A footnote from work in progress:
There is a hidden affinity between the aesthetics of Deleuze and of Adorno. For both thinkers, the authentic work of art resists an otherwise ubiquitous culture of commodification, by virtue of its force of negativity (Adorno) or of counter-actualization (Deleuze). Deleuze’s account of how modernist art works to “prevent the full actualization” of the event to which it responds, and to reverse “the techniques of social alienation” into “revolutionary means of exploration,” echoes Adorno’s insistence that it is “only by virtue of the absolute negativity of collapse” that art can “enunciate the unspeakable: utopia.” For both thinkers, and despite their radical differences in vocabulary, art restores potentiality by derealizing the actual. The question that haunts aesthetics today is whether such strategies of derealization are still practicable, in a time when negation and counter-actualization have themselves become resources for the extraction of surplus value.