Painting should be banned. At least that's what the Turner Prize-winning artist Mark Lecky thinks. Not forever, just for a year or so, during which time artists who don't use paint to make work - those who produce collages, installations, video and internet-based works - have a moment in the sun.
A couple of days after talking to Mark, I read Adam Curtis's latest blog post, From pigeon to Superman and back again; as is the way with Curtis, it uses extensive archive material to make a very contemporary point.
Then I re-watched his 2009 film It Felt Like A Kiss, which was made in collaboration with Punchdrunk for a show at last year's Manchester International Festival, about which his friend Charlie Brooker enthused.
And then I thought: let the painters be, but what about a week without new footage on television and radio, except the news? A week where all stories - new and old - have to be told using pre-existing material, where we dust off the archivists and put them in the limelight for a bit?
What has happened in the last 45 years, other than changes in style and technology, that makes this Iris Murdoch interview with Frank Kermode dated? The substance is entirely relevant: form and content.
The ideas they are discussing in the film are the same as those explored by Jonathan Safran Foer in Tree of Codes, his new die-cut book based on Bruno Schulz's Street of Crocodiles. The same goes for Visual Editions, the young publishing house that produced his book.
They love literature, they say, and want to play with its physical form while their writers do the same with style and structure.