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The philosophy of the impossible has been the dominant motive in human affairs for the past two centuries. We have pursued the mastery of nature as if we ourselves were not a portion of that nature. We have boasted of our command over our physical environment while we ourselves have done our urgent best to destroy it.
The marriage of reason and nightmare that dominated the 20th century has given birth to an ever more ambiguous world. Across the communications landscape move the spectres of sinister technologies and the dreams that money can buy. Thermo-nuclear weapons systems and soft-drink commercials coexist in an overlit realm ruled by advertising and pseudo-events, science and pornography. Over our lives preside the great twin leitmotifs of the 20th century – sex and paranoia…In a sense, pornography is the most political form of fiction, dealing with how we use and exploit each other, in the most urgent and ruthless way.
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It is change, continuing change, inevitable change, that is the dominant factor in society today. No sensible decision can be made any longer without taking into account not only the world as it is, but the world as it will be ... This, in turn, means that our statesmen, our businessmen, our everyman must take on a science fictional way of thinking.
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The technology for using base motives to productive economic effect is reasonably well understood. Indeed, the history of the twentieth century encourages the thought that the easiest way to generate productivity in a modern society is by nourishing the motives of which I spoke earlier, namely, those of greed and fear. But we should never forget that greed and fear are repugnant motives. Who would propose running a society on the basis of such motives, and thereby promoting the psychology to which they belong, if they were not known to be effective, if they did not have the instrumental value which is the only value that they have?
Every philosophical, ethical, and political idea—its lifeline connecting it with its historical origins having been severed—has a tendency to become the nucleus of a new mythology, and this is one of the reasons why the advance of enlightenment tends at certain points to revert to superstition and paranoia. The majority principle … has become the sovereign force to which thought must cater. It is a new god, not in the sense in which the heralds of the great revolutions conceived it, namely, as a power of resistance to existing injustice, but as a power of resistance to anything that does not conform.
Major objectives are the unseen force that pulls us into the future. Through our daily activity and discipline we provide the push to propel us toward success. But it is the dream of the future achievement of our objectives that pulls us along day after day and pulls us through the major obstacles we encounter along the way. The exciting thing about this process is that the more we push, the more the future begins to pull. As we demonstrate our unwavering determination to conquer our limitations, increase our intelligence and achieve our objective, that still, small voice within us begins to speak its special and promising message adding to the pull of the future. As we listen carefully to this voice, and respond instinctively to its urgings, the pull becomes stronger and the future more certain.
I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape. We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.
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