"It would seem essential to distinguish the emergent forms of a new commercial culture - beginning with advertisements and spreading on to formal packaging of all kinds, from products to buildings, and not excluding artistic commodities such as television shows and best-sellers and films - from the older kinds of folk and genuinely "popular" culture which flourished when the older social classes of a peasantry and an urban artisanat still existed and which, from the mid-nineteenth century on, has gradually been colonized and extinguished by commodification and the market system."

“Adorno retains the concept of the system and even makes it, as target and object of critique, the very center of his own anti-systematic thinking. ... His most powerful philosophical and aesthetic interventions are all implacable monitory reminders—sometimes in well-nigh Weberian or Foucauldian tones—of our imprisonment within system, the forgetfulness or repression of which binds us all the more strongly to it.”

“... how works that posit the end of history can offer any usable historical impulses, how works which aim to resolve all political differences can continue to be in any sense political, how texts designed to overcome the needs of the body can remain materialstic, and how visions of the "epoch of rest" can energize and compel us to action. There are good reasons for thinking that all these questions are undecidable: which is not necessarily a bad thing provided we continue to try to decide them.”

“Fruit trees in this world are ancient and exhausted sticks coming out of poor soil; the people of the village are worn down to their skulls, caricatures of some ultimate grotesque typology of basic human feature types. How is it, then, that in Van Gogh such things as apple trees explode into a hallucinatory surface of color, while his village stereotypes are suddenly and garishly overlaid with hues of red and green?”

“It seems to be easier for us today to imagine the thoroughgoing deterioration of the earth and of nature than the breakdown of late capitalism; perhaps that is due to some weakness in our imaginations.”

“The problem of postmodernism - how its fundamental characteristics are to be described, whether it even exists in the first place, whether the very concept is of any use, or is, on the contrary, a mystification - this problem is a t one and the same time an aesthetic and political one.”

“If the ideas of a ruling class were once the dominant ideology of bourgeois society, the advanced capitalist countries today are now a field of stylistic and discursive heterogeneity without norm. Faceless masters continue to inflect the economic strategies which constrain our existence, but they no longer need to impose their speech ; and the postliteracy of the late capitalist world reflects not only the absence of any great collective project but also the unavailability of the older national language itself.”