That is synergy, in a nutshell. Microsoft uses the term “bundling” to describe the expanding package of core goods and services included in its Windows operating system, but bundling is simply the software industry’s word for what Virgin calls synergy and Nike calls brand extensions. By bundling the Internet Explorer software within Windows, one company, because of its near monopoly in system software, has attempted to buy its way in as the exclusive portal to the Internet. What the Microsoft case so clearly demonstrates is that the moment when all the synergy wheels are turning in unison and all’s right in the corporate universe is the very moment when consumer choice is at its most rigidly controlled and consumer power at its feeblest. Similarly, in the entertainment and media industries, synergy nirvana has been attained when all of a conglomerate’s arms have been successfully coordinated to churn out related versions of the same product, like molded Play-Doh, into different shapes: toys, books, theme parks, magazines, television specials, movies, candies, CDs, CD-ROMs, superstores, comics and megamusicals.

In less enthusiastic eras than our own, other words besides “synergy” were commonly used to describe attempts to radically distort consumer offerings to benefit colluding owners; in the U.S., illegal trusts were combinations of companies that secretly agreed to fix prices while pretending to be competitive. And what else is a monopoly, after all, but synergy taken to the extreme? Markets that respond to the tyranny of size have always had a tendency toward monopoly. Which is why much of what has taken place in the entertainment industry during the last decade of merger mania would have been outlawed as recently as 1982, before President Ronald Reagan’s all-out assault on U.S. anti-trust laws.

Artists will always make art by reconfiguring our shared cultural languages and references, but as those shared experiences shift from firsthand to mediated, and the most powerful political forces in our society are as likely to be multinational corporations as politicians, a new set of issues emerges that once again raises serious questions about out-of-date definitions of freedom of expression in a branded culture. In this context, telling video artists that they can’t use old car commercials, or musicians that they can’t sample or distort lyrics, is like banning the guitar or telling a painter he can’t use red. The underlying message is that culture is something that happens to you. You buy it at the Virgin Megastore or Toys ’R’ Us and rent it at Blockbuster Video. It is not something in which you participate, or to which you have the right to respond.