30 Consecutive Days of Blogging (VIII)
Some intersting quotations from Chapter 8 of Adorno's Aesthetic Theory:
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On form:
"To conceive of form is to conceive of it through content, not just in opposition to content" (203).
On form:
"Today's artist would rahter do away with unity altogether, producing open, unfinished works, or so they think. The problem is that in planning openness they necessarily impart another kind of unity unbeknown to themselves" (204).
On form:
"Aesthetic form ought to be the objective organization of all that appears in a work of art, with an eye to rendering it consistent & articulate. Form is the non-repressive synthesis of diffuse particulars; it perserves them in their diffuse, divergent & contradictory condition" (207).
On social criticism in art:
"Hermetic works can be, & are, more critical of the status quo than those that go in for tangible social criticism but in doing so make use of non-radical forms, this giving tacit recognition to the rampantly flourishing culutre industry" (209).
On fragmentation:
"Art of the highest caliber pushes beyond totality towards a state of fragmentation" (212).
On materials:
"Unreflective artists like to believe they can choose materials as they please. This is of course completely wrong. There are inescapable constraints built into materials, constraints that change with specific character of the material & which determine the evolution of methods. The state of the material largely also determines innovative expansion into unknown areas" (213).
On materials:
"Material is always historical, never natural, irrespective of what artists themselves might think" (214).
On the purpose of art:
"Works of art are purposeless in the sense of being removed from reality & from useful personal strategies of survival. It is precisely for this reason that we speak of 'meaning' rather than 'purpose' in art" (219).
**************************************************************************************
On form:
"To conceive of form is to conceive of it through content, not just in opposition to content" (203).
On form:
"Today's artist would rahter do away with unity altogether, producing open, unfinished works, or so they think. The problem is that in planning openness they necessarily impart another kind of unity unbeknown to themselves" (204).
On form:
"Aesthetic form ought to be the objective organization of all that appears in a work of art, with an eye to rendering it consistent & articulate. Form is the non-repressive synthesis of diffuse particulars; it perserves them in their diffuse, divergent & contradictory condition" (207).
On social criticism in art:
"Hermetic works can be, & are, more critical of the status quo than those that go in for tangible social criticism but in doing so make use of non-radical forms, this giving tacit recognition to the rampantly flourishing culutre industry" (209).
On fragmentation:
"Art of the highest caliber pushes beyond totality towards a state of fragmentation" (212).
On materials:
"Unreflective artists like to believe they can choose materials as they please. This is of course completely wrong. There are inescapable constraints built into materials, constraints that change with specific character of the material & which determine the evolution of methods. The state of the material largely also determines innovative expansion into unknown areas" (213).
On materials:
"Material is always historical, never natural, irrespective of what artists themselves might think" (214).
On the purpose of art:
"Works of art are purposeless in the sense of being removed from reality & from useful personal strategies of survival. It is precisely for this reason that we speak of 'meaning' rather than 'purpose' in art" (219).
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