Sublime

For some critics, including Tate Modern curator Jessica Morgan and critic Claire Bishop, Bourriaud’s approach and his claims risk, themselves, being utopian, naïve and unrealistic.

Like Los Angeles itself, politics and criticism sometimes need to be disguised or de-emphasized in order to register with effectiveness as entertainment.

Journalists no longer have a near-monopoly on news and the means of distribution. The vertical world is gone for ever. Journalists no longer stand on a platform above their readers. They need to find a new voice. They have to regain trust. Journalism has to rethink its methods; reconfigure its relationship with the new kaleidoscope of other voices.

In John Carey’s brilliant book What Good are the Arts?, he demolishes, one by one, all the lessons and rules and theories that people have applied to culture and its significance – their attempts to ‘prove’, through science or logic or philosophy, that great art does this to you, and is better than not-great art because it has that. Ostensibly clev

INVOCATION: Dear readers, help us to deliver ourselves from our enslavement to production values, our ridiculous attachment to slickness which makes filmgoing in most sectors an exclusive subscription to the puerile pastimes and philosophies of stupid, vulgar millionaires.

The movie is thoroughly a product of Seventies sensibility: the integrity of things as they already stand, the presentation of a text as a concrete object, and out-front admission of the means of production.