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No one was better than Adorno at dissecting the psychic and emotional brutality of capitalism’s regimes of commodification and the increasing pressure it exerts on individuals to define themselves through consumption. This, he argued, led to the compulsion to shut off one’s capacity for empathy, whether with working people whose labor produces commodities (how could we shop at Wal-Mart otherwise?) or those whose homes, lives and futures are being sacrificed in the name of a market-friendly abstraction called “Iraqi freedom.”via arts and letters daily
Adorno referred to this “shut off” compulsion in refreshingly severe terms, calling it “the mechanism of psychic mutilation upon which present conditions depend for their survival.” As Lee suggests, he surely would have had much to say about our contemporary equivalent of proto-Nazi “body culture,” in which such perverse phenomena as full-body cosmetic “extreme makeovers” have moved from creepy evidence of psychopathology to prime-time entertainment.
Thus, those who assume that Adorno was politically conservative because he didn’t like American mass culture don’t look closely enough at why he didn’t like it—they miss the deep ideological interconnectedness he traced between subjectivity, consumption, production, the conditions of possibility for empathy and, with this, political agency. Because he saw these questions as interconnected, his work can be very hard to read. Yes, it is stylistically complex to an extent that can repel even those who agree with his analysis—“Critique of Capitalism for Dummies” this is not. But I would argue that the complexity is necessary to accommodate his consistent constellations of concerns.
opera cast
public radio fan
found footage festival
from reblog
boltz cd rack 600 x 4
"We're going through something very similar in real estate that we did with stocks," said Robert J. Shiller - a professor of economics at Yale, whose prescient book on stocks, "Irrational Exuberance" (Princeton University Press, 2000), appeared just a few months before technology stocks began their slide. "It's driven by the same forces: that investments can't go bad; that it has the potential to make you rich; that you'll regret it if you don't do it; that it looks expensive but is really not."
"With the push of a button, Clackamas High School staff can put the almost 2,000-student school in lockdown. Teachers also can lock themselves and students inside classrooms in an emergency. Clear lines of sight throughout the building allow monitoring of large swaths of interior space."
CINEMA ZERO at S I
film screening /
to change a thing into a different thing
curated by Amy Granat
Wed Mar 30 2005 / 7:30 pm
The S I is pleased to announce a collaboration with Cinema Zero, presenting a program of experimental films, selected by founding member Amy Granat. Please join Cinema Zero and the S I for this special event.
FILM PROGRAM
Marie Menken
HURRY!HURRY!
16mm, color, sound, 3 min.
Standish Lawder / soundtrack: Terry Riley
CORRIDOR (1968-70)
16mm, b&w, sound, 23 minutes
Jud Yalkut
THE GODZ (1966)
16mm, color, sound, 9 min.
Standish Lawder / soundtrack: Robert Withers
RAINDANCE (1972)
16mm, color, sound, 16 minutes
TOTAL RUNNING TIME approx 55 minutes
Cinema Zero, founded in 2004, fosters experimental cross-collaborations. Drawing from the collaborations and events at "Degree Zero / A Certain American Scene," a series organized in Grenoble by Olivier Mosset in the autumn of 2004, Cinema Zero has continued to strengthen is mission of fostering collaboration and experimentation with its Winter Solstice Program, featuring a film program curated by Amy Granat and an exhibition by Paul-Aymar Morgue d'Algue. This winter, dancer/choreographer Felicia Ballos and Amy Granat performed at Lombard-Fried and, through March 26, artist Rich Aldrich and Granat have an installation on view at Olivier Kamm in the exhibition KA/VH : RA/AG. Ballos and artist Anna Craycroft are currently working on developing a dance performance for fall 2005 that will be presented at the S I.
37 Short Fluxus Films Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Films by Nam June Paik, Dick Higgins, George Maciunas, Chieko Shiomi, John Cavanaugh, James Riddle, Yoko Ono, George Brecht, Robert Watts, Pieter Vanderbiek, Joe Jones, Eric Anderson, Jeff Perkins, Wolf Vostell, Albert Fine, George Landow, Paul Sharits, John Cale, Peter Kennedy, Mike Parr, Ben Vautier.
"Erik Satie and his cronies, after begging everyone in the gallery to ignore them, broke out into what they called Furniture Music-that is, background music-music as wallpaper, music to be purposely not listened to. The patrons of the gallery, thrilled to see musicians performing in their midst, ceased talking and politely watched, despite Satie's frantic efforts to get them to pay no attention."
hillbilly multiple
gender drinking
trailer in the expanded field
totally eclipsed
*sound*warning
see marfa tx
MG truike
bowery restaurant supply
chefs catalog
les switch bldg
Everywhere I go, no matter what I do, there is always some drunk lady screaming, ‘Aflac!’
Hitler's chief architect, Albert Speer, oversaw Prora's design competition, which was won by Clemens Klotz - more on the strength of his party connections than his architectural talent. Nazi architecture tended towards either monumental classical modernism - such as Speer's famous Nuremberg grounds - or the folksy, resolutely German Heimatstil. But Prora is neither of these. Its precedents were modernism's bold experiments with the "linear city", in which all urban functions were organised into an infinitely extensible system, leaving clear landscape on either side. Ivan Leonidov proposed such a plan for the Russian mining town of Magnitogorsk, as did Le Corbusier with his Plan Obus design for Algiers. In practical terms these ideas were almost science fiction but Prora made them real. Behind the hotel block would have been a mini town of sanctioned leisure facilities: gymnasium and swimming pool; concert hall; movie theatre, and as the centrepiece, a festivity hall large enough for all 20,000 visitors. Tellingly the latter was handled by a dif ferent architect, Erich zu Putlitz, in a stripped-down classical style more in keeping with Nazi tastes.