The dialectic cannot stop short before the conceptsof health and sickness, nor indeed before their siblings reason and unreason.

Love is the ability to discover similarities in the dis-similar. The audience has a right not to be fooled - even if it insists on being fooled.

All satire is blind to the forces liberated by decay. Which is why total decay has absorbed the forces of satire.

The body's habituation to walking as normal stems from the good olddays. It was the bourgeois form of locomotion: physicaldemythologization, free of the spell of hieratic pacing, rooflesswandering, breathless flight. Human dignity insisted on the right towalk, a rhythm not extorted from the body by command or terror. Thewalk, the stroll, were private ways of passing time, the heritage ofthe feudal promenade in the nineteenth century.

They [the critics] deal with Schoenberg's early works and all their wealth by classifying them, with the music-historical cliché, as late romantic post-Wagnerian. One might just as well dispose of Beethoven as a late-classicist post-Haydnerian.

Love is the power to see similarity in the dissimilar.

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