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Of course, the commodity fetish and its shine is always partly the result of nonvisual operations. Is it not just as applicable to Apple and its shiny products, and their production in China? So what, if anything, has changed? The technological intensification of opacity has made the jump from merely quantitative to qualitative. Production of phones in China is one thing; algorithmic high-frequency trading impacting not only the value of companies but the fate of whole nations is another.

Now that our political techno-economy is producing invisibilities to such an extent that we might polemically state that we inhabit a post-visual culture, images are no longer even fetishistic disavowals of productive relations but rather means of production among others. Are films still made to be watched, or to watch us? What we need are new, counterintuitive concepts. What about dark shine , in analogy to dark matter?

Is dark shine not what characterizes the world of server centers and of screens that could increasingly just as well go black, as the programs are increasingly autonomous agents making split-second decisions beyond human intervention? In a postvisual culture, the old strategy of revealing the hidden abodes of production, or revealing the production of shine, is insufficient. Shine is now a black box, and revealing its workings can—to the extent that it is possible—certainly be important, but it is ultimately more crucial to repurpose and reprogram it.

Click to start a discussion of the article above. Press, Werke 13 Frankfurt am Main: Suhrkamp, , Press, , Gesammelte Schriften I, ed. Rolf Tiedemann Frankfurt am Main: Suhrkamp, , Theodor W. Gesammelte Schriften 13 , ed.

Ihre Tableaux nehmen Ausstellungscharakter an. Richard Wagner, The Wibelungen , trans. Ariana Reines New York: Semiotexte, Alexander R. Benjamin Noys Wivenhoe: Minor Compositions, , , Search for. Facebook Twitter Instagram Privacy policy.

Journal Gilligan and Vishmidt argue that since the subject-object dialectic is a real reflection of the world of capital, perhaps a shift to the object in political thought can only go so far at present. Willem Claesz. Heda, Still Life with Glasses and Tobacco, Oil on panel.

Copyright: Wikimedia. In a publicity photo from the movie The Light in the Dark, a diagonal strip of light shines on the grail. Terry Gilliam illustrated the inanimate star and object of desire of Monty Python and the Holy Grail Download PDF. Shine and shininess are characteristic of surface effects, of glamour and spectacle, of bling-bling contingency, of ephemeral novelty, value added, and disposable fascination. Shine is what seizes upon affect as its primary carrier to mobilize attention.

Shine could be the paradoxically material base of an optical economy typically mis understood as being purely cognitive or immaterial. Even at an art fair or Hollywood gala, surface effects are widely deployed while being categorically Tom Holert.

Struggling to return to her job at a small solar panel factory, Sandra roams—by car, by bus, and by foot, often hesitantly, always tired—the urban and exurban spaces in and around Seraing Natascha Sadr Haghighian. I counted. Twenty-eight seconds green Two seconds yellow Thirty-seven seconds red One second yellow And again Twenty-eight seconds green Backlight The traffic light turned one hundred this summer, on August 5.

Apparently, the first electric traffic light was put in operation in Cleveland, Ohio. Its control signals were operated by a police officer who sat in a little shack at the intersection and rang Tavi Meraud. There are more pressing matters than this potentially touchy matter of pressing close. As such, it is in fact not so trivial or delicate after all.

These are notes towards a reconceptualization of intimacy in light of new ways in which we can think of the surface. Timotheus Vermeulen. Adrian Rifkin. It is. Brian Kuan Wood. Even if we are to resign ourselves to thinking of artworks as produced by structural or economic conditions, we end up bumping into a larger problem of having a hard time locating the way structural or economic conditions actually work today.

Maybe we are still inside the long historical tail of institutional critique trying to identify coercive structures when actually most of the institutions have already been defunded. Shine and Schein. There is nothing related.

Conversations - Shine and Schein. Start the Conversation. Notes - Shine and Schein. Go to Text. Martin, ibid. Shell, Money, Language, and Thought , Wagner, The Wibelungen. Share - Shine and Schein. Click to subscribe to e-flux and be the first to receive the latest news on international exhibitions and all e-flux related announcements.

Subscribe to e-flux. Be the first to receive the latest news on international exhibitions and all e-flux related announcements. Subscribe to architecture. The body experiences happiness as freedom from reason, freedom of and for "impulse" itself--a word whose connotations of irrationality Adorno charges with utopian voltages. Oddly, Adorno doesn't cite the distinction, posited by his erstwhile Oxford colleague Isaiah Berlin, of "positive freedom" freedom to participate in political life , as against "negative freedom" freedom from unnecessary social constraints.

But here as elsewhere Adorno's thematic of "ego weakness" converts Nietzsche's warnings about "the last man" from a portent for the future to a present condition, and in ways that resonate richly with Lacan and Zizek on the ways we learn to love our unhappiness. Adorno himself almost yields at moments to the premise that consciousness enlarges fruitfully only under the sting of unhappiness, though obviously the lectures as a whole assimilate freedom to happiness, however "broken" this "promise.

In his "Foreword " to History and Freedom , Rolf Tiedemann observes that for Adorno, "freedom" is a problem "in the philosophy of history, rather than in moral philosophy where it has traditionally been found" xvi.

I cite the point by way of an introduction of the Winter New German Critique special issue on "Adorno and Ethics. Almost half the New German Critique articles don't address ethics at all; those that do mostly project ethics as a high ideal that "we" continually fail, especially "after Auschwitz," to live up to. The New German Critique ethicists fret over "the very possibility of an ethics," finding of course for impossibility, and duly lamenting it.

The problematizations are subtle and scrupulous, but they skirt the problem Adorno rubs raw, the corruption and illegitimacy of "ethics" at large. After Auschwitz? The "ethics" essays are led off by J. Besides Agamben, Bernstein takes bearings from Primo Levi and Hannah Arendt a footnote explains that the essay is part of a larger attempt to reconcile Arendt and Adorno [35n7] ; another waypoint is Foucault's "modernity as biopolitics"--the claim not merely to power over subject populations, but of "administrative" sovereignty over biological process as such.

Hence the "administrative" drive, in the camps, to reduce the inmates to "living dead": to kill individuality and moral agency in advance of killing the "mere" physical bodies. Bernstein rewrites a famous sentence in the Dialectic of Enlightenment , putting "biopower" where the original had "enlightenment": "biopower is mythical fear radicalized" 40, adapting the Jephcott trans.

Hence if Agamben's account of "domination" is more philosophically coherent than Adorno's, this achievement proves to be self-discrediting. Thus does Agamben's ethical argument compromise the very possibility of an ethics. Adorno partisans will think this a satisfying result, but it raises the question, Why adduce Agamben at all? Bernstein defaults to the Adorno premise that a properly philosophical response to the Shoah must resist the "dialectic of enlightenment" dynamic of domination.

In Adorno, that means at minimum a response that owns affect, and on that ground, surely, Arendt is closer to Adorno than to Agamben. I can't guess whether Bernstein's pursuit of his theme will traverse the question of "philosophy and literature," but his evocation of Primo Levi in a moving passage from The Drowned and the Saved seems a promising, if oblique nod toward "the aesthetic. Christina Gerhardt's "The Ethics of Animals in Adorno and Kafka" reviews Adorno's treatment of cruelty to animals, the relevant contexts from Kantian "Reason" in which animals figure simply as the not-rational to Freud's account of totemism which uncovers telling cathexes of animals in the unconscious , and Schopenhauer.

The essay is more a survey than a critical discussion: the account of Kafka, for instance, makes nothing of the affective distance between the stories functioning within the "animal fable" paradigm the ape of "Report to an Academy," the dog of the "Investigations" and that wholly original ordeal of guilty revulsion, "The Metamorphosis.

The richest of the "ethics" essays is Robert Kaufman's "Poetry's Ethics? Theodor W. Kaufman is a professor of literature, with joint appointments in English and German; he offers close readings of key passages, almost always citing and discussing the German text as well as the translation, beginning with the first "after Auschwitz" quote and Adorno's many variant restatements of it throughout the ensuing controversy. A "semblance," in short, that refuses " adaequatio " conceptions of representation, can "keep the difference" between the terms of Kaufman's title "aesthetic illusion," which "keeps determination and ethical possibility open for exploration," and the "sociopolitical delusion" that "the poem itself is already an ethical or political act" Kaufman writes and argues with a daring that accepts the challenge of Adorno's dictum which he quotes [92] that "The prudence that restrains us from venturing too far ahead in a sentence, is usually only an agent of social control, and so of stupefaction" Minima Moralia He pursues, for example, the "poetry is barbaric" meme via the "homeopathic" twists of "immanent critique," to the point of turning Adorno's initial scorn of a certain genteel denial of twentieth-century barbarism into a justification of an unflinching poetry of shock, of "semblance"-barbarism like Paul Celan's.

On Kaufman's as on Adorno's showing, poetry's ethics prove more flexible, more open, more ethical indeed, than philosophy's; but Kaufman makes explicit the "ultimate [ethical] concern" to recall Adorno's under-acknowledged early mentor, Paul Tillich that Adorno refused to declare in so many words. As in the famous Hemingway passage about the words we don't use anymore, refusal of the word attests commitment to the thing.

Kaufman's emphasis on Adorno's language segues conveniently to two articles that touch on Adorno's implicit "philosophy of language. Richter argues the case by reading the last section of Minima Moralia with close attention to the German and with many instructive dissents from the standard translation by Edmund Jephcott. As in Kaufman, Adorno's "non-propositional" truth-claim refuses " adaequatio " in favor of a Messianically-tinted "mimesis of what does not yet exist, the negative traces of a futurity that can be neither predicted nor programmed in advance but that nevertheless inscribe themselves into the artwork and into the philosophy that enters a relation with that artwork, as a nonidentical and negatively charged otherness" Richter Samir Gandesha defends Adorno in "The 'Aesthetic Dignity of Words': Adorno's Philosophy of Language" against Habermas's charge that Adorno remains stuck in a "philosophy of consciousness" by appealing to what he considers Adorno's implicit philosophy of language.

The argument is based on Adorno's early "Theses on the Language of the Philosopher," which Gandesha and Michael Palamarek have translated for the first time, in a forthcoming University of Toronto volume, Adorno and the Need in Philosophy. The translation is not included here. Adorno writes that "all philosophical critique today is possible as the critique of language," a dictum that Gandesha calls "programmatic for his philosophy as a whole" and that he connects with the early Wittgenstein's adviso that "all philosophy is critique of language" Tractatus 4.

He likewise assimilates Horkheimer and Adorno's diagnosis of the "entwinement of myth and enlightenment" to the later Wittgenstein's campaign against the "bewitchment" of thought by language. Adorno does not share Wittgenstein's aspiration to "leave everything as it was.

I come at last to the two essays that come first in the New German Critique special issue. Adorno's American Experience," wants to overturn the received view of the "mandarin" Adorno holding his nose through his forced exile in vulgar America. This meme is in the air, as witness David Jenemann's Adorno in America U of Minnesota P, --but whereas the American Jenemann stays modest in his claims, to avoid any appearance of grabby over-reach, Claussen, a German, stages the "American Adorno" as an affront to his countrymen, who take their proprietary title to Adorno too complacently for granted.

Indeed, he might not have adopted that name; Claussen's freshest suggestion is that Adorno dropped "Wiesengrund" in in California not to minimize his Jewishness the usual conjecture but to downplay his Germanness. But see below. Claussen overstates his case regarding Adorno's absorption of American social-science research methods: Adorno's indictments of positivism and empiricism, early and late, attest that his work on Paul Lazarsfeld's Radio Project and The Authoritarian Personality only intensified his disdain of quantitative "research.

Jay is alert to the politics, most interestingly with the suggestion that "authenticity" as a subtext of fascist racism prompted Adorno and Benjamin to valorize "the stigma of inauthenticity" Jay adapts his title from Minima Moralia on behalf of those condemned in Nazi-speak as "rootless cosmopolitans. Especially illuminating is Jay's articulation of "authenticity" with "mimesis.

To that extent mimesis has the potential to function not as the repetition but as the critique of "what is," and not despite its "inauthenticity" but because of it. Hence the stakes in "taking on the stigma of inauthenticity. Jay deftly explains the terminological aspects of the question--i. I picked up the Adorno-Mann correspondence expecting light on the Doctor Faustus collaboration, and I salivated over the early letter in which Mann woos Adorno, explaining what kind of novel he has in mind, and what kind of help he wants, but the actual work took place in real time when Mann and Adorno lived within easy reach of each other in Los Angeles, and by page 18 Doctor Faustus is already in print.

There are appendices reprinting Adorno's two memos on how to characterize particular works by "Adrian Leverkuhn," Mann's composer-protagonist; these are apparently the principal documentary remains of the collaboration.

The reviews and controversies following Faustus 's publication prompt some interesting exchanges, but the interest of these letters lies elsewhere. I place Schoenberg's pique at Mann's novel, whose protagonist is credited with the dodecaphonic system Schoenberg himself invented, among the "elsewhere.

Mann swore never to return; when he finally left California, it was to end his days in Switzerland. Adorno's Frankfurt University stint as visiting lecturer was intended as a reconnaissance, but receptive students, a sense of duty as a public intellectual, and his unforeseen home-coming emotions not to mention the rise of HUAC and McCarthy in America started him thinking of returning for good. His first letter from Frankfurt to Mann makes a rich complement to the one he wrote his mother see below.

Throughout, Mann and Adorno are exchanging current work: on Adorno's side, Philosophy of New Music Mann had read the Schoenberg sections in draft while writing Faustus , but the Stravinsky sections were new to him , Against Epistemology, In Search of Wagner , and numerous essays, reviews, radio talks, etc.

The back-and-forth, as each comments on the other's latest work, is intellectual exchange of a very high caliber. The extensive discussion of Wagner [] is particularly rich. There is, however, almost no disagreement between these two, and such differences as there are, they express in the mildest possible terms.

Mann was ever the canny literary diplomat, but an Adorno who pulls his punches is something new. Here is the largest interest or guiltiest pleasure? For Mann, Adorno is initially an intellectual whose musical expertise he needs and whose continuing allegiance he wants; his praises of Adorno's works can feel more than a little overdone.

It helps, of course, that Adorno is an admirer from the beginning. Adorno, for his part, finds himself dealing for once with more than an equal: with a great and politically committed literary artist and cultural icon. Mann's Nobel came in , when Adorno was Mann clearly had, and kept, the upper hand. Adorno saw that association with Mann could greatly boost his own prestige. Doesn't Adorno compromise principle not to say, make his own Faustian bargain in agreeing to serve Mann's basic premise--Schoenberg as the proto-Nazi Faust?

In any case, when Mann announces that he is writing a memoir about the composition of Faustus , Adorno is thrilled that his backstage role will get a curtain call, a prospect Mann played up while the book Story of a Novel was in progress. In the event, Adorno would be disappointed: Mann's praise was fulsome, but Adorno thought understated his contribution. And of course Adorno had to swallow his spleen; he could never confess to Mann how slighted he felt. Mann, as accredited culture-hero, can address Adorno with magisterial aplomb; Adorno, by contrast, is as usual indeed, more than usual anxious to dazzle.

Story of a Novel isn't the only case in which Mann seems almost to toy with the feelings of his admirer; consider also the issue of Mann's "modernism. This push-pull is the subtext of a late exchange that begins when Mann confides his despair over Felix Krull , a comical picaresque of horny youth he had left unfinished decades earlier; resuming it now, at age 77, alas! The letter is clearly fishing for encouragement, and Adorno is positively gallant in response: Mann's past accomplishment has brilliantly reinvented genres, evaded the old-fashioned "will to style," drawn power from dramatizing, not reconciling, tensions--assurances, of course, encoding an undeclared manifesto for Mann's modernism.

The head-games are of an altogether different kind in Adorno's Letters to His Parents. To his public, Adorno was a virtuoso of unhappy consciousness; en famille , he's a virtuoso of cheery exuberance--allowing that "virtuoso" connotes a certain willfulness.

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