Page "Theodor W. Adorno" Paragraph 38

Adorno's work sets out from a central insight he shares with all early 20th century avant-garde art: The recognition of what is primitive in ourselves and the world itself.

Neither Picasso's fascination with African sculpture nor Mondrian's reduction of painting to its most elementary component-the line-is comprehensible outside this concern with primitivism Adorno shared with the century's most radical art.

At the same time, the Western world, beset by world-wars, colonialist consolidation and accelerating commodification, sank into the very barbarism civilization had prided itself in overcoming.

According to Adorno, society's self-preservation had become indistinguishable from societally sanctioned self-sacrifice: of " primitive " peoples, primitive aspects of the ego and those primitive, mimetic desires found in imitation and sympathy.

Adorno's theory proceeds from an understanding of this primitive quality of reality which seeks to counteract whatever aims to either repress this primitive aspect or further those systems of domination set in place by this return to barbarism.

From this perspective, Adorno's writings on politics, philosophy, music and literature could be described as a lifelong critique of the ways in which each tries to justify self-mutilation as the necessary price of self-preservation.

According to Adorno's translator Robert Hullot-Kentor, the central motive of Adorno's work thus consists in determining " how life could be more than the struggle for self-preservation.

" In this sense, the principle of self-preservation, Adorno writes in Negative Dialectics, is nothing but " the law of doom thus far obeyed by history.

" At its most basic, Adorno's thought is motivated by a fundamental critique of this law.