The contemporary mathematical and symbolic logic is certainly very different from its classical predecessor, but they share the radical opposition to dialectical logic. In terms of this opposition, the old and the new formal logic express the same mode of thought. it is purged from that “negative” which loomed so large at the origins of logic and of philosophic thought — the experience of the denying, deceptive, falsifying power of the established reality. And with the elimination of this experience, the conceptual effort to sustain the tension between “is” and “ought”, and to subvert the established universe of discourse in the name of its own truth is likewise eliminated from all thought which is to be objective, exact, and scientific. For the scientific subversion of the immediate experience which establishes the truth of science as against that of immediate experience does not develop the concepts which carry in themselves the protest and the refusal. The new scientific truth which they oppose to the accepted one does not contain in itself the judgment that condemns the established reality. … In contrast, dialectical thought is and remains unscientific to the extent to which it is such judgment.
German philosopher, sociologist, and political theorist (1898–1979)
Herbert Marcuse (July 19, 1898 – July 29, 1979) was a prominent German-American philosopher and sociologist of the Frankfurt School.
From: Wikiquote (CC BY-SA 4.0)
Showing quotes in randomized order to avoid selection bias. Click Popular for most popular quotes.
Many, and I think the determining, constitutive facts remain outside the reach of the operational concept. And by virtue of this limitation—this methodological injunction against transitive concepts which might show the facts in their true light and call them by their true name—the descriptive analysis of the facts blocks the apprehension of facts and becomes an element of the ideology that sustains the facts. Proclaiming the existing social reality as its own norm, this sociology fortifies in the individuals the “faithless faith” in the reality whose victims they are.
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.
By virtue of the way it has organized its technological base, contemporary industrial society tends to be totalitarian. For "totalitarian" is not only a terroristic political coordination of society, but also a non-terroristic economic-technical coordination which operates through the manipulation of needs by vested interests.
The real field of knowledge is not the given fact about things as they are, but the critical evaluation of them as a prelude to passing beyond their given form. Knowledge deals with appearances in order to get beyond them. …. The concept of reality has thus turned into the concept of possibility. The real is not yet ‘actual,’ but is at first only the possibility of an actual. P. 145
The category “society” itself expressed the acute conflict between the social and political sphere—society as antagonistic to the state. Similarly, “individual,” “class,” “private,” “family” denoted spheres and forces not yet integrated with the established conditions—spheres of tension and contradiction. With the growing integration of industrial society, these categories are losing their critical connotation, and tend to become descriptive, deceptive, or operational terms. An attempt to recapture the critical intent of these categories, and to understand how the intent was cancelled by the social reality, appears from the outset to be regression from a theory joined with historical practice to abstract, speculative thought: from the critique of political economy to philosophy. This ideological character of the critique results from the fact that the analysis is forced to proceed from a position “outside” the positive as well as negative, the productive as well as destructive tendencies in society.
Unlimited Quote Collections
Organize your favorite quotes without limits. Create themed collections for every occasion with Premium.
The free will, the actual motor of reason in society, necessarily creates wrong. The individual must clash with the social order that claims to represent his own will in its objective form. But the wrong and the ‘avenging justice’ that remedies it not only expresses a ‘higher logical necessity,’ but also prepare the transition to a higher social form of freedom, the transition from abstract right to morality. For, in committing a wrong, and in accepting punishment for his deed, the individual becomes conscious of the ‘infinite subjectivity’ of his freedom. He learns that he is free only as a private person. P. 198
While this bourgeois order found its rich—and even affirmative—representation in art and literature, … it remained an order which was over-shadowed, broken, refuted by another dimension which was irreconcilably antagonistic to the order of business, indicting it and denying it. And in the literature, this other dimension is represented not by the religious, spiritual, moral heroes (who often sustain the established order) but rather by such disruptive characters as the artist. the prostitute, the adulteress, the great criminal and outcast, the warrior, the rebel-poet, the devil, the fool—those who don't earn a living, at least not in an orderly and normal way. To be sure, these characters have not disappeared from the literature of advanced industrial society, but they … perform a function very different from and even contrary to that of their cultural predecessors. They are no longer images of another way of life but rather freaks or types of the same life, serving as an affirmation rather than negation of the established order.
Thought is led, by the situation of its objects, to measure their truth in terms of another logic, another universe of discourse. And this logic projects another mode of existence: the realization of the truth in the words and deeds of man. And inasmuch as this project involves man as societal animal,” the polis, the movement of thought has a political content. Thus, the Socratic discourse is political discourse inasmuch as it contradicts the established political institutions. The search for the correct definition, for the “concept” of virtue, justice, piety, and knowledge becomes a subversive undertaking, for the concept intends a new polis.