Westfield shopping centre

Westfield shopping centre is located in White City in London. The centre was developed by the Westfield Group which owns 104 shopping centres across Australia, the United Kingdom, the US, New Zealand and Brazil.

Key features

• The centre is noted for it's size, which is the equivalent of 30 football pitches, and opened in October 2008 to the public.
• Westfield London is split in to five sections - the food court, the main atrium  the interior, the loft and the village, which contains high end retail shops such as Gucci, Louis Vuitton and Versace. 
• The main part of the complex features over 220 stores ranging from clothes, technology, high street stores, shoes and jewellery, and is also home to a Vue Cinema. 
• There are many ways to access the centre via transport links such as the underground, overground, bus, bicycle or car; making it appealing to people from all over London and further a field.

Comparing Westfield to a 19th Century shopping experience

Similarly to 19th century Paris, Westfield provides a shopping experience that is regularly used for "leisure time." I personally go to the centre with friends to shop, eat and have a social catch up; something that was created during the 19th century city recreation in Paris. The emergence of department stores is also seen within Westfield London, with stores such like Debenhams that offer a range of goods such as home, beauty and clothing. 

Most of the shops in the complex regularly have sales, which relates to the theory of economies of scale. Stores can afford to sell items at cheaper prices as they are already overpriced, therefore they sell more quickly and can then get more stock in. This is something that appeared in 19th century Paris and enabled stores to get a quick turnover and gain profit. Refunds and exchanges are also daily transactions that appear in all stores in Westfield and most of us don't even think twice about. However, in 19th century Paris, this was seen as a very bizarre thing to do and was not a common thing to do. 

Westfield is very modernised and pedestrianised with pavements, benches, bins, plants, lamposts and other decoration that makes the centre appealing from the outside as well as on the inside. This is a factor introduced by Baron Georges Haussmen when he redeveloped Paris, making it more appealing for people to go there and not only shop, but spend time in the area. 

Readings - Berger (Week 9)

Berger's text on “Consumer Culture” discusses the idea of consumerism and it's role in today's society. The title of the text, 'the objects of affection' immediately highlights how consumerism is seen in a negative light and as something that is simply about material goods and things that we want and do not need.

This is the overall tone of the text, as Berger begins by explaining what consumerism is. He uses the phrase “a novel identity,” otherwise explained as, “a reflection of 'lifestyles' that are closely associated with commercial brands, as well as the attitudes and behaviours linked to where we shop, how we buy, and what we eat, wear and consume.” Consumption is present in everyone's life in every society, however more so in some than in others, mainly due to income and class levels, as as Berger suggests, if often out of the hands of individuals. The text goes on to explain the DEFINITION of 'consumer cultures,' - societies in which spending from private “needs” and desires overwhelms the need for public ones (e.g. roads, schools, hospitals).

Advertising

Societies that contain mass production usually have a high proportion of mass consumption as the people buy the things that are created. Berger explains how advertising plays a crucial role in persuading people to buy things that they do not necessarily need but feel like they do due to wanting their desired lifestyles. This theory is supported by Baudrillard who explains how advertising is a connotation and is often exaggerated just to make people believe in what they are saying. Advertising offers a “leitmotiv” of needs (wants), as it has an ability to tell people of their own hidden desires. This relates to hyperreality, causing out desires ot be endless as the things we purchase are no longer evaluated in terms of their use, but more on what they signify and reveal about us as a person.

In general, all people 'need' in life is food clothing, shelter and water, however people often go in to debt to fulfil their desires which are portrayed as “needs.” These personal purchases are seen to relate to our social identity an culture, and as Weber suggests, our passion for material goods now dominates us and is reflected in our culture and national character. Weber also discusses the American crash of consumer culture is 2008, which was caused by a lack of regulation and containment, leading to social and economic dislocations.

Calvin

Other the other hand, theorist Calvin argues that having wealth and material goods is a step towards fulfilling God's desires. Psychological research suggests that we have an unconscious need for material things, therefore we constantly feel like we need more and more things. This is connected to the societies that we are born and raised in, so much that children are now taught to feel entitled to anything they want. This is led by a measure of greed that exists in everyone, and feeds our continuous desire for better possessions.

Marxism

Consumer cultures can also be explained through the theory of Marxism. Marx's views are that the ruling class strives to create new “needs” so as to maintain the class structure in society, therefore keeping social order. Workers are alienated in a capitalist society, therefore they escape to a consumer culture to avoid alienation, however this just leads to a further need to work to pay for the constant consumerism. This shows how the Marxist view is quite negative as he suggests that society determines consciousness, not the other way round. 

Readings - Anderson (Week 8)

Anderson's text surrounding ethnographic methods discusses the uses of an ethnography and the components of the analysis method. An 'ethnography' is defined as, “writing of culture,” and involves 'the members of one culture observing and participating in the culture of another.' It is an outsider's analysis of a culture and involves many different forms such as recording speech, collecting artefacts, capturing images and constructing charts.

Anderson explains how an ethnography starts with identification in which the analyst can achieve some member recognition, allowing them to begin to understand what and how things are done within that culture. He states that the role of the ethnographer is to provide a narrative through careful observation, and that the observer must have some sort of self-awareness (reflexivity).

For an ethnography to work effectively and properly, two methodological criteria have to be hand in hand. These include the explanatory goal of the narrative member and the signature practice of participant observation, and as Anderson highlights, 'to abandon one is to fail at the other.' This means that when conducting an ethnography, I must keep these to factors in mind to ensure a well thought through analysis.

The text highlights the importance of member understanding, explaining how it answers questions surrounding the how and why of a particular membership. This theoretical concept is one that is present in both modern and post-modern formulations, which aids my studies as both have different theorist approaches: modern member understanding looks at discovering underlying structures, whereas post-modern theorists look at member understanding for foundations. Anderson again links this back to the role of the ethnographer telling us how they should document the practices that achieve the effect, otherwise know as a material ethnography.

Five components

Within the text, Anderson explains the five components of an ethnography. The 'ethnographic problem' highlights the how and what in a membership, looking at what causes membership behaviour. The second component, 'the membership,' involves culturally understanding the overall membership. It looks at the relational practices of the members – “people who are connected through common practices of understanding, recognised activities and mutual obligations.” This leads on to the third component, 'gaining access.' Access may be difficult to gain due to age, gender, religion of the members, however Anderson explains how access can be increased through trust and returned practices. Gaining access means that the ethnographer can find out more about the membership and in return get a greater quality ethnography with more detail. The fourth and fifth components, 'fieldwork' and 'making sense of it all,' look at the ways in which you can gather and record the ethnography. This involves informants, guides and mentors within the membership who are likely to have more knowledge, and should be recorded systematically using maps, photos, charts, sketches and text.

Anderson finishes his text by explaining the importance of an ethnography and how research has be carried out for a long period of time to get the best results. This is due to the ever changing ways of culture, and how they adapt and change over time. 

Performatism - what is it?

What is performatism?

Performatism, also known as “post postmodernism,” is described as being “after postmodernism” or “the end of postmodernism.”

It is a term applied to a wide-ranging set of developments in critical theory, philosophy, architecture, art, literature, and culture which are emerging from and reacting to postmodernism.

Key features

The model has four key features:

1. Semiotic mode of performatism requires things to be integrated into the concept of sign
2. Aesthetic device to performatism is double framing - the fit between the outer frame (work itself) and the inner frame (an ostensive scene)
3. Human performative characters consolidate their position by appearing opaque to the world around them
4. Theist mode - time and space are framed so that subjects have a chance to orient themselves around them and transcend in some way
   
   

Theorist

The term was coined by Raoul Eshelman, a German-American, in 2000. He defines performatism as:

“An epoch in which a unified concept of sign and strategies of closure have begun to compete directly with - and displace - the split concept of sign and the strategies of boundary transgression typical of postmodernism.”

The concept appears to consider wider contexts of “art” by looking at it in the literal sense, focusing on form and position. This differs to postmodernism which seems “art” as being undermined by narrative or visual devices.

Reading list

Remenyi, Dan (1999). Language and a post-modern management approach to information systems. International Journal of Information Management. pg. 7

Derrida, Jacques (1966) Structure, Sign, and Play in the Discourse of the Human Sciences

Eshelman, Raoul (2008) Performatism, Or The End of Postmodernism

Readings - David Parker and Paul Long (Week 7)

Birmingham skyline

The Parker and Long reading, '"The mistakes of the past? 'Visual narratives of urban declines and regeneration," highlights the rebuilding and rebirth of Birmingham after the war, depicting how these changes affect its identity. 

As "England's second city," Birmingham is very culturally important and is now a major international commercial centre. Parker and Long explain how visions of Birmingham "define the degree of modernisation," with, "buildings imagined through words and images before they are constructed in bricks and mortar." 

Buildings such as the Bullring, the Post Office Tower and the Rotunda are symbolic to Birmingham and create the skyline that is recognisable to people. They describe the skyline as being a, "visual signature of it's identity, in which economic, social and aesthetic meanings are signified. 

This creates a "social imaginary" which embodies ideas, knowledges, images and symbols that make sense of social practices. Parker and Long portray the post-war "transparent image of the city" as supporting personal growth and generating raw materials for personal memories. 

However, post-war decline is said to have been, "powerfully expressed through visual imagery" of the city, bringing upon many negative views of what the city stood for. The Lonely Planet Guide put across the view that Birmingham was, "Surrounded by sprawling motorways, bisected by canals and punctuated by modern shopping centres," describing it as, "a concrete maze."

A BBC documentary broadcast in 1964, ('The Rape of Utopia') further depicts the post-war city as having no interest in what society wanted, and instead focused on organisational priorities e.g. subways. Prince Charles commented on the city itself exclaiming that it had been, "replaced with lumps of featureless concrete." The Victorian buildings were no more, and instead, emotionless buildings replaced them. 

Since, photographers (Tom Merilion/John Davis) have tried to encapsulate the people and memories of "this passing place," through a series of black and white pictures. These reinforce the post-war negative images of the city through local eyes, showing memories that still remain and those that have been lost. 

Parker and Long explain how the now "new image" of the city shows quality of architecture, for example, Selfridges, which has now become the new official image of Birmingham. Nevertheless, the reading ends on quite a negative note with the scholars saying how the identity and the past is not a focus anymore and it is more about showcasing. 

Toddlers and Tiaras - Post-structuralism

The American television series Toddlers and Tiaras follows follows the families of contestants in child beauty pageants. It has a lot of criticism and there has been a lot of controversy as it highlights the outfits the children wear and showcases children as young as one wearing makeup and fake tan. 

I have decided to identify the theory of post-structuralism within the programme. 

I feel that this is the case with Toddlers and Tiaras. To an outsider who has never watched the show, they may not understand the language used within the show and the structure of the beauty pageants, for example  "double crowning," "grand supreme," "pretty feet," therefore they would not understand exactly what is happening and the meaning behind this.

The show has been criticised by many organisations, other parents and has even been commented on by Governments. However, children are seen to be enjoying themselves and also are aware of how they are being seen. In an episode, one of the children aged 12, Brittany said, "It's just role play. Just like little children do, just the same as dancers dressing up. It's just what were good at and after we've won we come home and play out with our friends"

Relating to the theory of post-structuralism, the show has certain rules and conventions which form the structure  However, this creates many meanings as different people get different opinions and meanings from what they are watching. 

Post-structuralist theorists reject the idea of an underlying structure and explain that meaning is always in process. I think that this is true of Toddlers and Tiaras and the signifier creates more than one signified for the viewer to work out for themselves. 

Readings - John Storey (Week 4)

Postmodernism is defined as, "a late 20th-century style and concept in the arts, architecture, and criticism, which represents a departure from modernism and is characterised by the self-conscious use of earlier styles and conventions."

John Storey (2007) writes that postmodernism is a term widely used within popular culture, and describes it as 'a populist attack on the elitism on modernism."

Postmodernism in the 1960s

The term 'postmodernism" has been in circulation since in 1870s, however Storey explains that it was only begun to be understood around the late 1950s. He discusses the term referring to many theorists who also studied its meanings, causes and future in society.

It was described in 1966 by Susan Sontag as being, "a sensibility in revolt against the canonisation of modernism’s avant-garde revolution; it attacks modernism’s official status," relating back to Arnold's theories and thoughts. This shows how the younger generations in the 1960s confronted the modernist movement and revolted against against, similarly to what the Frankfurt School 
theorised about sub-cultures.

Jean-Francois Lyotard (1979)

Lyotard was the first academic to introduce the term in to circulation, within his works The Postmodernism Collection. He exclaimed how it was marked by a status of knowledge in Western societies and how it will teach people how to use knowledge as a form of cultural and economic capital.

Jean Baudrillard

Jean Baudrillard

A high profile postmodernist theorist, Baudrillard saw that there had been a historical shift in the West, from a society based on the production of things to one based on the production of information and knowledge, backing up Lyotard's theories. 

He speaks about hyperrealism as being a characteristic mode of postmodernity, decribing it as the 'real' and the imaginary continually collapsing in to each other. Storey includes modern day examples of this to help the reader to understand, for example when fans write to soap stars as if they are real people and not just characters. 

Frederic Jameson

Postmoderism is "the distinction between “high” and “low” culture seems less and less meaningful" (Jameson, 1988). An American Marxist cultural critic, Jameson insisted that postmodernism can best be theorised from within a Marxist or neo-Marxist framework, looking at the cultural dominant within Western capitalist socieities.

This shows how each theorists views overlap as they all focus on Western society and how this is primarily where postmodernism lies. 

Convergence culture

Convergence culture is "Where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways"(Henry Jenkins, 2006)

I found this really interesting, as Storey explains how flow of media across different platforms has developed, relating to the theorists ideas about the Western world. He goes on to tell the reader how this requires the active participation.