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Read through the most famous quotes by topic #critic
Domination and critique have always formed an apparatus covertly against a common hostis: the conspirator, who works under cover, who used everything THEY give him and everything THEY attribute to him as a mask. The conspirator is everywhere hated, although THEY will never hate him as much as he enjoys playing his game. No doubt a certain amount of what one usually calls “perversion” accounts for the pleasure, since what he enjoys, among other things, is his opacity. But that isn’t the reason THEY continue to push the conspirator to make himself a critic, to subjectivate himself as critic, nor the reason for the hate THEY so commonly express. The reason is quite simply the danger he represents. The danger, for Empire, is war machines: that one person, that people transform themselves into war machines, ORGANICALLY JOIN THEIR TASTE FOR LIFE AND THEIR TASTE FOR DESTRUCTION. ↗
#criticism #destruction #domination #metaphysics #subjectivity
A pure heart does not demean the spirit of an individual, it, instead, compels the individual to examine his spirit. ↗
#compelling #consideration #constructive-criticism #demean #demeaning
Every given commodity fights for itself, cannot acknowledge the others, and attempts to impose itself everywhere as if it were the only one. The spectacle, then is the epic poem of this struggle, an epic which cannot be concluded by the fall of any Troy. The spectacle does not sign the praises of men and their weapons, but of commodities and their passions. In this blind struggle every commodity, pursuing its passion, unconsciously realizes something higher: the becoming-world of the commodity, which is also the becoming-commodity of the world. Thus, by means of a ruse of commodity logic, what's specific in the commodity wears itself out in the fight while the commodity-form moves toward its absolute realization. ↗
The beliefs and behaviour of the Restoration reflect the theories of society put forward by Thomas Hobbes in The Leviathan, which was written in exile in Paris and published in 1651. Like many texts of the time, The Leviathan is an allegory. It recalls mediaeval rather than Renaissance thinking. The leviathan is the Commonwealth, society as a total organism, in which the individual is the absolute subject of state control, represented by the monarch. Man - motivated by self-interest - is acquisitive and lacks codes of behaviour. Hence the necessity for a strong controlling state, 'an artificial man', to keep discord at bay. Self-interest and stability become the keynotes of British society after 1660, the voice of the new middle-class bourgeoisie making itself heard more and more in the expression of values, ideals, and ethics. ↗
It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive. ↗
Making judgments on films is in many ways so peculiarly vaporous an occupation that the only question is why, beyond the obvious opportunities for a few lectures fees and a little careerism at a dispiritingly self-limiting level, anyone does it in the first place. ↗
