“The infrastructure of a multiplatform future is before us,
and resistance to it can look like an especially tiresome kind of
sentimentality … We are losing the old, sustaining belief that this
is a special and exalted cultural activity, the supreme mode of
participation in the popular arts.”
A. O. Scott hones in on the broad challenge facing cinema.
But as is so often the case in media discussions today he could
just as easily be talking about orchestras, which continue to trade
in nostalgia and superiority even while the broader cultural world
around them has pivoted toward
the new and open.
Like Scott with respect to film, ‘my concern is with art and
with the survival of a complex and protean form,’ a concern which
informs and energizes just about everything I do (onstage and