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By Adrian Carr, Philip Hancock (eds.)

ISBN-10: 0230554644

ISBN-13: 9780230554641

ISBN-10: 1349428663

ISBN-13: 9781349428663

ISBN-10: 7820023023

ISBN-13: 9787820023020

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Art’s non-rational element gives it the power to go beyond instrumental rationality. For Adorno (1970/1997, p. 79) ‘capitalist society hides and disavows precisely this irrationality, whereas art does not’. In this context, earlier it was observed, and it bears repeating, that: Adorno (1970/1997) insisted that ‘art is directed toward truth, it is not itself immediate truth: to this extent truth is its content. By its relation to truth, art is knowledge; art itself knows truth in that truth emerges through it.

This differentiation has been accompanied with a regime that encourages: scientism; the realists idea that something is mindindependent; and, pervasive forms of ‘dualisms (nature vs. culture, mind vs. matter) that have served to valorize an abstract idealism at the expense of an embodied, practical rationality’ (Gardiner, 2000, p. 11). Different knowledge-forms, the abstractions, the hierarchy in the knowledge-forms that gives primacy to metaphysical reason, and dualisms – all have splintered and substituted for ‘real life’ and negate critical function.

95). In the drawn version, ‘players’ took turns adding portions of the drawing. The first person might draw the head, with two lines protruding for the neck. The paper was then folded and passed to the second player, who added the torso, with lines protruding across folds for the arms and legs, and so on. The point of the ‘play’ was both collective and automatic: the unleashing of the ‘marvelous’ or non-rational, and the production of a work that could not have been produced by a single player acting alone (Caws, 1997).

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Art and Aesthetics at Work by Adrian Carr, Philip Hancock (eds.)


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