Abstract

What insight is there to gain when Adorno is put “beside himself”? The humoristic tendency of Theodor W. Adorno and Max Horkheimer’s famous essay on the culture industry highlights the non-categorical modalities borrowed from the avant-gardes and psychoanalysis that disorganize Kant’s supposedly invariant concepts a priori: partialities of the driven montage, allegorisation. This tendency opens on the decentering consequences for the thinking of another subject, beyond the logic of suspicion and the melancolic jouissance that block it.