Académique Documents
Professionnel Documents
Culture Documents
Adorno on Mimesis
in Aesthetic Theory
Amresh Sinha
as257@nyu.edu
In Briel, Holger and Andreas Kramer, eds., In Practice: Adorno, Critical Theory and Cultural Studies. Bern:
Lang, 2000, pp. 145-159.
Art is imitation only to the extent to which it is objective expression, far removed
from psychology. There may have been a time long ago when this expressive
quality of the objective world generally was perceived by the human sensory
apparatus. It no longer is. Expression nowadays lives on only in art. Through
expression art can keep at a distance the moment of being-for-other which is
always threatening to engulf it. Art is thus able to speak in itself. This is the
realization through mimesis. Art's expression is the antithesis of 'expressing
something.' Mimesis is the ideal of art, not some practical method or subjective
attitude aimed at expressive values. What the artist contributes to expression is his
ability to mimic, which sets free in him the expressed substance." [1]
Adorno's critique of mimesis proposes a method of dialectical reflection which
goes against the grain of the positivistic tendency of modern consciousness, which
has a tendency to substitute means for ends. "Art's expression is the anti-thesis of
expressing something," for Adorno, implies that it remains non-identical to a
tendency that is related to the exigency of commodity exchange. It resists the
functional aspect of being-for-other which "threaten(s) to engulf" its existence.
Artistic expression cannot be substituted for something else. It cannot be absorbed
into the identity of something that can be substituted for itself. Artistic expression
resists absorption into a method. According to Adorno, both
Hegel's Phenomenology of Spirit and Marx's Capital, the "great dialectical texts of
modern dialectics," use the methodology of reflection, but it is a method which
performs a very different purpose. The method to which the object is now being
subjected is derived from the positivistic symptoms of modern methodology,
whose aim is to substitute means for ends. Instead of relying upon the functional
aspect of description as a method purported by positivistic scientism, Adorno
adheres to the Hegelian mode of dialectical reflection comprising both description
and understanding, but only to the extent that the latter would soon take
precedence over the former in almost every sense of the word. [2] The
understanding of mimesis, for Adorno, lies in the fact that as a self-identical entity,
the artwork is not produced in relation to the identity of a world or a method, but it
is self-identical to its mimetic moment, that is, it is identical to itself and not to the
other. This helps him to theorize the absence of the notion of subjectivity in
relation to the mimetic moment which withdraws or at least remains "at a distance"
from the moment of being-for-another. Art does not reflect the "mood" of the artist,
is not a "replica" or "a fuzzy photograph" of the "psychic content," it is a
contribution to expression, an ability that is transmitted through mimesis.
Furthermore, the artistic contribution also brings to expression the immanent
category of the truth content which is the object of understanding. Mimesis,
therefore, is not about replicating the content; rather it is a form of expression. The
mimetic moment in art is not found in the artistic intention, it outlines the features
of expression, in other words, it expresses expression itself and nothing else. For
Adorno the resignation of Schubert's music cannot be located in the so-called
"purported 'mood'" of its composer, for that is not what his art expresses. What it
expresses is rather the posture of slumping itself that mimics the resignation of his
music.
Adorno, however, establishes a difference between the linguistic medium of art and
language as such. The linguistic aspect of language is manifested through mimetic
expression which itself is repressed in the medium of language insofar as this
repression of mimesis is expressed by the language, which has "disgraced" itself by
falling into the "pitfalls" of exchange language that determines the separation of
subject and object. The linguistic medium of art is delineated in the features of the
artistic expression, in its ability to mimic expression, or to lend a gesture or posture
to a feature which is brought about to express itself, or "to speak in itself;" on the
other hand, language as a medium of art does not express its mimetic ability but
merely replicates the meaning, the content of the artwork. The linguistic is a
medium-in-itself; language is a medium-for-another. In an attempt to recall
Benjamin's doctrine of mimesis, Adorno invokes James Joyce, and his linguistic
experiments which go beyond the scope of language, in order to stress the
difference between communicative and mimetic language. Art has a dual or
"double character." [3] It is both constitutive and constituted. Art, as a linguistic
expression of form, as in Joyce's prose, sets aside the discursive model of
language; it constitutes its own essence. On the other hand, art as a medium of
language is no longer an expression of itself, but loses its character and is
subordinated to meaning which poses a threat to its identity. And here we are at the
crux of the problem. If the meaning of language is expressed through
communicative language then it inflicts danger to itself.
communicative aspect of language. If the mimetic relation between word and thing
has a fixed historical value in Benjamin, then how can we explain his claim for the
"decline" of the mimetic ability, unless we completely ignore the implication of
historical reification? To claim that mimesis in Benjamin is more or less dehistoricized and thus, to reduce it exclusively to his rather idiosyncratic
onomatapoetical definition, is, unfortunately, quite reductive itself. According to
Cahn, "Adorno emphasizes the behavioral and almost sensual dimension of
mimesis in mimicry and magic, and their primitive, anthropological quality
constitutes the basis for other, less tangible 'versions' of the Adornian concept. But
all of these have in common the fact that they do not designate mere imitation."[6]
Adorno's concept of mimesis does not define itself as imitation. But it nonetheless
recognizes the insidious ambiguity in the word mimesis, which at once advances
the concept of a "thinglike copy," and which "might also refer to the activity of a
subject which models itself according to a given prototype."[7] Like Plato, Adorno,
too, is conscious of the difference between good and bad mimesis. The meaning of
the first type of mimesis refers to the structure of bad mimesis, whereas the second
type, which is a model of adaptive "and" correlative behavior, is marked as the
proper mimesis. In a peculiar fashion, Adorno both cancels and preserves, negates
and affirms, the Benjaminian notion of mimesis. On the one hand, he rejects the
nuances of imitation in Benjamin's unrestrained celebration of mass-reproduction,
which is limited and controlled by its visual aura, on the other hand, he
wholeheartedly embraces the Benjaminian doctrine of mimesis that offers
"similarity" as the basic impulse of mimesis. This unequivocal support of
Benjamin's language of mimesis echoes in his thought which claims that the
original meaning of mimesis consists in "making oneself similar to an other."[8]
Imitation is relegated to bad or secondary mimesis. Yet, for Adorno, the concept of
mimetic taboo--Bilder verbot--taboo on graven images--can also be seen as an
example of mimesis itself. Cahn argues that Adorno's critique of mimesis "as a
category of art must not be reduced to imaging representation," not because he is
primarily interested in music and other non-representational arts, but rather "for
him mimesis is a behavior which reaches towards the object, stands in a reflected
immediacy to it, and thus it implies the archaic affinity between subject and
object. [9] Similarly, in Late Marxism, Jameson makes the argument that the
introduction of the concept of mimetic taboo also represents a moment of
dialectical possibility between mimesis and rationality. [10] Only now, according
to him, "the turn of so-called Western science will...be seen as a result of the antimimetic taboo and of anti-mimetic regression--that is to say, the passage from a
perceptual 'science' based on the senses and on quality to notations and analysis
based on geometry and on mathematics."[11] Both the anti-mimetic taboo and antimimetic regression have preserved the memory of a "science," "the mimetic
prehistory of rationality." [12] Historically one can perceive in the enlightened
repression of mimesis a continuation of the same impulse.
Art is a refuge of mimetic behavior. In art the subject, depending on how much
autonomy it has, takes up varying positions vis--vis its objective other from which
it is always different but never entirely separate. Art's disavowal of the magical
practices--art's own antecedents--signifies that art shares in rationality. Its ability to
hold its own qua mimesis in the midst of rationality, even while using the means of
that rationality, is a response to the evils and irrationality of the rational
bureaucratic world. (AT, 79)
The critical potential of art maintains itself qua mimesis in the midst of the
irrationality of the world and is still relevant, despite the loss of the subject, to the
priority of the object. Art survives first of all by adapting to the rational behavior of
the mimetic impulse, and secondly by remaining distinct from the all-embracing
identity of rationality. To put it slightly differently, the mimetic impulse in art
survives due to its correlative, adaptive behavior. Art takes refuge in mimesis in
order to escape from the irrationality of the death-like intensity of the reified
world; this leads to Adorno's musings on the "posthumous" character of art
in Aesthetic Theory.
Mimesis, in Adorno, mediates between two elements: life and death. In such a
dialectical context, if we assume that art's survival in the midst of its potential
annihilation by the bureaucratic irrationality of the world depends on the fact that it
must partake in the process of rationality, which itself is the reason for its
irrationality, then its relation to death is what is manifested as its relation to life.
Despite the historical fact that art emerged gradually from the fetters of magical
principles, it cannot simply go back to its natural origin, when faced with the
rational composition of the irrational, reified, bourgeois world. It is already a part
of it. Art's emergence from the shackles of the magic world testifies to its rational
principle. But it does not fully indicate the separation of subject from the object.
For Adorno, the "varying positions" of art signifies two distinct features. In the first
place, the work of art is endowed with the principle of rationality, which indicates
its separation from the dominance of the magico-mythical realm; secondly, art also
stands in opposition to the rationality, the real domination. In both instances the
actual process of art is "inextricably intertwined with rationality" (AT, 80). Yet, the
traditional aesthetic reception tends to be surprised at the "mobilization" of
technological, rational element of artistic production that works "in a different
direction than domination does." Both art and rationality mobilize technology: one
employs it for the sake of the survival of its magical heritage, the other pays no
attention to it. The difference lies in the direction of mobilization itself.
The dialectic of mimesis, Adorno claims, is absolutely "intrinsic" to art, a
proposition mostly misunderstood by the "navet" of modern aesthetic thought.
For it fails to appreciate the progressive disenchantment of the world in the work
of art as a means for securing, however through technology, the life of magical
heritage of art. The dialectic of mimesis and rationality reveals the compatible but
irreconcilable tendency of one to the other. Art's mimetic character is revealed in
its disenchantment from and secularization of magic from the archaic period. It
thus conveys the rational side of art, as well as its refusal to allow the domination
of rationality to turn it into a technological perfect being. In art the resistance is felt
in both directions as nothing but the mute suffering of its expression. For neither
does its mimetic rationality permit it to regress to the magical realm, in order to
separate itself from that type of cognition which aims at a singular conceptual
grasp of the world, nor the knowledge of the "magical essence" let it slide towards
the destruction of its self-identity.
Art's secularization from magic is secured within the antinomy of life and death.
The artwork's survival depends on its adhering to the mimetic impulse, which is
foremost a "zoological" or "biological" impulse, designed after the perseverance of
the species, a natural, anthropological impulse that survives in the face of death by
feigning death itself. In the face of death, many animals have been found to imitate
death, their enemy. Their survival results from the assimilation to the other. By
playing dead in the presence of extreme danger, by giving up the characteristic of
life, by playing dead, in the presence of extreme danger, the animal gives itself,
assimilates itself to death. In other words, the presence of death mimetically marks
the absence of both life and death. This ritual, or if you prefer, the dialectic, of life
and death points to a moment in the history of art that is indistinguishable from the
dichotomy of the rational and the irrational. Art is without doubt irrational, or at
least, its origin cannot be extricated from the horror that always distinguishes it
from the other, but it is also, at the same time, rational, to the extent that it must not
deteriorate to the superstitious mythological level. "What mimetic behavior
responds to," says Adorno, "is the telos of cognition," which is to say that the
tendency of modern scientism to reduce all means for its own ends will not do
justice to the mimetic requirements. The telos of cognition, however, signifies the
expansion of this concept into the non-existent, non-conceptual area--the domain
of mimesis. This brings us to that moment in Adorno's doctrine of mimesis that
performs the task of critique. The critical mimesis responds, more or less, in a
manner of a "critique of critique."[13] According to Adorno, "art is rationality
criticizing itself without being able to overcome itself" (AT, 81). Art is critical of
rationality, yet cannot be identified with it, despite the fact that rationality, too, is a
critical factor. The complimentary nature of this dialectical tension is best observed
in the cases where the ideological concerns of positivistic thinking are most
blatantly evident. Though Adorno himself does not hesitate to incorporate
materials from other academic fields, he nonetheless objects to that type of the
"rationalist critique" that, in order to make a point about art, applies the "criteria of
extra artistic-logic and causality" (AT, 81). Naming it an "ideological misuse" of
critique, he provides an example: "When a latecomer in the tradition of the realistic
novel objects to Eichendorff's verse, which says that 'clouds are floating like heavy
dreams,' pointing out that one may well compare dreams to clouds but not clouds
to dreams, then poetry, faced with the homely persuasiveness of this objection,
justly retreats into its own realm" (AT, 81). It is almost unbearable to leave the
poetic and mimetic configurations and constellations--in which the external nature
resembles the inner state of almost sentimental longing--in the hands of rationalist
criticism.
Rationality is immanent to art, and this rationality is in many ways similar to the
rationality of the outside world, but it is also, at the same time, different from the
rationality of the conceptual order. No artistic work can exist in complete isolation
from the "rationality governing the world outside," yet it may not reproduce or
imitate the strictures of the governing logic that condemns it for having irrational
features. What appears as irrational expression in art in the "eyes" of the
conceptual ordering is actually the expression of the "forgotten experiences" that
themselves cannot be understood by "rationalizing them." The defense of
irrationalism, in Adorno, is prompted by a desire to defend expressionism and
surrealism from the attacks of the propagandist apparatchiks like Zhdanov and his
followers. Adorno maintains that "to manifest irrationality--the irrationality of the
psyche and of the objective order--in art through a formative process, thus making
it rational in a sense, is one thing: to preach irrationality, which more often than not
goes hand in hand with a superficial rationalism in the use of artistic means, is
quite another" (AT, 82). This leads to a critique of Walter Benjamin: "Walter
Benjamin probably did not take cognizance of this in his theory about the work of
art in the age of mechanical reproduction. For one thing, Benjamin's dichotomy
between auratic and mass-produced art, for simplicity's sake, neglects the
dialectical relation of these two types. For another, he becomes the victim of a
perspective on art that hypostatizes photography as a model, which is just as
atrocious as the view, say, of the artist as creator" (AT, 82).
One of Adorno's main criticisms of Benjamin hinges on his difference from
Benjamin's endorsement of mass-reproduction, which has for him a negative
connotation. Adorno's formulation of mimesis disavows any affinity to imitation,
since imitation or "copy realism" cannot account for the critical moment in art. The
concept of the mimetic taboo is introduced, in effect, to prevent mimesis from
regressing to its archaic mode. Adorno traces the origin of the mimetic taboo to the
psychoanalytical phenomenon of the return of the repressed. He returns in
the Dialectic of Enlightenment to confront the question of the "return of the
repressed" in the chapter on anti-Semitism. [14] Thus, in one sense, he manages to
demonstrate the continuity of the "forms of domination" between the mimetic
impulse and the process of enlightenment, which also signals the displacement of
the discourse of the "specificity of science"onto its representation and its language.
As a postulate of an archaic mode of behavior the mimetic capacity refers to a state
prior to the distinction between subject and object; it lacks the instrumentality of
expression which is conveyed through the means of representational languages
and, therefore, remains immune to the representations of the instrumental reason to
enforce a conceptual opposition to it. "The capacity of representation," according
to Adorno and Horkheimer, "is the measure of domination, and domination is the
most powerful thing that can be represented in most performances, so the capacity
of representation is the vehicle of progress and regression at the same
NOTES
[1] Theodor W. Adorno, Aesthetic Theory, trans. C. Lenhardt (London: Routledge
& Kegan Paul, 1984), 164. All subsequent references will be given with page
numbers in the text as AT.
[2] See H. T. Wilson's critique of scientism and positivism, "Critical Theory's
Critique of Social Science: Episodes in a Changing Problematic from Adorno to
Habermas, Part I & II," in History of European Ideas, Vol. 7, Nos. 2 & 3, 1986.
[3] Lucian Goldman, Cultural Creation in Modern Society (Oxford: Basil
Blackwell, 1977), 133.
[4] "Art possesses expression not when it conveys subjectivity, but when it
reverberates with primal history of subjectivity and ensoulment" (AT, 165).
[5] Michael Cahn, "Subversive Mimesis: Theodore W. Adorno and the modern
impasse of critique," Mimesis in Contemporary Theory: An Interdisciplinary
Approach, ed. Mihai Spariosu, Vol. I (Philadelphia: John Benjamin's Publishing
Company, 1984), 38.
[6] Cahn, 34.
[7] Cahn, 34.
[8] Cahn, 34.
[9] Cahn, 45.
[10] Fredric Jameson, Late Marxism (London: Verso, 1990), 105.
[11] Jameson, Late Marxism, 105.
[12] Cahn, 45.
[13] Cahn, 50.
[14] Horkheimer and Adorno, Dialectic of Enlightenment, 168-208. See also
Martin Jay, The Dialectical Imagination (Boston: Little, Brown and Company,
1973), 269-270.
[15] Adorno & Horkheimer, Dialectic of Enlightenment, 34-35.
[16] Jameson, Late Marxism, 104.
[17] Cahn, 39