By Adrian Carr, Philip Hancock (eds.)
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Extra resources for Art and Aesthetics at Work
129–31). 3. The word ‘exaggerated’ is used here as I am very mindful of the way in which the Frankfurt scholars saw the critical function of art and aesthetics being overpowered. Gardiner (2000, p. , techniques of social control had become perfected to such an extent, and ‘false consciousness’ so pervasive, that moments of no-alienated or emancipated experience could only be glimpsed furtively in the most avant-garde of artworks and forms of theoretical production, in aesthetics and intellectual experiences which, by virtue of their very complexity and symbolic opacity, resisted absorption into what they termed the ‘culture industry’.
12. Adorno and Horkheimer used the now familiar tale by Homer of Odysseus to particularly highlight the dynamics of such a prolongation of work. e. in the contemplation of art. The ancient tale is viewed by them as a parable for more recent times. Adorno and Horkheimer (1944/1997, pp. 34–5) explain this ‘lesson’ and simultaneously provide a restatement of Hegel’s master–servant parable: Whoever would survive must not hear the temptation of that which is unrepeatable, and he is able to survive only by being unable to hear it.
That we may transcend the logic and 32 Art as a Form of Knowledge Appendix A Continued SURREALISM POSTMODERNISM ( / POSTSTRUCTURALISM) Management/Organization Studies discourse rationality of the day. In the example of Burrell’s medieval tale of Pandemonium, a historical setting full of despair, images of death and decay is designed to shock our sensibilities. Clash-of-opposites – overturning an implied hierarchy and ‘reading’ of a text by disturbing the conventional associations – see deconstruction and playfulness.
Art and Aesthetics at Work by Adrian Carr, Philip Hancock (eds.)