{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","title":"Digital Capitalism","author":null,"edition":null,"publisher":null,"year":null,"isbn":"2021022153","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","id":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","uuid":"50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","title":"Digital Capitalism","normalized_title":"digitalcapitalism","author":null,"edition":null,"publisher":null,"year":null,"isbn":"2021022153","isbns":["2021022153","9781032119182","9781032119205","9781003222149","2405518376"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":343,"navigation_url":"https://workshop.closeclaw.top/ai/book/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","title_url":"https://workshop.closeclaw.top/ai/title/Digital%20Capitalism","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed","page_url":"https://workshop.closeclaw.top/api/ai/books/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/page","search_url":"https://workshop.closeclaw.top/api/ai/books/50b7f922-b940-4a05-8eb0-c4dc0d8ec9ed/search"},"page":{"printed_page":107,"pdf_page":121,"physical_index":121,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"8518270468c3b450988768de1f598a7182bbd5fa72392fdc08da16667b9276ce"},"chapter":"DIGITAL CAPITALISM","content":"He also argued that audiences consume and accept the culture industry’s products “with a kind of reservation” so that “it is not quite believed in”, “the integration of consciousness and free time has not yet completely succeeded”, “the real interests of individuals are still strong enough to resist, within certain limits, total inclusion”, “a society, whose inherent contradictions persist undiminished, cannot be totally integrated even in consciousness”, “a chance of maturity (Mündigkeit)” remains (Adorno 1991, 196–197).\n\nThird, Adorno didn’t see capitalist society and the culture industry as having no alternatives, which means that he wasn’t a political and cultural pessimist. Adorno stressed the potentials for alternative media. He stresses that television/Fernsehen literally means to watch into the distance. True television would enable humans to watch into society’s future. Therefore,\n\nto keep the promise still resonating within the word [television], it must emancipate itself from everything within which it – reckless wish-fulfilment – refutes its own principle and betrays the idea of Good Fortune for the smaller fortunes of the department store. (Adorno 1998, 57)\n\nAdorno argued for the use of TV in anti-fascist education in order to reach “the nerve centres” of the authoritarian personality (Adorno 1967, 24). Adorno certainly would have supported the Maximilian-Kolke-Werk’s project that has since 2010 organised meetings of young journalists and media studies students with survivors of the Nazis’ extermination camps. The students create and publish videos, interviews, written and audio reports, blog postings, etc. that they spread via various media, including social media such as YouTube. Adorno would welcome using social media and usergenerated content platforms for anti-fascist education but would advice against combining such content with ads.\n\nAdorno was a public intellectual who effectively used broadcast media for discussing contemporary political issues. He especially gave lectures on the radio and participated in discussions broadcast on radio and television. Today, there are Adorno-CDs and many Adorno broadcasts are available on YouTube.\n\nAdorno’s works are complex and multi-layered. They are of key importance today for understanding contemporary society, including the interaction of capitalism and digital technologies. The next section, therefore, gives based on Adorno attention to the digital culture industry.\n\nChapter Four | Adorno and the Media in Digital Capitalism\n\n107\n\nAdorno’s Demonisation","previous_page":106,"next_page":108}