Adbusters, Issue 94: Post Normal

AB94: submit Normal
(March/April 2011)

Featured during this issue:

inventive Director: Pedro Inoue
Micah White on a possible way forward for activism
Mikkel Borch-Jacobsen at the hazards of bipolar medications
Manfred Max-Neef on barefoot economics
David Orrell questions the mythology at the back of neoclassical economics
We ask “What is normal?”

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Additional info for Adbusters, Issue 94: Post Normal

Sample text

In order for mass culture to be "popular," it must make concessions to this impulse toward "heterogeneity," it must contain elements of such facets of "liberation" as "the camivalesque," "evasion," and "jouissance"; it must allow for rebellion against the "patriarchy;" it must make gestures toward an "inversion" of values. " The values of consumer society are still those attacked by the mass society theorists: by its nature, capitalism requires rigid conformity and patriarchy in order to function.

Both the way businesspeople think and the way corporations are organized have shifted dramatically over the last forty years; by glibly passing over these changes when describing the culture of capitalism even were one to grant that only cultural reception mattersone seriously miscontextualizes American daily life. Ultimately, though, something much greater than simple academic error is at stake: recent cultural studies are concerned with the nature and practice of dissent itself; and to identify capitalism, its culture-products, and its opponents according to an inflexible scheme of square and hip"homogeneity" versus "heterogeneity," the "power bloc" versus "the people," conformity versus individualismis to make a strategic blunder of enormous proportions.

But both industries' reaction to youth culture during the sixties was more complex than that envisioned by the co-optation theory. " Both industries underwent "revolutions" in their own right during the 1960s, with vast changes in corporate practice, in productive flexibility, and especially in that intangible phenomenon known as "creativity"and in both cases well before the counterculture appeared on the mass-media scene. In the decade that followed, both industries found a similar solution to their problems: a commercial version of the mass society theory that made of alienation a motor for fashion.

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