ABSTRACT
The historic holocaust of human beings turns the sacrificial into the strongest image, whose brutality could not stand to stay exposed to everyday understanding, but is turned into an iconic remembrance, aesthetized into recurring exploitative images of pathos. As a 'political' referent, the notion 'the jews' goes beyond the politics of historical experience. 'Auschwitz confirmed the philosopheme of pure identity as death'. 'After Auschwitz' the arts have strongly altered their significance in Western Europe. Luigi Nono was committed to an art-form whose existence was intimately conversant with the moments of history. Nono's realism makes his art-form a tool of mediation, a language-game which identifies the variable thresholds where the greater number could grasp the meaning of its fragmented history. In 1987 Nono wrote No hay caminos, hay que caminar, a trilogy for changing instruments. In Nono's realist 'enthusiasm' qua 'responsibility', history and the art-form keep their respective legislative autonomy as a way of confirming each other's 'necessity'.
