Culture, Alienation, Boredom and Despair.

 

Culture, Alienation, Boredom and Despair.
--
Coda to Little Baby Nothing.

 

Richey James Edwards

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As we turn over the pages of nineteenth century literature, we are constantly confronted with the question of alienation. Baudelaire, Marx, Kierkegaard, Chateaubriand, Cardinal Newman — it does not matter whether the voice comes from the Left or the Right; all are agreed in their rejection of the values of the prevailing ethic. Yet we never get a clear definition of alienation: what is man alienated from, and why? Perhaps it is precisely the democratic society, the growing affluence and education, that have revealed the natural state of man — much as the development of medicine has enabled greater accuracy of diagnosis, with the resultant tremendous increase in the record of certain diseases. Perhaps the discovery of human self-alienation was simply a statistical refinement made possible by the spread of the privileges of culture to the middle classes.

 

Kenneth Rexroth

 

We need to see beyond our culture; we need to peer through the bars of commodification and alienation and catch a glimpse of a God far larger than our circumstances.

 

Skye Jethani

 

Agriculture has been and remains a “catastrophe” at all levels, the one which underpins the entire material and spiritual culture of alienation now destroying us. Liberation is impossible without its dissolution

 

John Zerzan

 

We define boredom as the pain a person feels when he’s doing nothing or something irrelevant, instead of something he wants to do but won’t, can’t, or doesn’t dare. Boredom is acute when he knows the other thing and inhibits his action, e.g., out of politeness, embarrassment, fear of punishment or shame. Boredom is chronic if he has repressed the thought of it and no longer is aware of it. A large part of stupidity is just the chronic boredom, for a person can’t learn, or be intelligent about, what he’s not interested in, when his repressed thoughts are elsewhere. (Another large part of stupidity is stubbornness, unconsciously saying, “I won’t. You can’t make me.”)

 

Paul Goodman

 

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

 

Herbert Marcuse