Traditional media and the more conventional frameworks for socializing art are now less involved in building a symbolic reservoir, in cultivating an audience, and in effectively mediating the processes that consolidate a comprehensive cultural heritage among citizens. It may sound like an apocalyptic statement, but it’s worth approaching with pragmatism.

Being less involved doesn’t mean they’re not involved at all. In fact, there are still underexplored potentials that could increase their influence, particularly among younger generations. The path forward isn’t to dig in and defend old-fashioned methods as a stronghold. The path is integration.

The famous image of Muhammad and the mountain could be adapted to today’s times. If young people don’t go to tradition, then tradition must go to them—taking advantage of the opportunities of the moment. It’s not new that rebellion and the urge to renew formats and narratives have always been part of youth’s spirit.

The history of art and culture is built precisely on the capacity for dialogue. The classics are timeless: they can bridge any contemporary debate. And each era begins to shape its own classics—the works that will withstand the scrutiny of the future.

It’s true that we’re witnessing a growing trivialization of cultural consumption—using the term “consumption,” which itself sparks plenty of debate—a frivolity that can, in some ways, be linked to the democratization of access to artistic and literary production. More access, fewer mediations.

Never before has it been so easy to access the great heritage of creation. But that doesn’t mean the paths are more direct. Choosing from the sea of offerings is a titanic task. And many, faced with the logic of fast and easy consumption, will opt for the lightest fare. It’s an equation that also involves educational processes, cultural policies, and the system of criticism.

Without alarmism: there is a cultural war. The avalanche of subproducts is no accident—it follows a hegemonic scheme with strong commercial anchors. The so-called cultural industry is, first and foremost, an industry. Spiritual enrichment matters less than business.

The goal of making art a shared heritage—not a privilege of elites—requires promoting the most authentic hierarchies. That is, right now, one of the major imperatives for the media.