The aesthetics of extremes: notes on the relationship between rock art and technical reproducibility in Theodor Adorno

• Autor(a) principal: Santos, Jéverton Soares dos
• Data de Publicação: 2016
• Outros Autores: Almeida, Robson da Rosa
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Griot : Revista de Filosofia
• Texto Completo: http://www3.ufrb.edu.br/seer/index.php/griot/article/view/704
• topic: Reprodutibilidade Técnica; Arte Rupestre; Imanência Mítica.; Technical reproducibility; Rock art; Mythical immanence

The article proposes a connection between two different fields of research, but with notorious elective affinities: the field of archeology and the philosophical aesthetics. It is intended to find, within the dialectic of Adorno, how articulate the concepts of prehistory and proto-history, it having as a guide the theme of rock art and its modern counterpart, the reproducibility technique. Such an approach takes as its starting point an intriguing paragraph of posthumous Adorno’s work, "Ästhetische Theorie," this subsection thus classified by Rolf Tiedmann as "Moderne Kunst und Industrielle Produktion" in which Adorno asserts that there is a convergence between the rock art and photographic camera, that occurred in objectification (Objektivation), e.g., in the action to separate the subjective act of the object that is seen . From this finding the greatest contribution of this paper was to identify a kind of mechanical reproduction proto-history in the prehistoric world. Thus, in a radically dialectical perspective it can be said that the virtual progress and technological sense in recent decades does not represent something qualitatively new in human history, being only an offshoot of a trend already contained in prehistory, which leads us to believe we have not yet overcome the state of mythical immanence widely denounced by Adorno and Horkheimer's "Dialectic of Enlightment. To demonstrate that this article aims to reconstruct the main thrust of the "Dialectic of Enlightenment", focusing on the myth category (Section 1). After it intends to present the relationship between prehistory and proto-history in the context of Adorno's thought, especially in the construction and essays of intermediate period of his thought, such as "Minima Moralia" and "Prismen" (Section 2). Finally, it wants to present some Adorno's reflections on rock art and mechanical reproduction present in Aesthetic Theory (Section 3).