Theodor W. Adorno Quotes

Regressive listeners behave like children. Again and again and with stubborn malice, they demand the one dish they have once been served.

Even the most insensitive hit song enthusiast cannot always escape the feeling that the child with a sweet tooth comes to know in the candy store.

It suffices to remember how many sorrows he is spared who no longer thinks too many thoughts, how much more "in accordance with reality" a person behaves when he affirms that the real is the right, how much more capacity to use the machinery falls to the person who integrates himself with it uncomplainingly.

The dressing up and puffing up of the individual erases the lineaments of protest.

To be sure, exchange-value exerts its power in a special way in the realm of cultural goods. For in the world of commodities this realm appears to be exempted from the power of exchange, to be in an immediate relationship with the goods, and it is this appearance in turn which alone gives cultural goods their exchange-value. But they nevertheless simultaneously fall completely into the world of commodities, are produced for the market, and are aimed at the market.

Impulse, subjectivity and profanation, the old adversaries of materialistic alienation, now succumb to it. ... The representatives of the opposition to the authoritarian schema become witnesses to the authority of commercial success. ... In the service of success they renounce that insubordinate character which was theirs.

Music for entertainment ... seems to complement the reduction of people to silence, the dying out of speech as expression, the inability to communicate at all. It inhabits the pockets of silence that develop between people molded by anxiety, work and undemanding docility.

In America I was liberated from a certain naïve belief in culture and attained the capacity to see culture from the outside. To clarify the point: in spite of all social criticism and all consciousness of the primacy of economic factors, the fundamental importance of the mind—“Geist”—was quasi a dogma self-evident to me from the very beginning. The fact that this was not a foregone conclusion, I learned in America, where no reverential silence in the presence of everything intellectual prevailed.

In organized groups such as the army or the Church there is either no mention of love whatsoever between the members, or it is expressed only in a sublimated and indirect way, through the mediation of some religious imagine in the love of whom the members unite and whose all-embracing love they are supposed to imitate in their attitude towards each other. ... 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.

Always with Beckett there is a technical reduction to the extreme. ... But this reduction is really what the world makes out of us ...that is the world has made out of us these stumps of men ... these men who have actually lost their I, who are really the products of the world in which we live.

Immer von Beckett ist eine technische Reduktion bis zum äußersten. ... Aber diese Reduktion ist ja wirklich das was die Welt aus uns macht ... das heißt die Welt aus uns gemacht diese Stümpfe von Menschen also diese Menschen die eigentlich ihr ich ihr verloren haben die sind wirklich die Produkte der Welt in der wir leben.

“Was bedeutet Aufarbeitung der Vergangenheit” (1959)

Advancing bourgeois society liquidates memory, time, recollection as irrational leftovers of the past.

If one is to take Lulu's twelve-tone chord as the integral totality of complementary harmony, then Berg's allegorical genius proves itself within a historical perspective which makes the brain reel: just as Lulu in the world of total illusion longs for nothing but her murderer and finally finds him in that sound, so does all harmony of unrequited happiness long for its fatal chord as the cipher of fulfillment — twelve-tone music is not to be separated from dissonance. Fatal: because all dynamics come to a standstill within it without finding release. The law of complementary harmony already implies the end of the musical experience of time, as this was heralded in the dissociation of time according to Expressionistic extremes.

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.