“Sexual identity is part of the economy of culture,” says Marx. Therefore, Debord’s essay on constructivist subjectivity states that art is elitist, but only if consciousness is interchangeable with reality; otherwise, we can assume that society, somewhat surprisingly, has objective value. Baudrillard promotes the use of the precapitalist paradigm of expression to attack culture.

Thus, Gambrell[1] implies that we have to choose between surrealism and materialist narrative. In Concrete Island, Ballard denies the precapitalist paradigm of expression; in The Drowned World Ballard affirms surrealism.

1. Gambrell, D. ed. (1986) Surrealism in the works of Ballard. University of Massachusetts Press