g rossolatos mktng trends conf escp paris fetish taboo simulacrum 18 1_2012

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marketing psychoanalysis semiotics george rossolatos disruptive semiotics DOWNLOAD PAPER @ http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2040680

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  • 1. Fetish, taboo, simulacrum: An applied psychoanalytic/semiotic approach to the experiential consumption of music products George Rossolatos (University of Kassel) & Margaret K. Hogg (University of Lancaster)International Marketing Trends Conference, Paris, January 19 2013
  • 2. Fetish, taboo, simulacrum: An applied psychoanalytic/semiotic approach to the experiential consumption of music products George Rossolatos (University of Kassel) & Margaret K. Hogg (University of Lancaster)International Marketing Trends Conference, Paris, January 19 2013
  • 3. Fetish-Taboo-Simulacrum: The triadic definitionof the music product Fetish- The music product is highly invested with libidinal energy (overcathected) Simulacrum- Music products are self-referential entities that resemble nothing but themselves Taboo- Music products allow access to the forbidden site of the Other (the Real)
  • 4. Music products as fetishes (petits objets a) An object invested with libidinal energy (Freud) It performs a function that accords with the pleasure principle the maximization of pleasure and the avoidance of pain Petit objet a (Lacan) A signifier or signifying chain that stands obliquely for an impossible signified An object, as object of value, is a small object a (small other).
  • 5. Music products as fetishes (petits objets a) The cultural icon provides a cipher for approximating the Other a code for communicating among a music acts fan base a fundamental lack the lack of the origin. The relation of the subject to the Other is like an insurmountable gap The gap is also the reason why the icon is an object of uncritical devotion The processes whereby devotees demonstrate psychic attachment to the icon have been called sacralizing processes(Belk et al.1989)
  • 6. Music products as taboos Taboo is at the same time sacred, consecrated , uncanny, dangerous, forbidden, unclean (Freud) The transgression of a taboo amounts to the dissolution of the ego and a lapsing into the dark continent of the unconscious (lapsus mortalis) The music product as cultural icon functions as taboo as it guards against the ultimate transgression a necessary condition for entering the symbolic order of language A music product and the key signifiers in its signifying chain constitute a taboo they stand metaphorically for an object of devotion on behalf of a core consumer franchise or a loyal fan base.
  • 7. Music products as simulacra Simulacrum is not the same as image It does not presuppose an object external to itself that causally determines its appearance as copy Simulacrum is self-produced and self-subsistent The subject of consumption is instituted in the signifying chain of the music products promotional discourse qua simulacrum. The promotionally constituted music product is a verbal, aural and visual rendition/revision of the primary process of the unconscious libidinal flow
  • 8. Fetish-Taboo-Simulacrum: The triadic definitionof the music product Fetish, taboo and simulacrum are the operational pillars of our proposed consumer psychoanalytic interpretive model The model addresses how Music products as constituted through various promotional mechanisms function as simulacra, allowing for a dissimulative gaze at the Real. Music products function as taboos insofar as they as allow for reliving the moment of the originary point of entry into the symbolic order, as dynamic interplay with the order of the Imaginary. Music products function as fetishes or small objects a [petits objets a], as they are (over) cathected with libidinal energy, while furnishing a signifying chain that allows for encapsulating the desire for the Other.
  • 9. From ego-centrism to inter-subjectivity Ego psychology: Informed by the Cartesian ego-centric cogito Subjectivity is identical to an omnipresent and stable center Lacanian psychoanalysis : The subject is always already absent and ec- centric The subject for Lacan may not be conceived of separately from the notion of the Other. Inter-subjectivity (as opposed to ego-centrism) is of paramount importance for understanding the foundational character of language and the Other in Lacanian psychoanalysis. The other, as a concrete subject, different from oneself, is an instantiation of the Big Other (Autre)
  • 10. From ego-centrism to inter-subjectivity Experiential consumption of music products from a psychoanalytic perspective cannot be conceptualized independently of others who are partaking of a neo-tribe of fans or followers of a music act According to Lacan, the ego is absolutely impossible to distinguish from the imaginary captations that constitute it in its function and in its actuality, by another and for another (Dor and Gurewich 1998)
  • 11. Schema L: How the subject is constituted in an inter-subjectivemanner 1 2 3 4 (Dor and Gurewich 1998)
  • 12. Mirror-mirror on the record-cover: The primacy of the mirror-stage in inter-subjective specular experiential consumption A music product is construed through progressive mirroring effects between a brands discourse and the inter-subjective communicative trajectory of its followers. The concept of the mirror-stage is crucial for understanding this mirroring process. The mirror stage is the inaugural phase of psychic development (Lacan) In its mirror reflection the child initially conceives of itself as same and other at the same time The mirror stage accompanies a subject in adult life Mirroring in / Identification with the specular image of music artists through promotional items (i.e. posters) or experiential events (i.e. live shows) The subjects formation in inter-subjective consumptive experiences (i.e. live shows) takes place through a mutual mirroring in each others gaze
  • 13. Mirror-mirror on the record-cover: The primacy of the mirror-stage in inter-subjective specular experiential consumption Identification with the specular object in an inter-subjective setting occurs in a participatory fashion. Participation (and not individual reflection) is the modus operandi whereby the specular object assumes value for a consumption tribe. The mirror phase whereby a subject recognizes (and at the same time misses) itself in the specular image is enacted in a group participatory setting through multiple mirrorings. The subject is mirrored in another subjects gaze and both subjects are mirrored in the music act as simulacrum on stage. At the same time, the simulacrum on stage is a mirroring of other signifiers that make up the imago of the music act, such as record covers and video clips.
  • 14. The music product as simulacrum on stage- In vivoenactment of the mirror on the record cover
  • 15. Mirror-mirror on the record-cover: The primacy of the mirror-stage in inter-subjective specular experiential consumption The phenomenological experience of the live show assumes the form of a triple mirroring structure. The participating subject (S) gazes at another (o) gazing at itself (o) while both are instituted as members of a neo-tribe through the mutual gaze that is oriented towards the live act as petit objet a on stage standing for (O), based on Schema L.
  • 16. He