Meaning talk in the lofty sense serves as laudatory gloss on behaviours one or one’s community is anyway disposed to practice and encourage. This explains both why meaning making is an inside job requiring personal negotiation between individuals’ and society’s abilities and constraints, and why one man’s meaning tends not to mean quite the same thing to everyone.
Novices and accomplished writers alike seem to agree that writing is hard. One would be a fool, then, to pass up on hard won insights from an author of twenty…
Marcus du Sautoy talks about mathematics as the art of the shortcut, promoting his latest book at the Jaipur Literature Festival Toronto 2021.
Adorno observes in his posthumous opus Aesthetic Theory: “It is self-evident that nothing concerning art is self-evident anymore” (2). Adorno’s pessimism about art in his time and ours arguably presupposes a problematic definition of art and artistic merit. In what follows I’ll rehearse his arguments, give a charitable gloss of considerations which lead him to his position, and argue that they are consequences of his subscription to something like the institutional theory of art. I’ll then present Levinson’s historical theory of art as a sound alternative to the institutional theory of art, develop an evaluative framework for assessing artistic merit, and show it is compatible with Adorno’s attitudes towards art while being immune to problems he identifies with the prospects of art in his time and ours.