"One of the things I learned from working on the Olympics was, the world does not need another big multimedia show"
About this Quote
A gentle flex masquerading as restraint, Laurie Anderson's line reads like an artist declining dessert while quietly critiquing the whole banquet. Coming from someone who helped shape the Olympics' cultural programming, "the world does not need another big multimedia show" isn't anti-spectacle so much as a diagnosis of spectacle fatigue. It's the sound of a maker who understands the machinery from the inside: the screens, the synched lights, the emotional crescendos engineered for a global audience, the way "content" becomes indistinguishable from ceremony.
The intent lands as a recalibration of value. Anderson is famous for turning technology into an instrument, not a billboard. So this isn't a Luddite complaint; it's a warning about scale as a substitute for meaning. The Olympics are a masterclass in mass choreography - also in institutional compromise. To "work on" them is to discover how quickly art becomes branding, how easily complexity gets ironed into a digestible, camera-friendly story. Her phrasing is tellingly modest: not "I don't want to make one", but "the world does not need" it. She shifts from personal preference to cultural necessity, implying an ethical dimension.
The subtext: we already live inside the show. Our feeds, our politics, our grief rituals - all optimized for viral legibility. In that environment, another "big multimedia" event isn't neutral entertainment; it's more noise, another demand for attention, another proof of power. Anderson's quiet refusal suggests a different ambition: intimacy over scale, friction over polish, art that doesn't pretend to unify the world for two hours on broadcast.
The intent lands as a recalibration of value. Anderson is famous for turning technology into an instrument, not a billboard. So this isn't a Luddite complaint; it's a warning about scale as a substitute for meaning. The Olympics are a masterclass in mass choreography - also in institutional compromise. To "work on" them is to discover how quickly art becomes branding, how easily complexity gets ironed into a digestible, camera-friendly story. Her phrasing is tellingly modest: not "I don't want to make one", but "the world does not need" it. She shifts from personal preference to cultural necessity, implying an ethical dimension.
The subtext: we already live inside the show. Our feeds, our politics, our grief rituals - all optimized for viral legibility. In that environment, another "big multimedia" event isn't neutral entertainment; it's more noise, another demand for attention, another proof of power. Anderson's quiet refusal suggests a different ambition: intimacy over scale, friction over polish, art that doesn't pretend to unify the world for two hours on broadcast.
Quote Details
| Topic | Art |
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