Adorno’s question, which artworks answer

The unsolved antagonisms of reality return in artworks as immanent problems of form.  –TA, p.

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Posted in Adorno, Theodor W.

Artworks speak…

by virtue of the communication of everything particular in them.  Thus they come into contrast with the arbitrariness of what simply exists.  –TA, p. 5

Posted in Adorno, Theodor W.

Adorno’s distinction between artwork and artist

Although the demarcation line between art and the empirical must not be effaced, and least of all by the glorification of the artist, the artworks nevertheless have a life sui generis. –TA, p. 4

Posted in Adorno, Theodor W.

What constitutes art is not a question of definitions or vocabulary.

“Art can be understood only by its laws of movement, not according to any set of invariants.” -TA, p.3

Posted in Adorno, Theodor W.

Role of genius is to create knowledge

“…genius exhibits a free sweep of invention and thus the originality that creates new models.”

“taste is a necessary discipline for genius.” -HGG, p. 46, p. 47

“Fine art is the art of genius.” – Kant via HGG p. 51

Posted in Gadamer, Hans-Georg, Truth and Method

Role of aesthetic taste for Kant

“…aesthetic taste…facilitates the play of one’s mental powers…and invites one to linger before the beautiful.” -HGG p. 46

Posted in Gadamer, Hans-Georg, Truth and Method

Genius as a theory of art in Kant

“…the irrationality of genius brings out one element in the creative production of rules evident both in creator and recipient, namely that there is no other way of grasping the content of a work of art than through the unique form of the work and in the mystery of its impression, which can never be fully expressed by any language.”  -HGG p. 46

Posted in Gadamer, Hans-Georg, Truth and Method

Nature is indeterminate and non-specific, art is specific.

“Thus, contrariwise, one can see that the advantage of art over natural beauty is that the language of art exerts its claims, and does not offer itself freely and indeterminately for interpretation according to one’s mood, but speaks to us in a significant and definite way.” –HGG p. 45

Posted in Gadamer, Hans-Georg, Truth and Method

Kant’s aesthetics describe a moral theory, not a theory of art.

“The conclusiveness of Kant’s argument is impressive, but he does not employ the appropriate criteria for the phenomenon of art.  One can make a counter-argument.  The advantage of natural beauty over artistic beauty is only the other side of natural beauty’s inability to express something specific.”  –HGG p. 45

Posted in Gadamer, Hans-Georg, Truth and Method

In figural art, the meaning is the intention of the artist.

“…in the representation of the human form the object represented coincides with the artistic meaning that speaks to us in the representation.  There can be no other meaning in this representation than is already expressed in the form and appearance of what is represented.”

“Naturally, the significance of art also depends on the fact that it speaks to us, that it confronts man with himself in his morally determined existence.  But the products of art exist only in order to address us in this way –natural objects, however, do not exist to address us in this way.  This is the significant interest of the naturally beautiful: that it is able to present man with himself in respect to his morally determined existence.  Art cannot communicate to us this self-discovery of man in a reality that does not intend to do so.”  –HGG p. 42, p. 45

Posted in Gadamer, Hans-Georg, Truth and Method