Dialectic of Enlightenment
What is "Enlightenment"?
As the first sentence in the book states; it is the subduing of the things that are unknown and therefore fearful to man, and thusly creating a master race - fearful of none! I perceive it also through these chapters as the removal of subjectivity amongst theories unknown. By going for a more objective approach towards myth, you can unveil the mystery and therefore deny it the power over man - a more naturalistic way of thinking perhaps. Described as disenchanting the world and cleansing it of magical aspects.
What is "Dialectic"?
Through definition it is described as: “A logical discussion that aims to seek out the truth of an opinion or theory”. In Horkheimer and Adorno’s book, they are both explaining the term itself - and also using it within the context of the book, gathering other philosophers thoughts and theories, clashing them against one another within the subject of enlightenment. They further describes it as a way of putting the whole image onto a script, giving a way to carefully perceive the fallacy within arguments.
What is "Nominalism" and why is it an important concept in the text?
Nominalism is a philosophic angle that denies the reality of abstract terms (unproven Ideas, types and concepts) acknowledging real tangible objects instead. Since enlightenment is focused on objectivity and the abolishment of the supernatural, nominalism fits like a glove.
What is the meaning and function of "myth" in Adorno and Horkheimer's argument?
Myth denotes that of the whimsical and mysterious past, filled with supernatural and magical aspects - an alternative way of understanding how the world came to be. As I see it through the book, myth is both a state of power from the fear/respect of that which you do not fully understand, while also being something fictitious and abstract. That which cannot objectively be proven is tagged as “myth” by enlightenment.
The Work of Art in the Age of Technical Reproductivity
In the beginning of the essay, Benjamin talks about the relation between "superstructure" and "substructure" in the capitalist order of production. What do the concepts "superstructure" and "substructure" mean in this context and what is the point of analyzing cultural production from a Marxist perspective?
I interpret the superstructure in this context as the deeper values we possess within our culture, ideology or art. Changing how people value things takes time, it is something you affect at the core. Substructure on the other hand I therefore perceive as the material parts (tools, people, methods) within our society.
In the Dialectic of Enlightenment, Horkheimer and Adorno describes our daily capitalistic production of culture and art, where a rich few defines the troupes and direction of art. As culture stands on the flow of money, the corporate fatcats are reluctant to embrace new and innovative ideas - therefore a Marxist perspective on the production of culture could prove useful.
What I believe Benjamin is implying is the fact that through new methods, inventions and letting the people experiment i.e. developing the substructure, we can unlock new heights in the superstructure which has in the present slowly come to a halt.
Does culture have revolutionary potentials (according to Benjamin)? If so, describe these potentials. Does Benjamin's perspective differ from the perspective of Adorno & Horkheimer in this regard?
According to Benjamin the answer is yes and I concur! With the leap in art from lithography to photography and even later on with the advent of moving pictures, as said before, with a change to the substructure, culture can embrace these new methods and thusly change the world. It has already happened with the mentioned new discoveries, and can therefore happen again.
Benjamin discusses how people perceive the world through the senses and argues that this perception can be both naturally and historically determined. What does this mean? Give some examples of historically determined perception (from Benjamin's essay and/or other contexts).
The general perception of man can be shaped and bent - influenced by historical events. On the other hand; to naturally determine human perception, we just have to look at our biological body and figure out how it works.
An example of historically determined perception that Benjamin brings up is the shift from expensive cultural performances like theater and opera to the affordable movie ticket in the cinema. Both in the price and the performance the shift to perception was staggering! No longer could the recipient calmly analyse the scene as it progressed, with the editor’s help, movies felt fast and exhilarating with a staggering amount of sound effects bombarding the senses - there was no room left to analyse as the scenes flew by. And that became the accepted term of perception within such art.
What does Benjamin mean by the term "aura"? Are there different kinds of aura in natural objects compared to art objects?
From what I could gather, “aura” could mean presence of the soul from within the object or person. Benjamin mentioned how revolution of cinema compared against theater missed the “aura” that the presence of real actors on stage creates. By destroying the uniqueness of the act or object, the decay of “aura” begins - ergo within the mass produced market of today, all “aura” is lost!