A Quote by Theodor Adorno

Jazz is the false liquidation of art - instead of utopia becoming reality it disappears from the picture. — © Theodor Adorno
Jazz is the false liquidation of art - instead of utopia becoming reality it disappears from the picture.
When becoming disappears, all the smoke of becoming disappears, there is the flame of being, and that very flame is celebration.
It's a shame that jazz is now being turned into dried fruit. It's becoming quantized, diced and defined. It's becoming an idiom. To me if it's anything, jazz is a verb ? it's more like a process than it is a thing.
Our Being is Becoming, not stasis. Our Science is Utopia, our Reality is Eros, our Desire is Revolution.
A moment of complete happiness never occurs in the creation of a work of art. The promise of it is felt in the act of creation but disappears towards the completion of the work. For it is then the painter realises that it is only a picture he is painting. Until then he had almost dared to hope the picture might spring to life.
Jazz is smooth and cool. Jazz is rage. Jazz flows like water. Jazz never seems to begin or end. Jazz isn't methodical, but jazz isn't messy either. Jazz is a conversation, a give and take. Jazz is the connection and communication between musicians. Jazz is abandon.
It is the transcendent (or 'abstract' or 'self-contained') nature of music that the new so called concretism--Pop Art, eighteen-hour slices-of-reality films, musique concrete--opposes. But instead of bringing art and reality closer together, the new movement merely thins out the distinction.
If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
One interesting thing about jazz, or art in general, but jazz especially is such an individual art form in the sense that improvisation is such a big part of it, so it feels like it should be less soldiers in an army and more like free spirits melding. And yet, big band jazz has a real military side to it.
It is becoming increasingly difficult to decide where jazz starts or where it stops, where Tin Pan Alley begins and jazz ends, or even where the borderline lies between between classical music and jazz. I feel there is no boundary line
An AI utopia is a place where people have income guaranteed because their machines are working for them. Instead, they focus on activities that they want to do, that are personally meaningful like art or, where human creativity still shines, in science.
Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression; that's art.
To write is a relief from life's problems. It is a way in which you revenge yourself. In art, the writer achieves utopia. But any attempt to achieve social utopia is bound to catastrophe. If you want a society of saints, the result is hell, repression, totalitarianism, and persecution.
Jazz is the greatest American art form and our greatest export. We don't pay attention to the youth of jazz, don't stoke the fires creatively for the youth coming up. I feel like jazz musicians became too much of purists - with Donald Byrd doing funk jazz in the '70s.
Never had there been such an opportunity for the dissemination of knowledge…. But the obverse is also true. We can have thrust upon us a false picture of reality as distorting as the trick mirrors in a Coney Island funhouse.
What happens then is like what happens when we separate a jigsaw puzzle into its fuve hundred pieces: The over-all picture disappears. This is the state of modern medicine: It has lost the sense of the unity of man. Such is the price it has paid for its scientific progress. It has sacrificed art to science.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
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