culture industry today

It does not even produce, in significant quantities, intellectual products or immaterial art, which in the commodity form could have participated in the mass of the social substance of value, but only electronically conveys contents that are electronically associated with objective expenditures, insofar as the genuine contents that arise directly on the Net, which are both objectively as well as economically largely devoid of value, do not contribute to the mass of the real substance of value nor do they participate in it, to the extent that they remain “gratis” in this false way. We can only hope that the next generation sympathetically tells the pop ideologues impassioned by their own youthful careers that they have themselves now become the unendurable bores of yesterday and that they will be undergoing a very long interruption of their transmission. This militant estheticization, which now makes the form of advertising design a totalitarian model, is a much more effective weapon against radical critique than the simple thought constructs of ideology. The synthesis of the means of the culture industry by way of the Internet seems to furnish a technological basis for the illusory emancipation of signs. Countertransference and analysing the working alliance. To represent the world in the autonomized form of advertising means only to make it perceptible in the form of the autonomized commodity. Even as a secondary and even unproductive sector of capital, which must be economically nourished, however, by the mass of the social substance of value, the culture industry is just as abstract and in itself indifferent with regard to its contents as all of valorization taken as a whole. The much-invoked plurality of lifestyles is completely uniform with respect to its character as a means of getting attention, a situation in which plurality once again dissolves into a “mainstream”; even if it seems to run in various directions. The economic limit and impasse corresponds with the cultural limit and impasse. Each person pleases himself with effects without content in order to thus renew his own character mask and this renders any kind of criticism pointless from the start. Artistic activity is just as bereft of freedom now as it was in the Christian Middle Ages, because just as then all representations had to always repeat the same religious constitution, now they are always transformed into the same advertising, precisely in their apparent fortuitous “multiplicity” and contingency, advertising that is itself recommended and praised in the image of cars, energy drinks, cell phones or baseball caps. In fact, for postmodern culturalism the outward trappings, the accessories, the “styling” and the attitude are always more important than the point that is expressed through them. More precisely: reified patriarchy and gender dissociation are reproduced differently in individualized media “interactions”, just as has been the case in the culture industry in general from the very beginning. “Abstract labor” and competition only become a game and a party because both the game and the party have so often been transformed into “abstract labor” and competition. Even the aesthetic manifestations of … Thus, each person is his own resource, his own magazine, his own cinema and television program. The publications of radical critique should perhaps encourage the reading of heavy texts, and the outfit can encourage conscious simplicity. Anyone who “connects” “interactively” against this background with external instrumentalizations which do not and cannot require either material expenditures or intellectual effort, does not need to lower his costs, either. Mass culture is therefore always good, regardless of its content or its form, and regardless of whether it is an autonomous culture of the masses themselves or a culture that obeys the heteronymous and perfectly independent imperatives directed at the damaged consciousness of the masses. These resources had not yet been completely depleted in the mid-20th century. The [modern-day] economists of the interactive gift engage in the mutual exchange of the utter insignificance that corresponds to their social and intellectual condition, and they actually even know this or at least have some presentiment of it, as Adorno and Horkheimer had already pointed out. Professional and lay critics of media and society. Heinrich Heine, in his critical essay on The Romantic School (1833), perceived a similar attitude and method in his characterization of the process of self-dissolution of Romanticism: “Among the imitators of Fouqué, as among the imitators of Walter Scott, this mannerism of portraying—not the inner nature of men and things, but merely the outward garb and appearance—was carried to still greater extremes. Just as the virtualization of the world of life is presented differently for men and for women, the same is true of virtualization and the “interactive” media. However, just as the printing of books and its social consequences cannot be understood on the basis of these books themselves but only in the context of the proto-capitalist process of historical constitution, the Internet cannot be declared to be an independent technological establishment with the potential for social change, but only a socio-technological moment in the historic limits of capitalism. Simply explained, culture industry is a term used by social thinkers Theodor Adorno and Max Horkheimer to describe how popular culture in the capitalist society functions like an industry in producing standardized products which produce standardized people. The essence of this precocious “interactive” subjectivity is expressed most effectively in those scenes in the movies where the visible participant holds the phone at arm’s length in order not to have to listen to the unbearable chatter of his partner in “interaction” and then says what he has to say without the other party having noticed any interruption in the course of the conversation.

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