Performing the Digital : Performance Studies and Performances in Digital Cultures

Schipper, Imanuel; Leeker, Martina; Beyes, Timon

doi:10.26530/oapen_627661

Cited by 5 publications

(2 citation statements)

References 34 publications

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“…As such, meanings might continue to be instructive as starting points for TM. For instance, when Beyes and colleagues (2017) studied mobile phones as an anamorphic stain, they did not focus primarily on how consumers interpreted their phone use, but rather what ubiquitous screens said about the state of consumer society. Similarly, studies of anxious and precarious consumer lifestyles listen to consumer accounts, but then seek to discern unconscious forces operating between the lines of interpretation (Cronin and Cocker, 2019; Cronin and Fitchett, 2021; Lambert, 2019).…”

Section: The Tendencies Of Terminal Marketingmentioning

confidence: 99%

Bleak signs of our times: Descent into ‘Terminal Marketing’

2022

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Marketing theory has twisted and turned with the introduction of many theoretical innovations. Yet, despite being influenced by various critical perspectives, the general marketing discourse remains remarkably optimistic about contemporary consumer culture, its capability to produce meaning and individuality, and its potential to overcome the existential threats of the 21st century, or at least its capacity to be transformed for the better. This paper discerns a countervailing current within critical marketing thought; a smattering of scholars that resist the therapeutic urge to tell that all will be well, producing a proliferation of papers that are deeply pessimistic about conventional marketing concepts like meaningful experience, agency, and the sovereignty of the consumer ‘self’. Against the current of convention, this research seeks to address an increasing zeitgeist of bleak cultural aporia, an atmosphere of apolitical apathy where the future has increasingly been ‘cancelled’ and all that remains is a carnivalesque consumer culture that has resigned itself to extinction, even if on the semiotic surface it is increasingly ethical and ecological. The present paper catalogues this development and draws together some of its tendencies. Chief amongst these is the tendency to see the consumer as a desiring intensity immersed in vast networks of techno-capitalism and thus reduces the idea of the agentic and individualistically creative consumer into a myth at best. We propose the term Terminal Marketing to describe this pessimistic theoretical attitude, but we consider its mood as potentially producing more critical interventions than the generally critical-yet-optimistic tone of interpretive marketing.

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Section: The Tendencies Of Terminal Marketingmentioning

confidence: 99%

Bleak signs of our times: Descent into ‘Terminal Marketing’

2022

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“…How humans live and want to live with technology has been subject to much recent discussion within philosophy (Campbell, 2011;Hörl, 2015;Scharff & Dusek, 2014), sociology (Shaw, 2018;Zuboff, 2019) and organization studies (Beyes, 2017;Curchod, Patriotta, Cohen, & Neysen, 2020;Fleming, 2019;Flyverbom, Deibert, & Matten, 2017). Indeed, it has been argued that our lives are mediated by technology to such a degree that it no longer makes sense to think of humans as separate from technologies; that we now live in a 'technological condition' where there is constant merging of human and non-human actors to the point where they are 'technology-saturated' (cf.…”

Section: Introductionmentioning

confidence: 99%

Seduced by Technology? How moral agency is mediated by the invisibility of everyday technologies

Greenwood

Cox

2022

Organization Studies

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We introduce postphenomenology to organization studies to address the question: How is moral agency mediated through everyday technologies? Drawing on our everyday experiences of academic knowledge production as an empirical illustration, we argue that the extent to which technological mediations are visible and invisible has important implications for moral agency. We conceptualize the visibilities of technological mediations through two dimensions: (1) visibilities of the source of mediation, and (2) visibilities of the connection between the means of mediation and its effects. Using these dimensions, we differentiate four different modes of mediation – coercive, persuasive, decisive and seductive – each varying in terms of moral agency. We problematize the invisibility of technological mediations, as evinced by a condition we term seductive mediation where both the sources of mediation and the means of mediation are invisible, then conclude with specific implications for organization studies.

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The socio-aesthetic construction of meaning in digitally mediated environments: a digital sensemaking approach

Brill,

Schnugg,

Stary

2024

AI & Soc

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Sensemaking has recently been identified as a driver of society developments, in particular in the context of designing a reasonable, valuable, and fair life. Since the construction of meaning is a crucial momentum in sensemaking processes, the authors investigate how meaning can be constructed in a sustaining form by utilizing digital means of expression, articulation, sharing of information, and creation of artscience artefacts. The authors report on results of exploring cyber-physical-systems with performative methodologies in the context of sensemaking to identify sensemaking processes of entering digital environments and share meaning-making activities through interaction. The collected data from two artscience studies reveal that activities beyond cognition facilitate sensemaking. Aesthetics and embodiment in performing actions are understood to play a role in sensemaking and subsequently effect on the construction of meaning. To investigate the role of the body and aesthetics in sensemaking in digital environments, we were particularly interested in sensemaking through embodied agency and aesthetic awareness, drawing from kinesthetic awareness of performance artists. In the performative activities digital behavior recognition and human task behavior were coupled, on the one hand by performers exploring digital environments actively reflecting on their performative process, on the other hand by a performance artist and choreographer creating performative experiences for audiences. It has been demonstrated in cyber-physical settings and can be utilized in upcoming developments further integrating virtual and physical worlds.

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Performing the Digital : Performance Studies and Performances in Digital Cultures

Cited by 5 publications

References 34 publications

Bleak signs of our times: Descent into ‘Terminal Marketing’

Bleak signs of our times: Descent into ‘Terminal Marketing’

Seduced by Technology? How moral agency is mediated by the invisibility of everyday technologies

The socio-aesthetic construction of meaning in digitally mediated environments: a digital sensemaking approach

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