Ein Sprachspiel

Der Musikwissenschaftler Robert Fink hat in seiner lesenswerten Studie Repeating Ourselves aus dem Jahr 2005 mal so ziemlich die gängigsten Polemiken zusammengefasst, die der Minimal music der 1960er und 1970er Jahre von Seiten der „seriösen“ Kulturkritik so entgegenschlugen. Ich hab mir jetzt mal den Spaß gemacht, im folgenden Zitat „Minimalism“ durch „New Conceptualism“ zu ersetzen (inkl. weiterer kleinerer Anpassungen):

New Conceptualism’s attackers have tended to show little sympathy for the New Sensibility and feel no compulsion toward a transparent, nonideological criticism. They are unimpressed by the way New Conceptualism is just what it is — because they don’t feel that what it is adds up to very much. Faced with the uncomfortable sociological truth that such a simple-minded music is more popular than, by their estimation, it should be, they are almost forced to hypothesize about its cultural significance. If New Conceptualism makes no sense on its own terms, perhaps it can be understood as a kind of social pathology, as an aural sign that today’s audiences are primitive and uneducated; that kids nowadays just want to get stoned; that traditional Western cultural values have eroded in a more and more digitalized society; that conceptualist strategies are dangerously seductive propaganda, akin to Hitler’s speeches and advertising; even that the commodity-fetishism of modern capitalism has fatally trapped the autonomous self in conceptualist narcissism.