| KRATKA VSEBINA | Stališče, da umetnost korigira racionalno-znanstveno spoznanje, je ena od izrazitejših misli filozofije umetnosti. Misel, da umetniški izraz predstavlja korektiv jezikovno-racionalno oblikovanega spoznanja, sodi tudi k stalnicam filozofije umetnosti 20. stoletja. "Izraz je protipol izraženega," je recimo mogoče prebrati v Adornovi Estetski teoriji v povezavi z jezikovnim značajem umetnosti, in Jean- François Lyotard je zapisal o estetski izkušnji: "Kar nas zadane ni na noben način nekaj, kar bi mogli kontrolirati poprej, programirati ali pojmovno zajeti". Nepredstavljivo, nobenemu pojmu dostopno, stoji tudi v središču aktualne umetnostne produkcije 21. stoletja. Izhajajoč iz pozicij Lyotarda in Adorna besedilo napeljuje k temu, da topos o umetnosti kot brezpojmovnega spoznanja po eni strani razumemo kot stalnico, kot nadaljnje učinkovanje tradicije na umetniško avantgardo, kot ga izpričuje filozofska estetika moderne in postmoderne, usmerjene k umetniški avantgardi. Na drugi strani pa se jasno kaže iz te izhajajoča neprekinjena tradicija Nove glasbe, ki sega od ekspresionistične avantgarde 20. stoletja, izhodiščne točke Adornove filozofije glasbe, in Lyotarda, ki je vključil v pogled Johna Cagea, do avantgarde Nove glasbe v obdobju postmoderne. Značilnosti aktualne umetnosti, kot so zoperstavljanje jezikovnim normam, razumevanje ekspresivnosti, ki nasprotuje tradicionalnemu glasbenemu jeziku in operira na meji molka, kakor tudi utopične vizije spremenjene resničnosti, ki merijo na transcendenco, dopuščajo prepoznati predstavo o umetnosti kot brezpojmovnega spoznanja, ki v bistvenih točkah korespondirajo s pozicijamimoderne oziroma postmoderne filozofije umetnosti. Za muzikologijo je osredotočanje na to linijo tradicije relevantno zato, ker osvetli glasbeno avantgardo in njeno nadaljnje učinkovanje in ne nazadnje tudi zato, ker odpira nove perspektive, ki prispevajo k razumevanju aktualnih umetniških produkcij. // That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. "Expression is the opponent of articulating something" can beread, for instance, in Adorno's Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: "What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand". The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard's and Adorno's positions, the article shows that one should acknowledge a constancy of thetopos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno's music philosophy,through Lyotard's focus on John Cage, up to the avant-garde of New Music inthe era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge ofsilence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on themusical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions. |