By Jay M. Bernstein
Theodor Adorno's Aesthetic thought (1970) deals some of the most robust and accomplished evaluations of artwork and of the self-discipline of aesthetics ever written. The paintings deals a deeply severe engagement with the historical past and philosophy of aesthetics and with the traditions of ecu artwork in the course of the center of the twentieth century. it really is coupled with bold claims approximately what aesthetic conception needs to be. however the cultural horizon of Adorno's Aesthetic conception used to be the realm of excessive modernism, and lots more and plenty has occurred when you consider that then either in concept and in perform. Adorno's robust imaginative and prescient of aesthetics demands reconsideration during this mild. needs to his paintings be defended, up to date, resisted, or just left in the back of? This quantity gathers new essays by means of major philosophers, critics, and theorists writing within the wake of Adorno that allows you to deal with those questions. They carry in universal a deep appreciate for the ability of Adorno's aesthetic critique and a priority for the way forward for aesthetic thought based on contemporary 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 cultured 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
Because Habermas’s criticisms have more to do with the pride of place Adorno assigns to aesthetic theory and experience than with the propriety of his aesthetics as such, I shall not explore them further here. I wish to discuss two potential avenues along which Adorno’s views might be extended, nevertheless, to achieve contemporary currency. The first involves an aspect of Adorno’s work that is downplayed and might seem closest to poststructuralism. Although I believe that this is an aspect of Adorno that merits further discussion than it sometimes receives, it is likely that it will not be greeted as a very productive source for the work’s contemporary salience, since it keeps in place Adorno’s stringent formal progressivism.
But empirical questions concerning popularity are quite distinct from conceptual ones of leading significance. Moreover, what form the significance has taken—what specifically it is about the content of Adorno’s aesthetics that makes it a bellwether—is a matter for interpretation, analysis, and disagreement. Adorno’s reconception of the very category of the “aesthetic” marks the significance and scope of his contribution to contemporary aesthetics and philosophy of art. But the force of this reorientation is often misunderstood.
Any aesthetics after Adorno that takes Adorno’s analysis of the condition of subjectivity in late modernity seriously would have to be structural in this sense. It is in this structural or ontological register that there is a deep connection between aesthetics and ethics for Adorno. 29 “Good life” and “false life” are for him ontological categories with discrete, integrated structures. False life is constituted by entirely general pathological structures that not only make good action highly problematic but also make it extraordinarily difficult to tell what would constitute a good action in the first place.