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. In fact, there has been a transformation from a materialistic, market-driven status symbol system to one that is more experiential. This shift has been driven by the redistribution of wealth, making market objects that were once exclusive to the economic elite now available to the majority of the population.

In this new system, the quality of leisure matters more than the quantity. And cultural events have become a key aspect of status-signalling for the social, intellectual, and economic elite. Attending cultural activities is not only a way to enjoy leisure but also a way to demonstrate taste and sophistication. It is a means to preserve or widen existing systems of social inequalities.

However, it is important to note that engaging in cultural activities requires certain knowledge and information. One cannot fully appreciate a cultural object without possessing the necessary background information. Over time, individuals may acquire this knowledge through repeated exposure or study. But there are also those who, despite having the opportunity, have only superficial cultural experiences or avoid them altogether.

For the newly-statused individuals, who may not have been socialized or educated to enjoy high culture, cultural objects become markers of their status. These objects are displayed on their persons, in their workspaces, or their homes. They serve as a way to communicate their achievements, sophistication, and taste to those who matter to them. And sometimes, these objects become so significant that they overshadow the actual experience itself.

The experiential system of status-signalling has been adopted by those who wish to maintain social distance. Experiences are much harder to fake than wealth, making them a more reliable indicator of social standing. If one claims to have had a certain experience, they must either acknowledge that they haven't or risk being detected as fraudulent. This is why individuals may seek out experiences solely for the purpose of being able to claim they have had them, without actually deriving any pleasure from them.

There are two main categories of individuals within this system: the Trads and the Technos. Trads are those who genuinely enjoy cultural experiences and are likely to return to them multiple times. Technos, on the other hand, derive their symbolic benefits from having been there rather than from the experience itself. They may lack confidence in their own taste and rely on the judgment of others to determine what is appropriate for them.

Cultural institutions must navigate the needs and preferences of both Trads and Technos. Technos respond well to blockbuster-type exhibitions that have significant symbolic significance, even if they have an aversion to the cultural content itself. Trads, on the other hand, are loyal supporters of cultural institutions and are more likely to engage with the cultural content.

In the realm of intellectual property, trademarks play a crucial role in communicating information about the source of a product or service. Creative Commons, for example, uses trademarks to indicate the type of legal tool chosen by the rights holder and to indicate that a work is licensed under a Creative Commons license.

When using Creative Commons trademarks, it is important to comply with their Trademark Policy. This includes using the marks solely to describe the Creative Commons license that applies to a particular work and including the corresponding Commons deed on the Creative Commons server. Permission must be obtained from Creative Commons to use their trademarks on event titles, product names, merchandise, and other promotional uses.

It is also important to note that any changes made to a CC license text may require the removal of Creative Commons branding and trademarks. Additionally, if any restrictions are placed on the use of a CC-licensed work that limit or further condition the permissions granted under the standard CC license, Creative Commons trademarks must not be used in connection with the license.

In conclusion, the marketing of cultural objects and experiences as commodities is a complex phenomenon. It is driven by the desire to demonstrate taste, sophistication, and social standing. However, it is crucial to consider the role of knowledge and education in truly appreciating cultural experiences. Cultural institutions must cater to the needs and preferences of both Trads and Technos, while also respecting the intellectual property rights associated with cultural content.

Three actionable advice for individuals navigating this landscape:

1. Seek out cultural experiences for the inherent enjoyment they bring, rather than solely for the purpose of claiming social status.
2. Take the time to educate yourself about the cultural objects and experiences you engage with, as this will enhance your overall enjoyment and understanding.
3. Support cultural institutions that align with your values and interests, as they play a vital role in preserving and promoting cultural heritage.