Consumers engage in transformative practices such as cosmetic surgery to shape a new self that satisfies personal and social expectations. Yet, we lack an understanding of how cosmetic surgery and ...the consequent changes to a consumer's self affect their consumption practices. Building on Diderot unities we explore how cosmetic surgery influenced consumption practices of 10 female consumers postcosmetic surgery. Prior work on Diderot unities suggests that it is a new object inspiring the consumption of additional objects. Extending the notion of Diderot unities, we posit that also a new self brings changes in the constellation of consumption objects. Specifically, cosmetic surgery, the self, and material consumption practices are tied together by an expanded view of Diderot unities as not only involving people and objects, but also adding experiences. A newly surgically enhanced person perceives an imbalance between the assemblage of their self and self‐expressive objects. This imbalance sets off a series of purchases to restore balance by acquiring possessions and experiences that match their new magnificent self. Purchases extend to areas such as fashion objects, grooming objects and experiences, as well as experiences related to personal well‐being, vacation and leisure.
The object‐oriented ontology group of philosophies, and certain strands of posthumanism, overlook important ethical and biological differences, which make a difference. These allied intellectual ...movements, which have at times found broad popular appeal, attempt to weird life as a rebellion to the forced melting of lifeforms through the artefacts of capitalist realism. They truck, however, in a recursive solipsism resulting in ontological flattening, overlooking that things only show up to us according to our attunement to them. Ecology and biology tend to get lost in the celebration of “thingness,” which puts on par artifacts, trash, and living beings. Such ions fail to understand the political, ethical, and ontological implications of eliding the animate/nonanimate distinction, which from the opposite direction (of flattening) reproduce the same violences of historical colonialism (hierarchical humanism). I argue that ontological flattening entails epistemological narcissism, fails to take into account plural (interspecies) perspectives, and propose biosemiotics can address these shortcomings through becoming‐with nonhuman knowledge.
This paper aims to demonstrate how Laure Prouvost’s artistic practice requires an immersion of the viewer in intermedial installations composed of objects from the most disparate spatial and temporal ...origins. Since the early 2000s, the French artist has intentionally created surreal mise-en-scenes which, by blending video, painting, drawing, sculpture, and performance, can be understood as compositions or collages made of visual references taken from different contexts such as pop culture, the web, and private photo albums. Prouvost’s works are “unstable visual entities,” made of images that aggregate in heterogeneous configurations, generating eccentric atmospheres and cancelling every hierarchical order between the observer and the observed. Viewers are encouraged to fill the space by becoming objects among other objects. By using the Object-Oriented Ontology (OOO) as philosophical and methodological support, this paper will focus more closely on the analysis of Deep See Blue Surrounding You / Vois Ce Bleu Profond Te Fondre (2019), the project Prouvost produced for the French Pavilion at the 58th Venice Biennale. On this occasion, her work They Parlaient Idéale (2019) – a video documenting the Mediterranean Sea journey that brings her to the Venetian lagoon – was the cornerstone of a multifaceted environmental installation. Assuming a critical and analytical approach, this contribution then discusses the role Deep See Blue Surrounding You plays as a “hyper-enactment:” it is a mise-en-scene that consists of interrelationships between “things/images” that aggregate as objects, but it is also a composition in which the viewers are “viscously” asked to generate their personal, non-linear narration.
Games are valuable cultural phenomena — they might indicate social, cultural, and even political trends and agendas. Moreover, they might bare an accurate representation of a common structure of a ...feeling. Conversely, video games might be studied and understood based on up-to-date cultural trends, one of which is metamodernism. This paper contributes to determining what metamodern games in terms of synopsis and gameplay are. After considering the methodological features of studying video games from a metamodern perspective, it presents a metamodern study case of Hideo Kojima's Death Stranding. Examining oscillation, empathy, constructionism, and object-oriented relations in Kojima's game, the paper proves it to be a shining example of metamodern gaming. Furthermore, analyzing Death Stranding gameplay features from a metamodern perspective determines metamodern-related gameplay elements and strategies.
In this paper, I extend the established concept of performativity by focusing on the origins and micro-level interactional strategies of marketing objects. In product markets wherein face-to-face ...interactions between buyers and sellers are impossible, profit-seeking firms depend upon marketing objects—and on their packaging stories—to interact with buyers. While much research focuses on the particular effects of performative marketing objects on consumers, I explore the conditions required for such effects to emerge. In this project, I employ a richly descriptive case study design by focusing on a transnational specialty food firm based in Indonesia and examining the complete collection of food product packages ( N = 81) that communicate with buyers on behalf of its products for sale. I understand marketing practices as helping to create the phenomena they allegedly describe, and thus contribute to object-oriented marketing theory through a dramaturgical analysis of packaging talk.
This article takes the stance that knowledge requires a commitment to literalism, defined as the Humean view that an object is nothing more than a bundle of qualities. But insofar as philosophy in ...its classical sense as philosophia must oppose all forms of literalism, philosophy cannot be a form of knowledge, and therefore cannot be viewed as continuous with science in any straightforward sense. Analogous cases are considered. A metaphor cannot be understood in literal terms, for the simple reason that metaphor enacts a rift between an object and its qualities rather than a bundled union. Thomas Kuhn’s philosophy of science gives us another case where the “that” and the “what” of a discovery such as oxygen are inevitably in conflict, casting doubt on whether science itself even has literal foundations. The article ends with some reflections on the differing attitudes required by the philosopher and the scientist.
This article explores a pedagogical approach of using sculptural artifacts as a practical tool to explore the ineffable but powerfully evocative atmospheres found within sacral architectures. However ...affective these spatial experiences may seem; in architectural pedagogy we struggle to speak of their nature and nuance, since they resist the mediums through which architectural discourse typically circulates. The making of sculptural forms allows undergraduate students to gesture to aspects of the atmosphere. An extended body schema established by the making process facilitates an embodied understanding of the atmospheric qualities. Object Oriented Ontology (OOO) provides a useful theoretical underpinning as a way to understand the students′ interactions, relationships between the sculptural artifacts, the processes of making and the atmospheres created. Through these processes, students become aware of, feel, engage, articulate and express the nuances and qualities of sacral architectural atmospheres.
Object-oriented marketing theory Franco, Paolo; Canniford, Robin; Phipps, Marcus
Marketing theory,
09/2022, Letnik:
22, Številka:
3
Journal Article
Recenzirano
Odprti dostop
Assemblage and actor-network theories explain how markets and consumption are constituted by heterogeneous resources that form part-whole relations at various scales. Marketing and consumer research ...studies that use these theories, however, often retain human-centred scales and units of analysis, such that objects and forces that exist at unfamiliar (time)scales are overlooked. This paper explains how Object-Oriented Ontology can help to guide ontological, methodological, and analytical considerations in studies of market and consumption assemblages. We offer a framework that helps researchers to consider how far researchers should unpack assemblages into component parts; to what extent studies should trace objects’ effects as part of wider contexts; how ‘objects’ may harbour qualities that are withdrawn from social contexts; and how these hidden features can be encountered through speculative methods. Finally, we critically discuss the place of objects and subjects in socio-material research.
The Image of the World in the Anthropocene Paolo Missiroli
European journal of creative practices in cities and landscapes,
10/2022, Letnik:
5, Številka:
1
Journal Article
Recenzirano
Odprti dostop
The aim of this essay is to show the sense and the limits of some of the contemporary critiques of the idea of the world. It will be structured as follows: in a first paragraph, we will show the ...conceptual structure of these critiques as they take shape in Object Oriented Ontology (OOO), especially in Timothy Morton's work, Hyperobjects. In a second, we will focus on the two main difficulties that such critical work encounters. In a third, finally, we will show the possibilities, aesthetic and political, of a revisited concept of world.
What drives archaeology? Is it new empirical discoveries, new methods or new theory? These factors combined are the fuel of the discipline, is the obvious answer. However, debates and research ...articles frequently reveal how a perceived need for novelty, originality and impact tends to disentangle this triumvirate of archaeological virtues, giving precedence to one asset over others as the supposed driving force. Focusing on archaeological theory, this article taps into current discussions of the nature of archaeological change, reviewing debates on the formation of archaeological theory, its legitimisation and usefulness. Specifically, I address a recent claim that archaeological theory too readily undermines itself by adopting immature ideas and concepts from other disciplines in an uncritical pursuit of novelty. Finally, I discuss how archaeology may contribute more generally to the formation of theory in the humanities by returning so-called borrowed theory.
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