Prosumption

Author(s):  
George Ritzer

While prosumption (the interrelated process of production and consumption) is a primal process and has always been ubiquitous, we have entered a revolutionary “new world” of prosumption in both the material, and especially the digital, world. Prosumption is conceived of as a continuum ranging from prosumption-as-production (usually thought of as “production”) to prosumption-as-consumption (usually seen as “consumption”). It is associated with a new stage of capitalism—prosumer capitalism—that has increasingly come to control the process and to exploit prosumers. Key to the new world of prosumer capitalism is a new, extreme, and more “magical” form of exploitation—“synergistically double exploitation.”

Maska ◽  
2020 ◽  
Vol 35 (200s3) ◽  
pp. 98-108
Author(s):  
Miško Šuvaković

Abstract This text was written on the occasion of the 200th issue of Maska magazine. My goal is to identify and interpret the time when the text is written and when the 200th issue of Maska will be published. I identified a situation of sociability at the time of the coronavirus pandemic and the dominance of digital/postdigital communications. I am interested in the difference between media representation, virus events and political-or-artistic interpretation of modern and transitional forms of human life. If we are talking about digital art/culture/society in relation to the technological turns from the mechanical to the analogue-electronic world, from the analogue to the digital world, from the digital world to the post-digital world, and from the post-digital world into a De Re media possible world, then we are facing a conflict between the dialectic of emancipation through the new and the differentiation of the production/and/consumption of the new in a time and space where the human being is becoming the product of its own product. It is important to index the contemporary antagonism between the ‘digital proletarian’ and ‘digital fascism’. Confronted with digital fascism, digital proletarians pursue a risky process of self-fulfilment and thereby liberation/emancipation in complex digital practices and their impacts on other forms of existence – in a critical and dialectic ontology. Therein lies the essential difference between the politics of functionalism and that of liberation.


2017 ◽  
Vol 7 (1) ◽  
pp. 12
Author(s):  
Bilal Tawfiq Hamamra

Aldous Huxley’s Brave New World (1932) is a nightmarish depiction of a post-human world where human beings are mass-produced to serve production and consumption. In this paper, I discuss the manipulations of minds and bodies with reference to Foucault’s biopower and disciplinary systems that make the citizens of the world state more profitable and productive. I argue that Brave New World depicts a dystopian systematic control of mind and body through eugenic engineering, biological conditioning, hypnopaedia, sexual satisfaction, and drugs so as to keep the worldians completely controlled, collectivized and contented in a totalitarian society. The world state eradicates love, religion, art and history and deploys language devoid of any emotions and thoughts to control the mind that judges and decides. I argue that Brave New World anticipates the Foucauldian paradigm of resistance, subversion and containment, ending in eliminating the forces that pose a challenge to the ideology of the world state.


DeKaVe ◽  
2013 ◽  
Vol 3 (5) ◽  
Author(s):  
Arwin Purnama Jati

Global culture and industrial society have been raise production and consumption habits. Thediscourse is related to the role of media as a culture-mass product. Film with fantasy genre is part ofculture-mass product which has influenced the society significantly. Media is formed by narration andvisual signs which creates social habits pattern. Fantasy films as itself reconstruct the audience's mind,accommodate idea and imagination oflife and its social relations.As it is formed in mind of the audience, imagination represents the need of "new-world" realitiesthat is virtual means, which is produced as a consequence of digital revolution and technology productthat are both related to the necessity of production. In this case, there is continuity production of visualsigns, therefore treats to the rise of"hiperreality" by its product, that isfantasy:film as a discourse.Keywords: Hyperreality, Film, Virtual, Fantasy


Author(s):  
Tânia Manuel Casimiro ◽  
Sarah Newstead

This paper aims to provide an analysis of the production and consumption of drinking cups in Portugal examining their productive and decorative characteristics and establishing their relation with the ingestion of water between the 15th and 18th centuries. Although drinking cups started to be used much earlier, during the early modern age an international demand for such objects emerges. This fame will take them to places from Northern Europe to the New World where their colour, taste and smell were highly appreciated.


Author(s):  
Julian Stallabrass

‘New world order’ examines globalized art production and consumption. Just as business executives circled the earth in search of new markets, so a breed of nomadic global curators began to do the same, shuttling from one biennial or transnational art event to another. At first, the filtering of local material through the art system produced homogeneity. The contemporary art produced by the shock of exposure to neoliberal economic forces, in Russia and Scandinavia and the contemporary art from communist governments, China and Cuba, are important parts of the new world order. As other powers emerged to challenge the US, and as neoliberalism fell into disrepair, new worlds were revealed.


2008 ◽  
Vol 36 (2) ◽  
pp. 569-586
Author(s):  
Paul Young

When called upon to hosta banquet celebrating the forthcoming Great Exhibition of 1851, the world's first display of international industry, the Mayor of York turned to the period's most renowned chef for the catering. The Frenchman Alexis Soyer, who had recently resigned from his position at the Reform Club in Pall Mall, had made a name for himself in Britain through a combination of extravagant culinary endeavours and popular household cookery books. The banquet at York was an important occasion; joining Prince Albert, Queen Victoria's Consort, was a long list of national luminaries from Victorian high society and the political world. Soyer did not disappoint the Mayor, or his guests. TheTimescommented that amongst the vast array of international cuisines on offer was featured “one dish, to which turtles, ortolans, and other rich denizens of land and sea had contributed, [which] cost not less than 100l.” The paper noted with satisfaction that the feast was consumed before an “emblematical device representing Britannia in her conventional attire receiving the industrial products of Europe, Asia, Africa, and America” (“The Banquet at York” 5). That this emblem provided the backdrop to such cosmopolitan fare was salient: it spoke to the way in which the production and consumption of food would become a crucial motif in the positive representation of globalisation as it was understood at the Exhibition; it also highlighted the important role that the Victorian metropolis would fulfil in the realisation of this new world order. Certainly, the internationalist bent of Soyer's cooking seemed entirely appropriate to the luminaries gathered at the York banquet, and it was no doubt with the French chef's culinary scope in their minds as well as their stomachs that the Exhibition's organisers invited Soyer to submit a tender to provide refreshments at the display itself (Soyer 197).


2021 ◽  
Vol 14 (1) ◽  
pp. 199-208
Author(s):  
Debora Barauna ◽  
Fernanda do Nascimento Stafford ◽  
Marina Zambonato Farina ◽  
Amanda Cassia Oliveira Aleixo

The COVID-19 pandemic situation has proven the fragilities of the current lifestyles of humanity. The previously established patterns, as they were, a predominately linear type of economy, and the manners for generating work and income, were based on production and consumption. However, that proved to be unsustainable due to the necessity of social isolation. In this context, the aim of this article is to resume the emergency for finding new ways of thinking and acting in the economy and to explore emerging views. A documental research and narrative literature review were performed to foster this discussion. A comparative framework based on four models of new economies that have arisen in the literature between the end of the XX century and the beginning of the XXI was constructed. Design evolution is related to circular, distributed, creative, and regenerative economy as an agent for change. Then, in conclusion, the authors reported on strategies and actions that have been created during the pandemic to corroborate on views posed by the new economies and design culture that are constantly being transformed in the eminence of contributing to a new material and immaterial world.


Handwriting is one of the most natural ways of communication among people. The handwriting recognition task is the main concern of scientific community because handwriting can be varies with the same person or from one person to another hence the prediction of human behavior through handwriting is a complex task. Earlier the handwriting analysis has been done by graphologists but due to the modernization and the arrival of digital world the handwriting analysis can be done with the help of computer aided machines. Different software and algorithms has been defined to do the analysis. In the new world of machine learning handwriting recognition and the prediction of human behavior can be done by using different techniques of machine learning which increase the speed of analysis This paper studies the recent advances and the trends in the field of handwriting recognition by machine learning


2020 ◽  
Vol 53 (04) ◽  
pp. 161-163
Author(s):  
Турал Новруз оглу Исмайилзаде ◽  

Key words: Covid-19, infectious disease, industrial revolution, New World, social isolation, technological paradigms, digital world, global change


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