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The economic independence and self-determination of all. Under a cybernetic communism, even during the socialist transition, work would be divorced f… - Shulamith Firestone
" "The economic independence and self-determination of all. Under a cybernetic communism, even during the socialist transition, work would be divorced from wages, the ownership of the means of production in the hands of all the people, and wealth distributed on the basis of need, independent of the social value of the individual’s contribution to society. We would aim to eliminate the dependence of women and children on the labour of men, as well as all other types of labour exploitation. Each person could choose his life style freely, changing it to suit his tastes without seriously inconveniencing anyone else; no one would be bound into any social structure against his will, for each person would be totally self-governing as soon as she was physically able.
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About Shulamith Firestone
Shulamith Bath Shmuel Ben Ari Firestone (born Feuerstein; January 7, 1945 – August 28, 2012) was a Canadian-American radical feminist writer and activist. Firestone was involved in the early development of second-wave feminism and a founding member of three radical-feminist groups: , , and . In September 1970, Firestone's The Dialectic of Sex: The Case for Feminist Revolution was published and became an influential feminist text.
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Birth Name:
Shulamith Bath Shmuel Ben Ari Feuerstein
Alternative Names:
Shulie
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Shulamith Bath Shmuel Ben Ari Firestone
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Sex class is so deep as to be invisible. Or it may appear as a superficial inequality, one that can be solved by merely a few reforms, or perhaps by the full integration of women into the labour force. But the reaction of the common man, woman, and child - 'That? Why you can't change that! You must be out of your mind!' - is the closest to the truth. ]
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Culture then is the sum of, and the dynamic between, the two modes through which the mind attempts to transcend the limitations and contingencies of reality. These two types of cultural responses entail different methods to achieve the same end, the realization of the conceivable in the possible. In the first, the individual denies the limitations of the given reality by escaping from it altogether, to define, create, his own possible. In the provinces of the imagination, objectified in some way – whether through the development of a visual image within some artificial boundary, say four square feet of canvas, through visual images projected through verbal symbols (poetry), with sound ordered into a sequence (music), or with verbal ideas ordered into a progression (theology, philosophy) – he creates an ideal world governed by his own artificially imposed order and harmony, a structure in which he consciously relates each part to the whole, a static (and therefore ‘timeless’) construction. The degree to which he abstracts his creation from reality is unimportant, for even when he most appears to imitate, he has created an illusion governed by its own – perhaps hidden – set of artificial laws. (Degas said that the artist had to lie in order to tell the truth.) This search for the ideal, realized by means of an artificial medium, we shall call the Aesthetic Mode.
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