the cultural phenomenon of the Artist-Prophet dies, so too will the critic. Our
style of criticism was formulated by 19th century German
feuilletonism. That is the period that gave us cultural nationalism
its host of artist-prophets and their critics. These forms of
elitism were inevitable developments as the bourgeoisie arose.
Internet is just one more medium that helps to dissolve nationalism and
bourgeois status. As nationalism and class status become less
the critic's function as a spokesman of the elite will die.
in the "higher" arts, the corporatocracy of global capitalism will
a new kind of feuilletonist -- a sort of generalist gadfly who is
of a marketing apparatus focusing largely on celebrity. Eventually the
cultural section, for example, will look a lot like People Magazine.
of The New Yorker is already a kind of People magazine for yuppies --
with a touch of niveau couched in the publication's self-consciously
should not surprise anyone. Art will always be culturally isomorphic
the larger social structures of society. Mass marketing requires a
concept of the human. The aesthetic values of global capitalism by
key is for some theorist to define and codify the new feuilletonism's
content, social and economic purpose. In the meantime, we should
remember: Blessed are the base, for they shall inherit the earth."