Post by Admin on Jan 27, 2015 1:19:01 GMT
Adorno says, artistic freedom performs an ideological function: “The principle of artistic autonomy willy-nilly creates the false impression that the world outside is…a rounded whole…By rejecting reality…art vindicates reality”. Autonomy, the very principle that renders art ideological, also provides a precondition for art´s emancipatory role. Truth content is the driving force of emancipatory works. What are the social preconditions of artistic autonomy? What is the significance of autonomous art in an advanced capitalist society? And what does autonomy contribute in this regard? the issue concerns the mediation of autonomous art and advanced capitalism, a mediation from which socio-artistic truth can emerge. p.32
His writing deliberately resists easy consumption; the need for powerful expression wights heavier than the desire for direct communication. Adorno would have been appalled at attempts to render his thought painlessly accessible. p.46
The text resembles a continually shifting constellation.
The main reason (for developing such a style) has to do with the philosophical theorem mentioned above. This theorem states that there is no first principle, no origin, no arch or Achimedean point from which philosophy may proceed. ( “The Essay on Form” 1958, “Ohne Leitbild” 1960, “Why Philosophy” 1962, “Parataxis” 1966). his rejection of first principles announces an opposition to logocentricm and foundationalsim that links him with many pragmatist, poststructuralist, and feminist philosophers. Adorno´s book on Husserl makes clear that his theorem serves a metacritique of “idealist” epistemology whose ultimate target is Heideggerian ontology. By “idealism” Adorno means the affirmation of an identity between subject and object. This affirmation assigns constitutive priority tot he epistemic subject. In Adorno´s judgement, idealism has dominated Western philosophy since Descartes. It continues in Husserl´s struggle against idealism and in Heidegger´s attempt to return to a Being prior to the split between subject and object. p.47
Adorno continually seeks a style that does not suggest a hierarchical derivation from first principles.
The measure of value in a commodity-producting economy is the average amount of labor time that is socially necessary to produce exchangeable comodities. The ideological effect of such an economy, however, is to make it hard to see labor as the common sour of all value. p.73
As a result of such necessary appearances, commodities come to seem like things that have a life of their own, quite apart from the social labor that produced them, and exchange relations among commodities come to seem like social relations in their own right, quite apart from the human interactions that sustain them. …Commodity production makes relations between people become confused with relations to things, and it makes the life of human labourers become confused with the power of human products. p.74
His writing deliberately resists easy consumption; the need for powerful expression wights heavier than the desire for direct communication. Adorno would have been appalled at attempts to render his thought painlessly accessible. p.46
The text resembles a continually shifting constellation.
The main reason (for developing such a style) has to do with the philosophical theorem mentioned above. This theorem states that there is no first principle, no origin, no arch or Achimedean point from which philosophy may proceed. ( “The Essay on Form” 1958, “Ohne Leitbild” 1960, “Why Philosophy” 1962, “Parataxis” 1966). his rejection of first principles announces an opposition to logocentricm and foundationalsim that links him with many pragmatist, poststructuralist, and feminist philosophers. Adorno´s book on Husserl makes clear that his theorem serves a metacritique of “idealist” epistemology whose ultimate target is Heideggerian ontology. By “idealism” Adorno means the affirmation of an identity between subject and object. This affirmation assigns constitutive priority tot he epistemic subject. In Adorno´s judgement, idealism has dominated Western philosophy since Descartes. It continues in Husserl´s struggle against idealism and in Heidegger´s attempt to return to a Being prior to the split between subject and object. p.47
Adorno continually seeks a style that does not suggest a hierarchical derivation from first principles.
The measure of value in a commodity-producting economy is the average amount of labor time that is socially necessary to produce exchangeable comodities. The ideological effect of such an economy, however, is to make it hard to see labor as the common sour of all value. p.73
As a result of such necessary appearances, commodities come to seem like things that have a life of their own, quite apart from the social labor that produced them, and exchange relations among commodities come to seem like social relations in their own right, quite apart from the human interactions that sustain them. …Commodity production makes relations between people become confused with relations to things, and it makes the life of human labourers become confused with the power of human products. p.74