This research has purpose to take local woven or “Pahkahmah” which is a cultural product of the local woven of Nong Kao district in Kanchanaburi province of Thailand to develop for and applying with contemporary fashion design in order to increase its value. The process of creation in this research has 5 steps as 1. Create concept and inspiration 2. Design collections for the improved textiles 3. Create decoration technique for the improved textile and collections 4. Create the prototype (...) collections and products 5. Evaluate satisfactory for the prototype collection and products. The improved textiles were used in making 3 collections of fashion apparels and costume accessories in street fashion for present lifestyle. Knowledge to improved and develop local Pahkahmah woven textile and the idea from prototype collections and products from this research was relayed to makers of Pahkahmah woven textile in Nong Kao district, Kanchanaburi province. Evaluation for satisfactory to the creative idea and developed textile products by representatives of Pahkahmah woven textile maker community and consumers revealed average score 4.45 with standard deviation 0.27. Knowledge from this research become a guideline for sustainable development and innovative idea for increasing commercial value to the local Pahkahma woven products of Nong Kao district community. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Who Needs Classical Music? Cultural Choice and Musical Value by Julian JohnsonWilliam M. PerrineJulian Johnson, Who Needs Classical Music? Cultural Choice and Musical Value. Oxford University Press, 2002.In Who Needs Classical Music? Cultural Choice and Musical Value, British musicologist and composer Julian Johnson defends the value of classical music in a commercialized culture fixated on the immediate gratification of popular music. At 130 pages divided into six (...) chapters, Johnson’s book is a reasonably accessible and engaging presentation of his topic. This short book contains relevant and sometimes controversial insights of interest to professional music educators. In this review I will provide a brief summary of the author’s primary arguments accompanied by critical commentary.Johnson argues that commercial forces in our society limit serious reflective discourse on music. The marketplace treats music as a commodity which derives its value from relative commercial success. In this context, classical music is relegated to one possible cultural choice among many legitimate options and is in danger of losing its distinctive features as an art form that transcends commercial concerns. Preference for particular musical products becomes an identity marker for an individual’s place within society, and criticism of a particular style of music is perceived as a personal attack. The process of turning classical music into a commodity has been aided by critics who have condemned the Western [End Page 96] canon as elitist, patriarchal, and arrogant. These critics have instead advocated a democratization of culture, placing greater emphasis on the validity of popular art forms and active participation in music-making rather than the more passive contemplation. Johnson describes this as a “pseudo-democratic” attack which encourages downward social mobility. When combined with the omnipresence of commercial culture, this approach undermines individual musical value by assuming the equal validity of all aesthetic judgments. Democracy is damaged when, refusing to discriminate between cultural products, society fails to recognize human individuality and excellence.Johnson is at his strongest when he argues for the importance of classical music fulfilling its function as art. The author argues that different types of music fulfill different functions. In contemporary society music is valued and chosen for how it is used. Music is described as “good” when it functions to provide background music for activities or when it successfully complements or enhances the listeners’ moods. Focusing solely on social use or reception, however, tends to neglect objective differences in the formal structure of music. This is the point at which Johnson begins to distinguish between classical and popular music. Popular music is composed to ensure a uniformity of affect, and deliberately avoids formal or harmonic complexity. As an aspect of popular culture, it is tied to contemporary fashion trends and rapidly becomes obsolete. Like other types of fashion, music becomes a means for expressing a current position within a larger social and cultural space. It is the music of youth; its commercial saturation of the culture blurs the boundaries between youth and adulthood. Johnson claims that the process of commercialization leads to a bland standardization. Classical music can also function as a type of popular music when it submits itself to market processes, but in doing so the music loses its distinctive features.In his discussion on popular music, Johnson presents what might be his most controversial claim: that popular music serves a pornographic function. He defines pornography as “the process by which the humane is reduced to the status of things” (p. 59) and argues that popular music takes pleasure in debasing humanity by reducing individuals to material commodities and denying the spiritual. This contention echoes Allan Bloom’s concern in The Closing of the American Mind that rock music desensitizes and debases youth by destroying imagination and deadening their capacity for passion and wonder. The strength of this language undermines Johnson’s contention in his introduction to the paperback edition that he is not trying to set up a binary opposition between art and popular music in which the classical is “better.” Moreover, if pornography is a form of dehumanization and is a legitimate concern in music, it is important to point out that such a charge is not exclusive to... (shrink)

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially (...) shared have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love. (shrink)

The best studies on the relationship between pharmaceutical corporations and medicine have recognized that it is an ambiguous one. Yet most scholarship has pursued a simpler, more saleable narrative in which pharma is a scheming villain and medicine its maidenly victim. In this article, I argue that such crude moral framing blunts understanding of the murky realities of medicine's relationship with pharma and, in consequence, holds back reform. My goal is to put matters right in respect to one critical area (...) of scholarly interest, the medical journal publication.Pharma relies on peer advocacy to sell its wares to prescribing doctors. This is an arrangement in which clinicians’ qualified colleagues, including “key opinion leaders,” are recruited by pharmaceutical corporations and marketing agencies to deliver commercially expedient content to their professional fellows. Precisely how this practice works in the setting of publications is not well understood because ethicists studying the problem have made too much of the narrative of corporate villainy and medical victimhood. Accordingly, criticism of industry publications has been preoccupied with the crudely dishonest practices of ghostwriting, ghost authorship, and “ghost management,” vices condemned as “dirty little secrets” perpetrated from “behind the scenes” with the connivance of academic “shills” or “guest authors,” in contempt of standards set by the International Committee of Medical Journal Editors. This account is appealing, and yet it is wrong or, at the very least, seriously incomplete, with only limited relevance to the actualities of contemporary industry practices. In truth, many commercial publications are not developed in secret but fashioned within a culture of open collaboration, where academic authors make substantial, independent contributions; pharmaceutical companies are showcased rather than hidden; and medicine's editorial standards assist rather than impede the workings of commerce. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Spirit of Settler Colonialism and the City Streets:A Response to Mishuana GoemanErin C. Tarveri want thank dr. goeman for her excellent paper and for introducing us to these extraordinary artists. Their work is beautiful and important, and I am grateful for the opportunity to witness it and think about it and to consider in particular in its relation to its setting in Los Angeles.In what follows, I want (...) to consider that setting—a city, as Dr. Goeman notes, containing some of "the most expensive real estate properties in the United States," commercial areas officially defined by "colonial encompassing property logics," and marked by "noise and [the] reverberation of mass consumerism" ("Caring for Landscapes 57). My interest will be in putting Dr. Goeman's analysis of these works and the Indigenous artist-activists who create them in dialogue with Jane Addams's diagnosis of the problems of early twentieth-century American urban life in her book The Spirit of Youth and the City Streets. I will suggest that Dr. Goeman's paper illuminates the limitations of Addams's approach to responding to the alienation of modern urban life—which, while rightly critical of the harms of mass consumer culture and the reduction of city life to economic productivity in conditions of industrialization, does not grapple with its own implication in settler colonialism and dispossession, and therefore cannot care for the land or its inhabitants as these artists invite us to do. I will also invite her to reflect on whether Addams's suggestion that play and recreation are essential components of urban human flourishing is borne out in the work of these artists.Jane Addams, in 1909, discussed the problems of urban life in post-Industrial Revolution Chicago in similar terms to those Dr. Goeman uses to describe the contemporary landscape of Los Angeles. The contemporary city, Addams writes, in forgoing spaces for public play, art, creativity, and non-production, has "entered upon a most difficult and dangerous experiment … at the very moment when the city has become distinctly industrial, [End Page 71] and daily labor is continually more monotonous and subdivided" (4–5). In this context, young people are increasingly alienated and isolated, valued solely for the products of their labor, and desperate for social connection. The playfulness and creativity of youth cannot be entirely stifled, yet without clear public spaces or institutions for outlets, young people become easy targets for capitalists who promise pleasure and self-actualization through consumption—of liquor, of fashion, of music, and so on. Lamenting the impoverished state that the city of mass consumption leaves us in, Addams writes:The spontaneous joy, the clamor for pleasure, the desire of the young people to appear finer and better and altogether more lovely than they really are, the idealization not only of each other but of the whole earth which they regard but as a theater for their noble exploits, the unworldly ambitions, the romantic hopes, the make-believe world in which they live, if properly utilized, what might they not do to make our sordid cities more beautiful, more companionable? And yet at the present moment every city is full of young people who are utterly bewildered and uninstructed in regard to the basic experience which must inevitably come to them, and which has varied, remote and indirect expressions.(15–16)There is, for Addams, a basic human need for play, creativity, and connection—to a community and to the natural world itself—whose unsatisfaction in a city devoted entirely to industry is nothing short of dehumanizing. So basic are these needs that they cry out for fulfillment in the most unexpected moments. She quotes a young man who describes his experience thusly:I never had a chance to go into the country when I was a kid, but I remember one day when I had to deliver a package way out on the west side, that I saw a flock of sheep in Douglas Park. I had never thought that a sheep could be anywhere but in a picture, and when I saw those big white spots on the green grass beginning to move and to turn into sheep, I... (shrink)

The big bang idea is not only a dominant idea in cosmology but also a very successfully idea out of cosmology. Although sometimes just in metaphorical sense, the big bang idea is present, since some decades, in a variety of domains such as natural sciences, humanities, social sciences, arts, and it also has a great acceptance by the general public. Furthermore, the term Big Bang has become increasingly popular and currently it is often used with very different purposes, including (...) class='Hi'>commercial purposes, in contexts that have nothing to do with science, such as music, television, cinema, circus, house decoration, food, and other unexpected domains. Proposed by Gerald Holton, thematic analysis is a useful tool for studying cases like this, because it identifies and describes elements that cross and connect all areas of knowledge and culture in general and thus can help to understand the reception, appropriation and use of certain ideas in different but contemporary disciplinary and cultural contexts, which may be involved in intellectual fashions and in styles of thought of one particular time. (shrink)

While the debate on values in science focuses on normative questions on the level of the individual (e.g. should researchers try to make their work as value free as possible?), comparatively little attention has been paid to the institutional and professional norms that researchers are expected to follow. To address this knowledge gap, we conduct a content analysis of leading national codes of conduct for research integrity of European countries, and structure our analysis around the question: do these documents allow (...) for researchers to be influenced by “non-epistemic” (moral, cultural, commercial, political, etc.) values or do they prohibit such influence in compliance with the value-free ideal (VFI) of science? Our results return a complex picture. On the one hand, codes of conduct consider many non-epistemic values to be a legitimate influence on the decision-making of researchers. On the other, most of these documents include what we call _VFI-like positions_: passages claiming that researchers should be free and independent from any external influence. This shows that while many research integrity documents do not fully endorse the VFI, they do not reject it and continue to be implicitly influenced by it. This results in internal tensions and underdetermined guidance on non-epistemic values that may limit some of the uses of research integrity codes, especially for purposes of ethical self-regulation. While codes of conduct cannot be expected to decide how researchers should act in every instance, we do suggest that they acknowledge the challenges of how to integrate non-epistemic values in research in a more explicit fashion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Democracy, Spirit, and RevitalizationWalter B. Gulick (bio)The assumptions of democracy as an associational ethos of vulnerable life are, first, that we don't already know how best to order our common life and, second, that we don't know what the abstract ideals of empathy, emancipation, and equity entail in the concrete.—Michael Hogue1In American Immanence: Democracy for an Uncertain World, Michael S. Hogue grounds his proposal for a political theology in (...) a critique of American exceptionalism and its supportive "redeemer symbolic."2 In the Anthropocene era, Hogue states, American exceptionalism "legitimates the extraction of diverse forms of value and justifies the externalization of diverse costs" (29) with unconscionable costs to the natural environment and international justice. As indicated in the passage quoted above, Hogue's reaction to the rigid assumptions supportive of American exceptionalism is to offer a humble acknowledgement of political fallibility coupled with what he terms "a theopolitics of resilient democracy" (184; see also 3–6).My concern in this essay is largely practical. I will focus on discerning what intellectual, emotional, and communal resources might be drawn upon to further develop and actually effect the needed changes that Hogue so ably points out. Relatedly, I will inquire into who the most likely candidates are to devote energy to the reconstruction of social structures and practices so that they express values that Americans at their best uphold. Finally, I will reflect upon the role that spiritual ideals and communal practices might play in energizing effective democratic action. [End Page 5]I. Hogue's Critical and Constructive TasksHogue's overriding interest is to outline an epistemic/axiological/environmental/political stance that does not give rise to the various sorts of injustices and dysfunctions that mark the Anthropocene era, especially our allegiance to policies that eventuate in what he calls "climate wickedness." The alternative vision he embraces develops pragmatic naturalism as a method of inquiry and exposition. His reflections are especially indebted to the thought of Dewey, James, and Whitehead (78–82). During a time when e-words are normally associated with forms of electronic communication, Hogue offers instead two trios of e-words with another sort of significance—one that signifies a stance he wishes to overcome and one that communicates what he hopes to achieve. Our current era is unfortunately in thrall, he says, to extraction, externalization, and exception, whereas what we should strive for is a society marked by empathy, emancipation, and equitability. Well put. He presupposes that democratic governance, deeply embedded in American history, ought to serve as the vehicle for achieving what the positive set of e-words promotes. To this end, Hogue quotes appreciatively from Dewey's article, "Democracy is Radical": Democracy "is radical because it requires great change in existing social institutions, economic, legal and cultural" (170). This understanding of democracy slumbers now; what might it take to reawaken it? And if reawakened, what changes might be made to establish the more nearly equitable political influence that is basic to the promise of democracy?Hogue, recognizing in good pragmatic fashion the importance of consequential change, states, "In contrast to foundationalist commitments to antecedents and precedents, pragmatic naturalism commits to a prospective concern with consequents" (80). Foundational commitments to antecedents may certainly impede needed change, but surely attention to the historical events and practices that gave rise to current problems is needed to avoid repeating previous errors. Hogue refers to Whitehead's vision of social symbolism, suggesting that "social change can be catalyzed by the improvised revision of existing symbolic repertoires or the innovative formation or subversive interjection of new symbols" (99). I'm not fully convinced by Whitehead's claim. I suspect that many of our social problems are rooted below the linguistic level in an array of affective issues that elude symbolic adjustment. New strategies are needed to counter the prevalence of fear and resentment in society as promoted for political and commercial reasons and tied to Hogue's strongly voiced recognition that we live in an uncertain world.Here is my understanding of how Hogue both frames our current social and cultural situation and what he says might begin to remediate these circumstances. [End Page... (shrink)

Scholarship on the history of imperialism has tended to overly concentrate on Western imperial hegemony over non-Western societies. On the other hand forms of imperialism in societies elsewhere, particularly Africa, remain understudied. The frame of Western imperialism with its operational principles has generally been represented by non Western scholars as economically exploitative, culturally repressive, politically intrusive and disorienting. The rather limited literature on imperial systems in African political history has often been deconstructive of Western imperialism’s disruptive propensities in its target (...) societies. However, some referential frameworks employed in interpreting Western imperialism are also applicable to processes of empire building and maintenance in Africa. One of the most relevant of these conceptual frames, perhaps, is J.A. Hobson’s idea that imperialism was invariably fashioned through the ‘combination of economic and political forces’ whose sources are traceable to selfish capitalist interests. Using and modifying the Hobsonian economic model of interpretation, this paper analyses an imperial conflict between the British, a Western imperial power, and Asante, an African imperial overlord, in the interior of Ghana during the last quarter of the nineteenth century. It focuses on the ways in which the rivalry between the two imperial powers manifested as the two powers struggled over the control of Nkoransa, a state in northwestern Ghana, which was strategically situated to sway much of the tide of north-south commerce during the period. The paper argues that the pursuit of commercial domination in the area of modern Ghana was the key issue at the centre of all the imperial contestation between Asante and the British from 1874 to 1900 as represented by the struggle over Nkoransa. (shrink)

This article explores the enticement of consumers for natural philosophy in London between 1695 and 1720 through advertisements placed in two political newspapers. This twenty-five-year period witnessed both the birth of public science and the rage of party politics. A consideration of public science adverts within the Whig-leaning Post Man and the Tory-leaning Post Boy reveals that members of both the Whig and Tory parties were equally targeted and that natural philosophy was sold to London's reading population in bipartisan (...) class='Hi'>fashion. In the process of integrating natural philosophy into the wider culture through commercial sales, political allegiances were not imprinted on the advertising process. This conclusion raises questions regarding the historiographical assertion of Whig-supported public science and Tory opposition to it at the level of consumers. (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 purpose of this article is to examine the process of deterritorialization of legal concepts embedded in international commercial contracts. Typically written in English, these contracts often incorporate concepts derived from common law jurisdictions, given that English is the language of expression for the common law tradition. This underscores the intrinsic interconnection between language and underlying legal concepts. While parties involved in contract drafting may sometimes mitigate this connection by using terms and clauses that do not immediately evoke common (...) law associations, the use of English as the medium for conveying concepts in international commercial contracts does not necessarily facilitate this process. Consequently, legal concepts rooted in specific traditions adapt to new contexts shaped by the linguistic, cognitive, cultural, and legal backgrounds of the contracting parties, those tasked with interpreting the contracts, and the law governing the agreements. This paper illustrates the dynamics of this process through examples drawn from international commercial contracts, focusing on both individual terms and entire contractual clauses. These examples highlight how legal concepts, as expressed in these contracts, evolve within new environments shaped by diverse linguistic, cognitive, cultural, and legal determinants. (shrink)

Contents of online websites and advertisements by real estate companies operating in Goa suggest that newly developed properties are meant to attract urban elites from Indian metros. These investors from urban metros, such as Delhi, seek a tranquil getaway from the pollution and pressures of city life. However, more than simply Goa’s idyllic location, second homeowners desire to indulge in the region’s difference from the rest of India—Goa, after all, was a Portuguese territory for 451 years. For the Indian urban (...) elites, investing in the state is not just about buying ‘a piece of Goa’ on which to sojourn; rather, it is about buying into what this land signifies: an exotic ‘laidback’ Goan lifestyle. Essentially, I aim to suggest that the contemporary image of Goa through real estate advertisements is fashioned for the consumption of elite buyers from Indian metros who are sold a version of Goa’s culture that evokes the Portuguese colonial past while instantiating an idyllic present. Even as the elements from colonial-era architectural style of Goa are sustained or replicated, and Goan land appropriated, Goans themselves are not factored into the commercial imaginings of the sale of these exclusive and exclusionary properties. (shrink)

This article examines whether the attention to cultural products on the internet is more democratically structured than in traditional print media, and how these types of media attention affect commercial success. For the U.S. fiction book releases in February 2009, I analyze consumer ratings at the web store Amazon.com and the social networking site Goodreads.com. The results show that on the internet far more books receive attention, and that this indeed comes to the advantage of female authors and authors (...) of popular fiction. Moreover, online publicity positively affects commercial success. These outcomes suggest that online attention to cultural products dampens the effects of institutionally embedded evaluations, while word-of-mouth mechanisms are becoming increasingly prominent in terms of how cultural products are discussed. (shrink)

Fashion are implemented with regard to social context through a variety of studies, including the examination of fashion style. The period between 2010 and 2019 was selected as the guiding time frame. The objective of this study is to present an implementation process of a fashion style in Indonesia, both in synchronic and diachronic perspectives. This qualitative research with a historical approach employs a variety of data source including literature data from journals, books, fashion magazines, interviews (...) with fashion experts, and focus group discussions. The study proposes four dominant styles of trend fashion in Indonesia between 2010 to 2019, namely: modest, an emerged particular theme in Indonesia; athleisure, a reflection view of health and well-being; informality, the roles of millennial as leadership changes; and traditional, that represented the traditional culture of Indonesia. The finding of this study can be summarized as follows: The acceptance process of the four dominant styles can be attributed to the reflection ideas among fashion consumers in Indonesia. Additionally, the shift and the acceptance of fashion styles from 2010 to 2019 was mainly influenced by the affirmation process between role models and followers. Furthermore, the pattern of fashion in Indonesia shows different indications compared to global fashion trends, because of the cultural aspects as distinctive characteristics of fashion styles based on traditional values and meanings. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an (...) effective lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

In recent years, the animation industry has achieved unprecedented development trends, and many excellent animation works have emerged in China, which are popular with audiences. Among all kinds of animation works, the most important feature is the integration of traditional Chinese philosophical and cultural elements, which leads to the difference between Chinese animation works and other countries. It not only conforms to the aesthetic standards of Chinese people, but also gives play to the traditional Chinese culture, providing a direction (...) for further promoting the inheritance and development of outstanding traditions. With the rise of mobile intelligent terminals, the vigorous development of the Internet era, and the rising demand of people for the existing market, traditional philosophy and culture, as a new business opportunity, has great development prospects in this era. The fashion transformation of traditional philosophy and culture in the animation art is about to attract more attention from capital and entrepreneurs. In animation art design, the most important core concept is artistic creativity. Due to China's lack of originality in animation design for a long time, this paper attempts to revive China's animation art design by applying traditional innovative ideas in the fashion transformation of animation art design schemes. This new artistic expression method is aimed at better expressing the theme of animation activities, maximizing the value of animation works and promoting the development of animation industry. Through the transformation and innovation of traditional philosophy and culture and animation art customization, this paper explores the transformation and innovation of traditional philosophy and culture and animation art customization in order to provide some reference for the development of animation industry. (shrink)

Several initiatives by the Government of Uganda, Research Institutes and CGIAR centers have promoted the use of tissue culture banana technology as an effective means of providing clean planting material to reduce the spread of Banana Xanthomonas wilt but its uptake is still low. We examine factors that constrain uptake of tissue culture banana planting materials in central Uganda by considering the cultural context of banana cultivation. Data were collected using eight focus group discussions involving 64 banana farmers (...) and 10 key informant interviews and subjected to thematic analysis. Results showed that banana cultivars in the study communities were important for food, cultural practices and medicine. Cultivars supplied through TC were based on commercial considerations focusing on market value and household income and insufficient attention was given to their cultural importance. Farmers regard banana from TC planting material to be incompatible with their tastes and preferences for traditional food and drinks, culture and medicine. Furthermore, the plantlets are perceived as complicated to use, and farmers report requiring more knowledge and information on how to plant and maintain the plantlets on-farm. In these aspects, TC planting material does not align with cultural values linked to societal welfare. Future efforts aimed at controlling pests and diseases would benefit from more location-specific and holistic approaches that integrate cultural dimensions alongside planting material hygiene, quality and vigor. (shrink)

Advertisers in the Netherlands and Flanders are discovering marketing opportunities to market to specific target groups such as children and adolescents, and their growing numbers in the ethnic minority population. There have been relatively few empirical studies on the portrayal of these audience segments. In light of the first steps in ethnic marketing theory and practice in the Netherlands and Flanders, this study questions how advertising campaigns actually deal with ethnicity and the multicultural market. This issue is tackled by means (...) of a quantitative and comparative content analysis of Dutch, Flemish, American, Turkish, and Chinese television commercials. The first section of this article sketches a theoretical framework for the measurement of cultural values and the representation of ethnic minorities in commercials. On the one hand it draws on previous cross-cultural research examining the individualism/collectivism dimension of culture and on the other hand on advertising research concerned with both content-related, and style characteristics of commercials. In the second section, the methodology is discussed through an examination of the sample and coding instrument. The results section reveals both similarities and differences in the use of values and communication styles in commercials from individualistic as well as collectivistic cultures. Finally, the conclusions of this study are discussed and recommendations for further research are presented. (shrink)

Work with plant cell cultures has developed rapidly in recent years, progress being manifested particularly by the development of commercial process technology for the synthesis of selected natural products. The economics of operating a plant‐cell culture process are, however, still questionable, and a great deal still needs to be done to strengthen the underlying science before the technology can be regarded as industrially commonplace. Nonetheless, the great versatility of plants as centres of chemical synthesis suggests that, with appropriate (...) developments in cell culture technology, this area may have a significant role to play in the fine chemicals industry of the future. (shrink)

The progress and development of the new era has given commercial illustration a new vitality, expanding and enhancing its commercial value and cultural connotation.However, under the influence of traditional mechanistic philosophical thought, there is a tendency of utilitarianization, mechanization, absolutization and fragmentation in China's commercial illustration in general, resulting in various reform measures facing difficulties and resistance, especially not conducive to the healthy and comprehensive development of packaging design.Ecological philosophy, as a systematic, holistic, processual and connected idea, (...) is now being widely used to deal with the relationship between human beings and society.By analyzing the close relationship between commercial illustration, which is an important design graphic language for cultural and creative packaging design, and cultural and creative product packaging, this paper tries to propose how commercial illustration is applied in cultural and creative packaging design under the ecological philosophy perspective.It summarizes the role of commercial illustration in cultural creative packaging design, elaborates the research on the innovation strategy of commercial illustration in cultural creative packaging design under the ecological philosophy perspective, and demonstrates the charm of commercial illustration in cultural creative packaging design. (shrink)

There are few sartorial ensembles as heavily signified as masculine as a suit. This article focuses on the suit within queer fashion digital cultures and spaces to explore how butch of colour digital fashion suits up to offer us different ways to think about masculinity. Intervening in the erasure of women of colour in histories of fashion – including menswear – and histories of sexuality – butch, dapper, tomboy, dandy – I argue that butch digital fashion (...) works as a site and composition of flesh, fabric and feeling that reworks masculinity as a project of embodiment. I look at three interwoven dimensions of butch digital fashion – aesthetic process, texture as feeling and spatial imaginations – attending to the themes of fantasy, desire and pleasure. I situate butch within and between fashion studies and media studies to offer butch as a relation, practice, orientation and site of embodiment to think about being and becoming, about the body politics of space and feeling, as matters of race, sexuality, class and gender – and the materialities of race, sexuality, class and gender, mediated by the global, and as the global by the digital. Digital butch fashion is, at once, a visual culture, a creative visual space, a resource of queer fantasy and an aesthetic process. It is messy, tense and fraught with the politics of race, colonialism and class, yet at the same time, dense with possibility, pleasure and eroticism. Butch of colour fashion offers frames and forms for rethinking and remaking masculinity as a sign of a body, as a category of personhood, as a set of practices and feelings made coherent by processes of embodiment. (shrink)

Although an elusive concept, "camp" can be found in most forms of artistic expression, revealing itself through an aesthetic of deliberate stylization. Fashion is one of the most overt and enduring conduits of the camp aesthetic. As a site for the playful dynamics between high art and popular culture, fashion both embraces and expresses such camp modes of enactment as irony, humor, parody, pastiche, artifice, theatricality, and exaggeration. Drawing from Susan Sontag's seminal essay "Notes on 'camp,'" the (...) book explores how fashion designers have used their metier as a vehicle to engage with the camp aesthetic in compelling, humorous, and sometimes incongruous ways. As a sartorial manifestation of the camp sensibility, this thought-provoking publication contributes new theoretical and conceptual insights into the camp canon through texts and images. Stunning new photography by Johnny Dufort highlights works by such fashion designers as Virgil Abloh, Thom Browne, Jean-Charles de Castelbajac, John Galliano, Jean Paul Gaultier, Marc Jacobs, Karl Lagerfeld, Alessandro Michele, Franco Moschino, Miuccia Prada, Richard Quinn, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott, Anna Sui, Gianni Versace, and Vivienne Westwood. (shrink)

This chapter contains sections titled: “Christmas is here. Lovely, glorious, beautiful Christmas …” “Some men are Baptists, others Catholics; my father was an Oldsmobile man” “There it is, the ‘Holy Grail’ of Christmas presents …” “We plunged into the cornucopia quivering with desire and the ecstasy of unbridled avarice”.

Improvising selected tools from Kress and Van Leeuwen’s inter-semiosis framework, this study explores how, between global and local, TV commercials in India often reframe a cultural third space producing new discursive forms and identities. Three commercials from the food and beverage category are selected on the basis of the country of origin of the endorsing company and the patterns of glocalization. Multimodal discourse analysis reveals that the commercials construct the glocal identity in several ways. In the Knorr Soups commercial, (...) the melody of the title song is contemporary pop, whereas the delivery style and crooning are distinctively Western. The language is predominantly Hindi with deft use of selected English words. The Funda Mint commercial casts a rebel voice-support executive who rejects the pseudo-glocal identity and asserts his true identity. In the Cadbury Bournvita Folk commercial, the two boys represent the global and the local in the realm of creativity. The study advances the knowledge of product positioning and brand identity involving the intersemiosis of discursive elements from different cultural spaces within the contemporary Indian consumerist culture. (shrink)

Background Continued advances in human microbiome research and technologies raise a number of ethical, legal, and social challenges. These challenges are associated not only with the conduct of the research, but also with broader implications, such as the production and distribution of commercial products promising maintenance or restoration of good physical health and disease prevention. In this article, we document several ethical, legal, and social challenges associated with the commercialization of human microbiome research, focusing particularly on how this research (...) is mobilized within economic markets for new public health uses. Methods We conducted in-depth, semi-structured interviews (2009–2010) with 63 scientists, researchers, and National Institutes of Health project leaders (“investigators”) involved with human microbiome research. Interviews explored a range of ethical, legal, and social dimensions of human microbiome research, including investigators’ perspectives on commercialization. Using thematic content analysis, we identified and analyzed emergent themes and patterns. Results Investigators discussed the commercialization of human microbiome research in terms of (1) commercialization, probiotics, and issues of safety, (2) public awareness of the benefits and risks of dietary supplements, and (3) regulation. Conclusion The prevailing theme of ethical, legal, social concern focused on the need to find a balance between the marketplace, scientific research, and the public’s health. The themes we identified are intended to serve as points for discussions about the relationship between scientific research and the manufacture and distribution of over-the-counter dietary supplements in the United States. (shrink)

This chapter contains sections titled: What Is Paradigmatic Barbie Doll Play? Barbie's Influence in Cultural Context What Should Feminists Make of Barbie? Reinventing Barbie Play.

Based on data from a survey of biological scientists at 125 American universities, this article explores how the commercialization of the university affects the problems academic scientists pursue and argues that this reorientation of scientific agendas results in a shift from science in the public interest to science for private goods. Drawing on perspectives from Bourdieu on how actors employ strategic practices toward the accumulation of social capital and acquire dispositional and perceptional tendencies that in turn recondition social structures, the (...) commercialization of the university is construed not as something that ‘‘happens to,’’ but rather something that ‘‘happens through’’ academic scientists. The specific shape and direction of the commercialization of the university is therefore influenced by how scientists incorporate the new resources and social relations of commercialization into their scientific practice and how their creative engagement with shifting structural conditions remakes the culture of academic science. (shrink)

Leandra Medine indicates that she wants the Man Repeller multi-author blog to ‘serve as an open forum for women to draw their own conclusions’ instead of making ‘any sort of feministic statement’. Medine renders feminism as amorphous and an individual choice but she has been widely lauded for offering a feminist engagement in fashion. Her practices and position, as I argue throughout this article, allow her to fashion feminism, including associating feminism with the man repeller style and replacing (...) aspects of second wave and rights-based feminisms with the purportedly more equitable and liberating website ethos of choice and equality feminism. Yet in replacing ‘feministic’ critiques with promises of stylish cultural change and clothing that reportedly repels men, Medine and other Man Repeller authors elide how systemic oppression functions. This ambivalent relationship to feminism, and dearth of intersectional advocacy, prompted a backlash in 2020. Critics interrogated Medine's facile statement about #BlackLivesMatter, the company's lack of diversity and the unsuccessful restructuring of the blog. As a means of analysing Man Repeller, I employ textual analysis, feminist and queer literature and media theory. I define fashioning feminism as a collaborative and ongoing process of producing feminist positions and thinking, including the negation of certain forms of feminism. I assert that attending to the fashioning of feminism can foreground central and developing feminist theories; the appeal, unstylishness and effacement of feminism; and the connection between style and politics. This includes readers’ interrogations of Man Repeller's politics, which are occurring along with contemporary examinations of racism. Since fashioning feminism is a collaborative and ongoing process of producing feminist positions and thought, engaging with its concepts and debates can further the critical study of feminism, nurture feminist conversations and advocate for social change. (shrink)

Medieval European culture was obsessed with clothing. In _Fashioning Change: The Trope of Clothing in High-and Late-Medieval England,_ Andrea Denny-Brown explores the central impact of clothing in medieval ideas about impermanence and the ethical stakes of human transience. Studies of dress frequently contend with a prevailing cultural belief that bodily adornment speaks to interests that are frivolous, superficial, and cursory. Taking up the vexed topic of clothing’s inherent changeability, Denny-Brown uncovers an important new genealogy of clothing as a representational (...) device, one imbued with a surprising philosophical pedigree and a long history of analytical weightiness. Considering writers as diverse as Boethius, Alain de Lille, William Durand, Chaucer, and Lydgate, among others, Denny-Brown tracks the development of a literary and cultural trope that begins in the sixth century and finds its highest expression in the vernacular poetry of fifteenth-century England. Among the topics covered are Boethian discourses on the care of the self, the changing garments of Lady Fortune, novelty in ecclesiastical fashions, the sartorial legacy of Chaucer’s Griselda, and the emergence of the English gallant. These literary treatments of vestimentary variation—which develop an aesthetics of change itself—enhance our understanding of clothing as a phenomenological and philosophical category in medieval Europe and illustrate the centrality of the Middle Ages to theories of aesthetics, of materiality, and of cultural change. (shrink)

Fashion is at once a familiar yet mysteriously elite world that we all experience, whether we’re buying a new pair of jeans, reading _Vogue_, or watching the latest episode of _Project Runway_. Lars Svendsen dives into that world in _Fashion_, exploring the myths, ideas, and history that make up haute couture, the must-have trends over the centuries, and the very concept of fashion itself. _Fashion _opens with an exploration of all the possible meanings encompassed by the word “ (...) class='Hi'>fashion,” as Svendsen probes its elusive place in art, politics, and history. Ultimately, however, he focuses on the most common use of the term: clothing. With his trademark dry wit, he deftly dismantles many of the axioms of the industry and its supporters. For example, he points out that some of the latest fashions shown on runways aren’t actually “fashionable” in any sense of the word, arguing that they’re more akin to modern art works, and he argues against the increasingly prevalent idea that plastic surgery and body modification are part of a new wave of consumerism. Svendsen draws upon the writings of thinkers from Adam Smith to Roland Barthes to analyze fashion as both a historical phenomenon and a philosophy of aesthetics. He also traces the connections between the concepts of fashion and modernity and ultimately considers the importance of evolving fashions to such fields as art, politics, and philosophy. Whether critiquing a relentless media culture that promotes perfect bodies or parsing the never-ending debate over the merits of conformity versus individual style, Lars Svendsen offers an engaging and intriguing analysis of fashion and the motivations behind its constant pursuit of the new. (shrink)

The idea of commercial‐assisted suicide lives a marginal existence in the bioethical literature, despite its significant presence in popular culture. The practice of commercial‐assisted suicide (CAS) is defined as suicide assistance performed for a financial reward through a contractual agreement between a customer and a service‐provider, who does not necessarily need to be a medical professional. While CAS does indeed offer some potential solutions regarding the moral controversies surrounding physician‐assisted suicide (PAS), I defend the idea that adopting (...) it as policy ultimately proves morally indefensible and practically inefficient. This is due to the fact that the commodification of a given good necessarily implies the creation of a market of said good; as such, what I propose in this paper is a moral and practical evaluation of a market of CAS. In order to do so, I first examine the arguments in favor of CAS as put forward by Roland Kipke, who argues that any liberal defense of PAS necessarily implies a defense of CAS. In the first section, I argue against this idea using the liberal values of autonomy and equality of opportunity. In the second section of the paper, I argue that a market of CAS would be gravely dysfunctional due to one particular characteristic of death, namely, that is not compensable ex post. I conclude by arguing that while the practice of CAS may not prove morally problematic, the inevitable market that it will create should it be legalized most certainly will. (shrink)

Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta with matching shalwar and an ajrak shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and (...) international stages, as well through multiple media circuits, including television, social/digital media and broadcast concerts, Parveen's undeniable fame and her transgressive entry into an otherwise male-dominated music genre raises important questions about gender, embodiment, spirituality and the sacred. In analysing Parveen's body and dress in performance, I centre her sartorial style as sites of spirituality and affect to ask: what does it mean for Parveen to transcend gender through a performance of androgynous Sufism and mobilise it as an entry way into spiritual iconism? What imaginations around spirituality and the sacred become available through Parveen's sartorial practices? How does Parveen's style offer an alternative route to Muslim spirituality? Taking up Parveen's embodied coagulation between fashion and the sacred reveals an absence in feminist fashion studies on which subjects and styles are viewed as important, relevant, resistant or transgressive and thus worthy of theorisation. As a feminist scholar interested in the relationship between gender, power and self/representation, I see Parveen as a key global cultural and spiritual figure who necessitates transnational feminist analysis. This article is situated at the intersections of fashion and cultural studies, feminist, queer and trans spiritualities and South Asia studies. (shrink)