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The origin is Nietzsche, the subtitle of whose Twilight of the Idols, is "How to Philosophise with a Hammer". 

Adorno picks it up in his essay on Bourgeois Opera: "Music ought to be composed with a hammer, just as Nietzsche wanted to philosophise with a hammer."  Adorno, Sound Figures, Stanford University Press, Stanford, 1999, p.27. 

And if Brecht didn't say it, then he should have done!

Nick 


--
Professor Nicholas Till
Director of Research, School of Media, Film and Music
Director, Centre for Research in Opera and Music Theatre
University of Sussex
Brighton BN1 9RG
Tel: 01273 678693
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From: SCUDD List at JISC [[log in to unmask]] on behalf of Ian Saville [[log in to unmask]]
Sent: 18 November 2016 10:06
To: [log in to unmask]
Subject: Re: CfP NGM 2017 - Performing urgency: space, performance and politics

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Oh no! The "art is a hammer" quote again. We've discussed this before on this list, and I think people concluded that it certainly wasn't from Brecht, but might, perhaps, be Mayakovsky. But it has proliferated all over the web, attributed to Brecht, and appearing in many student essays. Have the organisers actually found a real Brecht source for the quote? In which case, great. Can you share it with the rest of us so that it can be properly cited in future?

Thanks,

Ian

On 18 November 2016 at 09:06, Cecilie Sachs Olsen <[log in to unmask]<mailto:[log in to unmask]>> wrote:
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Dear all,

Please see the call for papers below -

with best wishes,

Cecilie



Nordic Geographers Meeting (NGM 2017), Stockholm, 18-21 June 2017

Performing urgency: space, performance and politics

Session convenors: Cecilie Sachs Olsen (Royal Holloway, University of London) and David Pinder (Roskilde University, Denmark)

‘Art is not a mirror held up to reality, but a hammer with which to shape it’ (Bertolt Brecht).

In recent political and social movements - among them those involving EU crises, uprisings in the Arabic world, insurgencies in Greece and Spain, and Occupy - artists have played prominent performative roles, seeking creative means of self-empowerment. This session explores performance as an aesthetic political relation to the world, where ‘aesthetic’ is understood as ‘perception by the senses’ (Dikec, 2015). Performance is here addressed as an aesthetic form through which to make sense of, engage with and possibly shape the world. It is considered as a means of learning, storing and transmitting sense-making practices; a forum for examining, challenging and transgressing the relationships, rites, and rituals of everyday life; a place for creating, shaping, contesting and changing identities and spaces, for generating unexpected encounters and for forging agendas.

The session invites papers from academics, artists and activists in order to explore performance in these broad terms. Questions for discussion potentially include but are not limited to: How can performance expand what we understand by ‘knowledge’ and ‘knowing’ in relation to how we think about and act in the world? What is the political potential of performance as a means of destabilising and denaturalising taken-for-granted social and spatial practices, meanings and representations? How may performance allow us to scrutinize the contingent nature of spatial identities and practices as well as material places and worlds? How can performance be seen not only as that which exists in the present and then disappears, but also as that which remains and accounts for what is absent? What kinds of impact and knowledge can performance generate that activism and theory alone cannot?

Please send paper proposals of no more than 250 words by 15 December 2016 to both Cecilie Sachs Olsen ([log in to unmask]<mailto:[log in to unmask]>) and David Pinder ([log in to unmask]<mailto:[log in to unmask]>). For further details about the conference, see http://www.humangeo.su.se/english/ngm-2017/dates/call-for-papers.



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