The fact that its characteristic innovations are in all cases mere improvements to mass production is not extraneous to the system.
It lives on the cyclical, on the admittedly well-founded amazement that, in spite of everything, mothers still give birth to children, that the wheels have not yet come completely to a halt. It indicates a release, whether from physical danger or from the grip of logic.”,Fun is a medicinal bath which the entertainment industry never ceases to prescribe. There is laughter because there is nothing to laugh about. All this consolidates the immutability of the existing circumstances.”,Nature, in being presented by society’s control mechanism as the healing antithesis of society, is itself absorbed into that incurable society and sold off.”,The triumph of giant corporation over entrepreneurial initiative is celebrated by the culture industry as the perpetuity of entrepreneurial initiative.”,On one matter, however, this hollow ideology is utterly serious: everyone is provided for.
Society is made up of the desperate and thus falls prey to rackets.”,Fundamentally, they all present the self-mockery of man. It is not the bells on the fool’s cap that jingle but the bunch of keys of capitalist reason, which even in its images harnesses joy to the purpose of getting ahead. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. The Culture Industry is an unrivalled indictment of the banality of mass culture.
To this extent the claims of art are always also ideology.
The new ideology has the world as such as its subject.
Words which are not a means are meaningless, the others seem to be fiction, untruth. Tragedy glorified “courage and freedom of feeling in face of a mighty foe, sublime adversity, a problem which awakened dread.” Today tragedy has been dissipated in the void of the false identity of society and subject, the horror of which is still just fleetingly visible in the vacuous semblance of the tragic. They, too, have their aspirations. Even the abstract ideals of the harmony and benevolence of society are too concrete in the age of universal advertisement. The latter’s demands are so diversely mediated that the artist is exempted from any particular claim, although only to a certain degree, since his autonomy, being merely tolerated, has been attended throughout bourgeois history by a moment of untruth, which has culminated now in the social liquidation of art.”,The principle of idealist aesthetics, purposiveness without purpose, reverses the schema socially adopted by bourgeois art: purposelessness for purposes dictated by the market.
One of the towering intellectual figures of the twentieth century, and a leading member of the influential group of critical theorists known as the Frankfurt School.
Yet it is only in its struggle with tradition, a struggle precipitated in style, that art can find expression for suffering.”,Anyone who does not conform is condemned to an economic impotence which is prolonged in the intellectual powerlessness of the eccentric loner. The social power revered by the spectators manifests itself more effectively in the technically enforced ubiquity of stereotypes than in the stale ideologies which the ephemeral contents have to endorse.”,Nevertheless, the culture industry remains the entertainment business.
Its element is repetition. Thus tragedy is abolished. Language which appeals to mere truth only arouses impatience to get down to the real business behind it. Everyone must show they they identify wholeheartedly with the power which beats them.”,Everyone can be like the omnipotent society, everyone can be happy if only they hand themselves over to it body and soul and relinquish their claim to happiness.
Today, that belief has itself been intellectualized, becoming so refined as to lose sight of all actual goals and to consist only in a golden shimmer projected beyond the real.
Its supreme law is that its consumers shall at no price be given what they desire: and in that very deprivation they must take their laughing satisfaction.
Entertainment fosters resignation which seeks to forget itself in entertainment.”,Amusement, free of all restraint, would be not only the opposite of art but its complementary extreme.”,The more seriously art takes its opposition to existence, the more it resembles the seriousness of existence, its antithesis: the more it labors to develop strictly according to its own formal laws, the more labor it requires to be understood, whereas its goal had been precisely to negate the burden of labor.”,Pure amusement indulged to the full, relaxed abandon to colorful associations and merry nonsense, is cut short by amusement in its marketable form: it is disrupted by the surrogate of a coherent meaning with which the culture industry insists on endowing its products while at the same time slyly misusing them as pretexts for bringing on the stars.
Depending on which aspect happens to be paramount at the time, ideology stresses plan or chance, technology or life, civilization or nature. Books with Buzz Discover the latest buzz-worthy books, from mysteries and romance to humor and nonfiction. It is out of this background that the great critic Theodor Adorno emerged.
In their weakness society reorganizes its own strength and passes some of it back to them. To be entertained means to be in agreement. Anyone failing to comply goes to a concentration camp.” The joke from Hitler’s Germany might well shine out as a maxim above all the portals of the culture industry.”,Formal freedom is guaranteed for everyone. The consumer becomes the ideology of the amusement industry, whose institutions he or she cannot escape.”,Everything is perceived only from the point of view that it can serve as something else, however vaguely that other thing might be envisaged.
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