Who is, in the classical conception, the subject that comprehends the ontological condition of truth and untruth? It is the master of pure contemplat… - Herbert Marcuse

The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it

By virtue of the universal concept, thought attains mastery over the particular cases. However, the most formalized universe of logic still refers to the most general structure of the given, experienced world; the pure form is still that of the content which it formalizes. The idea of formal logic itself is a historical event in the development of the mental and physical instruments for universal control and calculability. In this undertaking man had to create theoretical harmony out of actual discord, to purge thought from contradictions, to hypostatize identifiable and fungible units in the complex process of society and nature. Under the rule of formal logic, the notion of the conflict between essence and appearance is expendable if not meaningless; the material content is neutralized; the principle of identity is separated from the principle of contradiction (contradictions are the fault of incorrect thinking); final causes are removed from the logical order. Well defined in their scope and function, concepts become instruments of prediction and control. Formal logic is thus the first step on the long road to scientific thought

The present stage redefines the possibilities of man and nature in accordance with the new means available for their realization.