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Everything that has ever been called folk art has always reflected domination.

Theodor Adorno

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Theodor Adorno
Folk
Folks
Called
Art
Ever
Everything
Uncommitted
Always
Reflected
Domination

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Horror is beyond the reach of psychology.
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Only a humanity to whom death has become as indifferent as its members, that has itself died, can inflict it administratively on innumerable people.
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Talent is perhaps nothing other than successfully sublimated rage.
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Jazz is the false liquidation of art - instead of utopia becoming reality it disappears from the picture.
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Vague expression permits the hearer to imagine whatever suits him and what he already thinks in any case.
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The bourgeois ... is tolerant. His love for people as they are stems from his hatred of what they might be.
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Of the world as it exists, it is not possible to be enough afraid.
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Work while you work, play while you play - this is a basic rule of repressive self-discipline.
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In his state of complete powerlessness the individual perceives the time he has left to live as a brief reprieve.
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The task of art today is to bring chaos into order. Artistic productivity is the capacity for being voluntarily involuntary.
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The basest person is capable of perceiving the weaknesses of the greatest, the most stupid, the errors in the thought of the most intelligent.
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The jargon of authenticity ... is a trademark of societalized chosenness, ... sub-language as superior language.
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Happiness is obsolete: uneconomic.
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Fascism is itself less 'ideological', in so far as it openly proclaims the principle of domination that is elsewhere concealed.
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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.
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Technology is making gestures precise and brutal, and with them men.
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Once the last trace of emotion has been eradicated, nothing remains of thought but absolute tautology.
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All satire is blind to the forces liberated by decay. Which is why total decay has absorbed the forces of satire.
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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.
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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.
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