Society. At the Philosophers' Conference of October 1962 in Münster, at which Habermas wrote that Adorno was "A writer among bureaucrats", Adorno presented "Progress". Although the Zeitschrift was never revived, the Institute nevertheless published a series of important sociological books, including Sociologica (1955), a collection of essays, Gruppenexperiment (1955), Betriebsklima, a study of work satisfaction among workers in Mannesmann, and Soziologische Exkurse, a textbook-like anthology intended as an introductory work about the discipline. Public figure Throughout the fifties and sixties, Adorno became a public figure, not simply through his books and essays, but also through his appearances in radio and newspapers. In talks, interviews, and round-table discussions broadcast on Hessen Radio, South-West Radio, and Radio Bremen, Adorno discussed topics as diverse as "The Administered World" (September 1950), "What is the Meaning of 'Working Through the Past?"' (February 1960) to "The Teaching Profession and its Taboos" (August 1965). Additionally, he frequently wrote for Frankfurter Allgemeine, Frankfurter Rundschau, and the weekly Die Zeit. At the invitation of Wolfgang Steinecke, Adorno took part in the Darmstadt Summer Courses for New Music in Kranichstein from 1951 to 1958. Yet conflicts between the so-called Darmstadt school, which included composers like Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno Maderna, Karel Goeyvaerts, Luciano Berio and Gottfried Michael Koenig, soon arose, receiving explicit expression in Adorno's 1954 lecture, "The Aging of the New Music", where he argued that atonality's freedom was being restricted to serialism in much the same way as it was once restricted by twelve-tone technique. With his friend Eduard Steuermann, Adorno feared that music was being sacrificed to stubborn rationalization. During this time Adorno not only produced a significant series of notes on Beethoven (which was never completed and only published posthumously), but also published Mahler: A Musical Physiognomy in 1960. In his 1961 return to Kranichstein, Adorno called for what he termed a "musique informelle", which would possess the ability "really and truly to be what it is, without the ideological pretense of being something else. Or rather, to admit frankly the fact of non-identity and to follow through its logic to the end." Post-war German culture At the same time Adorno struck up relationships with contemporary German-language poets such as Paul Celan and Ingeborg Bachmann. Adorno's 1949 dictum—"To write poetry after Auschwitz is barbaric"—posed the question of what German culture could mean after Auschwitz; his own continual revision of this dictum—in Negative Dialectics,