Quotes of All Topics . Occasions . Authors
In the nineteenth century the Germans painted their dream and the outcome was invariably vegetable. The French needed only to paint a vegetable and it was already a dream.
In myths the warrant of grace was the acceptance of sacrifice; it is this acceptance that love, the re-enactment of sacrifice, beseeches if it is not to feel under a curse.
The idea that after this war life will continue 'normally' or even that culture might be 'rebuilt' - as if the rebuilding of culture were not already its negation - is idiotic.
People have so manipulated the concept of freedom that it finally boils down to the right of the stronger and richer to take from the weaker and poorer whatever they still have.
The new human type cannot be properly understood without awareness of what he is continuously exposed to from the world of things about him, even in his most secret innervations.
It is one of the basic tenets of fascist leadership to keep primary libidinal energy on an unconscious level so as to divert its manifestations in a way suitable to political ends.
Kitsch evokes a future utopia looking back at a past that is selectively (mis)remembered, thereby helping to stabilize the present toward which kitsch is otherwise deeply anatagonistic.
People at the top are closing ranks so tightly that all possibility of subjective deviation has gone, and difference can be sought only in the more distinguished cut of an evening dress.
The work of art still has something in common with enchantment: it posits its own, self-enclosed area, which is withdrawn from the context of profane existence, and in which special laws apply.
The objective tendency of the Enlightenment, to wipe out the power of images over man, is not matched by any subjective progress on the part of enlightened thinking towards freedom from images.
Rampant technolgy eliminates luxury, but not by declaring privilege a human right; rather, it does so by both raising the general standard of living and cutting off the possibility of fulfilment.
By abstaining from all definite content, whether as formal logic and theory of science or as the legend of Being beyond all beings, philosophy declared its bankruptcy regarding concrete social goals.
There are no more ideologies in the authentic sense of false consciousness, only advertisements for the world through its duplication and the provocative lie which does not seek belief but commands silence.
Humanity had to inflict terrible injuries on itself before the self, the identical, purpose-directed, masculine character of human beings was created, and something of this process is repeated in every childhood.
Everybody must have projects all the time. The maximum must be extracted from leisure ... The whole of life must look like a job, and by this resemblance conceal what is not yet directly devoted to pecuniary gain.
The blessing that the market does not ask about birth is paid for in the exchange society by the fact that the possibilities conferred by birth are molded to fit the production of goods that can be bought on the market.
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.
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.
Bourgeois society is ruled by equivalence. It makes the dissimilar comparable by reducing it to abstract quantities. To the enlightenment, that which does not reduce to numbers, and ultimately to the one, becomes illusion.
What the philosophers once knew as life has become the sphere of private existence and now of mere consumption, dragged along as an appendage of the process of material production, without autonomy or substance of its own.
And how comfortless is the thought that the sickness of the normal does not necessarily imply as its opposite the health of the sick, but that the latter usually only present, in a different way, the same disastrous pattern.
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.
Kitsch parodies catharsis...It is in vain to try to draw the boundaries abstractly between aesthetic fiction and kitsch's emotional plunder. It is a poison admixed to all art; excising it is today one of art's despairing efforts.
A successful work of art is not one which resolves objective contradictions in a spurious harmony, but one which expresses the idea of harmony negatively by embodying the contradictions, pure and uncompromised, in its innermost structure.
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.
As a constellation, theoretical thought circles the concept it would like to unseal, hoping that it may fly open like the lock of a well-guarded safe-deposit box: in response, not to a single key or a single number, but to a combination of numbers
A thinking that approaches it objects openly, rigorously ... is also free toward its objects in the sense that it refuses to have rules prescribed to it by organized knowledge. It ... rends the veil with which society conceals them, and perceives them anew.
That all men are alike is exactly what society would like to hear. It considers actual or imagined differences as stigmas indicating that not enough has yet been done; that something has still been left outside its machinery, not quite determined by its totality.
Philosophy that satisfies its own intention, and does not childishly skip behind its own history and the real one, has its lifeblood in the resistance against the common practices of today and what they serve, against the justification of what happens to be the case.
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.
What is or is not the jargon is determined by whether the word is written in an intonation which places it transcendently in opposition to its own meaning; by whether the individual words are loaded at the expense of the sentence, its propositional force, and the thought content.
The taboos that constitute a man's intellectual stature, often sedimented experiences and unarticulated insights, always operate against inner impulses that he has learned to condemn, but which are so strong that only an unquestioning and unquestioned authority can hold them in check.
It is incumbent upon philosophy ... to provide a refuge for freedom. Not that there is any hope that it could break the political tendencies that are throttling freedom throughout the world both from within and without and whose violence permeates the very fabric of philosophical argumentation.
In the general tendency toward specialization, philosophy too has established itself as a specialized discipline, one purified of all specific content. In so doing, philosophy has denied its own constitutive concept: the intellectual freedom that does not obey the dictates of specialized knowledge.
The usual reproach against the essay, that it is fragmentary and random, itself assumes the givenness of totality and suggests that man is in control of this totality. The desire of the essay, though, is not to filter the eternal out of the transitory; it wants, rather, to make the transitory eternal.
There is something embarrassing in... the way in which, ... turning suffering into images, harsh and uncompromising though they are, ... wounds the shame we feel in the presence of the victims. For these victims are used to create something, works of art, that are thrown to the consumption of a world which destroyed them.
In the products of the culture industry human beings get into trouble only so that they can be rescued unharmed, usually by representatives of a benevolent collective; and then, in illusory harmony, they are reconciled with the general interest whose demands they had initially experienced as irreconcilable with their own.
The creed of evil has been, since the beginnings of highly industrialized society, not only a precursor of barbarism but a mask of good. The worth of the latter was transferred to the evil that drew to itself all the hatred and resentment of an order which drummed good into its adherents so that it could with impunity be evil.
The error in positivism is that it takes as its standard of truth the contingently given division of labor, that between the science and social praxis as well as that within science itself, and allows no theory that could reveal the division of labor to be itself derivative and mediated and thus strip it of its false authority.
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.
The film has succeeded in transforming subjects so indistinguishably into social functions, that those wholly encompassed, no longer aware of any conflict, enjoy their own dehumanization as something human, as the joy of warmth. The total interconnectedness of the culture industry, omitting nothing, is one with total social delusion.
If philosophy is still necessary, it is so only in the way it has been from time immemorial: as critique, as resistance to the expanding heteronomy, even if only as thought's powerless attempt to remain its own master and to convict of untruth, by their own criteria, both a fabricated mythology and a conniving, resigned acquiescence.
What has become alien to men is the human component of culture, its closest part, which upholds them against the world. They make common cause with the world against themselves, and the most alienated condition of all, the omnipresence of commodities, their own conversion into appendages of machinery, is for them a mirage of closeness.
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.
The very people who burst with proofs of exuberant vitality could easily be taken for prepared corpses, from whom the news of their not-quite-successful decease has been withheld for reasons of population policy. Underlying the prevalent health is death. All the movements of health resemble the reflex-movements of beings whose hearts have stopped beating.
The metaphysical apologia at least betrayed the injustice of the established order through the incongruence of concept and reality. The impartiality of scientific language deprived what was powerless of the strength to make itself heard and merely provided the existing order with a neutral sign for itself. Such neutrality is more metaphysical than metaphysics.
The aim of jazz is the mechanical reproduction of a regressive moment, a castration symbolism. 'Give up your masculinity, let yourself be castrated,' the eunuchlike sound of the jazz band both mocks and proclaims, 'and you will be rewarded, accepted into a fraternity which shares the mystery of impotence with you, a mystery revealed at the moment of the initiation rite.
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.
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.
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.