'The social function of Art', as Adorno will echo, 'is to not have one.' Egalitarian promise is enclosed in the work's self-sufficiency, in its indifference to every particular political project and in its refusal to get involved in decorating the mundane world.

It is subversive, as subsequent generations would discover, by dint of its radical separation of the sensorium of art from that of everyday aestheticized life. A contrast is thereby formed between a type of art that makes politics by eliminating itself as art and a type of art that is political on the proviso that it retains its purity, avoiding all forms of political intervention.


Jacques Ranciere, Dissensus: On Politics and Aesthetics (via lostcomm)

(via imkrebsgang)

Jordan GCZ “Crybaby J”

Falty DL - She Sleeps (2000Black Remix)

"The top decile [10%] of the wealth hierarchy already owned between 80 and 85 percent of all wealth at the beginning of the nineteenth century; by the turn of the twentieth, it owned nearly 90 percent. The top centile [1%] alone owned 45–50 percent of the nation’s wealth in 1800–1810; its share surpassed 50 percent in 1850–1860 and reached 60 percent in 1900–1910."

Piketty, Thomas, Capital in the Twenty-first Century, 2013, p. 311 (via fuckyeahdialectics)

"To be sure, older individuals are certainly richer on average than younger ones. But the concentration of wealth is actually nearly as great within each age cohort as it is for the population as a whole. In other words, and contrary to a widespread belief, intergenerational warfare has not replaced class warfare. The very high concentration of capital is explained mainly by the importance of inherited wealth and its cumulative effects: for example, it is easier to save if you inherit an apartment and do not have to pay rent."

Piketty, Thomas, Capital in the Twenty-first Century, 2013, p. 226-7 (via fuckyeahdialectics)

""I am really excited to welcome the World Cup winners during my lifetime. I am from East Germany and this is important," said Guenther Richter, 51, from East Berlin."


From East Germany? From East Berlin? What?

"The film and television corporations live off the money and the cooperation of the imaginative faculties (unpaid labour) which they extract from the spectator. They designate anyone a mature citizen who is willing to pay. Kant says: Enlightenment is man’s release (Ausgang) from his self-incurred tutelage (selbstverschuldeten Unmündigkeit). Leni Peickert says: ‘People are mature when they have their day off’ [‘Mündig ist der Mensch, wenn er Ausgang hat.]"

Alexander Kluge

"The need for objective art was not fulfilled in functional means and therefore encroached on autonomous means. It disavows art as the product of human labor, one that nevertheless does not want to be an object, a thing among other things. Art that is simply a thing is an oxymoron. Yet the development of this oxymoron is nevertheless the inner direction of contemporary art. Art is motivated by a con­flict: Its enchantment, a vestige of its magical phase, is constantly repudiated as unmediated sensual immediacy by the progressive disenchantment of the world, yet without its ever being possible finally to obliterate this magical element. Only in it is art’s mimetic character preserved, and its truth is the critique that, by its sheer existence, it levels at a rationality that has become absolute. Emancipated from its claim to reality, the enchantment is itself part of enlightenment: Its sem­blance disenchants the disenchanted world. This is the dialectical ether in which art today takes place. The renunciation of any claim to truth by the preserved magi­cal element marks out the terrain of aesthetic semblance and aesthetic truth. Art inherits a comportment of spirit once directed toward essence, and with it the chance of perceiving mediately that which is essential yet otherwise tabooed by the progress of rational knowledge. Though it will not acknowledge it, for the dis­enchanted world the fact of art is an outrage, an afterimage of enchantment, which it does not tolerate. If, however, art unflinchingly acquiesces in this and posits it­self blindly as sorcery, it degrades itself to an act of illusion in opposition to its own claim to truth and undermines itself with a vengeance. In the midst of the dis­enchanted world even the most austere idea of art, divested of every consolation, sounds romantic."

Theodor Adorno - Aesthetic Theory

"works become beautiful by the force of their opposition to what simply exists."

Theodor Adorno - Aesthetic Theory

"In aesthetic forms, cruelty becomes imagination: Something is excised from the living, from the body of language, from tones, from vi­sual experience. The purer the form and the higher the autonomy of the works, the more cruel they are. Appeals for more humane art, for conformity to those who are its virtual public, regularly dilute the quality and weaken the law of form. What art in the broadest sense works with, it oppresses: This is the ritual of the domination of nature that lives on in play. It is the original sin of art as well as its permanent protest against morality, which revenges cruelty with cruelty."

Theodor Adorno - Aesthetic Theory