By Espen Hammer
Theodor W. Adorno's aesthetics has ruled discussions approximately artwork and aesthetic modernism for the reason that international struggle II, and maintains to notify modern theorizing. Situating Adorno's aesthetic thought within the context of post-Kantian eu philosophy, Espen Hammer explores Adorno's serious view of artwork as engaged in reconsidering primary good points of our relation to nature and fact.
His booklet is based round what Adorno considered as the modern aesthetician's overarching activity: to accomplish a imaginative and prescient of the destiny of paintings within the sleek global, whereas demonstrating its precise cognitive power. Hammer bargains a full of life exam of Adorno's paintings during the critical challenge of what complete human self-actualization will require, and in addition discusses the broader philosophical value of aesthetic modernism.
This e-book might be a worthwhile source for students and scholars of social philosophy, paintings, and aesthetics.
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Extra info for Adorno's Modernism: Art, Experience, and Catastrophe
However, in the first part, he also proposes that representations of the kind we are prepared to call beautiful – of natural objects, in particular, but of works of art as well – are such that they are experienced as purposive for a peculiar feeling of pleasure that Kant famously associates with a free play between the understanding and the transcendental imagination. Technicalities aside, what Kant claimed to have uncovered is a particular kind of sensibility, a way of responding to the world and affectively making it intelligible, which rather than being strictly subsumptive in the sense of the first Critique’s account of a priori, categorical synthesis, testifies to something like a free harmony between our human faculties and their objects.
A leitmotif of these lectures is that while Hegel was wrong in ascribing to spirit an ontological primacy, it is not possible to theorize historical development philosophically without some account of spirit. Spirit and suffering 25 unchanging essence. Spirit, however, is always in flux, determining itself in ever new ways. However, although spirit cannot be defined, it is possible to engage in a process of gradual clarification. As readers of Hegel will know, spirit, or at least what Hegel calls absolute spirit, is sometimes determined as God, where God is understood as the totality of all the rational processes that supposedly permeate the world and account for its structure and development.
Adorno is not just targeting the modern formation and deformation of reason. He also addresses the very relation between subject and object, that grand theme from Kant and German Idealism, which he thinks has degenerated to become one of naked domination. In order to bring all of this into focus, it is necessary to do some preparatory work. Thus, in the first half of the chapter I reconstruct in some detail the origin of Adorno’s sense that art has anything to do with such questions as those of the subject–object relationship and human freedom.