By Richard Howells (auth.)
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Extra resources for A Critical Theory of Creativity: Utopia, Aesthetics, Atheism and Design
Its primary agenda is quite simply the relentless (myopic, even) pursuit of profit, and in so doing, goes out of its way to give the public what it wants without anything too serious in the way of ideological introspection. Its agenda is all about the maximisation of profit, not ideological conspiracy. So while Frankfurt rounded upon Hollywood, for example, Hollywood in fact provides clear evidence to the contrary. 12 With capitalism, the box office remains the ultimate sanction. 14 It is in such spaces that Utopia glimmers.
94 She declares: ‘The function of utopianism is not, I have argued, the realization of perfection. 97 She concludes that Utopias always fail, but that this is paradoxically necessary, as they are (as More would have agreed) ‘no places’. ’98 This, of course, makes perfect critical theoretical sense. Adorno remained evangelical against resignation even in the most seemingly impossible of circumstances. 105 What remains to be done, then, is to ‘Think. And think hard and carefully about the world around us.
In one recent operation, American entrepreneur Richard Enzer (1943–2009) provided the Teotitlán weavers with designs of his own, mimicking not only Navajo but also Zuni, Hopi and generic ‘tribal’ designs, which he marketed under the brand name ‘Line of the Spirit’. Working with Pedro Gutiérrez, he even perfected the retro ‘abrash’ effect, which emphasises the subtle colour shifts traditionally associated with vegetable dyes. 11 Homo Aestheticus 49 Teotitlán may indeed be what Barbara Mauldin, curator of the Latin American collection at the Museum of International Folk Art in Santa Fe, New Mexico, describes as a ‘folk art miracle’,12 but it is difficult for the purposes of this exercise to put a finger on its essential ‘Zapotecness’ – apart from the continuing historical adaptability of the Zapotec.