By Sande Cohen
Publication via Cohen, Sande
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Additional info for Academia and the Luster of Capital
Arthur Danto, for example, writes that art-making can be set within an "infinite play with its own concept," which manages to affirm Hegelianism (concepts = identities) and instrumentalize deconstruction ("infinite play" a reduction thereof). 44 My argument, then, is that what the concept of criticism "looks like" or is supposed to look like, along with many convergent relations, is contentious and opaque. The ubiquity of criticism unable to generate concepts indexes the success of domesticated critical discourse.
Baudrillard's sense of simulacra, which parallels, to an extent, Rousseau's critique of the identity between social desire and cultural integration, implies success of redundancy in the sphere of semiotics and the triumph of the death instinct in the spheres of pleasure and subjectivity. ). The analogic world of, say, Freud's use of whole-part model (the Oedipal complex), or the stress that Frankfurt 18 What Is Criticism For? 57 And isn't this another way of suggesting that the neurotic world postulated by Freud and the idealization of a statist resolution by Marx have ceased to excite and generate interest, that talking cures and workers' strikes, expressive art and denunciatory aesthetics are felt to be archaisms?
The children are dressed in the international style of the rich; Benetton colors prevail. These "revolutionaries like us" who present the aura of a well-bred family, are also an appeal to elite Darwinism; this sign-form, of a "cultural selection" available to revolutionaries, opens to an audience that is "chic," that is aware of the war(s) between the competing "states" of Nicaragua as well as image wars. " Identification draws upon the cultural activity of division in order to "support strata, segmentations, sendentarity and the State apparatus" (Deleuze).