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Pozo Kritik?

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So my partner and I hit a team who had something called the "Pozo Kritik" on their wiki, all they had on the actually page was this "1NC Pozo

The world is a dark and hopeless place - the affirmative’s politics of optimism and affirmation cause us to ignore our own complicity in violence—negation resolves the aff better
Pozo 9
(ANTONIO GUTIÉRREZ, Filozofická fakulta, Sevilská univerzita, Sevilla, Španielsko POZO, A. G.: Utopia in Black: The Negative Aesthetics of Adorno and the Contemporary Black Art, FILOZOFIA 64, 2009, No 5, p. 481-6)--mm *We don’t endorse holocaust rhetoric.
The Materialistic Aesthetics 
AND
through the works." 

I found this and http://www.klemens.sav.sk/fiusav/doc/filozofia/2009/5/481-491.pdf and http://connection.ebscohost.com/c/essays/96657760/adorno-revolution-negative-utopia and this http://connection.ebscohost.com/c/essays/12371415/fabricating-future-becoming-blochs-utopians  online, but I'm curious about a full shell or at least some alts or other parts to the kritik.

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the argument is that hopeful ptx of change conceals current suffering

 

Pozo 9
(ANTONIO GUTIÉRREZ, Filozofická fakulta, Sevilská univerzita, Sevilla, Španielsko POZO, A. G.: Utopia in Black: The Negative Aesthetics of Adorno and the Contemporary Black Art, FILOZOFIA 64, 2009, No 5, p. 481-6)--mm

In opinion of Adorno the essential danger resides in that the social system identifies everything with itself, homogenizes everything and integrates it in itself, repressing all that denies it, keeping the pain silent. To dominate is to silence, to remove the word to the negative thing. To the integration through the silence. The system of horror does not want to be recognized as such and it wants to hide the proofs. The critic’s key element is art, because art, Adorno writes down, is “the world for second time” (AT 208). Art is then a place of transgressions, is another thing regarding the bourgeois modern world. Therefore, “there is nothing in art, even being the most sublime one, that does not come from the world; not even anything that has not been transfigured” (AT 208). This ‘second world’ of art presents a negative –critical- tendency against the first one. The definitive feature of the aesthetics according to Adorno is criticism, the resistance and the protest against what it is. “The works of art are negative a priori” (AT 201). To understand art it is necessary to see it in negative relationship with the reality.5 The authentic work of art is a revolution (Revolte) in itself, so that “a conservative work of art is a contradiction in terms in itself” (AT 13, 264, 303, 339). The polemic character a priori of art is due do its own artistic nature. Its (critic) social function resides then in maintaining its aesthetic autonomy, its immanent difference with the real6: “The comforting of the big works of art is less in what they say (aussprechen) that in the fact that they were able to be pulled up of the existence” (MM 253). But not the whole current art is critic, resistance. Only the radical art is so. Adorno points out that there is also an art that “in a infantile way is happy with the colours (Matisse?), a colourist and happy art (heitere Kunst) (AT 65-6), an art that adopts the attitude of comfort and narcotic before the blackened empiric reality by means of the false beautification of the world. Following the precept that ‘mundus vult decipi’ (AT 34, 350), it intends to improve the appearance of the horrible real world from its colourist world, but only a naïve person, Adorno adds, can believe possible that the discoloured and disenchanted world recovers its colours from art (AT 66). There is also an art that – like the idealistic concept-serves to the dominion, a art entkünstet, that has lost its artistic character, its critical capacity (AT 32-4), and that serves to the same end: to silence and to sterilize the pain. The ideological character of this art reaches its maximum expression with the cultural industry (Kulturindustrie) that is not but the reproduction to great scale of that colourist art, transforming it in a gigantic dominion machinery: while we console ourselves of the black historical reality with the false colourist beauty of this art, we conceal the reality of the existent thing, we legitimate it and we leave it just as it is. The conversion of art in consumption object by the cultural industry coincides with its reduction to pure diversion, what supposes the suspension of its critical and utopian power (DA 152). It promises ‘di-version’, that is, escape, evasion, but this promise is the mask of its ideological character as instrument of the dominion. Really, Adorno writes down, “escape art, escape movies are abhorrent not because they turn their back to a discoloured existence but because they do not do that with enough energy”, so that, “the escape is all a message. The message seems just the opposite, what wants to escape to escape from the flight (Flucht)” (MM 228). Diversion (Vergnügen) is flight, but not of the negative reality but of the “last resistance thought” that becomes agitated against that situation (DA 167). The diversion, far from escaping from this disenchanted world, it affirms it; it is what is most committed with the exploitation and the dominion. The message that the flight carries with itself really means ‘to be in agreement’: diversion is to collaborate, to forget the suffering, to abandon criticism (DA 167, 181). As Pascal7, Adorno conceives diversion like a mask, like turning one’s back before reality not to face the real problems face to face, in sum, as a closing in false of the wounds, what impedes to man the possibility to solve them in a more appropriate way: utopia. The diversion is the opposite side to the suffering conscience, the conscience that is nurtured of blood that flows from a wounded reality; the message of diversion is the suppression of the conscience of pain, the only way to salvation. This is the aesthetic hedonism that Adorno condemns. This cheerful and charming art that forgets and conceals horrors, is an injustice against “the deads and the accumulated pain and without word (akkumulierten und sprachlosen Schmerz)” (AT 66). Adorno assumes those verses of Brecht in which it is prohibited for our time an art that does not want to realize of horror: “What kind of times are they, where / a talk about trees is almost a crime / because it implies silence about so many horrors!” (AT 66). The poetry that has become impossible after Auschwitz, for being barbarian (KG 30), is the colourist poetry. For this reason Adorno has written that “maybe it has been false to say that after Auschwitz it can no longer be possible to write poems” (ND 355). They can be written, whenever they are black poems!. In this sombre time, an art that has lost all evidence (Selbstverständlichkeit) and legitimacy (AT 9-10), is art as embellishment, the ideological art that conceals and justifies the current reality.

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