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In examining these writers’ perspectives, this essay considers the concept of taste and demonstrates how it cannot be removed from the concept of the consumer.
In ‘the Fetishism of Commodities and the Secret Thereof’ Karl Marx (2005) explores the concept of stuff from the production angle. In this piece Marx links the process of production to the consumer’s festishization of the product, and therefore their taste for it. Marx is noting that this fetishization of the commodity is not directly related to use – it’s ‘use-value’ – and instead indicates that there exists as sort of mystical character that comes to surround these commodities that increases consumer interest. Marx goes on to attempt to describe this mystical commodity fetishism through a number of penetrating insights, however the foundation of his argument is simply that consumer taste is linked to the means of production of the product.
In further elucidating this connection between commodity production and taste Marx the traditional economic concept of division of labor. His argument is that the production of a commodity requires separate skill sets and subsequently various individuals to produce the object, so upon its production the object is more transcendent than a mere object of utility, but also constitutes a sort of collective element of society. Marx (2005, Web) writes, “It is only by being exchanged that the products of labour acquire, as values, one uniform social status, distinct from their varied forms of existence as objects of utility.” That is, as Marx notes, the social nature of production makes the commodity and the consumer one in the same, so that taste, festishization, etc. constitutes more than one’s preference or need for a commodity, but on a more fundamental level constitutes a means of social relations. What Marx exactly means by this ‘social relations’ is left somewhat ambiguous. He embarks on a ...
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Although, it has no set definition but, generally refers to a lifestyle characterized by the ‘culture of mass-consumption’ and contemporary ideas that pervades almost every aspect of the society through an unofficial consensus. It encompasses the widely accepted norms of the majority and is the mainstream of the culture taking heavy inspirations from the western, particularly American mass media.
Making this assessment is important as Debord is considered one of the influential intellectuals on capitalist culture and society after World War II. I. Debord’s “Society of the Spectacle” A fundamental point of Debord’s “Society of Spectacle” is that “in society where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles.”2 According to Debord, the spectacle presents itself simultaneous as all of society, as part of society, and as instruments of unification.3 Spectacles are social relations among people mediated by images.4 The spectacle is the justification of conditions and goals and occupies the main part of time l
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The paper discovers the media, popular pleasures and fashion. After finishing an introductory course to women studies, at twenty-three, my reading material became Marie-Claire. After attaining the feminist gaze, I found out that the first three magazines which I used to read portrayed women as a homogenous group of simple-minded.
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It was Collins who came up with the idea of controlling images
Accordinmg to the report the radical democratic theory requires that the youths who are normally actors and players to practice democracy by giving various opinions in what they do and say. The radical democracy assumes that the acts of consumption of cultural production are part of public domain.
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