By Theodor W. Adorno
In his "Philosophy of contemporary Music", Theodor W. Adorno analyzes what he known as "radical music" and discusses intimately the cutting edge paintings of Mahler, of Schoenberg and his disciples, and the early compositions of Stravinsky. As in all his writings, Adorno brings a big selection of cultural and social subject matters to endure on those topics, in order that person musical works are noticeable of their broadest political and sociological environment. while, the ebook continues to be a learn of the works themselves, and as such is a vintage learn of significant twentieth century track. released for the 1st time in Germany in 1948, "Philosophy of contemporary Music" is a made from Adorno's exile within the usa, the place he wrote it whereas nationwide Socialism fell in his eu place of origin.
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Extra info for Aesthetic Theory (Athlone Contemporary European Thinkers)
Thus they come into contrast with the arbitrariness of what simply exists. Yet it is precisely as artifacts, as products of social labor, that they also communicate with the empirical experience that they reject and from which they draw their content [Inhalt]. Art negates the categorial determinations stamped on the empirical world and yet harbors what is empirically existing in its own substance. If art opposes the empirical through the element of form—and the mediation of form and content is not to be grasped without their differentiation—the mediation is to be sought in the recognition of aesthetic form as sedimented content.
Nevertheless, there is no contesting the cliche of which cultural history is so fond, that the development of artistic processes, usually classed under the heading of style, corresponds to social development. Even the most sublime artwork takes up a determinate attitude to empirical reality by stepping outside of the constraining spell it casts, not once and for all, but rather ever and again, concretely, unconsciously polemical toward this spell at each historical moment. That artworks as windowless monads "represent" what they themselves are not can scarcely be understood except in that their own dynamic, their immanent historicity as a dialectic of nature and its domination, not only is of the same essence as the dialectic external to them but resembles it without imitating it.
Ultimately disinterestedness debases art to what Hegel mocked, a pleasant or useful plaything of Horace's Ars Poetica. It is from this that the aesthetics of the idealist age, contemporaneously with art itself, freed itself. Only once it is done with tasteful savoring does artistic experience become autonomous. The route to aesthetic autonomy proceeds by way of disinterestedness; the emancipation of art from cuisine or pornography is irrevocable. Yet art does not come ART, SOCIETY, AESTHETICS 13 to rest in disinterestedness.
Aesthetic Theory (Athlone Contemporary European Thinkers) by Theodor W. Adorno