By Jay M. Bernstein
Theodor Adorno's Aesthetic conception (1970) deals essentially the most robust and entire opinions of artwork and of the self-discipline of aesthetics ever written. The paintings deals a deeply serious engagement with the heritage and philosophy of aesthetics and with the traditions of eu paintings during the heart of the 20 th century. it really is coupled with formidable claims approximately what aesthetic idea must be. however the cultural horizon of Adorno's Aesthetic idea was once the area of excessive modernism, and lots more and plenty has occurred given that then either in thought and in perform. Adorno's strong imaginative and prescient of aesthetics demands reconsideration during this gentle. needs to his paintings be defended, up to date, resisted, or just left in the back of? This quantity gathers new essays through best philosophers, critics, and theorists writing within the wake of Adorno with a view to handle those questions. They carry in universal a deep admire for the facility of Adorno's aesthetic critique and a priority for the way forward for aesthetic conception in keeping with fresh advancements in aesthetics and its contexts.
Anthony J. Cascardi: Prolegomena to Any destiny Aesthetics / Fred Rush: Adorno After Adorno / Claudia Brodsky: Framing the Sensuous: Objecthood and “Objectivity” in artwork After Adorno / Robert Kaufman: Poetry After “Poetry After Auschwitz” / Aleš Erjavec: Aesthetics and the classy this day: After Adorno / J. M. Bernstein: “The call for for Ugliness”: Picasso’s our bodies / Thierry de Duve: Resisting Adorno, Revamping Kant
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Additional info for Art and Aesthetics after Adorno
A conductor like Arturo Toscanini is paradigmatic of Adorno’s concern. 15 A work 50 Fred Rush of true meaning is produced as a commodity, the nature of which is obscured by its association with the composer. 16 Even Mahler, a composer whom Adorno greatly esteemed, was only problematically able to balance composing with satisfying public expectations foisted upon him as the conductor of major orchestras. Adorno After Adorno Adorno Reception Historically speaking, Adorno’s philosophical views have had a rough reception within philosophical aesthetics, theoretically based art criticism, and what might be broadly called the sociology of art.
Likewise, the Deleuzian alternative to the dialectical versions of aesthetics (including Adorno’s “negative dialectics”) strives to remain anchored in the flux of forces without falling into a materialist reductivism. True to his Nietzschean roots, and to a “transcendental empiricism” that is inspired by Hume,30 Deleuze’s philoso36 Anthony J. Cascardi phy regards itself as fundamentally aesthetic, not a theory of art. But it may miss the fact that concept and sense (including affects and percepts) always in fact mediate one another, with each one striving to complete what the other seems unable to do or say.
Art is nowadays often message-centered, full of personal revelation, and trades directly in identity transmission. Whatever their other cultural pros and cons, these approaches would have been dismissed by Adorno as insufficiently formal. The grounds for the dismissal are, I think, worth serious consideration. Content-based art, even if the content is politically progressive, is much more apt to be incorporated into popular culture at large because content is inherently containable and submits to replication much more simply than does artistic form.
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