Abstract

No one has succeeded better than Theodor W. Adorno in analyzing modern culture with all its ambiguities — ambiguities which herald the possibility of an unleashing of aesthetic and communicative potentials as well as the possibility of a withering away of culture. Since Schopenhauer and Nietzsche — with whose aesthetics and epistemology Adorno's thought secretly communicates — no other philosophy of art, at least in Germany, has had such a sustained influence on artists, critics, and intellectuals. The traces of his influence on the consciousness of those who, be it in a productive, critical, or purely receptive capacity, are involved with modern art cannot be overlooked