Newness only becomes mere evil in its totalitarian format, where all the tension between individual and society, that once gave rise to the category of the new, is dissipated. Today the appeal to newness, of no matter what kind, provided only that it is archaic enough, has become universal, the omnipresent medium of false mimesis. The decomposition of the subject is consummated in his self-abandonment to an ever-changing sameness.

Rampant technolgy eliminates luxury, but not by declaring privilege a human right; rather, it does so by both raising the general standard of living and cutting off the possibility of fulfilment.

So the experience of death is turned into that of the exchange of functionaries, and anything in the natural relationship to death that is not wholly absorbed into the social one is turned over to hygiene. In being seen as no more than the exit of a living creature from the social combine, death has been domesticated: dying merely confirms the absolute irrelevance of the natural organism in face of the social absolute.

It would be advisable to think of progress in the crudest, most basic terms: that no one should go hungry anymore, that there should be no more torture, no more Auschwitz. Only then will the idea of progress be free from lies.

Lies are told only to convey to someone that one has no need either of him or his good opinion.

Cultural criticism finds itself faced with the final stage of the dialectic of culture and barbarism. To write poetry after Auschwitz is barbaric. And this corrodes even the knowledge of why it has become impossible to write poetry today. Absolute reification, which presupposed intellectual progress as one of its elements, is now preparing to absorb the mind entirely. Critical intelligence cannot be equal to this challenge as long as it confines itself to self-satisfied contemplation.

Laughing in the cultural industry is mockery of happiness.