In Antwort auf:
Er rehabilitiert die bewusstseinszentrierte Intention des einzelnen. An der Kunst, aber auch sonst im Gesellschaftsleben kann sich ein Bewusstsein bilden, das progressiv und mündig ist, nicht aber immer sich zugleich auch adäquat zu äußern vermag. Bei Adorno sind nur solche Handlungen rational, die sich gegen die Irrationalität des Gesamtzusammenhangs wenden – die anderen unterstützen diesen, wo er denn wirklich irrational wäre.
We can play a little with the irrational aspects of arts
I believe in God, Mozart and Beethoven . . . I believe in the Holy Spirit and the truth of the one, indivisible Art . . . I believe that through this Art all men are saved, and therefore each may die of hunger for Her . . .I believe . . . that true disciples of high Art will be transfigured in a heavenly veil of sun-drenched fragrance and sweet sound, and united for eternity with the divine fount of all Harmony. May mine be the sentence of grace! Amen!
Yet such commanding performances, their products, and their effects in their audiences are puzzling. They often seem to come into being, so Socrates claims, ‘‘not by skill but by lot divine.
Duns would have said "techne" .
”Mysteriously,poets and dancers and composers ‘‘are not in their senses” when they do their work and ‘‘reason is no longer in [them].”One might seek to have the performance or product that results from this activity be one’s own -- concretely infused with one’s particular sense of embodiment, attitude, interest, sensibility, and personal history -- and yet also be meaningful to others, rather than emptily idiosyncratic. In this way, one might hope to have achieved through this activity, and in its performance or product, a widely ratifiable exemplification of the possibilities of human subjectivity and action as such, thereby establishing for oneself a more secure place as a subject amidst transgressions and antagonisms.In different but closely related ways, both John Dewey and Theodor Adorno pose this -- the achievement of the most concrete and fullest possibilities of human communicative action as such -- as the task of art. For Dewey, ‘‘Art is the living and concrete proof that man is capable of restoring consciously, and thus on the plane of meaning, the union of sense,need, impulse, and action characteristic of the live creature.”For Adorno,art ‘‘the image of what is beyond exchange”;that is, the genuine work of art, unlike the fungible manufactured commodity, is specifically and concretely meaningful, as the result (whether as performance or product)of the activity of discovering, through the formative exploration of materials,what can be done with paint, sound, stone, the body, words, or light.
This idea of the concrete and specifically meaningful product or performance,formed through explorative activity, makes it clear that the antithesis that is sometimes posed -- is art a (physical) product or thing,or is it an (experienced) idea or meaning? -- is a false one.
Dewey usefully observes that ‘‘the actual work of art is what the product [whether performance or physical object] does with and in experience.” That is, there must be a product, whether performance or physical object or document or text, but in order to function as art this product must matter specifically and concretely within human experience.
The existence of truth only becomes an issue when another sort of truth is in question. (R.Rorty)
BlueHorizon, 19.03.2005 11:07