O futuro da indústria cultural | Rodrigo Duarte | TEDxPortoAlegre

Summary

The speaker explores the evolution of the cultural industry, tracing its origins to the late 19th century and its transformation into what is now referred to as 'Cultural Industry 2.0.' Highlighting critical concepts from Adorno and Horkheimer, the speaker examines five key issues within the traditional cultural industry: retroactive manipulation, schematic usurpation, style domestication, the trivialization of tragedy, and the fetishism of cultural commodities. In the context of Cultural Industry 2.0, the speaker discusses the globalized and digitalized nature of modern entertainment, emphasizing how technology and segmentation have intensified these dynamics. The presentation ends with a provocative question about the future trajectory of the cultural industry.

Takeaways

• 😀 The concept of 'cultural industry' was first introduced in the 1940s by Theodor Adorno and Max Horkheimer, focusing on how mass-produced culture manipulates audiences.
• 😀 The industry of culture has evolved from an 'artisanal' form in the 19th century to a global, technologically-driven phenomenon, with key inventions like the phonograph, cinema, and radio playing pivotal roles.
• 😀 Despite being considered 'in crisis' in the early 1990s, the cultural industry has not died but transformed into a '2.0' version, enhanced by new technologies and global networks.
• 😀 Adorno and Horkheimer identified five critical elements of the cultural industry: retroactive manipulation, usurpation of schematism, domestication of style, reduction of tragedy, and fetishism of cultural goods.
• 😀 Retroactive manipulation involves the industry shaping public preferences by offering products that appear to be chosen by the audience, while in reality, they are influenced by industry-driven mechanisms.
• 😀 Usurpation of schematism refers to the cultural industry's control over the interpretation of content, leaving little room for individual insight or interpretation.
• 😀 The domestication of style in the cultural industry stifles creativity, as it forces artists to adhere to rigid, predefined forms and limits the scope for artistic innovation.
• 😀 The traditional concept of tragedy, which once symbolized a heroic clash with universal powers, is now reduced to formulaic, predictable narratives in modern cultural productions.
• 😀 Fetishism in the cultural industry refers to the way cultural products are marketed not just as commodities, but as symbols of status, detached from their original purpose or meaning.
• 😀 The cultural industry has evolved in the digital age, utilizing technologies like the internet to create a more sophisticated, personalized experience for audiences, leading to greater segmentation and customization of products.
• 😀 The post-Cold War globalization and digitalization of media have significantly expanded the cultural industry's reach, allowing for greater scale and influence, while also enabling smaller, parallel cultural industries to emerge.
• 😀 The continuous evolution of technology forces scholars and creators to reassess and refine their understanding of the cultural industry, as previous models may become outdated in the face of rapid digital advancements.

Q & A

What is the primary focus of the speaker's presentation?

The speaker's presentation focuses on the evolution of the cultural industry, specifically addressing the concept of 'Cultural Industry 2.0' and how it has transformed over time, especially with advancements in technology and changes in the global geopolitical landscape.

What is meant by 'Cultural Industry 2.0'?

'Cultural Industry 2.0' refers to the modern version of the cultural industry, characterized by digital technologies, globalization, and more sophisticated mechanisms for targeting and manipulating audience demands. It represents an evolution of the traditional 'Cultural Industry' with greater flexibility and segmentation.

What is the significance of the 1990s in the context of the cultural industry?

The 1990s marked a key turning point due to the end of the Cold War and the beginning of globalization. This period allowed the cultural industry to expand globally, creating a truly interconnected world of cultural production and consumption.

How did the cultural industry evolve from a local to a global phenomenon?

The cultural industry began as a more localized, artisanal form of entertainment in the late 19th century. However, due to technological innovations like the gramophone, cinema, and radio, it transitioned into an industrialized process, and by the early 20th century, the focus shifted to the United States. The global shift occurred in the 1990s with the rise of digital media and globalization.

What are the five key criticisms of the cultural industry, according to Adorno and Horkheimer?

The five key criticisms are: 1) Retroactive manipulation, where audiences are influenced to make choices based on latent demands; 2) Usurpation of schematism, where the industry limits individual creativity by offering pre-interpreted products; 3) Domestication of style, preventing true artistic freedom; 4) Reduction of tragedy to a formula, stripping it of its original, transformative power; 5) Fetishism of cultural commodities, where cultural products are sold as status symbols, divorced from their true purpose.

What does 'retroactive manipulation' refer to in the context of the cultural industry?

'Retroactive manipulation' refers to the way in which the cultural industry influences the choices of audiences by offering products that cater to latent demands, often without the audience being fully aware of the manipulation taking place.

What is the concept of 'usurpation of schematism' and its relevance to the cultural industry?

The concept of 'usurpation of schematism' involves the cultural industry replacing individual interpretation with pre-packaged, formulaic products. The industry essentially takes away the audience's ability to process and interpret content freely, offering content that already has its meaning embedded.

How did technological advancements impact the cultural industry's ability to manipulate and influence audiences?

Advancements in digital technology have greatly enhanced the cultural industry's ability to collect data and analyze audience preferences. This allows for a more sophisticated manipulation of audience behavior and the offering of products that cater precisely to their latent desires.

What is the 'fetishism of cultural commodities' as explained in the transcript?

The 'fetishism of cultural commodities' refers to the phenomenon where cultural products are not only consumed for their content but are also valued for the status they confer upon the consumer. These products are marketed as symbols of cultural or social status, masking their true commercial purposes.

How has the internet and digital media transformed the cultural industry?

The internet and digital media have significantly transformed the cultural industry by allowing creators to produce and distribute content more easily, often with lower costs. This has led to an explosion in the diversity of content available, although it has also increased the industry's ability to segment and target audiences more precisely.