Herbert Marcuse

The slaves of developed industrial civilization are sublimated slaves.

We are again confronted with one of the most vexing aspects of advanced industrial civilization: the rational character of its irrationality. Its productivity and efficiency, its capacity to increase and spread comforts, … the extent to which this civilization transforms the object world into an extension of man's mind and body makes the very notion of alienation questionable. The people recognize themselves in their commodities; they find their soul in their automobile, hi-fi set, split-level home, kitchen equipment. The very mechanism which ties the individual to his society has changed, and social control is anchored in the new needs which it has produced.

The way in which a society organizes the life of its members … is one “project” of realization among others. But once the project has become operative in the basic institutions and relations, it tends to become exclusive and to determine the development of the society as a whole.

Non-operational ideas are non-behavioral and subversive. The movement of thought is stopped at barriers which appear as the limits of Reason itself.

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.

This is the pure form of servitude: to exist as an instrument.

Under the rule of a repressive whole, liberty can be made into a powerful instrument of domination. The range of choice open to the individual is not the decisive factor in determining the degree of human freedom, but what can be chosen and what is chosen by the individual.

[Art] can speak its own language only as long as the images are alive which refuse and refute the established order.

The intellectual is called on the carpet. ... Don't you conceal something? You talk a language which is suspect. You don't talk like the rest of us, like the man in the street, but rather like a foreigner who does not belong here. We have to cut you down to size, expose your tricks, purge you.

Entertainment and learning are not opposites; entertainment may be the most effective mode of learning.

In which the technical apparatus of production and distribution (with an increasing sector of automation) functions, not as the sum-total of mere instruments which can be isolated from their social and political effects, but rather as a system which determines a priori the product of the apparatus as well as the operations of servicing and extending it. In this society, the productive apparatus tends to become totalitarian to the extent to which it determines not only the socially needed occupations, skills, and attitudes, but also individual needs and aspirations. It thus obliterates the Opposition between the private and public existence, between individual and social needs.

This mutual dependencies no longer the dialectical relationship between master and servant, which has been broken in the struggle for mutual recognition, but rather a vicious circle which encloses both the master and the servant. Do the technicians rule, or is their rule that of the others, who rely on the technicians as their planners and executors?