Consuming Signs Lecture 1 Consumption as Manipulation? Lesley Scott Andrea Peach

This programme will look at how we ‘consume’ culture, and the ways in which the art and design ‘industries’ increasingly produce commodities that we consciously or unconsciously desire and aspire to possess. To do this, we will look at some of the theories behind the complex system of cultural signs and signifiers that surround us all, and use case studies from consumer culture, as a means of making sense of art and design practice. We will argue that cultural artefacts can be read on many different levels; both design and art are subject to commodification, and may circulate different meanings. By the end of this programme, you should have a better understanding of what is meant by cultural consumption, the commodification of art and design. Andreas Gursky - 99 cents

time listening touching eating looking consuming involves the using or using-up of something browsing listening time shopping touching owning What does it mean to ‘consume’? Can be associated possessing THINGS - prior to owning, or acts associated with ownership Can also apply to ‘experiences’ which may or may not be attached to material things Can apply to TIME - as in leisure time We will argue throughout this programme that the act of consuming, knowingly or unknowingly, expresses a wider set of cultural and ideological systems and is not always what it appears to be on the surface. acquiring eating looking

The act of consuming expresses (consciously or unconsciously) a wider set of cultural and ideological systems

Consuming within a free market place is about personal choice … … access to goods is limited only by the consumer’s ability to pay for them … Consumption requires an exercise of private, personal choice (we will come back to this) - the emphasis in today’s society is increasingly on acquiring goods and services which are not produced by the consumer him/herself.

Consumer culture is based on a constant expansion of demand Western economy is fuelled by insatiable desire to produce more wealth, acquire more power and consume more goods Consumer culture is based on a constant expansion of demand Western economy is fuelled by insatiable desire to produce more wealth, acquire more power and consume more goods

Tracey Emin I’ve got it all 2000

Consuming Signs Consumption becomes the leading device through which individuals construct their identities It can be argued that consumption is the leading device through which individuals construct their identities In other words, the goods one acquires and displays define one’s identity. But because the order of society is unstable, so is the relationship between consumption and identity. The meanings, appearances, codes by which we read identities are constantly changing.

Cultural Consumption as Manipulation? If consuming requires making individual choices … Is consumption an expression of personal freedom and individualism? …. Or is it a manipulation of needs and wants by dominant institutions? This lecture will look at some approaches to how culture may be ‘consumed’ and some of the positive and negative influences it has had on the development of cultural studies. We will take the views of 2 theorists (Adorno and Baudrillard) and explore some of the ideas behind theories of cultural consumption as manipulation Are we Passive or Active consumers?

The Culture Industry Theodor Adorno (1903-1969) The Frankfurt School Adorno believed that consumption was being used as a vehicle for pacification, coercion and manipulation of the masses Frankfurt School 1920s-1960s Group of German intellectuals at the University of Frankfurt. Moved to NY in 1930s. We are passive consumers! Despaired at the superficial degradation of American ‘mass culture’. Believed that consumption was being used a vehicle for pacification, coercion and manipulation of the masses The production of cultural artefacts (films, musics) was not a result of creativity or individuality, but part of a coordinated, calculated activity - culture imposed on ‘from above’ Popular entertainment had become commodified and distributed just like other ‘products’ in a capitalist society. Consumed by a mass market which was passive and uncritical in its taste. Consumers were being ‘duped’ into believing in the quality of the things they consumed

Dialectic of Enlightenment 1947 As soon as the film begins, it is quite clear how it will end, and who will be rewarded, punished, or forgotten. In light of music [popular music], once the trained ear has heard the first notes of the hit song, it can guess what is coming and feel flattered when it does come. Theodor Adorno Dialectic of Enlightenment 1947 The Frankfurt School believed that Hollywood films are all fundamentally the same. Followed a set formula The culture industry, which was bland, predictable, materialistic and unchallenging, had depoliticsed the working class, by limiting its horizons to political and economic goals dictated by oppressive and exploitive capitalist society. The “dumbing down” of society! Idea still very current today Parallels today with television - Big Brother, Pop Idol etc.

Adorno also believed that more challenging and ‘worthy’ works of art and music were being ‘adapted’ and vulgarised to make them accessible Adorno talked about ’jazzing up Mozart’ - but same could apply to made for-TV versions of classic novels such as Pride and Prejudice or Britney Spears, films appropriating poetry

Key feature of the culture industry’s products is standardisation coupled with a pseudo-individualisation Products are all fundamentally all the same. The consumer is fooled into thinking he/she is exercising a free choice, when actually they are being manipulated by the manufacturer REAL Individuality is stifled and replaced by the effort to imitate. Freedom is reduced to the choice between near identical products A key feature of the culture industry’s products is standardisation coupled with a pseudo-individualisation

The Culture Industry is a product of capitalism generates false needs The Culture Industry is a product of capitalism generates false needs. These needs work as a means of social control. This is because work under capitalism is dull and boring, leaving little energy or imagination for real escape Denied novelty and stimulation in their work time, people are too exhausted for it in their leisure time

Made people aspire to ‘false fulfillment of wish dreams’ such as wealth, adventure, passion, love, power and sensationalism’ - suggested to them by the culture industry Consequently, more fundamental and realistic desires of working people, such as political aspirations, are suppressed The culture industry makes people aspire to the false fulfillment of wish dreams such as wealth, adventure, passion, love, power and sensationalism

Problems with Adorno? Presumes consumer to be a ‘cultural dope’ - a mindless victim of the consumer industry Imposes his own ‘elitist tastes’ on a culture he doesn’t understand and doesn’t want to understand (popular culture) Does not allow for any critical engagement or debate with cultural consumption … which brings us on to Baudrillard …