"These kinds of potimistic relation are not inherently cruel. They become cruel only when the object that draws your attachment actively impedes the aim that brought you to it initially. All attachement is optimistic, if we describe optimism as the force that moves you out of yourself and into the wo"
"But individuality—that monument of liberal fantasy, that site of commodity fetishism, that project of certain psychoanalytic desires, that sign of cultural and national modernity—is to me a contrary form, a form already interrupted by inconstancy that has a hard time bearing it."
"...to excitement at the prospect of "the change that's gonna come." Or, the change that is not going to come: one of optimism's ordinary pleasures is to induce conventionality, that place where appetites find a shape in the predictable comforts of the good-life genres that a person or a world has se"
"Such that a person or a world finds itself bound to a situation of profound threat that is, at the same time, profoundly confirming. At center of ths project, though, is that moral-intimate-economic thing called "the good life.""
"The fantasies that are fraying include, particularly, upward mobility, job security, political and social equality, and lively, durable intimacy. The set of dissolving assurances also includes meritocracy, the sense that liberal-capitalist society wil lreliably provide opportunities for individuals "
"The genre of crisis is itself a heightening interpretive genre, thetorically turning an ongoing condition into an intensifided situation in which extensive threats to survival are said to dominate the reproduction of life."
"Marcuse's propetic description of postwar U.S. society charts it out: while people comfort themselves with stories about beating the system or being defeated by it, they "continue the struggle for existence in painful, costly and obsolete forms.""
"In the artwork or in response to other scenes, when an apprehending sensorium senses a potentially significant threat to the ordinary's ongoing atmosphere, it sparks the rhythms of situation tragedy, with its menacing new realism. Genres provide an affective expectation of the experience of watching"