IT IS A PLEASURE to express my gratitude to Rolf Tiedemann, Tom Huhn, Mowry Baden, Robert Kaufman, and Richard Leppert for their friendship and for their help over the years with these many essays and to Martin Jay as well, alias g.K and sine qua non.
The author also acknowledges the kind permission from the following publishers to reprint, in some cases in revised form, “Things Beyond Resemblance,” in Theodor W. Adorno, Philosophy of New Music (Minnesota: University of Minnesota, 2006); “Second Salvage,” in Cultural Critique 60 (2005): 134–169; “Right Listening and a New Type of Human Being,” in RES: Anthropology and Aesthetics, no. 44 (2003): 191–198; “Adorno Without Quotation,” in RES: Anthropology and Aesthetics, no. 45 (2004): 5–10; “Ethics, Aesthetics, and the Recovery of the Public World,” as “Past Tense,” in The Recovery of the Public World, ed. Charles Watts and Edward Byrne (Vancouver: Talon, 1999), pp. 365–372; “The Philosophy of Dissonance: Adorno and Schoenberg,” in Semblance of the Subject, ed. Thomas Huhn and Lambert Zuidervart (Cambridge: MIT Press, 1997), pp. 309–320; “Suggested Reading,” in Telos 89 (1993): 167–177; “Apple Criticizes Tree of Knowledge,” as “Beckett Up to Date,” Telos 92 (1993): 192; “The Impossibility of Music,” in Telos 87 (1991): 97–117; Popular Music and Adorno’s “The Aging of the New Music,” in Telos 77 (1989): 79–94; “Back to Adorno,” in Telos 81 (1989): 5–29; “Critique of the Organic,” in Theodor W. Adorno, Kierkegaard: Construction of the Aesthetic (Minnesota: University of Minnesota, 1989), pp. x–xxiii; “Introduction to ‘The Idea of Natural-History,’” in Telos 57 (1985): 111–124; Theodor W. Adorno, “The Idea of Natural-History,” trans. Robert Hullot-Kentor in Telos 57 (1985): 97–110; “Title Essay,” in New German Critique 32 (1984): 141–150.