Art Between Affect and Indifference in Hegel, Adorno and Rancière
What role can aesthetics as the philosophy of autonomous art assign to affect? Since Hegel, artistic autonomy has manifested itself as an indifferent form of appearance that “confronts us like a blessed god.” Is thinking art through affect thus necessarily the introduction of a heteronomy, a hidden...
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| Format: | Article in Journal/Newspaper |
| Language: | English |
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ZRC SAZU, Založba ZRC
2019
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| Online Access: | https://ojs.zrc-sazu.si/filozofski-vestnik/article/view/8100/7497 https://ojs.zrc-sazu.si/filozofski-vestnik/article/view/8100 |
| Summary: | What role can aesthetics as the philosophy of autonomous art assign to affect? Since Hegel, artistic autonomy has manifested itself as an indifferent form of appearance that “confronts us like a blessed god.” Is thinking art through affect thus necessarily the introduction of a heteronomy, a hidden economy that subverts the indifferent surface of autonomous appearance? The paper goes in the opposite direction by exploring the affectivity immanent to art’s very indifference. It discusses Hegel’s struggle to distinguish the divine indifference of the ideal artwork from the ironic indifference that indicates the end of art, Adorno’s observation that art is obliged to express suffering but can only do so in a medium that is essentially indifferent to it, and Rancière’s reaffirmation of indifference as the specifically aesthetic power to affect by displacing the coordinates of sensible experience. Hegel and Adorno both affirmed the indifference of art, but also attempted to ground it in some kind of substantiality. For Rancière, on the other hand, indifference is the only substantiality art can have. Kakšno vlogo lahko estetika kot filozofija avtonomne umetnosti pripiše afektu? Od Hegla naprej se avtonomija umetnosti manifestira kot indiferentna oblika videza, ki »nam stoji nasproti kot blažen bog«. Ali mišljenje umetnosti skozi afekt potemtakem nujno pomeni vnos heteronomije – skrite ekonomije, ki spodkoplje indiferentno površino avtonomnega videza? Članek gre v nasprotno smer in razišče afektivnost, notranjo sami indiferenci umetnosti. Obravnava Heglove težave pri razločitvi božanske indiference idealne umetnine od ironične indiference, ki napoveduje konec umetnosti, Adornovo opažanje, da je umetnost zavezana izražanju trpljenja, ki pa ga lahko izrazi le v do njega bistveno indiferentnem mediju, ter Rancièrovo reafirmacijo indiference kot specifično estetske moči afekcije skozi premestitev koordinat čutnega izkustva. Hegel in Adorno sta zagovarjala indiferenco umetnosti, a jo vseeno poskušala utemeljiti na nečem ... |
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