Adorno held that art’s decisive level is knowledge inaccessible to bourgeois science.

Evidence

His image of art seems to be essentially that of Weimar classicism; I should like to know how he proposes to account for Les Liaisons dangereuses, or Baudelaire, or even for Schoenberg or Kafka. It seems to me that art has a whole levelthe decisive onewhich he completely overlooks: namely, the level of knowledge and discovery, in the sense of what cannot be achieved by bourgeois science. — Rolf Wiggershaus, The Frankfurt School, 242

Categorization

  • XREF: This is Adorno’s aesthetic theory in nuce, resurfacing later in his Schoenberg and Beckett readings and in Aesthetic Theory. — connects to: Adorno exempted autonomous artworks from the universal reification he diagnosed. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 234; Horkheimer held that art functions as a form of knowledge unattainable by bourgeois science. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 911; Adorno’s claim that artworks rather than authors possess knowledge carried an unacknowledged philosophical optimism — Rolf Wiggershaus, The Frankfurt School: Its History,…, 331 (+2 more)
  • QUESTION: Worth chasing whether Marcuse ever answered this objection in print, or whether the split simply hardened across the 1940s.
  • yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Adorno exempted autonomous artworks from the universal reification he diagnosed. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 234; Horkheimer held that art functions as a form of knowledge unattainable by bourgeois science. — Rolf Wiggershaus, The Frankfurt School: Its History,…, 911; Adorno’s claim that artworks rather than authors possess knowledge carried an unacknowledged philosophical optimism — Rolf Wiggershaus, The Frankfurt School: Its History,…, 331 (+2 more)

Broader Connections