We would like to offer some initial thoughts on exactly how the art world can operate simultaneously as a dream of liberation, and a structure of exclusion; how its guiding principle is both that everyone should really be an artist, and that this is absolutely and irrevocably not the case.
The Romantic legacy has by no means disappeared from the contemporary art world—it’s just retained only its most elitist elements. We still worship the individual genius, mad, tortured, or otherwise; what has been purged is any explicit belief that we all begin as artists, and could, in a future society in which forms of institutional violence are rooted out, become artists once again.
Chances are you have already heard something about who anarchists are and what they are supposed to believe. Chances are almost everything you have heard is nonsense. Many people seem to think that anarchists are proponents of violence, chaos, and destruction, that they are against all forms of order and organization, or that they are crazed nihilists who just want to blow everything up.
I would like to write about the bullshitization of academic life: that is, the degree to which those involved in teaching and academic management spend more and more of their time involved in tasks which they secretly — or not so secretly — believe to be entirely pointless.
America is a country made possible by hucksterism and carnival buncombe. It is the birthplace of both modern PR and advertising, the first place on earth to apply techniques of commercial marketing to politics, and a country where, for at least thirty years, the economy has been driven by the engine of finance—that is, by the magical creation of wealth through financial securities and derivatives.
Politicians are by definition dishonest. All politicians lie. But many observers of American politics agree that over the last few years, there has been something of a qualitative change in the magnitude of political dishonesty.