Art’s truth content is nature, which it makes speak by shedding human intention.

Evidence

Art attempts to imitate an expression that would not involve any intrusion from human intention. Human intention is merely its vehicle. The more perfect the work of art, the more intentions drop away from it. Mediately, nature is the truth content of art, but immediately it produces its opposite. If the language of nature is silent, art strives to bring what is silent to speak. — Rolf Wiggershaus, The Frankfurt School, 685

Categorization

• DEFINE: Condenses Adorno’s aesthetic categories: truth content, expression, and the language of nature as the non-intentional pole of art.
• DEEPTHINKING: The paradox that the perfect artwork loses intention and thereby approaches nature is a paradigm-level claim about why mimesis can never be intentional.
• XREF: connects to: Art’s expression is the non-subjective trace within the subject — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2737; Art achieves objective revelation through subjective effort only at the cost of illusoriness — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2742; Art’s enigma lies in its truth content and the unanswerable claim to meaning — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2741 (+5 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Art’s expression is the non-subjective trace within the subject — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2737; Art achieves objective revelation through subjective effort only at the cost of illusoriness — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2742; Art’s enigma lies in its truth content and the unanswerable claim to meaning — Rolf Wiggershaus, The Frankfurt School: Its History,…, 2741 (+5 more)

Broader Connections

• Art’s violation of nature is liberation from an oppressive apparatus #complicates (0.78) — Herbert Marcuse, One-Dimensional Man, 836