Cultural consumption

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to Bourdieu’s critics, the emergence and increasing pervasiveness of the cultural omnivore have made this model outdated.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.

Veszprém és a Balaton régió 2018 decemberében nyerte el az Európa Kulturális Fővárosa 2023 (EKF) címet, amely nemcsak kulturális és gazdasági, de társadalmi katalizátorként is hat a térségre. A Pannon Egyetem Gazdaságtudományi Karán 2019-ben alakult meg az EKF kutatócsoport, amelynek fő célja elsősorban az, hogy felmérje a Pannon Egyetem közösségé-nek (oktató, hallgató és nem oktató munkatárs) helyi identitását, életminőségét, kultúrafogyasztását kulturális és érzelmi intelligenciáját. A longitudinális vizsgálat a kulcselemek statisztikai prezentációján kívül, az egyes tényezők közötti kapcso-latokat is analizálja. Jelen tanulmány az egyetemi közösség kultúrafogyasztását, kulturális és érzelmiintelligencia-szintjét és ezeknek a faktoroknak az összefüggéseit mutatja be. Az eredményekből kiderül, hogy szoros összefüggés mutatható ki a kultúrafogyasztás és az érzelmi, valamint kulturális intelligencia egyes elemeivel. A magasabb érzelmi és kulturális intel-ligenciával rendelkezők több szabadidős tevékenységen és rendezvényeken vesznek részt és több időt töltenek olvasással, zenehallgatással és kirándulással.

In December 2018, Veszprém and the Balaton region won the title of European Capital of Culture (ECoC) 2023, and this has served as a cultural, economic and social catalyst for the area. The ECoC research group was established in 2019 at the Faculty of Business and Economics at the University of Pannonia. The research group sought to assess the local identity, quality of life, cultural consumption and cultural and emotional intelligence of the university's community. Besides presenting the statistical data, this longitudinal study analysed the relationships between individual factors, and it presents the community's cultural consumption, level of cultural and emotional intelligence and the interrelationships of these factors. The results indicate a strong correlation between some elements of cultural consumption and emotional and cultural intelligence. People with higher emotional and cultural intelligence were more likely to participate in more leisure activities and events and to spend more time reading, listening to music and hiking.

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.

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This article explores the different ways in which new houses built by migrants from the Mandara Mountains to bigger cities in Cameroon function as an important site for studying their relations within the cities and within their communities of origin. I argue that these new houses constitute both a powerful resource for addressing migrants’ stories about their migratory experiences and a constituent element of these experiences. In many circumstances, the migrants interviewed were unable to speak separately of their migratory experiences and their homes. Thus, the impact of their mobility to cities goes far beyond the mere ownership of the houses; they also manage to change their perceptions of themselves, to restructure their models of social interaction with other migrants, and to change the balance of their relations with the village. The article ends by proposing to connect the two sides of the village/city duality to find out how the local is a product of the global and how the local has reappropriated the global, givingit a meaning.

From its foundation in 1918 by the Uruguayan writer Constancio C. Vigil,
Atla´ntida magazine kept a well-defined interest in images. The covers, a clear example in that sense, displayed colourful works on full pages while the content itself reflected that through cartoons, graphic sections, vignettes, illustrations and photographs. Conceived as a mass-market project, Atla´ntida worked with images and texts resorting to the popular and the cultured within the magazine’s layout. Thus, they implemented
innovative strategies in the promotion of art, combining a humorous register with texts and images within institutional circuits. This essay is aimed at analysing that peculiar device articulating professional art reviews and reproductions of academic paintings linked also to the art market, with humorous illustrations and textual interventions which spoofed the artistic system. In this vein, the role played by cartoons will be studied, together with the criteria for choosing cover images and the introduction of professional criticism, to eventually focus on an emblematic case in Argentinean art history: Emilio Pettoruti’s exhibition of 1924 and its counterpart, the Salo´n Ultrafuturista [Ultrafuturistic Salon], a satire of avant-garde proposals and, in short, a questioning of the progress of modern art through humorous means. Our intention is
then to reflect upon the artistic promotion strategies which had an impact on the development of consumption, and among which humour turned out to be a critical component. The magazine will be thus conceived as a device for the circulation of imaginaries moulding the sensitivity of the time and the readers’ artistic understanding.

Key debates of contemporary cultural sociology-the rise of the 'cultural omni-vore', the fate of classical 'highbrow' culture, the popularization, commercializa-tion and globalization of culture-deal with temporal changes. Yet, systematic research about these processes is scarce due to the lack of suitable longitudinal data. This book explores these questions through the lens of a crucial institution of cultural mediation-the culture sections in quality European newspapers-from 1960 to 2010. Starting from the framework of cultural stratification and employing systematic content analysis both quantitative and qualitative of more than 13,000 newspaper articles, Enter Culture, Exit Arts? presents a synthetic yet empirically rich and detailed account of cultural transformation in Europe over the last five decades. It shows how classifications and hierarchies of culture have changed in course of the process towards increased cultural heterogeneity. Furthermore, it conceptualizes the key trends of rising popular culture and declining highbrow arts as two simultaneous processes: the one of legitimization of popular culture and the other of popularization of traditional legitimate culture, both important for the loosening of the boundary between 'highbrow' and 'popular'. Through careful comparative analysis and illustrative snapshots into the specific socio-historical contexts in which the newspapers and their representations of culture are embedded-in Finland, France, Spain, Sweden, Turkey and the UK-the book reveals the key patterns and diversity of European variations in the transformation of cultural hierarchies since the 1960s. The book is a collective endeavour of a large-scale international research project active between 2013 and 2018.

Aunque las categorías “industrias culturales”
y “consumo cultural” resultan
útiles en valiosas publicaciones, no
están exentas de problemas. Este texto
muestra cómo su uso obstruye algunas
posibilidades de investigación y cómo
dejar de usarlas abre nuevas posibilidades.
Destacar el atributo “cultural”
de algunas industrias y consumos, en
particular, oculta la relevancia cultural
de todas las demás industrias y consumos,
y así se obstaculiza el estudio
de otras industrias y consumos desde
perspectivas culturales. ----- Although the categories of cultural industries
and cultural consumption are
useful resources in valuable research,
they carry certain troubles. This text
shows how its usage obstacles some
research possibilities, and how giving
them up may open new possibilities.
Highlighting the “cultural” character
of certain specific industries and
forms of consumption obscures the
cultural analysis of other industries
and forms of consumption.

Elective Affinity between Cultural
Consumption and Socio-Cultural
Perception: The Case in Chile
This article demonstrates the elective affinity between cultural consumption and socio-cultural perception. Based on the data gathered by the Encuesta de participación y consumo cultural 2009 (“2009 cultural participation and consumption poll”), in Chile, we came out with statistical evidence that proves that cultural consumption holds an elective affinity with the democratic, political, and social assessments of the consumers of cultural godos and services. This trend can also be observes among people who make part of the low income segments of the population, but that in fact consume high doses of culture.
Thus, starting with the current discussions around the studies of cultural consumption, the article develops a theoretical reflection on the concept of cultural consumption and its interrelations with other social and political dimensions. We discuss the uses to which the concept is subjected to in cultural consumption studies in Latin America and we propose a definition that takes in consideration the assessments that people make of the socio-cultural processes that they experience. Keywords: cultural consumption, elective a

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.

Based on qualitative research in Shanghai in summer 2009, this work focuses on governmentality used to produce a new and distinct identity in urban China after three decades of reform towards a socialist market economy. In a society that is no-longer egalitarian, as was seen in the Maoist era, the municipal government of Shanghai strives to find new identities for both the city and its dwellers, and to distinguish the city and its residents from the rest of the country on both a national and a global scale. One effective method that urban governance uses to both cultivate its population's 'cultural identity' and enhance their 'cultural quality' is by mobilizing the consumption of specific elements of Western high-culture:classical music, ballet, and opera through policy initiatives,funding,and official attendance. In response, highly educated and better off Shanghainese actively participate in the accumulation of the Bourdieusian cultural capital in constructing their so-believed East-meets-West unique Shanghainese identity.

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.

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.

Cultural policies are a turning point in a broader frame of the social circulation of symbols and in the exercise of power. Th erefore, instead of being a specific or delimitated space to support the supply and demand of the ‘culture industry’,
they have become part of a complex framing that challenges and problematizes the social space. To advance the discussion of this hypothesis, in 2009 we worked on the Encuesta Nacional de Participación y Consumo Cultural conducted by the Consejo Nacional de la Cultura y las Artes of Chile, and we introduced
a specifi c module of questions based on the elective affi nities between cultural consumption and socio-cultural perception. Th is paper presents in the first place theoretical discussions between cultural policy and society. Next it discusses some
methodological and conceptual considerations applied in the survey. In the third part it presents the main results of this discussion, from a Cultural Consumption Index. Finally, some general comments are made about the survey and the new displacements in the research on cultural consumption.

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.

(CAT) En el context canviant dels consensos bàsics que constitueixen la cultura legítima i les definicions de creativitat, la sociologia de
la cultura hi juga un paper important. Nombrosos estudis en ciències socials i cognitives ho demostren empíricament (Bourdieu,
1979; Becker, 1982; 2002; Sennett, 2012; Muntanyola-Saura, 2012; 2014; 2016). La creativitat com a forma de cognició social
forma part d'un context institucional. No obstant això, la influent branca culturalista de la sociologia cognitiva (CCS) redueix la
creativitat a un nivell psicològic cognitivista (Lizardo i Strand, 2010). Partim aquí de la conjectura que és possible per a la sociologia
de la cultura aprofitar el paradigma naturalista de la cognició per explicar la creativitat sense caure en postures reduccionistes
ni atomistes. Per tant, el cos de l'article és una revisió bibliogràfica que sense tenir la ambició de ser exhaustiva sí que ofereix
una mirada completa sobre uns models pragmàtics i integrats de creativitat. Es té en compte la diversitat de propostes teòricoempíriques
que existeixen, per tal d'identificar els postulats de partida dels autors que centralitzen el debat tant a nivell macro
com a nivell micro. Els estudis analitzats presenten processos intersubjectius de creació i transmissió de criteris més o menys
legítims de consum cultural, com ara categoritzacions, avaluacions i judicis estètics. La conclusió és que la perspectiva sociològica
pot reforçar críticament la creativitat.

(ESP)En el contexto cambiante de los consensos básicos que constituyen la cultura legítima y las definiciones de creatividad, la sociología
de la cultura juega un papel importante. Numerosos estudios en ciencias sociales y cognitivas lo demuestran empíricamente
(Bourdieu, 1979; Becker, 1982; 2002; Sennett, 2012; Muntanyola-Saura, 2012; 2014; 2016). La creatividad como forma de cognición
social forma parte de un contexto institucional. Sin embargo, la influyente rama culturalista de la sociología cognitiva (CCS) reduce
la creatividad a un nivel psicológico cognitivista (Lizardo y Strand, 2010). Partimos aquí de la conjetura de que es posible para
la sociología de la cultura aprovechar el paradigma naturalista de la cognición para explicar la creatividad sin caer en posturas
reduccionistas ni atomistas. Por lo tanto, el cuerpo de este artículo es una revisión bibliográfica que sin tener la ambición de ser
exhaustiva sí que ofrece una mirada completa sobre unos modelos pragmáticos e integrados de creatividad. Se tiene en cuenta
la diversidad de propuestas que existe para identificar los postulados de partida de los autores que centralizan el debate tanto a
nivel macro como a nivel micro. Los estudios analizados presentan procesos intersubjetivos de creación y transmisión de criterios
más o menos legítimos de consumo cultural, como por ejemplo categorizaciones, evaluaciones y juicios estéticos. La conclusión
es que la perspectiva sociológica puede reforzar críticamente la creatividad.

(eng) The Sociology of Culture has much to say when it comes to the ever-changing general consensus on what constitutes legitimate
culture and definitions of creativity. The naturalistic studies on cognition in social and cognitive sciences show this empirically
(Bourdieu, 1979: Becker, 1982, 2002; Sennett, 2012; Author, 2014). Creative cognition is part of an institutional context. However,
the influential culturalist branch of cognitive sociology (CCS) reduces creativity to a cognitivist psychological level (Lizardo and
Strand, 2010). We start from the conjecture that the Sociology of Culture can draw on the naturalistic paradigm of cognition to
explain creativity without falling into reductionist or atomist positions. The authors take the diversity of theoretical-empirical
proposals into account in identifying the starting points for focusing the debate at both the macro and micro levels. The body of
the article comprises a literature review which, while not exhaustive, offers a full picture of the pragmatic and integrated models of
creativity. The studies analysed present inter-subjective processes of creation and the transmission of variable legitimate criteria
concerning cultural consumption such as categorisations, evaluations and aesthetic judgments. The sociological perspective
offers scope for strengthening critical tools for examining creativity.

In this study, we address the impact of COVID-19 on classical music concerts. New forms of cultural consumption and their convenience have raised the question as to whether concert halls will still be needed in the future, and whether the audience will take on the extra time and effort to be present in person at a musical artistic event. In an analysis of international surveys, we formed an accurate picture of music listening habits in the period before and during the pandemic. We also administered a survey, completed by 134 music teachers. Although the findings cannot be generalised to society as a whole, the respondents in the sample are well acquainted with the artistic setting and possess sufficient prior experience, so their opinion is relevant to the topic. Despite the convenience of the online space and the rich selection of art available, the interviewed music teachers will still prefer live music events, which offer them a more profound experience.

El último tercio del siglo xx supuso el inicio de un proceso de convergencia en la formulación y en la implementación de las políticas culturales de los países del sur de Europa con respecto al norte. Sin embargo, la crisis global ha conllevado un retro-ceso en los indicadores de participación cultural, rompiéndose la tendencia de la europeización de esta política pública. Analizamos desde un enfoque comparado, como la densidad institucional de la educación artística no formal, el sistema formal educativo y el tipo de gobernanza de los equipa-mientos culturales, determinan, además de los recortes públicos en la cultura, la mayor caída de la participación cultural en el modelo de política cultural sur europeo en relación con los modelos liberal, nórdico y centroeuropeo.
ABSTRACT The last third of the 20th century marked the beginning of a process of convergence in the formulation and implementation of the cultural policies of the countries of southern Europe with respect to the north. However, the global crisis has led to a decline in the indicators of cultural participation, breaking the trend of Europeanization of this public policy. From a comparative perspective, we analyse how the institutional density of non-formal artistic education, the formal educational system and the type of governance of cultural facilities determine, in addition to public cuts in culture, the greatest fall in cultural participation in the southern Euro-pean cultural policy model in relation to the liberal, nordic and central European models.

This article discusses the authors’ use of a specially designed card game
as part of the survey ‘Youth Cosmopolitanisms in Brazil’, a constituent
part of the international project ‘Cultures Juveniles à l’ère de la globalisation’, developed in France. As part of the challenges encountered in the process of applying this project in a hybrid and post-colonial context,
such as that of Brazil, we experienced different manifestations of what
Angela Prysthon (2002) has called ‘peripheral cosmopolitanism’. We propose to present the experiences that resulted as contributory material for research on the cultural consumption of young people in such contexts,
and to discuss the value of this research tool as a way to reach and
understand spontaneous cultural references, within the subjects’ own
conceptions, without the bias that a Western-centered perspective might
introduce. Concerning the card game as a research tool, it seems that
only recently, and still modestly, have games been thought of in a broader
sense of learning and research (Girard, Ecalle & Magnan, 2012; Calvillo
Gámez et al., 2011). This moves us to consider the potential that it has
for our and others’ research that seeks a methodological tool that reduces
cultural biases and borders. Among the examples from the 12- to 24-year old research subjects, the narratives display their relationships with global
and local elements, such as the use of a Brazilian song, ‘Atoladinha’, or
Harry Potter characters, used to solve situations proposed in the game.

This paper investigates the impact of Facebook on cultural audiences, putting the accent on the transmission of cultural capital in elitist circles. Our purpose is to provide new evidences concerning the digital opportunities and challenges forthe implementation of social networks in the cultural management. Based on an exploratory study, we focus on the attitudes and the reactions of cultural audiences to the use of Facebook by theaters. We highlight the attention on the democratization or the vulgarization effects, seen as the acceptance orthe rejectionof the use of Facebook. We show that demographics and psychographics of the audience influence the acceptance, while the environmental factors such as peer and media influence the rejection of cultural capital. The present findings help cultural institutions to have a better understanding of the profile of the actual theater audiences and their needs, wants and fears.

This article shows the heuristic value of a film consumption study that combines oral archives and fieldwork with written sources. Oral archives on film consumption provided by a local film market of Longwy, an industrial town of northeastern France, during the 1950s allow the researcher to reconstruct the audience's collective experience of the films released on this market. Combined with a systematic study of local releases and their box office, they give us access to the artistic expertise of local filmgoers in the past and motivate us to challenge the conventional interpretation of film consumption as the ostensibly predictable expression of a social taste. Longwy is a small town located far from Paris, near the Belgian border in northeastern France. Long used for working-class case studies, 1 it will be employed in this article to show the usefulness of ethnography in the reconstruction of recent cinema history, thereby confirming the heuristic value of a film consumption study that combines oral archives and fieldwork with written sources and its contribution to the so-called " new cinema history ". Oral archives on film consumption provided by a local film market during the 1950s is a very efficient tool for reconstructing cinema knowledge shared by French filmgoers of the past. Related to precise data about the morphology of this market and its various uses by the people interviewed, it allows the researcher to reconstruct the audience's collective experience of the films released on this market. This reconstruction, combined with a systematic study of local releases and their box office, gives us access to the artistic expertise of local filmgoers in the past, through the titles of the films and the names of the people they used to assess the quality of their film consumption at the time. 2 Taking into account the common knowledge of a body of films by the local population allows us to challenge the conventional interpretation of film consumption as the ostensibly predictable expression of a social taste (which is in fact the taste attributed to the people observed by the historian on the sole basis of an estimated correlation between their social status and a film genre). By observing the variations and convergence of the accounts of this common film experience, the historian can reach an understanding of the way differences in gender, age, class and ethnicity can to some extent consciously influence the local consumption of the same films, depending on the degree of quality of the films as judged by each person. Thus, films can regain their rightful place in a cinema history that no longer has any reason to exclude the question of a film's artistic value and restrict itself to the exclusive study of the consumers. Moreover, ordinary consumers can reclaim their ability to assess this artistic value, even if they have no other cultural capital than the possibility of expressing their judgement through their cinemagoing. Cinema History and Film Market Studies As noted by the marketing historian Frank Cochoy, the crucial role attributed to the " market " by most contemporary economists does not usually lead to a close observation of

Muitas análises entendem os museus como par-te de uma cultura de consumo e veem seus frequentadores apenas como consumidores. O presente artigo busca um afastamento de tais estudos ao tentar compreender o comportamento dos visitantes da Pinacoteca de São Paulo em suas formas de sociabilidade, bem como sua relação com os objetos de arte tendo como base uma perspectiva antropológica da arte e da cultura material. Assim, analisa-se, situacionalmente, as relações dos visitantes 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.

Nosso objetivo é discutir a constituição do gosto e a apropriação dos bens culturais por jovens
entre 15 e 29 anos, a partir da pesquisa: Juventudes, consumo cultural e políticas públicas,
desenvolvida entre 2010 e 2013, em Pernambuco (Brasil). Partimos do pressuposto de que o gosto e o
consumo cultural precisam ser analisados de modo relacional, tecendo as relações de homologia entre
as posições dos indivíduos no espaço social, as suas disposições (habitus) e a formação do gosto. O
consumo cultural deve ser observado no contexto histórico e espacial em que ocorre. Os jovens,
membros de um grupo social com condições econômicas específicas, estudantes e partícipes de
projetos culturais diversos, formam seu gosto nas interseções destes elementos.

The paper examines social features and cultural profile of the audience of Manifesta 10, first global scaled art-event ever hold in St. Petersburg and Russia as well. Based on the empirical study of 400 formalized interviews with biennale visitors (July-September 2014), this paper compares the audience of Manifesta 10 with visitors of European art-events, firstly previous edition of Manifesta. Despite the democratization of the field of contemporary art (including the elimination of the financial barrier to access to the exhibition), the research shows that the majority of visitors are people with higher education and income slightly exceeding national average. The significant differences were found also: Russian audience is biased towards younger visitors (more than 70% is younger than 35) and gender misbalanced. The study also shows the differences between the patterns of art-tourism in Russia and Europe:  European event attracts larger flows from neighboring regions, in Russia there is a long tail: small groups from many distant locations.

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.

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,

The manner in which contemporary societies are symbolically stratified through cultural consumption has been intensely investigated and has emerged from different traditions, arguing a clear association between lifestyles and personal, economic and social characteristics. During the last three decades two major works captured the attention of researchers around the world. P. Bourdieu's seminal work La Distinction makes possible to understand how 1960s' French social classes are hierarchically distinguished in terms of their cultural consumption. In the early 1990s, the influential work of R.A. Peterson and colleagues offered evidence of a different trend in which cultural engagement works as a social marker in the USA.