Sublime

showing all Mubarak all the time, by the 2000s had access to more than 400 national and international stations. American movies,

Perversely, irony relies on some remains of cultural capital in order to coherently express its destructive message. If elevated beyond commentary and analysis to its own pedestal of artistic value, its essence become desacralization and the making trite of deep truths we might prefer to respect and conserve.

This is why television is a crucial and adaptable part of a relatively long transition (or changing of the guard), lasting several decades, between a world of older disciplinary institutions and one of 24/7 control.

The art of the past no longer exists as it once did. Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums. As usually

The forms of control accompanying the rise of neoliberalism in the 1990s were more invasive in their subjective effects and in their devastation of shared and collectively supported relations.

The overall digital environment is dictated by tech companies with ruthlessly capitalist, expansionary motives, which do not provide the most fertile ground for culture. While the magazine fashion editor may periodically use their ability to pick out and promote a previously unheard voice, the algorithmic feed never will; it can only iterate on est