![]() I read Adorno’s interpretation of Beethoven’s late works as a contrasting response to a situation that is pervaded by the experience of finitude. For Adorno, the recognition of the historical truth of the distinction between history and nature is the driving force of critique, the comportment of which Adorno regards as most clearly expressed in artworks, in particular, in music. It is at this point that Adorno’s work, and, in particular, his thinking on aesthetics can make an important intervention. ![]() ![]() While the differences between those two approaches could hardly appear greater, they converge at their margins: both operate on the assumption that the Anthropocene signifies a nature-culture continuum. The popularisation of the term Anthropocene has been accompanied by the emergence of two seemingly opposed discourses: one response could be characterised in terms of a Promethean faith in science, and the other as a turn towards new materialism. ![]() ![]() This article develops a critique of the notion of the Anthropocene through the lens of Adorno’s reading of Beethoven’s late style. ![]()
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