Notes and Quotes from Adorno and Horkheimer's Dialectic of Enlightenment

On Art and Advertisement: Notes and Quotes from Dialectic of Enlightenment

Reading Dialectic of Enlightenment made me accept the sad reality that truly autonomous works, whether artistic or philosophical, are made invisible or infertile by the system.

The artist or philosopher has to first sacrifice his originality (i.e., individuality) to be allowed to enter the field he wants to play in. He has to follow the rules of the game and, occasionally, to refresh the dynamic, (pretend to) break some rules that are pre-approved to be broken by the culture industry. The artist, for instance, to become an artist, must allow his spirit to flow through the workflow (and be shaped by the standards) set by the culture industry, which either approves, absorbs, or marginalizes the works produced. As Adorno and Horkheimer put it, “The whole world is made to pass through the filter of the culture industry.” (So, if you dream on becoming an artist, first get the checklist provided by the culture industry, and then get to work.)

Secondly, it is not enough for the artist (or philosopher) to produce works digestible by the system; one must also self-advertise as self-advertising (in our hyperreal universe) is the underlying premise of existence. When one exits or stops posting on social media, he simply ceases to exist. Without self-advertising, no matter how great or unique one’s voice is, it won’t be heard. (The system is asking, “If you don’t believe in yourself enough to brag and boast about your works, how can you expect others to accept who you’re claiming to be?”)

And unfortunately, my dear friend, the sad reality’s borders extend even farther. It isn’t enough to go through the system submissively and then advertise the (pre-approved) creative work that you produced. No… By the time you get there, you’ll find out that art has been commodified and, therefore, art is no longer art. It’s a mere (entertaining) product that is advertised to be sold. No matter what your art is trying to communicate, there will be a price tag on it and that will be its true value. Other than what the artwork pretends to be saying, what today’s art is screaming is nothing other than, “Please buy me!”

Even “art for art’s sake” is dead.

The (real) art in the culture industry is not art, it is advertisement.

Quotes from Dialectic of Enlightenment

Not to conform means to be rendered powerless, economically and therefore spiritually — to be “self-employed.”

– Adorno & Horkheimer, Dialectic of Enlightenment

Not only are the hit songs, stars, and soap operas cyclically recurrent and rigidly invariable types, but the specific content of the entertainment itself is derived from them and only appears to change. The details are interchangeable.

– Adorno & Horkheimer, Dialectic of Enlightenment

The triumph of advertising in the culture industry is that consumers feel compelled to buy and use its products even though they see through them.

– Adorno & Horkheimer, Dialectic of Enlightenment
5 quotes from Aldous Huxley's Ape and Essence

Quotes from Aldous Huxley’s Ape and Essence

About five years ago, browsing around a bookshop, I stumbled across Aldous Huxley’s Ape and Essence. Of course, I was familiar with Huxley and a bunch of his works, such as Brave New World, The Doors of Perception, and Music at Night. But I had never heard of Ape and Essence before. So, I picked it up, read its synopsis, and a few random sentences from random pages. “This smells like a delicious dystopian novel,” I whispered to myself. And, to no one’s surprise, I ended up buying it. And I enjoyed reading it very, very much. (So, if you’re into dystopian literature like I am, make sure you read this one, too.)

Here are five quotes from Aldous Huxley’s Ape and Essence:

In the field of politics the equivalent of a theorem is a perfectly disciplined army; of a sonnet or picture, a police state under a dictatorship.

– Aldous Huxley, Ape and Essence

But I was thinking that the dream of Order begets tyranny, the dream of Beauty, monsters and violence.

– Aldous Huxley, Ape and Essence

Yes, my friends, remember how indignant you once felt when the Turks massacred more than the ordinary quota of Armenians, how you thanked God that you lived in a Protestant, progressive country, where such things simply couldn’t happen — couldn’t happen because men wore bowler hats and travelled daily to town by the eight-twenty-three.

– Aldous Huxley, Ape and Essence

They have to be punished for having been punished.

– Aldous Huxley, Ape and Essence

And whenever evil is carried to the limit, it always destroys itself.

– Aldous Huxley, Ape and Essence
Review and Summary of Plato's Crito

A Reading of Plato’s Crito

A summary of Plato’s Crito

In one of Plato’s famous dialogues called Crito, Crito visits Socrates’ prison cell before daybreak to persuade him to escape. Socrates is in prison and is condemned to death, but when Crito tells him they could bribe people to bring him out of prison, he refuses. In fact, almost comically, even in prison, Socrates finds the time to use his signature “Socratic method” to decide whether he ought to escape or not. The answer, of course, turns out to be no because, even when one is wronged, one must not wrong the other in return. And the laws must be obeyed even when one is unjustly found guilty.

According to Socrates, the Law is like a father (or a master); the individual is like a child (or a slave). The individual belongs to the State and must do what the state orders him to do. Why? Because, from the day he is born, the individual is nurtured and educated by the State, protected by the State, given his rights by the State, etc. And if he does like what he is given, he can always pack his stuff and leave. (Where to? That’s not the State’s problem.) By staying in the State, the individual enters “into an implied contract that he will do as we [the State] command him.”

This is, in short, why Socrates chooses not to escape and, therefore, die.

Socrates, Jesus, and the opinions of others

Reading Crito now, on a cool Wednesday morning in September, I am reminded of that story in the Bible in which Peter draws his sword and cuts off the high priest’s servant’s ear who, among others, had come to the Garden of Gethsemane to arrest Jesus. “Put your sword into the sheath,” Jesus says to Peter. “Shall I not drink the cup which My Father has given Me?” (John 18:11) We see here that, like Socrates, Jesus also chooses not to escape. The cup which His Father has given Him is His hemlock.

Moreover, Crito is not (only) Peter. He is also an inverted Judas. Judas betrays Jesus for 30 pieces of silver, but Crito is ready to do the opposite for Socrates. “But, oh! my beloved Socrates, let me entreat you once more to take my advice and escape,” Crito says. “For if you die I shall not only lose a friend who can never be replaced, but there is another evil: people who do not know you and me will believe that I might have saved you if I had been willing to give money, but that I did not care.”

When Socrates hears these words, he says that one shouldn’t care about the opinion of the many. Crito disagrees because the opinion of the many has the power to ruin a man’s life. (Remember when Pilate offered to release Jesus, but the crowd persisted, demanding his crucifixion?) Yet Socrates manages to show Crito that the opinions of the unwise don’t matter. Only the opinions of the wise matter. And if there’s only one wise man among many, it’s only his opinion that matters.

In this sense, neither Socrates nor Jesus cared about the opinions of the masses. We can even say that they died because they didn’t care about their opinions.

From the POV of authorities (and the masses), they may have been lawbreakers; from the POV of their followers, however, they were either law-abiding citizens or “fulfillers” of the law. Most importantly, they themselves knew they were doing the right thing.

What can we learn from this?

Socrates did what Bukowski once said, “Find what you love and let it kill you.” He died defending what killed him…


References

Plato. The Trial and Death of Socrates: Four Dialogues. Translated by Benjamin Jowett. Dover Publications, 1992.