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gene youngblood,  expanded cinema Pg. 59
Commercial entertainment works against art, exploits the alienation and boredom of the public, by perpetuating a system of conditioned response to formulas. Commercial entertainment not only isn't creative, it actually destroys the audience's ability to appreciate and participate in the creative process. The implications become apparent when we realize that, as leisure time increases, each human will be forced to become a creative, self-sufficient, empirical energy laboratory. D. H. Lawrence has written: "The business of art is to reveal the relation between man and his circumambient universe at this living moment. As mankind is always struggling in the toil of old relationships, art is always ahead of its 'times,' which themselves are always far in the rear of the living present." Jean-Jacques Lebel stated the same idea in different terms when he described art as "the creation of a new world, never seen before, imperceptibly gaining on reality." 
By perpetuating a destructive habit of unthinking response to formulas, by forcing us to rely ever more frequently on memory, the commercial entertainer encourages an unthinking response to daily life, inhibiting self-awareness. Driven by the profit motive, the commercial entertainer dares not risk alienating us by attempting new language even if he were capable of it. He seeks only to gratify preconditioned needs for formula stimulus. He offers nothing we haven't already conceived, nothing we don't already expect. Art explains; entertainment exploits. Art is freedom from the conditions of memory; entertainment is conditional on a present that is conditioned by the past. Entertainment gives us what we want; art gives us what we don't know we want. To confront a work of art is to confront oneself—but aspects of oneself previously unrecognized.

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