By Theodor W. Adorno
Theodor Adorno (1903-69) used to be absolutely the most important philosopher of the Frankfurt university, the influential staff of German thinkers that fled to the united states within the Thirties, together with such thinkers as Herbert Marcuse and Max Horkheimer. His paintings has proved drastically influential in sociology, philosophy and cultural idea. Aesthetic idea is Adorno's posthumous magnum opus and the fruits of a lifetime's research. Analysing the elegant, the grotesque and the gorgeous, Adorno exhibits how such ideas body and distil human event and that it really is human adventure that finally underlies aesthetics. In Adorno's formula 'art is the sedimented historical past of human misery'.
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In this instance the importance of the repetition is that it generates both the site and the possibility of, critical architecture. Criticality is linked to the nature of the repetition. Given that any new work is already a repetition, the question that must be asked would concern the nature of that repetition. As has already been indicated there are at least two divergent possibilities for repetition. In addition to a repetition of the Same - that form of repetition in which tradition's gift, that which is given to be handed on, comes to be handed on - there is another significant type of repetition.
Strategies resisting ambivalence but which enact in their place complex forms of deferral provide the setting for this treatment of Eisenman's work. A fundamental part of this project involves developing some of these differing possibilities; what unites them is repetition. And yet, because repetition does not admit of an essence, what has to be traced are the different, and in the end incompatible, modalities of repetition and the way in which they are already interarticulated with ambivalence and deferral; the former in contrast to the latter.
What is being staged here is straightforward. The interstitial as the space of difference operates by undoing the 'tropes', usually present in terms of binary oppositions, through which the conventions and the expectations held for architecture operate. The space of difference is no longer that of literal differences but the one in which the hold of the literal has diminished such that exterior/interior and old/new can be brought back. What this means is that the interstitial understood as the space of difference has an effect.