No less a figure than the artist Hans Haacke — whose long - standing commitment to
rendering transparent economic, social, and aesthetic structures throughout culture has led him to be immanently associated with the paradigm — used the phrase «consciousness industry» as early as the mid-1980s to describe the sophisticated networks of institutional
support necessary to make visible ostensibly adversarial avant - garde artistic gestures.4 Works seeking to emphasize the moral, political, and intellectual forces that determine and enforce culture, he observed, were nevertheless dependent on a museum or gallery platform designed to privilege aesthetic experience.
In particular, there is little reason to believe that technological and financial
support of the
necessary scale will be delivered by a regime that sees only the countries that inhabit Annex I (a far from perfect
rendering of world's high - responsibility and high - capacity nations) as having quantified commitments, and the rest of the world as a mere source of «offsets» designed to reduce the cost of meeting those commitments.