Art constitutively thwarts immediacy, urgency, and utility; its most direct use rests in this indirection—but today’s immediatist art aspires to void itself, and theory has been following in its wake. Recalling a different vocation for both art and theory requires esteeming mediation at the outset. Adorno writes: “By the affront to needs, by the inherent tendency of art to cast different lights on the familiar, artworks correspond to the objective need for a transformation of consciousness that could become a transformation of reality.”
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Like art itself, critical theory defamiliarizes and reconceptualizes in order to build. In refracting the pressing need to address social calamities into the multidimensional need to reconstitute the social, mediations wield their own formedness—their qualities as artistic detour, their aspects of theoretical abstraction—toward forming, reforming, transforming. Artforms and theory alike demand the slow and uncertain work of making sense, countering immediacy with mediation.
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We creative types can generate dialectical images and poems and novels and art that precipitate new passages from the mesmeric imaginary to the sticky symbolic.
Immediacy or, The Style of Too Late Capitalism, Anna Kornbluh
