Consumers often intend to create a socially responsible identity by consuming ethically. Observers, however, do not limit their inferences to the specific identity consumers intend to project. To illustrate, we examine how observers make inferences about consumers on the basis of their ethical consumption. Across four studies we find that, in addition to being viewed as ethical, consumers are viewed as less masculine and more feminine when they consume ethical products. We also identify two boundary conditions to this (...) effect, including the use of self-benefit/other-benefit advertising appeals and the use of descriptive norms to establish gender appropriate behavior. We finally examine how consumers resolve the conflict of creating ethical and gender-congruent identities. We find that when male consumers are in the presence of observers of the opposite sex, they are more likely to prioritize ethical identity even when it threatens their gender orientation. (shrink)

ABSTRACT:Ethical research on consumption has focused mainly on the obligations, principles and values guiding consumers' actions and reasons for action. In doing so, it has concerned itself mostly with such bounded contexts as voluntary simplifiers, anti-consumption movements or so-called ‘ethical consumers,’ thereby fostering an artificial opposition between ethical and non-ethical consumption. This paper proposes virtue ethics as a more apt conceptual framework for the ethical analysis of consumption because it takes into account the developmental dynamic triggered by engagement in consumption (...) practices. We build on MacIntyre's goods-virtues-practices-institutions framework and Beabout's concept of a domain-relative practice and argue that when engaging in consumption activities, agents may pursue goods internal to practices, further their individual life narratives and contribute to the good of their communities, thus developing virtues that perfect themselves both as consumers and as ethical agents. (shrink)

Enlightenment values are built around the presumption of an independent rational self, citizen, consumer and pursuer of self-interest. Even the authoritarian and communitarian variants of the Enlightenment presumed the existence of autonomous individuals, simply arguing for greater weight to be given to their collective interests. Since Hume, however, radical Enlightenment empiricists have called into question the existence of a discrete, persistent self. Today neuroscientific reductionism has contributed to the rejection of an essentialist model of personal identity. Contemporary transhumanism (...) has yet to grapple with the radical consequences of the erosion of liberal individualism on their projects of individually chosen enhancement and longevity. Most transhumanists still reflect an essentialist idea of personal identity, even as they embrace projects of radical cognitive enhancement that would change every constituent element of consciousness. Transhumanists need to grapple with how their projects and ethics would change if personal identity is an arbitrary, malleable fiction. (shrink)

Abstract:Discussions of the ethics of advertising have been based on a general distinction between informative and persuasive advertising without looking at specific techniques of persuasion. Self-identity image ads persuade by presenting an image of an idealized person-type such as a “beautiful” woman (Chanel) or a sexy teen (Calvin Klein). The product becomes a symbol of the ideal, and target consumers are invited to use the product to project the self-image to themselves and others. This paper argues that image ads (...) are not false or misleading, and that whether or not they advocate false values is a matter for subjective reflection. Image ads can undermine a consumer’s self-esteem by collectively omitting images authentic for that sort of person (such as large women), and by combining impossible images with implied gaze. Image ads generally do not undermine autonomy of choice, internal autonomy, or social autonomy. It is concluded that image advertising is a basically ethical technique, but several recommendations are given on how use of image advertising can avoid specific harms. (shrink)

Cooperatives are facing the challenge to be competitive in the market, without losing their traditional values of mutuality and democracy. To do that, they need to re-construct open and participative dialogue with their employees and members based on more democratic forms of communication and engagement. From this point of view, the measurement and communication of sustainability aspects may allow a dialogue to be mobilized with shareholders and stakeholders without losing the attention on competitive factors. Based on these premises, the article (...) analyses the experience of a 5-year action research project , carried out within Unicoop Tirreno, an Italian consumers' cooperative, and aimed to implement different tools for sustainability accounting and to embrace a more open dialogue with stakeholders, in particular with employees and members. In this process of change, the tools implemented for sustainability accounting played a key role in supporting the cooperative to reinterpret its own values and in stimulating a new and participative management approach. The results indicate a virtuous circle between the management and measurement of cooperative principles and the management and measurement of sustainability issues. (shrink)

In 1935, when the U.S. Supreme Court’s new building opened and displayed the phrase “Equal Justice Under Law,” racial segregation was commonplace, as were barriers limiting opportunities for men and women of all colors to participate in economic and political life. The justices on the Court and the lawyers appearing before them reflected those facts; almost all were white men. Today, the Supreme Court’s inscription has become its motto, read as if it always referenced an understanding of equality that has (...) become central to the identity and the legitimacy of courts. The judiciary “looks” somewhat different than it did and, in a sense, has become more “representative” of the range of people appearing in courts. Given the role that courts had played in sustaining discrimination, the impression that courts ought to welcome everyone is a major achievement. Yet, to assess the impact of new judicial demographics requires analysis of other major alterations in U.S. courts—the influx of diverse litigants newly entitled to pursue legal claims; the economic barriers facing many claimants; the emergence of judiciaries as agency-like promoters of agendas; and the displacement of public adjudication through the privatization of dispute resolution. Studies of women as judges focus mostly on their rulings, but probing the “difference that difference makes” requires looking beyond judicial opinions. Courts in the United States have developed structural capacities to propose rules and legislation, create education programs, commission research and task forces, and lobby for resources. When women of all colors and men of color became lawyers and judges, they created affinity organizations and pressed courts to research court-based bias and to revise rules of ethics, doctrine, and practice. Those changes are part of the impact of diversification within the legal profession, as is the backlash against affirmative efforts to reform practices. Another difference of the last decades is that new rights have brought into court many claimants with limited means. Participatory participation remains elusive, while the “justice gap” is pervasive. Worse yet, in some jurisdictions, courts have served as “revenue centers,” using court-imposed assessments as income. Failure to pay “legal financial obligations” can result in suspension of driver’s licenses, the loss of voting rights, and other sanctions levied disproportionately on people who are poor and of color. Instead of being seen as fonts of fairness, courts are coming to be identified as sites of inequality. In addition, many courts have embraced alternative forms of dispute resolution that make both processes and outcomes less visible to the public. Through doctrine and rules, U.S. courts have shifted their own practices as well as enforced mandates imposed on consumers and employers that push them out of court and out of class or joint actions. In sum, the new faces on the bench ought not to obscure that the project of representation, inclusion, and equality is far from complete. The vivid inequalities in courts are problems for courts because such disparities undermine their ability to be places of justice. (shrink)

This essay analyzes the eco-religious “God’s Gardeners” group as they appear in Margaret Atwood’s Oryx and Crake and The Year of the Flood as a possible model of capitalist “non-existence,” exploring the alternative potentials at which they arrive in relation to waste throughout the text. The Gardeners present an affective mode of consumer non-participation as a possible first step toward a reflexive awareness of the role trash plays in our subjective experiences of the world. Through a process of symbolic (...) embodiment, the Gardeners exist in marginalized space and so re-situate waste for themselves as objects and spaces with new potential boundaries. This leads to a confrontation with social reality itself, piercing the reality-building project of capitalist logic in order to uncover the fabricated “antagonism between the Excluded—the ‘animals’ according to global capital—and the Included—the ‘political animals’ proper, those participating in capitalism” that structures characters’ experiences. The focus here is not only on re-situating waste but re-inscribing it in the domain of social discourse in a way that subverts consumer expectations and challenges the limits of desire. In these texts, enjoyment is displaced onto waste objects as a point of psychological investment transmitted from subject to subject. In building reality through these kinds of direct relations, Atwood implies, one may challenge the imposition of ideology and expand its apparent limits in order to re-symbolize the spaces and objects marginalized as waste, proceeding in the end to a renewed interconnection between subject, object, and excess. (shrink)

The main idea of this article is to present various perspectives in order to analyze the recent crisis concerning the agriculture-based rural societies in the developed capitalist communities. In all of these countries there is a production crisis, resulting in too much food. But this is also an ideological crisis, because the consumer thinks that the food is produced at too high a price. And it is a political crisis as well because a major part of the voters think (...) subsidies and trade barriers are too high. The paper argues that beneath the present agricultural and rural policy crisis lies the failure of three great projects of our time: 1) The project of natural science; 2) The project of liberal capitalism; and 3) The project of scientific socialism. The failure of these three projects has to do with the breakdown of the positivist idea of modernization. Modernization theory was partly wrong because it overlooked the persistence of locally based life modes. Those life modes must be understood before a sustainable rural development is found. The article reviews some contemporary social science perspectives that have recently been developed to grasp the fundamental changes of today's rural societies. Based on those perspectives and primarily the life mode perspective, five key elements that are essential to analyze if we want to understand future development are isolated: food production, resources, space, social diversity, and culture. (shrink)

This article builds heterosexuality into the concept of aesthetic labor to better understand corporate efforts to construct gendered brands and consumer identities. By theorizing heterosexual aesthetic labor, I show how two men’s salons, Adonis and The Executive, hire for, develop, and mobilize the sexual identities and gender habitus of straight and conventionally feminine women to masculinize the hair salon. Drawing from ethnographic observations of and interviews with employees and clients at these men’s salons, I move the discussion of aesthetic (...) labor beyond recruitment to show how service workers become interactional resources for customers’ projections of privileged identities. Emphasizing workers’ agency, I show how the women deploy professionalizing rhetoric and protocols and essentializing frameworks to manage the dilemmas of heterosexual aesthetic labor. These management strategies allow women a sense of legitimacy and at the same time keep gender and sexual hierarchies intact and naturalize men’s entitlement to women’s bodies. (shrink)

This paper probes any possible relation between Bernard Williams’ writings on personal identity and his positive views on morality. Williams is silent about such a relation.However, one can be established. Focussing mainly on his earlier writings, this paper reveals a thread weaving together Williams’ views on personal identity, projects, and morality. Moral philosophy may only concern itself with a finite, embodied, historically-placed, or empirically-compelled agent.This paper traces Williams’ journey into the world of morality from his reflections on (...) the self or personal identity, assuming that his positive views on morality are ultimately traceable to his notion of personal identity. (shrink)

Although there is much discussion in scientific and law journals regarding direct-to-consumer genetic testing (DTCGT), there is a paucity of philosophical-ethical examination of how such services threaten to repeat the essentialist, racial-projects of the past. On the one hand, testing for ancestry can be cathartic: for those lacking familial history as to when and how they came to be where they are, DTCGT can offer powerful access to their lineage and identity-formation. On the other hand, DTCGT inevitably (...) reinscribes problematic epistemologies of race—even when the companies claim that their tests can be tools to combat white supremacy. Tracing the roots of biological essentialism back to Aristotle, through the invention of raza as cocreator of modernity, and up to critical race theories today, provides a strong foundation to examine the nascent race-thinking underlying DTCGT. Borrowing heavily from Paul Taylor and Charles Mills, but also enlisting scholars from other disciplines, such as Ifeoma Ajunwa (law), Alondra Nelson (sociology), and Troy Duster (genetics), provides the broad scope necessary for thoughtful, agile engagement of that which is ameliorative, unethical, and even dangerous—for all of us—in the age of 23andMe. (shrink)

Marketing scholars have extensively examined the role of altruistic and ecological personal values and pro-environmental identity in ethical consumption decisions. Conversely, the role of egoistic personal values and other identities has received scant attention from researchers. This research examines the role of altruistic, egoistic, and ecological personal values in triggering two types of identities: pro-environmental and car-authority. The effects of values and identities on personal norms and attitudes toward electric cars were also examined. A sample of Egyptian consumers responded (...) to an electronic survey, and collected data were analyzed using SEM. The findings generally support the VIP framework, where biospheric values significantly affect pro-environmental identity, and pro-environmental identity affects personal norms. Furthermore, personal norms affected attitudes positively. A different path was obtained which starts with biospheric and altruistic values affecting car authority positively and negatively, respectively. Car authority identity was found to affect attitudes directly, although this is accepted at lower confidence levels. A discussion of research findings, implications, and research limitations were also presented. (shrink)

As a domain of philosophical enquiry that examines what it means to be, existentialism is a moral project that is centered on the self. While a few have applied the precepts of existentialism to the philosophical implications of homicide offenders, one question that has been overlooked in previous literature is 'what is the offspring attempting to do by killing his/her parent(s)'? Using historical work on nineteenth century parricides in America, this paper examines parricide as an identity project.

Puesto que los actuales niveles y modos de consumo no son ambientalmente sostenibles, los consumidores necesitan concienciarse de las cuestiones medioambientales y de las implicaciones políticas de sus prácticas. Este artículo rastrea algunos elementos que afectan al denominado “consumo verde” en varias áreas: vestido, transporte, alimento y gestión doméstica. El consumo ecológico es un fenómeno complejo, con influencias en el ámbito societal de movimientos sociales, boicots o legislación gubernamental, y en el plano individual presenta influencias de la clase social, los (...) ingresos, la educación o el estilo de vida. La mayoría de los estudios que han examinado la relación entre actitudes específicas ante este tipo de consumo y el comportamiento real de los consumidores, revelan inconsistencias entre tales actitudes y las conductas. Esta discrepancia entre actitud y comportamiento puede explicarse por el hecho de que el consumo verde está fuertemente asociado a un específico estilo de vida, el de las clases medias, más que tratarse de un fenómeno de difusión generalizada. (shrink)

continent. 1.2 (2011): 145-147. Here I accoutred myself in my new habiliments; and, having em- ployed the same precautions as before, retired from my lodging at a time least exposed to observation. It is unnecessary to des- cribe the particulars of my new equipage; suffice it to say, that one of my cares was to discolour my complexion, and give it the dun and sallow hue which is in most instances characteristic of the tribe to which I assumed to belong; (...) and that when my metamorphosis was finished, I could not, upon the strictest ex- amination, conceive that any one could have traced out the per- son of Caleb Williams in this new disguise. William Godwin Caleb Williams (352). Giorgio Agamben. Nudities . Trans. David Kishik and Stefan Pedatella. Stanford: Stanford University Press, 2011. 144 pp. | 10 illustrations. | ISBN: 9780804769501 | $16.95 A. The Protective Overcoat. The most pervasive, resilient, robust, sneaky, and significant concept in all of Giorgio Agamben’s essays is that of separation. This is not the same as alienation. Separation is more nostalgic, for Agamben valorizes an ancient world in which human society and its beings were not subject to such separation. He implies that these separations are damaging to human beings, crippling them at the very level of their identities. $4.99 B. The Handsome Gloves. Giorgio Agamben’s Nudities , like Profanations before it, employs a wide range of subjects in order to establish separation as a metaphor, in much the same way that interdisciplinary scholars have adopted Michel Foucault’s concepts in order to rethink societies and texts. The longest essay from Profanations, entitled “In Praise of Profanation,” laments humankind’s inability to profane as the result of what Walter Benjamin has called “the capitalist religion.” Likewise, “Nudity” adopts a pessimistic stance on the Christian theological tradition’s perverse asphyxiation of the unclothed body. $2.50 C. The Hoop Earrings. Religion separates humans from things by procuring for itself items as “sacred,” thus taking them out of common use. In this state, human beings are unable to play with them, unable to change their use-value. They become off-limits, museified. $1,499.00 D. The Uncomfortable Shoes. Biometrics polices identity, replacing meaningful metrics of identity. It is a deplorable situation that leaves human beings in danger of, and indeed already victims of, mass persecution. $111.75 E. The Prince Albert. One could characterize Giorgio Agamben’s desire to catalogue a history of ignorance as a recognition that human beings are separated from knowledge by language. Where then is the prophet, and how shall we be saved? $49.50 + tip F. The Corset. Franz Kafka’s character of Joseph K. has put himself on trial, as in Roman trials when the Kalumniator was marked with the letter K. The torture he undergoes is meant to elicit a confession of the truth. It is possible that Giorgio Agamben perceives his role as a philosopher to be confined to self-trial, and that with every passage he flays the unclothed page with prophetic intent. $27.00 G. The Derby. Giorgio Agamben himself tries to bridge various separations through exploratory play. He is not a performative writer semantically, but his exploratory style is rooted in the play spirit. His strategy of numbering points is almost comical, yet it is not misleading. It is play, after all, not ruse. He denudes with pecks, like carrion on a tattered corpse. $11.00 H. The Trousers. Although Giorgio Agamben is elsewhere concerned with the profanation of religion’s apparatuses, in essay nine he would like to consider what is consumed during days of inoperativity, how religion governs these, and how to account for our binges and purges. Inoperativity is inextricably bound to feasting, to the festival. $24.50 I. The Stylish Belt. The only essay in Nudities to contain photographs is the essay entitled, “Nudity.” All of these photographs project human bodies. $.01 I The aim here is not to tap into an original state prior to the separation but to comprehend and neutralize the apparatus that produced this separation. (66) II The contemporary is he who firmly holds his gaze on his own time so as to perceive not its light but rather its darkness. (13) III We can therefore only experience nudity as a denudation and a baring, never as a form and a stable possession. (65) IV Just as genius and talent originally distinct and even opposite—are nevertheless united in the work of the poet, so the work of creation and the work of salvation, inasmuch as they represent the two powers of a single God, remain in some way secretly conjoined. (6) V In our culture, the face-body relationship is marked by a fundamental asymmetry, in that our faces remain for the most part naked, while our bodies are normally covered. (88) VI Every man initiates a slanderous trial against himself. (21) VII The glorious body is not some other body, more agile and beautiful, more luminous and spiritual; it is the body itself, at the moment when inoperativity removes the spell from it and opens it up to a new possible common use. (103) VIII As Kleist understood so well, the relationship with a zone of nonknowledge is a dance. (114) IX The deactivation of this apparatus retroactively operates, therefore, as much on nature as on grace, as much on nudity as on clothing, liberating them from their theological signature. (90) X At any rate, whether festive inoperativity precedes religion or results from the profanation of its apparatuses, what is essential here is a dimension of praxis in which simple, quotidian human activities are neither negated nor abolished but suspended and rendered inoperative in order to be exhibited, as such, in a festive manner. (112) XI This is just how much [of] the land [the] surveyor is allowed to catch a glimpse. (36). (shrink)

Projecting essence onto a social category means to think, talk, and act as if the category were a discrete natural kind and as if its members were all endowed with the same immutable attributes determined by the category's essence. Essentializing may happen implicitly or on purpose in representing ingroups and outgroups. We argue that essentializing is a versatile representational tool that is used to create identity in groups with chosen membership in order to make the group appear as a (...) unitary entity, that outsiders often draw on a group's essentialist self-construal in their judgements about the groups, that judgements about members of forced social categories are often informed by essentialist thinking that easily switches to discrimination and racism, and that under certain historical and political conditions members of social categories and groups may contest their essentialized identity, such as parts of the feminist movement, or that they may attempt to reconstruct an essentialized identity, such as parts of the homosexual movement or the largely defunct European nobility. Besides explicit political and power interests, we see communication processes and language use as a tacit force driving essentialization of social categories. (shrink)

The phenomenon of consumption has increasingly drawn attention from economists. While the ‘sole purpose of production is consumption’, as Adam Smith has claimed, economists have up to recently generally ignored the topic. This book brings together a range of different perspectives on the topic of consumption that will finally shed the necessary light on a largely neglected theme, such as Why is the consumption of symbolic goods different than that of goods that are not constitutive of individuals’ identity? How (...) does the consumption of symbolic goods affect social processes and economic phenomena? Will taking consumption seriously impact economics itself? The book discusses these issues theoretically, and, through analyses of such cases as food, religion, fashion, empirically as well. It also discusses the possible role in the future of consumption. This book was previously published as a special issue of _Review of Social Economy_. (shrink)

The metaverse is equivocal. It is a science-fictional concept from the past; it is the present’s rough implementations; and it is the Promised Cyberland, expected to manifest some time in the future. The metaverse first emerged as a techno-capitalist network in a 1992 science fiction novel by Neal Stephenson. Our article thus marks the metaverse’s thirtieth anniversary. We revisit Stephenson’s original concept plus three sophisticated antecedents from 1972 to 1984: Jean Baudrillard’s simulation, Sherry Turkle’s networked identities, and Jacques Lacan’s schema (...) of suggestible consumers hooked up to a Matrix-like capitalist network. We gauge the relevance of these three antecedents following Meta’s recent promise to deliver a metaverse for the mainstream and the emergence of blockchain-oriented metaverse projects. We examine empirical data from 2021 and 2022, sourced from journalistic and social media (BuzzSumo, Google Trends, Reddit, and Twitter) as well as the United States Patent and Trademark Office. This latest chapter of the metaverse’s convoluted history reveals a focus not on virtual reality goggles but rather on techno-capitalist notions like digital wallets, crypto-assets, and targeted advertisements. The metaverse’s wallet-holders collect status symbols like limited-edition profile pictures, fashion items for avatars, tradable pets and companions, and real estate. Motivated by the metaverse’s sophisticated antecedents and our empirical findings, we propose a subtle conceptual re-orientation that respects the metaverse’s equivocal nature and rejects sanitised solutionism. Do not let the phantasmagorical goggles distract you too much: Big Meta is watching you, and it expects you to become a wallet-holder. Blockchain proponents want this as well. (shrink)

Two modern achievements, the modern figure of the intellectual and the modern institution of the university, have been undergoing a radical crisis of identity. The decline of the philosophical project of modernity is turning out to be a painful process for modern culture: once again it has to reformulate the aims of its social institutions (the university) and the tasks of its cultural heroes (the intellectual). The traditional modern figure of the intellectual seems untenable in our increasingly postmodern cultural (...) surrounding. The modern institution of the university may face a similar fate in our increasingly globalized surrounding: either it is going to accept the rules of bureaucratic consumer-oriented corporations, or it will have to try once again to find a new regulative idea. Thus, the history of the university and the history of the intellectual in the 20<SUP>th century being parallel, the present volume consists of essays in the philosophy of culture (devoted to the intellectual) and in the philosophy of education (devoted to the modern university) and attempts to link the two modern themes together. (shrink)

Based on the assumption that consumers will reward firms for their support of social programs, many organizations have adopted corporate social responsibility (CSR) practices. Drawing on social identity theory, a model of influence of CSR on loyalty is developed and tested using a sample of real consumers. Results demonstrate that CSR initiatives are linked to stronger loyalty both because the consumer develops a more positive company evaluation, and because one identifies more strongly with the company. Moreover, identity (...) salience is shown to play a crucial role in the influence of CSR initiatives on consumer loyalty when this influence occurs through consumer-company identification. A strong identifier is not necessarily in a constant state of salience, but activating identity salience of a particular consumer social identity (a company) will affect consumer reactions to product stimuli, increasing consumer loyalty. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (2000), which (...) characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

The experience of the use of applied containerized biomedical software tools in cloud environment is summarized. The reproducibility of scientific computing in relation with modern technologies of scientific calculations is discussed. The main approaches to biomedical data preprocessing and integration in the framework of the intelligent analytical system are described. At the conditions of pandemic, the success of health care system depends significantly on the regular implementation of effective research tools and population monitoring. The earlier the risks of disease can (...) be identified, the more effective process of preventive measures or treatments can be. This publication is about the creation of a prototype for such a tool within the project «Development of methods, algorithms and intelligent analytical system for processing and analysis of heterogeneous clinical and biomedical data to improve the diagnosis of complex diseases», implementted by the V.M. Glushkov Institute of Cybernetics, National Academy of Sciences of Ukraine, together with the United Institute of Informatics Problems, National Academy of Sciences of Belarus. The insurers, entering the market, can insure mostly low risks by facilitating more frequent changes of insurers by consumers and mixing the overall health insurance market. Socio-demographic variables can be risk adjusters. Since age and gender have a relatively small explanatory power, other socio-demographic variables were studied – marital status, retirement status, disability status, educational level, income level. Because insurers have an interest in beneficial diagnoses for their policyholders, they are also interested in the ability to interpret relevant information – upcoding: insurers can encourage their policyholders to consult with doctors more often to select as many diagnoses as possible. Many countries and health care systems use diagnostic information to determine the reimbursement to a service provider, revealing the necessary data. For processing and analysis of these data, software implementations of construction for classifiers, allocation of informative features, processing of heterogeneous medical and biological variables for carrying out scientific research in the field of clinical medicine are developed. The experience of the use of applied containerized biomedical software tools in cloud environment is summarized. The reproducibility of scientific computing in relation with modern technologies of scientific calculations is discussed. Particularly, attention is paid to containerization of biomedical applications, this permits to get reproducibility of the conditions in which the calculations took place, technologies of software pipelining of calculations, that allows to organize flow calculations, and technologies for parameterization of software environment, that allows to reproduce, if necessary, an identical computing environment. The main approaches to biomedical data preprocessing and integration in the framework of the intelligent analytical system are described. The experience of using the developed linear classifier, gained during its testing on artificial and real data, allows us to conclude about several advantages provided by the containerized form of the created application: it permits to provide access to real data located in cloud environment; it is possible to perform calculations to solve research problems on cloud resources both with the help of developed tools and with the help of cloud services; such a form of research organization makes numerical experiments reproducible, i.e. any other researcher can compare the results of their developments on specific data that have already been studied by others, in order to verify the conclusions and technical feasibility of new results; there exists a universal opportunity to use the developed tools on technical devices of various classes from a personal computer to powerful cluster. (shrink)

ABSTRACT he paper examines the digital practices and discourses of the Islamic State when exploiting Social Media Communication environments to propagate their jihadist ideology and mobilise specific audiences. It draws on insights from Social Media Critical Discourse Studies, observational approaches, and visual content/semiotic analysis. The paper maintains the complementary nature of technological practice and discursive content in the process of meaning-making in digital jihadist discourse. The study shows that digital practices of strategic sharing, distribution and campaigns to re-upload textual materials (...) are made possible by exploiting SMC communicative affordances. As for the analysis of discursive content, the paper focuses on YouTube and highlights strategic patterns and covert references in an IS-produced flagship video. It illustrates how IS discourse constructs its envisaged in-group/outgroup by symbolising current events within historical, political and ideological conflict scenarios, i.e. the incessant resistance and legitimacy of forces of virtue vs evil. By foregrounding symbolic references to military outgroup actors, IS legitimises its own violence and projects a powerful self-identity against a global hegemony. The paper shows how the combination of a technologically savvy operation and a resistant, anti-hegemonic narrative, embedded in a strategically framed symbolism of Islam, may resonate with global -diasporic digital consumers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reconquest Colonialism and Andalusī Narrative Practice in the Conde LucanorDavid A Wacks (bio)In the tenth century, when Cordova was the richest and most populous city in Europe, and the Umayyad Caliphate was setting the standard for cultural florescence in the Islamic world, a group of Christian nobles in the rocky precincts of northernmost Spain sought to expand their territorial holdings southward, into al-Andalus. Their aim was to unseat Islamic (...) political power on the Iberian Peninsula, and they sought to authorize this project by discrediting Muslim leaders as the usurpers of lands to which the Christians were rightful heirs. In their view, Christian conquests of al-Andalus were the recuperation of lands that, in the eyes of God himself, belonged to them.Spanish culture as we know it today is the product of this medieval frontier society, in which Christians and Muslims—during a span of some 700 years—continuously negotiated a political border that was culturally quite porous. By the middle of the thirteenth century, Christian rulers had gained control of the large majority of the Iberian Peninsula, including the populous and important cities of Cordova and Seville in the south. The Christians who populated these newly conquered lands found themselves in close contact with a sizeable population of Andalusī Muslims (and Jews and Christians) who had remained. The conquering Christians were great consumers of Andalusī culture in general, especially arts and sciences, and even literature. At the same time, they viewed Islam, the dominant religion of al-Andalus, as a purely illegitimate basis for political power and social organization. If the official narrative of Reconquest argues for tidy cultural purity and conformity, the reality on the ground is, in contrast, a messy and emergent pluralism, one that resonates with early modern and modern colonial experiences.1While medievalists have been slower to embrace postcolonial theoretical approaches than their colleagues working on modern and contemporary texts, they have begun to adapt the ideas of thinkers such as Fanon, Memmi, Bhabha, Spivak, and others to medieval European perceptions of and experience in the East.2 However, it is curious [End Page 87] that Hispanists (with what may be the sole exception of David Hanlon) have completely avoided reading the Christian conquest of al-Andalus as a colonial project. Despite the substantial differences between medieval and modern colonialisms as regards political reality, public discourse, and the construction of subjectivity, one may safely argue that the Christian conquests of al-Andalus were a colonial endeavor, one of several studied by historians of medieval Europe.3 The case of medieval Christian Iberian colonialism was distinct from other medieval colonialisms (such as French and English crusading in the Middle East) in that it contributed fundamentally to the formation of a Spanish national identity, and served as a domestic proving ground for the conquest of Spanish territories in the Americas.Don Juan Manuel, author of the Conde Lucanor (1340) [CL],4 was the most powerful nobleman of his time. He held extensive lands in Murcia, which retained a far higher proportion of its preconquest Muslim population than did neighboring Castile and Leon [O’Callaghan, History 459]. While his military and political career depended on eradicating Islam from the Iberian Peninsula, he earned his literary renown—in part—by imitating and incorporating Andalusī narrative tradition and history into his own writings. In Juan Manuel’s adaptation of the frametale genre, the CL, this dissonance between the religious and political agendas of the Reconquest manifests in narrative. If the CL shows us the ideology of the Reconquest, it also offers the reader a reflection of the more complicated and nuanced reality of daily life and human behavior characteristic of Reconquest-era Castile-Leon [Linehan, “At the Spanish Frontier” 53]. In it, Juan Manuel distills the political realities, religious discourse, and cultural interaction of the time into the first original frametale in any European vernacular.5Juan Manuel’s religious agenda and frontier political philosophy come across quite clearly in the 50 exemplos of the CL. The idea of the Christian nobleman’s duty to wage war against Islam permeates the work, most starkly in these words of the Count’s advisor Patronio: “... Dios vos poblo... (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a (...) foreclosed home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Mark Clavier's On Consumer Culture, Identity, The Church and the Rhetorics of Delight draws on Augustine of Hippo to provide a theological explanation for the success of marketing and consumer culture. Augustine's thought, rooted in rhetorical theory, presents a brilliant understanding of the experiences of damnation and salvation that takes seriously the often hidden psychology of human motivation. Clavier examines how Augustine's keen insight into the power of delight over personal notions of freedom and self-identity can (...) be used to shed light on how the constant lure of promised happiness shapes our identities as consumers. From Augustine's perspective, it is only by addressing the sources of delight within consumerism and by rediscovering the wellsprings of God's delight that we can effectively challenge consumer culture. To an age awash with commercial rhetoric, the fifth-century Bishop of Hippo offers a theological rhetoric that is surprisingly contemporary and insightful."-- Back cover. (shrink)

This research performs three experiments to investigate the influence mechanisms of identity cues in product reviews on consumers’ purchase intention, and to examine the effects of reference groups. The results indicate that: identity cues in positive reviews have a significant positive impact on consumers’ purchase intention, while identity cues in negative reviews have a significant negative impact on consumers’ purchase intention; in addition, identity cues play a greater role in amplifying the impact of negative reviews on (...) purchase intention; emotional social support has a mediating role in the relationship between reviewers’ identity cues and purchase intention, while informational social support and review credibility only play significant mediating roles under all positive reviews scenario; and identity cues of dissociative groups have a negative impact on purchase intention, whereas identity cues of in-groups or aspirational groups have a positive impact on the purchase intention. These findings complement existing research on online reviews and offer insights into the management and strategic oversight of product reviews for e-commerce platforms and merchants. (shrink)

TWEEN POP examines the creation of the "tween" in the early 2000s as a gendered and raced consumer audience. The tween, aged nine to twelve, and usually thought of as a white girl, occupies a temporality between childhood and adolescence: she has aged out of children's products but is too young to fully engage in marketing directed at teenagers. But, as Tyler Bickford argues, this seemingly narrow market grew to broadly include four to fifteen year olds, with producers and (...) marketers pulling upwards and downwards by creating material that would attract younger viewers and teenagers, thereby creating a demographic that expanded, rather than limited, the traditional reach of child and teenage markets. According to Bickford, the key to this expansion was pop music, as it provided an intensity of experience that mirrored childhood in its investments in emotional authenticity, cultural value, and relational intimacies. In other words, pop music needed to be both intimate and public--a tension that Bickford argues defined the tween's positionality as well--and tween pop did so by pairing the mainstream pop of adulthood with images and lyrics suitable for younger audiences. Throughout the book, Bickford reveals how childhood's status as a private domestic position outside of politics was not a hindrance to the cultivation of children as a mass audience but rather was the very foundation of that project. By creating an intimate public of tween pop, the tween music industry was able to position tweens as still within the private domestic sphere of family life, but connected in a broader public of other tween-pop-listening tweens. Chapter 1 looks at Kidz Bop music videos to argue that the tween music industry framed childhood domesticity as complementary to participation in a public culture. Chapter 2 focuses on Disney Channel's popular music programs' efforts to engage older children, particularly older girls, in their marketing tactics. Chapter 3 analyzes the Disney Channel show Hannah Montana and its foregrounding of tensions between girlhood, public culture, and family. Chapter 4 attends to how whiteness served as central to the tween construction of innocence and childhood. Bickford concludes the book by periodizing the tween moment as the decade from 2001 to 2011, and then outlines the developments in popular culture for children since that time. This book will be of interest to students and scholars of ethnomusicology, feminism and gender studies, and cultural studies. (shrink)

This article presents the results of a cross-cultural study that examines the relationship between spirituality and a consumer’s ethical predisposition, and further examines the relationship between the internalization of one’s moral identity and a consumer’s ethical predisposition. Finally, the moderating impact of cultural factors on the above relationships is tested using Hofstede’s five dimensions. Data were gathered from young adult, well-educated consumers in five different countries, namely the U.S., France, Spain, India, and Egypt. The results indicate that (...) the more spiritual an individual consumer is, the more likely that consumer is to be ethically predisposed. Furthermore, the stronger one’s internalization of a moral identity, the more likely one is to be ethically predisposed. These two relationships are further moderated by Hofstede’s cultural factors such as the degree of collectivism versus individualism in the culture. However, the strength and direction of the moderation may vary depending upon the specific Hofstede dimension. (shrink)

In this article, I first analyze and assess the epistemological and semantic status of canonical value-range equations in the formal language of Frege’s Grundgesetze der Arithmetik. I subsequently scrutinize the relation between (a) his informal, metalinguistic stipulation in Grundgesetze I, Section 3, and (b) its formal counterpart, which is Basic Law V. One point I argue for is that the stipulation in Section 3 was designed not only to fix the references of value-range names, but that it was probably also (...) intended to play a regulative role with an eye to Basic Law V. I further intend to shed new light on the status of Frege’s identification of the truth-values with their unit classes in Grundgesetze I, Section 10 and determine its place and importance in his overall logicist project. In a subsequent section, I first discuss the hypothetical extendability of the logical system of Grundgesetze. In what follows, I analyze the incompleteness of that system—were it not inconsistent and hence trivially complete—by focusing on the role of the definite description operator and the axiom governing it (= Basic Law VI) as well as on the role of the application operator. The latter is defined by means of the former. I further comment on the redundancy of an axiom that could be designed to supplement Basic Law VI by incorporating the second clause of Frege’s two-part elucidation of the description operator. I argue that although it seems likely that Basic Law VI could have been shown to be dispensable in Grundgesetze, Frege would probably have been reluctant to dispense with it, despite his commitment to axiomatic parsimony. In my view, the reason is that he considers it essential that every primitive function-name of his formal language be governed and grounded by a basic law that is tailored to the nature and the role of the primitive name occurring at a key point in the law. Toward the end of the article, I propose solutions to two problems with Frege’s use of “=” in the concept-script sentences that result from his definitions involving the replacement of the double stroke of definition with the judgment-stroke. I conclude the article with a summary of the main results that I have achieved. (shrink)

The extent to which people identify with an organization is dependent on the attractiveness of the organizational identity, which helps individuals satisfy one or more important self-definitional needs. However, little is known about the antecedents of company identity attractiveness (IA) in a consumer–company context. Drawing on theories of social identity and organizational identification, a model of the antecedents of IA is developed and tested. The findings provide empirical validation of the relationship between IA and corporate associations (...) perceived by consumers. Our results demonstrate that the Corporate Social Responsibility (CSR) contribution to company IA is much stronger than that of Corporate Ability (CA). This may be linked to increasing competition and of decreasing CA-based variation in the marketplace. (shrink)

Psychiatric labeling has been the subject of considerable ethical debate. Much of it has centered on issues associated with the application of psychiatric labels. In comparison, far less attention has been paid to issues associated with the removal of psychiatric labels. Ethical problems of this last sort tend to revolve around identity. Many sufferers are reticent to relinquish their iatrogenic identity in the face of official label change; some actively resist it. New forms of this resistance are taking (...) place in the private chat rooms and virtual communities of the Internet, a domain where consumer autonomy reigns supreme. Medical sociology, psychiatry, and bioethics have paid little attention to these developments. Yet these new consumer-driven initiatives actually pose considerable risks to consumers. They also present complex ethical challenges for researchers. Clinically, there is even sufficient evidence to wonder whether the Internet may be the nesting ground for a new kind of identity disturbance. The purpose of the present discussion is to survey these developments and identify potential issues and problems for future research. Taken as a whole, the entire episode suggests that we may have reached a turning point in the history of psychiatry where consumer autonomy and the Internet are now powerful new forces in the manufacture of madness. (shrink)

Captured in narrative textual form through open-ended and tape-recorded interview conversations, visitor experience was interpreted to construct a description of visitors' relationships to place while at the same time providing insights for those who manage the national park. Humans are conceived of as meaning-makers, and outdoor recreation is viewed as emergent experience that can enrich peoples' lives rather than a predictable outcome of processing information encountered in the setting. This process-oriented approach positions subjective well-being and positive experience in the ongoing (...) processes and activities that comprise our life pursuits rather than in particular end states toward which behaviors might be directed as in the case of end state frameworks. Several themes emerged in the interpretation across narratives including a relationship of stewardship/sense of respectful mitigation, socially constructed dimensions of the wilderness concept, which both converged with and deviated from definitions in The Wilderness Act of 1964, humans positioned as both part of wilderness and separate from it, description of a process whereby people form a relationship to protected places, and an awareness among visitors of the overarching management dilemma of how to balance human visitation with protection. Management insights and general implications that emerged from the overall interpretation such as using narrative illustration to enhance visitor education were summarized. It is suggested that the particularities of the setting, in conjunction with the process-oriented creation of meaning via varying levels of physical and social interaction with the setting each play important roles, perhaps at different times, for visitors' relationships to places within the Park. The process of forming long-term relationships to places is highlighted as the common thread running through the interpretation. The value of the national park is seen to lie in these relationships, which are time and context dependent, not necessarily in the attributes of the park, many of which are generic to other protected areas in North America. The dissertation concluded with an evaluation of this interpretation based on these implications and insights and provided direction for further research to learn about the processes involved with forming relationships to protected places. (shrink)

Human skin, photography, and consumer culture combine to produce striking images designed to promote visions of the good life. Branding and marketing imagery mobilize skin to resonate and communicate with consumers, which influences the meaning-making possibilities of skin more broadly. Representations of skin in consumer culture, including marketing communications, are anything but ‘blank’ backgrounds or ‘neutral’ meaning spaces. We analyse how skin ‘appears’ to work, and how its appearance in consumer culture imagery reveals ideological and pedagogical aspects (...) of skin. Building upon psychodynamic and interdisciplinary understandings of skin, we discuss dimensions of the body that feed marketing communications and branding. We highlight representational fetishization and the epidermal schema as conceptual tools to interrogate the commodification of skin and as constitutive elements in processes of skin commodification. We provide theoretical insights to address the ways in which skin is implicated in new and emerging concerns of digital representational practices. (shrink)

This study examines the relationships of empathy, moral identity and cynicism with the following dimensions of consumer ethics: the passive dimension (passively benefiting at the expense of the seller), the active/legal dimension (benefiting from questionable but legal actions), the ‘no harm, no foul’ dimension (actions that do not harm anyone directly but are considered unethical by some) and the ‘doing-good’/recycling dimension (pro-social actions). A survey of six hundred Australian consumers revealed that both empathy and moral identity were (...) related to negative beliefs regarding the passive and the active/legal dimensions of consumer ethics and were related to positive beliefs regarding the ‘doing-good’/recycling dimension. Cynicism was related to positive beliefs regarding the passive dimension of consumer ethics and was related to negative beliefs regarding the ‘doing-good’/recycling dimension. The role of moral disengagement in mediating these relationships was examined. Empathy and moral identity were only indirectly negatively related to the ‘no harm, no foul’ dimension of consumer ethics through moral disengagement, while cynicism was indirectly positively related to this dimension through moral disengagement. Theoretical and practical implications of these findings are discussed. (shrink)

This article deals with questions concerning the nature of representation of the female body within the so-called `oriental' discourse in Serbian art: Who is the painter? For whom is the work painted? With whom is the work identified? With what other possibilities of identification does the work leave us? In the context of the historical codes, a stance towards a body is seen as a projection of the social, cultural and power impulses. In the first case studied, the artist was (...) a male commissioned by the Serbian court to paint a series of paintings for the indigenous population and foreigners. In the second case, the artist was also male, a Serb working in Vienna, who painted for the audience of the `real Europe' from the position of an identity alteration. The third case focuses on a female artist, Babett Bachmayer Vukanovic, who was born in Germany but after marrying a Serb moved to her husband's homeland. Visual constructions of female bodies are used as the starting point for the deconstruction of ignored gender-related questions in analysing époque. (shrink)

Consumer culture and neoliberal political economy are often viewed by social psychologists as topics reserved for anthropologists, economists, political scientists and sociologists. This paper takes an alternative view arguing that social psychology needs to better understand these two intertwined institutions as they can both challenge and provide a number of important insights into social psychological theories of self-identity and their related concepts. These include personality traits, self-esteem, social comparisons, self-enhancement, impression management, self-regulation and social identity. To illustrate, (...) we examine how elements of consumer culture and neoliberal political economy intersect with social psychological concepts of self-identity through three main topics: ‘the commodification of self-identity’, ‘social categories, culture and power relations’ and the ‘governing of self-regulating consumers’. In conclusion, we recommend a decommodified approach to research with the aim of producing social psychological knowledge that avoids becoming enmeshed with consumer culture and neoliberalism. (shrink)

In this essay I argue for the role of positive, community-based black identities in the creation and maintenance of black solidarity. I argue against Tommie Shelby’s attempts to reduce the notion of black identity as it relates to solidarity from something social or cultural to something entirely political—“thin” black identity. As an alternative, I propose a model for the relationship between “thin” and “thicker” identities based on Rawls’ contention that the stability of overlapping political consensus isproduced by different (...) groups’ adherence to, rather than denial of, a plurality of comprehensive doctrines. I also discuss the benefits of positive, community-based black identities in terms of “black love” and show why, even if not possessed by each and every black American, such identities are ultimately indispensible to any black solidarity project. (shrink)

Although it has acquired an extraordinary social diffusion, entrepreneurial education has a certain lack of definition associated with its conceptualisation and meaning. It seems clear that entrepreneurial education is linked to the economic sphere, but it is not limited to the productive sector. The idea of entrepreneurial education has been progressively enriched, being linked to the development of skills for personal growth and social progress. Further clarification of the meaning and scope of entrepreneurial education is, therefore, needed. Thus, it is (...) relevant to analyse entrepreneurial identity in the context of personal identity via the theoretical–explanatory investigation of a model developed in two phases. A critical analysis leads us to study the different factors that intervene in the configuration of this identity in an attempt to construct a systemic map of entrepreneurial action. Between the private and the public, entrepreneurs seek new ways of facing the challenges of our times, trying to find new ways of regenerating the links between individuals and institutions and with society in general. In this sense, we show how entrepreneurial educational ecosystems acquire relevance insofar as they consider the subject as the principle of action rather than merely the result of various contextual factors. (shrink)

The emergence of the European Union as an autonomous actor, to some degree independent of its member states, raises the issue of a common European identity. Nowadays, this identity is predominantly understood in universalistic terms. This is evident in Jürgen Habermas’ constitutional patriotism, which represents an attempt to integrate the EU on the basis of universal legal-political norms. This universalism is, however, problematic because identity is a relational notion and requires the constitution of a particular boundary. Although (...) Habermas admits the necessity of drawing a distinction between the inside and the outside, his universalistic approach, which ignores cultural aspects, prevents the marking out of a substantive boundary. By contrast, the article asserts the view that European identity can be delineated only in virtue of its being distinct from some concrete out-groups and that, in addition to the normative dimension, redefined as particular, such an identity must also include a value one. (shrink)

The prosperous development of online education in the digital age harvested countless consumers. Education for sustainable development is an important proposition for both academic community and practitioner, however, current little studies have shed light on Sustainable Consumption Behavior in online education industry. The Consumer Value Theory and Social Identity Theory as theoretical basis linked with the field of Sustainable Consumption Behavior. This study is to further investigate the role of consumer value and social identity in the (...) relation to Sustainable Consumption Behavior. Putting forward suggestions from this study to online education providers toward sustainable development.MethodData on the impact of personal value on SCBOEI through a survey method with 552 valid students as respondents are collected from higher education institutions in China. A structural equation modeling approach is employed in this study for data analysis.ResultsThe result shows at the level of excellent model fit as indicated by all indicators: X2/DF = 1.053. The results showed that, through social identity, functional value, emotional value, and social value influence the variance of SCBOEI. The finding reveals that both theories can explain the SCBOEI of higher education students by showing that functional, social, and emotional values as well as social identity are powerful predictors of the Sustainable Consumption Behavior. The proposed model highlights the mediating role of social identity between SCBOEI and the three values. The functional, emotional, and social values influence SCBOEI directly and through social identity.ImplicationsThe study significantly contributes to market promotion, college students, education planning, and teaching. Online education market personnel and college students can better understand the significance of sustainable development aspect of online education. Teaching and learning activities help lead students to SCBOEI by shaping their values and identities while paying more attention to quality education, knowledge sharing, and social equality. (shrink)

Prior studies focused on consumer satisfaction and loyalty have brought undeniable benefits to luxury brand marketing but are not sufficient to ensure a long-lasting and profitable customer-brand relationship in the new setting. Brand identity provides a valuable exploration of this issue. However, the current measurement of brand identity is relatively simple, and there is no clear answer to what factors encourage brand identity development. This study attempts to address this gap by dividing the brand identity (...) structure from a multi-dimensional perspective, considering the role of luxury consumer perceived value and brand information quality in shaping the brand identity. Data was gathered by an online questionnaire survey from Chinese consumers who had purchased luxury jewelry, employing regression methods for analysis. The results show that four predictors representing luxury consumer perceived value all have a significant impact on the brand’s social identity and personal identity. In addition, brand information quality also positively moderates the relationship between the luxury consumer perceived value and the brand’s social identity. This study opens new horizons for considering dimensions other than the satisfaction or intention to use, expanding the applications of brand identity in a new context. The results contribute to increasing the awareness level of brand identity for luxury brand practitioners and offering them a new method of market strategy. (shrink)