Quotes from book

One-Dimensional Man

“The world of immediate experience—the world in which we find ourselves living—must be comprehended, transformed, even subverted in order to become that which it really is.”

“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.”

“Institutionalized desublimation thus appears to be an aspect of the “conquest of transcendence” achieved by the one-dimensional society. Just as this society tends to reduce, and even absorb opposition (the qualitative difference!) in the realm of politics and higher culture, so it does in the instinctual sphere. The result is the atrophy of the mental organs for grasping the contradictions and the alternatives and, in the one remaining dimension of technological rationality, the Happy Consciousness comes to prevail.”

“When the whole is at stake, there is no crime except that of rejecting the whole, or not defending it. … Those who identify themselves with the whole, who are installed as the leaders and defenders of the whole can make mistakes, but they cannot do wrong—they are not guilty. They may become guilty again when this identification no longer holds, when they are gone.”

“In the form of the oeuvre, the actual circumstances are placed in another dimension where the given reality shows itself as that which it is. Thus it tells the truth about itself; its language ceases to be that of deception, ignorance, and submission. Fiction calls the facts by their name and their reign collapses; fiction subverts everyday experience and shows it to be mutilated and false.”

“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”

“By virtue of the universal concept, thought attains mastery over the particular cases. However, the most formalized universe of logic still refers to the most general structure of the given, experienced world; the pure form is still that of the content which it formalizes. The idea of formal logic itself is a historical event in the development of the mental and physical instruments for universal control and calculability. In this undertaking man had to create theoretical harmony out of actual discord, to purge thought from contradictions, to hypostatize identifiable and fungible units in the complex process of society and nature. Under the rule of formal logic, the notion of the conflict between essence and appearance is expendable if not meaningless; the material content is neutralized; the principle of identity is separated from the principle of contradiction (contradictions are the fault of incorrect thinking); final causes are removed from the logical order. Well defined in their scope and function, concepts become instruments of prediction and control. Formal logic is thus the first step on the long road to scientific thought”

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

“They [great works of literature] are invalidated not because of their literary obsolescence. Some of these images pertain to contemporary literature and survive in its most advanced creations. What has been invalidated is their subversive force, their destructive content—their truth. In this transformation, they find their home in everyday living. The alien and alienating oeuvres of intellectual culture become familiar goods and services. Is their massive reproduction and consumption only a change in quantity, namely, growing appreciation and understanding, democratization of culture? The truth of literature and art has always been granted (if it was granted at all) as one of a “higher” order, which should not and indeed did not disturb the order of business. What has changed in the contemporary period is the difference between the two orders and their truths. The absorbent power of society depletes the artistic dimension by assimilating its antagonistic contents. In the realm of culture, the new totalitarianism manifests itself precisely in a harmonizing pluralism, where the most contradictory works and truths peacefully coexist in indifference. Prior to the advent of this cultural reconciliation, literature and art were essentially alienation, sustaining and protecting the contradiction—the unhappy consciousness of the divided world, the defeated possibilities, the hopes unfulfilled, and the promises betrayed. They were a rational, cognitive force, revealing a dimension of man and nature which was repressed and repelled in reality.”

“The present stage redefines the possibilities of man and nature in accordance with the new means available for their realization.”

“The judgment that human life is worth living, or rather can and ought to be made worth living, … underlies all intellectual effort; it is the a priori of social theory, and its rejection (which is perfectly logical) rejects theory itself.”

“In the Platonic dialectic, … the terms “Being” “Non-being” “Movement,” “the One and the Many” “Identity” and “Contradiction” are methodically kept open, ambiguous, not fully defined. They have an open horizon, an entire universe of meaning which is gradually structured in the process of communication itself, but which is never closed. The propositions are submitted, developed, and tested in a dialogue, in which the partner is led to question the normally unquestioned universe of experience and speech, and to enter a new dimension of discourse — otherwise he is free and the discourse is addressed to his freedom. He is supposed to go beyond that which is given to him — as the speaker, in his proposition, goes beyond the initial setting of the terms. These terms have many meanings because the conditions to which they refer have many sides, implications, and effects which cannot be insulated and stabilized.”

“If dialectical logic understands contradiction as “necessity” belonging to the very “nature of thought,” … it does so because contradiction belongs to the very nature of the object of thought, to reality, where Reason is still Unreason, and the irrational still the rational. Conversely, all established reality militates against the logic of contradictions — it favors the modes of thought which sustain the established forms of life and the modes of behavior which reproduce and improve them. The given reality has its own logic and its own truth; the effort to comprehend them as such and to transcend them presupposes a different logic, a contradicting truth. They belong to modes of thought which are non-operational in their very structure; they are alien to scientific as well as common-sense operationalism. … These modes of thought appear to be a relic of the past, like all non-scientific and non-empirical philosophy. They recede before a more effective theory and practice of Reason.”

“In its relation to the reality of daily life, the high culture of the past was many things—opposition and adornment, outcry and resignation. But it was also the appearance of the realm of freedom: the refusal to behave.”

“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.”

“Freed from the sublimated form which was the very token of its irreconcilable dreams—a form which is the style, the language in which the story is told—sexuality turns into a vehicle for the bestsellers of oppression. … This society turns everything it touches into a potential source of progress and of exploitation, of drudgery and satisfaction, of freedom and of oppression. Sexuality is no exception.”

“the need for stupefying work where it is no longer a real necessity.”

“The subversive character of truth inflicts upon thought an imperative quality. Logic centers on judgments which are, as demonstrative propositions, imperatives, — the predicative “is” implies an “ought.” … Verification of the proposition involves a process in fact as well as in thought: (S) must become that which it is. The categorical statement thus turns into a categorical imperative; it does not state a fact but the necessity to bring about a fact. For example, it could be read as follows: man is not (in fact) free, endowed with inalienable rights, etc., but he ought to be.”

“The neo-conservative critics of leftist critics of mass culture ridicule the protest against Bach as background music in the kitchen, against Plato and Hegel, Shelley and Baudelaire, Marx and Freud in the drugstore. Instead, they insist on recognition of the fact that the classics have left the mausoleum and come to life again, that people are just so much more educated. True, but coming to life as classics, they come to life as other than themselves; they are deprived of their antagonistic force, of the estrangement which was the very dimension of their truth.”