Divine Expression

"... هنر تنها به همان نسبت تقلید محسوب می شود که هرچه نزدیک تر به بیان عینی باشد و در فاصله ای هرچه دورتر از روان شناسی.

شاید در دورانی دور این کیفیت بیانی موجود در جهان عینی عموماً و عمدتاً از طریق دستگاه حسی بدن انسان دریافت می شده است. حالا دیگر چنین چیزی صحت ندارد. حالا بیان تنها به واسطه ی هنر به حیات خود ادامه می دهد. از طریق بیان، هنر لحظه ی "بودن برای چیز دیگر" را که همیشه به درکام فروکشیدن تهدیدش می کند به تعویق می اندازد و به این ترتیب قادر می شود که در خود سخن بگوید. این همان تحقق یافتن از راه بازنمودن است. بیان در هنر حکم برابرنهاد "بیان کردن چیزها" را دارد. بازنمایی آرمان هنر است و نه روشی عملی یا رویکرد ذهن گرایانه ای با هدف دست رسی به ارزش های بیانی. ادای سهم هنرمند به بیان عبارت است از توانایی او در تقلیدکردن، کنشی که در وی به رهاشدن آن چه بیان می شود می انجامد."

نظریه ی زیباشناسی، ت.و. آدورنو

 

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Omid M.

Somewhere John Cage said this:" I have nothing to say and I am saying it and that is poetry." I think the same goes for art as such. Now you can have 14 different variations on above 14 words. A poet named Edwin Morgan has done it as a poem. Expression is one of those human miseries that always seek a positive content. Whereas the point is how to express the very fact of expressing.

In reply

Personally, i'm inclined to divide expression into two "fuzzy" components: the linguistically conventional part which is potentially usable to communicate something since it boasts the merit of meaning, and the unintentional, non-intending element, the language-in-itself. It may be vexing to have the attempt to draw a solid dividing line there thwarted, but it is absolutely tragic to slide into the pitfall of wanting the trace the person behind the work of art/literature. Having said all this, I feel that my approach may be too simplistic compared to what really constitutes creativity. M

sara

هوم.... به آدورنو نرسیدم! اما همیشه از دور جالب و مبهم است!

Omid

The secend element you mentioned, the unintentional (a term much loved by Adorno) is precisely the very excess that constitutes Art. Something which is more than itself, something unmeasureable but at the same time immanently incorporated in the artwork.

درباره ی آدورنو خواندن

هرچه نزدیک تر جالب تر و مبهم تر، این یکی. من فکر می کنم خواندن بعضی ها - و شاید آدورنو - مثل در آستانه ایستادن است: هدایت شدن در جهت نفی کاملی که خوش بختانه بازگشتی را نوید نمی دهد. در عین حال نفس بودن در بحران است و تأمل ضمنی بر خود بحران، که همیشه با بازگشتن قرابتی دارد. انگار که هرچه خود کنش بیش تر در جهت آینده باشد تأمل بر آن بیش تر در راستای بازگشت است.

To OMID

So be it Also, the detachment of the objective expression from the subject must preclude the effect of the angle of vision and the significance of interpretaion. Indeed, inferior productions suffer from just this: nothing has been liberated in them. I wonder how such art relates itself to powers of society. To admit of beauty in good art or to use the expression 'art for art's sake' sounds true here but would be frowned upon, whereas it is important to know how a community of humans or the ruling sector relates to art that stands so independent of even the most personal pressures.

Omid

Art relates to powers of society through a kind of non-relation. As Adorno said: art resembles the reality without imitating it.Consider the concept of Monad in Leibnitz. Adorno uses it to charactreize the artwork. Monads are windowless and totally isolated and independent. But at the same time, each Monad contains the picture of the whole Macrocosmos. at the other hand, the relationship between art and social classes is a modern one, so far as the concept of class in Marxian sense is a modern cocept, it is indeed a class that is not a class. it differs from Stand or Status in old soceity. this vanishing position of modern art, that i think is almost the Art, is not irrelevent to the concept of class. the really emancipating art must be a communist art, just as a really true and proper faity tale has a communist charakter.

Mannoushka

ُThank you, dear Omid, for the discussion and the information Sadly I don't understand what you mean by a proper fairy tale The Monad, however, I seem able to grasp and do acknowledge as a must for a true work of art, except I think the macrocosm is that which belongs to the work of art rather than represent the real world There is a shared horizon between the two, I admit, but that is all. (YES/NO? I'd appreciate your comment) Finally, I'm highly suspicious of art that has patrons with motives and interests, whatever these may be In our consumer-oriented world, where tastes and correctnesses tend to get taken into serious consideration before investments are made, one does well to patronize a sort of a marginalized (not exactly communist) art, hoping such 'outcast' productions will be permanent enough to last unto their age of fame

Omid

Dear Mannoushka, hi. It IS the real world and it must be. no matter how it gets represented. At any rate, artwork, far from being l'art pour l'art, must be and is in a vivd touch with the real world.But this represention is not a direct but wholly mediated one. What i said about class has nothing whatsoever to do with class intersets. Proletaria, if any, is supposed to share the interests of the humanity, not those of the poor concept of working class. Here we deal with the Idea of communism rather than a local and interested political struggle. It is indeed a curious communication: in the comment box of a marginal weblog in a virtual world, isn't it. i agree with you on the marginalized art, however not a avant-guardist one. After all, today, so far as we present artwork to the symbolic sphere, there is no such thing as OUTside. Everything is absorbed in defferent degree into the system. thank you too.

to have no screen between this part he play'd and him he play'd it for he needs will be absolute Milan This is the idea So much better to think that by doing art or just enjoying it one is throwing up a tempest in a teacup This is not seriously meant, but only to tie things in with the reference to marginality in the comment below