The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails.
In other words, Wax was correct, based on the available evidence and expert opinion, to argue that “a strong pro-marriage norm” would reduce poverty and blunt or reverse the pernicious social trends she described at the beginning of her article.
It isn’t only the obvious crimes of totalitarianism, however, that prompt the authors’ critique, but tendencies within society that might appear on the surface to be innocuous. The book’s most incendiary chapter addresses the ‘culture industry’, in which the spiritual enlightenment supposedly bestowed by the creative arts is reconceived as ‘mass deception’. At the end of the 19th century and beginning of the 20th, a new industrialised culture began to emerge, controlled by gigantic media corporations like the Hollywood film industry, recording companies and commercial radio. Not only have these institutions replaced genuine works of art with mass-produced garbage, they also manipulate people into acquiescing in the status quo and accepting capitalist values. Consumers are given to understand that although their consumption patterns in the mass are vital, they, as individuals, count for nothing. To that extent, the authors saw no functional difference in the conveyor-belt production of delusion by the American culture industry and the sledgehammer propaganda techniques of European dictatorships.
Les départs et arrivées s’effectueront au lycée école La Ville Davy à Quessoy. Les participants apprécieront l’environnement, la diversité et la technicité des milieux traversés,[…]