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The scientific abstraction from concreteness, the quantification of qualities which yield exactness as well as universal validity, involve a specific… - Herbert Marcuse
" "The scientific abstraction from concreteness, the quantification of qualities which yield exactness as well as universal validity, involve a specific concrete experience of the Lebenswelt—a specific mode of “seeing” the world. And this “seeing,” in spite of its “pure,” disinterested character, is seeing within a purposive, practical context. It is anticipating (Voraussehen) and projecting (Vorhaben). Galilean science is the science of methodical, systematic anticipation and projection. But—and this is decisive—of a specific anticipation and projection—namely, that which experiences, comprehends, and shapes the world) in terms of calculable, predictable relationships among exactly identifiable units. In this project, universal quantifiability is a prerequisite for the domination of nature. Individual, non-quantifiable qualities stand in the way of an organization of men and things in accordance with the measurable power to be extracted from them. But this is a specific, socio-historical project, and the consciousness which undertakes this project is the hidden subject of Galilean science.
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About Herbert Marcuse
Herbert Marcuse (July 19, 1898 – July 29, 1979) was a prominent German-American philosopher and sociologist of the Frankfurt School.
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Additional quotes by Herbert Marcuse
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.
The concept of freedom, as the Philosophy of Right has shown, follows the pattern of free ownership. As a result, the history of the world that Hegel looks out upon exalts and enshrines the history of the middle-class, which based itself on this pattern. There is a stark truth in Hegel’s strangely certain announcement that history has reached its end. But it announces the funeral of a class, not of history. P. 227
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