Norah Campbell

Advertisements for high-technology products and services visualize processes and phenomena which are unvisualizable, such as globalization, networks, and information. We turn our attention specifically to the case of nanotechnology advertisements, using an approach that combines visual and sonic culture. Just as phenomena such as complexity and networks have become established in everyday discourse, nanotechnology seizes the social imaginary by establishing its own aesthetic conventions. Elaborating Raymond Williams’ concept of structures of feeling, we show that in visualizing nanotechnology, its stakeholders employ spaces, verbs, and objects of feeling. These favorable nanotechnology structures of feeling are woven into the social imaginary, recursively producing the reality they describe.

Ultraprocessed-food manufacturers have proposed product reformulation as a key strategy to tackle obesity. In determining the impact of reformulation on population dietary behaviors, policy makers often depend on data provided by these manufacturers. Where such data are "gifted" to regulators, there may be an implicit expectation of reciprocity that adversely influences nutrition policies. The authors aimed to assess Europe's industry-led reformulation strategy in five countries deploying critical policy studies as an approach. They found that interim results on industry-led food reformulation did not meet the countries' targets. Information asymmetries exist between food industry and policy makers: the latter are not privy to marketing intelligence and must instead rely on data that are voluntarily donated by food industry actors, which represent a distorted snippet of the marketing intelligence system from whence they came. Because these data indeed bear all the hallmarks of a gift, regulatory and public health authorities operate within a gift economy. The implications of this "data-gift economy" are strategic delay and the need to set goals when the field is not visible. Ultimately, this could diminish the implementation of public health nutrition policies that run counter to the commercial interests of ultraprocessed-food producers.

We present a psychoanalytic reading of 332 images of bacteria in advertising for antibacterial products and in public service announcements since 1848. We identify four dominant and recurring tropes that bring bacteria into the symbolic realm: cuteness, overpopulation, the lower classes and deviant sex. As a first stage of our analysis, we propose that bacteria are symptoms of a capitalist socioeconomic order. Bacteria are repressed fears and fantasies about purity, gender, race, community, pollution, class and sexual promiscuity which are tacitly leveraged by antibacterial brands. We then ask why these fears and fantasies take the form of the bacterial. We trace a movement from the psychoanalytical concept of the symptom to the sinthome. If symptoms can be read as a repressed, extrinsic ideology that can/must be revealed, the sinthome is a fantasy that, when brought to light, does not dissolve, because it structures reality intrinsically. We indicate an emerging body of psychoanalytically informed critical marketing that points to the perverse effects of emancipatory, revelatory critical analysis, where the consumer is made to face their symptom. The sinthome is a useful way to summarize this problem. However, while the sinthome is testimony to the impossibility of redemption through the revelation of our ideological prisons, it has a productive, positive contribution to critical marketing theory. It presents a theory of and a tool for analysing fantasies that focus on the form of their expression, rather than their content. In our case, the fact that fantasy takes the form of the bacterial reveals a surprising confluence between the politics of community and the physiology of (auto)immunity, with important and specific strategies on how ideology can be interrupted. This power of the sinthome to straddle the symbolic, imaginary and real creates ways to conceive marketing phenomena as simultaneously psychoanalytic, political, physical and metaphorical.

Recent works have explored the concept of posthumanism as a radical decentring of the human, humanism and the humanities in the wake of the complexificaiton of technology and systems, and new insight into nonhuman life (Pettman, 2011; Wolfe, 2009). In this article, we argue that posthumanism is not just an epistemology (Wolfe, 2009), but an aesthetic that blends three elements – the primitive, technology and horror. The interrelation of these three elements produces an aesthetic sensibility, that says three things about non-humanist conceptions of life. First, we draw attention to metamorphosis as an engine that encourages the viewer to recognise life not as being, but as perpetual becoming. However, as an antidote to the liberatory promises of ‘flow’, we specifically argue for a distinction between morphing and mutating, showing how each articulates opposing fantasies of posthumanism. Second, the concept of primal technology is introduced, which injects the humanist understanding of technology with an alternative, subterranean and posthuman supplement. Third, proto-atavism introduces the concept that multiple paradigms of life exist on the peripheries of humanist life. Ancient and future evolutionary traits exist in the present – both in the aesthetic imagination and in everyday life. Ultimately, we work towards a more wide-ranging idea – a posthuman biology – an ethical imperative which reminds us that, in a technological age, life is no longer containable in ‘simple’ life.

This article is concerned with what a technological gaze might mean; what regimes of truth and what new modes of subjectivity are filtered through it.  By drawing on television and print advertising, we can see the pervasiveness of a gaze that is technological in contemporary western consumer culture.  This article argues that, far from being a simple “high-tech” effect, a technological gaze is a way of seeing that may be deconstructed.  To this end, it will call on visual culture studies, feminism, film theory and Derridean deconstruction to highlight how high-tech images are cultural artefacts, which underscore contemporary imaginings about bodies and environments.  The technological gaze uses specific methods to put its meaning together – impossible subject–positioning, the codification of flesh, a visualisation of scientific narratives and the aestheticisation of information – all of which tell us about a longer line of cultural fantasies about information, code and technology.

This chapter is divided into two main sections. We begin by introducing the ideas that Meillassoux’s develops in his book After Finitude. In doing so, we explore the massively important legacy of Kantian idealism on our thinking, and explain the dilemma that Meillassoux believes it has left for knowledge claims. We conclude the section by introducing in broad outline his philosophy of speculative realism. In the subsequent section we explore what speculative realism might have to say within the social sciences, especially consumption theory. We do this by introducing the work of Timothy Morton on hyperobjects – a project that Morton acknowledges has its foundations in speculative realism. From there we go on to suggest how research in consumption theory might benefit from loosening the constraints that continental philosophy has placed on us.