By J. Hellings
A entire, severe and available account of Theodor W. Adorno's materialist-dialectical aesthetic conception of paintings from a latest standpoint, this quantity indicates how Adorno's serious thought is awash with pictures crystallising options to any such measure that it has each cause to be defined as aesthetic.
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Extra info for Adorno and Art: Aesthetic Theory Contra Critical Theory
The duration of hope, to the indestructibility of possibilities and the frailty of adversities that bar them from implementation. 10 The open work’s equation of unknown variables also describes the construction, distribution and reception of artworks ‘as indeterminate, as antithetical to definitions’ (AT 72), which may wordlessly express a lonely language of suffering and despair, but which always address themselves to uncertain futures and imaginary witnesses who may or may not be capable of reading them.
Adorno’s aesthetics was concerned with locating the new possibilities for autonomous sensory experience generated by new forms of art in and against aestheticised society. Adorno’s aesthetic theory represents a project of re-new-al, or an advancement through recollection – backwards to the future, much as Paul Klee orientated his Angelus Novus. It reflects neither an outright rejection of tradition nor is it culturally conservative – it is measured, reflective and critical. The much-trumpeted end of art blew only hot-air according to Adorno.
In his various encounters with the student activists – from the sublimity of his theory of social praxis to the utter ridiculousness of calling in the police11 – Adorno’s position remained remarkably consistent. Theory, for Adorno, against his activist critics, was always already a form of revolutionary, antagonistic and oppositional social praxis insofar as: ‘the uncompromisingly critical thinker, who neither signs over his consciousness nor lets himself be terrorized into action, is in truth the one who does not give up’ (R 292).
Adorno and Art: Aesthetic Theory Contra Critical Theory by J. Hellings