What gives the appearance of some monopoly on genius to the sort of cultural output that is housed in museums and Lincoln Plaza and so on is just this: that brainless one-percenters are spending huge amounts of money to put their names on these monuments, and the brainless bourgeoisie makes pilgrimages to them, spending medium sums of money to have a brush with cultural objects that supposedly edify by their simple proximity. The illusion that genius is stored up in sites of high culture is sustained by capital and by the laziness and gullibility of culture's consumers: all the season-ticket holders, all the dupes of the museums' advertising departments, for their part driven ever further, under the compulsion of capital, to make the Ottoman sultan's throne, or medieval armor, or Greco-Bactrian statuary, look like so many things to buy-- passing them off as a special class of objects, museum objects, that you can buy in a way just by going and standing in front of them.
What gives the appearance of some monopoly on genius to the sort of cultural output that is housed in museums and Lincoln Plaza and so on is just this: that brainless one-percenters are spending huge amounts of money to put their names on these monuments, and the brainless bourgeoisie makes pilgrimages to them, spending medium sums of money to have a brush with cultural objects that supposedly edify by their simple proximity. The illusion that genius is stored up in sites of high culture is sustained by capital and by the laziness and gullibility of culture's consumers: all the season-ticket holders, all the dupes of the museums' advertising departments, for their part driven ever further, under the compulsion of capital, to make the Ottoman sultan's throne, or medieval armor, or Greco-Bactrian statuary, look like so many things to buy-- passing them off as a special class of objects, museum objects, that you can buy in a way just by going and standing in front of them.