阿多諾視野下的前衛藝術及其模擬語言—媒材、非理性、去主觀、緘默與內在性

Abstract

For Adorno, mimetic art is not a loyal, mechanic, and simple description of reality as Lukacs suggested, nor is the result of dialectics on subjects and objects as Hegel proposed. Adomo realized the complexity of the mimetic language in avant-garde art, which results from the entangled materials, bodies, plays, irrationality, and contingency. Using the expandable and flexible characteristics of mimetic language as his starting point, Adorno turned over the intelligible kingdom of art built since the time of Plato through Hegel. The mimetic language discovered by Adomo opened up an antitraditional vision toward art and thinking. Adorno devoted himself to the understanding of the mimetic world that is destructive, negative, unaesthetic, and uncertain. He called this vision the "Origin of Reason" and used it to break the boundaries of concepts and meanings, to elevate art from the system and value of Idealistic Aesthetics, to search for new theoretic possibilities, and to establish new recognition in art.