Wrong life cannot be lived rightly. - Theodor W. Adorno

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.

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.

“Was bedeutet Aufarbeitung der Vergangenheit” (1959)