Pausing to allow the waves of sound of the last movement of Mahler’s Third Symphony to ebb away, I return to the delights of my glass of Californian Chardonnay and reflect on the way Dimitri Mitropoulos’s interpretation of the symphony steers the vital course between long-term structure, sudden transitions, irony, and contrapuntal balance. The wine slowly numbs the tension of the day in a mixture of fragrant fruit and firm alcohol. Or something like that. I did listen to Mahler and I did have a glass or three of Chardonnay. As for the appropriate description, well, Mitropoulos really does conduct the best performance I have heard: for once the slow final movement avoids too much sentimentality while retaining its expressive intensity. But what is life as a ‘new aesthete’ actually like? I am told I ought to know: hence my opening attempt to give a taste of it.
Ten years ago I went back to being a jazz saxophonist in Berlin for a year, in order to finance the time required for writing a book. During a year of characteristic Berlin extremes of ‘voluptuousness and excess’,footnote1 of late nights playing jazz, listening to Mahler and others played by the Berlin Philharmonic, personal agonies, and boringly normal academic research, I wrote a large part of Aesthetics and Subjectivity. From Kant to Nietzsche.footnote2 Ten years later the difference between Kant’s ‘empirical’ and ‘intelligible’ character has been brought home to me by an nlr article on ‘Spectres of the Aesthetic’ by Dave Beech and John Roberts, in which I am regarded as the defender of an aesthetic pleasure which distances itself from the ‘voluptuous contingencies, activities and delights’ of ‘the philistine’, and as the questionable reinstater of ‘a “lost”, or disposed [?], sense of the internal unity and integrity of subjectivity as such [?]’.footnote3 Given the nature of the ‘empirical’ genesis of the book, it might seem understandable that the avoidance of excess and the unity and integrity of the self became its dominant ‘intelligible’ themes. The trouble is, they don’t.
Now not many people, apart from the author him- or herself, are that interested in attempts to police interpretations of recent critical or theoretical works. If policing my intentions were all that is at issue here, I
So what is it about ‘Mahler and Chardonnay’ that is so important? The whole thing presumably sounds rather like the worst end of the ‘commodification’ of culture present in aspects of Classic fm, which relies on the wine-drinking consumerism of an affluent audience to generate a viable commercial enterprise. But none of these issues are actually that simple. On the one hand, for example, Classic fm and the like would not be heard dead broadcasting a whole Mahler symphony, let alone one in a slightly dodgy old live recording, and, on the other, wine presumably comes for Beech and Roberts under the ‘voluptuous contingencies, activities and delights’ that we aesthetes—for whom ‘the body’ is supposedly mere ‘sensuous particularity’—exclude in the name of higher non-bodily truths. ‘Culture’ is, of course, a pretty diverse phenomenon, and it is one which the Left has regularly failed to come to appropriate terms with, in a variety of symptomatic ways. This fact was, along with a deep suspicion of the main Nietzsche- and Heidegger-influenced assumptions of post-structuralism, part of what led to my book on aesthetics and subjectivity. The real question, though, is which aesthetics, and which subjectivity, and that is why I think I ought to reply to Beech and Roberts. I am aware in doing so that Beech and Roberts’s predominant concern is with the world of the contemporary visual arts, particularly in this country, but, given that this does not prevent them making points about much broader questions of modern aesthetic theory, there seems no reason not to engage with these broader questions in order to arrive at a different assessment of key problems in contemporary culture.
Beech and Roberts’s misunderstanding of the position advanced in Aesthetics and Subjectivity is evident in their claim that I take the ‘“paradox” of the aesthetic’ as ‘the starting point for the aesthetic grounding of the ethics [sic]’.footnote4 This appeal to the ethical is what they regard as the characteristic feature of the ‘new aestheticism’. My version of ‘new aestheticism’ is significant, they maintain, because of its account of ‘aesthetic subjectivity’. This leads them to the claim that aesthetic ‘self-transformation’, an ethical issue in a particularly Greek sense—of the kind the later Foucault concerned himself with—was the core of my argument. However, the position advanced in Aesthetics and Subjectivity is actually only concerned with the ethical in a rather indirect manner: its main claim is in fact epistemological, and here we will see that Beech and Roberts do not seem to have much idea of what I am talking about.footnote5