By Espen Hammer
Theodor W. Adorno's aesthetics has ruled discussions approximately artwork and aesthetic modernism given that international conflict II, and keeps to notify modern theorizing. Situating Adorno's aesthetic concept within the context of post-Kantian ecu philosophy, Espen Hammer explores Adorno's severe view of artwork as engaged in reconsidering primary positive aspects of our relation to nature and fact.
His publication is dependent round what Adorno considered as the modern aesthetician's overarching activity: to accomplish a imaginative and prescient of the destiny of artwork within the glossy global, whereas demonstrating its certain cognitive power. Hammer bargains a full of life exam of Adorno's paintings throughout the imperative challenge of what complete human self-actualization will require, and in addition discusses the broader philosophical value of aesthetic modernism.
This ebook could be a priceless source for students and scholars of social philosophy, artwork, and aesthetics.
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Additional resources for Adorno's Modernism: Art, Experience, and Catastrophe
118. If reason indeed is instrumental, then Horkheimer’s remark does not seem implausible. ” The reason why this remark nevertheless seems wayward is that Horkheimer seems to be referring to “reason as such” or “Enlightenment reason” (which, after all, is the subject of the chapter), and one would then want to know why Kant’s moral philosophy, for example, which is definitely oriented around a conception of reason, should be deemed incapable of producing a “fundamental argument” against murder.
At one level it seems like a blatantly circular procedure. However, if it is conceded that no material identity-claim (a claim to the effect that X is the bearer of a particular set of, for us at least, unavoidable properties) is fully intelligible without a narrative about how we have come to regard a particular phenomenon in this or that way, then it does not seem entirely unpromising to want to expand that narrative – fill out relevant details, show how the narrative leads in a specific direction, and identify the main protagonists.
If there is, then Kant hoped to have a basis for uniting his theoretical philosophy, which considers nature as a unified causal system under natural law, with his practical philosophy, which considers practically acting creatures of reason, such as ourselves, as capable of setting ends for themselves and acting responsibly on them. In the second part of the Critique of the Power of Judgment, dealing with teleological judgment, Kant claims that we are entitled to view biological systems as if they are purposive in this sense.