[...]arketing='lgc'>: institution of simulation, ="trms">imaginary, hype
(forms of) persuasive ="trms">communication ='lgc'>: transformational pro="trms">positions ='lgc'>='lgc'>==> simulating potential experiences (='lgc'>=/= true or false discourse)
="lstsrd">2- ='lgc'>[='strcls'>*='lgc'>]fragmentation='lgc'>: the ="trms">consumer engages in a series of independent, separate, unconnected acts ='lgc'>--each='lgc'>='lgc'>--> require a ="trms">different product
='lgc'>+ fleeting moments of exciting s="trms">cenes and images
(post="trms">modern) transcendence of the (="trms">modernist) necessity to ='strcls'>*understand connections='strcls'>*
='strcls'>***artists of all kinds are increasingly assuming the role of ="trms">marketing institutions='strcls'>***
the ="trms">consumers (of post="trms">modernity) are encouraged to play the game of ='strcls'>*image-switching='strcls'>* (caring mother, efficient manager, elegant partner, gourmet ho="trms">memaker ='lgc'>--each='lgc'>='lgc'>--> require a ="trms">different style ='lgc'>{labeled as ="trms">consumer liberation='lgc'>}) ='lgc'>=/= central character
='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Deleuze and ="ppl">Guattari's ="trms">schizophrenia of late capitalism='lgc'>]
disconnected from authentic self ='lgc'>='lgc'>==> (enormous potential for) creativity in manufactured re="trms">presentations
='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> ="trms">market becomes a ="trms">pastiche
postsub="trms"nttrm="disturban">urban transformation
complex ="trms">interaction of high-="trms">technology production ='lgc'>+ ="trms">socio-spatial con="trms">figuration ='lgc'>+ ="trms">spectacular shopping environment='lgc'> = ubiquitous shopping malls (='lgc'>--acquired='lgc'>='lgc'>--> post="trms">modern theatrical character, fragmented experience of all cultures)
unrestricted ability to use signifiers ='lgc'>[='qstn'>?pushed back by some emerging sensibilities of cultural appropriation, political correctness, gender policing, ="trms">religious, etc.='lgc'>]
='lgc'>='lgc'>--> ="trms">marketing competition rests on the creation of images (meanings) removed from any ="trms">history, context, o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>=/= excellence and sophistication in form and ="trms">technique
='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to contemporary artists anti-excellence attitude and the celebration of fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure and failing='lgc'>]
='lgc'>='lgc'>--> ='strcls'>**each instance of ="trms">communication becomes a ="trms">spectacle='strcls'>**
purposefully decontextualized ='lgc'>+ rendered free floating ='lgc'>='lgc'>==> ="trms">marketable product
(surrea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list artists made use of this ='lgc'>--now='lgc'>='lgc'>--> shop window designer)
Duchamp, Rauschenberg, Warhol (="trms"nttrm="already,spread">ready-made)
='strcls'>***themes of post="trms">modern culture='lgc'>:
irreverence
nonconformity
noncommitment
detachment
="trms">difference
fragmentation
(paradoxically) what seems to be ="trms">difference at the level of ="trms">symbolic culture stems from an underlying uniformity ='lgc'><='lgc'>-- ='strcls'>***heterogeneity has its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins in homogeneity='strcls'>*** ='lgc'>: cultures where ="trms">market and ="trms">marketing are less developed exhibit greater variance in both the quality and kinds of life patterns
="trms">literacy='lgc'>:
="lsts lst1">•in ="trms">modernity ='lgc'>='lgc'>--> to ="trms"nttrm="already,spread">read ='lgc'>+ discover connections among seemingly unrelated objects ='lgc'>='lgc'>==> understanding
="lsts lst1">•in post="trms">modernity ='lgc'>='lgc'>--> watching ='lgc'>: recognizing images (exposing oneself to innumerable images and recognize what they stand for ='lgc'>~ attach meaning to them) ='lgc'><='lgc'>-- this is what i did in my telegram ="trms">bestiary text!
="trms">literacy in ="trms">consumption culture ='lgc'>='lgc'>~/=='qstn'>? established nortons of education
="lstsrd">3- ='lgc'>[='strcls'>*='lgc'>]reversal of production ='and'>& ="trms">consumption
="lsts lst1">•="trms">modernist='lgc'>: value is created in production (meaningful) and destroyed in ="trms">consumption (profane)
="lsts lst1">•post="trms">modern='lgc'>: production continues during the moment of ="trms">consumption, value is created during ="trms">consumption='lgc'>: a process through which individuals define themselves, status, image (='lgc'>=/= common) ='lgc'>='lgc'>--> a ="trms">social act, ="trms">symbolic meaning ='lgc'>='lgc'>==> an individual with certain tastes, mentality, values (a type of humanity)
production ='and'>& ="trms">consumption prove to be ="trms">different moments of the same cycle
="lsts lst1">•during production='lgc'>: producers are human beings, products are commodities
="lsts lst1">•during ="trms">consumption='lgc'>: producers are images, products are human beings
="lstsrd">4- ='lgc'>[='strcls'>*='lgc'>]decentering subject
="lsts lst1">•="trms">modernist='lgc'>: the subject is in the pursuit of its goals, constituted in the separation of body and mind, to graduate from the ='strcls'>*state of being='strcls'>* (existential) to the ='strcls'>*state of knowing='strcls'>* (cognitive) ='lgc'>: distance oneself from a pure existence of being (its context and condition) in order to develop a cognitive understanding
="lsts lst1">•post="trms">modern='lgc'>: the subject is not in control, role of the human is to allow products perform their functions
="trms">marketing orientation
="lsts lst1">•="trms">positioning of the products (in the ="trms">market)
="lsts lst1">•="trms">positioning of the ="trms">consumer (in the ="trms">social ="trms">market)
(today's) body culture='lgc'>: self-objectification (='lgc'>='lgc'>==> to be ="trms">consumed)
distancing of one's own gaze from one's own body to view one's self and scrutinize one's own images
='lgc'>='lgc'>--> ='strcls'>***="trms">fashion becomes the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor for culture='strcls'>***
="lstsrd">5- ='lgc'>[='strcls'>*='lgc'>]juxta="trms">position of anything with anything (its name='qstn'>?)
="lsts lst1">•opposing emotions='lgc'>: ="trms">love ='and'>& hate, contempt ='and'>& annotation
="lsts lst1">•opposing cognitions='lgc'>: belief ='and'>& doubt, reverence ='and'>& ridicule
='lgc'>='lgc'>--> in advertisement a product is ="trms">simultaneously made fun of and prompted, or making credibility by discrediting advertising
='strcls'>*high art and mundane ="trms">consumption='strcls'>*
='lgc'>}='lgc'><='lgc'>== growing acceptance of ='strcls'>*doublethink='strcls'>* (='lgc'>='lgc'>~=='qstn'>? double bond) ='lgc'>: the ="trms"nttrm="metaph,metamorph,metabol,metal">metagame of playing along as if the rules are what they seem on the surface while having the knowl="trms"nttrm="knowledge,Knowledge">edge the rules of the game played are quite ="trms">different from what that appear to be
="lsts lst1">•in advertisement='lgc'>: the ="trms">consumer thinks while other people are persuaded, they themselves are not
="lsts lst1">•in politics='lgc'>: the ="trms">consumers (voters) ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen as if the politicians are espousing genuinely personal views
="lsts lst1">•in media='lgc'>: stating the role of the polls ='lgc'>+ reflecting the politicians view with utmost ="trms">seriousness
="lsts lst1">•ethnic restaurants ='lgc'>='lgc'>--> delicious life styles of which food is just a manifestation ='lgc'>='lgc'>--> ='strcls'>**simulated adventure in a theatrical ="trms">society='strcls'>**
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> the post="trms">modern ="trms">consumer does not judge the experience from a foundational perspective
='strcls'>*it recognizes only ="trms">difference='strcls'>*, only fragments (='lgc'>=/= inequality, conflict)
anything is at once acceptable and suspect ( مجاز majaz)
='strcls'>*juxta="trms">position of op="trms">posites ='lgc'>='lgc'>==> total irony ='lgc'>+ ambiguity ='lgc'>='lgc'>--> ="trms">pastiche='strcls'>*
="trms">marketing ='lgc'>='lgc'>--> ='strcls'>*incorporation='lgc'>: pulling the contradictory (country cultural) movements into ="trms">market economy ='lgc'>: emptying expressions (music, ="trms">fashion) of rebellion (for example punk) of their content ='lgc'>='lgc'>==> commodities them
="trms">society ="trms">historical process is affairs through politics and ="trms">social ="trms">relations ='lgc'>--='not'>✕='lgc'>='lgc'>--> ="trms">market mediates ="trms">social conflicts (for example the content and the looks of news program in VOX news)
='strcls'>*="trms">marketization (of politics)='lgc'>: the possibility of re="trms">presenting them through electronically manipulated images (for example USA's 1991 gulf war was run more as a ="trms">marketing campaign)
='lgc'>='lgc'>='lgc'>~=> ='strcls'>*management of consent='strcls'>*
“authentic” traditional cultures in order to survive have to become ="trms">marketable ='lgc'>='lgc'>--> touristic attractions
="lsts lst1">•="trms">marketing taking the center ="trms">stage in most western institutions
="lsts lst1">•="trms">market='lgc'> = locus (dominant mediator) of legitimation
="trms">marketing='lgc'>: a cultural process re="trms">presenting the post-
transnational (corporation) ='lgc'>: post="trms">modern cultural change ="trms">agent
in traditional ="trms">world of commerce ‘commercial space ='and'>& time ='lgc'>=/= programming space ='and'>& time’
="trms">modernist vacuum created by obsolete notions of what is good or bad (sacred or profane) ='lgc'>='lgc'>--> filled by ="trms">marketing (enters ='lgc'>--into='lgc'>='lgc'>--> culture)
fragmentation ='lgc'>==require='lgc'>='lgc'>==> use of many ="trms">different styles and forms
(ideas and movements which al="trms"nttrm="already,spread">ready have made) sensational impact ='lgc'>='lgc'>--> ="trms">spectacle ='lgc'>='lgc'>--> commodities
(="trms">marketing helped in entrenching) artist selebrity setting new trends and values ='lgc'><='lgc'>-- a post="trms">modern ="trms">phenomena with its roots in 1960s “anti-” movements
="lsts lst1">•not challenging or endorsing or committing to any one style, but rebelling by doing “one's own thing” (Madonna's rebellion 1991 ='lgc'>='lgc'>--> she will continue to find large audiences as long as she re="trms">presents and combines the post="trms">modern aspects of critique of the ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">narrative and the ="trms">marketable commercial sensationalism of the fragmented ="trms">spectacle)
paradoxical ="trms">nature of post="trms">modern culture ='lgc'><='lgc'>-- fragmentation and discontinuity of their experience
not owning a TV (conscious rejection) ='lgc'>+ driving a car (="trms">integrated into mainstream)
merging of education and ="trms">marketing
='strcls'>*televisual generation='strcls'>*
(in north america and western europe) the education is taking place mostly outside of three classroom
(="trms">modern) institutionalized education ='lgc'>='lgc'>--> (post="trms">modern) ="trms">marketing ="trms">system ='lgc'>: the individual of the post="trms">modern encounters the institutionalized education as ="trms">obligation, drudgery, and the means to achieve ="trms">positions
(from) a process of ="trms"nttrm="already,spread">reading issues and ="trms">questions for exploration ='lgc'>--to='lgc'>='lgc'>--> a process of persuasively ="trms">communicating the necess[...]