>Could you elaborate upon the tension you see between Bernstein and Adorno, Mr
Miller?

Wouldn't  Adorno's  "emphasis of the non- or anti-discursive character of
visual art and music...in connection with its
'bodily' presence"  preclude Bernstein's text from giving you "a completely
different way of seeing, and a different aesthetic experience."?

Wouldn't Bernstein's text be more useful *after* you've had your aesthetic
experience, and you're thinking about the broader issues of cultural history?


So, I agree with Saul that it's not so much that there is tension between the
two, but  "Might not these be seen as the
complimentary positions : experience and  interpretation (self-reflection and
analysis)"

Unfortunately, I am unable to parse the other paragraph that that Saul sent
directly to you - the text seems to have been
garbled in transmission.

There is, of course, no law against making experience and interpretation a
simultaneous activity.

Isn't that what an archaeologist does when studying an artifact to see  how it
will impact specific, historical questions?

But  it can  also be important to ignore all such questions, and just become
immersed in whatever sensual world the artifact presents, letting  the
imagination run free in the  garden.

And once you've gotten used to doing that, you may find that it will become
ever more difficult to accept the kind of
sweeping generalizations made by writers like Bernstein.

Aesthetically,  most artifacts are worthless and boring, and deserve to be
generalized and then ignored.

But a  few of them are quite special -- even if they're only a few lines
written by Herrick or drawn by Rembrandt or sung by Roberta Gambarini (a new
jazz  singer worthy of attention)

And the aesthetic power of those few objects is so great and so specific, no
generalization can touch them, and history
becomes irrelevant..

That's what Adorno was saying (or if he wasn't -- he should have been)



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