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Very evil people cannot really be imagined dying.

Theodor Adorno

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Theodor Adorno
Really
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Imagined
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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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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
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Anti-Semitism is the rumour about the Jews.
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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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Auschwitz begins wherever someone looks at a slaughterhouse and thinks: they’re only animals.
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History does not merely touch on language, but takes place in it.
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The power of the culture industry's ideology is such that conformity has replaced consciousness
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Once the last trace of emotion has been eradicated, nothing remains of thought but absolute tautology.
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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.
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Advice to intellectuals: let no-one represent you.
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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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Vague expression permits the hearer to imagine whatever suits him and what he already thinks in any case.
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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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If time is money, it seems moral to save time, above all one's own, and such parsimony is excused by consideration for others. One is straight-forward.
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The forms of art reflect the history of man more truthfully than do documents themselves.
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The empirical usability of the sacred ceremonial words makes both the speaker and listener believe in their corporeal presence.
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All the world's not a stage.
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The expression if history in things is no other than that of past torment.
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Technology is making gestures precise and brutal, and with them men.
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Life has changed into a timeless succession of shocks, interspaced with empty, paralysed intervals.
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