At that moment, the ecological appeal can strike a chord and give restraint a moral fundament. If, on the other hand, we see the media as platforms, and start with the assumption that the arts must seek contact with other data currents if they are to survive, finding an interpretation-free work space outside the media does become quite difficult. The longing for this kind of extramediality is nostalgic and timeless. Leaving things as they are and applying yourself to new work in your media-free surroundings has a touristic quality. If we see the media as more raw material, they and all their secondary replays are freely at the artist's disposal.
Criticism is applause in the form of static.
The scandal prevented people from looking more closely at his line of reasoning. Syberberg sees an era coming to an end with the fall of the Berlin wall, and is there in no time to fill the need for new paradigms. Finally he can say aloud what everyone was already thinking, namely that contemporary art is second-rate garbage. In order to be included in the media, art has had to defer to them. That is the reason for postwar superficiality and pollution.