Podcasts about theodore adorno

71 MinutesPG-13Joseph Atwill is an author and co-host of the weekly "Powers and Principalities" episode of the Our Interesting Times podcast with Tim Kelly.Joe joined Pete to do an overview of Theodore Adorno's book, "The Authoritarian Personality." Adorno was one of the leaders of the Frankfurt School of thought.Our Interesting Times podcastFrom Cybernetics to Littleton: Techniques of Mind Control by Jeffrey SteinbergPete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's Substack Pete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

During the Cold War a range of liberal and left intellectuals looked at the new technologies born of the Second World War and its aftermath with mounting concern and alarm. Figures like Herbert Marcuse and Theodore Adorno of the Frankfurt School and the Philosopher Martin Heidegger reacted to the destructive power of the atomic bomb and the cultural power of the mass media with fear and pessimism and believed that the world was sleepwalking into catastrophe. In this episode of the Explaining History podcast we speak with Dr Caroline Ashworth of Oxford University about her new book Catastrophic Technology in Cold War Political Thought.Help the podcast to continue bringing you history each weekIf you enjoy the Explaining History podcast and its many years of content and would like to help the show continue, please consider supporting it in the following ways:If you want to go ad-free, you can take out a membership hereOrYou can support the podcast via Patreon hereOr you can just say some nice things about it here Become a member at https://plus.acast.com/s/explaininghistory. Hosted on Acast. See acast.com/privacy for more information.

ORIGINAL AIR DATE: JUNE 21, 2014What's your sign? This is really 3 messages blended into one podcast. Discusses what astrology and horoscopes are and explores the sociological impact when a society embraces horoscopes, however superficially, for generations, from the perspective of social theorist Theodore Adorno (from the materialist worldview).Explores God's perspective when people embrace horoscopes, however superficially.Compares horoscopes and astrology as the counterfeit attempt to the true gift of prophecy. You'll hear additional thoughts regarding how the sovereignty of God works, especially with respect to Israel and the other nations in the ancient world.  This was recorded before the first two podcasts though. YouTube: www.youtube.com/user/seersseeWebsite: http://www.seerssee.com

A conversation with Professor Esther Leslie of Birkbeck College discussing the purpose of schools, the impact of technology on education, and the need for fostering critical thinking. We reflect on the ideas of Theodore Adorno and Walter Benjamin and explore topics such as the Frankfurt School's critique of instrumental reasoning in education, the potential of modern technologies for democratizing access to culture, and the decline of humanities in current education systems.

Dr. Jerome Corsi digs deeply into Max Horkheimer and Theodore Adorno, who despised capitalism and the "enlightenment morality." The two men canonized the Marquis de Sade, celebrating him in their own collaborative works, and advocated the abandonment of objective classical values for a more self-centered inhibition-releasing cultural direction. Dr. Corsi takes a critical look at Horkheimer's and Adorno's worldview and influence on modern Neo-Marxist theory.Today's The Truth Central features commentary from Dr. Corsi's new book: The Truth About Neo-Marxism, Cultural Maoism and Anarchy. Pick up your copy today on Amazon: https://www.thetruthcentral.com/the-truth-about-neo-marxism-cultural-maoism-and-anarchy-exposing-woke-insanity-in-the-age-of-disinformation/Get your FREE copy of Dr. Corsi's new book with Swiss America CEO Dean Heskin, How the Coming Global Crash Will Create a Historic Gold Rush by calling: 800-519-6268Follow Dr. Jerome Corsi on Twitter: @corsijerome1Our website: https://www.thetruthcentral.comOur link to where to get the Marco Polo 650-Page Book on the Hunter Biden laptop & Biden family crimes free online: https://www.thetruthcentral.com/marco-polo-publishes-650-page-book-on-hunter-biden-laptop-biden-family-crimes-available-free-online/Our Sponsors:MyVital https://www.thetruthcentral.com/myvitalc-ess60-in-organic-olive-oil/ Swiss America: https://www.swissamerica.com/offer/CorsiRMP.php The MacMillan Agency: https://www.thetruthcentral.com/the-macmillan-agency/ Pro Rapid Review: https://prorrt.com/thetruthcentralmembers/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-truth-central-with-dr-jerome-corsi--5810661/support.

Occasionally, JF and Phil do a song swap. Each host chooses a song he loves and shares it with the other, and then they record an episode on it. This time, JF chose to discuss "Jesus, Etc." from Wilco's 2001 album, Yankee Hotel Foxtrot, and Phil picked Judee Sill's ethereal "The Kiss," from Heart Food (1973). It was in the zone of Time, in all its strangeness, that the two songs began to resonate with one another. Sill's song is a fated grasping at the eternal that is present even when it eludes us, and "Jesus, Etc." is a leap across time that captures, in jagged shards and signal bursts, the events of the day on which Wilco's album was scheduled to drop: September 11, 2001. Support us on Patreon (https://www.patreon.com/weirdstudies) and gain access to Phil's podcast on Wagner's Ring Cycle. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Download Pierre-Yves Martel's new album, Mer Bleue (https://pierre-yvesmartel.bandcamp.com/album/mer-bleue). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Judee Sill, [“The Kiss”](https://www.youtube.com/watch?v=0feFedDWiQ&abchannel=donmussell12) James Elkins, Pictures and Tears (https://bookshop.org/a/18799/9780415970532) Brian Wilson and the Beach Boys, “Surf's Up” (https://www.youtube.com/watch?v=rur92ArNZKg&ab_channel=TheBeachBoys-Topic) Weird Studies, Episode 148 on “Twin Peaks” (https://www.weirdstudies.com/148) Wilco, “Jesus Etc.” (https://www.youtube.com/watch?v=efq95Pfqt5U&ab_channel=DaltonRay) Jeff Buckley (https://en.wikipedia.org/wiki/Jeff_Buckley), singer-songwriter William Gibson, Forward to Dhalgren (https://bookshop.org/a/18799/9780375706684) L. E. J. Brouwer, Concept of “two-ity” (https://en.wikipedia.org/wiki/Intuitionism) Dogen, Genjokoan (https://bookshop.org/a/18799/9780992112912) David Bowie, “Heroes” (https://www.youtube.com/watch?v=lXgkuM2NhYI) Philip K. Dick, Valis (https://bookshop.org/a/18799/9780547572413) Weird Studies, Episode 147 “You Must Change Your Life” (https://www.weirdstudies.com/147) Theodore Adorno, Aesthetic Theory (https://bookshop.org/a/18799/9780816618002) James Longley, Iraq in Fragments (https://www.imdb.com/title/tt0492466/) Sam Jones, I am Trying to Break your Heart (https://www.imdb.com/title/tt0327920/) Number Stations (https://en.wikipedia.org/wiki/Numbers_station)

74 Minutes PG-13 Joseph Atwill is an author and co-host of the weekly "Powers and Principalities" episode of the Our Interesting Times podcast with Tim Kelly. Joe joins Pete to do an overview of Theodore Adorno's book, "The Authoritarian Personality." Adorno was one of the leaders of the Frankfurt School of thought. Today's Sponsor - Crowdhealth - Promo Code: peteq - https://www.joincrowdhealth.com/ Our Interesting Times podcast From Cybernetics to Littleton: Techniques of Mind Control by Jeffrey Steinberg Get Autonomy 19 Skills PDF Download The Monopoly On Violence Support Pete on His Website Pete's Patreon Pete's Substack Pete's Subscribestar GabPay - @petequinones Pete's Venmo Pete on Facebook Pete on Twitter

As promised at the beginning of the semester we are going to stray away every so often from our theme of ethical philosophy and talk about our thesis research. This week we will be covering Theodore Adorno's "The Meaning of Working Through The Past" which focuses on the history of philosophy. This pairs with DJ Geist's thesis where he is comparing Ernst Bloch and Theodore Adorno's philosophy. As always DM us on insta if you have questions @philsophywethink!

As promised at the beginning of the semester we are going to stray away every so often from our theme of ethical philosophy and talk about our thesis research. This week we will be covering Theodore Adorno's "The Meaning of Working Through The Past" which focuses on the history of philosophy. This pairs with DJ Geist's thesis where he is comparing Ernst Bloch and Theodore Adorno's philosophy. As always DM us on insta if you have questions @philsophywethink!

The saga continues. In this podcast I go into what atonalism and serialism are and how the ideology grew up around them designating these techniques as the future of classical music in the Twentieth Century. I talk about the philosopher/social critic Theodore Adorno and his still relevant critique of the commercialization of music which lead to the lionizing and exploitation of trivial music which he designated “bourgeois”. Unfortunately his antidote was to push intentionally ugly music that drove the audience out of the concert hall and stopped the forward momentum of a great art form. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit rogerrudenstein.substack.com

Theodore Adorno was a world-renowned philosopher known for his works in multiple field disciplines. Today we will discuss his theories in the field of aesthetics, particularly his view on art and bad art.

Charles Wofford, who appeared on the show once before to debate Ben Burgis on postmodernism and Marxism, comes back now for a more relaxed appearance to tell us all about the philosophy of Theodore Adorno. Before that, Ben & the GTAA crew talk about the Fetterman/Oz race in Pennsylvania and how Joe Biden apparently got high and forgot about his promise to deschedule cannabis and pardon everyone serving time in federal prisons for non-violent marijuana offense.Bookending it all at the beginning and end of the show, Ben & the crew mark the two-year anniversary of the premature death of perhaps the most talented political communicator in contemporary American left media--Michael Brooks. Without Michael, this show would never have existed, so we thought we'd share a few clips of him. Whether this is your first time hearing about the guy or you miss him every day, we hope you get something out of it.Read Ben's articles on Michael in Jacobin:https://jacobin.com/2020/07/michael-brooks-tmbshttps://jacobin.com/2020/08/cosmopolitan-socialism-michael-brooksFollow Ben on Twitter: @BenBurgisFollow GTAA on Twitter: @Gtaa_ShowBecome a GTAA Patron and receive numerous benefits ranging from patron-exclusive postgames every Monday night to our undying love and gratitude for helping us keep this thing going:patreon.com/benburgisVisit benburgis.com

In any given instance, humans are always asking questions. Ranging from simple surface ponders to the intense challenging of a subject's core. And these very philosophical queries make the vastness of art no exception. With its grand abstract form that evokes spiraling loops of conversation, one can't help but give their take on it. In this episode, we will examine what makes something a work of art through the questions asked and the stances taken by sociologist Theodore Adorno.

When did our star signs start running our lives? According to horoscope app Co-Star, it has been downloaded by a quarter of all young women aged 18–25 in the U.S. Even if we are living in a material world, maybe the great horoscope renaissance is offering something that's missing from modern life? Via a cursed Capricorn necklace and some Tik Tok witches, Kasia and Dan tackle the weird, the mystical and the metaphysical, with help from Frankfurt School philosophers Theodore Adorno and Walter Benjamin - who had more to say about horoscopes than you might think. If you're enjoying Cursed Objects, please support our Patreon - and get access to bonus eps and extra content: patreon.com/cursedobjects. You can also follow us on twitter and instagram @CursedObjectsUK. Theme music and production: Mr Beatnick

"This piece works with a complicated moment in the history of space music, electronic music, and political music.  "Part of the design of China's first satellite, Dongfanghong 1, was to make music using the satellite's telemetric system. Specifically, it was designed to play the world the Maoist anthem “The East is Red," from which it took its name. An oral history of the project relates that during ground tests the song was out of tune. Care needed to be taken musically - the advice was to “add harmonic waves” - and technically, with insulation that would prevent pitch modulation in orbit due to changes in temperature or electromagnetic interference. "During the broadcast, the satellite sounds transition suddenly from cadenced song to chaotic telemetry. The radio announcers explain repeatedly that the first forty seconds are the music, and the next 20 seconds are telemetric data. But the result is a mixed broadcast that splices together different orders of communication, encoded verbally, musically, and as data signal. That moment of transition also breaks the revolutionary song down and creates an unexpected gesture toward a different type of music—suggestive of something like what Theodore Adorno called a dialectical music, or the image of emancipation he found in atonal music. "The first part of the piece samples the musical portion of the satellite transmission. The second part is a remix of the ground rebroadcast, with its framing and explanations of the data/music/text. The third part slows down and follows the data signal, with its mostly atonal sequence of notes." Composition by John Savarese. Part of the Shortwave Transmissions project, documenting and reimagining the sounds of shortwave radio - find out more and see the whole project at https://citiesandmemory.com/shortwave

Morton Schoolman, Professor in the Rockefeller College of Public Affairs and Policy at the State University of New York at Albany, has published a new book that explores the idea of democratic enlightenment in the United States, and the way that we may want to consider both how to achieve this enlightenment and how we can be guided by our literary and philosophical traditions. Schoolman explains that we need to come to democratic enlightenment through a process of reconciliation, and that this concept of reconciliation is at the heart of the work by Walt Whitman and Theodore Adorno.  The centerpieces of A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics (Duke UP, 2020) are explications of how Whitman and Adorno each, separately, approach this need and capacity for reconciliation, and how they delineate it in their work, and finally, how it is vitally important to democracy. Schoolman’s reading of Whitman notes that this is what Whitman set out to do with his poetry, to teach or guide the capacity to reconcile identity, especially with all those who are different. Whitman’s work and his reflection on this need for reconciliation was written during the period of Reconstruction, and he saw the need and the means to provide a path towards healing America’s differences through the democratic media of his time, poetry. Theodore Adorno is pursuing a parallel concept in his work, examining modern artwork as the fulcrum for reconciliation, explaining that these images, while they may be static in some form, are, in fact, images in motion—all visual works of art are in motion. Thus, both Adorno and Whitman provide Schoolman with an aesthetic space and definition for the place where democratic reconciliation can and does occur. But Schoolman builds on the foundation provided by these two theorists, himself constructing the place where he thinks it is most likely that citizens will experience and engage with this idea of reconciliation, especially around those who have been othered or prevented from inclusion by American politics and culture. Schoolman centers this space in film, in part because films are accessible by so much of the populace, and because they provide the aesthetic images, not only the narrative framework, to confront and engage democratic reconciliation. A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics is a fascinating and complex exploration of how aesthetic education has an important role in democratic politics, especially in regard to the function of the reconciliation image as a dynamic component of that education. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Morton Schoolman, Professor in the Rockefeller College of Public Affairs and Policy at the State University of New York at Albany, has published a new book that explores the idea of democratic enlightenment in the United States, and the way that we may want to consider both how to achieve this enlightenment and how we can be guided by our literary and philosophical traditions. Schoolman explains that we need to come to democratic enlightenment through a process of reconciliation, and that this concept of reconciliation is at the heart of the work by Walt Whitman and Theodore Adorno.  The centerpieces of A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics (Duke UP, 2020) are explications of how Whitman and Adorno each, separately, approach this need and capacity for reconciliation, and how they delineate it in their work, and finally, how it is vitally important to democracy. Schoolman’s reading of Whitman notes that this is what Whitman set out to do with his poetry, to teach or guide the capacity to reconcile identity, especially with all those who are different. Whitman’s work and his reflection on this need for reconciliation was written during the period of Reconstruction, and he saw the need and the means to provide a path towards healing America’s differences through the democratic media of his time, poetry. Theodore Adorno is pursuing a parallel concept in his work, examining modern artwork as the fulcrum for reconciliation, explaining that these images, while they may be static in some form, are, in fact, images in motion—all visual works of art are in motion. Thus, both Adorno and Whitman provide Schoolman with an aesthetic space and definition for the place where democratic reconciliation can and does occur. But Schoolman builds on the foundation provided by these two theorists, himself constructing the place where he thinks it is most likely that citizens will experience and engage with this idea of reconciliation, especially around those who have been othered or prevented from inclusion by American politics and culture. Schoolman centers this space in film, in part because films are accessible by so much of the populace, and because they provide the aesthetic images, not only the narrative framework, to confront and engage democratic reconciliation. A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics is a fascinating and complex exploration of how aesthetic education has an important role in democratic politics, especially in regard to the function of the reconciliation image as a dynamic component of that education. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Morton Schoolman, Professor in the Rockefeller College of Public Affairs and Policy at the State University of New York at Albany, has published a new book that explores the idea of democratic enlightenment in the United States, and the way that we may want to consider both how to achieve this enlightenment and how we can be guided by our literary and philosophical traditions. Schoolman explains that we need to come to democratic enlightenment through a process of reconciliation, and that this concept of reconciliation is at the heart of the work by Walt Whitman and Theodore Adorno.  The centerpieces of A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics (Duke UP, 2020) are explications of how Whitman and Adorno each, separately, approach this need and capacity for reconciliation, and how they delineate it in their work, and finally, how it is vitally important to democracy. Schoolman’s reading of Whitman notes that this is what Whitman set out to do with his poetry, to teach or guide the capacity to reconcile identity, especially with all those who are different. Whitman’s work and his reflection on this need for reconciliation was written during the period of Reconstruction, and he saw the need and the means to provide a path towards healing America’s differences through the democratic media of his time, poetry. Theodore Adorno is pursuing a parallel concept in his work, examining modern artwork as the fulcrum for reconciliation, explaining that these images, while they may be static in some form, are, in fact, images in motion—all visual works of art are in motion. Thus, both Adorno and Whitman provide Schoolman with an aesthetic space and definition for the place where democratic reconciliation can and does occur. But Schoolman builds on the foundation provided by these two theorists, himself constructing the place where he thinks it is most likely that citizens will experience and engage with this idea of reconciliation, especially around those who have been othered or prevented from inclusion by American politics and culture. Schoolman centers this space in film, in part because films are accessible by so much of the populace, and because they provide the aesthetic images, not only the narrative framework, to confront and engage democratic reconciliation. A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics is a fascinating and complex exploration of how aesthetic education has an important role in democratic politics, especially in regard to the function of the reconciliation image as a dynamic component of that education. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Morton Schoolman, Professor in the Rockefeller College of Public Affairs and Policy at the State University of New York at Albany, has published a new book that explores the idea of democratic enlightenment in the United States, and the way that we may want to consider both how to achieve this enlightenment and how we can be guided by our literary and philosophical traditions. Schoolman explains that we need to come to democratic enlightenment through a process of reconciliation, and that this concept of reconciliation is at the heart of the work by Walt Whitman and Theodore Adorno.  The centerpieces of A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics (Duke UP, 2020) are explications of how Whitman and Adorno each, separately, approach this need and capacity for reconciliation, and how they delineate it in their work, and finally, how it is vitally important to democracy. Schoolman’s reading of Whitman notes that this is what Whitman set out to do with his poetry, to teach or guide the capacity to reconcile identity, especially with all those who are different. Whitman’s work and his reflection on this need for reconciliation was written during the period of Reconstruction, and he saw the need and the means to provide a path towards healing America’s differences through the democratic media of his time, poetry. Theodore Adorno is pursuing a parallel concept in his work, examining modern artwork as the fulcrum for reconciliation, explaining that these images, while they may be static in some form, are, in fact, images in motion—all visual works of art are in motion. Thus, both Adorno and Whitman provide Schoolman with an aesthetic space and definition for the place where democratic reconciliation can and does occur. But Schoolman builds on the foundation provided by these two theorists, himself constructing the place where he thinks it is most likely that citizens will experience and engage with this idea of reconciliation, especially around those who have been othered or prevented from inclusion by American politics and culture. Schoolman centers this space in film, in part because films are accessible by so much of the populace, and because they provide the aesthetic images, not only the narrative framework, to confront and engage democratic reconciliation. A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics is a fascinating and complex exploration of how aesthetic education has an important role in democratic politics, especially in regard to the function of the reconciliation image as a dynamic component of that education. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Morton Schoolman, Professor in the Rockefeller College of Public Affairs and Policy at the State University of New York at Albany, has published a new book that explores the idea of democratic enlightenment in the United States, and the way that we may want to consider both how to achieve this enlightenment and how we can be guided by our literary and philosophical traditions. Schoolman explains that we need to come to democratic enlightenment through a process of reconciliation, and that this concept of reconciliation is at the heart of the work by Walt Whitman and Theodore Adorno.  The centerpieces of A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics (Duke UP, 2020) are explications of how Whitman and Adorno each, separately, approach this need and capacity for reconciliation, and how they delineate it in their work, and finally, how it is vitally important to democracy. Schoolman’s reading of Whitman notes that this is what Whitman set out to do with his poetry, to teach or guide the capacity to reconcile identity, especially with all those who are different. Whitman’s work and his reflection on this need for reconciliation was written during the period of Reconstruction, and he saw the need and the means to provide a path towards healing America’s differences through the democratic media of his time, poetry. Theodore Adorno is pursuing a parallel concept in his work, examining modern artwork as the fulcrum for reconciliation, explaining that these images, while they may be static in some form, are, in fact, images in motion—all visual works of art are in motion. Thus, both Adorno and Whitman provide Schoolman with an aesthetic space and definition for the place where democratic reconciliation can and does occur. But Schoolman builds on the foundation provided by these two theorists, himself constructing the place where he thinks it is most likely that citizens will experience and engage with this idea of reconciliation, especially around those who have been othered or prevented from inclusion by American politics and culture. Schoolman centers this space in film, in part because films are accessible by so much of the populace, and because they provide the aesthetic images, not only the narrative framework, to confront and engage democratic reconciliation. A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics is a fascinating and complex exploration of how aesthetic education has an important role in democratic politics, especially in regard to the function of the reconciliation image as a dynamic component of that education. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Morton Schoolman, Professor in the Rockefeller College of Public Affairs and Policy at the State University of New York at Albany, has published a new book that explores the idea of democratic enlightenment in the United States, and the way that we may want to consider both how to achieve this enlightenment and how we can be guided by our literary and philosophical traditions. Schoolman explains that we need to come to democratic enlightenment through a process of reconciliation, and that this concept of reconciliation is at the heart of the work by Walt Whitman and Theodore Adorno.  The centerpieces of A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics (Duke UP, 2020) are explications of how Whitman and Adorno each, separately, approach this need and capacity for reconciliation, and how they delineate it in their work, and finally, how it is vitally important to democracy. Schoolman’s reading of Whitman notes that this is what Whitman set out to do with his poetry, to teach or guide the capacity to reconcile identity, especially with all those who are different. Whitman’s work and his reflection on this need for reconciliation was written during the period of Reconstruction, and he saw the need and the means to provide a path towards healing America’s differences through the democratic media of his time, poetry. Theodore Adorno is pursuing a parallel concept in his work, examining modern artwork as the fulcrum for reconciliation, explaining that these images, while they may be static in some form, are, in fact, images in motion—all visual works of art are in motion. Thus, both Adorno and Whitman provide Schoolman with an aesthetic space and definition for the place where democratic reconciliation can and does occur. But Schoolman builds on the foundation provided by these two theorists, himself constructing the place where he thinks it is most likely that citizens will experience and engage with this idea of reconciliation, especially around those who have been othered or prevented from inclusion by American politics and culture. Schoolman centers this space in film, in part because films are accessible by so much of the populace, and because they provide the aesthetic images, not only the narrative framework, to confront and engage democratic reconciliation. A Democratic Enlightenment: The Reconciliation Image, Aesthetic Education, Possible Politics is a fascinating and complex exploration of how aesthetic education has an important role in democratic politics, especially in regard to the function of the reconciliation image as a dynamic component of that education. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Filmlerde neden müzik kullanılır sorusuyla başladığımız bu bölümde önce Frankfurt Okulu ve Theodore Adorno’yu anıyoruz, sonra 90’lar Türk sinemasının üç önemli filminden bahsediyoruz. Sezgin perdesiz gitarın müzikal önemini Eşkıya’yı konuşurken anlatıyor, İlker de Ağır Roman’ı konuşurken Resimdeki Gözyaşları’nın farklı versiyonları arasında savruluyor. Gece Melek ve Bizim Çocuklar’daki şarkılar ve müzisyenlerden bahsederken kendimizi queer bir klasiğin içinde buluyoruz. Geleceğe Dönüş’ün bu haftaki konuğu ise Görkem Sengel.

Finalmente vou falar do meu estimado Theodore Adorno nesse Podcast! Qual a relação da lógica da indústria cultural com o Teatro Pop? Quais encontros e divergências causadas por esses dois conceitos, tão essencialmente atrelados. Tudo isso e muito mais no Ato Pop dessa semana. Ato Pop: Seu podcast sobre cultura pop no teatro e em todas as artes.

Life has thrown a lot at Megan and RJ lately, and so instead of a normal episode, they're going to explain lit theory, because that's easier somehow? Thrill as Megan threatens long-dead literary critics with bodily harm, shrug as RJ threatens to suck Bigfoot's ween before briefly becoming possessed by a competent theory professor, and tremble as we are all forced to experience Oh My F@cking God Philosophy Class, if only for a few minutes.

Welcome to episode 9! This week we discuss Peter Sloterdijk’s 1983 opus, The Critique of Cynical Reason.In order to do some justice to the breadth and depth of this work, we are offering two episodes dedicated to this text and its ideas. This first discussion focuses on its big picture themes and intellectual genealogy. Next week, we’ll dive into a more nuanced understanding of cynicism and its sister concept, kynicism. This discussion begins with the intellectual tradition that Sloterdijk is writing within. How does a theory of cynicism engage with the long history of enlightenment thought? We offer a couple of ways to think about how this book speaks to some of its intellectual forbearers, namely Immanuel Kant and Theodore Adorno. Sloterdijk argues that even from the beginning, the enlightenment was a mixed bag of goods and bads. Yes, the scientific method ushered in a new world of commerce, creativity, and class mobility, but it also facilitated systems of alienation and exploitation through logics of quantification and statistical analysis. Cynicism, defined as “enlightened false consciousness,” attends to the ways that this tradition of enlightenment-style thinking has failed. According to a Marxist tradition, ideology operates as a camera obscura that inverts our experience and perception of reality in ways that benefit the most powerful sectors of society. The primary “benefit” is the simple belief that the hierarchical structure of individuals and wealth is “natural.” The purpose of ideology critique is to shine a light on this distortion, offering the benighted (those occupied with “false consciousness”) an opportunity to understand the nature of their oppression and social reality, namely that it is merely the reification of an otherwise arbitrary distribution of capital. This moment of revelation, so the promise goes, is supposed to catalyze social revolution.But what happens when we all understand that we are being duped, but all the same do nothing about it because we are convinced of our powerlessness? This is the figure and condition that Sloterdijk terms “enlightened false consciousness.” Sloterdijk suggests that this is the primary form of thinking and subjectivity today—that is, that we all know we are pawns in a game we cannot control, but have resigned ourselves to this depressing reality. The primary evidence for his position is fact that despite generations of ideological critique, political economy is still largely organized around systems of inequality. His goal is to figure out how to replace this form of cynicism with another, one that is more deeply rooted in the rebellious strain of cynicism found in the Greek figure Diogenes, who Sloterdijk calls a “kynic.”Our initial discussion offers distinctions about different levels of cynicism and cynical reason. On the level of the individual, cynicism may provide a powerful tool of critique and an analysis of power; however, on the level of the institutional, cynicism may reify or justify staid power relationships and systems of injustice. How does a philosophical attitude like cynicism transform under different scales of social organization (from the individual to the institutional)?We also point to ways that cynicism can help us understand some of the major discussions of our particular political moment. This conversation was recorded just as organizations began promoting police policy reforms like “8 Can’t Wait.” We take up these policy suggestions within the context of Sloterdijk’s cynicism in order to show how cynical reason can reveal blindspots in contemporary politics. Get on the email list at beautifullosers.substack.com

70 years ago, the philosopher Theodore Adorno and a team of scholars released a massive book titled The Authoritarian Personality (Verso, 2019), which attempted to map the psychological and emotional dynamics of those who might find themselves seduced by authoritarianism. The book synthesized both empirical psychology and sociology, relying on massive sets of data, with psychoanalytic models of personality so as to approach their subjects with a set of deep hermeneutic tools. The result is a book that is both both data-driven and speculative, and covers a vast swatch of theoretical territory. It was recently republished by Verso books, with a new introduction by Peter Gordon. Charles Clavey, a lecturer in social studies at Harvard University, whose research focuses on critical theory and the history of authoritarianism. His writing has appeared in a number of places including Modern Intellectual History, The LA Review of Books and The Chronicle of Higher Education. Stephen Dozeman is a freelance writer. Learn more about your ad choices. Visit megaphone.fm/adchoices

70 years ago, the philosopher Theodore Adorno and a team of scholars released a massive book titled The Authoritarian Personality (Verso, 2019), which attempted to map the psychological and emotional dynamics of those who might find themselves seduced by authoritarianism. The book synthesized both empirical psychology and sociology, relying on massive sets of data, with psychoanalytic models of personality so as to approach their subjects with a set of deep hermeneutic tools. The result is a book that is both both data-driven and speculative, and covers a vast swatch of theoretical territory. It was recently republished by Verso books, with a new introduction by Peter Gordon. Charles Clavey, a lecturer in social studies at Harvard University, whose research focuses on critical theory and the history of authoritarianism. His writing has appeared in a number of places including Modern Intellectual History, The LA Review of Books and The Chronicle of Higher Education. Stephen Dozeman is a freelance writer. Learn more about your ad choices. Visit megaphone.fm/adchoices

70 years ago, the philosopher Theodore Adorno and a team of scholars released a massive book titled The Authoritarian Personality (Verso, 2019), which attempted to map the psychological and emotional dynamics of those who might find themselves seduced by authoritarianism. The book synthesized both empirical psychology and sociology, relying on massive sets of data, with psychoanalytic models of personality so as to approach their subjects with a set of deep hermeneutic tools. The result is a book that is both both data-driven and speculative, and covers a vast swatch of theoretical territory. It was recently republished by Verso books, with a new introduction by Peter Gordon. Charles Clavey, a lecturer in social studies at Harvard University, whose research focuses on critical theory and the history of authoritarianism. His writing has appeared in a number of places including Modern Intellectual History, The LA Review of Books and The Chronicle of Higher Education. Stephen Dozeman is a freelance writer. Learn more about your ad choices. Visit megaphone.fm/adchoices

70 years ago, the philosopher Theodore Adorno and a team of scholars released a massive book titled The Authoritarian Personality (Verso, 2019), which attempted to map the psychological and emotional dynamics of those who might find themselves seduced by authoritarianism. The book synthesized both empirical psychology and sociology, relying on massive sets of data, with psychoanalytic models of personality so as to approach their subjects with a set of deep hermeneutic tools. The result is a book that is both both data-driven and speculative, and covers a vast swatch of theoretical territory. It was recently republished by Verso books, with a new introduction by Peter Gordon. Charles Clavey, a lecturer in social studies at Harvard University, whose research focuses on critical theory and the history of authoritarianism. His writing has appeared in a number of places including Modern Intellectual History, The LA Review of Books and The Chronicle of Higher Education. Stephen Dozeman is a freelance writer. Learn more about your ad choices. Visit megaphone.fm/adchoices

70 years ago, the philosopher Theodore Adorno and a team of scholars released a massive book titled The Authoritarian Personality (Verso, 2019), which attempted to map the psychological and emotional dynamics of those who might find themselves seduced by authoritarianism. The book synthesized both empirical psychology and sociology, relying on massive sets of data, with psychoanalytic models of personality so as to approach their subjects with a set of deep hermeneutic tools. The result is a book that is both both data-driven and speculative, and covers a vast swatch of theoretical territory. It was recently republished by Verso books, with a new introduction by Peter Gordon. Charles Clavey, a lecturer in social studies at Harvard University, whose research focuses on critical theory and the history of authoritarianism. His writing has appeared in a number of places including Modern Intellectual History, The LA Review of Books and The Chronicle of Higher Education. Stephen Dozeman is a freelance writer. Learn more about your ad choices. Visit megaphone.fm/adchoices

70 years ago, the philosopher Theodore Adorno and a team of scholars released a massive book titled The Authoritarian Personality (Verso, 2019), which attempted to map the psychological and emotional dynamics of those who might find themselves seduced by authoritarianism. The book synthesized both empirical psychology and sociology, relying on massive sets of data, with psychoanalytic models of personality so as to approach their subjects with a set of deep hermeneutic tools. The result is a book that is both both data-driven and speculative, and covers a vast swatch of theoretical territory. It was recently republished by Verso books, with a new introduction by Peter Gordon. Charles Clavey, a lecturer in social studies at Harvard University, whose research focuses on critical theory and the history of authoritarianism. His writing has appeared in a number of places including Modern Intellectual History, The LA Review of Books and The Chronicle of Higher Education. Stephen Dozeman is a freelance writer. Learn more about your ad choices. Visit megaphone.fm/adchoices

Can one seek the good life when life has been irreparably damaged? In this episode, we sit down to discuss Theodore Adorno's Minima Moralia and talk a bit about psychoanalysis, pleasure, astrology, and automation in the contemporary world.Join our Patreon for $3 a month if you want access to our bonus episodes to hear guests interviewed about the authors we've discussed.If you're reading along, our next book will be Liberalism and Democracy by Noberto Bobbio: https://www.versobooks.com/books/45-liberalism-and-democracy____Hear Patrick talk about Walter Benjamin on The Regrettable Century here: http://regrettablecentury.buzzsprout.com/Read Andrew's essay on Adorno's The Authoritarian Personality here: https://www.radicalrightanalysis.com/2020/05/07/revisiting-the-authoritarian-personality-conspiracy-theories-and-the-crank/

My guest today is Matt Nish-Lapidus. Matt is an artist, musician, researcher, designer, and educator based in Toronto. Besides creating art and music, and doing design work, Matt also teaches at the Copenhagen Institute of Interaction Design. In this conversation, we discuss the role of art in our evolving technological and cultural environments. Listen to the full conversation   Show notes Matt Nish-Lapidus (emenel.com) Matt on Instagram Matt on Twitter University of Toronto New media art SFMoMA MoMA (New York) Tate Modern Nam June Paik Theodore Adorno The Anthropocene New Materialism Jane Bennett The Walt Disney Company Marvel Impressionism CARFAC David Rokeby Pietà by Michelangelo Buonarroti Jenny Holzer New Tendencies Soft Thoughts må Some show notes may include Amazon affiliate links. I get a small commission for purchases made through these links. Read the full transcript Jorge: So, Matt, welcome to the show. Matt: Thanks. Happy to be here.  Jorge: For folks who might not know you, can you please tell us about yourself? Matt: Yeah. I sometimes these days refer to myself as a recovering designer. My original background, educationally, was in fine arts and specifically in new media art. And then, over the arc of my career, I found myself working in interaction design and very interested in the intersection between humanity and various types of complex technology, as in networks and computational technology. And I did that for about 15 years. And towards the end of that period, I found myself more interested in the types of questions that felt like they were better answered through my art practice than they were through my design practice, and the kinds of questions that also didn't seem to be that interesting to other designers or to our clients or to potential employers or partners. So about five years ago now, I left my job and decided to focus more on my artistic practice, which includes music and sound art as well as technology-based arts of different types. And in September of last year, I actually started my MFA, which is a Master of Fine Arts, in Studio Practice at the University of Toronto, which I'm currently pursuing on top of other things that I continue to do, like playing music and work with other organizations. Media Art Jorge: Folks listening to the show might not be familiar with the term “media art.” How do you define that? Matt: So the most basic way to understand it – in the highest level, probably – is that unlike painting or traditional photography or other types of sculpture – you know, other types of traditional arts – media art and new media art were emergent practices that specifically dealt with new types of mass media originally. So, it was artists working with televisions, with video, with different kinds of sound and broadcast technologies. And then over the course of the last couple of decades, became artists that work with the internet or with computation, and different kinds of network technologies, and think about them from an artistic perspective, which is usually a critical perspective or thinking about the impact that they have on people or the way that people relate to them and the new types of relationships and new types of affects that they create. Jorge: So, it's art that uses technologies, especially like communications technologies, as its medium? Is that the idea? Matt: Yeah, as its medium and often as its topic. So, we make art about the technology is sometimes using the same ones. And the practice goes back to the late fifties, but really in some ways is now the dominant practice in contemporary art. Jorge: Can you name some examples of how you would experience new media art? Matt: Yeah. I mean, if you've ever been to a contemporary art gallery or museum of modern art, whether it's the SF MoMA or the MoMA in New York, or the Tate Modern in London, a lot of what you're seeing would be in this category. Artists who work with light, who work with sound, work with video projections, interaction in different ways… You know, a famous example from the early days of media artist Nam June Paik, who worked a lot with televisions and his work was both about television as a cultural object, but also as a medium and as a material. The Role of Art Jorge: We're recording this in the midst of the coronavirus pandemic in the spring of 2020. And I have to mention that the context that we're, that we're speaking in, because we are accelerating our move to interacting through technology. And you and I are talking right now through Zoom and I can see you. So we're having a conversation, and it's perhaps too soon to know, but I'm wondering what role does art play – especially, you know, this new media art that you're talking about – in a world in which we're increasingly interacting through technology. Perhaps the question is more broadly, it's like, what is the role of art? Matt: Yeah. So, it's an interesting question and it's one that's been asked by artists and philosophers for many, many years. And I've been thinking about this lately. In the fifties – it might have even been in the sixties, don't quote me on the date – a German philosopher and media theoretician, Theodore Adorno, wrote an essay in which he asked, how do you make art after Auschwitz? Like, what is the role of art in a world where something as horrible as the Holocaust could happen? And how do you as an artist deal with that, and still see beauty and joy and the sublime and all these different things, when our understanding of what's possible in the world is so fundamentally changed and so terrifying. And I think there are a number of similar questions that we can be asking ourselves right now. Before this outbreak, the big question on a lot of people's minds was a similar one, which is how do you make art in the Anthropocene? If we're witnessing a period of, like massive global scale change and devastation this like slow train wreck, what is the role of art and how do you continue to make art in the face of such a massive and often depressing and serious thing. And I think like the pandemic that we're currently trying to figure out raises a similar kind of question again, just like what is the point of art and how do you make it and what do you make it about when our understanding of what's possible in the world has fundamentally changed. When there's a new thing, a new object that exists that didn't really exist before. There's a school of philosophy called New Materialism and a kind of well-known New Materialist, Jane Bennett, talks about these things as what she calls assemblages. And an assemblage is like a network of heterogeneous actors that all have different kinds of agency. And, looking at the pandemic through the lens of Bennett's idea of an assemblage, you can start to see the agency of the virus as a political actor, as an economic actor, as a social and cultural actor. And for me anyway, that's where as an artist, my interest in it lies, and where I think I can kind of grapple with our current situation is not saying, “okay, well what do we do when we're all locked in our homes,” but saying, “what are the fundamental changes in the world that we can observe? What are the things we want to try to say or express about them or understand through making things?” And then, “what kinds of things can I make that help with that understanding or are cathartic or express an affect or give people something that I think they want or need given the kind of drastic changes that this is affecting on all of our systems?” High Art and Popular Art Jorge: When you say that, do you make a distinction between… I don't know if the appropriate terms are like “high art” and “popular art”? Matt: Like in terms of, like a museum and gallery art versus like television shows and movies and things like that? Jorge: Yes. Matt: Yeah. I mean, I don't see a huge distinction in a formal way. I think good media, like a really well-made television show, for instance, that deals with these topics in a critical and thoughtful way, that's based on research and, you know, does things like… explores the ideas through the medium that they're working with. I don't see that as being massively different than, you know, a piece of art that you might see in a art gallery, or in a museum.  Jorge: I would also expect that the reach would be different as well, right? Matt: Yeah. Probably considerably different… Jorge: Yeah, it'd have a greater influence on the culture if it's a movie put out by the Walt Disney Company, as opposed to something exhibited in an art gallery, no? Matt: Yeah. I mean, the reach would be massively different. I think though even in those media that, for the reach to be at the scale of like a Disney or, you know, Marvel kind of thing, you're having to make stories that connect with people in a certain way, which, I feel like often precludes you from doing the deep and difficult work of truly critically reflecting on a situation and expressing something about it. And when you see TV shows or movies that do that, they often don't have those kinds of audiences. Jorge: Yeah. The intent is different, right? Like one is a purely or mostly commercial product, whereas the other, like you're saying, is more of an exploration of a way of being, an ideal? Matt: A way of being, a way of thinking, a way of seeing and understanding things. I think when art is really amazing, for me anyway, it's when something changes, like a piece of art can change the way that I see the world. It can change the way that I understand myself and see myself. It can reflect back to me a feeling or an idea that I've had but couldn't express or didn't have words for. And I think great art from every era, especially the modern era – which is, you know, loosely from like Impressionism on up – a lot of it is really about creating that kind of critical and reflective mirror and reflecting not just to the individual viewer, but reflecting on culture and on society and on the place and time where it comes from and reacting to things that are happening in the world. So, like, I'm excited actually to see how artists react to what's happening now because in a way, that's what art does. The Market for Art Jorge: One thing that I was wondering about is how does the market value art? I mean, we were talking about Disney, and we know what that market looks like, but I was just wondering someone who makes art for a living, how do you make a living? Matt: It's different in different countries, which is interesting. I mean, there's a combination of things depending on the kind of work that you make. Some artists make work that you can sell, that people can buy and there's an open market and you make a name for yourself, and the work goes up and down and value based on how collectible your work is or what museums want to acquire it or, or other things like that and that works for, I guess more and more kinds of media these days. Like it used to be that if you made installation or you made sound art or video, it was hard to sell that on like the art market. That's becoming more of a thing. People will buy that stuff. In a lot of countries, other than the US… So, in Canada and the UK and a lot of Europe, there's a big public funding infrastructure for arts. So, in Canada we have arts councils at the municipal, provincial, and national level that provide funding for artists and artists' projects in different ways. There's also regionally determined fee structures for exhibitions. So, if you get a piece of work into an exhibition and the gallery has funding, they will usually pay based on the agreed-upon fee schedule. It's kind of like the actors' unions? It's not an official union in Canada, it's called CARFAC. It's the Canadian Artists…. some, I don't remember what it stands for. But they set a kind of standardized fee schedule. And so often when you submit a piece of work to a gallery or to an exhibition or to a curator, it'll say on the submission, like we pay, you know, CARFAC's scheduled fees, which are basically based on like how much experience you have and they have standardized fee structures. Those are the main ways. The other one is commissions. So, a museum or a festival or a curator may really love your work and want you to make something new for their exhibition, in which case they'll have a production budget and they will offer you some sort of project budget to make the work. And then at the end of that, either they own it, or you own it, depending on the stipulations of the contract. Time and Place  Jorge: One of the interesting aspects of what's happening right now is that time feels greatly accelerated. I saw a tweet just yesterday that said something like, “the last couple of weeks have been a really long year,” or… Matt: Yeah. Jorge: It feels like time has greatly accelerated right now and, conversely, it feels like place has become blurred. You are… I believe you're in Toronto right now, right? Matt: Yup. Jorge: And, like I said, we're talking over Zoom and, earlier this morning I was in a meeting with colleagues who are here in the Bay Area, but I experienced the interaction in exactly the same plane that I'm interacting with you now. So, you could be here for all I know, right? So, place has become erased somehow. And I'm wondering about time and place and new media and how new media, I mean, it has it in the name, right? “New” Media? Matt: Yeah, yeah, yeah. Because when that term originally was coined, it was in -response to existing media. So, it was trying to say, we're not print newspapers, photography, like we're not talking about those things. We're talking about these new media, which are video and television. Originally it was those things, and then, computation. And I think time and place and the kind of collapsing of time in place has been a big part of the work of new media and media artists since probably the mid- eighties. You know, there's a piece I remember seeing by David Rokeby who's a new media artist that's been working since the early eighties with computer vision and computational space in different ways, where he set up a room with quadraphonic sound – so four big speakers – and then had a gallery – this was in Toronto – and had a gallery in Amsterdam, set up the same thing in their room. And then using very rudimentary digital video cameras from – this was probably in the late eighties, early nineties – movement in one space was translated to low frequency sound and the other space basically creating like airwaves. So, if two people were moving simultaneously in both spaces, they would actually feel the impact of the other person's body as air pressure through sound? So already in those kinds of early pieces, they were thinking a lot about like, what does it mean to collapse space? How do we be physically present in different spaces? I feel like we take a lot of this for granted these days. And it's interesting because like this phenomenon we're experiencing right now is really unique in a number of ways. But one of the most interesting to me is that it is global, like actually global. Everyone around the world is impacted by this in some way, and very similar ways in terms of like, isolation or lockdown or social distancing or these, you know, words that we didn't even have in our vocabulary a week ago. And now, like, literally every human being on earth is impacted by this. And I can't think of another phenomenon that crosses those boundaries in the same way. But in my own practice and then thinking about, you know, art and the things that I'd be excited to see is in a time where the world feels like it's been collapsed in on itself, and we're experiencing this unifying, like, single event as a species, it would be really interesting to think about what the local differences actually are. Like, what does it mean to be in isolation in different parts of the world or in different cultures, or you know, in Italy, people were singing to each other from their balconies? I can't imagine that happening in London. So, even though we're experiencing this unifying effect, there's still going to be those like local cultural differences and uniquenesses that I think are so important to thinking about artwork and the way that art reflects culture, and is often so specific and so unique to certain places in certain times in the way that it responds aesthetically to localized events. Experiencing Art Online Jorge: You reminded me of something that I've noticed over the past few weeks, which is cultural institutions like museums announcing to the world that, “Hey, you know, that you can view our collection online!” Now, especially with so many people at home, who are looking for new things to do with themselves while there, they only have this little window on their computer to the world, right? Matt: Yeah. Yeah! It's an interesting thing to see since so many museums are so woefully behind in terms of digitizing collections and thinking about alternative ways of exhibiting work. Our experience of art and the way that we think about art, especially at the institutional level is so grounded in this physical experience of like, being in a place with a thing, or in a place for a performance or these very spatio-temporal experiences. So, yeah, it's fascinating to see what some museums are doing. In some ways it reminds me of the mid-nineties, late nineties, again when there was an explosion of like “net art” and artists working specifically with the internet as their medium. And so, like those works existed natively online and museums and galleries at the time were struggling to figure out how to present them in physical space. Like, how do we take a work by a net artist and put it in an exhibition at the MoMA? We didn't know how, and they still don't really know how. And now we're faced with the exact opposite problem, where they're like, how do we get all of our paintings and sculptures and objects available to people somehow through the internet or through virtual tours or whatever it is that they're doing? Jorge: And these new technologies change our understanding of the work itself, right? When you said experiencing the work in a physical space, I remember the experience of seeing in person the statue Pietà, by Michelangelo. And that's an artifact that when you're standing in front of it, it has a certain volume because of the materials it's made from, you know that it has a certain weight and you can touch it. But you can feel that, being in this space with it, and it's very different to see it in photographs, which I had seen many photographs before I saw the real thing, but it's a different experience. And I don't know too much about new media art, but I remember in university looking at the work of Jenny Holzer. Matt: Yep. Jorge: And, for folks who are listening who might not know Jenny Holzer, she worked a lot with words, right? Like she had these slogans that she presented in various ways. And after Twitter, I have never been able to look at her work the same way. Matt: Yeah. It's so interesting. Being Relevant vs. Remaining Relevant Jorge: You know? And I'm wondering, with technologies that are changing so fast, as someone who is working with art, how do you balance expressing the needs and perhaps if we can use this phrase, the “spirit of the time” with making the work stand up over time and have some kind of longevity? Matt: Yeah, that is a very hard question. And it often comes down to the work having some sort of value beyond its technology. So, like with Jenny Holzer for instance, the words are an important part of her work, obviously, but so is the way that it's presented. So, you know, she made these big LED signs with scrolling text in different directions and sculptures out of them. She did a series of giant texts that was projected on buildings. So, like the context of presentation and the way that the words were made into an object really changes the work. But then the words themselves, you know, for some of the pieces are maybe good enough words that they stand up on their own. And so like, would Jenny Holzer's words work as a series of tweets, would they have the same impact? Maybe, maybe some of them would, maybe some of them wouldn't. And the ones that wouldn't, probably wouldn't because they rely on the context and materiality of the way that she presented them to create the meaning, of the overall piece. You know, one of the things that I love about, being an artist and, and working on artworks, especially like contemporary artwork, it's rarely a single thing. What we often are working with, especially what I'm working with is these like assemblages of things. And it's in the relationships between the things that the meaning emerges, rather than in the individual components themselves. So, I also work a lot with texts, and I've been working a lot with texts over the last year or so, and the texts themselves, most of them I don't think would hold up just as text or as poetry or as whatever. I think they need the rest of the things that go around them – the other objects or the aesthetic treatments or the context of presentation – in order to become meaningful. And one of the things that's interesting about this move to online that we're being forced through due to the closure of institutions and isolation, is that, well, the museums struggled to figure out how to present work online that was never meant to be seen that way, and to change its context, which changes its meaning. I think there's massive opportunity in starting to think about how to make work targeted at this new context like that exists natively in this kind of distributed way, which is not a new thing. People have been doing that. There's, like I said before, net artists and, lots of people who make art that's targeted at the internet or targeted at different media platforms. But this feels like an opportunity for more people or more of us to start thinking in that way and start to really like push at the boundaries and kind of assumptions baked into the networks that we exist within. So that's actually something that I find kind of exciting, and I'm starting to think about and work on. Closing Jorge: Well, that's a fantastic place to wrap up our conversation, because my next question to you is, “and where can folks follow up with you to find out what you're up to and is your art online in ways that folks could experience it?” Matt: A little bit of it is. You know, having learned how to make websites in the mid-nineties at the birth of the internet, I've never actually had a website of my own, because I've never happy with them and I never finished them, or like I'll finish part of it and then not put any content up. So, I am working actively right now and taking advantage of this time to make a website for myself. So, you can find my nascent website with very little content, but I'm going to be adding more every day at emenel.ca. Emenel, which are my initials spelled out phonetically, is also where you can find me on just about everything. I'm probably most active on Instagram these days, and I do post pictures of my work and work in progress on Instagram. And yeah, emenel.ca is my, it will be my website. It's there now, but there's not a lot of new content on it yet. I'm working on documenting some work and writing some stuff to put up there. Jorge: And I want to make a plug for your music as well. Matt: Oh yeah. Thanks! On my website there are links to my music projects. But I have, I have kind of three active projects right now. One is called New Tendencies, which is actually named after an Eastern European art movement from the sixties to the late seventies that was one of the first kind of computational art groups. So yeah, New Tendencies is kind of my more experimental music. I have a group called Soft Thoughts, which is kind of an ambient, soundscape kind of thing with two other musicians. And then I just started doing something I haven't done in a long time, but I started making, kind of like old school, minimal techno again, under the name Ma, M-A, and that's also on Bandcamp. But there's links to all these things on my website, or you can find them on Bandcamp, some of it's on Spotify, et cetera, but a lot of it's not. A lot of it's just on Bandcamp. Jorge: Well. Fantastic. I will include all of those in the show notes. It was such a pleasure having you on, Matt. Matt: Oh, I always love our conversations and I'm happy to talk anytime.

Two Scottish Libertarians discuss good jews, bad jews, jewish libertarians, Murray Rothbard, Ayn Rand, Milton Friedman, The Frankfurt School, Theodore Adorno, The Neo-cons. Richard Perle, Paul Wolfowitz, The Alt-Right. Scottish Liberty Podcast episode 63 brought to you by Antony Sammeroff and Tom Laird.

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

What's your sign? This is really 3 messages blended into one podcast. 0:00: Discusses what astrology and horoscopes are and explores the sociological impact when a society embraces horoscopes, however superficially, for generations, from the perspective of social theorist Theodore Adorno (from the materialist worldview).27:30: Explores God's perspective when people embrace horoscopes, however superficially.50:10. Compares horoscopes and astrology as the counterfeit attempt to the true gift of prophecy. You'll hear additional thoughts regarding how the sovereignty of God works, especially with respect to Israel and the other nations in the ancient world.  This was recorded before the first two podcasts though. Visit my YouTube channel at www.youtube.com/user/seersseeVisit my website at www.SeersSee.com and subscribe to the blog.  

In this special episode Deacon Jeremy Fackenthal & Tripp Fuller talk Marx and Whitehead at the 2012 Emergent Village Theological Conversation for 2012. The "Inverse Theology" that is referenced is from Walter Benjamin and Theodore Adorno. Also referenced is the popular blog from last month "Undercover Boss" by Stephen Keating  Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community. Learn more about your ad choices. Visit megaphone.fm/adchoices

A special interview for CKLN Radio with Alan Watt from CuttingThroughTheMatrix.com about music and the culture creation industry, also featured on Tuesday morning's "Rude Awakening" show with BK and Mark Bills. (Voice a bit hoarse due to sore throat and flu. Alan.) 00:00--0:57 - Sex, Drugs, The Charleston and Rock'n'Roll. 01:41--5:00 - Starmakers, The Beatles and Michael Jackson. 05:26--6:42 - Theodore Adorno and the Science of Music. 06:52--9:01 - Teenagers, Writers, Rebels and Role Models. 09:06--10:45 - Powerful People Wearing Masks Like Jason... 10:45--11:55 - ...Make Me Wanna Throw Up Gang Signs Like A Mason! 11:55--12:56 - Why Parents Just Don't Understand. 12:56--13:49 - Is Rap Meant For Humanity To Wrap It Up? 13:49--15:04 - Producers Will Produce Your New Image. 15:04--16:14 - Why Do Old White People Sell Offensive Music? 17:16--18:24 - How Music Can Communicate With Everyone. 18:24--18:41 - Can You Get On TV By Being Real? 18:52--20:22 - How Artists and Fans Can Make A Difference. 21:02--23:18 - The Future of the World Needs Good Music. 24:13--26:43 - Artists vs. Experts for the 21st Century. 26:50--30:06 - Cut Off Their Moves By Playing Music To Win. (Write-Up by Black Krishna.)