Lexicon of Arguments

 

Grenz I 106
Artworks/Adorno/Grenz: Adorno has exposed the object- or thing-character of the artworks. (Ästhetische Theorie⁽¹⁾, p. 153f)
>Art/Adorno.
I 286
Note: "Artworks become images by the fact that the processes congealed in them to the point of objectivity speak themselves." (Ästhetische Theorie, p.132f)
>Objectivity.
Grenz I 106
As things, they are already subject to the criticism of the givenness which distinguishes the physiognomist from the recipient. "The given is in its poor and blind form, not objectivity [...]." (Negative Dialektik⁽²⁾, p 186).
Grenz I 108
Artworks/Adorno/Grenz: artworks are distorting, pure constructions depicting utopia ... They are abstract negations of past works, certain negations of the real synchronous relation between nature and mankind, which can be determined in them as the always-sameness of superfluous being restrained of humans.
>Negation/Adorno.
Grenz I 199
Artwork/Adorno/Grenz: "The historical moment is constitutive in the artworks; the authentic ones are the ones that entrust themselves to the historical content of their time without reservation and without the presumption to be above it. They are the historiography of their epoch unconscious to themselves. The last but not least, mediates them to recognition". (Ästhetische Theorie⁽¹⁾, p. 272).
Utopia/Art/Adorno/Grenz: "The form of all artistic utopia today is to do things of which we do not know what they are." (Quasi una Fantasia⁽³⁾, p. 437).
>Utopia/Adorno.


1. Th. W. Adorno. Ästhetische Theorie. In: Gesammelte Schriften 7, Rolf Tiedemann (Hg.), Frankfurt/M: Suhrkamp. 1970.
2. Th. W. Adorno. Negative Dialektik. In: Gesammelte Schriften, Band 6: Negative Dialektik. Jargon der Eigentlichkeit. Frankfurt am Main: Suhrkamp 1970.
3. Th. W. Adorno. Quasi una Fantasia.