What temporal perspective does publicity adopt, according to the text?
Explanation
This question examines the unique and paradoxical relationship publicity has with time, which is key to its function of creating perpetual desire for a future state.
Other questions
According to the text, what is the frequency with which people in cities encounter publicity images?
What does the text claim is the primary proposal made by the system of publicity?
How does the text define 'glamour' in the context of publicity?
What does the text suggest is the psychological effect of publicity on the 'spectator-buyer' regarding their self-perception?
According to the chapter, why does publicity often 'quote' or reference works of art from the past?
The chapter argues that there is a profound difference between publicity and oil painting despite their continuity. What is the key difference in their intended audience and function?
What is the primary emotion that the text claims all publicity works upon?
How does the chapter distinguish the modern concept of 'glamour' from older ideas like 'grace' and 'elegance' as seen in paintings like Gainsborough's 'Mrs Siddons'?
What does the text mean when it says 'Publicity is essentially eventless'?
According to the chapter, what is the 'final empty claim for the continuing values of an oligarchic, undemocratic culture' that was lost when the camera made art reproducible?
What is the relationship between publicity and capitalism as described in the final paragraph of the chapter?
Why does the text claim that publicity needs a 'visual language with historical dimensions'?
What technological development, invented 'about fifteen years ago' relative to the book's writing, made it easy to translate the language of oil painting into publicity?
How is the power to spend money equated with life itself in the 'legends of publicity'?
What does the text identify as the single human faculty or need that publicity recognizes above all others?
The chapter states that 'being envied is a solitary form of reassurance'. Why is this so?
What is the 'absent, unfocused look of so many glamour images' explained as?
What does the text claim about the promise of publicity versus the reality of the products it advertises?
For how many centuries did the European way of seeing, which publicity has something in common with, remain dominated by oil painting?
Why is publicity described as being 'in essence, nostalgic'?
What is the crucial similarity between the way oil painting and publicity appeal to the spectator's senses?
How did oil painting as an art form differ from publicity in its relationship with its viewer?
The text claims that publicity's truthfulness is judged not by the real fulfillment of its promises, but by what?
What does the chapter suggest about the portrayal of women in publicity images, linking it to the tradition of oil painting?
According to the text, how does publicity treat the entire world and conflict within it?
What is the consequence of publicity being 'eventless' and situated in a 'future continually deferred'?
The text describes a contrast between tragic news photographs (like those from Bangla Desh) and advertisements in a magazine. What does this contrast reveal about the nature of publicity?
Why, according to the text, is publicity a political phenomenon of great importance?
How does capitalism survive in developed countries today, according to the chapter's final sentence?
How many distinct purposes does the text state a work of art 'quoted' by publicity serves?
The text draws an analogy between an oil painting in its frame and another object. What is that object?
What is the inherent promise of publicity, which distinguishes it from the simple pleasure of an object?
The text states that in the language of oil painting, vague historical or poetic references were an advantage. Why?
What does the text claim is the difference between how Andy Warhol presents Marilyn Monroe and how Gainsborough presents Mrs. Siddons?
What is the shared principle that connects oil painting as an art form with publicity as the culture of the consumer society?
How does the chapter describe the choices offered within the system of publicity?
The text contrasts oil paintings with publicity by saying the former was addressed to 'those who made money out of the market.' Who is publicity addressed to?
What role does the romantic use of nature (leaves, trees, water) play in the language of publicity?
The text argues that publicity is a substitute for what was lost when the camera made paintings reproducible. What does it claim this substitute is?
What is the effect of publicity speaking in the future tense while its achievement is 'endlessly deferred'?
The chapter claims that for many in Eastern Europe (at the time of writing), the publicity images of the West summed up what?
What is the one thing that publicity cannot offer, despite working on the natural appetite for it?
What does the text describe as the 'magical yet repeatable promise' offered in every purchase within the culture of capitalism?
What comparison does the text make between the envied and bureaucrats?
The text states publicity has grasped the implications of the relationship between a work of art and its spectator-owner more thoroughly than most art historians. What is this relationship that publicity exploits?
What is the strange effect produced by the fact that publicity images belong to the moment but speak of the future?
What is the fundamental role of oil painting, before it was anything else, according to the chapter?
Which of the following is NOT listed as a visual device or sign shared by publicity and traditional painting?
What is the ultimate contradiction that publicity presents to the consumer?