Symbolic consumers of fine art in the art market and their motivations

The purpose of the article. Research and analysis of algorithms of marketing technologies in the art market by studying the motivations of symbolic consumers of fine arts, namely, individuals who consume products of fine arts through symbolic appropriation. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of symbolic consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivations of symbolic consumers of the fine arts market and in the study of further marketing processes in it. The article analyzes the algorithms of marketing technologies in the analysis of motivations of symbolic consumers of the fine arts market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of symbolic consumers of works of art as Individuals through the analysis of types of symbolic Consumers, as well as through the analysis of situations of symbolic consumption of works of art as a symbolically appropriated Product at the art market while viewing works of art in exhibition halls. Based on research in the field of art market marketing, we can say that artistic creativity is an area of activity of non-profit public and private museums, gallery and exhibition institutions, as well as large and small businesses, which should professionally analyze consumer motivations, which in turn makes it possible to highly segment consumers of works of fine art in accordance with their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by symbolic appropriation, and, accordingly, describes the group (segment) of consumers. We are talking about symbolic consumption, which is associated with the possibility of obtaining aesthetic pleasure through the symbolic appropriation of the work without material possession. It is also proved that consumer behavior in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied individuals who consume works of art, which in turn are products presented in exhibition halls, and we have studied the situations of consumption of works of art that are consumed by symbolic appropriation in exhibitions. Key words: art market, marketing research, motivation of consumers of works of art, symbolic consumption of works of art, behavior of consumers of art market.

The Construction of the Derivative Value of Heritage Tourism on the Basis of Symbolic Consumption

As a part of creative cultural industry, heritage tourism combines cultural, historical, artistic and scientific values. It includes both spiritual consumption and material consumption. It is not only a social and cultural phenomenon, but also an economic phenomenon, upgrading from sightseeing to purchasing goods and then to cultural experience. The process of heritage tourism experience is actually a process of encoding symbols. The attraction of heritage tourism derives from the symbolic significance of tourism itself. In essence, tourism consumption is a kind of symbolic consumption, which forms tourism motivation based on the attraction of indicative symbols, and then evolves emotional satisfaction in a symbolic environment. When tourists obtain emotional satisfaction through symbolic consumption, the premium ability of tourism commodities will be enhanced and the derivative value of tourism will thus be formed. Therefore, excavation and utilization of symbol consumption is the core factor of sustainable tourism construction.

Violence in the Society of Symbolic Consumption

The article considers violence in its symbolic form as a product of modern consumption and one of the attributes of mass culture. Despite the extreme urgency of the problem of violence in film and television, researchers in the field of psychology, sociology and pedagogy analyze this phenomenon by the impact of scenes of violence on various categories of the population, highlighting the possible relationship between violence on the screen and in life. This study focuses on the socio-philosophical analysis of violence consumption by modern people. The article considers various approaches to the study of consumption, as well as analyzes the symbolic essence of this phenomenon. How is the society of consumption associated with violence? What is the peculiarity of violence as a consumer product? Consideration of screen violence allows us to identify the main reasons underlying the demonstration of scenes of cruelty in films and on television. According to the famous American director Quentin Tarantino, violence is one of the cinematic techniques. If demand creates supply, what is the reason for the audience’s interest in acts of aggression on the screen? Forming of the information society is associated with the emergence of new technologies of violence included in the system of “producer-consumer” relations, through advertising. Violence is being democratized: it is now available not only to corporations and states. Each person can create their own reality according to their needs and ethical standards. In-depth consideration of these issues will allow us to look at violence as an element included in the system of symbolic consumption of the modern world.

Investigation on Whether the "New Type" Bookstore Model Can Realize the Renaissance of Physical Bookstores

Since the economic globalization was proposed in the 1980s, the links between the world have become more and more close, followed by cultural globalization. With the emergence of the digital economy, people's lifestyles have also changed. At the same time, post-modern consumerism centered on aesthetic and symbolic consumption began to emerge. The paper is divided into five parts to explore whether the physical bookstore can achieve revival. The first section includes research on post-modern consumerism to illustrate its core, chaeacteristics and audience. Under the premise of this, do general research has been done on Fangsuo Commune Bookstore as a representative of the "new type" bookstore, and in-depth analysis of Fangsuo Commune in Taikoo Li Chengdu has been made. In the end, based on the comparison between Fangsuo Commune and other physical bookstores, it is possible that the "new type" bookstore model can realize the revival of physical bookstores.