Fascist oratory weaponizes the sounds of human pain into technique

Evidence

The howling voice of Fascist orators and camp commandants shows the other side of the same social condition. The yell is as cold as business. They both expropriate the sounds of natural complaint and make them elements of their technique. Their bellow has the same significance for the pogrom as the noise generator in the German flying bomb: the terrible cry which announces terror is simply turned on. — Theodor W. Adorno, Max Horkheimer, Dialectic of Enlightenment, 142

Categorization

• XREF: Connects to the reader’s broader theme of noise/silence work — ‘Sonic weapons cause severe physical harm’ and the idea that sound itself can be deployed as violence. — connects to: Machine-required gestures physically train people in Fascist brutality. — Theodor W. Adorno, Minima Moralia: Reflections from…, 35; Pain can be engaged through learned structuration rather than given meaning; Adorno linked neoclassical musical objectivism to fascist ideology — Martin Jay, The Dialectical Imagination: A History…, 558 (+1 more)
• SHARE: The flying-bomb noise-generator comparison is a vivid, narrow detail for anyone interested in acoustics or WWII ordnance.

Broader Connections

• Machine-required gestures physically train people in Fascist brutality. #expands (0.80) — Theodor W. Adorno, Minima Moralia, 35
• Adorno linked neoclassical musical objectivism to fascist ideology #expands (0.80) — Martin Jay, The Dialectical Imagination, 558
• Pain can be engaged through learned structuration rather than given meaning #complicates (0.75)