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Neste breve ensaio queremos nos movimentar, com base no pensamento estético de Theodor Adorno, no caminho da reflexão sobre o conceito de mímesis e da expressividade estética da obra de arte, num contexto problemático da educação contemporânea no chamado “capitalismo avançado”. Portanto, questionamos de que forma, num espaço de excelência na produção deste, podem as obras de arte resgatar a face emancipatória da educação, como possibilidade para tematizar o imperativo da formação humana.
A sociedade como um todo vivencia uma crise de ordem ética, mas de uma ética, sobretudo, coletiva. As “pequenas” barbáries instalam-se silenciosamente na sociedade, fomentadas por um sistema econômico que, na sua raiz, é excludente e implacável com aqueles que não se enquadram de alguma forma nele. As pequenas banalizações das injustiças criam elementos que alertam para a possibilidade de que Auschwitz se repita, medo presente e evidenciado por Adorno nas suas obras mais importantes. Os objetivos deste trabalho são responder aos seguintes questionamentos: 1) como traduzir para o dia-a-dia da educação a desconstrução da cultura de violência e preconceito que avança em todo o mundo? 2) Como trabalhar uma pedagogia da imaginação, que seja, antes de mais nada, a condição de imaginar o outro, de imaginar-se no lugar do outro? 3) Quais as bases epistemológicas norteadoras de tal objetivo? Para tanto, verificar-se-á que, por meio da pedagogia do antipreconceito, fundamentada sobretudo no pensamento de Adorno, de Horkheimer e de Marcuse, é possível promover a interdisciplinaridade que aproxime razão de afeto e que denuncie a negação do preconceito, esclarecendo, ainda, que para se fazer uma sociedade mais humanizada torna-se impositivo passar pela desconstrução, pela compreensão e pela reconstrução da educação. Entender e esclarecer como o homem médio viabiliza as posturas excludentes e preconceituosas, impostas tanto pela condição humana quanto pelo capitalismo contemporâneo, no cotidiano da educação constitui uma de suas metas. Enfim, o trabalho propõe-se afirmar a possibilidade de uma ética para a sociedade tecnológica e de semiformação, fundamentada na pedagogia do antipreconceito, cuja finalidade seja a formação de sujeitos conscientes das limitações da ciência e do uso da tecnologia para impedir a barbárie, cuja bandeira seja a do combate à intolerância e às violências e o instrumento principal seja a imaginação.
La musique et le rêve
(2010)
Adorno, in his posthumous work Beethoven. Philosophy of music, grasps the deep relationship between music and dream: “we are in music, as well as we are in dream”. Music is the coming of a non-intentional truth, that is never caught by images and words. In the same way, dream follows the logic of a non-giudicatory synthesis and is incompatible with the category of dialectical totality: in dream, truth announces her-self as it fades out. According to Adorno, the dimension of opening typical to dream and music collides with the pretension of philosophical discourse that aims at the total revelation.
To imitate all that is hidden. The place of mimesis in Adorno’s theory of musical performance
(2017)
The article examines the use of the concept of mimesis in Adorno’s notes towards a theory of musical performance. In trying to idiosyncratically define the latter as “reproduction”, Adorno relied on a framework elaborating on concepts introduced by Arnold Schoenberg, Hugo Riemann and Walter Benjamin – a framework that the article discusses insofar as it deals with the problem of mimesis. Specific attention is devoted to the relation between Benjamin’s essays on language and translation and Adorno’s theory of notation, that soon became the crucial aspect of his theory of reproduction. Given the shortcomings of Adorno’s theory, which in the end did not achieve its goals, the article proposes to capitalize on his terminology while at the same time rethinking his framework in the light of recent musicological paradigms for the study of musical performance. On the whole, the article shows that it was Adorno’s philosophical assumptions – in particular the theses of music’s non-intentionality and of its non-similarity to language – that prevented him from convincingly theorizing musical performance, and suggests an alternative framework for future research.
Starting from Warburg, the distinguishing mark of an image, considered as identity-difference of visible and invisible, is its offering itself as an implementation of a temporality, and at the same time of a memory that is immanent in the sensible structure of the image. It’s what we find both in Benjamin and in Adorno: in both cases, it is just because the image is marked by a “internal time” that it is able to have a critical function towards reality, and at the same time an utopian character that is all the same with its non-renounceable testimonial task.
Both Walter Benjamin and Theodor W. Adorno consider ‘aesthetical experience’ as an “image experience” assuming a power of images “to set free forces” directed to produce or support aesthetical-political (Benjamin) or aesthetical-critical (Adorno) requirements. Profane illumination, ‘thinkimages’, phantasmagory, dialectical images, decayed ‘aura’ and technicalized images in Benjamin’s theory of aesthetical modernity. Expressive feature or “mimetic” eloquence in nature and art countering reality, dismantled ‘aura’ in contemporary desacralized work of art, but also persisting ‘aura’ in its meaningful dimension in Adorno’s aesthetical theory.
In my paper, I intend firmly to criticize Taubes' interpretation of Benjamin's Theology as a modern form of Gnosticism (Benjamin as a modern Marcionit). In a positive way, I sustain rather the thesis that Benjamin's Messianism is in close connection with his conception of reason (“the sharpened axe of reason”) and, in particularly, with the paradoxical unity of Mysticism and Enlightenment, which, according to the famous definition of Adorno, distinguishes his thought. As a radically anti-magical and anti-mythical conception of the historical time, Benjamin's Messianism has to be considered as an original synthesis between motifs of the mystical tradition of the Jewish Kabbalah and motifs belonging to the rationalist tradition of the Jewish philosophy. Moving from Cohen's standpoint of a continuity between Maimonides and Kant, I consider therefore the affinity between his messianic conception of history and that of Benjamin. Both, Benjamin and Cohen, share, together with the reference to the a priori of the idea of justice, the reference to the Kantian connection between rationality and hope. Hence originates the non-eschatological Messianism of both. Motives of difference between Cohen and Benjamin’s messianic idea are to be found, conversely, in their different way to consider the idea of "the infinite task" and of its infinite fulfillment in the context of the historical time. Unlike the fundamentally ethical interpretation that Cohen gives of this relationship, Benjamin understands it ontologically in a monadological sense. This explains the constitutive relationship that exists, in Benjamin's philosophy, between Origin, Fragment and Revelation. In the light of this connection, Benjamin's messianic understanding of the historical time exceeds the Scholemian alternative between a restorative and a utopian conception of Messianism. Consequently, the Krausian motto “Ursprung ist das Ziel” (“The Origin is the Goal”) displays its truth in the idea of the messianic fragment or spark.
In order to celebrate the seventieth anniversary of Benjamin's death, the conference "Dialectic images and sudden constellations: Warburg, Benjamin, Adorno" was held in Florence. The idea, common to the three authors, of a truth content that can only be realised in its concrete and istantaneous configuration, was embodied here in the form of a "philosophical concert", where contributions by philosophers, philologists and historians of arts and architecture succeeded each other.
As an exemplum of that kind of “modern” art, in terms of Adorno, Kafka’s work is marked not only by its strictly “realistic” character, but also by the unavoidable critical and testimonial value of that realism. According to this perspective, both in Adorno and in Benjamin the testimonial aspect of Kafkian writing – that is of a writing as “dialectical image”, as memory of the unfullfilled possibility – it’s all the same not with its symbolical or “epiphanical” aspect but instead with its “allegorical” one.