This song and the liner notes you mentioned are a pretty obvious nod to some prevailing ideas in technology philosophy, particularly those presented by proponents of the Frankfurt School, an institution often referenced in Orchid's music. The inclusion of themes encircling desire specifically invoke the work of Marcuse, who argued that our society's industrial production apparatus is driven by market forces that emphasize the fulfillment of "false needs." According to Marcuse, this practice is analogous to totalitarian oppression in that it necessarily suppresses individuality and is psychologically invasive. This is similar to another Frankfurt School thinker, Adorno, who Marcuse cites when asserting that the mass-production of culture leads to the marginalization of dissent.
Essentially, the existence of dissent is assured (if not standardized), and is even incorporated by the forces in power. Dissent is assured, but also assuredly marginalized, or pushed away and often made obscure.
This song and the liner notes you mentioned are a pretty obvious nod to some prevailing ideas in technology philosophy, particularly those presented by proponents of the Frankfurt School, an institution often referenced in Orchid's music. The inclusion of themes encircling desire specifically invoke the work of Marcuse, who argued that our society's industrial production apparatus is driven by market forces that emphasize the fulfillment of "false needs." According to Marcuse, this practice is analogous to totalitarian oppression in that it necessarily suppresses individuality and is psychologically invasive. This is similar to another Frankfurt School thinker, Adorno, who Marcuse cites when asserting that the mass-production of culture leads to the marginalization of dissent.
Essentially, the existence of dissent is assured (if not standardized), and is even incorporated by the forces in power. Dissent is assured, but also assuredly marginalized, or pushed away and often made obscure.