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    Adorno and Art Autonomy

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    Academic reflection on T. W. Adorno and his take on Art.

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    Academic reflection on T. W. Adorno and his take on Art.

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    Historical Dialectics and the Autonomy of Art in Adorno’s Asthetische Theorie James M. Harding ‘The Journal of Aesthetics and Art Criticism, Vol. 50, No. 3. (Summer, 1992), pp. 183-195. Stable URL hip: flinks,jstor-org/sici%sici=0021-8529% 28199222% 2950%3A3%3C 183%3AHDATAO%3E2.0.CO%3B21 The Journal of Aesthetics and Art Criticism is currently published by ‘The American Society for Aesthetics. ‘Your use of the ISTOR archive indicates your acceptance of JSTOR’s Terms and Conditions of Use, hutp:/wwww jstor orglabout/terms.htmi. ISTOR’s Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of « journal or multiple copies of articles, and you may use content in the ISTOR archive only for your personal, non-commercial se. Please contact the publisher regarding any further use ofthis work. Publisher contact information may be obtained at hutp/www jstor.org/journals/tasfa him Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the sereen or printed page of such transmission, JSTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact support @jstor.org, hupsvwwjstororg/ Sat Nov 4 22:44:30 2006 JAMES M. HARDING Historical Dialectics and the Autonomy of Art in Adorno’s Asthetische Theorie ‘As Peter Hohendall has noted, the posthumous publication of Adorno’s Asthetische Theorie in 1970 disappointed many who expected that it would provide a materialist aesthetic which ‘would cultivate praxis. The Left, who dis- missed the work “out of hand,” maintained that, though anti-capitalist, the text advocated an anachronistic cultural elitism? After Hohendabl (re)constructs the historical context in which Adorno's text was so negatively received, he suggests that the time has come (1981; 1991) to reassess the Asthetische Theorie, Interestingly, while implying that the apparent flexibility of German society in the 1970s produced an inade- quate analysis of Adorno’s final work, Hohen- ‘The aesthetic voice emerging from the artifact anticipates a new-found autonomy in the con- templation it facilitates. Anticipation would seem the correct term here because aesthetic expres- sion is only potentially autonomous. Negation is not cancellation, i.e, final. Itdenotes a dynamic impasse in a continuing struggle for dominance. Here we are speaking of two distinct autono- ‘mies: one ephemeral and terminal, and the other resulting from historical passage. The former resides in what an att work potentially offers to ‘an individual in the counter-image it provides to a specific socio-historical context. The latter is the autonomy addressed earlier inthis paper, the ‘autonomy that results from the unresolved ten- sions an art work has with a specific historic ‘moment Il, THE QUESTION OF ORIGINS ‘The autonomy of art depends upon such an elaborate conception of historical dialectics that Adorno’s writing from the perspective of the non-identical is arguably a subtle method for talking about the autonomy of art without be- ‘coming entangled in the complexities leading to it. But the method also has the tendency to pre~ ‘sume that the origins with which an artwork is Harding The Autonomy of Art non-identical are non- problematic. Thus Adorno dismisses the question of origins in an early section of the dsthetische Theorie entitled “Gegen Ursprunsfrage.”" The dismissal might not be so problematic were it not for two points: First of all, art owes its non-identical existence to the origins which Adorno dismisses. Immediately after dismissing the question of origins, Adorno specifies that aesthetic negation and the subse quent autonomy of art are meaningless without the origins from which they emerge: “Works of art became what they are by negating their ori- gins." Secondly, Adorno keeps the question ‘open at the margins of his discussions by push- ing it into an appendix.2 ‘When he finally does return tthe question of ‘origins in the appendix, the reasons for his dis- ‘comfort quickly become evident; the excursus is 1 documented explication of his earlier rejec- tion.2° The rejection of origins asa topic worthy ‘of consideration is based upon its association with debates concerning the origin of art itself. For Adorno, the origin of artis irrelevant to the origins anart work negates, and he dismisses the question of arts origin because the question presupposes a continuity inart which, according to Adomo, is at odds with art itself This is ostensibly why he begins with inthe excursus, the claim that the endeavor to understand the essence of at by looking to its origins is “neces- sarily disappointing.” ‘While the distinction between the origin of art and the origins an art work negates is important to the subordination of universal to the influ- ence of historical dialectics, Adorno also over- plays the distinction. The excursus rigorously dismantles and obstructs a view of art asa con- tinuous and unfolding concept, but does so atthe expense of an adequate explanation of what con- stitutes the origins an art work negates. Like his structurally binding “autonomy” to socio-hi torical specifics, his rejection of the “Urs- prungsfrage” emphasizes historical distinction or particularity over historical evolution or con- tinuity. Adorno’s views on the autonomy of art and on the origins negated by art bear the ad- ditional similarity that, in both instances, the socio-historical accupis the position ofthe un- articulated. But the point is that regardless of whether Adorno rejects the term “origin(s)" in its common usage, he stil employs a structural conception of it whose explanation he neglects 189 Although the excursus refuses to provide an adequate explanation of what is meant by the “origins” an art work negates, the methodology of the excursus lends itself to an inferential con- struction of the underlying structures governing ‘Adorno’s use of the term. Adorno’s use of “ori ‘gins” rests at the center of a dynamic tension between a radical historiczation and an equally radical questioning of what comprises histor- icity. Like the art works whose negative basis they form, the origins to which art works owe theirexistence are historical.2® But while histor- icity joins an art work to its origins, one must also understand what constitutes the substance of history to understand origins. Unfortunately, it is not enough to say that the material and the social are the substance of the historical ‘The vagueness of the term “origins” hedges between a catch-all phrase and a critical expres- sion that calls into question the material and the social realms to which it refers. It alludes not only to socio-historical context but also ques- tions the fixity and stability of such a concept. By saying that art negates its origins rather than its socio-historical context, and by adopting the n of art looking in retrospect on the “Other” it has left behind, Adorno concedes that art responds to social reality, but leaves ‘open the question as to what constitutes that reality “The scope of the origins to which art responds extends beyond the specifically “material” life men and women lead. As Peter Hohendahl has noted: [Adorno]... used Hegel's model of history to under- stand the evolution of literature as representative for the development of social and political history. While he insists onthe dialectic of art and society the art work is also a social fact), he does not, unlike Lukes, conceive of iti terms of reflection 2» Adorno’s opposition to the arguments that art is a reflection of social reality stem from his as- sumption that consciousness is not merely a reflection of the material. The lives men and ‘women lead respond to a social milieu com- prised of ideas as well as materiality. Rather than thought mirroring the material-social environ- ‘ment, art actively contributes to it. The origins negated by an art work denote a socio-historical context that includes art and philosophy—not as 190 reflection but as substance, As Hohendahl notes: “Ultimately, art and society belong to the same stream of history."*® “Origins” denotes them both. ‘Once art and philosophy become part of the socio-historical context that a work of art ne- gates, its not dificult to understand why Adorno is so opposed to studies tracing art back to its prehistoric origins. Such studies presuppose a separate qualitative continuity in art that Adorno claims each work must negate in order to be art at all: “It must turn against that which deter- ‘mines its own concept and thereby becomes uncertain within its deepest fibers." His com- bining the intellectual with the material in a single milieu subordinates abstractions and con- cepis—which try to stand “above” or “out- side”—to the qualitative substance, i.e., the ori- gins that a work must negate to become art. The consequences of this subordination occur at ‘numerous levels. First of al, it radically alters the notion of “an unfolding concept,” by leaving each work of art disjointed and severed from the next. At the same time that Adorno places art amidst specific socio-historical parameters, he expands the width ofthese parameters by replac- ing reflection theory with a conception of the socio-historical as an admixture of the intellec- tual and the material. Combined, these two maneuvers suggest a revision of dialectics that distinguishes Adorno from Hegel. They make up a dynamic that pulls at its own seams: once the historical becomes an admixture of intellec- tual and material, the elements of history, which include the disjointed concept of art, lose their ‘qualitative continuity. Adorno’s emphatic rejection of a qualitative Continuity in the concept of art has implications for the movements of history in general. A dis- continuity in concepts implies @ corresponding With the contextual, qualitative specificity of the concept of art, an additional element vies for position within the dynamic tension of its ne- ‘ated origins: Adorno’s radical historicization is not only offset by a rigorous questioning of what ‘comprises history; this historicization is offset by a questioning of supersession as well, Art's ‘non-identical origins are a socio-historical con- text in which the content of the social and the historical are brought into question, and in which reification prevails beneath the appearance of supersession ‘The “origins” of Adorno’s Asthetische The- rie presuppose a model of history in which ‘even the basic oppositions of Hegelian dialectics are brought into question, a model in distinct contrast to Hohendahl’s Hegelian reading of Adorno and to the reading of Eugene Lunn, who defends a similar position. Lunn notes Adorno’s frequent juxtaposition of “seeming opposites so as to mediate them by developing each of the apparent antinomies out of the other in mutual critique.” This strategy is according to Lunn “a dialectic procedure which ... [Adorno] owed to Hegel.” With origins, however, the mediation quickly extends beyond the mutual critique of antinomies. It escalates instead into a constella- tion of mediations: at one level, there is the socio-historical that brings its very substance into question, and the socio-historical is in dy- namic tension with a rigorous inquiry into the presumptions underlying supersession, the con- tinuity thought to gauge temporal passage. While fone can single out specific elements—as, for example, the apparent antinomy that the con- Harding The Autonomy of Art tinuity of a concept becomes a litmus test for its reification—the question of socio-historical sub stance is no less a mediating factor to a concept (ein Begriff in the Hegelian sense) than is the ‘question of its continuity. The complex media- tion within “origins,” indeed, mediation in gen- eral, occurs at a level where the antinomies are never quite clear because opposites are them- selves never stable enough to polarize and ossify into the Hegelian categories of thesis and an- tithesis ‘The diverse and dynamic mediation occurring beneath Adorno’s own use of the term “origins” helps to pinpoint the referent in the sentence with which he opens “Gegen Ursprungsfrage’ “Art has its concept in the historically changing constellation of moments," The weight ofthis sentence rests on the definite article, on the specificity that it connotes. The constellation to which he refers is the “origins” that he says an art work must negate. But the concept of artis ‘not that which is changing or evolving, at least not evolving beyond the constellation itself, within which, it continues to unfold because its dialectical tensions remain unresolved. It is the constellation of moments that changes and the constellation from which art receives its con- cept, each new constellation necessitating a new ‘non-identical concept of art and of autonomy. The dialectical evolution continues within the ‘constellation itself, bt the concept has no con nuity outside of the contextual origins structur- ing it ‘While Adorno’s polemic against the so-called. origin of art does emphasize a discontinuity that is presupposed in the autonomous, non-identical ‘movement of aesthetic negation, and while the description of origins as a constellation or dy- namic of tensions does much to highlight the presumptions functioning beneath Adorno’s own application of the term “origins,” these charac- terizations still describe the consequences of aesthetic negation and not really origins per se ‘The characterizations are part of Adorno's the: torical stance. They still come from the perspec tive of art looking in retrospect on the origins or “the Other” it has negated. Aesthetic negation uncovers the discontinuity of concepts—ie., the breakdown in sublation—and it illuminates the unresolved, thriving dialectical tensions ob- scured beneath the appearance of supersession. ‘To say that art has its Concept in the historically 191 ‘changing constellation of moments is to describe ‘origins in their negated relation to an artwork, to describe origins after the appearance of con- tinuity and stability has given way to an aesthetic. force capable of reinscribing the constellation which appearance obscures. But it makes sense, at Teast according to the dictates of Adorno’s argument, that the origins as Adorno presents. them must already be in their negated state: if the origins were already obviously discontin- uous and unresolved, an art work could not find the stable basis—however illusory that basis proves to be—against which to build its non- identical relation without positing continuity so as ater to dispel it. ‘The origins negated by art remain unarticu- lated in Adorno’s theories, more so than the non- identity of art itself. One might think that this is as it should be, given that the Astherische The- orie is afterall a work on aesthetics, and given that the theory itself emphasizes the socio-hi torical specificity of origins, a specificity artic tulation might dilute. Yet for al its non-identty, art presupposes a corresponding specificity as well, the structure and not merely the details of which Adorno neglects by addressing the conse quences of negation instead of clarifying his ‘own use of the term “origins.” As a result, bo:h the non-identity of art and its negated origins remain cryptic and formulaic. Crucial structural aspects of the dynamics between art and society persist in the form of mostly unexplored terms— ©.8., “non-identty,” “what it is not,” “the Other” and above all “origins”—although their exploration would foster a clarity rather than dilution. In part, this lacuna results from and is even obscured by Adorno’s having selected the concept of art to illustrate the discontinuity of concepts in general, the discontinuity that aes thetic negation exposes. This unexplored ter- ritory results, in part, from Adorno’s mesmeriz~ ing account of the consequences of negation—an account thats in itself suspect because, by artic~ ulating the consequences of negation rather than the structural conditions leading to it, the ac ‘count comes dangerously clase to the formula tion of immutable criteria which artifacts must ‘meet in order to be art. At the very least, the account of the consequences of negation cult vates registers with which a critic/reader can search for that which appears to correspond to preconceived results. It borders on begging the 192 question. While these last possibilities are at ‘odds with more dominant tendencies in Adorno’s text, their emergence in the theory's central dynamic raises questions that cannot be ignored For the present suffice it to say that, though the terms may remain unexplored, their function is to provide the means with which to discuss the aesthetic exposure of the heterogeneity which society obscures, IV, HETEROGENEITY AND THE CRISIS IN DIALECTIC Rainer Nagele argues that “if Hegel’ dialectic is the attempt to master the heterogeneous in phi ‘osophical concepts, negative dialectics is the attempt to reinscribe the heterogeneous as het- ferogeneous also in thought." In Adorno’s Asthetische Theorie, art's non-identity is this reinscription, This means that the non-identity ‘fart, because itre-inscribes heterogeneity, pre- supposes the homogeneity, ie., a continuity in concepts, which negation dispels. More than a mere reversal of Hegel, reinscribing the hetero- ‘geneous articulates a crisis inthe basic mechar ics of Hegelian dialectics. Without continuity in concepts, sublation comes toa standstill—in this respect there is a brilliance in Adorno’s having focused on the discontinuity or disunity of the ‘concept of art.*” Art’s own heterogeneity gives it the conceptual basis from which to question ‘and negate the appearance of continuity in con- ‘cepts; ils heterogeneity is its non-identity with is at the avant-garde of the heterogeneity it uncovers. ‘Adorno’s rejection of theories on “the origin of art” and this rejection’s connection with his reworking of historical dialectics are but two aspects within a larger critical constellation ‘While the discontinuity of art suggests that sub- Iation forces or creates the illusion of unity “where none in fact exist{s},” Adorno’s rejec- tion of continuity also initiates a reworking of the idea of reification—which here signifies the aglossing over or repression of heterogeneities beneath the appearance of unity.®8 The appear- ance of a resolution (Aufhebung) that leads from ‘one historical constellation into another robs art of the dialectical vitality it has within its specific socio-historical context. In contrast to the continuity of origins im- plied by supersession, Adorno posits layers of ‘The Journal of Aesthetics and Art Criticism constellations whose essential tensions have not resolved, but are buried beneath areified rhetor- ically imposed supersession which accompanies ‘temporal passage. This same lack of resolution for example, what allows Adorno to make the claim with which he opens Negative Dialektik: Philosophy, which once seemed obsolete, lives ‘on because the moment to realize it was missed." Philosophy is nota floating potential waiting for realization—its moment has passed. It is rather the premier example of unresolved tension sur- viving within its specific moment or constella- tion and providing a point of focus from which to scrutinize fabricated resolution. In the unity and stability presupposed by the origins art negates, Adorno finds a false and reified his tory—just as the question of the origin of art is a false question based upon a reified concept of art. While origins presuppose historical con- tinuity, negation reinscribes historical hetero- ‘geneity. Art's negation of its origins is two-fold: it uncovers unresolved dialectical tensions that the apparent unity within origins obscures; and its non-identity with these origins generates a

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