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  "text": "No matter how close and familiar the temple or cathedral were to the people who lived around them, they remained in terrifying or elevating contrast to the daily life of the slave, the peasant, and the artisan—and perhaps even to that of their masters. Whether ritualized or not, art contains the rationality of negation. In its advanced positions, it is the Great Refusal—the protest against that which is. The modes in which man and things are made to appear, to sing and sound and speak, are modes of refuting, breaking, and recreating their factual existence. But these modes of negation pay tribute to the antagonistic society to which they are linked. Separated from the sphere of labor where society reproduces itself and its misery, the world of art which they create remains, with all its truth, a privilege and an illusion. In this form it continues, in spite of all democratization and popularization, through the nineteenth and into the twentieth century. The “high culture” in which this alienation is celebrated has its own rites and its own style. The salon, the concert, opera. theater are designed to create and invoke another dimension of reality. Their attendance requires festive-like preparation; they cut off and transcend everyday experience. Now this essential gap between the arts and the order of the day, kept open in the artistic alienation, is progressively closed by the advancing technological society. And with its closing, the Great Refusal is in turn refused; the “other dimension” is absorbed into the prevailing state of affairs. The works of alienation are themselves incorporated into this society and circulate as part and parcel of the equipment which adorns and psychoanalyzes the prevailing state of affairs.",
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  "author": {
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    "title": "One-Dimensional Man",
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      "text": "If man has learned to see and know what really is, he will act in accordance with truth, Epistemology is in itself ethics, and ethics is epistemology.",
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      "slug": "the-precarious-ontological",
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      "text": "The precarious ontological link between Logos and Eros is broken, and scientific rationality emerges as essentially neutral.",
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      "text": "Nobody really thinks who does not abstract from that which is given, who does not relate the facts to the factors which have made them, who does not — in his mind — undo the facts. Abstractness is the very life of thought, the token of its authenticity.",
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