Nicholas Gane Quotes

... Weber insists that one should not give up or lose faith in the face of this struggle. Indeed, he calls for us to engage in, rather than withdraw from, the problems of this world. He reminds us, for example, that while 'successful political action is always the "art of the possible" ... the possible is often reached only by striving to attain the impossible that lies beyond it'.

... The form of leadership must be the focus of constant reappraisal. Weber states, for example: 'Each new fact may necessitate the re-adjustment of the relations between end and indispensable means, between desired goals and unavoidable subsidiary consequences.' This process of re-adjustment is ultimately without resolution, for the political and ethical value-spheres are not only in constant opposition but also in permanent flux. It is the task of the politician to negotiate this value conflict and to be decisive as to the value to be pursued and the means to be employed.

... In view of the violence of political power responsibility must always prevail. The only possible synthesis between conviction and responsibility is thus one in which passion is subordinated to responsibility, so that political responsibility is the primary value to be pursued with passion, thereby engendering what H. H. Bruun terms a 'responsible ethic of conviction.' Weber states: 'To be sure, mere passion, however genuinely felt, is not enough. It does not make a politician, unless passion as devotion to a "cause" also makes responsibility to this cause the guiding star of action.

... It is not possible, says Weber, to confer the objective validity of facts on the basis of a value-judgement; and second, it is not possible to judge the value of values through the use of scientific reason. This leads him to maintain a distinction between science and ethics, the former dealing with questions of fact, the latter with questions of value.

Lyotard develops and extends Weber's argument regarding the disenchantment of art to suggest the Western culture increasingly obeys an instrumental logic of performance and control, one that imposes order on the free play of the imagination and subordinates creative thought to the demands of the capitalist market. And, for Lyotard, the effects of this process are consistent with those outlined in Weber's work, namely the progressive elimination of ritual or religious forms of art, the restriction of creative forms by an instrumental (capitalist) rationality, and with this the denigration of value-rational artistic practice.