adorno in Barok 2014
is-update-and-source); and others 5(http://en.wikipedia.org/wiki/Fragment_identifier#Proposals). The dependence on structural elements such as paragraphs is one of their shortcoming making them not suitable for texts with longer paragraphs (e.g. Adorno's _Aesthetic Theory_ ), visual poetry or computer code; another is the requirement to store anchors along the text.
2. ↑ Works which happened not to be of interest at the time ceased to be copied and mostly disappeared. On the book roll and its g
adorno in Stalder 2018
al
manifestations of which served to conceal society\'s true
relations.[^68^](#c1-note-0068){#c1-note-0068a} In doing so, they
aligned themselves with the critique of the "culture industry," which
had been formulated by Max Horkheimer and Theodor W. Adorno at the
beginning of the 1940s and had become a widely discussed key text by the
1960s.
Their differences aside, these perspectives were united in that they no
longer understood the "public" as a neutral sphere, in which citizens
could inform themsel
adaists or in
Expressionist literature such as Alfred Döblin\'s *Berlin
Alexanderplatz*. In these works, the experience of Modernity\'s many
fractures -- its fragmentation and turmoil -- was given a new aesthetic
form. In his reference to montages, Adorno thus observed that the
"negation of synthesis becomes a principle []{#Page_60 type="pagebreak"
title="60"}of form."[^4^](#c2-note-0004){#c2-note-0004a} At least for a
brief moment, he considered them an adequate expression for the
impossibility of reconciling the contradictions of capitalist culture.
Influenced by Adorno, the literary theorist Peter Bürger went so far as
to call the montage the true "paradigm of
modernity."[^5^](#c2-note-0005){#c2-note-0005a} In today\'s referential
processes, on the contrary, pieces are not brought together as much as
they are inte
with
the complete opposite aim, namely that of borrowing sources without
acknowledging them.
[3](#c2-note-0003a){#c2-note-0003} Ulf Poschardt, *DJ Culture* (London:
Quartet Books, 1998), p. 34.
[4](#c2-note-0004a){#c2-note-0004} Theodor W. Adorno, *Aesthetic
Theory*, trans. Robert Hullot-Kentor (Minneapolis, MN: University of
Minnesota Press, 1997), p. 151.
[5](#c2-note-0005a){#c2-note-0005} Peter Bürger, *Theory of the
Avant-Garde*, trans. Michael Shaw (Minneapolis, MN: University of
Mi
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