Lexicon of Arguments

 

Grenz I 49
Art/Adorno: "Art is infinitely difficult, too, in the fact that it must transcend its concept [...] but that it adapts itself to the reification in which it is similar to realities, against which it protests ... (Ästhetische Theorie, p. 159).
Art/Sense/Adorno: The abandonment of art to the category of meaning drives it into the arms of positivism (it is still a synonym for assimilated consciousness). (Ästhetische Theorie⁽¹⁾, p. 231).
>Abstract Art, >Sense.
Grenz I 104
Art/HabermasVsAdorno: Adorno's theory of the autonomy of art, which he sees represented in hermetic art, is a 'defensive' theory.⁽²⁾
Grenz I 108
Abstract/art/Adorno/Grenz: the abstractness of the reference of the works of art to the psychological nominalism, existing before them, on which Adorno insists, are the consequences of the theorem of the ahistorical-ness of the ideological superstructure.
>History/Adorno.
Grenz I 186
Art/Adorno/Grenz: Adorno separates between the social content of the works of art and their monolithically-viewd suchness.
>Truth/Adorno, >Truth content/Adorno.
AdornoVs aesthetics of experience: Adorno adheres to the objectification character of the works of art.
I 187
Either a work of art is communicative, but then it is at the same time, 'crude propaganda', or it is true as a critique of the communication system. But then it is socially ineffective.
>Communication media.
I 188
Art/Adorno: art is a practice as "formation of consciousness" (Ästhetische Theorie⁽¹⁾, p. 361).
>Consciousness.

1. Th. W. Adorno. Ästhetische Theorie. In: Gesammelte Schriften 7, Rolf Tiedemann (Hg.), Frankfurt/M: Suhrkamp. 1970.
2. J. Habermas. Bewusstmachende oder rettende Kritik: Die Aktualität Walter Benjamins. (1972). In: Jürgen Habermas: Politik, Kunst und Religion. Essays über zeitgenössische Philosophen. Reclam, Stuttgart 1978 (aktuelle Neuauflage 2006) S. 48–95)