The debate over the influence of American culture upon Europe and the rest of the world is hardly new. Discussions about the cultural effects of video recorders, satellite broadcasting, cable television and their likely content are only the latest episode in a long-running drama in which the young and aggressive culture of America bludgeons the elderly culture of old Europe (or correspondingly overruns and wipes out the quaint but ill-armed ethnic cultures of the less-developed world, dragging the (...) natives from coconuts to Coca-Cola in a generation of identity crisis). But though there has been much written about some aspects of this issue, and most non-Americans who have come into contact with American culture have some awareness of its dimensions, there is also much which remains unclear, and ill- or misunderstood. In this essay two aspects of this large and complex problem will be examined. Firstly, the problem of how the “Americanisation of world culture” has been understood until now will be outlined, by looking at its background in the mass culture critique of the 19th and 20th centuries, with some current notions of what American culture is, and some accounts of how it has been internationalized. My aim in this first section is in particular to try to isolate “American culture” from commercial and industrial culture more generally, for a conflation of these phenomena is widespread and very misleading. Secondly, a normative argument will be outlined from the premises that a “superculture” is indeed developing and that, though it is less threatening than many suspect, it requires a vital measure of resistance if many valuable elements of human experience are not to be relegated to anthropology museums. The central value which will be defended here, however, is not “Europeanism” or “Americanism”, but rather the central liberal virtue of diversity, of which cultural expression is an extremely important form. My attempt to develop a politics of cultural protectionism, then, represents a wish to surpass simplistic rejections of American culture and to come to terms with the confrontation of culture with industrial society itself. This involves going beyond the traditional discussion of culture in one country, however, and trying to extend the mass culture debate to the international arena, where the present debate on this problem is far more complex but often less sophisticated. (shrink)

For Adorno and Horkheimer, rationalism – in fact, a technical rationalism which becomes a rationalism of domination– failed to provide the path to the liberation of man and society. The aftermath, half education of the masses, is not an incomplete education or lack of education, but substantially hostility towards culture and genuine education, decay and involvement of education in individual considerations and benefits, with the contribution of mass dissemination of culture and art. Half education is the spread (...) of culture and art without a living relationship with the consciousness of people, without consequences for their lives. Adorno clarifies that in this context, the relationship between life and production reduces the former into the transitory epiphenomenon of the latter, as life and individual existence are not known in their immediacy, they do not connect directly, but they rather become part of the teaching for of material production. For Ortega y Gasset, a new type of human being has been born, the massman, who becomes isolated, trapped in the irrational feeling that nothing else, apart from his own private welfare, matters, but he also continues to demand as if it were his natural right to do so. Nonetheless, and although he remains an individualist, he does not have real access to the gifts of individuality. Marcuse understands that, ultimately, there is a conflict between production and profit on the one hand and self-determination on the other. As technology spreads its dominance over nature, man conquers man through mass control, diffused through work and culture. In this way, technological rationalism becomes ultimately political rationalism. (shrink)

The article deals with a role of mass culture in term of the theory of the culture industry by M. Horkheimer and T. Adorno and the theory of communicative action by J. Habermas, who continues research of the Frankfurt school. It is known that Habermas says about two types of rationality — communicative and structural. The lifeworld and the system correspond them. Usually, culture correspond to lifeworld because it helps people`s socialization. Also it is a place (...) for communication and finding new meanings. However, a place of mass culture is very controver- sial. In particular, it is necessary to distinguish between popular and mass culture, because these definitions have been used as interchangeable for a long time. Popular culture is still an area of meanings. Moreover, it has the potential for protest. From this point of view, it is clearly part of the life world. But mass culture as a «cultural industry» is not so unambiguous. It is worth considering its characteristics and role in people’s life more detail. Above all, one cannot help paying attention to masses. Already in the last century, H. Arendt characterized them as an atomized and isolated group of people, and they are not united by any common ideas. After all, even in the modern world it is possible to see that they do not have and do not want to search for any ideas or meanings. Masses are a direct consumers of mass culture. It is consumerism that the characteristic feature of modernity. Therefore, mass culture is inseparably connected with the market. On the one hand, it sells entertainments, and on the other hand, it generates new consumers, because it is related to advertising. In the same way, mass culture is connected with agitation and propaganda. Thus, it is possible to speak about its connection with politics. The market and politics correspond to the system and are guided by strategic rationality. This fact gives reason to talk about mass culture as a strategic tool. Such culture with no meanings leads to a crisis in society. (shrink)

The Methodological seminar was conducted by the scientific journal “Philosophy of Education” (Institute of Higher Education, National Academy of Educational Sciences of Ukraine). The participants of the seminar were Prof. Panos Eliopoulos (University of Peloponnese, Greece), Lyudmyla Gorbunova, Mykhailo Boychenko, Olga Gomilko, Mariia Kultaieva, Volodymyr Kovtunets, Sergiy Kurbatov, Anna Laktionova, Tetiana Matusevych, Natalia Radionova, Iryna Stepanenko, Maya Trynyak and Viktor Zinchenko. On March 30, 2016, a methodological seminar was conducted at the Institute of Higher Education NAES of Ukraine. This seminar (...) was devoted to the discussion of educational problems in the area of mass culture, and relative opportunities for the development of individuality. The report «Mass culture, education and the perspective of individuality» was made by Panos Eliopulos, professor of Peloponnese University, a member of journal’s «Філософія освіти. Philosophy of Education” editorial board. The scientists from the Institute of Higher Education, Institute of Philosophy of the National Academy of Sciences of Ukraine, Taras Shevchenko National University of Kyiv, Skovoroda National Pedagogical University of Kharkiv participated in thisevent. Designated issues were observed primarily from the point of view of the Frankfurt School representatives, as well as representatives of modern critical philosophy of education and critical pedagogy. It was emphasized that T.Adorno’s ideas and ideas of other Frankfurt School members, which were developed in the middle of the last century, continue to be relevant in current socio-cultural contexts. The technical rationalism which became the rationalism of dominance in the context of technological civilization, could not provide the way toward the liberation of man and the development of his or her individuality. Market society with its instrumental rationality leads to homogenization and standardization of mass culture and as a result, we have a semi-education, leading to destruction of personality and social pathologies. The panelists agreed that semi-education reflects the crisis of ideals of education and training as far as a suspension of human emancipation process. Due to suspension of the creative process of a person formation, replacing it by the processes of stereotyping based on mimetic rationality, culture itself loses creative potential. The process of degradation of education and culture in the semi-education eventually leads to its destruction at theoretical level and the elaboration of the practice of anti-education. Only through returning of the individual and maintaining his or her social importance due to the tools of holistic education it is possible to overcome such stereotyping. For Frankfurt School members, and those who share their ideals, true education in its meta-theoretical sense becomes the important factor, contributing to the emancipation of society and individual. This idea is particularly important in the context of contemporary challenges and threats from instrumentalization of approaches to the process of transformation of the Ukrainian culture and education. (shrink)

This book is an unrivalled indictment of the banality of mass culture - Adorno's finest essays are collected here, offering the reader unparalleled insights ...

By the author of Adorno's Aesthetics of Music. This book consists of four sections: critical theory and music; Adorno's aesthetics of modernism; Adorno, popular music and mass culture; and critical reflections on Adorno.

(1996). The threat of mass culture in the postmodern era. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the study of European Ideas, pp. 836-841.

Aesthetics originated in ancient India as a descriptive account of the drama which was meant for both entertainment and education of the mass. If the drama was a mass medium, aesthetics — its account — represented the mass culture. Philosophical thinking, rigorous ethical practices and the dramatic art had a common aim — experience of the Reality as a whole. The difference was that while the first two were accessible to only a few elite or intellectuals, (...) the third one was meant for all. The mass was experiencing the representation of Reality in the drama by a dehghtful emotional response. The sensibihty necessary for such response was technically called "like-heartedness" which was also a necessary qualification for a healthy social life. (shrink)

The Methodological seminar was conducted by the scientific journal “Philosophy of Education”. The participants of the seminar were Prof. Panos Eliopoulos, Lyudmyla Gorbunova, Mykhailo Boychenko, Olga Gomilko, Mariia Kultaieva, Volodymyr Kovtunets, Sergiy Kurbatov, Anna Laktionova, Tetiana Matusevych, Natalia Radionova, Iryna Stepanenko, Maya Trynyak and Viktor Zinchenko. On March 30, 2016, a methodological seminar was conducted at the Institute of Higher Education NAES of Ukraine. This seminar was devoted to the discussion of educational problems in the area of mass (...) class='Hi'>culture, and relative opportunities for the development of individuality. The report «Mass culture, education and the perspective of individuality» was made by Panos Eliopulos, professor of Peloponnese University, a member of journal’s «Філософія освіти. Philosophy of Education” editorial board. The scientists from the Institute of Higher Education, Institute of Philosophy of the National Academy of Sciences of Ukraine, Taras Shevchenko National University of Kyiv, Skovoroda National Pedagogical University of Kharkiv participated in this event. Designated issues were observed primarily from the point of view of the Frankfurt School representatives, as well as representatives of modern critical philosophy of education and critical pedagogy. It was emphasized that T.Adorno’s ideas and ideas of other Frankfurt School members, which were developed in the middle of the last century, continue to be relevant in current socio-cultural contexts. The technical rationalism which became the rationalism of dominance in the context of technological civilization, could not provide the way toward the liberation of man and the development of his or her individuality. Market society with its instrumental rationality leads to homogenization and standardization of mass culture and as a result, we have a semi-education, leading to destruction of personality and social pathologies. The panelists agreed that semi-education reflects the crisis of ideals of education and training as far as a suspension of human emancipation process. Due to suspension of the creative process of a person formation, replacing it by the processes of stereotyping based on mimetic rationality, culture itself loses creative potential. The process of degradation of education and culture in the semi-education eventually leads to its destruction at theoretical level and the elaboration of the practice of anti-education. Only through returning of the individual and maintaining his or her social importance due to the tools of holistic education it is possible to overcome such stereotyping. For Frankfurt School members, and those who share their ideals, true education in its meta-theoretical sense becomes the important factor, contributing to the emancipation of society and individual. This idea is particularly important in the context of contemporary challenges and threats from instrumentalization of approaches to the process of transformation of the Ukrainian culture and education. (shrink)

In this article, I intend to discuss the Arendtian conception of culture. In her influential essay “Crisis in Culture: Its Social and Its Political Significance,” Arendt argues that culture is at risk of disappearing under conditions of modernity. In her view, modernity is the age of mass society that leads to the destruction of culture and the development of mass culture. This is the situation Arendt has in mind when she speaks of a (...) “crisis in culture,” a situation she describes as worldlessness. Culture, according to her, is a phenomenon of the world. Because of this conviction, argues Arendt, culture has a closer relationship to politics. The article is divided into two parts. In the first part, I explore Arendt's critical reflection on the modern attitude to culture. In the second part, I examine her analysis of the relationship between culture and politics. Throughout these parts, I suggest a reading of Arendt that illustrates her understanding of culture based on the authority of Greek and Roman thought and Kant’s Critique of Judgment. (shrink)

Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness.

From the late seventeenth century on the idea of culture underwent a gradual transformation. Originally this concept referred essentially to the “refined” way of life of the ruling social elite. Popular culture, on the other hand, refers to the usually collective practices of groups of rural and urban workers taking the form of performance. They were not only excluded from refined culture, but it was regarded as completely unsuitable for them, potentially creating dangerous social aspirations. It is (...) with the great social transformation from feudal to bourgeois society that the idea of refined culture was replaced by that of “high culture” encompassing both the arts and the sciences: works claiming universal human significance. This “high culture” for a considerable time coexisted with the remnants of popular culture. It has been only due to the great technical advances that its true opposite, “mass culture” emerged, at the turn to twentieth century, claiming an empirical universality: being understandable and truly interesting to everyone. In economic respect, there is a competitive relation between high and mass culture. However, it is argued that there can be no cultural competition between them. For they posit differing and potentially co-existing receptive attitudes. The characterisation of this difference and the discussion of the seeming exceptions to the so-articulated conceptual scheme occupies the concluding part of this essay. (shrink)

Music is the carrier through which human beings express their emotions. It can clean up their hearts and seek emotional resonance. The combination of music and artificial intelligence, when music meets artificial intelligence, the mathematical logic part of data and algorithm replaces the image thinking, resulting in automatic music production. The basic principle of music creation is to use artificial intelligence technology to conduct in-depth training on a large number of songs, and then build a database. Then, within a certain (...) period of time, extract a segment from several songs, and then decompose it to form a new melody. The automatic music production is the collision of music and technology. With the flying of code and notes, it creates a different kind of beauty. Music culture is a new field of music application. With its refreshing audio-visual effect, it has made people have a new understanding of music and has become a hot topic in current mass cultural activities. The sound quality characteristics of music culture programs determine the characteristics of simple, fast and efficient design. However, the current audio and video design still stays in the traditional audio and video form design, with low design efficiency, long cycle, high cost and high requirements for designers. In view of the fact that the traditional audio and video design mode in China's music and cultural programs cannot meet the needs of performance programs at present, this paper proposes a design scheme of audio and visual effects of music and cultural programs with intelligent devices as the core, and develops a complete set of audio and visual effects aided design system on this basis. (shrink)

At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker (...) and Georges Franju. This work also reflects on kitsch, the star system, racial and gender stereotypes, and the nature of audience participation. While defining the conditions under which the symbiotic relationship between high and mass culture can be cross-fertilising, this study stresses their inevitably contradictory characteristics. (shrink)

This article contributes to the project of historicizing the emergence of printed books as a mass cultural form in the 20th century and after, in addition to exploring the political-economic struggles both occasioning and occasioned by their constitution as such. In doing so, it both models and reflects on what a possible historiography of technology "after social constructionism" might look like. More specifically, it attempts to account for the behind-the-scenes or "back office" processes through which commodification takes place in (...) the sphere of book distribution, and it does so by focusing principally on communication and information technologies such as the international standard book number (ISBN) and machine readable bar codes. This history, overall, complements the more hopeful narratives of mass culture's democratizing potential, by telling a story about how increased opportunities for middle class social advancement depend on intensified - and intensely technological - work processes for those employed in the sphere of commodity distribution. This essay demonstrates, moreover, how dominant metaphors and frameworks that have guided Social Construction of Technology (SCOT) research (e.g., "actor-networks," "seamless webs," and so forth) must be amended to account better for power, contradiction, and antagonism within the history of technology. (shrink)

How has the globalization of technology contributed to the globalization of the war against the Enlightenment liberal humanism of Western civilization—in particular, to the globalization of the war between religion and science—and with what problematic moral, cultural, and spiritual consequences? Liberal-humanist and Heideggerian perspectives on this issue are considered. The latter is chosen because it constitutes an enduring philosophical and political challenge to liberal humanism. For Heidegger, liberal humanism, far from providing a solution to the problems of global technology, is (...) an inherent part of the problem. A case in point is liberal democracy’s use of technology to produce and purvey a humanly degrading mass culture which it also uses technology to export abroad, in effect, to globalize. The author sets forth a defense of liberal humanism against these criticisms. (shrink)

This chapter contains sections titled: We're Not Blocking Traffic… Background and (Dis)organization Interpretations Influences and Impacts …We (Still) Are Traffic Notes.

"An overview of modern art theory and history, this anthology treats modern art as a complex cultural, political, and social process intimately connected with larger cultural, political, and social contexts."--Pearson.

In what is probably the most arresting of all the textual developments of the Saturnalian dialogues, the reader’s emotional identification with the voice of rage and thwarted rebellion is ever more thoroughly compelled by the structure and tone of succeeding works, at the same time that the dangers of that role, both for its bearer and for others, are ever more explicitly argued. Readers of Le Neveau de Rameau are not forced by the inner logic of the text to choose (...) between Moi and Lui, and they can find in each a welcome counterbalance to and relief from the demands of the other. But in Notes from Underground the “gentlemen-readers” have nothing left to offer us, and the novel makes it impossible to feel anything less than the same contempt for their platitudes that the Underground Man himself flaunts. The clearest index of the development I am tracing is the formal shift from Diderot’s dialogue proper to Dostoyevski’s first-person novel, but this mutation is itself already a consequence of a more indirect and disturbing cause. Dostoyevski, in the famous cry of The Possessed, was certain that “‘the fire is in the minds of men and not in the roofs of houses’”;9 he believed that only the prior corruption of Russia’s intelligentsia, their eager surrender to the lure of conspiracy and violence, could have led so many of them to the acts of senseless catastrophe, fueled by ressentiment, false pride, and incoherent utopian fantasies, marks all of his most important post-Siberia political and cultural writings.10 9. Dostoyevski, The Possessed, trans. Garnett , p. 533.10. In The Brothers Karamazov, Dostoyevski explicitly states that the future revolution will be made by the Smerdyakovs. In the chapter “Over the Brandy,” for example, Ivan tells his father that Smerdyakov is “a prime candidate” to initiate a revolutionary uprising . Michael André Bernstein is professor of English and comparative literature at the University of California, Berkeley. He is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and a book of poetry. His most recent contribution to Critical Inquiry is “‘O Totiens Servus’: Saturnalia and Servitude in Augustan Rome”. (shrink)