To choose the terms made infamous by Adorno and Horkheimer has the interest of immediately confronting us to the sociological issues raised today by the Internet, that is to say the potential effects of a « major technical innovation in cultural production and distribution and in information systems » on legitimate culture and on social relations 1. Furthermore, even if I disagree with their conservative-and fallacious-vision of the cultural industry, the strength of their discourse relies on their close attention in Dialectic of Enlightenment to the action of the objects-films and series-produced and distributed, at their time, by the Hollywood studios and the first TV networks. The rather surprising celebration by Adorno, in the sixties, of the Long-Playing record as a stunning technical revolution of the opera consumption brings confirmation of this regard given to the objects operated by the cultural consumer to achieve his pleasure : « The term "revolution" is hardly an exaggeration with regard to the long-playing record. The entire musical literature could now become available in quite authentic form to listeners desirous of auditioning and studying such works at a time convenient to them » 2. In this case, according to Adorno's own words, a new technical object-in the sense of the material product used as an operatoroffers the listener a means to come in possession for himself of another technical objectshere the musical technique of the opera's composer experienced by the listener-which he was obliged to share with the audience of a musical venue 3. Adorno's celebration of the LP record is thus a contribution to the ontology of art by underlining the two types of technical objects which are intertwined in any so-called « cultural product ». With the help of the LP record, « objectification, that is a concentration on music as the true object of opera, may be