Kant’s philosophy treated endings as necessary but necessarily elusive for the moral and political imagination, and he employed irony, among other things, to draw attention to the risks of perverting the figure of the end. Kantian endings, this essay suggests, give rise to two possible orientations which exist in tension with each other: melancholic confrontations with impossibility alongside a more forward-looking, optimistic gaze. I examine the two features of Kantian endings and the affective orientations they inspire under the headings of (...) succession and secession. In addition to the mathematical-logical language of Kant’s writing, however, one also has to be able to appreciate the noirish qualities of Kant’s thought, which is to say, elements of culpability and aversion with respect to figures of transcendence that posit the space within which finite experience takes shape. (shrink)

Adorno wrote prolifically about modernism in culture and the arts, but little has been written about whether or in what form he might have addressed architectural concerns. The project of exploring this potentially fruitful intersection has been helped in the last couple of decades by authors from philosophy and critical theory contrasting his ideas about dwelling with Heidegger’s and by architectural theorists considering the import of his aesthetic theory.1 If these fall shy of the more immediate connections to architecture that (...) some have hoped to uncover, this is because Adorno almost never wrote about specific buildings and their designers. Neither did he publish any texts dedicated exclusively to architecture or dwelling, which is not to say that he never wrote about them or that architectural concerns are absent from his work. Adorno’s writings on dwelling and architecture live here and there, emerging and then moving on to surface later, if not often as direct commentary then as a kind of architectural gaze his thinking sometimes employs. Dwelling and architecture exist like exiles in his writings even though the question of dwelling—of what it means to inhabit social and space-time worlds as embodied beings—lies as much at the core of Adorno’s philosophy as it did in Heidegger’s. (shrink)

In “Scientific Experiences of a European Scholar in America,” Adorno likens his early trips from New York City to a previously abandoned New Jersey brewery, the site of the Princeton Radio Research Project, to Kafka's story about the “Great Natural Theater of Oklahama [sic]” at the end of the novel Amerika (German title: Der Verschollene). It is easy enough to account for this association. The natural theater story tells of Karl Rossmann's hire and transportation by train to a kind of (...) circus in the American dustbowl. Rossmann is a European immigrant in search of refuge. It is, however, a highly…. (shrink)

Homelessness -- No man's lands -- The nature theater -- The property relation -- Conclusion : Adorno, neoliberalism, housing.