Co-opt

Artists' engagement with bleeding-edge tech will always have the potential to critique its destructive civil and military applications, as well as the potential to be co-opted by them—as propaganda or R&D—as the rise of the so-called knowledge economy has amply demonstrated.

In the resolution between the culture and the counterculture, it is impossible to tell who co-opted whom, because in reality the bohemians and the bourgeois co-opted each other. They emerge from this process as bourgeois bohemians, or Bobos.

Its opening track, Mastermind, offers one possible answer to a theoretical question about what prog rock might have sounded like in the highly unlikely event that it had co-opted Giorgio Moroder’s brand of electronic disco: nearly seven meandering, episodic minutes of unlikely chord changes […]