contributors:
Carbon Defense League & Conglomco Media Conglomeration | Adam Chmielewski | Jordan Crandall | Gameboyzz Orchestra | Marina Grzinic | Brian Holmes | Margarete Jahrmann | Esther Leslie | Marysia Lewandowska & Neil Cummings |Armin Medosch | Julian Priest & James Stevens | Raqs Media Collective | Mirko Tobias Schäfer | Jeremy Valentine | The Yes Men

publication date:
2004

'Interested parties explain the culture industry in technological terms. It is alleged that because millions participate in it, certain reproduction processes are necessary that inevitably require identical needs in innumerable places to be satisfied with identical goods. The technical contrast between the few production centres and the large number of widely dispersed consumption points is said to demand organization and planning by management. Furthermore, it is claimed that standards were based in the first place on consumer's needs, and for that reason were accepted with so little resistance. The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger. No mention is made of the fact that the basis on which technology acquires power over society is the power of those whose economic hold over society is the greatest. A technological rationale is the rationale of domination itself.' (Adorno & Horkheimer)

The interaction between culture and economy was famously explored by Theodor Adorno and Max Horkheimer by the term 'Kulturindustrie' (The Culture Industry) to describe the production of mass culture and power relations between capitalist producers and mass consumers. Their account is a bleak one, but one that appears to hold continuing relevance, despite being written in 1944. Today, the pervasiveness of network technologies has contributed to the further erosion of the rigid boundaries between high art, mass culture and the economy, resulting in new kinds of cultural production charged with contradictions. On the one hand, the culture industry appears to allow for resistant strategies using digital technologies, but on the other it operates in the service of capital in ever more complex ways. This publication, the first in the series, uses the concept of the culture industry as a point of departure, and tests its currency under newconditions.

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contents: (click titles to download PDFs)

The DATA browser series presents critical texts that explore issues at the intersection of culture and technology. This volume is produced in association with i-DAT.