Alexandros Baltzis

Journal Polyphonia (Polyphony), issue 33-34/2019, pp. 28-41
Athens: “Koultoura” Editions

The article is a reviewed and extended version of a paper presented at the Conference
Music – Aesthetics – Society
(in memory of O. Psychopedis)
School of Music Studies, University of Athens
Athens, November 23, 2018



This article presents a brief account of the new conditions where the production, circulation, and consumption of cultural goods take place. New opportunities for creators, intermediaries, and the public emerged, as significant changes in the ways of producing culture have been brought about by several factors. These include the development of digital technologies and the internet; the new international division of labor in the realm of cultural industries of a globalized economy; the proliferation of networking and “inter-networking” of both the authors and the public.

At the same time, these interdependent developments outline a context quite different from the one experienced and analyzed by Adorno in his critique of culture industry. This article focuses on these changes as it aims to raise several questions regarding Adorno’s critique in an attempt to explore and highlight what remains crucial and important from his point of view. In addition, it clarifies some of the widespread misrepresentations of his views that make his approach too superficial.