Digitalizing consumer society: equipment and devices of digital consumption

ABSTRACT

This special issue of the Journal of Cultural Economy focuses on the digitalization of consumption and its social, cultural, ethical, political, and gendered implications. It thus answers the call for more research on how digital devices spread from the purely personal domain to multiple sociocultural domains. Through their use, new cultural practices have emerged between consumers and these devices, and devices and markets, that lead to change, in terms of consumer demand, consumption norms, and issues of ethics, culture, and power. Closely examining the role that devices play in consumption behavior enables us to address the supposed manipulative power of hi-tech companies, infrastructures, and systems at the global level, and the view ordinary market actors hold of digital appliances as empowering tools at the local level. The papers in this volume bridge ‘actor network theory' and ‘consumer culture theory' from the perspective of market ‘agencements.’ Ruckenstein-Granroth and Beauvisage-Mellet, and Arriagada-Concha focus on the device-mediated relationship between large digital market infrastructures and consumer behavior; Petersson McIntyre and Licoppe unveil the societal and cultural underpinnings of digitalized markets. Last but not least, Sörum and Soujtis address the political dimensions and implications of our new digital consumer equipment and society.     

CREATIVITY,CAPITAL AND TACIT KNOWLEDGE

This article discusses the role of creativity, graphic design innovations and tacit knowledge within advertising agency competition processes during the first half of the twentieth century. This period witnessed the arrival of the ‘advertising creative’: the artist-designer, whose output and tacit understanding of consumer tastes became key for the competitive advantage of agencies. Adapting Bourdieu's concept of the social field within which actors create and trade various forms of capital, I show how and why William Crawford's advertising agency in London became a pioneer in promoting the social, cultural and economic role of this new group of agency workers. I argue that Crawford's became the first advertising agency that carved out a unique position within a highly competitive market by defining its visual production and organisational identity entirely through notions of creativity. This places Crawford's at the heart of the emergence of a cultural economy for which creative skills are a paramount source of value creation.     

Agencing femininity: digital Mrs. Consumer in intra-action

ABSTRACT

Social media is abound with women writing about consumption goods and practices associated with femininity and heterosexual nuclear family life, such as being married, dressing, cooking and home decoration. This article examines how the housewife ideal can be an attractive identity in the 2010s and, drawing on the post-humanist performativity by Karen Barad (2007), it maps the material-discursive agencies that enable the re-emergence of this figure. Building on in-depth interviews with women who refer to themselves as influencers and bloggers, and visual and textual analyses of their Instagram-accounts, including links to sponsors and comments from followers, the article analyzes how the tensions between these women's real lives and their cyber lives, become meaningful in this technological culture. The breaking of boundaries between human and non-human resulting from digital technology has re-configured the housewife role by transforming boundaries between intimate and commercial practices. By focusing on the three areas: Transforming the feminine body, Transforming Intimacy, and Entrepreneurial femininity the article shows how agency emerges from within transforming practices of body, intimacy and entrepreneurship, intra-acting within this new housewife phenomenon. In doing so it discusses the negotiations and space for agency these women thought that digital technologies provided for them.     

Mobile consumers and the retail industry: the resistible advent of a new marketing scene

ABSTRACT

Over the last ten years, marketing professionals have invested in various devices aimed at digitalizing the point of sale. Mobile phones, and the connection they open between the digital and physical worlds, are likely to profoundly renew the way organizations build the representations of consumers upon which they operate. This article aims to describe the new, mobile-based market infrastructure that is currently being implemented; the figures of the consumer it builds on and renews for marketing purposes; and the opportunities it offers to create a new marketing scene. We address this question by focusing on the world of physical retail. We show that online commerce websites and http cookies have enabled a connection between three traditionally separate figures of the consumer and associated marketing scenes: the consumer as an audience, as a shopping cart, or as a (loyalty) card. The smartphone carries the promise of pursuing this movement into store aisles. We show, however, that the domestication of physical geography to cultivate mobile consumers is particularly difficult, and so far based on a series of disparate attempts and experiments.     

Algorithms,advertising and the intimacy of surveillance

ABSTRACT

This article develops the notion of the intimacy of surveillance, a characteristic of contemporary corporate marketing and dataveillance fueled by the accumulation of consumers’ economically valuable digital traces. By focusing on emotional reactions to targeted advertisements, we demonstrate how consumers want contradictory things: they oppose intrusive and creepy advertising based on tracking their activities, yet expect more relevant real-time analysis and probabilistic predictions anticipating their needs, desires, and plans. The tension between the two opposing aspects of corporate surveillance is crucial in terms of the intimacy of surveillance: it explains how corporate surveillance that is felt as disturbing can co-exist with pleasurable moments of being ‘seen’ by the market. The study suggests that the current situation where social media users are trying to comprehend, typically alone with their devices, what is going on in terms of continuously changing algorithmic systems, is undermining public culture. This calls for collective responses to the shared pleasures and pains while living alongside algorithms. The everyday distress and paranoia to which users of social media are exposed is an indicator of failed social arrangements in need of urgent repair.     

The editorial playlist as container technology: on Spotify and the logistical role of digital music packages

ABSTRACT

This article explores the role of editorial playlists in Spotify’s streaming economy. In particular, it approaches Spotify’s playlists as container technologies – i.e. technical solutions that assemble, preserve, and transport music objects and thereby uphold logistical operations within the music industry. Such an approach seeks to complement previous research concerning playlists, which has often analyzed their emotional and affective dimensions but paid less attention to how playlists enhance calculative, mathematical, and logistical retail flows within the online music economy. On the one hand, the article considers how playlists – like containers in general – materialize principles of modularization and automation in ways that enhance control and remote oversight. On the other hand, it discusses how the playlist is far from a perfected means of measurement and control, and sometimes acts as an unruly transport device. Ultimately, the article shows how the playlist format occupies an uneasy position between order and disorder within the digital music economy which has not yet been fully accounted for in the context of music-oriented media studies.     

Music consumption at the dawn of the music industry: the rise of a cultural fad

This paper discusses the extent to which sociodemographic characteristics of consumers and their past consumption are less effective in explaining the decision of purchasing a cultural good than the characteristics of the product itself, which allow for imitative behaviors and are at the basis of distinction. While the former approaches are well documented in the literature, the latter refers to Bourdieu’s idea of objectified cultural capital, which has been revisited and empirically explored. Because the various causal effects interact with each other, this paper tests a theoretical model which matches individual characteristics of the consumer with the properties of the cultural product. Specifically, we discussed the emergence of a new version of a cultural good, which is able to broaden the dimension of the market by gaining rapid success in its audience. This diffusion pattern is a quite rare event, but disruptive for the market and extremely profitable for the producer. The authors label this occurrence a disruptive cultural fad and try to understand the determinants of its adoption. The hypotheses of the model are tested on a unique dataset of microdata of purchasing transactions in Milan in the early nineteenth century, when the music by Gioachino Rossini emerged as a disruptive cultural fad at the dawn of the music industry. Results show that key features of a successful disruptive cultural fad are the role of some specific patterns of personal past consumption, the capabilities of generating positive network externalities in the consumption, and, surprisingly, the lack of negative ones due to any possible hip or snob effect.     

Mapping the intermediate: lived technologies of money and value

ABSTRACT

As financial transactions are increasingly digitized, old and new kinds of intermediaries are only expanding in importance. Intermediaries, mediators and brokers sit at critical junctures and operate between diverse financial arenas and pathways. We argue that mapping the intermediate entails identifying how different kinds of actors—human and non-human, objects and interfaces, institutions and practices—delimit or reify but also stitch together and overcome spatial and temporal differences in people's financial lives, while taking on varying burdens of risk. Mapping the intermediate is both an empirical and methodological exercise. Empirically, it requires following the agents and traders, brokers and material objects that facilitate transactions and add, extract, or re-work different kinds of value. Methodologically, intermediaries and the intermediate are not only the objects of analysis but act as analytical tools in their own right, making the process and politics of transactions visible and tangible. Attending to the intermediate in our inquiries around money, currency and new digital financial technologies, thereby, offers new directions for grounding finance in politics and history and better connecting micro and macro and local and global economic processes.     

Human and non-human intermediation in rural agricultural markets

ABSTRACT

A central trope of the information society is that of ‘information flows.’ The implicit assumption underlying such a vision involves the removal of gatekeepers and intermediaries who are perceived to impede such flows. Drawing from field research on information circulation, trade, and money in rural markets in Myanmar and India, we show why intermediaries persist alongside information and communication technologies (ICTs) in trade and financial transactions in the ‘Information Age.’ We examine the range of roles, (human and non-human) actors, and material practices that are involved in conducting financial transactions, and we show the importance of historical legacies and politics in explaining why both cash and financial intermediaries persist in the digital age. Focusing on the different value that human and non-human intermediaries bring to financial encounters helps explain what characteristics make each resilient or replaceable in a time of change. By situating intermediaries and mediations in the social relations within which they operate, we bring back the role of power and politics – an element that is often missing in accounts focused on the unmediated and ‘free’ circulation of information using ICTs – in explaining processes of mediation and circulation.     

The prosumer economy and the sex industry: the creation of an online community of sex prosumers

ABSTRACT

In this article, I discuss how changes in the economic infrastructure of mass consumption have changed the values and attitudes of consumer culture. By focusing on an online community of Israeli sex consumers and applying the theoretical framework of the prosumer economy, this article suggests its innovative potential for understanding the intersections of cyberspace, capitalism, and sex work consumption. Using the context of the dynamic cultural terrain of prosumerism, the article examines how commercial way of thinking is encouraged, understood, and adopted by sex consumers in the practice of purchasing sexual encounters and sharing them online. The main argument is that the online community of sex consumers has become a collaborative project in which consumers simultaneously produce and consume – that is, they become ‘prosumers’ and thus occupy positions of power within the capitalist market-place. They, therefore, not only responding to market rules but also producing them. I claim that the change in the nature of the community has impacted both the nature of online writing and the way clients perceive sex workers.     

Cultural goods creation, cultural capital formation, provision of cultural services and cultural atmosphere accumulation

The cultural atmosphere in a society is accumulated over time through the consumption of cultural services and is diminished through depreciation. Using cultural capital (e.g., cultural heritage, paintings, music scores), cultural services are provided by the cultural-services industry (e.g., museums, opera houses); cultural capital is enlarged by new cultural goods created by individuals. Individuals’ utilities are positively affected by the cultural services they consume, by the cultural goods they create and by the cultural atmosphere and the cultural capital accumulated in society. In a laissez-faire economy, individuals tend to ignore the positive external effects of their cultural-services consumption and creation of cultural goods on other individuals via accumulating cultural atmosphere and cultural capital. Consequently, suboptimally little cultural atmosphere and cultural capital will be accumulated. The efficient intertemporal allocation can be restored by introducing an appropriate subsidy that not only stimulates consumers’ demand for cultural services and the creation of new cultural goods but also enhances the accumulation of cultural atmosphere and cultural capital.

REVIEW ESSAY

This paper interrogates the concept of cultural intermediaries through an analysis of the New Zealand designer fashion industry, an industry composed of small networked enterprises which offer a wide range of educational, aesthetic and business services. The authors argue that ‘cultural intermediaries’ can no longer be thought of in terms of particular occupations, spaces or events. Instead, cultural mediation is more productively understood as a function of the multiplicity of activities and relationships organised around the new economic spaces of the fashion industry, all of which are subject to the exigencies of capital accumulation. Moreover, the proliferating activities that comprise the New Zealand fashion industry are profoundly gendered, both in terms of women's numerical dominance and the gendered skills and attributes that these activities mobilise. These women are all producing, mediating and consuming fashion, making up the complex economic and cultural networks which comprise the fashion industry and also supporting the industry through their own fashion consumption and the creation of a broader fashionable sensibility. It is in this context that the authors ask ‘Who needs cultural intermediaries indeed?’     

Between business and morality: cultural politics in independent bookshops in China

ABSTRACT

This article investigates how cultural businesses may facilitate contentious political activity in authoritarian contexts. Existing research in Western liberal democracies has shown the widespread political activism of actors in the cultural and creative industries. Whether such activism exists in authoritarian society, how it may differ in character and form, and what implications this will have for our understanding of relations between business, politics, and culture in authoritarian countries remain to be addressed. Drawing on data collected from 55 ‘independent bookshops’ in China, I illustrate how these organisations perform ‘cultural politics,’ a type of political participation in which actors employ mainly symbolic means to express social and political concerns. The organisations’ economic relations and conditions facilitate their efforts to create spaces in which contentious questions can be raised, sensitive topics explored, and alternative ideas expressed, despite the Chinese state’s political regulation of the cultural sphere. The finding of the economic embeddedness of cultural politics sheds new light on our understanding of the political economy of cultural businesses in contemporary China.     

Milk,Modernity and the Making of the Human

Branding is an economic and cultural process. Branding endows goods and services with value which corporations protect as their intellectual property, enabling brands to support share prices and be traded as assets in takeovers and mergers, at the same time as they serve to differentiate products competitively in the marketplace. Yet this ‘brand value’ depends on cultural perceptions of the meaning and worth of a brand. More than the unique image or positioning of a brand being maintained relative to others of its kind, such perceptions may involve the expressive and emotional attachment of consumers, and this may be very widely shared. This paper argues that, with certain brands, such shared attachment can occur on a national basis, so that they become symbols of national belonging. Whereas consumers attribute a putative foreign national origin to some global brands – for example, Harley-Davidson is unequivocally ‘American’ – they relate to other brands as expressive of their own national origin. This identification often persists even when national brands are taken over by global corporations, since the brand's association with the nation is a major dimension of its value, or the ‘brand equity’ which the new global owner has paid for, and intends to capitalise upon. The paper examines instances in which this has happened in Australia, such as the traditional brand Vegemite, long ago acquired by Kraft, and also cases where the Australian associations of a brand have been exploited in establishing its global identity, notably Foster's Lager.     

Intimacy and Self-Abstraction: Radio as New Media in Aboriginal Australia

In the first decade of the twenty-first century, a number of Indigenous radio stations around Australia began to use digital programming and digital music libraries, at times pre-programming their broadcast signal days in advance through various forms of digital audio workstation (DAW). This shift initially caused both celebration and concern, and occasioned reflection by many producers on how radio ought to work and sound. For some producers the shift to digital pre-programming seemed a threat to the intimate address that Aboriginal radio entailed. On the other hand, some of these same producers began to re-imagine the audience to which such indigenous media might now aspire and to celebrate the sheer quantity of Aboriginal programming that a smaller number of producers could now produce. In challenging radio's naturalised ‘liveness’ for Aboriginal radio producers this oscillation suggests a distinct media ideology (Gershon 2010a), a sense of what radio media ought to accomplish, that draws together forms of intimate address and public abstraction. In my analysis I re-imagine John Durham Peters' heuristic dichotomy of dialogue and dissemination as a tension between intimacy and self-abstraction in order to suggest how radio as ‘new media’ continues to animate some longstanding dynamics of Aboriginal cultural production.     

Technological change and managerial challenges in the movie theater industry

The recent rise of digital technology in the delivery of entertainment casts doubt among industry stakeholders on whether movie theaters will continue to be the primary channel of the release of motion pictures. Despite the growth of competing outlets due to the spread of digitalization, we argue that the movie theater industry may benefit from digital technologies as well. Enhancing the cinemagoing experience, better matching of the cinemagoing experience to consumer preferences, and improving capacity utilization are crucial if movie theaters are to continue having a pivotal role in the distribution of filmed entertainment. In particular, our data analysis demonstrates that the use of new digital technologies and “big data” may be one way to turn the current threats into future opportunities for movie exhibitors. Therefore, managerial strategies that aim to raise the value proposition of theaters by enhancing the cinemagoing experience, and that boost adaptability to rapidly changing consumer preferences about how and when they view filmed entertainment, ought to be studied and implemented.

     

Do cultural differences affect the trade of cultural goods? A study in trade of music

This study investigates the impact of cultural differences on trade decision and trade volume of cultural goods, using the data of traded music compact discs (CDs). According to ethnomusicological and civilization classifications, we classify countries into several groups and make novel variables that properly represent the cultural differences. We use the gravity model of trade proposed in Helpman et al. (The Quarterly Journal of Economics 123(2):441–487, 2008), which is utilized to avoid selection and endogeneity biases of estimation. In addition, we exploit an identifying assumption on the types of consumers, so that one of the cultural variables can satisfy the exclusion restriction in our two-stage estimation procedure. Our empirical hypothesis is that the trade volume of music is larger between two countries with greater cultural familiarity. The empirical results show that cultural differences have significant influences on the trading decision and volume of music traded in addition to the traditional determinants of trade. This finding supports our hypothesis that cultural familiarity promotes the cultural goods trade.     

Acceleration Nation: An Investigation into the Violence of Speed and the Uses of Accidents in Iceland

Abstract

There are two starting points from which this paper is constructed: first, Virilio’s observation that the wealth of societies is founded on their dromocratic condition, that the faster societies accelerate their citizens, commercial goods and communication the more political and economic power they have and, second, the links that he traces between technologies of speed and acceleration and the accident. We suggest that Virilio’s ideas on this invite and deserve a closer ethnographic scrutiny than they have so far received, scrutiny that highlights the varied ways in which speed, acceleration and the accident are articulated in different cultural contexts. To this end we offer an investigation into the dromocratic condition, the violence of speed and the uses of accidents in Iceland.     

A Phantasmic Experience: Narrative Connection of Dead Celebrities in Advertisements

Abstract

Featuring dead celebrities in current advertisements has become a well-known practice in contemporary advertising techniques. Marilyn Monroe sells Sunsilk, John Lennon is a spokesman for One Laptop per Child, Gene Kelly and Donald O'Connor demonstrate the roominess of a Jetta's now larger backseat. To unearth the viability of re-structuring dead celebrities into new advertisements, this article analyzes how phantasms – visual and vocal recordings – speak to the living consumer through the construction of emplotment, a main element of Paul Ricoeur's narrative theory. Particularly, Ricoeur's work on mimesis, metaphors, and memories direct this inquiry for these terms shape a phenomenological understanding of temporality and connectivity with a disembodied other. The goal of such exploration aims to link dead celebrities with the construction and transmission of persuasive messages within an advertising narrative framework.