Cultural consumption

En este estudio es producto de una investigación realizada entre 2010-2012 en el que se analiza el consumo cultural de la trova yucateca en Mérida, a partir de ver los procesos de recepción en tres generaciones de oyentes en las familias de esta ciudad.

Huber Ludwig 2002 Consumo, cultura e identidad en el mundo globalizado. Estudios de caso en los Andes. Lima IEP: Colección Mínima. Smith Stephen y Carolina Trivelli 2001 El consumo urbano de los alimentos andinos tradicionales. Lima IEP, MSPP y MAGROS: Colección Mínima.

This chapter is a qualitative exploration of consumer experiences into rural tourism initiatives in Japan. Rural tourism initiatives have been on the rise in Japan in recent times due to the need to rejuvenate the local economies, arts and cultural heritage. These initiatives aim to mobilise tourist attention to the countryside and create a bridge between urban tourists and rural tourism. Using theories of cultural encounters and cultural consumption, the research investigates rural tourism initiatives in two regions-Tateyama and Hirakawa. The narrative data provide insights into the motivations of the respondents to be part of the initiative and their experiences. It indicates how the process of cultural consumption leads to cultural appreciation. The study also serves as an example of how rural tourism can be implemented by other countries where rural economic mobilisation and empowerment is critical.

The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details.

In sociological debates about cultural stratification, a matter of dispute is whether Bourdieu’s model of class-structured lifestyle differences has relevance for understanding contemporary social inequalities. According to Bourdieu’s critics, the emergence and increasing pervasiveness of the cultural omnivore have made this model outdated. This article argues that the notion of the cultural omnivore has led stratification research into an unfortunate cul-de-sac, characterised typically by unfruitful discussions about whether simplistic recasts of old maps fit current cultural terrains. The article makes the point that empirically investigating how people appropriate goods is at least as important as investigating what they prefer, consume or engage in. More specifically, liking the same things does not necessarily indicate similar tastes, as a given object can be appropriated in different ways. Drawing on qualitative interviews with 46 individuals located within different positions in the local class structure of the city of Stavanger in Norway, the analysis points to clear differences between ways of appropriating goods. Four distinct modes of consumption are identified: the intellectual mode, the luxurious mode, the educational mode and the practical mode. These modes of consumption are structured along class lines, i.e. consistent with the homology thesis.

На примере анализа содержания фильмов-лидеров кассовых сборов кинопроката раскрывается ценностная динамика символов успеха как объективно проистекающий в кинокоммуникации социокультурный процесс. Культурное производство и потребление
переосмысливается в качестве автокоммуникации общества, которая имеет устойчивые тенденции. Изучены связи социокультурного процесса символизации успеха с коммуникативными, семантическими и семиотическими процессами. Описана специфика диалектического противоречия социоцентричных и персоноцентричных символов
успеха. Изложены теоретические положения, раскрывающие структурную и функциональную сторону социокультурного процесса символизации успеха, на примере анализа массива кинофильмов доказана его объективность, определены доминирующие тенденции в
ореоле культурного пространства общего кинорынка.
Книга адресована ученым, студентам и преподавателям, интересующимся культурной динамикой, социальной коммуникацией, ролью кинематографа в современном обществе.
On the example of the analysis of the content of films-leaders of the box office box office, the value dynamics of the symbols of success is revealed as an objectively occurring sociocultural process in film communication. Cultural production and consumption are being rethought as the self-communication of society, which has sustainable trends. The connections of the socio-cultural process of symbolizing success with communicative, semantic and semiotic processes have been studied. The specificity of the dialectical contradiction between sociocentric and personocentric symbols
of success is described. The theoretical provisions that reveal the structural and functional side of the socio-cultural process of symbolizing success are presented, its objectivity is proved on the example of the analysis of an array of films, the dominant tendencies in the halo of the cultural space of the
general film market are determined.
The book is addressed to scientists, students and teachers interested in cultural dynamics, social communication, the role of cinema in modern society.

Peters, Tomás (2018) “Capital cultural y participación cultural en Chile: apuntes históricos, propuestas emergentes.” En Ministerio de las Culturas, las Artes y el Patrimonio. IV Encuesta Nacional de Participación Cultural. Santiago, Chile: MCAP.

This article adds to the literature on the consequences of cultural capital at the age of cultural globalization by analyzing the ways youth engage in globalized cultural consumption in three cities – Paris, São Paulo, and Seoul. Drawing on cosmopolitanism as an aesthetic and cultural stance of openness and on global cultural consumption as providing youth with cosmopolitan skills, we compare the uses of aesthetico-cultural cosmopolitanism in three contexts. We offer an original account of different uses of cosmopolitan cultural skills, which, to varying degrees in the three contexts, signal generational belonging, social distinction, educational and professional success, and personal eruditeness and fulfillment. Analysis of recent interviews with 80 youth in each city reveals distinct uses of aesthetico-cultural cosmopolitanism: as a vehicle for self-development (either empowerment or Bildung) in Paris, as a means for the cultivation of social capital for personal status in São Paulo, and as human capital serving for labor market entry and attainment in Seoul. Our findings accentuate that even with the prevalence of cultural globalization in global cities, the functions of cosmopolitan skills remain highly dependent on educational, institutional, cultural, and political contexts at the national level, which create different incentives and opportunities or barriers to experiencing otherness and developing new types of cultural capital

This chapter presents the analysis of the cultural literacy and cultural participation of the adult Latvian population, drawing predominantly from the survey of the study. The goal was to find out:
• how people evaluate their cultural activities,
• how skillful they feel in the implementation of their cultural practices,
• who are the people they listen to when choosing this or that cultural activity,
and
• what is the participation (or non-participation) of various social groups in specified cultural activities?
The survey data provide the opportunity to acquire some understanding of the logic behind various cultural practices, including the acquisition and assessment of information. Major attention in the analysis is focussed on these topics regarding:
• sources of cultural information, and
• gender distinctions.

The thesis researches a nature of cultural consumption and how economic, social and
cultural factors are related to its patterns. A case study of Lithuanian visual arts
market shows that existence of the essential economic environment does not imply
higher cultural consumption rates. Further investigation tests the hypothesis whether
social and cultural factors can predict cultural consumption patterns better than
economic factors alone. The quantitative data analysis of a consumer survey
accompanied by qualitative analysis of experts’ interviews confirms the hypothesis. It
suggests that holistic approach incorporating not only economic, but also social and
cultural perspectives must be applied when analysing cultural consumers’ behaviour.

Este artículo ofrece algunas reflexiones en torno a los vínculos entre consumo cultural y ciudad, a partir de los hallazgos preliminares de un estudio que indaga en las experiencias de los públicos de ferias y festivales culturales que ocurren en el espacio público de tres ciudades chilenas: Santiago, Valparaíso y Concepción. Mediante una estrategia
metodológica cualitativa, basada en trabajo de campo etnográfico y entrevistas en profundidad en torno a un número discreto de casos significativos, la investigación busca comprender cómo estas modalidades festivas del consumo cultural habilitan usos alternativos del espacio urbano que no se encuentran disponibles en el tiempo ordinario, problematizando la definición de lo público en el marco de la ciudad y reconfigurando las fronteras identitarias del nosotros.

В статье анализируется база данных, покрывающая всех читателей, пользовавшихся абонементом санкт-петербургской городской сети биб-лиотек в 2014 г. База позволяет соотнести параметры читателей (пол, возраст, образование, тип занятости) с тем, какие книги они выбира-ют. В этой статье мы анализируем пространство художественных вкусов на примере 200 наиболее популярных авторов. Данные позволяют получить частичное подтверждение «тезису гомологии» Бурдье: суще-ствуют системы вкусов, значимо коррелирующие с формальным уровнем образования, и произведения могут быть расположены в иерархии в за-висимости от того, каков средний образовательный уровень и характер занятости (физический-нефизический труд) их читателей, с Фаулзом наверху и «мужским» и «женским» детективами и «фантастическим боевиком» внизу. При этом эффекты статусной культуры накладыва-ются на эффекты генерации (фантастика заменяет детективы в млад-ших поколениях), гендера (оппозиция мужского и женского просле-живается в низкостатусной, но не в высокостатусной литературе) и биографического цикла. Специфика чтения меняется с возрастом, от детской литературы (также поляризованной по статусным основа-ниям) через школьную программу к точке дивергенции во «взрослом» чте-нии. За счет использования библиотечных BigData мы можем увидеть проблематичность традиционной для социологии культурного потребле-ния практики построения иерархии «жанров»: в отличие от поджанров, конвенциональные жанры слабо поляризуют культурное потребление.

Esta pesquisa analisa, do ponto de vista etnográfico, os visitantes da Pinacoteca do Estado, em São Paulo. Embora seja o museu de arte mais antigo da cidade, a Pinacoteca se encontra, junto a outras instituições culturais da região da Luz, no meio de processos de revitalização por meio da cultura. Tais processos fazem parte de fenômenos urbanos globais que vêm redefinindo o papel dos museus no contexto urbano e relacionando-os com processos econômicos mais abrangentes. No entanto, a presente pesquisa busca um afastamento das análises que entendem os museus como parte de uma cultura de consumo e vê seus frequentadores apenas como consumidores. Contudo, não se propõe aqui uma antropologia do consumo, que – em que pese a notável superação de uma abordagem moral do tema – se baseia numa ruptura entre sujeito e objeto e compreende as relações materiais apenas como formas de representação de classificações e divisões culturais mais profundas de grupos sociais. Tenta-se, na verdade, compreender o comportamento dos visitantes da Pinacoteca em suas formas de sociabilidade, bem como a relação desses visitantes com os objetos de arte tendo como base uma perspectiva antropológica da arte e da cultura material. Tal perspectiva permite conceber as obras de arte como pessoas, o que dinamiza e complexifica as relações com objetos materiais. Assim, analisa-se, situacionalmente, as relações dos visitantes da Pinacoteca de modo que, por meio das obras de arte e dos laços de sociabilidade, as interações sociais possam ser ampliadas e, em vez de ocasião para distinção simbólica e social, a visita possa ser entendida como oportunidade de construção pessoal.

Что происходит с потреблением высокой культуры во времена, когда система экономического неравенства быстро и драматически меняется, как это произошло в России после 1991 года? Участие в культурной жизни понимается в социологии как элемент членства в статусной культуре, которая сообщает престиж особый своим участникам. В социологии ведутся две большие дискуссии, связанные со статусной культурой. Одна из них касается того, насколько она автономна от экономического класса, вторая – насколько участие в ней является результатом стратегического, рефлексивного выбора. Российская история последних десятилетий может пониматься как естественно-исторический эксперимент, результаты которого могут быть решающим аргументом в этой дискуссии. Экономический кризис 90-х широко воспринимался как время социальной революции, приведшей к потере своего положения бывшей советской интеллигенции и подъема малокультурных «новых русских». Отразилось ли это изменений классовой структуры на привлекательности элементов образа жизни интеллигенции, и если да, то были ли младшие возрастные группы первыми, кто отреагировал на изменение привлекательности карьер? Мы используем данные Петербургского мониторинга культурной активности за 1991-2011 годы чтобы ответить на этот вопрос. Выводы состоят в том, что (а) уровни культурно участия изменились незначительно, причем потребление «высокой культуры» оказалось гораздо менее эластичной при падении доходов, чем массовой – кинотеатр потерял в несколько раз большую часть аудитории, чем опера (б) на протяжении всего периода, наиболее энергичным потребителем были сравнительно молодые люди. Это укладывается в представление об автономной статусной системе, независимой от экономических шансов. Участие в ней, однако, кажется осознанной инвестицией, осуществляемой в моменты, когда индивид может ожидать наибольшей карьерной отдачи (формирование социальных связей, поиск брачного партнера, выход на рынок труда).

Se trata de una investigación empírica sobre el consumo de cine en la Argentina. El núcleo de la misma está constituido por el análisis de dos encuestas en donde se entrecruzan variables e información contextual a fin de comprender cuáles son los factores que habilitan (o no) la concurrencia a las salas. El análisis de estas encuestas está precedido por una perspectiva histórica que se sustenta en la compilación de estadísticas desde mediados de siglo XX hasta la actualidad. Esta perspectiva permite poner en cuestión ciertas creencias generalizadas sobre el espectáculo cinematográfico —en particular las que anuncian su “muerte” como resultado del aumento del consumo hogareño—. Se argumenta que el fenómeno se ha reconfigurado y que ello obliga a renovar las herramientas conceptuales y teóricas para estudiarlo. Los públicos encuestados son estudiantes universitarios de distintos puntos del país, por un lado, y habitantes del Conurbano Bonaerense en general, por el otro. En el primer caso, dada su especificidad (altos niveles de capital cultural y de participación en los consumos culturales), es posible identificar un espacio de diferencias aun en un público relativamente homogéneo y muy asiduo a los cines. En el segundo caso, al tratarse de una población marcada por fuertes contrastes socioeconómicos, se aborda una cuestión fundamental que es la desigualdad en el acceso al cine; como agregado, se ofrece una lectura sobre un territorio poco abordado en lo que refiere a su vida cultural. Finalmente, se presenta un aporte al campo de los consumos culturales a partir de una reflexión teórica que revisa textos clásicos e introduce contribuciones más recientes. Dado que lo social está atravesado por flujos globales de información y comunicación, resulta imprescindible reflexionar sobre la “conectividad” a la hora de pensar los consumos culturales en el siglo XXI.

ABSTRACT
This is an empirical research on film consumption in Argentina. Its core is composed by the analysis of two surveys where variables and contextual data are intersected to understand which factors enables (or not) the attendance at the film theaters. The analysis of these surveys is preceded by an historical perspective that is based on the compilation of statistics since the mid-twentieth century to the present. This perspective allows to question some widespread beliefs about the cinematographic spectacle –especially the announce of its "death" as a result of increased home consumption. It is argued that the phenomenon has been reconfigured and this forces to renew the conceptual and theoretical tools to study it. Respondents are college students from across the country, on the one hand, and inhabitants of Greater Buenos Aires in general, on the other. In the first case, given its specificity (high levels of cultural capital and high participation in cultural consumption), it is possible to identify differences even in a relatively homogeneous and very regular to the movies public. In the second case, being a population marked by strong socioeconomic contrasts, a key issue is the unequal access to the movie theaters; as aggregate, it is offered a reading on a sparsely addressed region in what refers to its cultural life. Finally, a contribution to the field of cultural consumption is presented from a theoretical reflection that reviews some classical texts and introduces more recent contributions. Because the social is crossed by global flows of information and communication, it is essential to reflect on the "connectivity" when thinking about cultural consumption in the XXI century.

RESUMO
Esta é uma pesquisa empírica sobre o consumo de cinema na Argentina. O núcleo é composto por análise de duas pesquisas em que as variáveis se cruzam com informação contextual para entender quais são os fatores que permitem (ou não) o seu comparecimento às salas. A análise desses levantamentos é precedida por uma perspectiva histórica, que é baseada na compilação de estatísticas desde meados do século XX até o presente. Essa perspectiva permite questionar algumas crenças generalizadas sobre o espetáculo cinematográfico -especialmente sobre os enunciados de sua "morte", como resultado do aumento do consumo caseiro. Argumenta-se que o fenômeno foi reconfigurado e isso obriga a renovar as ferramentas conceituais e teóricas para estudá-lo. O público investigado é voltado para o perfil de estudantes universitários de todo o país, por um lado, e habitantes da Grande Buenos Aires, em geral, por outro. No primeiro caso, dada a sua especificidade (altos níveis de capital cultural e participação no consumo cultural), é possível identificar um espaço do diferenças mesmo em um público relativamente homogêneo, e muito regular do cinemas. No segundo caso, sendo uma população marcada por contrastes socioeconômicos fortes, uma questão-chave é o acesso desigual ao cinema; como dado adicionado, ofereceu-se uma leitura sobre uma região pouco abordada no que se refere à sua vida cultural. Finalmente, uma contribuição para o campo do consumo cultural é apresentada a partir de uma reflexão teórica, revendo textos clássicos e apontando contribuições mais recentes. O campo social é atravessado por fluxos globais de informação e comunicação, portanto, é essencial refletir sobre a "conectividade" quando se pensa sobre o consumo cultural no século XXI.

This chapter is a case study that traces the life of a young artist farmer who developed a community-based educational farm. The case study illuminates networked connections between small-scale farming, a revitalized interest in handmade production, and a burgeoning desire for a living ethics rooted in direct engagements. This chapter reveals the breadth of the handmade revolution, tracing a singular example to investigate the desire to become a small-scale farmer; the network of apprenticing makers, farmers, and artists; the necessary participatory aestheticization of the farm as a marketing strategy and mode of cultural consumption; and the ethical complexity of sustaining the life of a young farmer in the current organic and locally-grown marketplace.

How do young people try and how do they appropriate cultural goods? I debate this issue from the meaning given to the youth category, outlined in the survey Youth, Cultural Consumption and Public Policies, directed by the Joaquim Nabuco Foundation in the cities of Recife, Olinda and Jaboatão dos Guararapes, in Pernambuco (Brazil), between 2010 and 2013, in schools and institutions attended by public cultural policies toward youth. There is an enormous inequality of access to cultural goods in several places in Brazil, and this is no different for the young people in Pernambuco.

Í þessari ritgerð er fjallað um menningarneyslu og söludreifingu á tónlist og á hvaða hátt söludreifing í netverslunum er frábrugðin því sem gengur og gerist í hefðbundnum verslunum. Skoðaðar eru hefðbundnar kenningar um neyslu, menningu og söludreifingu og jafnframt skoðaðar nýlegar rannsóknir á viðfangsefninu og niðurstöður úr þeim rannsóknum bornar saman við eldri kenningar.

Tekið var viðtal við Engilbert Hafsteinsson hjá netversluninni Tónlist.is til þess að fá sýn á hvernig netsölu til íslenskra neytenda er háttað.

Niðurstaða höfundar er sú að internetið hefur aukið vöruúrval og neytendaábata umtalsvert. Jafnframt hefur söludreifing breyst, þó enn sem komið er sé óljóst hvað felist nákvæmlega í breytingunni.

Þá er ljóst að því minna umstang sem fylgir því að kynnast nýrri tónlist því líklegra er að neytendur kaupi tónlist sem ekki flokkast til smella. Hins vegar er ljóst að neytendur kunna enn best að meta smellina. Þrátt fyrir að þungavigtarneytendur séu helstu neytendur lítt þekktra vara eru þeir samt sem áður ánægðari með smellina heldur en lítt þekktu vörurnar.

Hvað íslenska netsölu varðar er ljóst að Íslendingar eru annað hvort mjög tregir við að nota netsölusíður til að kaupa tónlist, eða mjög tregir við að nota íslenskar netsölusíður til að kaupa tónlist.

Netsala tónlistar á Íslandi er talsvert minna hlutfall af heildartónlistarsölu en gengur og gerist almennt í heiminum. Jafnframt er söludreifing hjá Tónlist.is mjög einsleit. Í það minnsta 96,4% af þeim titlum sem eru til sölu hjá Tónlist.is selja ekki eitt stykki á ársgrundvelli.

Stikkorð: söludreifing, menningarneysla, tónlist, langhali, long tail,

Para verificar a reprodução do estilo de vida cosmopolita, nas experiências que formam o cosmoscape, definimos, no escopo de uma pesquisa internacional sobre cosmopolitismo cultural cotidiano, o estudo do consumo de marcas globais em diferentes cidades globais (Paris, Tóquio, Nova Iorque, Londres e São Paulo). Além de compreender quais são as marcas mais consumidas em cada cidade, são analisadas as relações entre o consumo de marcas globais e seus brandscapes, na construção de uma visão do mundo, assim como as representações dos símbolos culturais locais e globais presentes nesses imbricamentos. A pesquisa está sendo desenvolvida concomitantemente por diferentes grupos, liderados pelos professores Vincenzo Cicchelli e Sylvie Octobre, com instrumento estruturado aplicado com jovens de 18 a 24 anos. A discussão a ser apresentada nesse fórum foca  em parte dos resultados obtidos na cidade de São Paulo, que dialogam com algumas questões levantadas pelo projeto internacional, e que também possuem intersecção com a pesquisa de doutorado desenvolvida pela autora sobre marcas globais (RIEGEL, 2013). Confome o estudo desenvolvido, a formação de um estilo cosmopolita, no caso dos jovens de São Paulo, está concentrada na lógica de consumo de símbolos globais, com pouca relevância destacada aos símbolos locais, apesar de haver consumo cultural de bens locais. O cosmoscape está bem próximo dos brandscapes e dos mediascapes globais, mas distante de ideoscapes locais e regionais.

This article studies the socioeconomics of government public expenditure for the arts and the normative foundations of state intervention in the arts. I pose two interrelated research questions: (a) what is the relationship between the public funding of the arts and their consumption? and (b) what mode of justification and what perception of the place of art in society is reflected in this relationship? Based on the philosophical work of Alan Badiou, I develop a novel conceptual framework to delin-eate three types of normative justifications for the public funding of arts organizations: romantic, didactic and classical. Using data from the public funding of 92 orchestras, theaters and dance troupes in Israel between 1999 and 2011, I estimate a cross-lagged panel data model to study how arts funding both affects and is affected by the levels of consumption of the organizations' productions. The results of the study show a complex pattern of different relationships between funding and consumption that accord with the three types of normative justifications for public arts funding.

Resumen
Analizamos el estado del arte de los estudios de recepción, audiencias y consumo cultural en Venezuela durante el período 2000-2011. Examinamos enfoques teóricos sobre el campo de la recepción mediática y cultural, desde las propuestas conceptuales de Aguirre, Barrios y Hernández Díaz. Se pudo constatar, en esta revisión documental, que los estudios de recepción en Venezuela abordan cuatro campos de estudio: 1) Educación para la recepción. 2) Influencia de la televisión. 3) Ciber-recepción. 4) Consumo cultural.

Abstract
We offer an analysis on the status of the studies of reception, audiences, and cultural consumption in Venezuela during the years 2000-2011. We examine the theoretical perspectives on the field of mass media and cultural reception following the conceptual proposals of Aguirre, Barrios, and Hernández Díaz. Through this documented review we have validated that the reception studies in Venezuela reach four fields: 1) Education for reception; 2) Influence of television; 3) Cyber-reception; 3) Cultural consumption.

El artículo tiene como objetivo analizar de qué modo el encuentro de los niños con un artefacto tecnológico como las tablets traza desafíos importantes en los roles sociales de instituciones como la familia y la escuela que van más allá de las preocupaciones de la política pública sobre el acceso y el consumo material. La introducción de este artefacto en los ámbitos escolar y familiar representa cambios en las formas de relación cultural entre estos, con los adultos que les rodean (padres, maestros). Igualmente, el problema de investigación se abordó a partir del estudio etnográfico (2015 - 2018) y del análisis teórico desde los estudios sociales sobre el consumo cultural. Así, la tablet, lejos de ser un artefacto tecnológico neutro, plantea preguntas en relación con la concepción de la infancia en contextos contemporáneos y las mejores maneras de educar y criar a los niños.

The Cultural Consumption Barometer is one of the most important studies carried out by the research team of the National Institute for Cultural Research and Training, starting with 2005. The Cultural Consumption Barometer is a representative survey and its goal is the description and analysis of the cultural sector in Romania, as far as the level of the cultural consumption is concerned. The main objectives of the study are: measurement of the degree of adjustment of cultural goods distribution infrastructure to the population needs, measurement of the cultural consumption and participation, measurement of the population's cultural needs, identification of the preferences and cultural consumption behaviour. For ten years the statistical data have been produced and presented to various categories of beneficiaries. Each year a large amount of statistical information is produced and the challenges are to present them to the general public, who is interested in this topic, as well as to the experts in various fields of culture, who are willing to use the results in a more pragmatic manner. The goal of this article is to have an in-depth insight into the topic of presenting statistical data in culture for the general public, who in most of the cases is not familiar with this approach on the cultural field. How to present statistical data to the journalists, experts in culture or local public administration representatives? What is the most relevant information and how to present it, in order for it to be used for cultural strategies and projects? How was the data from the Cultural Consumption Barometer presented in mass media and what reactions did they generate? These are the most important questions we want to answer in our article. We shall present a case study carried out on the archives, including media news about the results of the Cultural Consumption Barometer. First, we shall present the way statistical data were selected and included in the public report and then we shall discuss the way they were presented by the journalists in the mass media news and what reactions they generated from the beneficiaries. The conclusions of our paper highlight the importance of paying attention not only to the content and methodology of research, but also to the manner of presenting data to beneficiaries.