Adorno developed Critical theory of the outside of the given holistic system of knowledge and beyond the Enlightenment myth of the unity of knowledge. The negative attitude towards the possibility of knowing the predicted history distinguishes him from Hegel and Marx and transforms his dialectic into the negative—the critique of the illusion of the unity of knowledge or political action. To this end, he transcends and thus negates the classical metaphysics of philosophy in general and the illusion of historical and positivist arguments in particular. He criticises the linear and one-dimensional concept of history based on the principle of transcendental antinomy. Otherness is felt, expressed and defined through art, poetry and radical utopias, and classical philosophy can follow this example, as F. Nietzsche was inspired by Richard Wagner’s operas. The history of imaginary entities, including God or the nation or the “best of all possible worlds”, can be perceived as an illusion, a lie, and requires a critical analysis based on well-founded antinomies. Hence the need for a negative dialectic that both continues the Kantian critique of appearances and defends the aesthetic and epistemological value of new utopias: