(e come gli oggetti partecipano alle dinamiche...

“Materialità”, “Extended Self”, “New Media Literacy”: processi di consumo nel mondo digitale

(e come gli oggetti partecipano alle dinamiche istituzionali dei mercati)

Francesco Crisci, PhD

Lezione di Marketing - Corso di Laurea in Economia Aziendale (Università di Udine, sede di Pordenone)

BENI, ATTIVITA' CULTURALI,TERRITORIO, VALORIZZAZIONE,

PRODUZIONE, PROMOZIONE Prof. Andrea Moretti

28 Aprile 2011

Ciclo di seminariArts&Economics: Cultura, Management e Territorio

ISTITUTO REGIONALE DI STUDI EUROPEI

Il materiale utilizzato• Episodio #01: “Neil MacGregor: 2600 anni di storia in

un oggetto”, TED Conference, Febbraio 2012 – Filmato e Trascrizione • MacGregor N. (2010), The History of the World in

100 Objects, Penguin • podcast trasmissione: 100 puntante della BBC Radio 4

• Episodio #02: “Massimo Banzi: Come Arduino rende open-source l’immaginazione”, TED Conference, Giugno 2012 - Filmato e Trascrizione • arduino.cc; store.arduino.cc; day.arduino.cc;

forum.arduino.cc; processing.org; youtube.com/user/arduinoteam

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http://day.arduino.cc

http://forum.arduino.cc

http://processing.org

http://youtube.com/user/arduinoteam



28 Aprile 2011



Ep. #01: Il “cilindro di Ciro”. “Consuming History” e la materialità degli oggetti

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credits: British Museum, Collection online, Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license.



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Archeologia come “discipline of things”

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• “The History of the World in 100 Objects” (a British Museum and BBC Radio 4 project) as “revelatory incident” (Belk 1988, 2006):

The “MacGregor-method”: «In these programs, I’m travelling back in time and across the globe, to see how we humans have shaped our world and been shaped by it over the past two million years. And I’m going to tell a history of the world in a way which has not been attempted before, by deciphering the messages which objects communicate across time – messages about peoples and places, environments and interactions, about different moments in history and about our own time as we reflect upon it. I’ve chosen just a hundred objects […], carefully designed and then either admired and preserved or used, broken and thrown away – from a cooking pot to a golden galleon, from a Stone Age tool to a credit card, and all of them come from the collection of the BM» (MacGregor, ep. #01, January 2010, BBC Radio 4).



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Materialità, “Consuming History” e Institutional Work

“consuming history” (*) Popular History “Amateurs” Histories Performing and Playing

HistoryEnabling work - Narrative History - Local History - Reinhabiting the Past

Policing - Autobiography & Personal Memoir

- Roots, Identity, Genealogy -

Mythologizing - Public Historian, Historian in Public

- Popular Archaeology, Treasure Hunting

- Role Playing and History

Valourizing - - New Sources, New Tools, New Archives

- Living Museums/Living History

Routinizing - Historical Biography - History as Hobby, Collecting & Antiquing -

“institutional work” (**) definitions

Enabling work the creation of rules that facilitate, supplement and support institutions, such as the creation od authorizing agents or diverting resources

Policing ensuring compliance through enforcement, auditing, and monitoringMythologizing preserving the normative underpinning of an institution by creating and sustaining

myths regarding its historyValourizing/Demonizing

providing for public consumption positive and negative examples that illustrates the normative foundations of an institution

Routinizing actively infusing the normative foundations of an institution into the participants’ day to day routines and organizational practices



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Come gli “oggetti diventano cose” (archaeological artifacts work as agents)

• Narrative History • Autobiography and Personal Memoir • Public Historian, Historian in Public• Historical Biography

• Local History • Roots, Identity, Genealogy • Popular Archaeology/Treasure Hunting • New Sources, New Tools, New Archives • History as Hobby/Collecting &

Antiquing

• Reinhabiting the Past• Role Playing and History • Living Museums/Living History

• Popular History

• “Amateurs” Histories

• Performing and Playing History

first-order categories second-order themes aggregate dimensions

Consum

ing History as a

form of Institutional W

ork



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How “archaeological things” are part of the institutional work?

• Narrative History• Local History • Reinhabiting the Past

• Autobiography & Personal Memoir

• Roots, Identity, Genealogy

• Public Historian/Historian in Public

• Popular Archaeology/Treasure Hunting

• Role Playing and History

• New Sources, New Tools, New Archives

• Living Museums/Living History

• Enabling work

• Policing

• Mythologizing

• Valourizing

• Historical Biography • History as Hobby/

Collecting & Antiquing• Routinizing

«How a society consumes its history is crucial to the understanding of contemporary popular culture, the issues at stake in representation itself, and the various means of self- or social construction available. Indeed, it allows us to question the very notion of consumption, too, articulating the concept across a variety of different media and socio-economic models. Consumption practices influence what is packaged as history and work to define how the past manifests itself in society» (de Groot 2009: Introduction)

“Consuming History” concept:



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Discussione (1): “Key Takeaways” and Implications

• from “(re)turn of things” & “materiality of the historical narrative” (Olsen et al. 2012; Olsen 2013) to an “archaeology of matter” (in consumer behavior: Belk 2010, 2013; Tumbat, Belk 2013; Belk et al. 1989):

• empirical implication (de Groot 2009): “the phenomena considered here tell us much about the possible relationship to, and valuing of, historical knowledge. They offer a series of versions of the past that suggest a variety of experience but also a deep sophistication in reading and responding to historical discourse” (p. 6)

• theoretical implications for market system analysis (for example: Marketing Theory, 2017, special issue; Giesler, Fischer 2017):

• markets as complex social systems • co-constitution of marketplace reality • focus on change and development



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i) Arduino è una piattaforma di prototipazione elettronica (un artefatto digitale) basata su software e hardware open source;

ii) con un linguaggio di programmazione gratuito e originariamente pensato per artisti;

iii) nell’ambito di una comunità in cui il confine tra “esperti” e “principianti” si dissolve;

iv) mentre i confini del fenomeno sono prodotti (e si rigenerano) dalla condivisione di conoscenze situate (geograficamente) ma costantemente on-line;

v) in modo tale da incorporare in progetti “correlati o derivati” le conoscenze dei membri della comunità stessa

Ep. #02: “Arduino” come artefatto digitale. Indagare linguaggi e

pratiche di consumo



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• Software culture e media digitali (Manovich 2013): «per “creare, ricevere, distribuire e interagire con gli artefatti culturali” il software rappresenta la nostra interfaccia con il mondo, con gli altri, con la nostra memoria e la nostra immaginazione»

• Arduino: “prototipazione” facile, veloce ed economica. La cultura del tinkering: “giocare con la tecnologia, esplorare diverse possibilità direttamente su hardware e software, a volte senza uno scopo ben definito” (Manuale, p. 22).

• Le proprietà dei media digitali (“nel/dal” caso Arduino): • “la manipolazione delle tastiere” (sono rappresentazione numeriche) • “il patchin” (hanno una struttura modulare) • “il circuit bending” (permettono una certa automazione) • “amiamo i rifiuti” e “modificare i giocattoli” (la variabilità riguarda la

mutabilità e liquidità dei dati) • “collaborazione” (la transcodifica culturale configura l’artefatto da un

punto di vista culturale e informatico)

La “software culture” di Arduino



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Digital Dimension of Extended Self (Belk 2013)

Self Possessions

Dematerialization -

- “Attachment to” & Singularization

- “Almost, but not quite the same”

Re-Embodiment- Avatars affect offline self

(Proteus effects) - Multiplicity of selves

- Attachment to avatars

Sharing - Self Revelation - Loss of control

- Aggregate possessions - Sense of shared (cyber)place

online

Co-Construction of Self

- Affirmation of self - Building aggregate

extended self-

Distributed memory - Narratives of self - Digital clutter

- Digital cues to sense of past



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Digital Dimension of Consumers’ WorkIndividual/Private Collective/Public

Media/Culture Convergence

- Performance: to adopt alternative identities for improvisation and discovery

- Transmedia navigation: the ability to follow the flow of stories and information across multiple modalities

- Appropriation: to meaningfully sample and remix media content

Participatory Culture

- Simulation: to interpret and construct dynamic models of real-world processes

- Multitasking: to scan one's environment and shift focus as needed to salient details

- Distributed Cognition: to interact meaningfully with tools that expand mental capacities

- Play: to experiment with one's surroundings as a form of problem solving

- Networking: to search for, synthesize, and disseminate information

Collective Intelligence

- Judgement: to evaluate the reliability and credibility of different information sources

- Collective knowing: to pool knowledge, compare notes with others toward a common goal

- Negotiation: to travel across diverse communities, discerning/respecting multiple perspectives, grasping/following alternative norms

fonte: elaborazione da Jenkins 2006, Jenkins et al. 2009



28 Aprile 2011



Il concetto di partecipazione del consumatore. Differenti approcci:

• lead users o dell’innovazione collaborativa • del service encounter o della coproduzione dei servizi • della resistenza del consumatore in cui il consumatore non accetta o

manipola l’offerta dell’impresa per “riappropriarsene” • della creazione dell’esperienza in cui è l’esperienza ad essere co-

creata da produttore e consumatore • del consumer empowerment in cui il consumare cerca un “riequilibrio”

del potere nel rapporto con il produttore • della consumer agency in cui la “cultura del consumatore” è

riconducibile al fatto di essere un “agente narrativo” della propria esperienza di consumo

• del working consumers (in senso stretto) in cui il tema della co-creazione del valore si scontra con il rischio del doppio sfruttamento dei consumatori da parte delle imprese (appropriazione della conoscenza che il consumatore mette a disposizione attraverso il mercato o configurazioni dello stesso)

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Filone di ricerca

Attività del consumatore

Attese del consumatore

Impatto sulle imprese

Lead users Generazione di idee Influenzare le offerte future Outsourcing delle idee

Incontro con il servizio

Co-produzione del servizio

Personalizzazione del servizio

Riduzione costi + soddisfazione cons.

Resistenza consumatore Deviazione dell’offerta Riappropriarsi proprio

vissuto quotidianoContro-potere e

revisione strategica

Esperienza di consumo

Produzione esperienza di consumo

Immergersi nell’esperienza

Piacere del consumatore

Consumer empowerment

Gestione relazione con impresa

Riguadagnare autonomia

Stimolo del personale di contatto

Consumer agency Produzione di narrative Interpretare il proprio

ruoloSimboli e altri materiali

culturali

Working consumers Lavoro immateriale Essere riconosciuto Esternalizzazione dei

compitifonte: adattamento da Cova e Dalli 2009a



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• Digital Possession: un artefatto digitale “acquista significato entro una rete di relazioni materiali, come un sistema di alleanze che l’oggetto tesse”, un processo di traslazione delle pratiche d’uso, frutto di una trattativa tra le differenti parti in causa» (Law 1986, Callon 1998; Latour 2005)

• Digital Consumers’ Work: produttori e consumatori con competenze digitali (new media literacy) creano e manipolano contenuti (testi digitali) attraverso appositi supporti, scambiando valore trasformando relazioni sociali (Jenkins 2006) (analogia testuale della “cooperazione interpretativa”)

Discussione (2): “Key Takeaways”• Arduino come media technology è un complesso sistema

“tecnico e culturale” che plasma se stesso in termini di funzioni e obiettivi (come una “costruzione politica”)



28 Aprile 2011



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altri riferimenti bibliografici

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