I’ve been so busy the past two weeks and haven’t posted much, much less about personal stuff, but I’m excited because today my friend is taking me to a wine tasting yay wine
When someone asks, ‘what’s the use of philosophy?’ the reply must be aggressive since the question tries to be ironic and caustic. Philosophy does not serve the State or the Church, who have other concerns. It serves no established power. The use of philosophy is to sadden. A philosophy that saddens no one, that annoys no one, is not philosophy.
The property appertaining to the commodity as its fetish character attaches as well to the commodity-producing society—not as it is in itself, to be sure, but more as it represents itself and thinks to understand itself whenever it abstracts from the fact that it produces precisely commodities. The image that it produces of itself in this way, and that it customarily labels as its culture, corresponds to the concept of phantasmagoria (compare “Eduard Fuchs, Collector and Historian,” section 3). The latter is defined by Wiesengrund “as a consumer item in which there is no longer anything that is supposed to remind us how it came into being. It becomes a magical object, insofar as the labor stored up in it comes to seem supernatural and sacred at the very moment when it can no longer be recognized as labor” (T.W. Adorno, “Fragmente über Wagner,” Zeitschrift für Sozialforschung, 8, nos. 1-2 , p. 17). In connection with this, from the manuscript on Wagner (pp. 46-47): “The art of Wagner’s orchestration has banished…the role of the immediate production of sound from the aesthetic totality…Anyone fully able to grasp why Haydn doubles the violins with a flute in piano might well get an intuitive glimpse into why, thousands of years ago, men gave up eating uncooked grain and began to bake bread, or why they started to smooth and polish their tools. All trace of its own production should ideally disappear from the object of consumption. It should look as though it had never been made, so as not to reveal that the one who sells it did not in fact make it, but rather appropriated to himself the labor that went into it. The autonomy of art has its origin in the concealment of labor.”*
not only do we have Adorno talking about Wagner and Benjamin on the commodity character of the work of art, but this is also the final entry in the X Konvolut, which is titled “Marx”
*: note 62 in my edition: “Theodor Adorno, In Search of Wagner, trans. Rodney Livingstone (London: Verso, 1981), pp. 82-83. It might be said that the method of citation in The Arcades Project, the polyphony of the texts, works precisely to counter the phantasmagoria Adorno speaks of” (p. 1001 of the Belknap edition).
Elaine overhears a short news story about the Atkins diet and, deciding she could stand to lose a few pounds, tries it out. She consumes nothing but chicken, steak, and bacon until she comes down with beriberi. Kramer advises, “It’s because you need to eat some berries!” Jerry’s parents force him…