The "Non-Human" Aesthetics and Posthuman Politics of Listening in Beethoven's Late String Quartets

Abstract

This article reexamines Beethoven's late string quartets through posthumanist theoretical frameworks, challenging traditional humanistic interpretations. By analyzing these works in relation to the early industrial revolution, the study reveals how Beethoven's compositional innovations—including fragmented structures, mechanized rhythms, and non-teleological forms—anticipate posthuman sensibilities. Drawing on Adorno's critical theory alongside contemporary posthumanist thought, the article demonstrates how elements typically associated with computational aesthetics and machine logic were already present in these canonical works. This reframing suggests that Beethoven's late quartets occupy a unique historical position, simultaneously representing the apotheosis of Enlightenment musical ideals and their dialectical negation. By recognizing these "non-human" elements, we gain new perspectives on both Beethoven's achievement and the deeper historical roots of contemporary experimental music practices.