not suppress the enactment of antagonisms, but keeps their multiplicity alive: Homer's tale of Penelope as an allegory of art. [ABSTRACT FROM AUTHOR]

The aim of this paper is to reconstruct and analyze Hans-Jürgen Krahl’s reflections on the nexus between theory and praxis in light of the critiques he addressed to Theodor Adorno and Jürgen Habermas. According to Krahl, Habermas, Adorno (and, more broadly, the Fran furt School) failed to develop a concrete nexus between critical theory and political practice. The thesis, exposed in the final paragraph, affirms that Krahl represents a possible alternative path within the Franfurt Institute for Social Research. [ABSTRACT FROM AUTHOR]

This paper reconsiders the claim made by mainstream internet platforms that they inherently foster a democratic public sphere, offering reasons why the opposite may be true. It surveys past studies that have supported both views, showing how the position taken by scholars tends to depend on their disciplinary perspectives. Historically, scholarly approaches to the public or political impacts of the internet and social media have been characterised by four main interpretative lenses: technodeterminism, behaviourism, and the prioritising of either ideology, or the economics of media ownership. This article pays particular attention to the last two, and to Facebook, which among mainstream internet platforms has notably associated itself with democratic ideals. The article describes how many of the democratic ideals associated with Facebook's impacts on society are in fact reversed by the platform's practices, with effects that directly contradict the platform's stated principles. The article ends by suggesting that Facebook consciously pretends to favour the public sphere, and that such Orwellian doublethink is a deliberate attempt to divert attention away from its augmentation of private and personal issues at the expense of collective engagement and empowerment. designed differently, Facebook could have had favourable impacts. [ABSTRACT FROM AUTHOR]

This paper identifies an overlapping critique of technology in the work of four influential Cold War political thinkers: Adorno, Horkheimer, Arendt and Ellul, illustrating how a widely shared critique of technology mediated much thinking about political modernity during this era. Modern technology possesses a certain dynamism, they argue, and can no longer be considered a neutral 'tool' but rather a process by which modern politics is being continuously reshaped. Technology, as such, is a critical problem of modernity for these thinkers. Focusing particularly on their analyses of the impact of modern media and communication technologies, the article highlights some of the ways in which technology is seen to influence contemporary politics, specifically through the use of propaganda and the shifting relationship between the public and private in modernity. Whilst technology does not wholly determine politics, it has done much to shape it, these theorists believe, and the modern age presents a politics which is uniquely unfree, they contend, largely because of the cumulative effect of modern technology. Thinking in terms of technology, therefore, is key to understanding the claim, central to the work of each of these political thinkers, that the character of modernity is essentially hostile to freedom. [ABSTRACT FROM AUTHOR]

This article reconstructs and defends Theodor Adorno's social theory by motivating the central role of abstract domination within it. Whereas critics such as Axel Honneth have charged Adorno with adhering to a reductive model of personal domination, I argue that the latter rather understands domination as a structural and de-individualized feature of capitalist society. If Adorno's social theory is to be explanatory, however, it must account for the source of the abstractions that dominate modern individuals and, in particular, that of value. While such an account remains undeveloped in Adorno, Marx provides resources for its development, in positing the constitution of value neither in production nor exchange alone, but in the social totality. This article argues that Marx's account is compatible with Adorno's, and that it may be used to render Adorno's theory of domination more credible on explanatory grounds. [ABSTRACT FROM AUTHOR]

Is it possible to have a definition of a professional artist in the 21st century? In an era of absolute democratization of artistic forms, can anyone become the author of a work if he wants to be one? The article provides an overview of the definition of a professional artist over the past few centuries and traces the processes that have shaped or modified this definition in the modern world. The analysis refers to the field of institutional theory and examines two specific events of the last six months in Sofia, which serve to demonstrate the thesis that the popular image, formed by television among the mass audience, defined by Theodor Adorno as the halo effect of previous experiences, can give almost professional status to any face, familiar enough from the small screen. In the specific case the exhibitions MO! and DIS/HARMONIES are an illustration of the active influence of television programs not only on the mass viewer, but also on the professional practice in Bulgaria. We draw such conclusions after their authors Maria Sylvester and Ruth Koleva, known for their active participation in entertainment reality formats, were presented in one of the most famous and defined as professional spaces for contemporary art in Bulgaria – the galleries Structura and Credo Bonum. These curatorial decisions are an upto-date example indicative of the phenomenon of television careerism, which, despite the emergence of streaming platforms and the respective decreasing number of television viewers in the last few years, continues in the logic of its action, described decades ago by Nathalie Heinich and Theodor Adorno. Despite the more general nature of the thesis, the article is a critical analysis on the border with sociological studies of art and specifically addresses the problem of the contemporary art professional. [ABSTRACT FROM AUTHOR]

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This paper attempts to show how Adorno's thought can illuminate our reflections on the future of work. It does so by situating Adorno's conception of genuine activity in relation to his negativist critical epistemology and his subtle account of the distinction between true and false needs. What emerges is an understanding of work that can guide our aspirations for the future of work, and one we illustrate via discussions of creative work and care work. These are types of work which cater to persistent human needs, albeit ones that are distorted under present social conditions. Adorno's thought helps us to understand why this is the case. [ABSTRACT FROM AUTHOR]

What does it mean to disagree with people with whom you usually agree? How should political actors concerned with emancipation approach internal disagreement? In short, how should we go about critiquing not our enemies or adversaries but those with whom we share emancipatory visions? I outline the notion of comradely critique as a solution to these questions. I go through a series of examples of how and when critique should differ depending on its addressee, drawing on Jodi Dean's figure of the comrade. I develop a contrast with its neighbours the ally and the partisan, thus identifying key elements of comradely critique: good faith, equal humanity, equal standing, solidarity, collaboration, common purpose and dispelling fatalism. I then analyse Theodor W. Adorno and Herbert Marcuse's private correspondence on the 1960s German student movement as an illustration of (imperfect) comradely critique. I conclude by identifying a crucial tension about publicness and privateness. [ABSTRACT FROM AUTHOR]

This essay asks how much of Adorno is present in Habermas's theory of communicative reason and how far Adorno anticipated Habermas in his linguistic-philosophical reflections. Despite all their differences, Adorno and Habermas agree that a contemporary philosophy must be conceived as a critique of metaphysics, which they develop with different theoretical means. For Adorno's anti-idealist philosophy of negative dialectics, the 'fall of metaphysics' is irresistible, but he continues to reflect whether philosophy must still take account of the need for metaphysics. For Habermas, a modestly reconceived post-metaphysical philosophy, whose genealogy he reconstructs in his late work Auch eine Geschichte der Philosophie, is a placeholder for a theory of practical reason. As a hermeneutic science, philosophy also continues to pursue the task of contributing to human beings' understanding of themselves and the world. Its role as an interpreter also crucially includes the attempt to translate the unsatisfied semantic elements of religious traditions into secular conceptions. This intention is in line with Adorno's postulate that theological elements can only be sustained if they are transformed into this-worldly language. [ABSTRACT FROM AUTHOR]

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This review article discusses two recent books about Georg Lukács (1885-1971), offering observations on his best-known publication - History and Class Consciousness, published one hundred years ago - and positioning this work in the arc of his project as a whole. Highlighting some of Lukács's theories and arguments, the review also notes the contexts and considerations which shaped Lukács's thought. The article aims to show how Lukács's intellectual activities were related to his political commitment, both when serving as a Hungarian government minister (in 1919 and again, even more briefly, in 1956) and during the periods in which he 'retreated' to unofficial research, generating books which were often at odds with the prevailing orthodoxies of 'dialectical materialism'. [ABSTRACT FROM AUTHOR]

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What is the relationship between the philosophical concept of the “autonomy of art” and the cultural policy-notion of “artistic freedom”? This article seeks to answer this question by taking the Swedish governmental report This Is How Free Art Is (Så fri är konsten 2021) and its reception in the Swedish main stream media as an emblematic example and by reading it symptomatically. Firstly, it traces the critical history of “artistic freedom” and the interrelated term “arm’s length distance”, primarily in the context of Great Britain. Secondly, it critically reconstructs the concept of the “autonomy of art” in the history of Western philosophy by making a critique of a fetishized notion of art’s autonomy in the name of l’art pour l’art. The main argument is that the idea about art’s autonomy, on which the Swedish report leans, resembles such philosophical and art historical idea of art’s autonomy. The claim is also that such an understanding of art does not tie up, either philosophically or historically, with the arm’s length principle, since they ultimately rely on different conceptions of art’s freedom. [ABSTRACT FROM AUTHOR]

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Kierkegaard's conceptualization of his aesthetic stage of existence is lacking even with a very unstinted acknowledgment of his undeniably profound and brilliant insights. For Kierkegaard the aesthetic stage is based only on the immediacy of feeling, thus a transitoriness that ultimately leads to boredom and despair. This presentation agrees with Adorno's triadic understanding of what the aesthetic means in Kierkegaard's aesthetic writings as opposed to his religious ones. It is argued in this presentation that Kierkegaard's aesthetic stage or sphere of existence is a good deal more than passion at the sensuous level. There are too many great artists who struggled and made their lives ethically, spiritually, or religiously meaningful in blatant contradiction of Kierkegaard's demeaning of the aesthetic stage of existence. Many artists would not accept Kierkegaard's a priori assumption that sensual immediacy is the basic state of the aesthetic individual. Nevertheless, Kierkegaard's profound insights into the aesthetic sense of live music performance are an invaluable result of his informed intuition and other aesthetic writings; i.e., he asserts in some writings that the aesthetic derives only from immediacy, yet there are other writings (e.g., on music and acting) from which one can infer a broader sense of the aesthetic. It is also possible to formulate a practical realization of Kierkegaard's aesthetic philosophy by way of his profound observations on dramatic acting and applying these uncannily insightful concepts to music performance. [ABSTRACT FROM AUTHOR]

There is a gap between concern about environmental degradation such as climate change and effective action taken against the forces that drive degradation. This paper argues that real helplessness, a social condition producing powerless, stupefied, and repressed actors, is a fortified barrier between climate concern and effective climate action. Political‐economic analysis has theoretical and methodological implications for environmental social science and helps explain a current conundrum in critical sociology: Why are alternatives to a system that drives climate change and other catastrophic risks still seen as unrealistic? We suffer from a political‐economic system impervious to transformation before we suffer from a lack of alternative ideas. [ABSTRACT FROM AUTHOR]

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The article addresses how Immanuel Kant, Theodor Adorno, and Alain Badiou can come surprisingly close, provided we invoke Marx's value form at the centre of commodity exchange. We will argue for a complementary elaboration to the 'capitalist schematisation' (Christian Lotz via Alfred Sohn-Rethel), while at the same time probing into the material basis of Badiou's transcendental organization—investigating whether the transcendental regime of appearing is always already a product of a determinate mode of production. We will be guided by two premises: (1) The pure conceptual unfolding understood as an inner-logical consequently produces the non-conceptual, an external result, immanent to such unfolding, hence real abstraction, which retroactively imposes itself on understanding as a conceptual abstraction. (2) The inversion of objective/subjective into objective-subjective synthesis, which is both real and social. Overall, the article seeks to scrutinize an alternative social synthesis through a Badiou-inspired reconstruction of Marx's value form and posed as a potential category of social synthesis that entails the real abstraction, namely money with commodities, alongside the object labour in a single, unified structure. [ABSTRACT FROM AUTHOR]

The aim of the article is to theoretically develop a notion of digital Bildung that accepts the "world" of today as characterised by the entanglement of humans and technology. I draw on Adorno's critical notion of Bildung, Luciano Floridi's and Katherine Hayles' respective understandings of the human-technology entanglement, and the social philosophy of the American philosopher Robert Brandom to understand Bildung as a piecemeal process. Nevertheless, Bildung is a rational process of making explicit the implicit connections to which we commit ourselves by being entangled in a tech–non-tech world. The article contributes to delineating a theoretical notion of digital Bildung that accepts and develops Bildung as critically precipitating from within this entanglement—what Brandom terms a semantic self-consciousness. [ABSTRACT FROM AUTHOR]

Post-Kantian philosophers typically hold there to be a coincidence between reason and freedom. In this paper, I question their ability to secure this coincidence. I do so in particular by examining the work of John McDowell: probably the leading light of contemporary analytic post-Kantian philosophy, and certainly someone for whom the coincidence is important. Working through McDowell, I argue that in order to be considered 'rationally free' in relation to the external world, the world itself needs to, at at least some level, elude rational understanding. In the conclusion, I claim that this invites greater engagement – particularly by post-Kantian philosophers working in the analytic tradition – with the work of Theodor Adorno. [ABSTRACT FROM AUTHOR]

Latin American liberation theology appears to be an obsolete phenomenon that is unable to speak about the realities of today's world. Since the Congregation for the Doctrine of the Faith published two instructions on liberation theology, the Vatican has been considered to have condemned it. Likewise, the Vatican of John Paul II and Benedict XVI focused on the reprobation of several liberation theologians attempting to silence their voices. However, liberation theology aimed at the realisation of justice in a world in which the injustice that gave birth to this phenomenon still prevails in new ways. This article establishes a relationship between liberation theology and critical thinking to offer an alternative to the future of liberation theology. We insist that, despite the end of the era in which both were born, they continue to challenge the present world. Using Adornian optics, we establish how critical thought constitutes a prophetic denunciation. Thus, liberation theology will be understood within this critical tradition and how it critiques the current reality, in which the logic of late capitalism prevails. Afterwards, the contemporary world will be studied from this point of view to try to discover the pending tasks of criticism. It is the question of discovering the tasks of critiques to challenge the present. [ABSTRACT FROM AUTHOR]

This paper argues that recent transformations in the means of production and dissemination of recorded music have changed, not simply the ways in which music is consumed, but have also changed the way in which music can be understood, both epistemologically and ontologically. By epistemology in this case, I mean, not just what we know about music, but what we know through music. By ontology, I mean not just what music is, considered as content, but also what music is, considered as artefact. The essay will proceed in three sections. The first part, drawing on Adorno, will argue that music has, at least potentially, the ability to de-familiarise the world and our sense of our subjectivity and its limits. I argue further that this has - and must have - a critical function. The second part will argue that the advent of recorded music represented a significant ontological shift. The recording, as artefact and inscription, imported a fixity of exact timbral authority into musical types: put simply, in popular music, 'the track' replaces 'the song'. My final section attempts an analysis of how both of the above considerations have shifted with the general replacement of physical instantiations of recording by streaming of remotely stored content. I conclude that: (1) streaming has decentred the notion of the 'work' that survived into the era of recording: (2) streaming has diminished the critical potential of popular music and, (3) that streaming and associated technologies have contributed to a potentially grievous 'data-fication' of subjectivity. The paper draws largely on Adorno and the more recent work of Robin James, as well as some empirical research into contemporary musical consumption practices. [ABSTRACT FROM AUTHOR]

This speculative meditation on homelessness takes as its starting point media photos of apartments in the Ukraine whose walls have been shot away by Russian artillery barrages or bombing raids. It suggests that these images of homelessness prompt us to address larger issues of being at home in the world. Beginning with twentieth-century meditations from Germanophone philosophy, proceeding via several Antipodean examples, and culminating with perspectives from the Global South, the essay urges us to turn our gaze towards modes of open-ended homeliness in the world that are vital for our ongoing habitation of the 'environmental niche' that is planet Earth. [ABSTRACT FROM AUTHOR]

Although neither Sigmund Freud nor Jacques Lacan ever neglected the place of culture and the social field for the subject, they always opposed "culturalist" ideas, even when such ideas no longer used this label. It is important to examine what both of these figures said about culturalism, but it is just as pertinent to return to other criticisms of this movement, which developed in the United States during the last century, because at present this movement has returned covertly within French psychoanalysis. First, "culturalism" is neither a specifically American problem nor one that belongs to the past. Second, some decisive criticisms of this movement remain both germane and original: they are able to throw light on a theoretical current that, at least in France, now characterizes a dominant orientation of psychoanalytic work. Third, although Lacan himself foresaw it, the misuse of some of his notions has unexpectedly served as a Trojan horse that has enabled culturalism to return. [ABSTRACT FROM AUTHOR]

The prior issue of Krisis (42:1) published Critical Naturalism: A Manifesto, with the aim to instigate a debate of the issues raised in this manifesto -- the necessary re-thinking of the role (and the concept) of nature in critical theory in relation to questions of ecology, health, and inequality. Since Krisis considers itself a place for philosophical debates that take contemporary struggles as starting point, it issued an open call and solicited responses to the manifesto. This is one of the sixteen selected responses, which augment, specify, or question the assumptions and arguments of the manifesto. [ABSTRACT FROM AUTHOR]

The prior issue of Krisis (42:1) published Critical Naturalism: A Manifesto, with the aim to instigate a debate of the issues raised in this manifesto -- the necessary re-thinking of the role (and the concept) of nature in critical theory in relation to questions of ecology, health, and inequality. Since Krisis considers itself a place for philosophical debates that take contemporary struggles as starting point, it issued an open call and solicited responses to the manifesto. This is one of the sixteen selected responses, which augment, specify, or question the assumptions and arguments of the manifesto. [ABSTRACT FROM AUTHOR]

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Sociologists, economists, historians, anthropologists, political theorists, and literary critics have all turned their attention to the study of capitalism. But philosophers remain much less engaged. Why is this? And what could philosophy bring to the study of capitalism? Could it help in the development of a general theory? My main argument here is that philosophy does have an important role to play in the study of capitalism, particularly if we want to develop a general theory. Philosophers must describe something that is peculiar to capitalism, in philosophical terms, which has not been explained by sociological, economic, or psychological means. This subject matter does exist: it is the nature of rationality within capitalism. I suggest that this can best be explained by using the theory of the space of reasons, which helps to show how rational human practices shape social and economic institutions, and how our form of rationality is in turn shaped by those practices and institutions. [ABSTRACT FROM AUTHOR]

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In this article, we suggest that the notion of “aesthetic cultures of protest” can be understood as designating two broad tendencies in the contemporary field of art and politics: on the one hand, the incorporation of the protest by the art world and, on the other hand, the appropriation of aesthetic traits by social protests. To counteract the ethical immediacy of both, we turn to Theodor W. Adorno’s more dialectical understanding of the relationship between protests and the aesthetic. After being marshalled against art’s internalisation of protest, and the protests’ appropriation of the aesthetic, we assess Adorno’s notion of form and autonomy through an immanent critique that is both conceptual and historical. We argue that Adorno’s aesthetics lacks an understanding of social labour, to which it itself ascribes great conceptual significance, and that recent changes in the global composition of capital and labour has affected the role of social labour in such a way that Adorno’s tendency to identify art’s autonomy with its negativity can no longer be upheld. Finally, we argue that the characteristics, which Adorno ascribes to the work of art has migrated to, and been realised by, a form of protest which reemerged simultaneously with the death of Adorno, namely the riot. [ABSTRACT FROM AUTHOR]

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Was there a linguistic turn in Frankfurt School Critical Theory before Habermas's communications-theoretic one? Might later Wittgenstein and the early Frankfurt School have adopted similar pictures of language? I propose that both questions should be answered affirmatively, focusing on Horkheimer's Eclipse of Reason. I argue that, thanks to the picture of language that Horkheimer and Adorno share with (later) Wittgenstein, we can reconstruct their theory in a way that renders it more defensible. Insofar as the human life form and language are inseparable, language can be an inextinguishable reservoir of what Horkheimer called "objective reason." Recognizing this allows us to answer Habermas's critique of Horkheimer and Adorno. Moreover, paying attention to this inseparableness can enable us to engage in disclosing social critique (for example, regarding current debates about sustainability). [ABSTRACT FROM AUTHOR]