An integral part of totalitarian control is the attack on critical and independent thought. The appeal to facts is substituted for the appeal to reas… - Herbert Marcuse

Who is, in the classical conception, the subject that comprehends the ontological condition of truth and untruth? It is the master of pure contemplation (theoria), and the master of a practice guided by theoria, i.e., the philosopher-statesman. To be sure, the truth which he knows and expounds is potentially accessible to everyone. Led by the philosopher, the slave in Plato’s Meno is capable of grasping the truth of a geometrical axiom, i.e., a truth beyond change and corruption. But since truth is a state of Being as well as of thought, and since the latter is the expression and manifestation of the former, access to truth remains mere potentiality as long as it is not living in and with the truth. And this mode of existence is closed to the slave — and to anyone who has to spend his life procuring the necessities of life. Consequently, if men no longer had to spend their lives in the realm of necessity, truth and a true human existence would be in a strict and real sense universal. Philosophy envisages the equality of man but, at the same time, it submits to the factual denial of equality. For in the given reality, procurement of the necessities is the life-long job of the majority, and the necessities have to be procured and served so that truth (which is freedom from material necessities) can be. Here, the historical barrier arrests and distorts the quest for truth; the societal division of labor obtains the dignity of an ontological condition. If truth presupposes freedom from toil, and if this freedom is, in the social reality, the prerogative of a minority, then the reality allows such a truth only in approximation and for a privileged group. This state of affairs contradicts the universal character of truth, which defines and “prescribes” not only a theoretical goal, but the best life of man qua man, with respect to the essence of man. For philosophy, the contradiction is insoluble, or else it does not appear as a contradiction because it is the structure of the slave or serf society which this philosophy does not transcend. Thus it leaves history behind, unmastered, and elevates truth safely above the historical reality. There, truth is reserved intact, not as an achievement of heaven or in heaven, but as an achievement of thought — intact because its very notion expresses the insight that those who devote their lives to earning a living are incapable of living a human existence.

The total victimization of the individual that takes place is encouraged for the specific benefit of the industrial and political bureaucracy. It therefore cannot be justified on the ground of the individual’s true interest. National Socialist ideology simply states that true human existence consists in unconditional sacrifice, that it is of the essence of the individual’s life to abbey and to serve-‘service which never comes to an end because service and life coincide.’ P. 416

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.