Category: ideas

Theatre criticism is dying, writes Bill Marx. But why? “The fact is most of today’s critics have no interest in ideas: they are functionaries who treat reviewing as diplomacy rather than provocation. Once criticism becomes a job, rather than an act of passionate thought, timidity inevitably follows. ‘The tygers of wrath are wiser than the horses of instruction,’ proclaims poet William Blake. The consumer guide critics are winning; the horses that provide context are going to the glue factory on their knees. And a tear or two should be shed. But do not despair, because in the future the tygers of wrath will growl and a mad dog or two bark.”

“Culture as we know it is increasingly bound up in the very laws that are supposed to nurture it. Copyright law has gone from promoting creativity to hindering artistic expression, thanks in part to the efforts of a few giant corporations that are sitting on billions of dollars worth of intellectual property. Culture is paying the price for these bad laws. In fact, the labyrinth of copyright has already had a devastating effect on an entire art form.”

This idea that companies ought to be able to control music after we’ve bought it is a flawed one. “The issue is one of who owns, or has rights to use our common culture. That means stuff we created ourselves, and only we can decide is worth sharing. And as many of you pointed out, what we call the ‘entertainment industry’ today is merely a distributor, much like the Victorian canal owners were in the last century, in Britain. The smarter Bridgewaters bought into the upcoming railways, while the dumber canal owners didn’t, and died a natural death. Today’s pigopolists don’t “own” the culture simply by claiming that their exclusivity is based on technology – that’s a social contract we don’t buy, and history, in most cases, is on our side.”

“There are perhaps three types of opinion. The first is the educated man’s opinion that certain popular beliefs are stupid. The second is the sort that drove Flaubert to near madness, the opinion that certain original thoughts are stupid. Third, there is the conventional “wisdom” about what is correct. Opinions flourish only in periods or cultures without a dominant religion.”

Is conceptual art really art at all? The debate never seems to end. “Conceptual art refuses to be judged in conventional artistic terms, in terms of the material art object. But nor can it be judged as a pure idea, either. The result is that it occupies a kind of no-man’s land, where it is difficult to judge or hold it to account.”

Curtis White’s new book on what ails our cultural life is a sharply aimed critique. He writes that “our films, our news media, even the academic world of which he’s a part, have all conspired to eliminate the space for imagination and thought, the space in which people could envision a better life or any alternative to the status quo. The creations of Spielberg, Disney, and their ilk, “are pre-emptive efforts to saturate the field in which the imagination might do its work. This is the televisual deluge. This is communication as domination. We drown at the bottom of Hollywood’s ocean, and all we ever wanted was a single glass of pure water.”

“Ever since the Romantics, we have thought of artists as following their muses and of designers as chasing the market. An artist preoccupied with sales will risk being written off as a mercenary, while a designer neglectful of his audience will soon be out of work. In reality, designers and artists aren’t separated by so sharp a line. When a designer sets out to improve an existing product, or to create a product that fills a newly perceived (or fabricated) need, she does not usually call in a focus group. She thinks, she tinkers, she reassesses – much like an artist.”