Immediacy’s confessional style is an economic product, not authentic selfhood.

Evidence

Kardashian is to Burtynsky as Fleabag is to Queen Sugar; skin and gaze parried by infrastructure and establishing swoops. The style of impersonal and scaled exploration of production remediates the manifestiveness, expressiveness, and emanativeness that artists of the self, confessional posers, and antifictional authors hock as authentic, showing instead how these desirable elements of present culture are conditioned by economic imperatives to circulate. Arts of mediation make apparent this relationship between media technology and capitalist valorization, just as they also interlace forms of relation like the family with the corporation, or romance with the police, or mentorship with patriarchy. — Anna Kornbluh, Immediacy, or The Style of Too Late…, 362

Categorization

• XREF: Directly states the book’s central thesis — confessional immediacy is conditioned by economic imperatives to circulate — the causal claim underpinning the entire argument.
• DEEPTHINKING: The compact claim that artists of the self ‘hock as authentic’ qualities actually ‘conditioned by economic imperatives to circulate’ is the thesis in one breath — dense and paradigm-shifting for treating cultural authenticity as an epiphenomenon of capital turnover.