Herbert Marcuse

This language controls by reducing the linguistic forms and symbols of reflection, abstraction, development, contradiction; by substituting images for concepts. It denies or absorbs the transcendent vocabulary; it does not search for but establishes and imposes truth and falsehood.

Dialectical logic undoes the abstractions of formal logic and of transcendental philosophy, but it also denies the concreteness of immediate experience. To the extent to which this experience comes to rest with the things as they appear and happen to be, it is a limited and even false experience. It attains its truth if it has freed itself from the deceptive objectivity which conceals the factors behind the facts — that is, if it understands its world as a historical universe, in which the established facts are the work of the historical practice of man.

The supremacy of thought (consciousness) also pronounces the impotence of thought in an empirical world which philosophy transcends and corrects — in thought. The rationality in the name of which philosophy passed its judgments obtained that abstract and general purity” which made it immune against the world in which one had to live. With the exception of the materialistic “heretics,” philosophic thought was rarely afflicted by the afflictions of human existence. Paradoxically, it is precisely the critical intent in philosophic thought which leads to the idealistic purifications critical intent which aims at the empirical world as a whole, and not merely at certain modes of thinking or behaving within it. Defining its concepts in terms of potentialities which are of an essentially different order of thought and existence, the philosophic critique finds itself blocked by the reality from which it dissociates itself, and proceeds to construct a realm of Reason purged from empirical contingency. The two dimensions of thought — that of the essential and that of — the apparent truths — no longer interfere with each other, and their concrete dialectical relation becomes an abstract epistemological or ontological relation. The judgments passed on the given reality are replaced by propositions defining the general forms of thought, objects of thought, and relations between thought and its objects. The subject of thought becomes the pure and universal form of subjectivity, from which all particulars are removed.

Operational analysis … cannot raise the decisive question whether the consent itself was not the work of manipulation—a question for which the actual state of affairs provides ample justification. The analysis cannot raise it because it would transcend its terms toward transitive meaning—toward a concept of democracy which would reveal the democratic election as a rather limited democratic process. Precisely such a non-operational concept is the one rejected by the authors as “unrealistic” because it defines democracy on too articulate a level as the clear-cut control of representation by the electorate—popular control as popular sovereignty.

In the most advanced areas of this civilization, the social controls have been introjected to the point where even individual protest is affected at its roots. The intellectual and emotional refusal “to go along” appears neurotic and impotent. This is the socio-psychological aspect of the political event that marks the contemporary period: the passing of the historical forces which, at the preceding stage of industrial society, seemed to represent the possibility of new forms of existence. But the term “introjection” perhaps no longer describes the way in which the individual by himself reproduces and perpetuates the external controls exercised by his society. Introjection suggests a variety of relatively spontaneous processes by which a Self (Ego) transposes the “outer” into the “inner.” Thus introjection implies the existence of an inner dimension distinguished from and even antagonistic to the external exigencies—an individual consciousness and an individual unconscious apart from public opinion and behavior. The idea of “inner freedom” here has its reality: it designates the private space in which man may become and remain “himself.” Today this private space has been invaded and whittled down by technological reality. Mass production and mass distribution claim the entire individual, and industrial psychology has long since ceased to be confined to the factory. The manifold processes of introjection seem to be ossified in almost mechanical reactions. The result is, not adjustment but mimesis: an immediate identification of the individual with his society and, through it, with the society as a whole. This immediate, automatic identification (which may have been characteristic of primitive forms of association) reappears in high industrial civilization; its new “immediacy,” however, is the product of a sophisticated, scientific management and organization. In this process, the “inner” dimension of the mind in which opposition to the status quo can take root is whittled down. The loss of this dimension, in which the power of negative thinking—the critical power of Reason—is at home, is the ideological counterpart to the very material process in which advanced industrial society silences and reconciles the opposition. The impact of progress turns Reason into submission to the facts of life, and to the dynamic capability of producing more and bigger facts of the same sort of life. The efficiency of the system blunts the individuals' recognition that it contains no facts which do not communicate the repressive power of the whole. If the individuals find themselves in the things which shape their life, they do so, not by giving, but by accepting the law of things—not the law of physics but the law of their society.

Society is eliminating the prerogatives and privileges of feudal. aristocratic culture together with its content. The fact that the transcending truths of the fine arts, the aesthetics of life and thought, were accessible only to the few wealthy and educated was the fault of a repressive society. But this fault is not corrected by paperbacks, general education, long-playing records, and the abolition of formal dress in the theater and concert hall. The cultural privileges expressed the injustice of freedom, the contradiction between ideology and reality, the separation of intellectual from material productivity; but they also provided a protected realm in which the tabooed truths could survive in abstract integrity—remote from the society which suppressed them.

The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it

Ideas, aspirations, and objectives that, by their content, transcend the established universe of discourse and action are either repelled or reduced to terms of this universe.

Paul Valéry insists on the inescapable commitment of the poetic language to the negation. The verses of this language “ne parlent jamais que de choses absentes.” They speak of that which, though absent, haunts the established universe of discourse and behavior as its most tabooed possibility—neither heaven nor hell, neither good nor evil but simply “le bonheur.”

All liberation depends on the consciousness of servitude, and the emergence of this consciousness is always hampered by the predominance of needs and satisfactions which, to a great extent, have become the individual's own.

Man today can do more than the culture heros and half-gods; he has solved many insoluble problems. But he has also betrayed the hope and destroyed the truth which were preserved in the sublimations of higher culture. To be sure, the higher culture was always in contradiction with social reality, and only a privileged minority enjoyed its blessings and represented its ideals. The two antagonistic spheres of society have always coexisted; the higher culture has always been accommodating, while the reality was rarely disturbed by its ideals and its truth. Today's novel feature is the flattening out of the antagonism between culture and social reality through the obliteration of the oppositional, alien, and transcendent elements in the higher culture by virtue of which it constituted another dimension of reality. This liquidation of two-dimensional culture takes place not through the denial and rejection of the “cultural values,” but through their wholesale incorporation into the established order, through their reproduction and display on a massive scale.

The radical empiricist onslaught … provides the methodological justification for the debunking of the mind by the intellectuals—a positivism which, in its denial of the transcending elements of Reason, forms the academic counterpart of the socially required behavior.