Man today can do more than the culture heros and half-gods; he has solved many insoluble problems. But he has also betrayed the hope and destroyed the truth which were preserved in the sublimations of higher culture. To be sure, the higher culture was always in contradiction with social reality, and only a privileged minority enjoyed its blessings and represented its ideals. The two antagonistic spheres of society have always coexisted; the higher culture has always been accommodating, while the reality was rarely disturbed by its ideals and its truth. Today's novel feature is the flattening out of the antagonism between culture and social reality through the obliteration of the oppositional, alien, and transcendent elements in the higher culture by virtue of which it constituted another dimension of reality. This liquidation of two-dimensional culture takes place not through the denial and rejection of the “cultural values,” but through their wholesale incorporation into the established order, through their reproduction and display on a massive scale.
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pp. 56-57Herbert Marcuse
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They [great works of literature] are invalidated not because of their literary obsolescence. Some of these images pertain to contemporary literature and survive in its most advanced creations. What has been invalidated is their subversive force, their destructive content—their truth. In this transformation, they find their home in everyday living. The alien and alienating oeuvres of intellectual culture become familiar goods and services. Is their massive reproduction and consumption only a change in quantity, namely, growing appreciation and understanding, democratization of culture? The truth of literature and art has always been granted (if it was granted at all) as one of a “higher” order, which should not and indeed did not disturb the order of business. What has changed in the contemporary period is the difference between the two orders and their truths. The absorbent power of society depletes the artistic dimension by assimilating its antagonistic contents. In the realm of culture, the new totalitarianism manifests itself precisely in a harmonizing pluralism, where the most contradictory works and truths peacefully coexist in indifference. Prior to the advent of this cultural reconciliation, literature and art were essentially alienation, sustaining and protecting the contradiction—the unhappy consciousness of the divided world, the defeated possibilities, the hopes unfulfilled, and the promises betrayed. They were a rational, cognitive force, revealing a dimension of man and nature which was repressed and repelled in reality.
Herbert Marcuse
As the great words of freedom and fulfillment are pronounced by campaigning leaders and politicians, on the screens and radios and stages, they turn into meaningless sounds which obtain meaning only in the context of propaganda, business, discipline, and relaxation. This assimilation of the ideal with reality testifies to the extent to which the ideal has been surpassed. It is brought down from the sublimated realm of the soul or the spirit or the inner man, and translated into operational terms and problems. Here are the progressive elements of mass culture. The perversion is indicative of the fact that advanced industrial society is confronted with the possibility of a materialization of ideals. The capabilities of this society are progressively reducing the sublimated realm in which the condition of man was represented, idealized, and indicted. Higher culture becomes part of the material culture. In this transformation, it loses the greater part of its truth.
Herbert Marcuse
The higher culture of the West—whose moral, aesthetic, and intellectual values industrial society still professes—was a pre-technological culture in a functional as well as chronological sense. Its validity was derived from the experience of a world which no longer exists and which cannot be recaptured because it is in a strict sense invalidated by technological society. Moreover, it remained to a large degree a feudal culture, even when the bourgeois period gave it some of its most lasting formulations. It was feudal not only because of its confinement to privileged minorities, not only because of its inherent romantic element (which will be discussed presently), but also because its authentic works expressed a conscious, methodical alienation from the entire sphere of business and industry, and from its calculable and profitable order.
Herbert Marcuse
Uncle Tom's Cabin was no literary masterpiece but it was a culture-bearing book. It came at a time when the entire culture was about to reject slavery. People seized upon it as a portrayal of their own new values and it became an overwhelming success.
The success of Zen and the Art of Motorcycle Maintenance seems the result of this culture-bearing phenomenon. The involuntary shock treatment described here is against the law today. It is a violation of human liberty. The culture has changed.Robert M. Pirsig
Social Science … led us to the fallacy that, since all men have their being in culture and as a result of culture, they owe a debt to that culture which even a lifetime of altruism could not repay.
David Riesman
Marcuse, Herbert
Margaret, Princess
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