By James Hellings
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If the development towards the administered international is nearing crowning glory, if spectacularised societies, industrialised cultures, and reified awareness have taken keep watch over, then, Adorno and Art indicates how radical and innovative Adorno’s aesthetic conception of art’s double personality continues to be, and the way advanced, creative and oppositional, varieties of paintings supply, possibly, the simplest wish for overcoming broken life.
The caricatures of Adorno, his politics and his aesthetics, are renowned error of judgement—widely repeated either via the academy and by way of the Left. Adorno’s aesthetics has been accused of failing to maintain speed with revolutionary inventive practices and for being socio-politically aloof. regardless of the endurance of those caricatures, this e-book exhibits how major photos and issues in Adorno’s thought stay suitable to the present state of affairs of artwork, aesthetics and politics.
The Adorno on express during this quantity used to be no bourgeois mandarin, no boastful aesthete, no esoteric mystic, no depression pessimist, and no educational professional holed up within the proverbial ivory tower.
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Extra resources for Adorno and Art: Aesthetic Theory Contra Critical Theory
Even the great antinomian cycles of carnivalesque ‘festivities’ described by Mikhail Bakhtin and others do not break the hold of centralized power (the festivity in which the world is turned upside down being itself an affirmation of the status quo in the very act of its ceremonial inversion). The ‘archiving’ of such events was primarily a task for poetry, ritual language and vernacular discourse. All of this changes with the invention of the technical means of image production and reproduction.
And among the most powerful of these world-making apparatuses is the intellectual machinery of texts and writing as these are embodied in particular social organizations, disciplines and disciplinary practices (consider, for example, the interdependent networks of diverse textual skills, crafts and practices involved in the production of a contemporary film). Understood as ontopoiesis, image practices create a world, or, expressed more precisely, constitute a determinate world, under a specific interpretive description of the real.
A closely related phenomenon is the blurring of the boundary between real and virtual reality (making a movie like The Truman Show (1998) an illuminating allegory of late modern social life). Yet another psychological tendency is the increasing preference for more and more extreme forms of distraction. ‘Reality TV’ – a product of 1990s global media – has become a fixed feature of mass television entertainment, with the corresponding overproduction of ‘instant celebrities’. At the beginning of the third millennium we might reasonably claim that the image-commodity, as the cellular form of the new photomediated consumer culture, is rapidly becoming the dominant form of representation of modern specularity.
Adorno and Art: Aesthetic Theory Contra Critical Theory by James Hellings