unambiguous signal of identity micro paradigms could be appropriated in many

Unambiguous signal of identity micro paradigms could

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unambiguous signal of identity, micro-paradigms could be appropriated in many different ways, so the context in which goods are invoked has become increasingly important. In revision 5 (27 march 2006) – [email protected] 122
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other words, the syntagmatic combination of materials has replaced paradigm as the dominant mode for individual aesthetic identification. In the literature, Bourdieu (1984) presupposed a ‘consumer aesthetics’, and Haug (1986), a ‘commodity aesthetics’. Insofar as aesthetics is now described by phenomenal consumption, rather than prescribed by transcendental conference, Sack terms these the ‘network aesthetics’. These new aesthetics now refer more to individual taste and life-style than to art—‘the aesthetic’ has shifted from artwork’s intension to individual’s intention. By afford individuals fine-grained and syntagmatic expression of aesthetic viewpoint, post- structural aesthetics harkens to Baumgarten’s pronouncement of poetry as ‘clear and confused’, in opposition to paradigm’s ‘clear and distinct’ nature. § Interiority, exteriority. The mere availability of the plenitude of cultural goods out of which a self can be constructed does not necessarily entail that all persons can afford to seize upon these materials. In Bourdieu’s [] Marxian framework, the accessibility of a field of cultural possibilities to a person is dictated by that person’s possession of various capitals—economic capital, cultural capital, education capital, etc. Due to the constraint of capital, a person’s exterior location as a pattern of consumption over the field of cultural goods cannot be regarded as a necessarily accurate reflection of a person’s true taste-dispositions or habitus. Hence, in Bourdieu’s equation of social physics, “practice = [habitus * capital] + field,” it is habitus and capital together which expresses as location. Another discrepancy between an individual’s aesthetic interiority and exterior behavior arises from the ambiguous appropriation of cultural goods within more specific semantic fields. Each cultural good from the overall social field can hold different and specific meanings when placed into the context of more specific fields to which an individual may belong to, such as the artistic field. Some specific fields may correspond tightly to the overall social field, while others may be rather autonomous; Bourdieu conceived of the autonomy of a specific field in terms of ‘refraction’, while Luhmann [], in his autopoietic systems theory, conceived of a specific field’s relationship to the overall social world as ‘resonant’. For all its computational complexity, this thesis had to make some idealizing assumptions about the relationship between interior viewpoint and exterior description. It was assumed that an individual’s exterior preferences, as those captured in a weblog diary or social network profile, were more or less reflections of the individual’s interior and authentic aesthetic viewpoint.
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