A Quote by Eugenio Montale
Art is the production of objects for consumption, to be used and discarded while waiting for a new world in which man will have succeeded in freeing himself of everything, even of his own consciousness.
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Criticism has plucked the imaginary flowers on the chain not in order that man shall continue to bear that chain without fantasy or consolation, but so that he shall throw off the chain and pluck the living flower. The criticism of religion disillusions man, so that he will think, act, and fashion his reality like a man who has discarded his illusions and regained his senses, so that he will move around himself as his own true Sun. Religion is only the illusory Sun which revolves around man as long as he does not revolve around himself.
A cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the 'standpoint of art' can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a 'secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.
I shall argue that it is the capital stock from which we derive satisfaction, not from the additions to it (production) or the subtractions from it (consumption): that consumption, far from being a desideratum, is a deplorable property of the capital stock which necessitates the equally deplorable activity of production: and that the objective of economic policy should not be to maximize consumption or production, but rather to minimize it, i.e. to enable us to maintain our capital stock with as little consumption or production as possible.
In a sense, every tool is a machine--the hammer, the ax, and the chisel. And every machine is a tool. The real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. The problem is to decide whether the objects of machine production can possess the essential qualities of art.
We are now in a position to understand the anti-Semite. He is a man who is afraid. Not of the Jews, to be sure, but of himself, of his own consciousness, of his liberty, of his instincts, of his responsibilities, of solitariness, of change, of society, and of the world of everything except the Jews.
Art is sexless; - good work is eternal, no matter whether it is man or woman who has accomplished it. ... Ah, but the world will never own woman's work to be great even if it be so, because men give the verdict, and man's praise is for himself and his own achievements always.
No man is defeated without some resentment which will be continued with obstinacy while he believes himself in the right, and asserted with bitterness, if even to his own conscience he is detected in the wrong.
Every man is of importance to himself, and, therefore, in his own opinion, to others; and, supposing the world already acquainted with his pleasures and his pains, is perhaps the first to publish injuries or misfortunes which had never been known unless related by himself, and at which those that hear them will only laugh, for no man sympathises with the sorrows of vanity.
If a man can say 'My life is more important than my country,' that man has succeeded in freeing himself from the chains of society!
There is nothing more terrible, I learned, than having to face the objects of a dead man. Things are inert: that have meaning only in function of the life that makes use of them. When that life ends, the things change, even though they remain the same. […] they say something to us, standing there not as objects but as remnants of thought, of consciousness, emblems of the solitude in which a man comes to make decisions about himself.
In the United States, man does not feel that he has been torn from the center of creation and suspended between hostile forces. He has built his own world, and it is built in his own image: it is his mirror. But now he cannot recognize himself in his inhuman objects, nor in his fellows.
A man possessed of splendid talents, which he often abused, and of a sound judgment, the admonitions of which he often neglected; a man who succeeded only in an inferior department of his art, but who in that department succeeded pre-eminently.
An honest self-portrait is extremely rare because a man who has reached the degree of self-consciousness presupposed by the desire to paint his own portrait has almost always also developed an ego-consciousness which paints himself painting himself, and introduces artificial highlights and dramatic shadows.
Man never ceases to seek knowledge about the objects of his experiences, to understand their meaning for his existence and to react to them according to his understanding. Finally, out of the sum total of the meanings that he has deduced from his contacts with numerous single objects of his environment there grows a unified view of the world into which he finds himself "thrown" (to use an existentialist term again) and this view is of the third order.
Purchasing power is a license to purchase power. The old proletariat sold its labour power in order to subsist; what little leisure time it had was passed pleasantly enough in conversations, arguments, drinking, making love, wandering, celebrating and rioting. The new proletarian sells his labour power in order to consume. When he’s not flogging himself to death to get promoted in the labour hierarchy, he’s being persuaded to buy himself objects to distinguish himself in the social hierarchy. The ideology of consumption becomes the consumption of ideology.
In Art, man reveals himself and not his objects.
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