Culture As Commodity: the Marketing of Cultural Objects and Cultural Experiences | ACR

Culture As Commodity: the Marketing of Cultural Objects and Cultural Experiences | ACR

The recognition that products and services have intangible, non-functional attributes is not new. It reflects a shift from a materialistic, market-driven status symbol system to one that is experiential. Status symbols have evolved to connote meaningful use of leisure or reveal "taste", rather than just wealth. With the availability of market objects to a wider population, the status symbol system based solely on market value has become ambiguous.

In many countries, cultural events are primarily attended by the social, intellectual, and economic elite. These events require knowledge and understanding to fully appreciate, making them a form of conspicuous consumption. However, not everyone who has the opportunity to engage in cultural activities actually enjoys or values them. Some may have superficial experiences or avoid them altogether.

Cultural objects have become markers of cultural experiences. They symbolize the level of sophistication or taste of the individual. These objects are displayed on their person, in their workspaces, or in their homes, saying to others, "this is what I have done" or "this is the sort of person I am."

While some cultural experiences are highly visible and widely reported through the media, others require markers to signify participation. These markers hold more symbolic importance than mere souvenirs. They serve as evidence of having been part of a significant cultural event.

The experiential system has been adopted by those who possess and wish to maintain social distance. Experiences are harder to fake than wealth, making them a more reliable indicator of status. Those who seek experiences solely for the sake of claiming to have had them are less likely to repeat the experience. True enthusiasts derive pleasure from the experience itself and may return multiple times.

The value of cultural markers for individuals who lack confidence in their own taste is derived from their status-symbolic significance. These individuals rely on the taste of others, such as curators or producers, to validate their choices. The intrinsic function, artistic quality, and cultural context of a marker may be of lesser importance to them.

Culture consumption fulfills a social function of legitimizing social differences. The denial of lower, natural enjoyment implies the superiority of those who can appreciate refined and distinguished pleasures. Cultural experiences are predisposed to fulfill this function.

Individuals with differential capacities to enjoy cultural experiences, namely Trads and Technos, exhibit different behaviors when engaging in the same activity. Trads are more likely to fully engage in the cultural content, while Technos may focus on other visitor activities that have meaning for them.

The advancement of AI and technology has also impacted the art world. People have a visceral preference for human-made art over robot-made art. The presumption of the maker's identity and intent plays a significant role in this preference. The market success of artists depends on being seen as oblivious to market success.

In conclusion, cultural objects and experiences have become commodities in the modern world. They serve as status symbols and markers of cultural participation. The experiential nature of cultural consumption makes it harder to fake than wealth. However, there are different motivations and behaviors among individuals when it comes to engaging in cultural activities.

Three actionable advice:

1. Embrace cultural experiences for the pleasure and meaning they bring, rather than solely for the sake of claiming to have had them.
2. Develop your own taste and trust your judgement when it comes to cultural consumption. Avoid relying solely on the taste of others.
3. Support cultural institutions and artists who value the intrinsic function, artistic quality, and cultural context of their work.