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Aesthetics, Ideologies and the Limits of the Marketing Concept
Abstract
It is proposed that the marketing concept, as a normative framework, is not applicable to two broad classes of producers because of the personal values and social norms that characterize the production process. These two classes of producers are artists and ideologists. Artists are those who create primarily to express their subjective conceptions of beauty, emotion or some other aesthetic ideal. Ideologists are those who put forward an integrated set of positive and normative statements that describe what the world is and what it should be.
... However, this research domain has focused chiefly on its analogue in moral judgment. The advertisers described in these studies could be seen as ideologists who put forward an integrated set of positive and normative statements that describe what the world is and what it should be rather than artists who create primarily to express their subjective conceptions of beauty, emotion, or some other aesthetic ideal (Hirschman 1983). While the aesthetic judgment of beauty and the moral judgment of the good are interrelated, there is a need to explicate further how consumers form aesthetic judgments about ads. ...
... Aesthetics entered the field of marketing with Hirschman's pioneering article from 1983 and applies to many different advertising practices. Hirschman (1983) identified the nature of aesthetic products as being abstract, subjectively experienced, nonutilitarian, unique, and holistic. Elsewhere, Hirschman (1986) suggests that aesthetic appreciation consists of adjectives such as attractive, desirable, arousing, beautiful, and likability. ...
... Intentionalism, which emerged as a counterpoint to formalism in aesthetic theory, holds that the artist's intention is essential in fixing the correct interpretation of artworks. This shift holds importance for advertising aesthetics, where the advertisers' intentions to make a profits or raise brand awareness may very well be complemented by aspirations to express themselves creatively (Hirschman 1983). ...
For an academic field to remain vital, it is necessary to reflect upon its conceptual foundations and learn from adjacent disciplines. On that note, aesthetics can provide significant insights into advertising. While aesthetic elements have received attention in advertising research, no systematic attempts have been made to provide a comprehensive overview of this literature. The purpose of this conceptual article is to bring different branches of aesthetic theory into advertising studies. Marketers have historically focused on product functionality and often appeal to consumers through explicit messages. This article fills an important gap by delineating and advocating the conceptual foundation of advertising aesthetics as a research area worthy of further attention. In short, we understand advertising aesthetics as the artlike properties of and sensory responses to ads. A review of 309 papers provides the thematic outline of the study. Seven key themes are identified: (1) the nature of advertising aesthetics, (2) advertising creativity, (3) textuality, (4) social aesthetics, (5) cross-cultural differences, (6) the role of media in creating aesthetic opportunities, and (7) aesthetic categories beyond the beautiful and sublime. These themes offer a novel way of exploring contemporary issues in advertising. The article concludes with suggestions for future research.
... Sociologically speaking, art is viewed as a product of society (Hauser, 2011), in that it is shaped by natural, generational, historical and cultural factors. Certainly, any connection with the market is often superseded by the artist's own self orientation and focus on the art being created (Hirschman, 1983;Fillis, 2006). Another complicating factor is that there has been a resurgence of the product term within the arts and cultural sectors in recent years. ...
... Critical arts marketing research enables us to develop more relevant theory surrounding art as a product, moving away from the marketing mix approach which does not acknowledge the philosophical and practical positions being distinct from other sectors (Hirschman, 1983). This also enables us to adopt entrepreneurial marketing as a critical lens. ...
... The art product differs from many other contexts since it contains additional dimensions which conventional marketing theory cannot explain (Hirschman, 1983), and which therefore shape its value in different ways beyond the economic versus non-economic. The cultural value concept can assist here (Holden, 2006;Throsby, 2003;O'Brien, 2015): ...
Purpose
The purpose of this paper is to assess the notion of art as a product. This paper develops a detailed understanding of how established visual artists engage with the notion in their art making and market interactions, drawing insight from the longitudinal debate on the essence of art, including its connection with entrepreneurial marketing.
Design/methodology/approach
The authors uses a conceptual framework involving artists’ and other stakeholders’ philosophical positions, artists’ career stages, reputation (including branding), market associations and the forms of value generated by artists and consumers to help shape their qualitative research design involving in-depth interviews with 16 established Australian artists. NVivo software aided data analysis to improve theory building.
Findings
Market orientation, entrepreneurial market creation, co-creation, co-production activities and sharing value among interested stakeholders are important factors in viewing art as a commercial product. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product. This paper identifies a fluidity in the relationship between an artist and their art.
Research limitations/implications
Co-creation, co-production and sharing value among interested stakeholders are important factors as are market orientation versus entrepreneurial market creation activities. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product.
Practical implications
Established artists have made a conscious decision to engage, or otherwise with the marketplace. This research uncovers the merits of adopting a product approach in engaging with the market and artist centred creation which avoids marketplace interaction.
Originality/value
This research has the potential to contribute to policy decision-making in the sector and in stimulating future comparative research. There are wider implications for the cultural and creative industries where entrepreneurial market creation can stimulate creativity and innovation.
... The literature on art markets confirms that the concept of 'art product' is still being debated as, by its nature, an art object pertains to both the materialistic and the creative world (Hirschman, 1983;Kubacki & Croft, 2011;Lehman & Wickham, 2014). The 'product' itself results from a blending of tangible and intangible assets (Levitt, 1980). ...
... Still, when you think about art with its systems and markets (e.g., museums, galleries, collectors, etc.), often, in addition to symbolic motivations, there are functional and/or utilitarian stimuli. Nevertheless Hirschman (1983) assessed that, differently from the conventional market model, an art product is created in principle as a consequence of the artist's (the producer) own self-aspiration. Only then, such a product is inserted into the art market whose actors and consumers decide whether to accept (and/or buy) it or not. ...
... Hirschman has been one of the first authors who have categorized the various audiences and has analyzed the impact of specific networks in the art production process. Thanks to similar perspectives (Boorsma, 2006;Botti, 2000;Hirschman, 1983), it is possible to identify one of the primary roles of key art market's actors such as dealers or private collectors, i.e. the capability to transform a creative and artistic good into an art product. Hence, an art product possesses both intrinsic and extrinsic assets. ...
This article focuses on private art collections that play a relevant role on the art market while reducing its information asymmetry. Knowledge of how art consumers such as private art collectors show preferences for specific artworks may allow to identify collecting patterns based on the preference of some artworks’ signs. Understanding these patterns is essential for evaluating the impact of art collectors on the art market. The evolution of the art market shows complex consumption systems that shape the cognition and behavior of actors such as private art collectors. Consequently, to be a key art collector and to progress as such in today’s art world implies a constant reinterpretation about what it means to consume and to collect art. This paper explores the collection of one of the most important art collectors in the world, the French tycoon François Pinault. More precisely, his background as a key collector was examined, and a number of preferences toward particular signs which connote his collected artworks were identified. All the collected artworks were observed through a descriptive data analysis of the Pinault Collection’s exhibition catalogues, published from 2006 to 2015, enforced by the statistical decision tree classifier. Results show how the Pinault Collection is shaped by collecting preferences that can be described as collecting patterns. As a preeminent collector and owner of one of the two major auction houses in the world, Pinault’s consumption preferences and decisions may impact the art market, for instance through signals and by influencing other art market players or the artists’ careers.
... Indeed, the very nature of an artwork is to be a unique creation, an expression of an artist's individuality, which can hardly be imitated by competitive producers (i.e. other artists); "intra-class object comparisons" are thus eliminated (Hirschman, 1983). In the context of artified luxury stores, Kapferer (2014) found that artification leads to non-comparability, creating a luxurious and exclusive brand image. ...
... In that perspective, the mall artification strategy promises visitors a renewed kind of sensory stimulation and a temporary escape from boredom, as do mall-level entertainment factors described by Bloch et al. (1994). As suggested by Berlyne (1974) and Hirschman (1983), artworks and/or aesthetic objects are an end in themselves, valued for their own sake, without instrumental purposes. Their intrinsic qualities can evoke affective responses, such as a state of enjoyment, fascination, being moved, full of wonder, personal wholeness, discovery and connectedness with others (Bloch, 1995;Csikszentmihalyi and Robinson, 1990;Scherer, 2005;Schindler et al., 2017;Venkatesh and Meamber, 2008). ...
... Measuring the impact of the artified mall on customers' utilitarian value is challenging as the logic seems to be somewhat contradictory. The value of artwork, by its nature, lies in the subjective, largely emotional response they trigger, without regard for their utility (Hirschman, 1983). However, art has been defined differently over time, and individuals consume art differently. ...
Purpose
The purpose of this study is to examine the role of artistic elements in a shopping mall’s experiential marketing strategy and the effects of artistic elements on customer shopping value (e.g. utilitarian, hedonic and symbolic) and shopper response (e.g. satisfaction, behavioural intention).
Design/methodology/approach
Data were collected from 300 shoppers in a shopping mall in Bangkok, Thailand. A partial least square-structural equation model was used to examine the impact of the artistic elements along with other elements in the shopping mall on shopper response through perceived shopping value.
Findings
Empirical evidence shows that artistic elements in an artified mall have a positive effect on customer hedonic and symbolic value, which in turn leads to positive shopper response. Artistic elements perform better than other elements in predicting symbolic value.
Research limitations/implications
The findings suggest that artistic elements should be considered a new source of mall differentiation and customer experience enhancement. Unique artistic elements add emotional and symbolic appeal to the mall, and mall managers should carefully choose artistic content that matches the position and target shoppers of their mall.
Originality/value
This paper proposed and empirically examined the effect of artistic elements as the new fourth atmospheric element. It extends the art infusion theory by applying it to the “non-luxury” shopping mall context to demonstrate the spillover effect of art on shopping value, which further influence shopper response.
... Futures, 103078. 29 oriented priorities of the gallery, dealer and collector (Hirschman, 1983;Selwood, 2007). Market engaging practices are also often seen in negative terms by artists, such as branding and other forms of marketing, as they conflict with artist values. ...
... The personal norms and values of the artist often dominate over any commercial interests (Myers, 2002). In terms of the motivations behind making the art, artists tend to veer more towards the former stance, although some embrace the market from the outset (Hirschman, 1983;Fillis, 2006;. From a creativity and innovation perspective, avoiding the market can be much more beneficial for the artist in terms of not being influenced by external forces, while remaining intrinsically shaped as a means of uniting diverse communities (Berthon, Hulbert, & Pitt, 2004;Rhisiart, 2013). ...
Learning from the past is used to assist agencies to move towards a desired future in order to build better practices. We assess 48 years of annual reports of the Australia Council for the Arts, the
government’s arts funding and advisory agency, in order to understand how Australian national identity has been crafted through branding the arts, identifying opportunities for improved future branding. We find that the agency’s branding reflects cultural, consumer and corporate perspectives with their endeavour to develop a ‘market’ for the arts. Although the agency succeeded in creating internationally recognised arts as a brand they failed to develop nuanced understanding of the brand reflecting community values, norms and cultural practices. Branding could be a mediator across the cultural divide bridging polarisations in society resulting from a colonial past, thus influencing future branding practices. Future approaches need to take account of broader social, cultural, and theoretical concerns of branding the arts in postcolonial Australia. The study makes recommendations for the agency to move away from the brand-consumer dyad to brand understanding which reflects critical perspectives. It recommends a balanced centricity perspective for future branding of the arts, taking account of complex framing of national identity in Australia.
... Bourdieu (1984Bourdieu ( , 1993 characterizes the logic of art as referring to the idea of art as a greater good, which implies that "art for the art's sake" and is practically "against economic reasoning". It is asserted that artistic motivation is intrinsically nurtured and developed, which is expected to be independent of the marketplace's expectations and demand (Hirschman, 1983). However, we argue that, from the institutional perspective, artists and artistic production cannot be defined without considering their role for the public, including the market. ...
... First, there is a separation between artistic production and marketplace expectations. Supporting Hirschman (1983), artists and artistic production are not seen as a part of the market mechanism. Second, this separation is romantic. ...
Purpose
This study aims to understand the characteristics and formation of artists’ production sensibilities and relations with other actors within an emerging hybrid art market structure.
Design/methodology/approach
To unravel senses and map out relationships and structures in the context of this study, qualitative methods, including in-depth interviews and analysis of secondary data sources, were applied.
Findings
The authors describe three art production sensibilities and market-based relationship logics rooted in the artist and the artwork’s diverse role in the market.
Practical implications
The findings suggest that artistic sensibilities motivate managers working in the hybrid art market to develop a more nuanced positioning of artists and their creative outputs to improve harmony and collaboration.
Originality/value
This study demonstrates that the hybrid structure of art markets allows for the harmonious separation and collaboration of non-market (artistic) and market logics. This study uncovers how artists combine their non-market creative position with market needs in the process of marketization and hybridization
... Ils recourent au concept de bohème pour faire référence aux artistes qui créent et consomment leur propre travail : autoproducteur et autoconsommateur. Les artisteset les musiciens en particuliersont alors considérés à la fois comme consommateurs et producteurs de leurs propres créations (Hirschman, 1983 ;Holbrook et Zirlin, 1985), ce qui conduit à « confondre production et consommation » (Bradshaw et Holbrook, 2007, p. 124). La musique s'avère donc être un contexte pertinent afin d'étudier la structure et le fonctionnement des marchés au-delà de la dyade productionconsommation et aussi de la division sujet-objet (Brownlie, 2009). ...
... Avant de se pencher sur les conditions d'émergence du paradigme interprétatif, il convient de s'attarder sur la notion d'idéologie qui a fait l'objet de multiples explorations en marketing et en recherche sur la consommation (e.g., Eckhardt et al., 2013;Hirschman, 1983). ...
The notion of independence has become prominent in cultural and creative industries over the last decades. In this thesis, we study the emergence of the independent category within the music market and its dynamics with the dominant category by using the theoretical and methodological framework of pragmatic sociology in the articulation of three interrelated concepts - market(s), intermediation and values. To this end, we conducted a four-year multi-sited ethnography of the indie music scene in France and Canada in order to uncover the underlying principles, i.e. the axiological foundations, that characterize independence as a cultural, economic and artistic category. Simultaneously, we carried out a socio-historical analysis in order to understand the emergence and development of this market category and to establish a periodization. Our analyses establish that independence is the site of tensions between several representations and of ideological confrontations. Moreover, they confirm the role of intermediaries and their devices in market categorization and the evaluation of goods. Situated at the intersection of consumer culture theory (CCT) and macromarketing, this research discusses the commodification of culture and alternative forms of marketization. We also present the implications of our analysis for market actors and institutions in the implementation of commercial strategies and cultural policies, highlighting the specificities of independence as an alternative mode of production and consumption. Finally, this research paves the way for the study of the ethical perspectives of cultural consumption
... Throsby (2010) highlights the need for input of human creativity and presence of intellectual property attributable to the creator, in defining cultural goods and services. The uniqueness of the performing arts as a product can be understood in terms of their intangibility, need for creativity and originality, lack of utilitarian value and high subjectivity in audience experience (Hirschman, 1983). ...
... Given the turbulent environments in which organizations operate, the increasing importance of organizational fluidity, marked by the presence of networks, temporary project teams and blurred boundaries, has been discussed by Schreyögg and Sydow (2010). We argue that such fluidity has been an inherent feature of theatre organizations that create unique products (Hirschman, 1983) and operate in uncertain environments. The project-based structure of arts organizations allows for management of discontinuity and can create learning for business organizations that are operating in increasingly volatile and complex environments. ...
It is well established that organizational structure is critical to the performance of organizations. For performing arts organizations, especially from developing countries such as India, mere survival is a struggle and sustainability becomes a vital goal before the achievement of mission. Our emergent conceptual framework, based on a grounded theory study of six theatre organizations, sheds light on aspects of organizational structure that have contributed to organizational sustainability. Theatre organizations in India are highly dependent on a small core group, often comprising founders or founding families, and rely on strong personal networks in the arts sector. They are supported by membership that is flexible and project-oriented, and organizational boundaries are relatively porous. An exploration of performing arts in the Indian context offers valuable points of comparison to the nature of organizational structures of arts organizations in the West, as evidenced by Western literature.
... Creo que lo que yo he aprendido es que no hay, como tal, una cultura afro; o sea, ¿cómo te explico?, no se puede generalizar como "todos los afros son de esta manera", y creo que esto lo también cuenta con sus cargas valorativas dependiendo de los capitales económicos, culturales, sociales y simbólicos que las personas posean. De igual manera, considerando los aportes de Hirschman (1983), es necesario reconocer que los beneficios dados a los productos o servicios artísticos o estéticos son de carácter más bien abstracto y no es posible analizarlos solamente desde los atributos, en este caso de los talleres de formación. En esa línea, se retoman los aportes de Cuadrado (1998) sobre los beneficios buscados. ...
... La comprensión del consumo cultural considera el nivel de implicación de los asistentes y la diferenciación de consumos a partir de actitudes opiniones, interés hacia las artes y beneficios buscados(Cuadrado, 1998ɨ Cuadrado y Mollá, 2000. Ahora bien, la consideración de los "beneficios buscados", como lo expresaHirschman (1983), responde a conceptos más abstractos, siendo necesario comprender las ideas en que se apoyan. Por ello, se apeló al concepto de representaciones sociales, como modos de compartir unos códigos interpretativos para dar sentido y significación a nuestros entornos. ...
Este artículo presenta la caracterización de los asistentes a algunos espacios de formación de danzas del occidente de África, en Bogotá, principalmente del grupo étnico Malinké. Se describen las representaciones que soportan el consumo cultural de las danzas en mención, e igualmente se identifica que priman intereses de enriquecimiento personal, disfrute y relajación, los cuales obedecen, en parte, a miradas esencialistas sobre lo que representa África, sus danzas y la racialización de los cuerpos. Dichas construcciones resultan ser fundamentales para la circulación y el consumo de prácticas artísticas afro, principalmente por personas que se reconocen como mestizas y blancas. El estudio se realizó a partir de la aplicación de encuestas y de entrevistas semiestructuradas a participantes de proyectos culturales en Bogotá, como Arte sin Pausa, Zajana Danza, Nimba y Zarabanda.
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This article presents the characterization of those who attended to some occidental African dancing formation settings, in Bogota, mainly the ethnical group Malinké. The representations that support the cultural consumption of the referenced African dancing are presented, on the other hand it is identified that personal growing, enjoyment and relaxation interests prevail, which obey to essentialist views of what Africa represents: traditional dancing and rationalization of the human body. These two constructions are a key result to the circulation and consumption of Afro artistic practices, mainly by those who recognize themselves as mestizo or white people. Participants at cultural projects such as Arte sin Pausa, Zajana Danza, Nimba y Zarabanda, in Bogota were surveyed and an interviewed to gather the necessary information to carry out this project.
... Wilde's perspective represents the deep discussion and "clash" (Fillis, 2010, p. 38) between the two philosophies and poles of motivations for making art: art for art's sake versus art for business's sake, or between intrinsic self-oriented art and extrinsic market-driven art (e.g. Hirschman, 1983;Fillis, 2006Fillis, , 2010Wong-on-Wing et al., 2010;Grant and Berry, 2011;de Jesus et al., 2013;Allison et al., 2015;Rice, 2016). ...
... Caves, 2000;Feldman and Bolino, 2000;Osterloh and Frey, 2000;Towse, 2001aTowse, , 2001bTowse, , 2011Jackson et al., 2003;Bridgstock, 2005;Eickhof and Haunschild, 2006;Hong et al., 2012). Conversely, extrinsic or commercial motivations are expected to generally reduce the quality of the art created due to a certain loss of creative freedom, artistic autonomy and individualism, while focusing on responding to market demand (Wilde, 1915;Hirschman, 1983;Klamer and Petrova, 2007;Grant and Berry, 2011). ...
... As a social association, religion should be considered in the structure of innovation embrace and web use designs, since it can undoubtedly get away from us that it overruns practically all features of existence through its associated ceremonies (Hirschman 1983). Relatively than overall affinity to see innovation selection, broadcasting utilization as well as religious beliefs freely, the interrelation among the medium utilized and religion must be considered mutually for a more extensive and more profound valuation for the exchange (Buddenbaum 2002). ...
The study aimed to examine the use of internet among female madrasa students who were enrolled in different madrasas of Bahawalpur. Around 300 pupils from various locations, registered in different madrasas in the district of Bahawalpur were randomly selected for data collection. The information was gathered by researchers personally by adopting/modifying a scale to quantify the study on use of internet among female madrasa students in district Bahawalpur while using internet addiction scale used and developed by Widyanto, L., & McMurran, M. (2004). The percentage means score, and different formulas through SPSS were worked out for the data investigation, which shows the lowest mean score while using the internet as compared to students going out with others. The lowest mean score was found among students who felt a bored and joyless life while disappearing from the internet. The majority of the respondents are disagreeing with the statement of disturbing thoughts of their life blocked with soothing thoughts of the internet. They also disagreed about the statement of neglecting their domestic responsibilities for the reason of spending their excess time online. The study suggests that students must practice a positive use of the internet to develop deep understanding in their studies.
... Hirschman [24] and Desmet [25] have expressed that the reactions to products were emotional and emphasized that ensuring users talk and express their emotions about the products would provide a rich insight to the designer for the product analysis. Bloch [9] has associated the reactions of the consumers with the stylistic features of products and argued that a good design would attract the consumers to the product, speak to them, and add value to the product by increasing its quality. ...
Being knowledgeable and using the knowledge accurately is the basis for all development. Knowledge sheds light for the designers on the topics of correct decision making and early intervention while assessing the success of current products. The aesthetic value of a product is the fundamental point of communication between the designer and the user. Therefore, with the aim of accessing the hidden aesthetic taste in the users via the user, eye tracking technology was used as a tool since the sight has a great influence on one’s internal world. Within this scope, it was decided to work on a static product group, and 40 armchair variations were created as a sample. The eye movements on armchairs with variable stylistic features and the taste evaluations of 60 participants were monitored via the three different stages of the experiments. In line with the main objective of the study, significant and guiding outputs were obtained. The results showed that the taste related to the product can be understood via the eye with viewing metrics such as time to first fixation, first fixation duration, fixation count and duration, visit count and duration, and that the knowledge of view could affect the design decisions. On the other hand, a road map and a procedure were created for the purposes of accessing the implicit taste information for the design practice through using the eye tracking technology.
... Once the product has achieved its fundamental purpose then the focus can be partially shifted to aesthetics or fashion trends (Crilly, Moultrie and Clarkson, 2004). Multiple studies (Hirschman, 1983;Averill, Stanat and More, 1998) have suggested that after fulfilling the functional requirements, the aesthetical expressions can attract the user's attention. However, the aesthetic preference of a product can only be considered once functional requirements have been achieved (Chitturi, Raghunathan and Mahajan, 2007;Hoegg, Alba and Dahl, 2010). ...
Wearable products require additional considerations in design for utilitarian and aesthetic requirements. The wearable designs which are exposed to others while wearing need a fashion value for being trendy, therefore, widely appreciated by the audience. During the pandemic (Covid-19), face masks are considered to be mandatory for outdoors and indoor gatherings. Traditional surgical masks are quite useful; however, the design requires significant improvements for ergonomics and aesthetics. Users also demand a redesign of a face mask with improved ergonomics while performing sports and cardio activities along with the enhanced fashion value. A 3d sports face mask bracket has been designed with improved ergonomics during sports activities. Special considerations have been given to incorporate significant fashion and aesthetic values for a wider range of customizations and user appreciation. The design of the bracket has been developed to fit perfectly on the face without ear loops and neck supports for enhanced user experience and comfort.Keywords3d Face bracketAestheticsFashion valueWearable productsUser appreciationFace mask ergonomics
... Religion is recognised as an important factor that can influence consumers' buying behaviour (Bailey and Sood, 1993;Hirschman, 1983). Among the most prominent case illustrating the interaction between religion and consumption is the recent surge of the halal market (Floren et al., 2020;Sandikci and Jafari, 2013), which is one of the fastest growing markets worldwide with an annual growth surpassing 2.3 trillion USD (Azam and Abdullah, 2020). ...
Purpose
Religious tendencies have increased in post-Arab Spring countries, raising the question of whether this geopolitical event has affected consumers' orientations towards foreign products, including those that have positive country-of-origin image. This paper investigates the effect of Islamic religiosity on the relationship between consumer ethnocentrism and buying intention towards products from a developed country (France) in an Arab Spring country (Tunisia).
Design/methodology/approach
A survey questionnaire was lunched and data was collected from 492 Tunisian consumers living in both rural and urban areas. Research hypotheses were tested using a Partial Least Square- Structural Equation Modelling (PLS-SEM) method.
Findings
Tunisian consumers do not associate their ethnocentric feelings towards French products with their Islamic religiosity. Results show that both highly and moderately religious Tunisians trust French products because of their high country-of-origin image and their potential social connotations.
Originality/value
The results of this paper contribute to the literature that focuses on understanding consumption behaviours in developing countries in the aftermath of geopolitical events such as the Arab Spring.
... In particular, business educators are harnessing EQ to design programs and pedagogy that deliver complementary skills (Abraham, 2006;Myers & Tucker, 2005). Marketing scholars recognize the importance of creative aesthetics for customer research and brand promotion (Wallendorf, 1980;Hirschman, 1983;Belk, 1986;Joy & Sherry, 2003;Hagtvedt & Patrick, 2008). ...
Marketing education has the potential to blend creative art and cognitive science in complementary yin/yang dialectic. This pedagogical research chronicles a three year exploratory study of visual art and information science in the principles of marketing course. By aligning visual art with the idea generation stage of new product development, students discover a vital source of creative brand innovation. Simultaneously, library science is aligned with marketing research data interpretation tasks to instill the value of information competency for decision analytics. Consistent with emerging EQ/IQ research on companies and colleges, the findings show constructive learning outcomes for yin/yang marketing education.
... З одного боку знаходиться мистецький сектор, орієнтований на створення оригінального продукту -твору, виконавської інтерпретації, постановки тощо. У цьому сегменті комерційний успіх відсувається на другий план, а головною метою діяльності виробника-художника є самоствердження та здобуття високої колегіальної оцінки [3]. Непохитність постулату про «творчість заради себе самої» регулюється етичними нормами: «<…> комерційний успіх у естетичному <…> середовищі розглядається негативно, а ті художники, які його досягли, засуджуються колегами, оскільки це порушує галузеві норми», -зазначає Е. Гіршман [3, с. 47]. ...
... Arts marketing is unique and special as it starts with the product and is then delivered to the customers, rather than responding to market demand. Hirschman (1983) expressed that marketing theory needs to recognize the specificity of the artistic industry. In other words, artists first create their product and then distribute it to consumers, but it does not matter whether they will accept it or reject it. ...
The study of arts marketing is a comparatively new concept beginning in the 1960s. However, non-profit arts organizations only started to consider marketing as an integral part of their operations and use it increasingly from the 1980s. Generally, art is a broad field, which includes categories such as performing arts, visual arts, graphic arts, and literary arts. Each category has a unique character, requiring specific marketing methods and strategies. As the role of marketing, especially service marketing in the arts and performing arts disciplines, have been rarely studied, marketers face the problem of how to apply these marketing activities into the arts. The purpose of this study is to identify and compound literature regarding the characteristics of the arts, especially in performing arts, describe the role of marketing in arts, gain a better understanding of service marketing features and specific marketing activities in the field of arts and performing arts.
... Once the product has achieved its fundamental purpose then the focus can be partially shifted to aesthetics or fashion trends (Crilly, Moultrie and Clarkson, 2004). Multiple studies (Hirschman, 1983;Averill, Stanat and More, 1998) have suggested that after fulfilling the functional requirements, the aesthetical expressions can attract the user's attention. However, the aesthetic preference of a product can only be considered once functional requirements have been achieved (Chitturi, Raghunathan and Mahajan, 2007;Hoegg, Alba and Dahl, 2010). ...
Wearable products require additional considerations in design for utilitarian and aesthetic requirements. The wearable designs which are exposed to others while wearing need a fashion value for being trendy, therefore, widely appreciated by the audience. During the pandemic (Covid-19), face masks are considered to be mandatory for outdoors and indoor gatherings. Traditional surgical masks are quite useful; however, the design requires significant improvements for ergonomics and aesthetics. Users also demand a redesign of a face mask with improved ergonomics while performing sports and cardio activities along with the enhanced fashion value. A 3d sports face mask bracket has been designed with improved ergonomics during sports activities. Special considerations have been given to incorporate significant fashion and aesthetic values for a wider range of customizations and user appreciation. The design of the bracket has been developed to fit perfectly on the face without ear loops and neck supports for enhanced user experience and comfort.
... Art has been described as a 'Veblen good' for which high price approximates high elite value and for which price and appreciation by the socio-economically privileged are positively correlated (Veblen, 1899). Hirschman (1983) posits that the art market is distinctive due to artists' ideologies; these often result in the rejection of 'marketing' and the notion of the 'customer'. By working 'for the sake of art' rather than money, artists accumulate symbolic capital by establishing brand names or reputations (Martin, 2007). ...
The paper investigates the pricing strategies of newly-graduated artists and identifies innovative strategies more suited to achieving sustainable practice. Our work is novel in investigating the drivers of discrepancies between artists’ willingness-to-accept (WTA) and potential customers’ willingness-to-pay (WTP). Using mixed-methods, we explore the viewpoints of the ‘public’, by survey, and of ‘newly-graduated artists’ and ‘intermediaries’, by interviews, and interrogate price lists and sales records. Newly-graduated artists find pricing challenging, leading to ‘underpricing’ or ‘over-pricing’. Few artists make sales, reflecting discrepancies between WTA and WTP. Our work has theoretical and practical implications. Pricing reflects the ‘endowment effect’ (Thaler, 1980) and Bourdieu’s ‘avant-garde’ circuit. Our results imply a need for educational institutions and other intermediaries to offer more advice to newly-graduated artists who might benefit from adopting forms of personalized or participative pricing such as ‘Pay What You Want’ and, given the emergence of digital markets, contemporary techniques such as ‘action rules’.
... a. Escapism -escapism is a behavioral view related to the personal activities undertaken to avoid the realities that are challenging, impossible or un attainable [54]. Running away occurs when a person finds his/her life is spent in unsatisfactory conditions, which cause him/her to become detached from reality, and is done to reduce his/her anxiety [55]. Thus, the impact of chaos is felt when the individual cannot optimally realize the value of his/his experiences. ...
This paper describes how chaos theory was implemented to explain a behavioral aspect in an information system. The chaos theory was developed from the physical sciences and has been widely applied to many fields. However, this theory may also be applied to the social sciences. For certain types of human behavior, the chaos theory could comprehensively explain the phenomena of the use of information and communications technology (ICT). It means that this theory could clarify all the different kinds of human interactions with ICT. When the researchers used the chaos theory integratively, they could explain the distressed behavior of ICT users comprehensively. This theory argues that an individual acts randomly, even though the system is deterministic. When individuals use ICT, they could get technostress due to either the information systems or other users. This paper explains that ICT users could use information systems, with their complicated procedures and outputs. They were also probably disturbed by other users. The users, furthermore, experience chaotic pressures through their experiential values. This paper shows that users’ behavior when facing chaotic pressure depends upon their personality dimensions. The authors finally propose a new paradigm that this chaos theory could explain the chaotic actions of ICT users.
... Perhaps most importantly, the marketing history of Impressionism provides an interesting opportunity for further discussion and research. Such discussion and research could illustrate key marketing concepts and explore the challenges and opportunities of marketing products that due to their subjective and hedonistic qualities (Hirshman 1983) are presented to opaque markets. In opaque markets the valuation of products is uncertain and culturally dependent, thus enhancing the roles of the facilitators and intermediaries. ...
... Chapitre 1. Biais dans l'appréhension des finalités de la recherche en marketing Entendues comme le type d'apport visé par la recherche, les finalités de la recherche se distinguent des « fins » personnelles que le chercheur poursuit de manière plus générale, et qui peuvent relever du plaisir intrinsèque (Hirschman, 1983 ;Peter et Olson, 1983 ;Holbrook, 1985), de la sécurisation de son emploi (Letiche et al., 2017) ou de sa promotion professionnelle (Peter et Olson, 1983 ;Jacoby, 1985 ;Baddoura et Dussart, 1992). Après avoir défini ces finalités, ce chapitre s'appuiera sur un article publié en 2018 par la Revue Française de Gestion [P32] 10 pour mettre en évidence le biais dont sont victimes les travaux francophones conduits en marketing dans une perspective sociétale, discuter des origines de ce biais et des moyens de le traiter. ...
... Kim and Park (2013) argue that both types of response have an equal impact on purchase intention. Thus, both the rational and emotional aspects of consumer behavior determine purchase intentions (Hirschman, 1983). ...
This study evaluates the impact of consumer constructs, including ethnocentrism, attitudes toward brands, and celebrity endorsement, on purchase intentions for beverages in Pakistan. A quantitative survey was administered to collect the data and a path analysis conducted to test the model. Based on a sample of 150 respondents, our results indicate a positive relationship between ethnocentrism and purchase intentions with respect to local brands. Moreover, ethnocentrism, attitudes toward brands, and celebrity endorsements all have a significant impact on purchase intentions for local brands.
... Artists may have different orientations for their creativity: either making art for the sake of art (artistic creativity) or for the sake of business (commercial creativity) (Hirschman 1983, Fillis 2010. Nowadays, visual artists are increasingly conceived of as 'creative entrepreneurs', moving their orientation from artistic to commercial creativity. ...
Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we find that artist brand depends positively on talent, consolidated fame and volatile fame. These three latent characteristics have different impacts on the brand of business and non-business artists. Moreover, we find that in the Italian art market a co-creation mechanism is at work which depends on the galleries' specialization strategy in building their portfolios of artists.
... Artists may have different orientations for their creativity: either making art for the sake of art (artistic creativity) or for the sake of business (commercial creativity) (Hirschman 1983, Fillis 2010. Nowadays, visual artists are increasingly conceived of as 'creative entrepreneurs', moving their orientation from artistic to commercial creativity. ...
Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we find that artist brand depends positively on talent, consolidated fame and volatile fame. These three latent characteristics have different impacts on the brand of business and non-business artists. Moreover, we find that in the Italian art market a co-creation mechanism is at work which depends on the galleries' specialization strategy in building their portfolios of artists.
... Τα πολιτιστικά προϊόντα ως αγαθά πιστοποίησης Οι πολιτιστικές βιομηχανίες και τα προϊόντα τους διαχωρίζονται από τις υπόλοιπες κυρίως ως προς το πώς αυτά αξιολογούνται μετά την κατανάλωσή τους από τους καταναλωτές τους, καθώς και τις επιπτώσεις που αυτή η αξιολόγηση μπορεί να επιφέρει στην επιχειρηματική τους απόδοση. Εκτός της κατηγοριοποίησης των προϊόντων των Hirschman και Holbrook (1982) και ο Hirschman (1983) σε δύο μεγάλες ομάδες -τα χρηστικής και τα αισθητικής αξίας αλλά και του αντίστοιχου μοντέλου που πρότειναν οι Smith κ.ά. (2005), που αντί για «αισθητικά αγαθά» προτιμούν τη λέξη ηδονικά (hedonic), το βασικό θεωρητικό μοντέλο αναπτύσσεται από τους Kretschmer κ.ά. ...
This paper exhibits the results of the experiment that took place at Panteion University of Athens. For the operationalization purposes of the experiment, a web site was constructed that hosted 12 songs from unknown artists, while 196 students participated. The main research question is related to how we decide to consume or decline a cultural product, after getting information about the decisions of the previous participants. Namely, to what extent each successive actor complies with the group behavior after observing their preceding choices and possibly abandons his own private selection. In order to estimate whether this imitation tendency can cause mass consumption phenomena, we used the cross-sectional absolute deviation (Chang et al., 2000) which measures the existence of herding. The decisions of the previous participants in the first experimental group were presented as the impersonal choice of users and in the second as the preferences of the opinion leaders in a network of participants. According to the outcomes of the research the influence of the impersonal mass choice is stronger compared to that of the opinion leaders who failed to cause a phenomenon of high statistical value.
... Recently several authors have questioned whether the advocacy of the marketing concept as the ideal philosophy under all circumstances is justified. Bennet & Cooper (1981), Hirschman (1983) and Houston (1986) are recent representatives of this group. They suggest that one of the other concepts may be more appropriate, depending on the circumstances. ...
Levitt's famous article, 'Marketing Myopia' (1960), led to widespread acceptance that a marketing orientation is superior to a product orientation and brought the marketing concept to greater prominence. Writers have tended to present the discussion of fundamental concepts in marketing as an historical progression culminating in the marketing concept which is then presented as the ideal orientation, with universal application, for the formulation of an appropriate marketing philosophy. Over the last ten years or so, several writers have questioned this notion; in particular, the importance of an emphasis on product has been stressed. Another matter which has received some attention in the marketing literature is the impact on marketing philosophy of the pressure on firms to behave in a socially responsible manner. The outcome has been the incorporation of this dimension in the marketing concept. In this paper, the authors point out that the selection of marketing concepts by a firm is influenced by the nature of the firm and the conditions prevailing in its environment; the marketing concept is not an automatic choice and it is not appropriate under all circumstances. They argue further that a firm may be better equipped by adopting a marketing philosophy which draws on two or more concepts and that such a 'hybrid' philosophy is more likely to explain the way in which firms shape their marketing philosophy in practice. Under current conditions, all firms are required to consider their stance on social responsibility in formulating strategy. As marketing philosophy is central to strategy formulation, the societal dimension should feature in it; the authors accordingly suggest that this dimension should be incorporated into any of the fundamental concepts comprising a firm's marketing philosophy. This contrasts with suggestions made to date which appear to be limited to the marketing concept.
Levitt se beroemde artikel, 'Marketing Myopia' (1960), het daartoe gelei dat algemeen aanvaar is dat 'n bemarkingsorientasie belangriker is as 'n produkorientasie, en het die bemarkingskonsep meer na vore gebring. Skrywers is geneig om die bespreking van fundamentele konsepte in bemarking voor te stel as 'n geskiedkundige progressie wat in die bemarkingskonsep kulmineer, wat dan aangebied word as die ideale orientasie, met universele toepassing, vir die formulering van 'n gepaste bemarkingsformule. Verskeie skrywers het die afgelope tien jaar hierdie begrip bevraagteken; die belangrikheid van produknadruk is veral beklemtoon. 'n Ander saak wat aandag geniet in bemarkingsliteratuur, is die impak van die druk op firmas om op 'n sosiaal verantwoordelike manier op te tree, op bemarkingsfilosofie. Die uiteinde hiervan was die inlywing van die dimensie in die bemarkingskonsep. Die skrywers wys in hierdie referaat daarop dat die keuse van bemarkingskonsepte van 'n firma beinvloed word deur die aard van die firma asook omgewingsomstandighede; die bemarkingskonsep is nie 'n outomatiese keuse nie, en is nie onder alle omstandighede geskik nie. Verder voer hulle aan dat 'n firma beter toegerus kan wees deur 'n bemarkingsfilosofie te aanvaar wat op twee of meer konsepte gebaseer is en dat so 'n 'hibridiese' filosofie des te beter kan verduidelik hoe firmas 'n bemarkingsfilosofie in die praktyk vorm. Daar word van alle firmas verwag om hulle posisie t.o.v. sosiale verantwoordelikheid tydens strategieformulering, te oorweeg. Omdat bemarkingsfilosofie sentraal fungeer by strategieformulering behoort die maatskaplike dimensie 'n rol daarin te speel; die skrywers stel gevolglik voor dat hierdie dimensie ingesluit word in enige van die fundamentele konsepte wat 'n firma se bemarkingsfilosofie uitmaak. Dit kontrasteer met voorstelle tot op hede wat blykbaar tot die bemarkingskonsep beperk was.
... Rather than viewing these characteristics as challenges, Verganti (2009) proposes that firms in the CIs tend to aspire to break with industry norms and introduce products that take the market by surprise, rather than focusing on customers and their expressed needs. Thus, there seems to be a built in anti-business aspect to artistic production (Caves, 2000;Fillis, 2006;Hirschman, 1983;UNESCO, 2009) and indeed, sales growth might signal that an artist has sold out and the art has become mainstream. ...
In recent years there has been increased emphasis, in both academic and political arenas, on the economic importance of the creative industries (CIs). As a result, policymakers are increasingly looking to the CIs as a source of potential growth. The literature on CIs suggests that these industries are predominantly content based rather than market based, with artistic priorities taking precedence over business concerns. This research examines growth strategies in the CIs using qualitative and quantitative methods. An in‐depth case study of 23 firms in CIs suggests that these firms tend to view growth as a secondary goal compared to the goal of creative output. The case study further yields the proposition that firms in the CIs can benefit from adopting what we refer to as an accordion growth strategy, in which firms grow and shrink to accommodate artistic content as well as in response to external forces. Statistical analysis of survey data confirms that firms in the CIs are less likely to have ambitions to grow and more likely to adopt an accordion growth strategy than firms in technology industries. These findings suggest that the policy emphasis on growth in the CIs might be misguided and should allow for alternating periods of growth and shrinkage.
... The imaginal experience involves a sense of escapism, fantasy, and role-projection [25,47,48] that creates some empathy with a particular character [49]. Given the definition, the hypotheses are supported by previous research [50] that suggests that imaginal experiences can enhance self-efficacy and thus, lead to self-confidence to perform specific actions. ...
This study proposes and validates a conceptual model for predicting consumer video game engagement, comprising cognitive, affective, and behavioural engagement originating from the imaginal, emotional, and sensory playful-consumption experience. To validate the conceptual model, data were collected from 465 teen video game consumers; 436 were usable. This study employed the WarpPLS 5.0 software to perform the Partial Least Squares-Structural Equation Modelling (PLS-SEM) analysis. The results of the measurement model on playful-consumption experience and consumer video game engagement support that both imaginal and emotional experience and cognitive, affective and behavioural engagement were reliable and valid as second-order formative constructs. Moreover, the findings of the structural model support that playful-consumption experiences such as imaginal, emotional, and sensory experience positively influence the prediction of cognitive, affective and behavioural states of consumer video game engagement. This study pioneers the field of digital game studies that have empirically validated a conceptual model predicting multiple states of the player’s engagement in video game playing that is triggered through various playful experiences of a digital game.
... In fact, only original, art prototypes are authentic, and the rest are models of second, third or fourth media communications between consumers. When we look at the artistic product, the culture brand, it is necessary to analyze two types of art maker (Hirschman, 1983 satisfaction from the construction of well-integrated formulations of this knowledge (Hirschman, 1983:46). ...
The purpose of this paper is to analyze and discuss the strategic positioning of corporate marketing in segment of cultural and intercultural management. The paper starts with the theory of corporate marketing, contemporary theories of brand building and cultural aspects in the field of art. The paper compares segments of culture with Balmer and Colbert's model. The behavior of employees is very important element in the expression of corporate identity. Main goal is broaden our understanding corporate branding using a model C2ITE, AC4ID Test and brand personality. We describe a model for managing corporate brand, cultural prototype and cultural brand. Building a recognizable corporate identity creates a desirable perception that will attract and retain talents crucial to achieving organizational goals. At the same time, the employer's image transmits to the public information on the quality of human resources management, the intent and desire of the corporation to maintain and increase the quality. The key factor in creating image in the sphere of art is the corporate identity and intercultural communication. Finally, we review corporate identity and image as key factor in building culture management.
... It is the organization's needs that are served by learn- ing about exchange partners and tailoring product of- ferings to their needs, whether these needs are finan- cial profits or some other nonfinancial goal. Hirschman (1983) recognized that producers in the world of art and ideology often have personal goals which are not satisfied by commercial success. These goals stem from a desire to be recognized by one's peers or from some internal sense of accomplishment. ...
The marketing concept has been misunderstood and misused over the years. It is not obsolete nor is it the optimal managerial approach to marketing. The marketing concept is restated in a way that more clearly shows what it is and what it is not.
... The distinctive qualities of visual artworks have been identified as subjectivity, abstractness, non utilitarianism and holisticity (Hirschman, 1983) and correspondingly render the consumption of visual artworks as experiential, self-oriented, symbolic and intrinsically unique (Colbert and St. James, 2014). The distinctive nature and consumption process of visual artworks highlight not only the complex nature of value creation in art contexts (e.g. ...
Purpose – Recognising the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research generates a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience.
Design/methodology/approach –This research employs a single case study design of Miró’s blockbuster exhibition and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records.
Findings – An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and of personal versus communal interpretations – amongst other features - in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital.
Research limitations/implications – The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences.
Practical implications – The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences.
Originality/value – The research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.
... The findings of this research provide additional support for the notion that the art product and art production process comprise (and can therefore be in-part defined by) a series of interdependent network activities that occur between three supply-side groups of actors: i.e., those that contribute to the conceptualisation of the art product, those supporting in the production process, and those providing distribution and marketing support. Whilst the various groups of actors have been identified and their roles described in the literature previously (e.g., Hirschman, 1983;Jyrama & Ayvari, 2010;Rodner & Thomson, 2013;Solomon, 1988;Zorloni, 2005), our approach combined the array of actors into three key groups, allowing the network interactions that occurred between them to be interrogated in finer detail. In doing so, we were able to identify specific sets of elements utilised by each of the three groups (i.e., their activities, skills and resources) and the manner in which the network interactions between them served to imbue the art product with its physical characteristics. ...
This paper presents an analysis of the supply-side of the arts market with a focus on how the actors therein interact as a network in the art production process. Through the adoption of a qualitative semi-structured interview methodology, the paper provides insight into how professional and established visual artists (in conjunction with third-party support) conceptualise, produce and distribute their art works in the art market. Results indicate that the art product and the art production process is reliant on a range of mutually beneficial and reciprocal interactions that serve as bases for value creation in the art market. The paper concludes with a range of research opportunities for both academics and practitioners in the arts marketing context.
... Hedonic characteristic of tourism reflects a fun, challenging, and entertaining condition in the tourism experience. Hedonic tourism is defined as a tourism for the purpose of having fun, fulfilling fantasy, having an adventure, socializing, et cetera (e.g., Bloch & Richins, 1983;Hirschman, 1983;Sherry, 1990;Fischer & Arnold, 1990;Babin et al., 1994;Kim, 2006). Meanwhile the utilitarian attribute of tourism reflects the function and benefit of tourism for the tourist (consumer). ...
This article aims to provide a conceptual framework that depicts the matching between destination image, destination society stereotype in the context of consumer’s behavior, and tourist destination. Using literature review and empirical researches, the present study attempts to formulate propositions that connect destination image and destination society stereotype in creating and/or improving positive attitude toward tourist destination. Based on literature review and empirical researches, the concept fit as matching can be implemented to achieve congruence between destination image and destination society stereotype in order to develop more optimal (positive) attitudes toward tourist destination. The present study also offers the concept of relationship closeness and image formation type as moderation to strengthen the development of positive attitudes. At the end of this paper, several suggestions and recommendations are provided to follow up the proposed notions in the form of empirical research. They include the dimensions and elements of each concept that need further exploration. This paper provides conceptual framework for practitioners and academics who are looking for theoretical support pertaining to destination image and destination society stereotype in the context of tourist destination. In addition, this paper also offers the concept of fit as matching to build congruence between destination image and destination society, as an instance of the application of strategic discipline in the context of marketing and tourism. The propositions in this paper contain the concepts of relationship closeness and image formation type as variables of moderation which may provide further contribution to the literature of tourism marketing.
A set of values and worldviews of professional academic music education in the context of the current sociocultural situation is considered. The complex of views on music is interpreted as a way of musical socialization. The coexistence of a wide range of musical socialization channels in the modern world is positioned as a prerequisite for the intonational images of the world confrontation. It is determined that academic music education transmits the mental attitudes of opus music, according to which it occupies a dominant position in the tone atmosphere. The hierarchy of musical practices as a result of non-academic music evaluation according to the academic sphere parameters is explored. The position of this value and worldview system through the prism of musical-cultural polycentrism is analyzed. Mandatory markers of academic music leadership have been shown to be conditional. It is stated that the writing nature of making music should not be positioned as a criterion for determining the professionalism and value of non-academic music practices. It is emphasized that the protection of this parameter affects the shift of emphasis from the “music as process” to “music as objects”. The primacy of the concert performance communicative model is denied. It is stated that this deprives all its subjects of active participation. It is noted that the parameter of autonomy of musical creativity should not be used in positioning different music practices. The functional distinctiveness of musicians is demonstrated on the two segments of the music services market. The meaning of the categories “elitism” and “art” is refuted on the basis of sociological and cultural transformations. It is indicated that on their basis have been developed new limits of the definition of these concepts. Keywords: professional academic music education; training of musical art specialists; value and worldview complex of academic music; ideology of opus music; modern socio-cultural environment; subcultural stratification; chaotic intonational versatility; sociology of music education.
Globally, the Muslim population is growing and if current trends continue, Muslims will make up 26.4% of the world’s total projected population of 8.3 billion in 2030. This worldwide growth of the Muslim population in the middle class and younger population has meant that Muslim tourists are becoming a significant segment within the global travel and tourism sector. According to the latest statistics total Muslim tourist arrivals were 116 million in 2014 and the Islamic Republic of Iran, despite having 7th rank in terms of Muslim tourist arrivals with 4.1 million total Muslim tourist arrivals, was in the 11th rank in terms of Islamic and Halal tourism receipts with US$ 942.5 million recorded in 2014. Sub-optimal place of Iran in Islamic and Halal tourism market as one of the most important Islamic countries, its low share of this highly profitable market despite possessing maximum Muslim population and an Islamic government with high compatibility of this type of tourism with its socio-cultural and religious values and norms, depicts the importance of this newfound type of tourism as one of the most appropriate options for tourism industry development in Iran and necessity of paying attention to its high potential in this countries tourism planning and policy-making process.
The following research presents a study into consumer aesthetic evaluations of product designs in the New Zealand context. The aim of the study was to investigate how aesthetics contribute to the meaning that consumers get from product designs and the role that aesthetics play in consumer choice. The current research employed the generative structuralist theoretical perspective. It investigated how the moderating variable, cultural capital, influences both aesthetic preferences, as well as how aesthetic evaluations are expressed as a function of this moderating variable. These phenomena were examined through engaging the study participants in a quasi- experimental design which involved the trialling of a series of products within a category (lemon squeezers), and then requiring them to complete an open-ended written interview. The study collected both quantitative and qualitative data from the participants, which were coded and analysed to assess the relationship between the moderating variable and a number of criterion including: design preferences, response length and expressed conceptual and linguistic complexity. During the data analysis phase, a number of other interesting phenomena emerged. Generally, findings confirmed the theoretical proposition that cultural capital does have a moderating influence on the nature and expression of consumer aesthetic evaluation in the New Zealand context. While the results of this study are somewhat limited, they do have implications for both the fields of marketing and product design management. These implications also extend to other elements in the marketing mix.
The age-long controversy on the application of marketing in religious and church organisations has made some strides after almost a decade ago when Bruce Wrenn wrote: “religious marketing is different”. However, this has focused on the application of marketing mix tactics without a clear understanding of the competitive marketing strategies underpinning them. This study, thus, set out to explore and develop a theoretical understanding of the competitive marketing strategies adopted by churches in Ghana. This study used a focus group study consisting of active church members from the different denominational groups in Ghana who have relevant knowledge in marketing and the marketing tactics used by their church. Using a deductive thematic analysis approach, this paper identified marketing as a necessary tool for churches and several competitive marketing strategies adopted by churches in attaining competitive advantage were identified and discussed. Finally, the implications of the findings for church growth and survival as well as directions for future empirical research were also discussed.
In recent years, finite element analysis has been commonly used to analyse
occlusal pressure on teeth and surrounding bone. To study the distribution of pressure on
compression and bending in the «dentition-splint-bone» biomechanical system (BS) and on the basis of the obtained data to improve the conditions for restoring the anatomical and functional capacity of injured teeth in children.
The study has identified that bending pressure leads to greater displacement of all components of the BS than compression on the average 5.7 times. A comparative analysis of the results of calculations of three models of “dentition-splint-bone" BS has shown that the first model of BS has got the lowest indices of displacement and stress. Thus, it can be argued that the most optimal for the immobilization of injured structures is the presence of four teeth with more than 2/3 of the roots formed, which are in contact with each other. The pressure on the cortical and spongy substance of the alveolar process is evenly distributed.
Customer satisfaction is an important objective in all areas of business and services. A key issue in today's design activities is to achieve customer satisfaction in an economical way by finding the attributes that are most valuable to customers. In this paper we propose a formal and efficient methodology to design a new service, which is an improvement on a platform service. We propose a methodology to link two tools - the statistical design of experiments (SDE), for data collection, and quality function deployment (QFD), for the development of conceptual alternatives. The focus is only on functional dimensions, but it can be used in symbolic and aesthetic dimensions. The study uses a recent survey on the development of an operations management course curriculum to illustrate the conjoint methodology.
In this chapter, the authors focus on the aspects of religious belief that may affect consumption behavior. Previous studies have clearly stated that the study of religion’s influence on consumer behavior is still under-researched (Lindridge, 2005; Mokhlis, 2009, 2010). The premise lies in the view that culture is a way of life, and thus, the authors explore whether or not that suggests the same for religion, and if it is, how does religion predict the conspicuous behavior of people towards the purchase of luxury goods? In specific, the authors are interested in exploring the level and intensity of religiosity on conspicuous consumption. Therefore, it is significant to study “religiosity” as one of the predictive factors of a consumerism culture that may help explain why people engage in conspicuous consumption. The chapter provides a concluding remark by highlighting the practical aspects on domestic or international marketers who wish to market their luxury products in Malaysia.
‘Designer as a product cue’, which refers to the information presented about the product regarding the designer of that product, has increasingly been in use by marketers. However, there is a dire need to investigate its effects. Adopting a discovery-oriented grounded theory approach, this study proposes a conceptual model based on the insights gained through 14 semi-structured in-depth interviews about consumers’ evaluations of designer cues. Interview results are presented in four categories: product and consumption context-related issues (e.g. self-expressive potential of the product, product design distinctiveness, public vs private consumption), consumer related issues (e.g. need for uniqueness, perceived value), designer related issues (e.g. designer’s image, credibility) and firm related issues (e.g. company/brand image). Based on qualitative results, product and consumption related regulators as well as consumer and designer characteristics that regulate the processing routes through which designer cue influences consumer outcomes were integrated into a proposed conceptual model. These routes encompass emotional and cognitive paths to product-specific, self-related and company-related outcomes. Through the emotional route, a designer cue may be associated with more distinct states of consumers, such as privilege and sophistication and may lead to self-related outcomes, such as perceptions of social value and symbolic representation of consumer identity. Through the second route, a designer cue may also be associated with more cognition-based outcomes (e.g. product quality, attitude towards the product) as it unearths the intellectual and professional effort behind the product. This cognitive route may predominantly be related to product-specific (e.g. product quality) and company-related outcomes (e.g. company’s design-related image).
‘Value’ is an important and developing research topic in the field of marketing; however, the research on how value is co-created through stakeholders’ interaction remains limited. This study argues that an arts festival as a collective art production acts as a platform through which the stakeholders co-create value. By employing the publically-funded Huashan Living Arts Festival in Taiwan, which focuses on performing arts, as a case for collecting longitudinal data, this study explores how the stakeholders interact to co-create and obtain value. The findings reveal that value is co-created through the interactions between the stakeholders, rather than by a single stakeholder, in an arts festival. A proposed framework of value co-creation identifies the process and stakeholders’ interaction with regard to a performing arts festival, from a macro-level context.
Despite investments in cultural facilities and in promoting culture, access to the arts remains largely unequal. The vast majority of the arts audiences still correspond to traditional demographic categories: high level of education, high income, urban residence, lack of disabilities, and so on. However, for some people, their level of arts participation transcends this typology, making them atypical audiences.
Drawing on Lahire's (2004) concept of cultural dissonance, this thesis aims to explore the question of cultural participation by going beyond sociodemographic criteria, in order to answer the following question: Does exposure to arts marketing and audience development initiatives determine arts participation among atypical audiences? Semi-structured interviews were conducted with 24 representatives of these atypical audiences among French-speaking individuals in Sudbury (Ontario, Canada) – members of a cultural and linguistic minority population – identified from the 160 respondents of a pre-screening questionnaire.
Textometric analysis of these interviews revealed that audience development reaches atypical arts audiences through direct communications as well as through the many social connections that bridge these individuals to cultural organizations. They describe the usefulness of audience development from an ideological perspective, in support of the Franco-Ontarian cause in which they are engaged. As for atypical non-audiences, their ties to the arts are mainly woven through the school environment. Their appreciation of audience development is rooted in a democratic perspective, being concerned primarily with issues of access to the arts and cultural transmission.
Thus, dissonance in their profiles can be explained by the fact that atypical audiences reside in either a greater or lesser relational and ideological proximity to the Franco-Ontarian arts community, and that the effect of this proximity surpasses that of social classes. This high or low proximity largely characterizes their relationship to the arts, which ultimately ensures that they have different exposure and appreciation of audience development initiatives.
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Malgré les importantes sommes investies dans la mise en place d’équipements culturels et la promotion de la culture, l’accès aux arts reste largement inégal. La grande majorité des publics consommateurs des arts correspondent toujours aux mêmes catégories démographiques : forte scolarisation, revenu élevé, résidence urbaine, absence de handicaps, etc. Toutefois, des gens font exception à cette règle, leurs habitudes de consommation artistique transcendant cette typologie, faisant d’eux des publics atypiques.
En s’inspirant de la thèse de Lahire (2004) sur la dissonance culturelle, nous avons voulu explorer la question de la participation culturelle au-delà des critères sociodémographiques, pour répondre à la question : l’exposition au marketing culturel et la participation aux initiatives de développement de publics sont-elles des facteurs déterminants du choix de consommation de produits et d’expériences artistiques ? Des entretiens semi-dirigés ont été réalisés auprès de 24 représentants de ces publics atypiques parmi la population franco-sudburoise – communauté culturelle et linguistique en situation minoritaire – eux-mêmes identifiés à partir des 160 répondants d’un questionnaire de présélection.
L’analyse textométrique de ces entretiens a révélé que le développement de publics rejoint les consommateurs atypiques des arts par le biais des communications directes et des nombreux liens sociaux qui relient ces individus aux organismes culturels. Ils décrivent l’utilité du développement de publics sous l’angle d’une logique idéologique, en appui à la cause franco-ontarienne dans laquelle ils sont engagés. Quant aux non-consommateurs atypiques, leurs liens avec les arts se tissent principalement par le biais du milieu scolaire. Leur appréciation du développement de publics relève de la logique démocratique, étant surtout préoccupés par les questions d’accès aux arts et de transmission culturelle.
Ainsi, la dissonance dans les profils s’explique par le fait que les individus étudiés résident dans une proximité relationnelle et idéologique plus ou moins importante avec le milieu des arts franco-ontariens, et que l’effet de cette proximité surpasse celui des classes sociales. Cette forte ou faible proximité caractérise largement leur rapport à l’art, faisant en sorte qu’ils ont ultimement une exposition et une appréciation distinctes des initiatives de développement de publics.
Resumen El presente artículo profundiza en algunas problemáticas detectadas en la investigación Gestión de Compañías Teatrales: diagnósticos y desafíos (2012), documento que da cuenta del estado actual de estas agrupaciones en Santiago de Chile. Este artículo ahonda en la noción de los públicos como eje clave para la actividad de las compañías, no sólo como receptores, sino como consumidores que influyen en la gestión de estas agrupaciones. A lo largo del artículo se analiza a los públicos desde el marco conceptual del Marketing para las Artes, disciplina que estudia la promoción, distribución y consumo de las artes. Finalmente, se aborda la paradoja presente entre el deseo de las compañías por acceder a una mayor cantidad de audiencias y la dificultad que surge para identificarlas y atraerlas. Palabras clave: Públicos-consumidores-marketing para las artes-compañías teatrales. Resumen This article explores some of the problems detected in the study Management in Theatre Companies: Diagnosis and Challenges (2012), research that pictures the current state of theatre companies in Santiago, Chile. The present article examines in-depth the notion of the audience as key to the artistic activity of these companies, not only as viewers, but also as consumers that influence the management of these groups. Throughout this paper we analyze theatrical audiences using the conceptual framework of Marketing for the Arts, a discipline that studies artistic promotion, distribution and consumption. Finally, we address the tensions that arise between the desire of theatre companies to widen their audiences and their difficulties in identifying and attracting these audiences.
This paper explores the significance of co-existing and conflicting motives in creative production within rural areas. The financial productiveness of creative activity is investigated in the varying levels of artistic and economic tension seen in the creation of visual art. In this situation, the intrinsic desire to engage in the creative process may work in opposition to economic perspectives, such as an extrinsic appreciation of rewards gained from the finished product. Intrinsic and extrinsic motivation framework (Amabile, Hill, Hennessey & Tighe, 1994) and self-determination theory (Deci & Ryan, 2002) are used to identify the paradoxical motives experienced by artistic entrepreneurs operating in rural areas. Findings identify the four main motivational factors for such artistic entrepreneurs as: income, recognition, self-fulfilment and lifestyle. In order to balance these perspectives three main balancing strategies are evidenced, producing high satisfaction and lower income, medium satisfaction and higher income and low satisfaction and medium income. These strategies are used by artistic entrepreneurs to gain both personal satisfaction and financial reward from the production of visual art. They are presented in the concluding section of this paper in relation to current rural strategies, to consider how investment in those who effectively balance motivational tension can contribute to rural economies.
Culture is an enriching element of society. Those companies that focus their activities in the cultural field can contribute greatly to the generation of monetary and non-monetary value, and thus, it is important to study the economic impact of the cultural activity. This analysis has not been carried out without difficulties. Apart from the peculiar nature of the cultural product, with a possibly greater symbolic value than the one in use and the existence of sunk costs, we have to add the difficult characterization of what a cultural enterprise is. The authors tried to describe the economic dimension of cultural enterprises in Spain by using the classification model proposed by UNESCO, complemented by the EUROSTAT methodological development. They tried to see the possible differences between cultural and noncultural enterprises and also among the various types of cultural enterprises for this chapter. The results show that cultural enterprises are less profitable than the non-cultural ones, and contrary to what might be expected, they receive fewer subsidies than non-cultural companies.
Purpose: This paper adopts a practice-oriented approach to address gaps in existing knowledge of the significance of cultural producers’ and intermediaries’ practices of taste for the construction and organization of markets. Using the example of the cultural field of “natural” wine, I propose how taste operates as a logic of practice, generating market actions in relation to the aesthetic regime of provenance. Methodology/approach: The paper sets out the conceptual relationship between aesthetic regimes and practices of taste. The discussion draws from interpretive research on natural wine producers and cultural intermediaries involving 40 interviews with natural wine makers, retailers, sommeliers, and writers based in New York, Western Australia, the Champagne region, and the Cape Winelands. Findings: Three dimensions of how taste is translated into action are examined: as a device of division, which establishes a fuzzy logic of resemblance; as a device of operation, which provides an intuitive platform for shaping the means of production; and as a device of coordination, which enables an embedded experience of trust. Originality/value: The paper’s discussion of dispositions, affect, intuition, and pattern identification provide new insights into the translation of taste into action, and the macro-organization of markets. I argue for attention to how cultural producers and cultural intermediaries are mobilized through their habitual sense of taste, shifting the focus away from consumers to those whose market actions are largely self- and peer-referential. This is important for understanding processes of market development and value construction.
The preselection of goods for potential consumption is a feature common to all industries. In order for new products or ideas to reach consumers, they must first be processed favorably through a system of organizations whose units filter out a large proportion of candidates before they arrive at the consumption stage (Barnett 1953). Much theory and research on complex organizations is concerned with isolated aspects of this process by which innovations flow through organization systems-such as the relation of research and development units to the industrial firm (Burns and Stalker 1961; Wilensky 1968); or problems encountered by public agencies attempting to implement new policy decisions (Selznick 1949; Bailey and Mosher 1968; Moynihan 1969).
In consumer judgments of product designs, the numbers of additive and configural feature effects are apt to differ between verbal and pictorial stimulus presentations. A study of judgmental responses to sweater designs suggests the significant occurrence of feature interactions, a tendency for pictorial (versus verbal) displays to evoke more main effects, and a tendency for pictorial displays to promote cue configurality when one controls for type of information-processing strategy.
The present study differs from earlier efforts by its consideration of (1) future attendance intentions of potential artsgoers, (2) life-style, attitudinal, and experiential predictor variables, and (3) multiple market segments, and by its use of multivariate methods. With such differences, socioeconomic variables that were best predictors of arts attendance in prior work become nonsignificant. Implications for arts management are discussed.
Marketing in business is the task of finding and stimulating buyers for a firms's output. Product development, pricing, distribution, and communication are the mainstays of marketing, while progressive firms also develop new products and chart the trends and changes in people's needs and desires. Marketing can either apply its knowledge to social problems and organizations or remain in a narrowly defined business activity. Every organization has basically the same functions: personnel management, production, income, and promotion, which are using modern marketing skills in commercial sectors. Suppliers and consumers are needed by all organizations. In Canada a group wished to promote an antismoking campaign but they had little money compared to the tobacco companies. This group used modern marketing techniques to combat their lack of funds and found many ways, e.g., books, articles. A business firm uses a multitude of marketing tools to sell its product. Nonbusiness organizations frequently do not integrate their programs the way the businesses place all activities under one marketing vice president and department. Astute marketing depends on continuous feedback from consumers and suppliers. They are dependent upon up-to-the-minute research that tells them about changes in the environment and moves of competitors. Nonbusiness organizations are often casual about the research upon which they base their vital decisions.
This paper examines the role that conceptual models of consumer behavior can play in a marketing audit. Research employing a model of consumer decision making (an expanded version of a normative model developed by Hauser and Urban), to assess the market position of a public transportation system, is reported. Use of this model to design and select strategy and to reassess market position after strategy implementation also is illustrated. The advantages and limitations of this approach to decision making are discussed.
While artistic and scientific endeavors take place in the context of collective actions, the structures and the functions of these actions are highly variable. The purpose of this paper is to show that the cohesiveness and permeability of culture producing communities differ between artistic and scientific fields as well as across the specific disciplines constitutive of each field, and that these contrasts are not stable over time. Correspondingly, the same variability characterizes the role played by paradigms in the definition of creative norms, in the rhetorics that professionals use to justify these norms, in the socialization of new practitioners and in the occurrence of scientific or esthetic revolutions.
This article cites and compares some sharply divergent concepts of the nature of social marketing. Some of the difficulties underlying these recent communications about social marketing are traced to worsening confusion about the basic scope and identity of marketing itself. Luck feels this may be critically hampering marketing's role in society and calls for a major clarification effort.
Is the emergence of social marketing a Pandora's Box for the discipline of marketing? A survey of four disparate groups with special knowledge and interest in the issue reports on the possible ethical ramifications of social marketing.
The facts and figures about the marketing of a medical service.
Affective factors play an important role in the development and maintenance of preferences. The representation of affect can take a variety of forms, including motor responses and somatic reactions. This explains why cognitive methods of preference change that are directed at only one form of representation have seldom been effective.
This is a rejoinder to "Broadening the Marketing Concept" which appeared in the January 1969 issue of the JOURNAL OF MARKETING. Exception is taken to the broad concept of marketing advanced in that article. Reflections on the social contributions of marketing in the previous article are criticized, and business enterprise's social role for marketing affirmed.
A plea for concentrating on "the substantial core" of marketing and developing it into a true behavioral science.
The need to identify the boundaries of increasingly complex product-markets has spawned a number of analytical methods based on customer behavior or judgments. The various methods are compared and contrasted according to whether they are consistent with a conceptual definition of a product-market, and their ability to yield diagnostic insights.
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The proposal that marketing is relevant to all organizations having customer groups was advanced in the January, 1969 issue of this journal. It is now stated that the original broadening proposal should be broadened still further to include the transactions between an organization and all of its publics. The author sees marketing as the disciplined task of creating and offering values to others for the purpose of achieving a desired response. The generic view of marketing is defined by a set of four axioms and leads to new marketing typologies and views of the tasks of marketing management.
Two consumer characteristics—objectives (goals) and strategies (decision rules)—are Investigated as possible criteria in market segmentation, and a method is proposed for inferring them from behavior. A decision-rule model and an ensuing decision-process model are specified and then empirically estimated with data from a nutrition survey in a developing society. Segments based on decision rules were found to have between-group heterogeneity, which was substantiated by the decision-process, an econometric model.
Since 1971 conjoint analysis has been applied to a wide variety of problems in consumer research. This paper discusses various issues involved in implementing conjoint analysis and describes some new technical developments and application areas for the methodology.
Marketing tools, techniques, and theories developed in the private sector can be applied in the public and nonprofit sectors; however, their limitations must be recognized. Nonbusiness communications campaigns should consider the involvedness (high or low) of the situation and the relevant segments, available positive and negative reinforcers, nonmonetary costs, the level of latent demand, and the wide range of communications alternatives. 5 hypotheses can be proposed regarding communications effectiveness outside of the private sector: 1) the lower the perceived personal value to the individual, relative to the cost, the more difficult the behavior change task and the lower the likelihood of success of marketing communications; 2) the lower the latent or pre-existing demand for the object, the more difficult the behavior change task and the lower the likelihood of marketing communications success; 3) the greater the involvement level of the object, situation, or issue, the more difficult the behavior change task and the lower the likelihood of marketing success; 4) the greater the past involvement level of the individual, the more difficult the behavior change task and the lower the likelihood of success; and 5) the greater the level of participation needed within the society, the more difficult the behavior change and the lower the likelihood of sucess of marketing communications. Many nonbusiness issues exist in either very high or very low involvement environments, calling for an enlarged set of communications strategies. More attention should be given to communications alternatives such as movies, television programs, and in-home and in-school educational communications, especially since it appears that public service spots are not very effective. Finally, more research is needed to generate and test the effectiveness of various marketing strategies aimed at overcoming inherent characteristics that suggest a low likelihood of success.
Social marketing, the application of marketing thinking and tools to the promotion of social causes, has proved successful in effectively promoting beneficial social change, and is expected to grow in scope, scale, and effectiveness. It has evolved through social advertising and social communication, and is increasingly employed by a growing number or organizations and government agencies. Increasingly, social communication and marketing are being added to social advertising. Family planning, heart disease prevention, and other health cases are cited as examples of the range and impact of social marketing applications. As advances in conceptualizing social marketing problems and evaluating the impacts of social marketing programs make them more effective, social marketing specialists should be expected to work on a wider range of social causes with increasing sophistication. The evaluation of social marketing is discussed. Situations calling for social marketing are also explored, program accomplishments outlined, and criticisms and obstacles examined.
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