Adorno Quotes

Intolerance of ambiguity is the mark of an authoritarian personality.

The splinter in your eye is the best magnifying-glass available.

Behind every work of art lies an uncommitted crime

Talent is perhaps nothing other than successfully sublimated rage.

Love you will find only where you may show yourself weak without provoking strength.

There is no right life in the wrong one.

People know what they want because they know what other people want.

To those who no longer have a homeland, writing becomes home

Dissonance is the truth about harmony.

Art is magic delivered from the lie of being truth.

freedom would be not to choose between black and white but to abjure such prescribed choices.

Art respects the masses, by confronting them as that which they could be, rather than conforming to them in their degraded state.

Hitch: making rules about drinking can be the sign of an alcoholic,' as Martin Amis once teasingly said to me. (Adorno would have savored that, as well.) Of course, watching the clock for the start-time is probably a bad sign, but here are some simple pieces of advice for the young. Don't drink on an empty stomach: the main point of the refreshment is the enhancement of food. Don't drink if you have the blues: it's a junk cure. Drink when you are in a good mood. Cheap booze is a false economy. It's not true that you shouldn't drink alone: these can be the happiest glasses you ever drain. Hangovers are another bad sign, and you should not expect to be believed if you take refuge in saying you can't properly remember last night. (If you really don't remember, that's an even worse sign.) Avoid all narcotics: these make you more boring rather than less and are not designed—as are the grape and the grain—to enliven company. Be careful about up-grading too far to single malt Scotch: when you are voyaging in rough countries it won't be easily available. Never even think about driving a car if you have taken a drop. It's much worse to see a woman drunk than a man: I don't know quite why this is true but it just is. Don't ever be responsible for it.

Writing poetry after Auschwitz is barbaric.

Triviality is evil - triviality, that is, in the form of consciousness and mind that adapts itself to the world as it is, that obeys the principle of inertia. And this principle of inertia truly is what is radically evil.

There is no love that is not an echo.

What can oppose the decline of the west is not a resurrected culture but the utopia that is silently contained in the image of its decline.

Only thought which does violence to itself is hard enough to shatter myth.

One must have tradition in oneself, to hate it properly.

Pleasure always means not to think about anything, to forget suffering even where it is shown. Basically it is helplessness. It is flight; not, as is asserted, flight from a wretched reality, but from the last remaining thought of resistance.

As naturally as the ruled always took the morality imposed upon them more seriously than did the rulers themselves, the deceived masses are today captivated by the myth of success even more than the successful are. Immovably, they insist on the very ideology which enslaves them. The misplaced love of the common people for the wrong which is done to them is a greater force than the cunning of the authorities.

The darkening of the world makes the irrationality of art rational: radically darkened art.

Horror is beyond the reach of psychology.

It would be advisable to think of progress in the crudest, most basic terms: that no one should go hungry anymore, that there should be no more torture, no more Auschwitz. Only then will the idea of progress be free from lies.

The need to let suffering speak is a condition of all truth

He who stands aloof runs the risk of believing himself better than others and misusing his critique of society as an ideology for his private interest. While he gropingly forms his own life in the frail image of a true existence, he should never forget its frailty, nor how little the image is a substitute for true life. Against such awareness, however, pulls the momentum of the bourgeois within him.

True thoughts are those alone which do not understand themselves.

Of the world as it exists, it is not possible to be enough afraid.

Art is the social antithesis of society, not directly deducible from it.

Very evil people cannot really be imagined dying.

Life has become the ideology of its own absence.

Laughing in the cultural industry is mockery of happiness.

No history leads from savagery to humanitarianism, but there is one leads from the slingshot to the megaton bomb.

The culture industry perpetually cheats its consumers of what it perpetually promises. The promissory note which, with its plots and staging, it draws on pleasure is endlessly prolonged; the promise, which is actually all the spectacle consists of, is illusory: all it actually confirms is that the real point will never be reached, that the diner must be satisfied with the menu.

A landscape becomes uglier when an admirer disrupts it with the words 'how beautiful'.

There is no true life within a false life.

The triumph of advertising in the culture industry is that consumers feel compelled to buy and use its products even though they see through them.

The very wish to be right, down to its subtlest form of logical reflection, is an expression of the spirit of self-preservation which philosophy is precisely concerned to break down.

Freud made the discovery- quite genuinely, simply through working on his own material- that the more deeply one explores the phenomena of human individuation, the more unreservedly one grasps the individual as a self-contained and dynamic entity, the closer one draws to that in the individual which is really no longer individual.

Los libros no se han hecho para servir de adorno: sin embargo, nada hay que embellezca tanto como ellos en el interior del hogar.

In so far as the culture industry arouses a feeling of well-being that the world is precisely in that order suggested by the culture industry, the substitute gratification which it prepares for human beings cheats them out of the same happiness which it deceitfully projects.

There is laughter because there is nothing to laugh at.

The forms of art reflect the history of man more truthfully than do documents themselves.

Beauty today can have no other measure except the depth to which a work resolves contradictions. A work must cut through the contradictions and overcome them, not by covering them up, but by pursuing them.

It is not the office of art to spotlight alternatives, but to resist by its form alone the course of the world, which permanently puts a pistol to men's heads.

In the innermost recesses of humanism, as its very soul, there rages a frantic prisoner who, as a Fascist, turns the world into a prison.

But there is another conclusion: to laugh at logic if it runs counter to the interests of men.

If fear and destructiveness are the major emotional sources of fascism, eros belongs mainly to democracy.

Intellect's true concern is a negation of reification.

A film which followed the code of the Hays Office to the strictest letter might succeed in being a great work of art, but not in a world in which a Hays Office exists.

Notaba las cicatrices de ella bajo los dedos, y quiso decirle que para él eran como adornos, testimonios de su valentía que sólo la hacían más hermosa.

Es gibt kein richtiges Leben im falschen

On the way from mythology to logistics thought has lost the element of self-reflection and today machinery disables men even as it nurtures them.

The glorification of splendid underdogs is nothing other than the glorification of the splendid system that makes them so.

The neon signs which hang over our cities and outshine the natural light of the night with their own are comets presaging the natural disaster of society, its frozen death.

The paradise offered by the culture industry is the same old drudgery. Both escape and elopement are pre-designed to lead back to the starting point. Pleasure promotes the resignation which it ought to help to forget.

Even the aesthetic activities of political opposites are one in their enthusiastic obedience to the rhythm of the iron system.

The thought that murders the wish that fathered it will be overtaken by the revenge of stupidity

The only true thoughts are those which do not grasp their own meaning

Thus is order ensured: some have to play the game because they cannot otherwise live, and those who could live otherwise are kept out because they do not want to play the game. It is as if the class from which independent intellectuals have defected takes its revenge, by pressing its demands home in the very domain where the deserter seeks refuge.

Thought as such… is an act of negation, of resistance to that which is forced upon it; this is what thought has inherited from its archetype, the relation between labor and material. Today, when ideologues tend more than ever to encourage thought to be positive, they cleverly note that positivity runs precisely counter to thought, and that it takes friendly persuasion by social authority to accustom thought to positivity.

The work of art still has something in common with enchantment: it posits its own, self-enclosed area, which is withdrawn from the context of profane existence, and in which special laws apply. Just as in the ceremony the magician first of all marked out the limits of the area where the sacred powers were to come into play, so every work of art describes its own circumference which closes it off from actuality.

...there is no longer beauty or consolation except in the gaze falling on horror, withstanding it, and in unalleviated consciousness of negativity holding fast to the possibility of what is better.

The culture industry is not the art of the consumer but rather the projection of the will of those in control onto their victims. The automatic self-reproduction of the status quo in its established forms is itself an expression of domination.

Myth is already enlightenment, and enlightenment reverts to mythology.

We humans have grown cleverer but not wiser .

There is tenderness only in the coarsest demand: that no-one shall go hungry any more.

La elegancia no consiste en el exceso de adornos, ni en la profusión de alhajas.

The only philosophy that can be practiced responsibly in the face of despair is the attempt to contemplate all things as they would present themselves from the standpoint of redemption. Knowledge has no light but that shed on the world by redemption: all else is reconstruction, mere technique. Perspectives must be fashioned that displace and estrange the world, that reveal its fissures and crevices, as indigent and distorted as it will one day appear in the Messianic light.

In contrast to the Kantian, the categorical imperative of the culture industry no longer has anything in common with freedom. It proclaims: you shall conform, without instruction as to what; conform to that which exists anyway as a reflex of its power and omnipresence. The power of the culture industry's ideology is such that conformity has replaced consciousness.

Happiness without power, wages without work, a home without frontiers, religion without myth. These characteristics are hated by the rulers because the ruled secretly long to possess them. The rulers are only safe as long as the people they rule turn their longed-for goals into hated forms of evil.

Indeed, happiness is nothing other than being encompassed, an after-image of the original shelter within the mother. But for this reason no one who is happy can know that he is so. To see happiness, he would have to pass out of it: to be as if already born. He who says he is happy lies, and in invoking happiness, sins against it. He alone keeps faith who says: I was happy.

I have no hobby. As far as my activities beyond the bounds of my recognized profession are concerned, I take them all, without exception, very seriously. So much so, that I should be horrified by the idea that they had anything to do with hobbies—preoccupations in which I had become mindlessly infatuated in order to kill the time—had I not become hardened by experience to such examples of this now widespread, barbarous mentality.

Ich fürchte nicht die Rückkehr der Faschisten in der Maske der Faschisten, sondern die Rückkehr der Faschisten in der Maske der Demokraten.

Today the order of life allows no room for the ego to draw spiritual or intellectual conclusions. The thought which leads to knowledge is neutralized and used as a mere qualification on specific labor markets and to heighten to commodity value of the personality.

The great artists were never those whose works embodied style in its least fractured, most perfect form but those who adopted style as a rigor to set against the chaotic expression of suffering, as a negative truth.

The highest form of morality is not to feel at home in ones own home." Most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.

Among today's adept practitioners, the lie has long since lost its honest function of misrepresenting reality. Nobody believes anybody, everyone is in the know. Lies are told only to convey to someone that one has no need either of him or his good opinion. The lie, once a liberal means of communication, has today become one of the techniques of insolence enabling each individual to spread around him the glacial atmosphere in whose shelter he can thrive.

Major thinkers in this century from a wide range of traditions in philosophy are scarcely comprehensible without understanding their relation to Hegel. This is true of Sartre, Heidegger, Merleau Ponty, Kojève (whose thought has been reworked by Francis Fukuyama in his writing on the ‘end of history’), Derrida, Lacan, Rorty, Royce, Althusser, Charles Taylor, Adorno, Marcuse, Fromm, and many others.

Ruthlessly, in despite of itself, the Enlightenment has extinguished any trace of its own self-consciousness. The only kind of thinking that is sufficiently hard to shatter myths is ultimately self-destructive.

Jazz is the false liquidation of art — instead of utopia becoming reality it disappears from the picture.

Tenderness between people is nothing other than awareness of the possibility of relations without purpose.

The bliss of contemplation consists in disenchanted charm.

Love is the power to see similarity in the dissimilar.

The pleasure of thinking—it cannot be recommended.” —Theodor W. Adorno

Las esperanzas son como los adornos del pelo. De joven se pueden llevar demasiados. Pero cuando envejeces, tan sólo uno ya te hace parecer tonta.

Enlightenment, understood in the widest sense as the advance of thought, has always aimed at liberating human beings from fear and installing them as masters. Yet the wholly enlightened earth is radiant with triumphant calamity.

They murder so that whatever to them seems living, shall resemble themselves.

The almost insoluble task is to let neither the power of others, nor our own powerlessness, stupefy us.

What we had set out to do was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism.

The only responsible course is to deny oneself the ideological misuse of one’s own existence, and for the rest to conduct oneself in private as modestly, unobtrusively and unpretentiously as is required, no longer by good upbringing, but by the shame of still having air to breathe, in hell.

I submitted entirely to the dog and, as a man with no gift for dancing, I had the feeling that I was able to dance for the first time in my life, secure and without inhibition. Occasionally, we kissed, the dog and I. Woke up feeling extremely satisfied.

In many people it is already an impertinence to say 'I'.

Estrangement shows itself precisely in the elimination of distance between people.

The recent past always presents itself as if destroyed by catastrophes. The expression of history in things is no other than that of past torment.

Nowadays most people kick with the pricks.

Despair has the accent of irrevocability not because things cannot improve, but because it draws the past too into its vortex.

in the antagonistic society, the relationship of the generations is also one of competition, behind which stands naked violence.

It is the innermost nature of true interpretation to contribute to the death of its object.

oh Lesbos, donde los besos lánguidos o alegres, ardientes como soles, frescos como sandías, son adorno de noches y días de gloria

An information bureau of the human condition, Theodor Adorno called Kafka.

Mira: todo lo fuerte se hace, con su adorno, delicado. Más rosas, más rosas, más rosas...

Modernist literature with all its vast apparatus was an instrument, a form of perception, and once absorbed, the insights it brought could be rejected without its essence being lost, even the form endured, and it could be applied to your own life, your own fascinations, which could then suddenly appear in a new and significant light. Espen took that path, and I followed him like a brainless puppy, it was true, but I did follow him. I leafed through Adorno, read some passages of Benjamin, sat bowed over Blanchot for a few days, had a look at Derrida and Foucault, had a go at Kristeva, Lacan, Deleuze, while poems by Ekelöf, Björling, Pound, Mallarmé, Rilke, Trakl, Ashbery, Mandelstam, Lunden, Thomsen, and Hauge floated around, on which I spent more than a few minutes, I read them as prose, like a book by MacLean or Bagley, and learned nothing, understood nothing, but just having contact with them, having their books in the bookcase, led to a shifting of consciousness, just knowing they existed was an enrichment, and if they didn't furnish me with insights I became all the richer for intuitions and feelings.

Das Bedürfnis, Leiden beredt werden zu lassen, ist Bedingung aller Wahrheit. (The need to lend a voice to suffering [literally: "to let suffering be eloquent"] is the condition of all truth)

Der Verfall des Schenkens spiegelt sich in der peinlichen Erfindung der Geschenkartikel, die bereits darauf angelegt sind, daß man nicht weiß, was man schenken soll, weil man es eigentlich gar nicht will. Diese Waren sind beziehungslos wie ihre Käufer.

The subjectivist approach to art simply fails to understand that the subjective experience of art in itself is meaningless, and that in order to grasp the importance of art one has to zero in on the artistic object rather than on the fun of the art lover.

C'est peut-être, sur l'amour, la phrase la plus bouleversante que je connaisse. Dans Minima Moralia, Adorno écrit ceci:"Tu seras aimé lorsque tu pourras montrer ta faiblesse sans que l'autre s'en serve pour affirmer sa force.

That first day I asked my students what they thought fiction should accomplish, why one should bother to read fiction at all. It was an odd way to start, but I did succeed in getting their attention. I explained that we would in the course of the semester read and discuss many different authors, but that one thing these authors all had in common was their subversiveness. Some, like Gorky or Gold, were overtly subversive in their political aims; others, like Fitzgerald and Mark Twain, were in my opinion more subversive, if less obviously so. I told them we would come back to this term, because my understanding of it was somewhat different from its usual definition. I wrote on the board one of my favorite lines from the German thinker Theodor Adorno: “The highest form of morality is not to feel at home in one’s own home.” I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.

One should never begrudge deletions.

Words tend to bounce off nature as they try to deliver nature's language into the hands of another language foreign to it.

Die fast unlösbare Aufgabe besteht darin, weder von der Macht der anderen, noch von der eigenen Ohnmacht sich dumm machen zu lassen.

The bourgeois, however, is tolerant. His love of people as they are stems from his hatred of what they might be.

In the end the soul is itself the longing of the soulless for salvation.

The better someone actually understands art, however – by which I mean the more genuine their relationship to art – the less they will really enjoy art.

To write poetry after Auschwitz is barbaric.

German thinker Theodor Adorno: “The highest form of morality is not to feel at home in one’s own home.” I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable.

They [the critics] deal with Schoenberg’s early works and all their wealth by classifying them, with the music-historical cliché, as late romantic post-Wagnerian. One might just as well dispose of Beethoven as a late-classicist post-Haydnerian.

Nothing, for us, can fill the place of undiminished brightness except the unconscious dark; nothing that of what once we might have been, except the dream that we had never been born.

Starting with Theodor Adorno in the 1950s, people have suggested that lower intelligence predicts adherence to conservative ideology. Some but not all studies since then have supported this conclusion. More consistent has been a link between lower intelligence and a subtype of conservatism, namely right-wing authoritarianism (RWA, a fondness for hierarchy). One particularly thorough demonstration of this involved more than fifteen thousand subjects in the UK and United States; importantly, the links among low IQ, RWA, and intergroup prejudice were there after controlling for education and socioeconomic status. The standard, convincing explanation for the link is that RWA provides simple answers, ideal for people with poor abstract reasoning skills.

True that Benjamin used a communist language in the last years of his life, so he looks different to us now. But that's because he died in 1940. Those last years were the ones in which communist language regained authority--seen as necessary to fight fascism (identified as The Enemy). Had Benjamin lived as long as Adorno he would have become as a-social, as disillusioned with left as Adorno did.

The late Franz Borkenau once said, after he had broken with the Communist Party, that he could no longer put up with the practice of discussing municipal regulations in the categories of Hegelian logic, and Hegelian logic in the spirit of meetings of the town council.

There is only one expression for truth: the thought which repudiates injustice. If insistence on the good sides of life is not sublated in the negative whole, it transfigures its own opposite: violence.

Canta, hija, canta y trina, si ese es tu camino. Buscate por dentro, hurgate hasta que descubras, sin miedos, quien habita en tu interior. Hablame de tus dudas, de tus fantasias, de tu curiosidad justificada por la reproduccion humana y animal, de tu preocupacion por la politica, de tu interes por las artes: la vida es un abanico de posibilidades de realizacion personal. Encuentra las tuyas, para eso tienes a tu madre, un faro en tu camino, una referencia nocturna de la cual careci yo en mis noches de miedo. No seras un objeto de adorno. Pensaras, construiras, haras, propondras, no callaras, aportaras, disfrutaras la cama y a tu pareja, te reiras con un par de tequilas y sin ellos, seras plena, intensa, exitosa, risueña y enormemente productiva para que el dia que te mueras, espero que sea muy tarde y sobre todo mucho despues de que yo haya partido para siempre, lo puedas hacer con una sonrisa en el rostro.

And, of course, philosophy attracted exactly the wrong kind of girls for Bob – earnest intellectual ones, for example, who wanted to discuss Foucault and Adorno and other people Bob had tried very hard not to hear of. If Bob could have designed a girl he would have started by getting rid of her vocal cords.

Pessimism and optimism often come as a pair. In Adorno’s case, his deep pessimism about the contemporary social world is coupled with a strong optimism about human potential. In fact, it is the latter which explains his negative views about the contemporary social world and his demand that we should resist and change it

Era vestito completamente di nero e con una eleganza che non era abituale fra i filibustieri del grande Golfo del Messico, uomini che si accontentavano di un paio di calzoni e d'una camicia, e che curavano più le loro armi che gli indumenti. [...] Anche l'aspetto di quell'uomo aveva, come il vestito, qualcosa di funebre, con quel volto pallido, quasi marmoreo, che spiccava stranamente fra le nere trine del colletto e le larghe tese del cappello, adorno d'una barba corta, nera, tagliata alla nazzarena un po' arricciata. Aveva però i lineamenti bellissimi: un naso regolare, due labbra piccole e rosse come il corallo, una fronte ampia solcata da una leggera ruga che dava a quel volto un non so che di malinconico, due occhi poi neri come carbonchi, d'un taglio perfetto, dalle ciglia lunghe, vivide e animate da un lampo tale che in certi momenti doveva sgomentare anche i più intrepidi filibustieri di tutto il golfo. La sua statura alta, slanciata, il suo portamento elegante, le sue mani aristocratiche, lo facevano conoscere, anche a prima vista, per un uomo d'alta condizione sociale e soprattutto per un uomo abituato al comando.

Everywhere bourgeois society insists on the exertion of will; only love is supposed to be involuntary, pure immediacy of feeling. In its longing for this, which means a dispensation from work, the bourgeois idea of love transcends bourgeois society.

kendi vatanında kendini yabancı hissetmek entellektüel için ahlaki 1 sorumluluktur

Art is magic delivered from the lie of being true.

Relativism is vulgar materialism, thought disturbs the business.

A él le bastaba el único adorno: su juventud.

(Schoenberg himself, however, had no time for Adorno, complaining of his ‘pomposity’ and ‘oily pathos’,

La honra y las virtudes son adornos del alma, sin las cuales el cuerpo, aunque lo sea, no debe de parecer hermoso.

Refusing what Adorno called that 'comfort in the uncomfortable' taken by the fantastic, surrealism seeks to reintegrate man into the universe.

Las heridas del amor son el adorno de un amante.

The forgotten Spengler will have his revenge by threatening to be right in the end. (...) Spengler has hardly found an opponent worthy of him: collective amnesia provides the escape.

Entonces siento que le entregué el alma a alguien que la trata como si fuera una flor para poner en el ojal, una pequeña condecoración para su vanidad, un adorno para un día de verano.

Consejos a los jóvenes 8 Hijo mío, atiende la instrucción de tu padre y no abandones la enseñanza de tu madre,{i} 9 pues serán para ti un bello adorno: como un collar{j} o una corona.{k}

Philosophy, which once seemed outmoded, remains alive because the moment of its realization was missed. The summary judgement that it had merely interpreted the world is itself crippled by resignation before reality, and becomes a defeatism of reason after the transformation of the world failed. It guarantees no place from which theory as such could be concretely convicted of the anachronism, which then as now it is suspected of. Perhaps the interpretation which promised the transition did not suffice. The moment on which the critique of theory depended is not to be prolonged theoretically. Praxis, delayed for the foreseeable future, is no longer the court of appeals against self-satisfied speculation, but for the most part the pretext under which executives strangulate that critical thought as idle which a transforming praxis most needs. After philosophy broke with the promise that it would be one with reality or at least struck just before the hour of its production, it has been compelled to ruthlessly criticize itself.

Amusement under late capitalism is the prolongation of work. It is sought after as an escape from the mechanised work process, and to recruit strength in order to be able to cope with it again. But at the same time mechanisation has such power over a man’s leisure and happiness, and so profoundly determines the manufacture of amusement goods, that his experiences are inevitably after-images of the work process itself. The ostensible content is merely a faded foreground; what sinks in is the automatic succession of standardised operations. What happens at work, in the factory, or in the office can only be escaped from by approximation to it in one’s leisure time.

130 Lo que alguien es comienza a delatarse cuando su talento declina, - cuando deja de mostrar lo que él es capaz de hacer. El talento es también un adorno; y un adorno es también un escondite.

The unity of style not only of the Christian Middle Ages but of the Renaissance expresses in each case the different structure of social power, and not the obscure experience of the oppressed in which the general was enclosed. The great artists were never those who embodied a wholly flawless and perfect style, but those who used style as a way of hardening themselves against the chaotic expression of suffering, as a negative truth. The style of their works gave what was expressed that force without which life goes unheard

As the arrangements of life no longer allow time for pleasure conscious of itself, replacing it by the performance of physiological functions, de-inhibited sex is itself de-sexualized. Really, they no longer want ecstasy at all, but merely compensation for an outlay that, best of all, they would like to save as superfluous.

El oro no se come, el oro no se bebe, tampoco te da calor y menos te sirve como arma. Los humanos le dan valor a un pedazo de metal que sólo sirve como adorno. Se matan por él cuando lo que necesitan es comida y agua.

Ever since Plato, bourgeois consciousness has deceived itself that objective antinomies could be mastered by steering a middle course between them, whereas the sought-out mean always conceals the antinomy and is torn apart by it.

No universal history leads from savagery to humanitarianism, but there is one leading from the slingshot to the megaton bomb. It ends in the total menace which organized mankind poses to organized men, in the epitome of discontinuity.

Der Versuch, dem objektiven Gehalt Bachs zu seinem Recht zu verhelfen, indem man die subjektive Anstrengung bloß daran wendet, das Subjekt auszumerzen, überschlägt sich. Objektivität bleibt nicht als Rest der Substraktion des Subjekts zurück.

If all pleasure has, preserved within it, earlier pain, then here pain, as pride in bearing it, is raised directly, untransformed, as a stereotype, to pleasure: unlike wine, each glass of whisky, each inhalation of cigar smoke, still recalls the repugnance that it cost the organism to become attuned to such strong stimuli, and this alone is registered as pleasure.

Hacía ya mucho tiempo que me vanagloriaba de poseer todos los paisajes posibles, y que se me antojaban irrisorias todas las celebridades de la pintura y de la poesía moderna. Me gustaban las pinturas idiotas: adornos de puertas, decorados, telones de saltimbancos, emblemas, estampas populares; la literatura pasada de moda: latín de iglesia, libros eróticos ignorantes de la ortografía, novelas de nuestras abuelas, cuentos de hadas, libritos infantiles, viejas óperas, estribillos bobos, ritmos ingenuos. Soñaba con cruzadas, viajes de exploración cuya crónica no nos ha llegado, repúblicas sin historia, guerras de religión sofocadas, revoluciones de costumbres, desplazamientos de razas y continentes: creía en todos los encantamientos.

Today it is seen as arrogant, alien and improper to engage in private activity without any evident ulterior motive. Not to be ‘after’ something is almost suspect: no help to others in the rat-race is acknowledged unless legitimized by counterclaims.

Mesa, adorno de marfil, arcoíris, cebolla, peinado, molusco, Sabbat, violencia, cutícula, melodrama, cuneta, miel, pañuelo... Nada la conmovía. (...) Nada conseguía ser más de lo que era en realidad. Eran solo cosas, prisioneras de su propia esencia.

Whereas the unconscious colossus of real existence, subjectless capitalism, inflicts its destruction blindly, the deludedly rebellious subject is willing to see that destruction as its fulfillment, and, together with the biting cold it emits toward human beings misused as things, it also radiates the perverted love which, in the world of things, takes the place of love in its immediacy.

In Dialektik der Aufklärung discussions of Kant's ideas feature more than those of any other philosopher. Those discussions, however, rarely attempt to understand the argumentative structure of Kant's Philosophy. Kant's ideas are invoked largely as an aide to gaining greater insight into the broader phenomenon of the evolution of modern reason. The text's treatment of Kant's work is, as a consequence, fragmentary and partial. Neither scholarly accuracy nor systematic reconstruction plays a role in Horkheimer and Adorno's methodology.

Dünya bir açıkhava hapisanesine dönüştükçe her şey o kadar bir ve aynı olmuştur ki, neyin neye bağımlı olduğunu bilmenin artık pek önemi yoktur. Her türlü olgu mevcut olanın mutlak hâkimiyetini ifade eden işaretler gibi dikiliyor karşımızda. Sözcüğün gerçek anlamıyla ideolojiler kalmadı, sadece dünyayı kopyalayarak bize satmaya çalışan reklamlar, inanılmayı beklemeyip sessiz kalmayı buyuran kışkırtıcı yalan var.

Ya sé que no vas colgarla de adorno. Si fueras un artista plástico emergente y tuvieras ganas de epatar al personal quizás sí. Aunque creo que ya lo han hecho, incluso con perniles de mamuts hallados congelados en la Taiga Siberiana. Y ya sabes la repetición mata el arte, colega.

Tenía una imponente cabellera, una laberíntica y ondeante guirnalda de espirales y bucles, ensortijados y lo bastante grandes para servir como adornos navideños. El desasosiego de su infancia parecía haber pasado a las enroscaduras de su sinuosa y espesa cabellera. Su cabellera irreversible. Podías fregar cazos con aquel cabello sin que se alterase más que si lo hubieran cosechado en las oscuras profundidades marinas, como si fuese un organismo que creciera en los arrecifes, un denso ónice vivo, híbrido de coral y arbusto, tal vez poseedor de propiedades medicinales.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.

Even at that time the hope of leaving behind messages in bottles on the flood of barbarism bursting on Europe was an amiable illusion: the desperate letters stuck in the mud of the spirit of rejuvenesence and were worked up by a band of Noble Human-Beings and other riff-raff into highly artistic but inexpensive wall-adornments. Only since then has progress in communications really got into its stride. Who, in the end, is to take it amiss if even the freest of free spirits no longer write for an imaginary posterity, more trusting, if possible, than even their contemporaries, but only for the dead God?

Y sentí intensamente el paso del tiempo. No el tiempo de las nubes y del sol y de la lluvia ni del paso de las estrellas adorno de la noche, no el tiempo de las primaveras dentro del tiempo de las primaveras, no el tiempo de los otoños dentro del tiempo de los otoños, no el que pone las hojas a las ramas o el que las arranca, no el que riza y desriza y colora a las flores, sino el tiempo dentro de mí, el tiempo que no se ve y nos va amasando. El que rueda y rueda dentro del corazón y le hace rodar con él y nos va cambiando por dentro y por fuera y poco a poco nos va haciendo tal como seremos el último día.

The undiminished irrationality of rational society encourages people to elevate religion into an end in itself, without regard to its content: to view religion as a mere attitude, as a quality of subjectivity. All this at the cost of religion itself. One needs only to be a believer—no matter what he believes in.

Could you not portray the good sides of life and proclaim love as a principle, instead of endless bitterness?" There is only one expression for truth: the thought which repudiates injustice. If insistence on the good sides of life is not sublated in the negative whole, it transfigures its own opposite: violence.

No cojas la cuchara con la mano izquierda. No pongas los codos en la mesa. Dobla bien la servilleta. Eso, para empezar. Extraiga la raíz cuadrada de tres mil trescientos trece. ¿Dónde está Tanganika? ¿Qué año nació Cervantes? Le pondré un cero en conducta si habla con su compañero. Eso, para seguir. ¿Le parece a Ud. correcto que un ingeniero haga versos? La cultura es un adorno y el negocio es el negocio. Si sigues con esa chica te cerraremos las puertas. Eso, para vivir. No seas tan loco. Sé educado. Sé correcto. No bebas. No fumes. No tosas. No respires ¡Ay sí, no respires! Dar el no a todos los "no" y descansar: Morir.

And what enriched me while reading Adorno, for example, lay not in what I read but in the perception of myself while I was reading. I was someone who read Adorno! And in this heavy, intricate, detailed, precise language whose aim was to elevate thought ever higher, and where every period was set like a mountaineer’s cleat, there was something else, this particular approach to the mood of reality, the shadow of these sentences that could evoke in me a vague desire to use the language with this particular mood on something real, on something living. Not on an argument, but on a lynx, for example, or on a blackbird or a cement mixer.

Pensa que morrerás mártir. Entre talhas Ao cair ressoará o teu corpo sobre o bojo. Pensa que morrerás Esta tarde. Com o sangue no peito a marcar o umbral Da tua morada. Nu morrerás E desconhecido. Na terra só o adorno Possui o reconhecimento Pensa que morrerás No chão À tua porta. E nunca mais acabarás De regressar

Since death, as the existential horizon of Dasein, is considered absolute, it becomes the absolute in the form of an icon. There is here a regression to the cult of death; thus the jargon has from the beginning gotten along well with military manners. Now, as earlier, that answer is valid which Horkheimer gave to an enthusiastic female devotee of Heidegger's. She said that Heidegger had finally, at least, once again placed men before death; Horkheimer replied that Ludendorff had taken care of that much better.

La cartografía nunca había sido un arte muy preciso en el Mundodisco. Todos los que lo intentaban empezaban con buenas intenciones, pero luego se dejaban arrastrar por el entusiasmo que despertaban en ellos las ballenas, los monstruos, las olas y otros adornos del mobiliario cartográfico, y se les olvidaba incluir los aburridos ríos y montañas.

Todas las demás cosas, nuestros poderes, nuestros deseos, nuestro alimento, todos son realmente necesarios en primera instancia para nuestra existencia. Pero esta rosa se nos da por añadidura. Su aroma y su color son un adorno de la vida, no una condición de ésta. Sólo la bondad se da por añadidura y por eso, repito, tenemos mucho que esperar de las flores.

Музыка - враг судьбы... Лишь начиная с Вагнера, музыка стала подражать судьбе

Amusement always means putting things out of mind, forgetting suffering, even when it is on display. At its root is powerlessness.

No universal history leads from savagery to humanitarianism, but there is one leading from the slingshot to the atomic bomb.

In principle everyone, however powerful, is an object.

even there, where the rejection of the system is taken for granted and for that reason a lax and cunning conformism of its own has developed.

Ob ein Mensch Erfahrungen machen kann oder nicht, ist in letzter Instanz davon abhängig, wie er vergisst.

It is up to the school more than anything else to work against barbarism. ... By barbarism, I do not mean the Beatles.

The utopia of knowledge would be to open up the non-conceptual with concepts, without making it their equal.

The more completely the machinery of thought subjugates existence, the more blindly it is satisfied with reproducing it. Enlightenment thereby regresses to the mythology it has never been able to escape. For mythology had reflected in its forms the essence of the existing order - cyclical motion, fate, domination of the world as truth - and had renounced hope.

Brecht’s ‘basic laxity’ was one reason why, apart from his satellites and those tied to him by party bonds, he was generally unpopular with other writers. He was much despised by the academic writers of the Frankfurt School (Marcuse, Horkheimer, etc.) as a ‘vulgar Marxist’. Adorno said that Brecht spent hours every day putting dirt under his fingernails so he looked like a worker.

gli era divenuto chiaro che la religione infusagli sin dal principio dalla sua coscienza altro non era che la religione dei Morti. Quella sì assecondava le sue inclinazioni, appagava il suo animo, dava sbocco alla sua pietà. Quella sì esaudiva il suo anelito a grandiose liturgie, a rituali solenni e magnifici: e quale santuario poteva mai essere più adorno, quale cerimoniale più maestoso di quelli che servivano a officiare il suo culto?

Many groups use the media and successfully manipulate what Theodor Adorno calls our psychological frailty. This psychological frailty correlates to anxiety. It also precedes and foments fascism, sexism, and racism. Because of our sense of free will, day-to-day anxiety can creep in as a form of guilt or the desire to belong / be loved. It is this frailty that is manipulated which may later be expressed in fascism, nationalism, sexism, racism. It's based on superego storytelling. But what's going on concurrent with all this is a shift from storytelling to storymaking. There's an entire subgroup, mostly the younger generations, that have been participating in gaming and social media in a way that will bring about a new synergy. This is Hegel's dialect approach to society. Jane McGonigal talks about this in her book Reality is Broken, Cathy Davis talks about this in her book Now You See It, Clay Shirky talks about this in his books Cognitive Surplus and Here Comes Everybody. Tapscott talks about this in his book Wikinomics.

Fascism was not simply a conspiracy—although it was that—but it was something that came to life in the course of a powerful social development. Language provides it with a refuge. Within this refuge a smoldering evil expresses itself as though it were salvation.

One of the lessons of the Hitler period is the stupidity of cleverness... Clever people have always made things easy for barbarians, because they are so stupid. It is the well-informed, farsighted judgements, the prognoses based on statistics and experience, the observations which begin: "I happen to be an expert in this field," it is the well-founded, conclusive statements which are untrue. Hitler was against intellect and humanity. But there is also an intellect which is against humanity: it is distinguished by well-informed superiority.

Un uomo era sceso allora dal ponte di comando e si dirigeva verso di loro, con una mano appoggiata al calcio d'una pistola che pendevagli dalla cintola. Era vestito completamente di nero e con una eleganza che non era abituale fra i filibustieri del grande Golfo del Messico, [...]. Anche l'aspetto di quell'uomo aveva, come il vestito, qualche cosa di funebre, con quel volto pallido, quasi marmoreo, che spiccava stranamente fra le nere trine del colletto e le larghe tese del cappello, adorno d'una barba corta, nera, tagliata alla nazzarena e un po' arricciata. Aveva però i lineamenti bellissimi: un naso regolare, due labbra piccole e rosse come il corallo, una fronte ampia solcata da una leggera ruga che dava a quel volto un non so che di malinconico, due occhi poi neri come carbonchi, d'un taglio perfetto, dalle ciglia lunghe, vivide e animate da un lampo tale che in certi momenti doveva sgomentare anche i più intrepidi filibustieri di tutto il golfo. La sua statura alta, slanciata, il suo portamento elegante, le sue mani aristocratiche, lo faceva conoscere, anche a prima vista, per un uomo d'alta condizione sociale e soprattutto per un uomo abituato al comando.

¿Aparentar? No señora, yo no sé aparentar. Ni el color negro de este manto, ni el traje acostumbrado en solemnes lutos, ni los interrumpidos sollozos, ni en los ojos un abundante río, ni la dolorida expresión del semblante, junto con las fórmulas, los ademanes, las exterioridades de sentimiento; bastarán por sí solos, mi querida madre, a manifestar el verdadero afecto que me ocupa el ánimo. Estos signos aparentan, es verdad; pero son acciones que un hombre puede fingir... Aquí, aquí dentro tengo lo que es más que apariencia, lo restante no es otra cosa que atavíos y adornos del dolor.

Une philosophie transformée devrait casser cette prétention, ne plus faire croire à elle-même et aux autres qu'elle dispose de l'infini. Mais au lieu de cela c'est elle qui, subtilement comprise deviendrait infinie dans la mesure où elle dédaignerait de se fixer dans un corpus de théorèmes dénombrables.

There were many key figures from the Frankfurt School: Georg Lukacs, Herbert Marcuse, Max Horkheimer, Theodor Adorno, Erich Fromm, Franz Neumann, the Soviet spy Richard Sorge, Wilhelm Reich, Walter Benjamin, and others. The school began in 1923 as the Institute for Social Research at the University of Frankfurt in Germany. It is also sometimes called Goethe University, fittingly and frighteningly enough. Karl Marx would have been proud. The Frankfurt School in the 1930s would pick up and relocate to the United States, as its members (most if not all of them Jews) fled Hitler’s atrocious Final Solution.584

Adorno and his colleagues identified nine a priori clusters of personality dimensions—many surprisingly similar to Dicks’s “High F Syndrome”—that made up the authoritarian personality: 1. Conventionalism: Rigid adherence to conventional middle-class values. 2. Authoritarian Submission: Submissive, uncritical attitude toward idealized moral authorities of the in-group. 3. Authoritarian Aggression: Tendency to be on the lookout for, and to condemn, reject, and punish, people who violate conventional values. 4. Anti-Intraception: Opposition to the subjective, the imaginative, the tender-minded. 5. Superstition and Stereotypy: The belief in mystical determinants of the individual’s fate; the disposition to think in rigid categories. 6. Power and “Toughness”: Preoccupation with the dominance-submission, strong-weak, leader-follower dimension; identification with power figures; overemphasis on the conventionalized attributes of the ego; exaggerated assertion of strength and toughness. 7. Destructiveness and Cynicism: Generalized hostility, vilification of the human. 8. Projectivity: The disposition to believe that wild and dangerous things go on in the world; the projection outward of unconscious emotional impulses. 9. Sex: Exaggerated concern with sexual “goings-on.

Era un bellissimo giovane di ventotto o trent'anni, di statura alta, di forme elegantissime che palesavano il gran signore, con gli occhi nerissimi e ardenti, i baffi neri e la pelle bianchissima, cosa affatto insolita per un comandante di fregata, abituato a navigare sotto il sole bruciante del Golfo del Messico. Quello strano ed interessante personaggio, chi sa per quale bizzaria, vestiva tutto di seta rossa. Rossa era la casacca, rossi gli alamari, rossi i calzoni, rosso l'ampio feltro adorno d'una lunga piuma e così pure i merletti, i guanti e perfino gli alti stivali; anche la guaina della spada era di cuoio rosso. (Il figlio del Corsaro Rosso)

At Berkeley the Free Speech Movement arose simultaneously with the hippie world of drugs. At first it was politically neither left nor right, but rather a call for the freedom to express any political views on Sproul Plaza. Then soon the Free Speech Movement became the Dirty Speech Movement, in which freedom was seen as shouting four-letter words into a mike. Soon after, it became the platform for the political New Left which followed the teaching of Herbert Marcuse (1898–). Marcuse was a German professor of philosophy related to the neo-Marxist teaching of the “Frankfurt School,” along with Theodor Adorno (1903–1969), Max Horkheimer (1895–) and Jürgen Habermas (1929–).

Psychology knows that he who imagines disasters in some way desires them. But why do they come so eagerly to meet him.l Something in reality strikes a chord in paranoid fantasy and is warped by it. The sadism latent in everyone unerringly divines the weakness latent in everyone. And the fantasy of persecution is contagious: wherever it occurs spectators are driven irresistibly to imitate it.

What would it mean for us to come to terms with the knowledge that civilization, our whole mode of development and culture, has been premised and built upon extermination—on a history experienced as "terror" without end" (to borrow a phrase from Adorno)? To dwell on such a thought would be to throw into almost unbearable relief the distance between our narratives of inherent human dignity and grace and moral superiority, on the one hand, and the most elemental facts of our actual social existence, on the other. We congratulate ourselves for our social progress—for democratic governance and state-protected civil and human rights (however notional or incompletely defended—yet continue to enslave and kill millions of sensitive creatures who in many biological, hence emotional and cognitive particulars resemble us. To truly meditate on such a contradiction is to comprehend our self-understanding to be not merely flawed, but comically delusional... In the nineteenth century, the animal welfare advocate Edward Maitland warned that our destruction of other animals lead only to our own "debasement and degradation of character" as a species. "For the principles of Humanity cannot be renounced with impunity; but their renunciation, if persisted in, involves inevitably the forfeiture of humanity itself. And to cease through such forfeiture man is to become demon." What else indeed can we call a being but demon who routinely enslaves and kills thousands of millions of other gentle beings, imprisons them in laboratories, electrocutes or poisons or radiates or drowns them?

Starting with Theodor Adorno in the 1950s, people have suggested that lower intelligence predicts adherence to conservative ideology. Some but not all studies since then have supported this conclusion. More consistent has been a link between lower intelligence and a subtype of conservatism, namely right-wing authoritarianism (RWA, a fondness for hierarchy). ... The standard, convincing explanation for the link is that RWA provides simple answers, ideal for people with poor abstract reasoning skills. The literature has two broad themes. One is that rightists are relatively uncomfortable with ambiguity; ... . The other is that leftists, well, think harder, have a greater capacity for what the political scientist Philip Tetlock of the University of Pennsylvania calls "integrative complexity". In one study, conservatives and liberals, when asked about the causes of poverty, both tended toward personal attributions (“They’re poor because they’re lazy”). But only if they had to make snap judgments. Give people more time, and liberals shifted toward situational explanations (“Wait, things are stacked against the poor”). In other words, conservatives start gut and stay gut; liberals go from gut to head. ... Why? Some have suggested it’s a greater respect for thinking, which readily becomes an unhelpful tautology. Linda Skitka of the University of Illinois emphasizes how the personal attributions of snap judgments readily feel dissonant to liberals, at odds with their principles; thus they are motivated to think their way to a more consonant view. In contrast, even with more time, conservatives don’t become more situational, because there’s no dissonance.

Portanto - disse a Srta. Tilney -, a senhorita crê que os historiadores não são felizes ao deixar sua imaginação voar. Eles demonstram possuí-la, mas não conseguem despertar o interesse. Eu gosto de História, e não me importo de aceitar o que é falso junto com o que é verdadeiro. Para descrever os fatos principais, eles buscam informações em registros e em outros livros que são tão confiáveis, creio eu, quanto qualquer coisa que não se passe diante de nossos próprios olhos. E quanto aos pequenos adornos aos quais se refere, são apenas adornos, e gosto deles como tal. Se um discurso for bem escrito, eu o lerei com prazer, não importa quem seja o autor. E leio com mais prazer ainda se tiverem sido produzidos pelo Sr. Hume e pelo Sr. Robertson do que se fossem as palavras genuínas de Caractacus, Júlio Agrícola ou ALfredo, o Grande.

INTELLIGENCE Oh, what the hell? Let’s begin with something inflammatory. Starting with Theodor Adorno in the 1950s, people have suggested that lower intelligence predicts adherence to conservative ideology.33 Some but not all studies since then have supported this conclusion. More consistent has been a link between lower intelligence and a subtype of conservatism, namely right-wing authoritarianism (RWA, a fondness for hierarchy). One particularly thorough demonstration of this involved more than fifteen thousand subjects in the UK and United States; importantly, the links among low IQ, RWA, and intergroup prejudice were there after controlling for education and socioeconomic status. The standard, convincing explanation for the link is that RWA provides simple answers, ideal for people with poor abstract reasoning skills. INTELLECTUAL

Her modern kültürde "yüksek’in "alçak"tan önce gelmesi; temizin çekici, kirlininse itici olması; bazı kokuların iyi, bazılarınınsa iğrenç bulunması; bazı yiyecekler sevilirken bazılarından nefret edilmesi hep eski tabuların, mitlerin, adanmaların ve bunların tarih içindeki serüveninin ürünüdür, yoksa aydınlanmış kişilerin ya da liberal dinlerin öne sürmeye çalıştığı gibi sağlık kaygılarının ya da başka pragmatik nedenlerin sonucu değil.

Podređenost prirodi današnjih ljudi ne može se odvojiti od društvenog napretka. Rast privredne produktivnosti koja, s jedne strane, stvara uvjete za pravedniji svijet, daje, s druge strane, tehničkom aparatu i grupama koje njime raspolažu neizmjernu nadmoć nad ostalim stanovništvom. Pojedinac je spram ekonomijskih moći posve anuliran. Pri tomu te moći dovode snagu društva nad prirodom do neslućene visine. Dok pojedinac nestaje pred aparatom što ga poslužuje, bolje je opskrbljen nego ikada. U nepravednom stanju nemoć i povodljivost masa rastu sa količinom dobara kojom raspolažu. Materijalno znatan a socijalno ništavan porast životnog standarda nižih odrazuje se u varljivoj proširenosti duha. Pravi predmet duha jest negacija postvarenja. On nestaje tamo gdje se pretvara u kulturno dobro i gdje se isporučuje radi konzumiranja. Poplava precizne informacije i timarene zabave ujedno čini ljude spretnijima i glupljima.

The iPod, like the Walkman cassette player before it,C allows us to listen to our music wherever we want. Previously, recording technology had unlinked music from the concert hall, the café, and the saloon, but now music can always be carried with us. Michael Bull, who has written frequently about the impact of the Walkman and the iPod, points out that we often use these devices to “aestheticize urban space.”4 We carry our own soundtrack with us wherever we go, and the world around us is overlaid with our music. Our whole life becomes a movie, and we can alter the score for it over and over again: one minute it’s a tragedy and the next it’s an action film. Energetic, dreamy, or ominous and dark: everyone has their own private movie going on in their heads, and no two are the same. That said, the twentieth-century philosopher Theodor Adorno, ever the complainer, called this situation “accompanied solitude,” a situation where we might be alone, but we have the

Christopher Lasch explains the process by which the therapeutic segment of the managerial elite win moral acceptance. Despite the fact that its claims to be providing “mental health” where always self-serving and highly subjective, the theapeutic class offered ethical leadership in the absence of shared principles. By defining emotional well-being as both a social good and the overcoming of what is individually and collectively dangerous, the behavioral scientists have been able to impose their absolutes upon the culturally fluid society. In “The True and Only Heaven” Lasch explores the implications for postwar politics of the “Authoritarian Personality.” A chief contributor to this anthology, Theodro Adorno, abandoned his earlier work as a cultural critic to become a proponent of governmentally imposed social therapy. According to Lasch, Adorno condemns undesirable political attitudes as “prejudice” and “by defining prejudice as a ‘social disease’ substituted a medical for a political idiom. In the end, Adorno and his colleagues “relegated a broad range of controversial issues to the clinic – to scientific study as opposed to philosophical and political debate.

What it means to be a ‘better person’, then, must be concrete and practical — that is to say, concerned with people’s political situations as a whole — rather than narrowly abstract, concerned only with the immediate interpersonal relations which can be abstracted from this concrete whole. It must be a question of political and not only of ‘moral’ argument: that is to say, it must be genuine moral argument, which sees the relations between individual qualities and values and our whole material conditions of existence. Political argument is not an alternative to moral preoccupations: it is those preoccupations taken seriously in their full implications.

The cessation of art is something that can only be accomplished when art disappears into its own excess. And that occasion, according to Baudrillard, has already happened. In fact, "art" disappeared a while back (When? Sometimes in the 70's, probably, when information technologies were electrified and became the dominant way in which Western cultures mediated its self-expressions), and its sublimations into the everyday order of simulation was overlooked. Too busy watching reruns of I dream of Jeannie or betwitched I suppose. What is called "art" now is itself a continuous rerun, a rerun of the image of its own disappearance. But said another way, which I'm sure some would rather it be said (though it makes no difference) art is everywhere one and the same with the image of the everyday, if not actually, then potentially. Under these circumstances, because art and the reality that is supposed to set off aesthetic properties have lost their operational difference, unmusic is everywhere Music is not. However, according to the logic of simulation, Music is everywhere so unmusic is nowhere. Yet being everywhere is the same as being nowhere, therefore Music is nowhere, which makes unmusic everywhere. But this is hyperreality and hyperreality trucks no difference between the real and the unreal (artifice), the musical and the unmusical. Thus unmusic eschews Adorno's dialectical impasse to the extent that it is total nonsense, a byproduct of the hyperreal that supervenes a discourse of contradictions and paradoxes where everything is coming up signs.

Lesbos Madre de los juegos latinos y los deleites griegos, Lesbos, donde los besos, lánguidos o gozosos, cálidos como soles, frescos como las sandías, son el adorno de noches y días gloriosos; madre de los juegos latinos y los deleites griegos. Lesbos, donde los besos son como cascadas que se arrojan sin miedo en las simas sin fondo, y fluyen, entrecortados de sollozos y risas, tormentosos y secretos, hormigueantes y profundos; ¡Lesbos, donde los besos son como las cascadas! Lesbos, donde las Frinés se atraen entre sí, donde nunca un suspiro dejó de hallar un eco, las estrellas te admiran tanto como a Pafos, ¡y Venus con razón puede envidiar a Safo! Lesbos, donde las Frinés se atraen entre sí, Lesbos, tierra de noches cálidas y lánguidas, que hacen que en sus espejos, ¡infecundo deleite! las niñas de ojos hundidos, enamoradas de sus cuerpos, acaricien los frutos ya maduros de su nubilidad; Lesbos, tierra de noches cálidas y lánguidas, deja al viejo Platón fruncir su ceño austero; obtienes tu perdón del exceso de besos, reina del dulce imperio, tierra noble y amable, y de refinamientos siempre sin agotar, deja al viejo Platón fruncir su ceño austero. Obtienes tu perdón del eterno martirio, infligido sin tregua a los corazones ambiciosos, que atrae lejos de nosotros la radiante sonrisa, ¡vagamente entrevista al borde de otros cielos! ¡Obtienes tu perdón del eterno martirio! ¿Qué Dios se atreverá a ser tu juez, oh Lesbos?, y a condenar tu frente pálida por penosas labores, si sus balanzas de oro no han pesado el diluvio, de lágrimas que en el mar vertieron tus arroyos? ¿Qué Dios se atreverá a ser tu juez, oh Lesbos? ¿Qué quieren de nosotros las leyes de lo justo y lo injusto? Vírgenes de corazón sublime, honra del Archipiélago, vuestra religión es augusta como cualquiera, ¡y el amor se reirá del Infierno y del Cielo! ¿Qué quieren de nosotros las leyes de lo justo y lo injusto? Pues Lesbos me ha elegido en la tierra entre todos, para cantar el secreto de sus floridas vírgenes, y desde la infancia que inicié en el negro misterio, de las risas sin freno mezcladas con los llantos sombríos; pues Lesbos me ha elegido en la tierra entre todos y desde entonces velo en la cumbre del Léucato, igual que un centinela de mirada segura y penetrante, que vigila noche y día, brick, tartana o fragata, cuyas formas a lo lejos se agitan en el azul; y desde entonces velo en la cumbre del Léucato, para saber si el mar es indulgente y bueno, y si entre los sollozos que en la roca resuenan, un día llevará a Lesbos, que perdona, el cadáver adorado de Safo, que partió, ¡para saber si el mar es indulgente y bueno! De Safo la viril, la amante y la poetisa, ¡por su palidez triste más hermosa que Venus! —Al ojo azul venció el negro que mancilla el tenebroso círculo trazado por las penas ¡de Safo la viril, la amante y la poetisa! Presentándose al mundo más hermosa que Venus y vertiendo el tesoro de su serenidad y el brillo de su rubia juventud, sobre el viejo Océano prendado de su hija; ¡presentándose al mundo más hermosa que Venus! —De Safo, que murió el día de su blasfemia, cuando, insultando el rito y el culto establecido, convirtió su hermoso cuerpo en pasto supremo de un bruto cuyo el orgullo castigó la impiedad de aquella que murió el día de su blasfemia, y desde entonces Lesbos lanza lamentaciones, y, pese a los honores que le tributa el mundo, cada noche le embriaga la voz de la tormenta, ¡que elevan hacia el cielo sus orillas desiertas! ¡y desde entonces Lesbos lanza lamentaciones!