It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso-facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power.
Henceforth the crisis of urbanism is all the more concretely a social and political one, even though today no force born of traditional politics is any longer capable of dealing with it. Medico-sociological banalities on the 'pathology of housing projects,' the emotional isolation of people who must live in them, or the development of certain extreme reactions of rejection, chiefly among youth, simply betray the fact that modern capitalism, the bureaucratic society of consumption, is here and there beginning to shape its own setting. This society, with its new towns, is building the terrain that accurately represents it, combining the conditions most suitable for its proper functioning, while at the same time translating in space, in the clear language of organization of everyday life, its fundamental principle of alienation and constraint. It is likewise here that the new aspects of its crisis will be manifested with the greatest clarity.
