capitalism

This recent ad for Norton Antivirus software reinforces the concept of lifestyle consumption as articulated by Mike Featherstone (1991) two decades ago. When I saw this commercial, it made me wonder how the trends of lifestyle consumption are fast changing as a result of the increasing digitization of consumer goods. At a time when our very identities seem to be wrapped up in the information we circulate (via Facebook, email, and the various other affordances our digital technology allows), this ad seems to push the concept of lifestyle consumption to a new extreme. And it epitomizes postmodern advertising in that it “educates and flatters at the same time” (Featherstone 1987).

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On September 18th, 2011, Barry Wellman, the early and rather prescient scholar of the Internet, posed a somewhat tongue-in-cheek question to the Communication and Information Technology Section of the American Sociology Association (CITASA): “‘Critical’ – aren’t we all?”  This post was precipitated by a call for papers for special issue of tripleC entitled Marx is Back: The Importance of Marxist Theory and Research for Critical Communication Studies Today (no affiliation with the author).  Specifically, the call invited papers that address (my emphasis):

what it means to ask Marx’s questions in 21st century informational capitalism, how Marxian theory can be used for critically analyzing and transforming media and communication today, and what the implications of the revival of the interest in Marx are for the field of Media and Communication Studies.

Shortly after it was sent, Wellman responded to the call, saying:

Not meant personally, but the use of the word “critical” by a subset of scholars always bothers me as leading to unconscious smugness? If I’m “critical”, your lot isn’t? Who, except flacks and twerps, isn’t critical? Can we criticize the criticalists?

This sparked a debate over the utility and appropriateness of the phrase “critical theory.”  Critics of the phrase raise the following objections: more...

A "Fakebook" Sleeve

Just as we might have expected, the much-tweeted Facebook sleeve tattoo that I wrote about before has turned out to be a hoax. More specifically, it was a marketing campaign for the company Pretty Social. The company allows you to create custom handbags, stickers, and other products emblazoned with the profile pictures of your (digital) friends.

Nonetheless, the viral video itself made its way around the Internet, serving as but another case of tattoos as advertising. Much has been written on the topic already (Bengsston et. al 2005; McKelvey 1999; Kosut 2005), but I want to theorize further the use of tattooing in marketing as it relates to the phenomena of brand tattoos and lifestyle consumption and the repercussions these trends have for understandings of consumer culture. more...

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I’m currently doing field work in Kumasi, Ghana and will be back next week with some really great original content. Until then, I am sharing a piece of media that I have been looking forward to, but currently have absolutely no time to watch. Amy Goodman moderates a discussion between Lacanian Philosopher and pop-culture critic  Slavoj Zizek and Wikileaks founder Julian Assange. This is the first interview Assange has given since being put under house arrest without charges filed against him by Sweden or the UK. Zizek considers operations like Wikileaks are the “harbingers for the end of global capitalism as we know it.” Again, I haven’t watched this yet, but I go into it with the following questions in mind: Can we make this kind of conclusion? Or is this a matter of digital dualism mixing with the cautious optimism of the far left? Are we fetishizing information technology to such a degree that we conflate its revolutionary capacity to disrupt technological systems, with its ability to tear apart similar social systems? Technological and social systems can and do follow isomorphic and parallel organizational structures but that does not mean that a technology’s ability to disrupt one, is on par with its ability to disrupt the other.

Google Maps has a new tool to help the consumers of its popular maps also be producers. Users-generated improvements will be a benifit to many, but probably most to Google itself. While the Google video below paints all of this in light of personal or civic empowerment (“leave your mark”), we should also understand that this move towards us becoming “prosumers” of these maps is also about the company taking advantage of our free labor in hopes of earning greater profits. Does that bother anyone?

One of the few things more interesting than Anonymous, are the internal sub-groups that have begun to develop.  Libcom is currently running a story about the Anonymous Anarchist Action hacktivist group.  This group seeks to specialize in capitalist targets and (in true anarchist fashion) constructing a horizontally organized coalition of people with a wide variety of expertise (not just programming or web science).

Jon Rafman is a Canadian artist who provocatively uses Google Street View images. His project is titled “The Nine Eyes of Google Street View,” named after the  Google vehicles that roam around the globe with a 9-eyed lens to create panoramics of nearly every inch of road in the free world. Naturally, many compelling stills can be found within the mountain of imagery.

The Google camera photographs by utility – shooting in all directions at a given interval. This is opposed to the artistic model of photography where a human edits the world into the frame with some creative intent. As Rafman states in an essay about the project,

Google Street Views present a universe observed by the detached gaze of an indifferent Being. Its cameras witness but do not act in history. For all Google cares, the world could be absent of moral dimension.

However, and more critically, we should note that Google is not so nuetral at all. They are seeking total surveillance in an effort to make money. And this is partly why these images are so compelling: the juxtoposition of the “neutral” corporate Google gaze and the raw, candid reality so voyeuristically depicted.

See all the photos here. more...

Zygmunt Bauman has famously conceptualized modern society as increasingly “liquid.” Information, objects, people and even places can more easily flow around time and space. Old “solid” structures are melting away in favor of faster and more nimble fluids. I’ve previously described how capitalism in the West has become more liquid by moving out of “solid” brick-and-mortar factories making “heavy” manufacturing goods and into a lighter, perhaps even “weightless,” form of capitalism surrounding informational products. The point of this post is that as information becomes increasingly liquid, it leaks.

WikiLeaks is a prime example of this. Note that the logo is literally a liquid world. While the leaking of classified documents is not new (think: the Pentagon Papers), the magnitude of what is being released is unprecedented. The leaked war-logs from Afghanistan and Iraq proved to be shocking. The most current leaks surround US diplomacy. We learned that the Saudi’s favored bombing Iran, China seems to be turning on North Korea, the Pentagon targeted refugee camps for bombing and so on. And none of this would have happened without the great liquefiers: digitality and Internet. more...

Advertising on social media is more than those segregated paid-for-spaces that display ads paid for by companies (e.g., on the far-right of your Facebook screen). This sort of paid-advertising has been shown to be so highly ineffective that some have predicted it will be the downfall of the social web. However, these predictions do not understand that the fundamental point of the social web (2.0) is that users are prosumers; they are simultaneously both consumers and producers of content. And advertising is no different. Advertisements that we simply consume worked in a consumer medium, like television. However, social media is a prosumer medium, and today we are the ones doing the advertising work of integrating corporate logos and branding into our profiles and news feeds.

Facebook’s ubiquitous “like” button reflects our modern task of self-presentation (and distinction) based on our taste in just about anything and everything, documented and compared to the various “likes” of any other visitor to your profile (and remember: what someone “likes” may not be what they actually like but what they want others to see that they like). In modern consumer culture, this collection of displayed “likes” will include corporate brands that one identifies with. This might mean clicking “like” on the Starbucks or Victoria’s Secret pages, which then becomes a part of your profile. more...