The way in which a girl accepts and keeps the obligatory date, the inflection on the telephone or in the most intimate situation, the choice of words in con versation, and the whole inner life as classified by the now some what devalued depth psychology , bear witness to man’ s attempt to mak e himself a proficient apparatus, similar (even in emotions) to the model serv ed up by the culture industry . The most intimate reactions of human beings have been so thoroughly reified that the idea of anything specific to themselv es now persists only as an utterly abstract notion: personality scarcely signifies anything more than shining white teeth and freedom from body odor and emotions. The triumph of advertising in the culture industry is that consumers feel compelled to buy and use its products even though they see through them.
Seems like the conclusion from that article is that our emotional life is being contracted, because our "leisure time" is penetrated by standardised culture.
Standardization implies the interchangeability, the substitutability of parts.
By contrast, "serious music" is a "concrete totality" for Adorno, whereby "every detail derives its musical sense from the concrete totality of the piece." This is a dialectical relationship, whereby the totality is constituted of the organic interrelation of the particulars. In the case of serious music, interchangeability is not possible; if a detail is omitted, "all is lost."
If "seeing through" it is not enough against standardization, what else is Adorno suggesting to (re)gain our particularity (individuality), to emancipate from culture industry?