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CRITICAL THEORY and AUTHORITARIAN POPULISM Critical Theory and Authoritarian Populism
CDSMS EDITED BY JEREMIAH MORELOCK CRITICAL THEORY AND AUTHORITARIAN POPULISM Critical Theory and Authoritarian Populism edited by Jeremiah Morelock Critical, Digital and Social Media Studies Series Editor: Christian Fuchs The peer-reviewed book series edited by Christian Fuchs publishes books that critically study the role of the internet and digital and social media in society. Titles analyse how power structures, digital capitalism, ideology and social struggles shape and are shaped by digital and social media. They use and develop critical theory discussing the political relevance and implications of studied topics. The series is a theoretical forum for in- ternet and social media research for books using methods and theories that challenge digital positivism; it also seeks to explore digital media ethics grounded in critical social theories and philosophy. Editorial Board Thomas Allmer, Mark Andrejevic, Miriyam Aouragh, Charles Brown, Eran Fisher, Peter Goodwin, Jonathan Hardy, Kylie Jarrett, Anastasia Kavada, Maria Michalis, Stefania Milan, Vincent Mosco, Jack Qiu, Jernej Amon Prodnik, Marisol Sandoval, Se- bastian Sevignani, Pieter Verdegem Published Critical Theory of Communication: New Readings of Lukács, Adorno, Marcuse, Honneth and Habermas in the Age of the Internet Christian Fuchs https://doi.org/10.16997/book1 Knowledge in the Age of Digital Capitalism: An Introduction to Cognitive Materialism Mariano Zukerfeld https://doi.org/10.16997/book3 Politicizing Digital Space: Theory, the Internet, and Renewing Democracy Trevor Garrison Smith https://doi.org/10.16997/book5 Capital, State, Empire: The New American Way of Digital Warfare Scott Timcke https://doi.org/10.16997/book6 The Spectacle 2.0: Reading Debord in the Context of Digital Capitalism Edited by Marco Briziarelli and Emiliana Armano https://doi.org/10.16997/book11 The Big Data Agenda: Data Ethics and Critical Data Studies Annika Richterich https://doi.org/10.16997/book14 Social Capital Online: Alienation and Accumulation Kane X. -
Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
CRITICAL THEORY Past, Present, Future Anders Bartonek and Sven-Olov Wallensein (Eds.) SÖDERTÖRN PHILOSOPHICAL STUDIES
CRITICAL THEORY Past, Present, Future Anders Bartonek and Sven-Olov Wallensein (eds.) SÖDERTÖRN PHILOSOPHICAL STUDIES The series is attached to Philosophy at Sder- trn University. Published in the series are es- says as well as anthologies, with a particular em- phasis on the continental tradition, understood in its broadest sense, from German idealism to phenomenology, hermeneutics, critical theory and contemporary French philosophy. The com- mission of the series is to provide a platform for the promotion of timely and innovative phil- osophical research. Contributions to the series are published in English or Swedish. Cover image: Kristofer Nilson, System (Portrait of a Swedish Tax Form), 2020, Lead pencil drawing on chalk paint, on mdf 59.2 x 42 cm. Photo: Jesper Petersen. Te Swedish tax form is one of many systems designed to handle and present information. Mapped onto the surface of an artwork, it opens a free space; an untouched surface where everything can exist at the same time. Kristofer Nilson Critical Theory Past, Present, Future Edited by Anders Bartonek & Sven-Olov Wallenstein Sdertrns hgskola Sdertrns University Library SE-141 89 Huddinge www.sh.se/publications © the Authors Published under Creative Commons Attribution 3.0 Unported License Cover layout: Jonathan Robson Graphic form: Per Lindblom & Jonathan Robson Printed by Elanders, Stockholm 2021 Sdertrn Philosophical Studies 28 ISSN 1651-6834 Sdertrn Academic Studies 83 ISSN 1650-433X ISBN 978-91-89109-35-3 (print) ISBN 978-91-89109-36-0 (digital) Contents Introduction -
The Culture Industry As Mass Deception Revisited
XULAneXUS Volume 9 | Issue 1 Article 8 12-1-2011 The rF ankfurt School and the Problem with Popular Culture: The ulturC e Industry as Mass Deception Revisited Nelantha K. Riley Follow this and additional works at: https://digitalcommons.xula.edu/xulanexus Recommended Citation Riley, Nelantha K. (2011) "The rF ankfurt School and the Problem with Popular Culture: The ulturC e Industry as Mass Deception Revisited," XULAneXUS: Vol. 9 : Iss. 1 , Article 8. Available at: https://digitalcommons.xula.edu/xulanexus/vol9/iss1/8 This Article is brought to you for free and open access by XULA Digital Commons. It has been accepted for inclusion in XULAneXUS by an authorized editor of XULA Digital Commons. For more information, please contact [email protected]. Riley: The Frankfurt School and the Problem with Popular Culture: The Cu ! Volume 9, Issue 1, December 2011. Scholarly Note. 9-18. ! <http://xulanexus.xula.edu/textpattern/index.php?id=121> ! The Frankfurt School and the Problem with Popular Culture: The Culture Industry as Mass Deception Revisited Nelanhta K. Riley, Psychology Faculty Mentor: Dr. Christopher Faircloth, Sociology Abstract The turn to the 21st century and the technological advances that came with it have made the culture industry a force to be reckoned with, but at the same time changing the dynamics of the marketing Nelanhta Riley is a Psychology arena. Now more than ever, the Internet has become a marketing major with a minor in Sociology entity in its own right. The varying industries of culture are no from New Orleans, LA. Upon longer the gatekeepers of public opinion and product critique. -
Paul Ricoeur's Hermeneutics of Symbols: a Critical Dialectic Of
KRITIKE VOLUME FOUR NUMBER TWO (DECEMBER 2010) 1-17 Article Paul Ricoeur’s Hermeneutics of Symbols: A Critical Dialectic of Suspicion and Faith Alexis Deodato S. Itao Introduction ritical theory, which started in Germany through the members of the Frankfurt School1 in the early 1920’s, has inspired a number of non- CGerman philosophical schools and philosophers to establish their own unique critical theories. Paul Ricoeur (1913-2005), who is one of the most celebrated contemporary philosophers in France, is one of those who fashioned a “unique version of critical theory.”2 David Kaplan reveals that Ricoeur is even “committed to a conception of philosophy as critical theory resulting in personal and social transformation and progressive politics.”3 However, Ricoeur’s philosophy as a whole has mainly been considered hermeneutical, that is, one concerned mostly with questions involving interpretation. Emerita Quito ascertains, for instance, that “Ricoeur’s entire philosophy finally centered on hermeneutics.”4 Likewise, Don Ihde confirms how hermeneutics eventually became the “guiding thread which unites” all of Ricoeur’s diverse interests.5 Indeed, Ricoeur devoted much of his writings in 1 Douglas Kellner relates that “the term ‘Frankfurt School’ refers to the work of the members of the Institut für Sozialforschung (Institute for Social Research) which was established in Frankfurt, Germany, in 1923 as the first Marxist-oriented research centre affiliated with a major German university. Under its director, Carl Grünberg, the institute’s work -
The Great Refusal: Herbert Marcuse and Contemporary Social Movements
Excerpt • Temple University Press 1 Bouazizi’s Refusal and Ours Critical Reflections on the Great Refusal and Contemporary Social Movements Peter N. Funke, Andrew T. Lamas, and Todd Wolfson The Dignity Revolution: A Spark of Refusal n December 17, 2010, in a small rural town in Tunisia, an interaction that happens a thousand times a day in our world—the encounter Obetween repression’s disrespect and humanity’s dignity—became a flashpoint, igniting a global wave of resistance. On this particular day, a police officer confiscated the produce of twenty-six-year-old street vendor Mohamed Bouazizi and allegedly spit in his face and hit him. Humiliated and in search of self-respect, Bouazizi attempted to report the incident to the municipal government; however, he was refused an audience. Soon there- after, Bouazizi doused himself in flammable liquid and set himself on fire. Within hours of his self-immolation, protests started in Bouazizi’s home- town of Sidi Bouzid and then steadily expanded across Tunisia. The protests gave way to labor strikes and, for a few weeks, Tunisians were unified in their demand for significant governmental reforms. During this heightened period of unrest, police and the military responded by violently clamping down on the protests, which led to multiple injuries and deaths. And as is often the case, state violence intensified the situation, resulting in mounting pressure on the government. The protests reached their apex on January 14, 2011, and Tunisian president Ben Ali fled the country, ending his twenty- three years of rule; however, the demonstrations continued until free elec- tions were declared in March 2011. -
T. W. Adorno: Cinema in Spite of Itself—But Cinema All the Same
t.w. adorno cinema in spite of itself—but cinema all the same NICOLE BRENEZ Translated by Olivier Delers and Ross Chambers The logic of the principle of expression implies the moment of its negation, a negative form of truth that changes love into an inflexible power of protest. Adorno1 Few theorists have been as critical of cinema as T.W. Adorno. Critical in this context implies all of the following: methodical, negative and subtle. The Frankfurt School took as its object of critique the processes whereby phenomena become reified; in the symbolic field the school concentrated therefore on the workings of industrialisation and ‘the transformation of culture into a system of regimentation’.2 T.W. Adorno developed a basic critique of two of the cultural fields that entail recording: music and cinema. For him, cinema and popular or popularised music (music recorded, broadcast, its forms contaminated by their use as social wallpaper, music in short viewed as an emanation pure and simple of the world of industry) were emblematic of how works of art had become commodified cultural products. A cultural ‘commodity’ represents simultaneously the means of a confiscation, a mode of corruption, a simulacrum, and a sort of formal joke. Music, though, lays claim of course to its own immense past, as well as to the demands it was contemporaneously making (demands embodied in the person of Schönberg). As a consequence it continues to exist as an art even in its ‘lighter’ form. But cinema, which arose out of techniques of recording and whose primary goal is reproduction organised into an industry, appears from the start as a powerful instru- ment of domination, propaganda and falsification. -
The Culture Industry: Enlightenment As Mass Deception: a Critical Analysis
Study material-RNC/Eng/PG-II CC-8 Unit-III a The Culture Industry: Enlightenment as Mass Deception: A Critical Analysis Ravi Kumar Sinha Department of English R. N. College, Hajipur ‘Culture Industry: Enlightenment as Mass Deception’ is a chapter in Max Horkheimer and Theodor Adorno’s book “Dialectic of Enlightenment’, which unravels the process through which the institution of culture operates as an industry. The phrase culture industry refers to mass production of homogenous and standardized cultural goods for their mass consumption without requiring application of discerning ability. The central thesis of these Frankfurt School theorists is that culture industry perpetuates the exploitation of the mass by the capitalist system. According to them, the capitalist society, in an imperceptible but decisive way, seeks to transform culture into a veritable industry. This industry manufactures consumer products in the name of cultural products, which are standardized and homogenous in nature. Thus painting, literature and cinema largely make use of hackneyed and stock materials and as such become commodified. They do not intend to promote creativity, inquisitive tendency and imaginative independence of an individual. Their basic motive is to transform individuals into passive consumers so as to manipulate their consciousness. Culture industry provides easy entertainment which diverts the mass form the wrong and unjust activities of the ruling capitalist class. The cheap amusement being served in the name of culture maintains the illusion of a comfortable retreat from the agony of the exploitative social order. In this way, the mass is unsuspectingly lured away to a make-believe world. Ironically, the only freedom available to them is a freedom from creative and independent thinking. -
Culture Industry and Media Analytics in the Early 21St Century
100 Billion Data Rows per Second: Culture Industry and Media Analytics in the Early 21st Century Forthcoming in International Journal of Communication, special issue “Digital Traces in Context.” Lev Manovich | manovich.net Professor, Ph.D. Program in Computer Science, The Graduate Center, City University of New York. Director, Software Studies Initiative | softwarestudies.com Analytics dashboard in offices of Vogue UK. Screenshot from video “Alexa Chung Uncovers Fashion Industry Secrets - Full Series One | Future of Fashion | British Vogue, “published on YouTube.com on October 27, 2015, http://www.youtube.com/watch?v=Bi2nc_xxnvs. “Culture today is infecting everything with sameness. Film, radio and magazines form a system…Interested parties like to explain culture industry in technological terms. Its millions of participants, they argue, demand reproduction processes that inevitably lead to the use of standard processes to meet the same needs at countless locations… In reality, the cycle of manipulation and retroactive need is unifying the system is ever more tightly.” Theodor Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass Deception," in Dialectic of Enlightenment, 1944, http://web.stanford.edu/dept/DLCL/files/pdf/adorno_culture_industry. pdf. Facebook 2015 stats: “Photo uploads total 300 million per day”; “968 million people log onto Facebook daily”; “50% of 18-24 year-olds go on Facebook when they wake up.” Source: “The Top 20 Valuable Facebook Statistics,” October 2015, https://zephoria.com/top-15-valuable- facebook-statistics/. “Scuba is Facebook's fast slice-and-dice data store. It stores thousands of tables in about 100 terabytes in memory. It ingests millions of new rows per second and deletes just as many. -
Media Culture: Cultural Studies, Identity and Politics Between The
Media Culture Media Culture develops methods and analyses of contemporary film, television, music, and other artifacts to discern their nature and effects. The book argues that media culture is now the dominant form of culture which socializes us and provides materials for identity in terms of both social reproduction and change. Through studies of Reagan and Rambo, horror films and youth films, rap music and African- American culture, Madonna, fashion, television news and entertainment, MTV, Beavis and Butt-Head, the Gulf War as cultural text, cyberpunk fiction and postmodern theory, Kellner provides a series of lively studies that both illuminate contemporary culture and provide methods of analysis and critique. Many people today talk about cultural studies, but Kellner actually does it, carrying through a unique mixture of theoretical analysis and concrete discussions of some of the most popular and influential forms of contemporary media culture. Criticizing social context, political struggle, and the system of cultural production, Kellner develops a multidimensional approach to cultural studies that broadens the field and opens it to a variety of disciplines. He also provides new approaches to the vexed question of the effects of culture and offers new perspectives for cultural studies. Anyone interested in the nature and effects of contemporary society and culture should read this book. Kellner argues that we are in a state of transition between the modern era and a new postmodern era and that media culture offers a privileged field of study and one that is vital if we are to grasp the full import of the changes currently shaking us. -
The Culture Industry
Theodor W. Adorno The Culture Industry Selected essays on mass culture Edited and with an introduction by J. M. Bernstein London and New York First published 1991 by Routledge First published in Routledge Classics 2001 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor and Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Introduction © J. M. Bernstein 1991 The copyright for the Adorno papers is as follows: from Theodor W. Adorno, Gesammelte Schriften, edited by Rolf Tiedmann, Volumes 8 & 10 © Surhkamp Verlag 1972, 1976; Volume 3 © Surhkamp Verlag 1981 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalog record for this book has been applied for ISBN 0-203-99606-2 Master e-book ISBN ISBN 0–415–25534–1 (hbk) ISBN 0–415–25380–2 (pbk) 3 CULTURE INDUSTRY RECONSIDERED The term culture industry was perhaps used for the first time in the book Dialectic of Enlightenment, which Horkheimer and I published in Amsterdam in 1947. -
The New Culture Industry Tracing Democratization, Cultural Pluralism, and a New ‘Stillness’ in Modern Music
Savoy 1 The New Culture Industry Tracing democratization, cultural pluralism, and a new ‘stillness’ in modern music Augie Savoy Professor Jennifer Friedlander 9/28/20 Savoy 2 PREFACE In this country, it’s very hard for creative thought to escape capitalism. —Juan Atkins I have the impression that many of the elements that are supposed to provide access to music actually impoverish our relationship with it. —Michel Foucault As a listener, my earliest memory of music is hearing Michael Jackson’s Off the Wall on a portable CD player when I went to pre-school in Norway. Because my family had recently moved there, I had no experience speaking Norwegian and, until I figured it out, my parents thought I could listen to music to pass the time. For better or worse, it did far more than that. It started my love affair with music. On the surface, Off the Wall was straight to the point, ener- getic, and loud. As I replayed it, I realized that I could stick my head into the production and hear all the small details. The drums were rigid and robotic. The bass was relaxed and fluid. Michael Jackson’s voice was elastic, traveling across an entire emotional spectrum from tender to harsh. The production felt like a spectrum of different faces and characters. It was the storytelling and humanness of the record that made it compelling. It turned an uneventful day in pre-school, sur- rounded by kids I couldn’t understand, into a cinematic piece of art. Like Michael Jackson’s legacy, however, my relationship to music has become more complicated as I’ve gotten older.