Adorno dismantles the conventional artistic aesthetics of yesteryear in his attempt to ruin the connotation of aesthetics to "the sensuously pleasing" (15). He argues that the "equivalents in the visual arts [...] gives access to the alluringly sensuous by transfiguring it into its antithesis, pain: an aesthetic archetype of ambivalence." (15). This method of thinking turns the head of ancient aesthetics, defining the aesthetics of art not to be confined, but having a seemingly unlimited reach, from ecstacy to torment and beyond. This reading of Adorno's text might not seem to completely coincide, but undoubtably calls upon Derrida's deconstructionist theory. In this way, art becomes imbedded in the Derrida texture/web of interpretation as well as literature.