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Ghost in the Machine In the last fragment of his 1951 book Minima Moralia , one of the foundational texts of critical theory, Theodor Adorno provocatively recasts his own philosophical project in seemingly religious terms. “The only philosophy which can be responsibly practised in face of despair,” he writes in E.F.N. Jephcott’s translation, “is the attempt to contemplate all things as they would present themselves from the standpoint of redemption.” Soon, the theological language grows even more explicit: “Perspectives must be fashioned that displace and estrange the world, reveal it to be, with its rifts and crevices, as indigent and distorted as it will appear one day in the messianic light.” Adorno did not present himself as a religious thinker, yet theological concepts flash up in his work at key moments.

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