By James Hellings
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If the development towards the administered global is nearing final touch, if spectacularised societies, industrialised cultures, and reified attention have taken keep watch over, then, Adorno and Art indicates how radical and innovative Adorno’s aesthetic thought of art’s double personality continues to be, and the way complicated, resourceful and oppositional, varieties of paintings supply, probably, the easiest desire for overcoming broken life.
The caricatures of Adorno, his politics and his aesthetics, are renowned blunders of judgement—widely repeated either by means of the academy and via the Left. Adorno’s aesthetics has been accused of failing to maintain velocity with innovative inventive practices and for being socio-politically aloof. regardless of the patience of those caricatures, this ebook exhibits how major photographs and issues in Adorno’s concept stay suitable to the present state of affairs of artwork, aesthetics and politics.
The Adorno on convey during this quantity used to be no bourgeois mandarin, no conceited aesthete, no esoteric mystic, no depression pessimist, and no educational professional holed up within the proverbial ivory tower.
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Extra info for Adorno and Art: Aesthetic Theory Contra Critical Theory
Second reflection is thus proffered as a way of making truth once again immanent to reflection. It is a means of reconditioning spirit to experience. Adorno elaborates his understanding of aesthetic cognition in Aesthetic Theory as the “reliquifying” of objective spirit. With this formulation he strives to reverse the Hegelian idea that the aesthetic follows historical change. On this basis he can assert that “history is intrinsic to the truth content of aesthetics” (490). In other words, the kind of history invoked here does not subordinate itself to a Hegelian objectifying spirit that mandates the transcendence of art.
Because for Shaftesbury, Hutcheson, and Hume, cognitive activity is a prerequisite of the universalistic knowledge that attests to cognition’s universality, moral (theoretic) and ethical (practical) realms seem to be rendered incommensurable and mutually exclusive. I would argue, nevertheless, that our awareness of the incommensurability between the moral and the ethical itself depends upon a prior acceptance of the phenomenon of recognition as a variable of the judgment of taste. After all, recognition predicates understanding on an acknowledged discrepancy of perspectives.
The important thing to observe here is that Foucault’s chronicle of this transformation, which has its outcome in the didactics of Victorian moralism, descries, above all else, the divorce of ethics from aesthetics, hitherto wedded in the legal institution of Roman marriage. He identifies this divorce with the triumph of the universality of reason, as opposed to what we might otherwise be more free to characterize as a universe of rational practices: within this characterization, the instrumentality of reason would be mitigated by its dependence upon human interaction.
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