And we are assured, after looking at the matter from many points of view, that absolute being is or may be absolutely known, but that the utterly non-existent is utterly unknown ... But if there be anything which if of such nature as to be and not to be, that will have a place intermediate between pure being and absolute negation of being ... And, as knowledge corresponded to being, and ignorance of necessity to non-being, for that intermediate between being and not-being there has to be discovered a corresponding intermediate between knowledge and ignorance. (Plato 6)
If they consider or experiment on something before they have either the maturity or judgment sufficient to examine it or recognize its evidence, young potential philosophers will easily become discouraged by the whole enterprise. They will think, because they did not easily see the point, that there is nothing there to be seen or learned, however highly it is praised by the dons, the sophisticated, the canon of great books, or the tradition. These disillusioned potential philosophers will suspect that the consideration of the things of the mind, of the things worthy to know for their own sakes, is a fraud and deceit because they cannot effortlessly grasp them. But the highest things are, for our kind, conditioned on a period of advent and waiting. That we are not given all things at once is not a defect in our creation. It may well be part of its glory (61-62).
The Christian cultus, unlike any other, is at once a sacrifice and a sacrament. In so far as the Christian cultus is a sacrifice held in the midst of the creation which is affirmed by this sacrifice of the God-man—every day is a feast day […] Now, our hope is that the true sense of sacramental visibility in the celebration of the Christian cultus shold become manifest to the extent needed for drawing the man in us, who is ‘born to work’, out of himself, and should draw him out of the toil and moil of every day into the sphere of unending holiday, and should draw him out of the narrow and confined sphere of work and labour into the heart and centre of creation. (52-53).
Even in their leisure time, consumers must orient themselves to the unity of production. […] This dreamless art for the people fulfils the dreamy idealism which went too far for idealism in its critical form. Everything comes from consciousness—from that of God for Malebranche and Berkley, and from earthly production management for mass art. Not only do hit songs, stars, and soap operas conform to types recurring cyclically as rigid invariants, but the specific content of productions, the seemingly variable element, is itself derived from those types. The details become interchangeable. (98)
“The whole world is passed through the culture industry. The familiar experience of the moviegoer, who perceives the street outside as a continuation of the film he has just left, because the film seeks strictly to reproduce the world of everyday perception, has become the guideline of production…the more easily it creates the illusion that the world outside is a seamless extension of the one that has been revealed in the cinema” (99).