After the Second World War both these resources lost their relative independence; high bourgeois culture simply died and can now only be used as firewood, and the subcultures have increasingly become capitalist nurseries. It is not by chance that Adorno and Horkheimer make fun of the “guardians of culture” who “celebrate the organic pre-capitalist past”, a past that was overwhelmingly patriarchal. Even laissez-faire has to be organized instrumentally and professionalized so that it can be transformed into its exact opposite. The cell phone mania that has been raging now for more than a decade has brought this situation to its ultimate visibility, insofar as it now confers a technological mobility and simultaneously a public space for “communicative” exhibitionism. It is precisely against this interpretation that Adorno and Horkheimer protest at the beginning of the chapter on the Culture Industry.
Because utter insignificance can only give rise to utter insignificance.In a situation in which one is not only supported by advertising but is at the same time the thing that is advertised, it is natural that secondary financing is kept within very narrow bounds.
To the contrary, it is a form of consciousness that often only lives on credit and even only thinks on credit. The objectivity of value of cultural commodities in the space of a production for pure profit now truly demands the “realizing” retransformation and expression of these commodities in the form of “abstract wealth”, that is, in the form of money, by way of the act of sale. What happens to the digital consumers-producers is no different from what happened to the simple consumers of previous epochs, whose attitude is described as follows in the chapter on the Culture Industry: “The double mistrust of traditional culture as ideology is combined with mistrust of industrialised culture as a swindle. Thus we have for the last forty years worn not togas, but jeans; although they are no longer the same, because the material wear and tear forces us to waste time buying more pants. “Television”, they wrote, “aims at a synthesis of radio and film”, thus “derisively fulfilling the Wagnerian dream of the,It is easy to see that the Internet is on the verge of consummating the synthesis of the culture industry on an even higher scale. Frivolous entertainment and popular simplifications are nothing but the other side of the character that is ideologically imbued with the proper knowledge of “serious” bourgeois science and art, and this is its characteristic trait. What could be bad about that? Krise und Kritik der Warengesellschaft,The current state of the struggle in Bolivia.What sort of uprising do we need in Iraqi Kurdistan?guide to using ebook readers with libcom.org,On the Anniversary of the US Bombing of Bosnia,Be careful with each other, so we can be dangerous together,Some remarks on homophobia and homosexuality,Revolutionary unionism in Latin America - the FORA in Argentina,Ned Kelly's ghost: the Tottenham IWW and the Tottenham tragedy - John Patten. The technological form that corresponds to the equipment of the postmodern subject provokes a flood of completely talentless submissions that can no longer be either revised or rejected by any editorial office.Thus, each person is his own resource, his own magazine, his own cinema and television program. The recycling to which the culture industry subjects all forms of expression, as everyone knows, also erases the difference between art and kitsch. This context is perfectly clear and open to criticism. Why a separate “cultural revolution” is impossible.Note: The following text is a transcribed and expanded version of a talk given on November 21, 2010 at the Alliance Française in Sao Paulo as one of a series of presentations devoted to the theme, “The Culture Industry in the 21st Century”.From the superficial critique of the bourgeois intellectual to the postmodern cult of superficiality.An elitist cultural critique or an emancipatory one?Advertising as cultural perception of the world and of oneself,The prolongation of “abstract labor” and competition by other means,The Internet as new central means of the culture industry,The interactive Web 2.0 and individualization,The immanent limit of capital and the economic crisis of the culture industry,The road to the depletion of cultural reserves,The world is not just an accessory.
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