Addendum on Affirmationism: 'The Pure Tone Drips with Positivity'

Re-reading Adorno's The Jargon of Authenticity and came across this quote, which captures rather better than I did the dual sense of 'affirmation' that runs together existence with the good:

'Simply to be there becomes the merit of a thing. It is guaranteed in the protection of the double sense of the positive: as something existent, given, and as something worthy of being affirmed. Positive and negative are reified prior to living experience, as though they were valid prior to all living experience of them; as though it was not thought that first of all determined what is positive or negative; and as though the course of such determination were not itself the course of negation.' (21)

There is much I could, and probably should, unpack from this. One thread is that although I vectored affirmationism through Nietzsche, we could also do so through Heidegger and Heideggereanism. Adorno's (and Benjamin's) scepticism concerning the fundamentally abstract nature of the phenomenological 'concrete' resonates with its affirmation of the existent and its refusal or demarcation of negativity (obviously complicated in the case of Heidegger through his reference to 'Nichts', but still capable of critique as a reification of the negative). This would also have implications for reference to the 'concrete' that derive from phenomenology, especially in the delimitation of negation.

Objective Spirit

In his Notes on Literature Adorno offers his reflections on the re-issue of Heinrich Mann's Professor Unrat ('Professor Garbage'), and notes that the re-issue has been retitled The Blue Angel after the Sternberg film that took the novel as a source (amusingly the only thing Adorno likes about the film are 'Marlene Dietrich's beautiful legs': 'The venerable film masterpiece is one of those revoltingly false and also - apart from the famous legs - fairly boring products that make the excursion into full human life only to trap customers[...]'. He speculates that this title change is the work of some committee of tycoons and filmmakers.

He then receives a reply from the publishers that no-one wanted this change of title. As Adorno comments: 'If one could lay one's hands on the committee I invented, it would presumably turn out that every individual had already indignantly rejected the title The Blue Angel and that it had been decided upon by a majority that consisted of no one.'

In a long passage Adorno anatomises this situation in which 'Although positivist science indignantly rejects the concept of objective spirit as metaphysics, this concept is becoming more and more palpable.' In the culture industry individuals experience a 'split consciousness' between what they consider correct and 'what they believe corresponds to the schema of the industry they disparage'. But they choose the schema, so there is no need for heavy-handed 'discipline', and when one attacks any concrete instance 'there is nothing one can get hold of'.

Adorno links this to a generalised dispersion of responsibility, and certainly I've been involved in more than a few meetings in which such 'decisions' have taken place. The worst decisions are made but no-one is responsible, because responsibility is displaced onto the imaginary Other. As a very minor example, virtually every book I've published has had its title changed by publishers, and not on their own behalf but that of 'prospective readers' (few enough...). Adorno goes on to note the effect of 'reified guilt' as we all become responsible for these 'decisions' that are never made by anyone and so made by all...