A new middle-class fraction with a distinct subjectivity:Tech workers and the transformation of the entrepreneurial self

With the rise of digital capitalism, a novel occupational segment has emerged: so-called ‘tech workers’. Members of this grouping render and encode the digital technologies that permeate contemporary social life. While there are many studies about highly precarious digital labourers, research on these digital professionals remains scarce. Based on 40 original interviews, the article explores the subjectivity of tech workers. Specifically, it asks whether understandings of middle-class employees as entrepreneurial selves with a holistic market orientation hold true for this grouping, or whether new cultures of subjectivation are emerging. The key finding from these interviews is that tech workers show contours of a post-neoliberal subjectivity. While the figure of the entrepreneurial self remains an alluring force, this study detected four transformative cultures of subjectivation: (1) a return of the critique of economic inequality; (2) a concern for diversity; (3) an ethic of mindfulness; and (4) a lifestyle that signals ordinariness. These distinct forms of subjectivity point to the formation of a new middle-class fraction. However, drawing on the sociology of critique, this article also considers how this transformation of subjectivity can be appropriated as yet another new spirit of capitalism

Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work of art (‘Gesamtkunstwerk’) include or rather exclude chamber music

Über Ausdruck, insbesondere den musikalischen

To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. Rather, it is a feature of the music itself. Once we have discarded the psychological reduction of expression, the way may be clear to explore the intricate relation between expression and subjectivity. Friedrich von Hausegger’s Music as Expression (1885/87) stands out among the guides to be recommended for a journey along that path

Environmental changes and growth history of a cold-water carbonate mound (Propeller Mound, Porcupine Seabight)

On- and off-mound sediment cores from Propeller Mound (Hovland Mound province, Porcupine Seabight) were analysed to understand better the evolution of a carbonate mound. The evaluation of benthic foraminiferal assemblages from the off-mound position helps to determine the changes of the environmental controls on Propeller Mound in glacial and interglacial times. Two different assemblages describe the Holocene and Marine Isotope Stage (MIS) 2 and late MIS 3 (∼31 kyr BP). The different assemblages are related to changes in oceanographic conditions, surface productivity and the waxing and waning of the British Irish Ice Sheet (BIIS) during the last glacial stages. The interglacial assemblage is related to a higher supply of organic material and stronger current intensities in water depth of recent coral growth. During the last glaciation the benthic faunas showed high abundances of cassidulinid species, implying cold bottom waters and a reduced availability of organic matter. High sedimentation rates and the domination of Elphidium excavatum point to shelf erosion related to sea-level lowering (∼50 m) and the progradation of the BIIS onto the shelf. A different assemblage described for the on-mound core is dominated by Discanomalina coronata, Gavelinopsis translucens, Planulina ariminensis, Cibicides lobatulus and to a lower degree by Hyrrokkin sarcophaga. These species are only found or show significantly higher relative abundances in on-mound samples and their maximum contribution in the lower part of the record indicates a higher coral growth density on Propeller Mound in an earlier period. They are less abundant during the Holocene, however. This dataset portrays the boundary conditions of the habitable range for the cold-water coral Lophelia pertusa, which dominates the deep-water reefal ecosystem on the upper flanks of Propeller Mound. The growth of this ecosystem occurs during interglacial and interstadial periods, whereas a retreat of corals is documented in the absence of glacial sediments on-mound. Glacial conditions with cold intermediate waters, a weak current regime and high sedimentation rates provide an unfavourable environmental setting for Lophelia corals to grow. A Late Pleistocene decrease is observed in the mound growth for Propeller Mound, which might face its complete burial in the future, as it already happened to the buried mounds of the Magellan Mound province further north

Totengespräch zwischen Franz Joseph Haydn aus Rohrau und Anton Friedrich Wilhelm von Webern aus Wien in der musikalischen Unterwelt

In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics

Was hat Musik im Film zu suchen?

Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced to mere pictures

Das anwesend Abwesende: Musik und Erinnerung

Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is now. Remembrance changes the past it recovers. Listening to music, we may experience anamnesis to be metamorphosis