Panem et Circenses Redux

7 Comments

  1. Joseph Hutchison
    Joseph Hutchison December 28, 2011 at 5:28 pm .

    I second Conrad&#39;s thank-you to Lyle. More to read in 2012!<br /><br />And Ed, re: the CIA overlooking your stuff. Are you <i>sure</i>?

  2. Conrad DiDiodato
    Conrad DiDiodato December 28, 2011 at 4:10 pm .

    Thanks for the titles, Lyle! Especially the Berger.

  3. Ed Baker
    Ed Baker December 28, 2011 at 3:08 pm .

    &quot;A really good picture looks as if it&#39;s happened at once. <br />It&#39;s an immediate image. For my own work, when a picture looks<br />labored and overworked, and you can read in it—well, she did this<br />and then she did that, and then she did that—there is something in it<br />that has not got to do with beautiful art to me. And I usually throw these out, <br />though I think very

  4. Lyle Daggett
    Lyle Daggett December 28, 2011 at 4:35 am .

    Some time back in my blog I wrote a little about CIA involvement in arts funding; basically, I gave a brief summary of the book <i>The Cultural Cold War: The CIA and the World of Arts and Letters</i> by Frances Stonor Saunders, which gives a highly detailed and footnoted account of CIA involvement in literary publishing in the U.S., among other things. My blog article is <a href="http://

  5. Conrad DiDiodato
    Conrad DiDiodato December 27, 2011 at 5:07 pm .

    Joseph,<br /><br />I rather love its delicious ambiguity &amp; messiness: any cultural-technological &#39;transitioning&#39; of the kind we&#39;re witnessing ( remember&#39;s McLuhan&#39;s take on the &quot;camera oscura&quot; in &quot;Gutenberg&#39;s Galaxy&quot;?)where Art plays directly or unwittingly into moneyed interests is bound to unravel (rather than consolidate) the million-and-one

  6. Joseph Hutchison
    Joseph Hutchison December 27, 2011 at 4:51 pm .

    Surely someone has studied the changing relationship between artist and audience since the late Middle Ages, but I just haven&#39;t run across it. It has always seemed to me that there is an oscillation: great art for everyday audiences, great art for tiny audiences, and back— Shakespeare to Pope to Browning to Eliot to…? All paralleled by the rise of global capitalism, its attendant media

  7. Conrad DiDiodato
    Conrad DiDiodato December 27, 2011 at 4:25 pm .

    Interesting stuff, Joseph!<br /><br />The suspicion that Goldsmith&#39;s defense of &quot;creative plagiarism&quot;, for example, can be seen as playing into the hands of some Twitter/Facebook culture-engineering is all too likely. I&#39;ll even go one better and say the avant-garde (as in Silliman&#39;s recent Bury text festival neon &quot;installation&quot; &amp; the spate of pseudo science-art

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