Regarding Art and the Culture Industry
Monday, September 15th, 2008
In Adorno’s essay in Aesthetic Theory, I found my self trying to discern if Adorno was speaking of art from the creators perspective, as the process of creation of art relates to society, or from the viewers or society’s perspective. From the artist’s creation perspective I felt he was off-mark. Certainly the artist is a product of society, but, it seems to me the artist presents a way of seeing, which may or may not begin with a physical object, although it may, this process does not have to deal with the imperfections of society, or other motivations, political or otherwise as is suggested.
The editor’s introduction to the essay The Culture Industry, suggests that Adorno and Herkheimer’s critique of the culture industry neglected to take into consideration the “opportunities for all kinds of individual and collective creativity and decoding”. I don’t think this “neglect” was on oversight. In the essay Art and Mass Culture, Horkheimer suggests that the masses (and the elite) are losing their ability to express anything that is not directed by mass culture, and the realm of “High Art” is not unaffected – it’s ability to harbor principles that counter the world from which they originated is at risk. The commercial domination of our lives diminishes our ability to provide anything other than a conditioned response.
Horkheimer criticized totalitarian regimes in which Art had become “a race for the favors of the powers-that-be”. The situation in our present American culture exhibits a similar dynamic. In the world of high art, the value of art is often measured by popularity - translating to dollars. Very often, with art marketed along the lines of entertainment, interpretation and significance is often supplied through marketing – providing viewers with a ready-made response to the art, saving the viewer from any undo contemplation or reflection, and … total control is maintained by the culture industry, reducing the role and importance of the art, the artist ,and the viewer.
In the art of the masses – supplied by the culture industry, the goal is mass appeal and consumption. In this case “power” is achieved by accumulating a larger proportion of the market. This goal for mass appeal shapes the product – “dumbs it down” - to the comprehension and appeal of an eleven year old (as described by Adorno in Culture Industry Reconsidered) – or … in other words, eleven year olds are the new “powers-that-be”.
I’m not sure why Adorno sees the pursuit of “goodwill” as motivated by anything other than monetary gain -(again from Culture Industry Reconsidered) “The culture industry misuses its concern for the masses to duplicate, reinforce and strengthen their mentality, which it presumes is given and unchangeable” and ”the manufacturing of “good will” per se, without regard for particular firms or saleable objects (as Adorna describes) is a pretty good definition for co-marketing. Obviously the players who benefit from this dynamic enjoy a monetary gain.
Horkheimer suggested that the film industry was especially susceptible to commercial pressures due to the necessary capital investment and high costs of production and distribution. Obviously, as exhibited by YouTube and others, the combination of affordable computers and video production software along with the easy distribution, has democratized video production/distribution – Too bad this capability could not have come before the afore mentioned dumbing down of the masses.