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In his state of complete powerlessness the individual perceives the time he has left to live as a brief reprieve.

Theodor Adorno

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Theodor Adorno
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A pencil and rubber are of more use to thought than a battalion of assistants. To happiness the same applies as to truth: one does not have it, but is in it.
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The gods look in pleasure on penitent sinners.
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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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Knowledge, which is power, knows no limits, either in its enslavement of creation or in its deference to worldly masters.
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Anti-Semitism is the rumour about the Jews.
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Whoever is versed in the jargon does not have to say what he thinks, does not even have to think it properly. The jargon takes over this task.
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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.
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Dissonance is the truth about harmony.
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Very evil people cannot really be imagined dying.
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Talent is perhaps nothing other than successfully sublimated rage.
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The dialectic cannot stop short before the conceptsof health and sickness, nor indeed before their siblings reason and unreason.
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Domination delegates the physical violence on which it rests to the dominated.
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There is no love that is not an echo.
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Wrong life cannot be lived rightly.
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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.
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The sublime is only a step removed from the ridiculous.
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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.
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The need to let suffering speak is a condition of all truth. For suffering is objectivity that weighs upon the subject
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The important thing is not the planning of an Index Verborum Prohibitorum of current noble nouns, but rather the examination of their linguistic function.
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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.
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