http://en.wikipedia.org/wiki/Theodor_W._Adorno
Theory Adorno was chiefly influenced by Max Weber's critique of disenchantment, Georg Lukacs's Hegelian interpretation of Marxism, as well as Walter Benjamin's philosophy of history, although Weber's influence has until recently been underestimated. Adorno, along with the other major Frankfurt School theorists Max Horkheimer and Herbert Marcuse, argued that advanced capitalism had managed to contain or liquidate the forces that would bring about its collapse and that the revolutionary moment, when it would have been possible to transform it into socialism, had passed. As he put it at the beginning of his Negative Dialectics (1966), philosophy is still necessary because the time to realise it was missed. Adorno argued that capitalism had become more entrenched through its attack on the objective basis of revolutionary consciousness and through liquidation of the individualism that had been the basis of critical consciousness. Whilst Adorno's work focuses on art, literature and music as key areas of sensual, indirect critique of the established culture and modes of thought, there is also a strand of distinctly political utopianism evident in his reflections especially on history. The argument, which is complex and dialectic, dominates his Aesthetic Theory, Philosophy of New Music and many other works. Adorno saw the culture industry as an arena in which critical tendencies or potentialities were eliminated. He argued that the culture industry, which produced and circulated cultural commodities through the mass media, manipulated the population. Popular culture was identified as a reason why people become passive; the easy pleasures available through consumption of popular culture made people docile and content, no matter how terrible their economic circumstances. * (See "Don't Worry; Be Happy") The differences among cultural goods make them appear different, but they are in fact just variations on the same theme. He wrote that "the same thing is offered to everybody by the standardised production of consumption goods" but this is concealed under "the manipulation of taste and the official culture's pretense of individualism". [10] Adorno conceptualised this phenomenon as pseudo-individualization and the always-the-same. He saw this mass-produced culture as a danger to the more difficult high arts. Culture industries cultivate false needs; that is, needs created and satisfied by capitalism. True needs, in contrast, are freedom, creativity, and genuine happiness. But the subtle dialectician was also able to say that the problem with capitalism was that it blurred the line between false and true needs altogether. The work of Adorno and Horkheimer heavily influenced intellectual discourse on popular culture and scholarly popular culture studies. At the time Adorno began writing, there was a tremendous unease among many intellectuals as to the results of mass culture and mass production on the character of individuals within a nation. By exploring the mechanisms for the creation of mass culture, Adorno presented a framework which gave specific terms to what had been a more general concern. At the time this was considered important because of the role which the state took in cultural production; Adorno's analysis allowed for a critique of mass culture from the left which balanced the critique of popular culture from the right. From both perspectives — left and right — the nature of cultural production was felt to be at the root of social and moral problems resulting from the consumption of culture. However, while the critique from the right emphasized moral degeneracy ascribed to sexual and racial influences within popular culture, Adorno located the problem not with the content, but with the objective realities of the production of mass culture and its effects, e.g. as a form of reverse psychology. Many aspects of Adorno's work are relevant today and have been developed in many strands of contemporary critical theory, media theory, and sociology. Thinkers influenced by Adorno believe that today's society has evolved in a direction foreseen by him, especially in regard to the past (Auschwitz), morals or the Culture Industry. The latter has become a particularly productive, yet highly contested term in cultural studies. Many of Adorno's reflections on aesthetics and music have only just begun to be debated, as a collection of essays on the subject, many of which had not previously been translated into English, has only recently been collected and published as Essays on Music. His work on the culture industry has been criticized by such writers as Christian Bethune, who point out both that Adorno's critique is not based on a thorough knowledge of popular cultural forms, but also that it has an "end of history" tone to it. Taking Adorno's critique of popular music to its logical conclusion, one would have to conclude that Blues or rocknroll, jazz, rap or punk, were also simply one hundred percent commercial inventions for profit, with no contradictions within them. Adorno, again along with the other principal thinkers of the Frankfurt school, attacked positivism in the social sciences and in philosophy. He was particularly harsh on approaches that claimed to be scientific and quantitative, although the collective work The Authoritarian Personality that appeared partly under Adorno's name was an influential empirical study in the social sciences in America after its publication in 1950. Adorno's work in the years before his death was shaped by the idea of "negative dialectics", set out especially in his book of that title. A key notion in the work of the Frankfurt School since Dialectic of Enlightenment had been the idea of thought becoming an instrument of domination that subsumes all objects under the control of the (dominant) subject, especially through the notion of identity, i.e. of identifying as real in nature and society only that which harmonized or fit with dominant concepts, and regarding as unreal or non-existent everything that did not. Adorno's "negative dialectics" was an attempt to articulate a non-dominating thought that would recognize its limitations and accept the non-identity and reality of that which could not be subsumed under the subject's concepts. Indeed, Adorno sought to ground the critical bite of his sociological work in his critique of identity, which he took to be a reification in thought of the commodity form or exchange relation which always presumes a false identity between different things. The potential to criticise arises from the gap between the concept and the object, which can never go into the former without remainder. This gap, this non-identity in identity, was the secret to a critique of both material life and conceptual reflection.[citation needed] * Bobby McFerrin Don't Worry, Be Happy Lyrics Don't Worry, Be Happy >From the Movie "Cocktails" Performed by Bobby McFerrin Here is a little song I wrote You might want to sing it note for note Don't worry be happy In every life we have some trouble When you worry you make it double Don't worry, be happy...... Ain't got no place to lay your head Somebody came and took your bed Don't worry, be happy The land lord say your rent is late He may have to litigate Don't worry, be happy Lood at me I am happy Don't worry, be happy Here I give you my phone number When you worry call me I make you happy Don't worry, be happy Ain't got no cash, ain't got no style Ain't got not girl to make you smile But don't worry be happy Cause when you worry Your face will frown And that will bring everybody down So don't worry, be happy (now)..... There is this little song I wrote I hope you learn it note for note Like good little children Don't worry, be happy Listen to what I say In your life expect some trouble But when you worry You make it double Don't worry, be happy...... Don't worry don't do it, be happy Put a smile on your face Don't bring everybody down like this Don't worry, it will soon past Whatever it is Don't worry, be happy _______________________________________________ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
