On the other hand, as Rudy Rucker notes, while new art is constantly threatened by commodification, it is dependent on the monoculture for its launching point and uniqueness.
"...I think you are underestimating the difficulty of applying McDonough's Hannover Principles...because as our society gives increasing importance to commodification, it neglects other principles.
In an era where likes serve as empty calories for our self-esteem, and we can repurpose any life moment for commodification, it's difficult for us to determine what is real and what is an act.
Call it cultural commodification, but it is a reminder that the New York Yankees, much like the Michael Jordan Chicago Bulls, mean something to the world about physical power and the will to win, and that in itself keeps me thrilled to be a fan.
Sex work may be so heavily defamed because it reminds us that maybe sex was never really free that sex is not immune to commodification as it has always been traded for security, land, goods, or money.
Sex work may be so heavily defamed because it reminds us that maybe sex was never really free, that sex is not immune to commodification as it has always been traded for security, land, goods or money.
In a culture in thrall to advertising, marketing and celebrity, Warhol made art that mirrored that hyper-real world of commodification even as it critiqued it.
It only serves to permit the commodification of nature," it says.
The arrival of Margaret Thatcher had, in Billington's view, an unmitigatedly disastrous effect on both theatre and country, ushering in the commodification of culture (it was now that plays started to be spoken of in Arts Council circles as "product"); the musical theatre began its swift march to dominance of first the commercial sector, then the subsidised.
At a time when indie music has become mainstream, prog still repels major labels, because it resists commodification and they don't know how to market it – Mike Portnoy points out that even when Dream Theater were selling half a million albums a year, they were constantly locked in battles with their label, which demanded shorter, radio-friendly songs.
What is new, he argued, is the intensity and pace of that evolution and the degree to which "commodification," as he calls it, separates the sound from the maker -- repackaging it in the form of pop and dance samples, television advertising music or film soundtracks.
