~ “What is striking is that while bourgeois society introduced a radical individualism in economics, and a willingness to tear up all the traditional social relations in the process, the bourgeois class feared the radical experimental individualism of modernism in the culture.  Conversely, the radical experiment-alists in the culture, from Baudelaire to Rimbaud to Alfred Jarry, were willing to explore all dimensions of experience, yet fiercely hated bourgeoise life. The history of this sociological puzzle, how this antagonism came about, is still to be written.” (Daniel Bell, The Cultural Contradiction of Capitalism)

 

~ “The ruined and pest-ridden cities of man called ‘soul’ and ‘being’ will be deconstructed.” (Foucault)

 

~ “After World War II, [America] emerged as the country in which anything was possible, in which that unprecedented upheaval of industrialization capable of being developed as a process of permanent innovation had found its true home, its true fatherland. America still appears to be the country in which any future can be accomplished—even if this future has now somehow begun to appear to much of the rest of the world as devoid of future—infernal, even monstrous. This is perhaps something new. In the context of a globalization become reality, built on the digital integration of information and communication technologies, the United States appears to be the lone global superpower—but also, and increasingly, an intrinsically imperial power, dominating and menacing.” (Bernard Stiegler, Technics and Time, 3, 2001)

~ “Revolution as the artist lives it is an inescapable effect of his vision. The decision to be revolutionary counts for very little.

“. . . It is not too much to say that bad conscience about revolution is the specific malady of art today.” (Harold Rosenberg, “Revolution and the Concept of Beauty”)

 

~ “Man . . . contains what is necessary to be dissatisfied with what had satisfied him. He is at every moment something other than what he is . . .  deep down something agitates, torments, illuminates, orders, stings, secretly manipulates him . . . he is . . . what is not, and the instrument of what is not.” (Paul Valéry, “Note (ou l’Européen)”)

 

~ “Capitalist production is hostile to certain aspects of intellectual production, such as art and poetry.” (Marx, Theories of Surplus Value)

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