Involuntarily and unconsciously, the observer enters into a contract with the work, agreeing to submit to it on condition that it speak. In the pledged receptivity of the observer, pure-self-abandonment-that moment of free exhalation in nature-survives" (Adorno, 1997).Among certain scholars of Theodor W. Adorno's philosophical aesthetics, the concept of interpretation has been assumed to be fundamentally conservative, because it cannot impart any concrete or practical insight. Interpretation has been defined in many different ways-some of them misleading or inaccurate. For example, Lydia Goehr views interpretation as a method for conceptually fixing the contents of artworks; Peter Uwe Hohendahl argues that it functions as an experience that leads to a theological experience of redemption or mystical ecstasy; Gunther Figal views interpretation as a mode of mimetic comportment; and Jay Bernstein argues that interpretation is primarily an epistemic method, as philosophy and art correspond to Kant's dichotomy between concept and intuition (Goehr, 2008,