Art cannot change the world, but it can contribute to changing the consciousness and drives of the men and women who could change the world.

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.

Preaching nonviolence on principle reproduces the existing institutionalized violence.

Obscenity is a moral concept in the verbal arsenal of the Establishment, which abuses the term by applying it, not to expressions of its own morality but to those of another. Pbscene is not the picture of a naked woman who exposes her pubic hair but that of a fully clad general who exposes his medals rewarded in a war of aggression; obscene is not the ritual of the Hippies but the declaration of a high dignitary of the Church that war is necessary for peace.

The existing liberties and the existing gratifications are tied to the requirements of repression: they themselves become instruments of repression.

Freedom of enterprise was from the beginning not altogether a blessing. As the liberty to work or to starve, it spelled toil, insecurity, and fear for the vast majority of the population. If the individual were no longer compelled to prove himself on the market, as a free economic subject, the disappearance of this freedom would be one of the greatest achievements of civilization.

The functional language is a radically anti-historical language: operational rationality has little room and little use for historical reason.