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willow
some sub-genres of sample-heavy music turns against itself more frequently than other music i think. i want to write a proper blog post about this
willow
but i’d want to re-read a few books first and that isn’t happening because i’m incapable of reading now, so the blog post will not be written
willow
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adorno, aesthetic theory, pg 24 This binds art to a naiveté of a second order: the uncertainty over what purpose it serves. It is uncertain whether art is still possible; whether, with its complete emancipation, it did not sever its own preconditions. This question is kindled by art's own past. Artworks detach themselves from the empirical world and bring forth another world, one opposed to the empirical world as if this other world too were an autonomous entity. Thus, however tragic they appear, artworks tend a priori toward affirmation. The clichés of art's reconciling glow enfolding the world are repugnant not only because they parody the emphatic concept of art with its bourgeois version and class it among those Sunday institutions that provide solace. These cliches rub against the wound that art itself bears. As a result of its inevitable withdrawal from theology, from the unqualified claim to the truth of salvation, a secularization without which art would never have developed, art is condemned to provide the world as it exists with a consolation that -shorn of any hope of a world beyond-strengthens the spell of that from which the autonomy of art wants to free itself. The principle of autonomy is itself suspect of giving consolation: By undertaking to posit totality out of itself, whole and self-encompassing, this image is transferred to the world in which art exists and that engenders it. By virtue of its rejection of the empirical world a rejection that inheres in art's concept and thus is no mere escape, but a law immanent to it-art sanctions the primacy of reality. In a work dedicated to the praise of art, Helmut Kuhn warranted that art's each and every work is a paean.'
continued. His thesis would be true, were it meant critically. In the face of the abnormity into which reality is developing, art's inescapable affirmative essence has become insufferable. Art must turn against itself, in opposition to its own concept, and thus become uncertain of itself right into its innermost fiber. Yet art is not to be dismissed simply by its abstract negation. By attacking what seemed to be its foundation throughout the whole of its tradition, art has been qualitatively transformed; it itself becomes qualitatively other. It can do this because through the ages by means of its form, art has turned against the status quo and what merely exists just as much as it has come to its aid by giving form to its elements. Art can no more be reduced to the general formula of consolation than to its opposite.