Tuesday, 21 February 2012
Outsider's insights and (mis)understanding Fuat Fırat
Today the journal Consumption, Markets & Culture published an interview that myself and Nikhilesh Dholakia conducted with Fuat Fırat. Myself and Nik wanted to champion a scholar that we both think very highly of and have been encouraged and inspired by throughout our careers (Nik's career, I should hasten to add, has been going on for a lot longer than mine). In 1987 Fuat, together with Nik and Richard Bogazzi, edited the seminal Philosophical & Radical Thought in Marketing which re-imagined the subject of marketing and contained submissions by such high and mighty scholars as Philip Kotler, Morris Holbrook and included Russell Belk's wonderful re-working of Jonathan Swift's Modest Proposal that suggested that consumers be fitted with micro-chips so that they could function according to the marketing models that scholars had developed for them.
Eventually Fuat, Nikhilesh and Alladi Venkatesh created the journal Consumption, Markets & Culture; a journal committed to radical scholarship that calls into question all assumptions about marketing and consumption. To this day the journal remains one of the few marketing journals in which every submission is interesting and worth reading. The journal has created space for alternative scholars such as myself to find an outlet and in many ways, I see my career as that of a settler occupying space that was previously fought for and won by people like Fuat and Nik.
In 1995 Fuat and Alladi played no small role in introducing postmodernism to the field of consumer research in their paper that contributed to a seismic shift in the marketing imagination and helped bring to life the subject of marketing in an explosion of new ideas and colours.
As the interview attests, Fuat remains a vibrant personality and inspiring colleague and I hope our article will succeed in our aim of championing the Turkish scholar. Over the course of the interview, Fuat addresses a series of issues that range from recalling his radical student days in Istanbul in 1968 then moving to the Northwestern Marketing Department in Chicago and also discusses his various research interests including consumption patterns, postmodernity, theatre, new literacy and beyond. I am sure many marketing scholars will feel assured that Fuat is in Texas thinking such thoughts, much like the narrator in the Big Lebowski is assured that the Dude is out there keeping it real for the rest of us sinners.
Wednesday, 15 February 2012
Careers Service at Royal Holloway
This is a reminder to students that Royal Holloway operates an excellent Careers Service for students which is located in the Horton Building.
Careers Advisers provide a range of workshops addressing various topics including CVs, application forms, finding jobs, interviews and career choice.
Friday, 10 February 2012
A Student Describes Her Dissertation - Christina Demertsidou
Tuesday, 7 February 2012
Consumer Culture Theory Workshop on Methodology
Finally the course will be worth 6 ECTS points.
Tuesday, 31 January 2012
Morris Holbrook and Business Interest in Education
First Morris considers the contrast between the ichtyologist and the fisherman - both are concerned with studying fish but the ichtyologist studies fish simply to understand them and contribute to knowledge. The fisherman, on the other hand, wants to understand fish so to better catch them. Consumer researchers, he argues, must approach consumers as the ichtyologist approaches fishes - as a research site to study and understand because understanding is an excercise worthwhile in its own right. By contrast the marketing practicioner approaches consumers so to catch them, that is to sell them products that they don't want and this is a dubious learning excercise that corrupts the historic mandate of the university and limits the ability for wider and reflexive thinking. A further concern of Morris attends the increasingly prevalent spectacle of business interests determining what should be thought in masters programmes. For example see the rise of various accrediting bodies and agencies that endorse and regulate university programmes (usually at a hefty fee) leading some schools to pursue the heady but dubious goal of "triple accreditation". Morris comments as follows:
An ichthyologist studies fish, but we don't find it acceptable for her to be swallowed by a whale. Why, then, should we who teach in business schools cheerfully agree to submerge ourselves in business interests to the point where we lose our own identities and disappear?
In directing attention away from consumption phenomena and toward buying behavior, managerialism rejects Sir Edmund Hillary's reason for climbing a mountain ("because it's there") in favor of Willie Sutton's rationale for robbing banks ("because that's where the money is"). This observation reminds us that, whereas the Greek Hermes or Roman Mercury served as the god of commerce, he was also the patron of thieves.Morris presented these ideas at a session at the Advances of Consumer Research conference in 1985 and by all accounts the event was a very much heated affair with major scholars of the field arguing passionately and vociferously. Marketing scholars took sides between those who strongly believed that marketing's study of consumers should be even more industrially relevant and those, lead by Morris Holbrook, who called for a subject divested of managerial relevancy and a-relevant to commercial interest. Almost thirty years later the need still remains to insist upon and passionately defend space in universities for an orientation of marketing scholarship that pursues knowledge for its own sake. We ask our students to respect and support this orientation and parcipate with us in what we believe to be the richest and most intellectually rewarding and fulfililng way of approaching the fascinating brand culture and consumer society in which we find ourselves.
Tuesday, 24 January 2012
X-Factor's cultural contribution: Community music
X-Factor’s cultural contribution: Community music
Simon Cowell’s inspired television production X-Factor has made a significant impact on UK culture, demonstrated most poignantly by five of the seven Christmas number one UK singles since 2005. When not leading the chart, the X-Factor acts ran in second place, with a number of losing acts going on to achieve commercial success. The Yuletide number one has often been the biggest selling single of its year, historically dominated by charity and novelty acts, until the arrival of Syco (Simon Cowell) produced X-Factor. Cowell’s role as lead judge in a weekend prime time show, that innovatively put emphasis on the celebrity panel, combined with tie in contractual agreements for successful acts, symbiotically helped push the music producer towards the centre of the industry spotlight. Might the X-Factor become recognised as one of the defining movements in the history of music, along with Sony Walkman (individual, mobility) and Apple iPod (accessibility) ?
The shows reality TV format offers wanna be stars the chance to be plucked from mundane, obscure lives and dropped into a media cauldron, until voted off the show in dramatic style by the public. The dream of a prize of a guaranteed recording contract with marketing support has proven to be enduringly successful as a lure to engage willing participants at relatively low cost. This genre of reality talent show format has been popularised worldwide, the innovation a more democratic selection of acts using weekly audience voting, engagement which appears to be a critical success factor.
The music industry benefits from this talent development offering a peak television audience slot for established acts to promote their product and show casing live music performance to the masses.
However, digitisation has required significant re-engineering of the music business model, which had relied upon heavily promoted singles to drive more profitable volume album sales, discs sold through retail distribution, a function of fragile vinyl data storage. A failure to control internet based intellectual property right piracy saw iTunes and 89 pence single downloads emerge, with technology companies such as Apple taking a powerful role and significant revenue slice of the sales and distribution channel.
The cart-and-horse single promotes album model significantly weakened as albums were made available on a pay per track basis on line, where clips can be listened to free, prior to purchase. Other music streaming and file sharing services such as Napster and YouTube made music product widely available at no and low cost to consumers, with an impact on legal music spending. The record labels, who historically had a powerful role in identifying and nurturing commercialisable talent, have experienced dramatic changes to the nature of their industry.
Music labels thus became more reliant on other artist based revenue streams and particularly live performances, with opportunities sought to further commercialise the concert tours and any other valuable intellectual property that remained within their control.
Shows like X-Factor have helped put live music further towards the front of public consciousness, by making TV content out of talent selection. They have also offered opportunities for squeezed record labels to take near finalist, but losing, acts to market with lower risk and costs, thanks to the TV exposure they had received and the fan base they had developed.
Whilst the plethora of traditional music merchandising, from clothing to calendars, remains, somewhat subconsciously, value is being drawn from music lovers using the explicit text-to-pay and premium rate automated telephone call voting mechanisms, consumers are being lured onto the ITV X-Factor web site to download paid for live recorded tracks and also in the paid advertising that surrounds the multifaceted content that is generated by the X-Factor promotions arm and immaterial labour from social media participants. Carefully worded, quickly spoken disclosure statements seek to mitigate against potentially unethical breeches of broadcasting codes of conduct. Buyers beware.
In the X-Factor model the financial exchange for access to the music is less central, it becomes more concentrated on the co-created experience, supported by weekly affirmation and reaffirmation of their appreciation of an artist or group of artists via the much promoted paid voting systems. Pleasure is derived from social interaction, anticipation of and participation in multi-media coverage in, around and of the X-Factor experience. Ownership of the music, which is not always of the highest quality, has become a less central factor.
Driven by digital technology change perhaps music can be seen as coming full circle, assisted by X-Factor and its facsimiles, re-orientated in its pre-recording technology position, less of a product, more of a co-created community experience, which encompasses both the physical and virtual dimensions.
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Gerlinde Mautner is Professor of English Business Communication at WU, the Vienna University of Economics and Business. Her PhD in linguistics from Vienna University was a study of British news discourse; methodologically, it combined critical discourse analysis (CDA) with computer-aided corpus linguistics. Gerlinde's current research also focuses on the relationship between language and society. She's particularly interested in contested sites where business and other lifeworlds interact. In a recent monograph, for example, she investigates how discourse both shapes and is shaped by marketisation (Language and the Market Society, Routledge 2010). Forthcoming publications deal with the sociolinguistic and legal aspects of public signage, on the one hand, and applications of CDA in management studies on the other. Gerlinde regularly spends extended research periods at UK universities (such as Lancaster, Cardiff and, in 2011 and 2012, King’s College London). In 2008, she was elected to the Board of the Austrian Science Fund (a grant-giving body similar to the ESRC and HSRC). She is on the editorial boards of Organizationand Critical Discourse Studies. Her own management experience in higher education includes a four-year term as WU's Deputy VC for International Relations (1998-2002) and Head of Department (since 2005).
