Architecture and Modernity : A Critique

ceased to exhibit or sell any canvases. The works of these years also take up the themes and motifs of New Babylon—labyrinths, l ...

171 exuberant in its range of colors and its festive atmosphere. The figures are painted in garish, definite colors that spill o ...

opaque; human silhouettes wander across it apparently aimlessly and without any in- teraction. The colors are shades of gray and ...

173 is set against a horizon black as night. The foreground and edges of the visual field are patched and cut with lines. Barely ...

reach the pure kernel of authenticity. The heart of poetry can be reached only if one strips off the rough exterior of the commo ...

175 sibility of giving utopia a concrete form. In the complexity suggested in the drawings and fully realized in the paintings, ...

the center of contemporary antinomies is that art must be and wants to be utopia, and the more utopia is blocked by the real fun ...

177 aligned neo-Marxism. Adorno’s Marxism is characterized by its negative opinion of the possibility of political action and it ...

The final star in Adorno’s constellation is identified by Jay as “deconstruction- ism.” While there is obviously no question of ...

179 an account of the specific and contradictory character of concrete phenomena. It is this aim that forms the core of the nume ...

ment, to escape the identifying, totalitarian aspect of thought. This is also why Adorno registers a protest against Wittgenstei ...

181 Modernity as the Unfolding of the Dialectic of Enlightenment In the Dialectic of Enlightenmenta theory of modernity is devel ...

and emancipation risk becoming illusory, they consider that there is still no other course that can be taken: however inadequate ...

183 According to the authors, the culture industry derives its power from managing to bring the leisure time of individuals unde ...

time as the Dialectic of Enlightenment, he devotes a short but fascinating reflection to it, under the heading of “Late Extra.” ...

185 For science the word is a sign: as sound, image and word proper it is distributed among the different arts, and is not permi ...

diating between rationality and mimesis because they are in a way incompatible, and this incompatibility cannot be denied. The v ...

187 if it is rightly applied—”right” not in political but in disciplinary, artistic-autonomous terms—vouches for its critical ch ...

thoroughly negative one, showing as it does the negative aspects of what is called reality. With the gesture of negation that it ...

189 thing emerges that normally is not visible: “By determinate negation artworks ab- sorb the membra disjectaof the empirical w ...