The precarious ontological link between Logos and Eros is broken, and scientific rationality emerges as essentially neutral. - Herbert Marcuse

The transition from Hegel to Marx is, in all respects, a transition to an essentially different order of truth, no to be interpreted in terms of philosophy. We shall see that all the philosophical concepts of Marxian theory are social and economic categories, whereas Hegel’s social and economic categories are all philosophical concepts. P. 258

The Kantian philosophy left a gulf between thought and being, or between subject and object, which the Hegelian philosophy sought to bridge. The bridge was to be made by positing one universal structure of all being. Being was to be a process wherein a thing ‘comprehends’ or ‘grasps’ the various states of existence and draws them into the more or less enduring unity of its ‘self,’ thus actively constituting itself as ‘the same’ throughout all change. Everything, in other words, exists more or less as a ‘subject.’ P. 64

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.