Aesthetics Of Resistance Quotes

I don’t run for trains.” Snub your destiny. I have taught myself to resist running to keep on schedule. This may seem a very small piece of advice, but it registered. In refusing to run to catch trains, I have felt the true value of elegance and aesthetics in behavior, a sense of being in control of my time, my schedule, and my life. Missing a train is only painful if you run after it! Likewise, not matching the idea of success others expect from you is only painful if that’s what you are seeking. You stand above the rat race and the pecking order, not outside of it, if you do so by choice.

The writer has to die to give birth to the intellectual in the service of the wretched of the earth.

With the plundered people transferring their energies into relaxed and receptive thoughts, degradation and lust for power produced art.

Literature involves the voiding, rather than the affirmation, of aesthetic categories.

The animalism of the brute nature in man is disgusting', he thought, 'but as long as it remains in its naked form we observe it from the height of our spiritual life and despise it; and - whether one has fallen or resisted - one remains what one was before. But when that same animalism hides under a cloak of poetry and aesthetic feeling and demands our worship - then we are swallowed up by it completely and worship animalism, no longer distinguishing good from evil. Then it is awful!

These Taoists' ideas have greatly influenced all our theories of action, even to those of fencing and wrestling. Jiu-jitsu, the Japanese art of self-defence, owes its name to a passage in the Tao-teking. In jiu-jitsu one seeks to draw out and exhaust the enemy's strength by non-resistance, vacuum, while conserving one's own strength for victory in the final struggle. In art the importance of the same principle is illustrated by the value of suggestion. In leaving something unsaid the beholder is given a chance to complete the idea and thus a great masterpiece irresistibly rivets your attention until you seem to become actually a part of it. A vacuum is there for you to enter and fill up the full measure of your aesthetic emotion.

I particularly recommend," [Dain] went on, his eyes upon the female, "that you resist the temptation to count if you are contemplating a gift for your chère amie. Women deal in a higher mathematical realm than men, especially when it comes to gifts." "That, Bertie, is a consequence of the feminine brain having reached a more advanced state of development," said the female without looking up. "She recognizes that the selection of a gift requires the balancing of a profoundly complicated moral, psychological, aesthetic, and sentimental equation. I should not recommend that a mere male atetmpt to involve himself int he delicate process of balancing it, especially by the primitive method of counting.

If to “aestheticize” is to glide across brutality and cruelty, treat them merely as dramatic occasions for the artist rather than structures of power to be revealed and dismantled—much hangs on the words “merely” and “rather than.” Opportunism isn’t the same as committed attention. But we can also define the “aesthetic” not as a privileged and sequestered rendering of human suffering, but as news of an awareness, a resistance, that totalizing systems want to quell: art reaching into us for what’s still passionate, still unintimidated, still unquenched.

This book is the synthesis of, on one hand, the no-nonsense practitioner of uncertainty who spent his professional life trying to resist being fooled by randomness and trick the emotions associated with probabilistic outcomes and, on the other, the aesthetically obsessed, literature-loving human being willing to be fooled by any form of nonsense that is polished, refined, original, and tasteful. I am not capable of avoiding being the fool of randomness; what I can do is confine it to where it brings some aesthetic gratification.

Even harder to admit is how depressed I was. As the social stigma of depression disappears, the aesthetic stigma increases. It’s not just that depression has become fashionable to the point of banality. It’s the sense that we live in a reductively binary culture: you’re either healthy or you’re sick, you either function or you don’t. And if that flattening of the field of possibilities is precisely what’s depressing you, you’re inclined to resist participating in the flattening by calling yourself depressed. You decide that it’s the world that’s sick,, and that the resistance of refusing to function in such a world is healthy. You embrace what clinicians call “depressive realism.” It’s what the chorus in Oedipus Rex sings: “Alas, ye generations of men, how mere a shadow do I count your life! Where, where is the mortal who wins more of happiness than just the seeming, and, after the semblance, a falling away?” You are, after all, just protoplasm, and some day you’ll be dead. The invitation to leave your depression behind, whether through medication or therapy or effort of will, seems like an invitation to turn your back on all your dark insights into the corruption and infantilism and selfdelusion of the brave new Me World.

There is a Haitian saying that might upset the aesthetic sensibilities of some women. ‘Nou led, nou la,’ it says. ‘We are ugly, but we are here.’ Like the modesty that is common in rural Haitian culture, this saying makes a deeper claim for poor Haitian women than maintaining beauty, be it skin-deep or otherwise. For women like my grandmother, what is worth celebrating is the fact that we are here, that against all odds, we exist.

Initially taking up À la recherche du temps perdu on the basis of aesthetic inquiry, Czapski soon recognized its value as a practical template for survival. The lectures offered a viable counterpoint to the repeated interrogations the men were forced to endure. His lectures were an act of resistance, stimulating the recovery and retention of personal memories that could protect and defend his colleagues from the attempt to deprive each of them of a sense of self.

I will not mention the name (and what bits of it I happen to give here appear in decorous disguise) of that man, that Franco-Hungarian writer... I would rather not dwell upon him at all, but I cannot help it— he is surging up from under my pen. Today one does not hear much about him; and this is good, for it proves that I was right in resisting his evil spell, right in experiencing a creepy chill down my spine whenever this or that new book of his touched my hand. The fame of his likes circulates briskly but soon grows heavy and stale; and as for history it will limit his life story to the dash between two dates. Lean and arrogant, with some poisonous pun ever ready to fork out and quiver at you, and with a strange look of expectancy in his dull brown veiled eyes, this false wag had, I daresay, an irresistible effect on small rodents. Having mastered the art of verbal invention to perfection, he particularly prided himself on being a weaver of words, a title he valued higher than that of a writer; personally, I never could understand what was the good of thinking up books, of penning things that had not really happened in some way or other; and I remember once saying to him as I braved the mockery of his encouraging nods that, were I a writer, I should allow only my heart to have imagination, and for the rest rely upon memory, that long-drawn sunset shadow of one’s personal truth. I had known his books before I knew him; a faint disgust was already replacing the aesthetic pleasure which I had suffered his first novel to give me. At the beginning of his career, it had been possible perhaps to distinguish some human landscape, some old garden, some dream- familiar disposition of trees through the stained glass of his prodigious prose... but with every new book the tints grew still more dense, the gules and purpure still more ominous; and today one can no longer see anything at all through that blazoned, ghastly rich glass, and it seems that were one to break it, nothing but a perfectly black void would face one’s shivering soul. But how dangerous he was in his prime, what venom he squirted, with what whips he lashed when provoked! The tornado of his passing satire left a barren waste where felled oaks lay in a row, and the dust still twisted, and the unfortunate author of some adverse review, howling with pain, spun like a top in the dust.

We tend to cling to what we know and resist what is new—even when the new brings tremendous benefits. Opposition to onshore wind turbines in the UK is a good example. Even though onshore wind is now the cheapest form of energy6 (cheaper than coal, oil, gas, and other renewable sources), rural landowners have significantly resisted it, keen to preserve the appearance of the countryside. When the Conservative Party (which derives much of its support from these rural communities) came to power in 2015, it slashed subsidies and changed planning laws for onshore wind—leading to an 80 percent reduction in new capacity.7 Only now, with climate change awareness rapidly rising among the UK public, is support for onshore wind starting to outweigh an attachment to yesterday’s aesthetics.

Although we should affirm the wonder and mystery of sexual intimacy and romantic attraction as God's good creations, we need to set these aesthetic enjoyments within the context of the Christian virtues of fidelity, self-sacrifice, and patience in suffering. Bringing this together, our pastoral approach should be double-edged, seeking to challenge our culture's worship of sexual desire and personal fulfillment while offering a different vision of human flourishing. Christian formative involves both RESISTANCE and REDIRECTION. But is is the redirection of our desires that enables our resistance of cultural idolatries. Failure to attend to the dynamics of our desires leads to inevitable self-deception regarding the 'freedom' of our actions. Especially within our sexual lives, our hearts must be truly captivated by the goodness of the Christian vision of life, so that our whole self is drawn toward it, or our commitment to live in tune with it will be brittle.

It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods--though the work was suppressed--'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses ,alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

I’ve claimed—so far sort of vaguely—that what makes televisions hegemony so resistant to critique by the new Fiction of Image is that TV has coopted the distinctive forms of the same cynical, irreverent, ironic, absurdist post-WWII literature that the new Imagists use as touchstones. The fact is that TV’s re-use of postmodern cool has actually evolved as an inspired solution to the keep-Joe-at-once-alienated-from-and-part-of-the-million-eyed-crowd problem. The solution entailed a gradual shift from oversincerity to a kind of bad-boy irreverence in the Big Face that TV shows us. This in turn reflected a wider shift in U.S. perceptions of how art was supposed to work, a transition from art’s being a creative instantiation of real values to art’s being a creative rejection of bogus values. And this wider shift, in its turn, paralleled both the development of the postmodern aesthetic and some deep and serious changes in how Americans chose to view concepts like authority, sincerity, and passion in terms of our willingness to be pleased. Not only are sincerity and passion now “out,” TV-wise, but the very idea of pleasure has been undercut. As Mark C. Miller puts it, contemporary television “no longer solicits our rapt absorption or hearty agreement, but—like the ads that subsidize it—actually flatters us for the very boredom and distrust it inspires in us.” 24

In Amsterdam, I took a room in a small hotel located in the Jordann District and after lunch in a café went for a walk in the western parts of the city. In Flaubert’s Alexandria, the exotic had collected around camels, Arabs peacefully fishing and guttural cries. Modern Amsterdam provided different but analogous examples: buildings with elongated pale-pink bricks stuck together with curiously white mortar, long rows of narrow apartment blocks from the early twentieth century, with large ground-floor windows, bicycles parked outside every house, street furniture displaying a certain demographic scruffiness, an absence of ostentatious buildings, straight streets interspersed with small parks…..In one street lines with uniform apartment buildings, I stopped by a red front door and felt an intense longing to spend the rest of my life there. Above me, on the second floor, I could see an apartment with three large windows and no curtains. The walls were painted white and decorated with a single large painting covered with small blue and red dots. There was an oaken desk against a wall, a large bookshelf and an armchair. I wanted the life that this space implied. I wanted a bicycle; I wanted to put my key in that red front door every evening. Why be seduced by something as small as a front door in another country? Why fall in love with a place because it has trams and its people seldom have curtains in their homes? However absurd the intense reactions provoked by such small (and mute) foreign elements my seem, the pattern is at least familiar from our personal lives. My love for the apartment building was based on what I perceived to be its modesty. The building was comfortable but not grand. It suggested a society attracted to the financial mean. There was an honesty in its design. Whereas front doorways in London are prone to ape the look of classical temples, in Amsterdam they accept their status, avoiding pillars and plaster in favor of neat, undecorated brick. The building was modern in the best sense, speaking of order, cleanliness, and light. In the more fugitive, trivial associations of the word exotic, the charm of a foreign place arises from the simple idea of novelty and change-from finding camels where at home there are horses, for example, or unadorned apartment buildings where at home there are pillared ones. But there may be a more profound pleasure as well: we may value foreign elements not only because they are new but because they seem to accord more faithfully with our identity and commitments than anything our homeland can provide. And so it was with my enthusiasms in Amsterdam, which were connected to my dissatisfactions with my own country, including its lack of modernity and aesthetic simplicity, its resistance to urban life and its net-curtained mentality. What we find exotic abroad may be what we hunger for in vain at home.

It is worth noting that in the further course of his argument the question of the play instinct retires into the background in favour of the aesthetic mood, which seems to have acquired an almost mystical value. This, I believe, is no accident, but has a quite definite cause. Often it is the best and most profound ideas in a man’s work which most obstinately resist a clear formulation, even though they are hinted at in various places and should therefore really be ripe enough for a lucid synthesis to be possible. It seems to me that we are faced with some such difficulty here. To the concept of an aesthetic mood as a mediating creative state Schiller himself brings thoughts which at once reveal its depth and seriousness. And yet, quite as clearly, he picks on the play instinct as the long-sought mediating activity. Now it cannot be denied that these two concepts are in some sort opposed, since play and seriousness are scarcely compatible. Seriousness comes from a profound inner necessity, but play is its outward expression, the face it turns to consciousness. It is not, of course, a matter of wanting to play, but of having to play; a playful manifestation of fantasy from inner necessity, without the compulsion of circumstance, without even the compulsion of the will.95 It is serious play. And yet it is certainly play in its outward aspect, as seen from the standpoint of consciousness and collective opinion. That is the ambiguous quality which clings to everything creative.

I shall now give my notion of what is modern. According to the measure of energy of every age, there is also a standard that determines which virtues shall be allowed and which forbidden. The age either has the virtues of ascending life, in which case it resists the virtues of degeneration with all its deepest instincts. Or it is in itself an age of degeneration, in which case it requires the virtues of declining life, — in which case it hates everything that justifies itself, solely as being the outcome of a plenitude, or a superabundance of strength. Aesthetic is inextricably bound up with these biological principles: there is decadent aesthetic, and classical aesthetic, — “beauty in itself” is just as much a chimera as any other kind of idealism. — Within the narrow sphere of the so-called moral values, no greater antithesis could be found than that of master-morality and the morality of Christian valuations: the latter having grown out of a thoroughly morbid soil. (—The gospels present us with the same physiological types, as do the novels of Dostoiewsky), the master-morality (“Roman,” “pagan,” “classical,” “Renaissance”), on the other hand, being the symbolic speech of well-constitutedness, of ascending life, and of the Will to Power as a vital principle. Master-morality affirms just as instinctively as Christian morality denies (“God,” “Beyond,” “self-denial,” — all of them negations). The first reflects its plenitude upon things, — it transfigures, it embellishes, it rationalises the world, — the latter impoverishes, bleaches, mars the value of things; it suppresses the world. “World” is a Christian term of abuse.

In 2017, Fiverr ran a similar ad to NEC’s “Power Lunch,” but missing the lunch. In this one, a gaunt twenty-something stares dead-eyed into the camera, accompanied by the following text: “You eat a coffee for lunch. You follow through on your follow-through. Sleep deprivation is your drug of choice. You might be a doer.” Here, the idea that you would even withhold some of that time to sustain yourself with food is essentially ridiculed. In a New Yorker article aptly titled “The Gig Economy Celebrates Working Yourself to Death,” Jia Tolentino concludes after reading a Fiverr press release: “This is the jargon through which the essentially cannibalistic nature of the gig economy is dressed up as an aesthetic. No one wants to eat coffee for lunch or go on a bender of sleep deprivation—or answer a call from a client while having sex, as recommended in [Fiverr’s promotional] video.”17 When every moment is a moment you could be working, power lunch becomes power lifestyle.

I particularly recommend," [Dain] went on, his eyes upon the female, "that you resist the temptation to count if you are contemplating a gift for your chère amie. Women deal in a higher mathematical realm than men, especially when it comes to gifts." "That, Bertie, is a consequence of the feminine brain having reached a more advanced state of development," said the female without looking up. "She recognizes that the selection of a gift requires the balancing of a profoundly complicated moral, psychological, aesthetic, and sentimental equation. I should not recommend that a mere male attempt to involve himself in the delicate process of balancing it, especially by the primitive method of counting.

Penetrating computer security is really quite dull; I can see how it might attract those who can’t resist a challenge to their cleverness, but it’s not intellectually aesthetic at all. It’s no different than tugging on the doors of a locked house until you find an improperly installed lock. A useful activity, but hardly interesting.

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Stainless steel might have seemed an extravagantly expensive material for architectural decoration at first glance, but it was touted as being durable and worth the expense, which it proved to be. It has a tensile quality, which was ideal for covering large expanses, and it could be easily worked at the factory and welded at the site. Since it is alloyed with chromium, it resists abrasion and corrosion, and, when combined with nickel, it achieves an even shinier finish. Its use in the Empire State Building for the mullions that race up the sides is one of the great secrets of the building’s subtlety and aesthetic satisfaction. Perhaps its most famous use in New York is the crown of the Chrysler Building.

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What can a state institution teach us? In what way can I be reformed by a penal colony and you by, say, Russian TV Channel 1? In his Nobel lecture, Joseph Brodsky said, ‘The more substantial an individual’s aesthetic experience is, the sounder his taste, the sharper his moral focus, the freer—though not necessarily the happier—he is.’ We in Russia once again find ourselves in a situation where resistance, especially aesthetic resistance, becomes the only viable moral choice as well as a civic duty.” Nadya

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Katz lists 8 different kinds of quality. From each, we derive general quality criteria against which any result can be measured. Type of Quality Criterion Description Results - Dimension Functional Quality The level of function, over time, at consistent performance and without problems Operations Structural Quality Durability and resistance to tear & wear of the components of which the item is made of R&D, Operations "Scientific" Quality (Methodological and Didactic) The level of adherence to the governing model / standard / theory / teaching / accepted professional criteria R&D Resultant Quality The level by which the action leads to the desired result Management Perceived Quality The level by which the object is perceived as having desired characteristics Marketing Aesthetic Quality The level by which the appearance / manifestation of the object (color, shape etc.) is considered pleasing Marketing Human Quality The level by which behavior is perceived / accepted as consistent of declared or implied values HR Financial Quality The level by which the result contributes to the preservation and growth of resources Financial When a goal is defined, it can be examined in relation to each one of the quality criteria.

Thoreau's insistence that evil must be resisted and that no moral man can patiently adjust to injustice. Go

The faithful living out of the tropos of the incarnate Christ is the challenge that faces us in all these areas, and what it entails (so Bonhoeffer and Przywara alike insist) is the patient embrace of finitude, the refusal of defensive anxiety about the Church’s privilege or influence, the recognition and valuing of the unspectacular, in life and art, as the site where we may expect the paradoxical radiance of the infinite to become visible. Christian ethics is not about dramatic and solitary choices for individual good or evil but the steady building of a culture of durable mutuality and compassion. Christian aesthetics is not about genius-driven or near-magical transmutations of this world into some imagined semblance of divine glory and abundance, but the gift of unlocking in the most ordinary setting or object the ‘grace of sense’ that allows it to be seen with (to use the word again) durable, attentive love. And Christian metaphysics? Przywara’s work clearly understands the role of Christology in developing a schematic and consistent view of analogy, depending on the recognition that whatever comes into intellectual focus in our human understanding is always already implicated in relations that make its life more than a single and containable phenomenon but something opening out on to an unlimited horizon of connection... ...authentic theology shows itself, in self-forgetting and self-dispossessing practice. The theology that we write and discuss has no substance independently of this formal content, this knowledge of how to ‘enact Christ’ in the world. And it is because of this that Przywara resists a reading of St John of the Cross’s spiritual teaching which simply identifies the ‘night of spirit’ with the negation of the creaturely. Put like this, it can suggest yet another form of the competitive ontological model which we struggle to escape from – more world, less God, and vice versa. But St John properly read – giving priority to the poems rather than the commentaries on them – characterizes the night as participation in the act of Christ the Word. The darkness of our prayer is not the result of a straightforward gap between what we can know as creatures and the unknowable depths of God, the infinite dissimilarity between finite and infinite; it is our assimilation into the infinite’s self-unveiling in the dark places of the finite world, in the wordless helplessness of the cross. And because it is in this way an entry deeper and deeper into the centre of God’s activity, it is a journey into the ‘excess’ of divine light, the overflowing of God’s absolute abundance, which is itself nothing else than agape directed towards the life and joy of the other – in the divine life and in the relation of divine to non-divine life.

We have to accept the possibility of failure, to address it productively, analyze it and adjust our strategy accordingly the threat of failure does not justify inaction. Especially when action can improve matters… I believe in this tangible utopia, this other aesthetic of resistance.

They prove that there is no direct relationship between the personal freedom of the artist and the aesthetic quality of his works. For it is a fact that every intention of an artist has to make its way through the meshes of a closely entwined net; every work of art is produced by the tension between a series of aims and a series of resistances to their achievement— resistances represented by inadmissible motifs, social prejudices and faulty powers of judgment of the public, and aims which have either already assimilated these resistances or stand openly and irreconcilably opposed to them. If the resistances in one direction are impossible to overcome, then the artist’s invention and powers of expression turn to a goal the way to which is not obstructed, and it is very unusual for him even to be aware of the fact that his achievement is a substitute for the real thing. Even in the most liberal democracy the artist does not move with perfect freedom and unrestraint; even there he is restricted by innumerable considerations foreign to his art. The different measure of freedom may be of the greatest importance for him personally but in principle there is no difference between the dictates of a despot and the conventions of even the most liberal social order. If force in itself were contrary to the spirit of art, perfect works of art could arise only in a state of complete anarchy. But in reality the pre-suppositions on which the aesthetic quality of a work depends lie beyond the alternative presented by political freedom and compulsion. Therefore the other extreme, namely, the assumption that the ties which restrict the artist’s freedom of movement are profitable and fruitful in themselves, that the freedom of the modern artist is consequently responsible for the inadequacies of modern art and that compulsion and restrictions could and should be produced artificially as the supposed guarantees of true ‘style’, —such an assumption is just as wrong as the anarchist point of view.

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Every intellectual project of a political kind should follow a number of basic principles1) Be deeply suspicious of anything that masks itself in universal regalia. Bring into question that which is not being questioned in the normal state of affairs. (2) Move beyond any self-righteous and self-absolving assessments of the operations of power. Look to deal with power at the level of its effects and the ways in which it positively manipulates subjects to wilfully abandon their own political freedoms. (3) Foreground the affirmative qualities of subjectivities. Not only is this integral in the fight against fascism in all its forms. It opens a challenge to the narcissism of those who would have us surrender to the mercies of the world. (4) Speak with confidence about the ability to transform the world, not for the better, but for the sake of it. Without an open commitment to the people to come, the struggle is already lost. (5) Use provocation as a political tool. Not to evidence extremist views. But to illustrate how normalizing power truly fears anything that appears remotely exceptional. The poetic most certainly included. (6) Trust in the irreducible qualities of human existence. The feelings we have, the atmospheres we breathe, the aesthetics we enfold, the fables we scribe, the playful personas we construct, they are all integral to the formation of a new image of thought. (7) Have faith in people. Just as they will resist what they find oppressive and intolerable, so they will also find their own dignified solutions to problems in spite of our best efforts. (8) Do not shy away from conflict. Without conflict there is no resistance to power. And without resistance to power there is no creation of alternative existences. (9) Reveal fully your political orientations. Do not abstract them from the work. Such a deception is of the order for those embarrassed by the mediocrity of their power. (10) Speak with the courage to truth that narrates a tale to affect a number of meaningful registers. No book should be read if it doesn't intellectually challenge and emotionally move us.

The animalism of the brute nature in man is disgusting," thought he, "but as long as it remains in its naked form we observe it from the height of our spiritual life and despise it; and—whether one has fallen or resisted—one remains what one was before. But when that same animalism hides under a cloak of poetry and aesthetic feeling and demands our worship—then we are swallowed up by it completely, and worship animalism, no longer distinguishing good from evil. Then it is awful.

This rootedness is something we desperately need when we find ourselves awash in an amnesiac present and the chain-store aesthetic of the virtual.

There is a common instinct that fantasy, even when gratified, does not contribute to, but is in fact more likely to detract from, personal satisfaction. I here offer a semi-philosophical reason for thinking that this instinct might have sound. It seems to me that the fantasy-ridden soul will tend to have a diminished sense of the objectivity of his world, and a diminished sense of his own agency within it. The habit of pursuing the realized unreal seems to conflict with the habit, which we all, I believe, have reason to acquire, of pursuing what is real. There is no expenditure of effort involved in the gratification of fantasy, and hence the fantasist is engaged in no transformation of his world. On the contrary his desires invade and permeate his world, which ceases to have any independent meaning. The nature of the fantasy object is dictated by the passion which seeks to realize it; and the world therefore has no power either to control or resist the passion. Normal passions are founded on the sense of the independent reality of their object. They do not invade, but on the contrary, are disciplined by, the world. The change as understanding changes, and come, in time, to bear the imprint both of the subject’s agency and of the world’s reality. Thus it is with the greatest of human benefits- love between equals. In love, all my fantasy is destroyed just so soon as it is erected, by the deeper desire to understand and respond to a being whose essence resides in his independence, in his freedom from me. It seems to be no accident that people have repeatedly described sexual fantasy as ‘loveless’.

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Inseparable from economic advantage was the superiority of knowledge. Ownership involved greed, and the advantaged tried as long as possible to block the road to education for the have-nots. The privileges of the ruling class could not be eliminated until we gained insight into the conditions and acquired fundamental knowledge. We kept getting repulsed over and over because our ability to think, to deduce, and conclude was insufficiently developed. This state of affairs began changing with the realization that the upper classes essentially opposed our thirst for knowledge. Ever since, our most important goal was to conquer an education, a skill. In every field of research, by using any means, cunning and strength of mind. From the very outset, our studying was rebellion.

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