Thinking about the Future of Brands, and Humanity

The Future of Brands and Humanity_2 The Future of Brands and Humanity_2   I was recently asked by my lovely colleague, Susan Fournier, to write a chapter for her book examining Consumer-Brand Relationships. That notion of relationships was so endlessly interesting and worthy of exploration. I had to say yes.

So I thought about this topic and what was so interesting to me. And I thought…hey, the future of these relationships is something that we would like to be able to predict. Can we do that prediction in a cultural sense, then? What would that mean?

The Future of Brands

And Also of Humanity

 

What would it mean to go beyond anthropology as study and writing to anthropology as action, as a practice, as a reclamation of a set of rituals?

For the idea of ethnography has for a while been to learn practices, to actually do and seek to become like the member of the culture, a full participating member.

In order to predict the future of brands, I will use a range of techniques, and combine them, I thought to myself.

I will think of this as a performance, an artwork, an experiment, and a marketing demonstration. Promotional material for my personal brand, in other words.

And at that moment it struck me, like a bolt out of the deep deep blue. ANTHROPOLOGY

 

The union of these two elements, these social media elemental opposites–the corporate brand online and the personal brand online, this is the future of brands.

And I sought from there to find some data with which to explore this idea, and I chanced upon Textualized Prediction HISTORY: some great candidate books, including

  • UBIK, Eye in the Sky, and Perky Pat’s Stigmata that Matter: each by Philip K. Dick
  • Down and Out in The Magic Kingdom: by Cory Doctorow
  • Idoru and All Tomorrow’s Parties: by William Gibson

NETNOGRAPHY BOOK COVER_APRIL29_14_2NETNOGRAPHY BOOK COVER_APRIL29_14_2I chose to start my work on this topic here, thinking about one of this group of books, as I also contemplate, in public and private, the content for the new netnography book, a book that will be crowdsourced more than anything I have ever tried before

(although much of academic work is, in fact, crowdsourced, which is why it often reads like a crowdsourced text).

In the next blog post, I not only tell you what I am writing about. I start to reveal it to you in the freshest first draft…why not?

Let us begin to try to answer these questions about the future of brands, and along the way of course, of humanity itself.

Human history. And our humanity itself as a quality of Being Human. And then, to reward my loyal readers, I begin to weave in a whole other plotline. One I hope you will follow on CNN as it breaks major marketing news (or does not–a null hypothesis!) in headline form for social media brilliance by a marketing professor who tests the limits of academic theory at the current time. Or not. NETNOGRAPHY BOOK COVER_APRIL29_14_2

Is Star Trek Better Than Star Wars? Is J. J. Abrams The Saviour?

Yoda shows disrespect to Star Trek

Yoda shows disrespect to Star Trek

In this month’s GQ magazine (May 2013 issue, p. 68 in my print copy) John Ritter has an article about J. J. Abrams, the Lost creator-director whose speciality has becoming reviving old franchises like Mission Impossible and Star Trek. About Star Trek, he opines–with an opiate reference–in relation to J.J. taking on the challenges of building the new Star Wars Disney franchise:

  • “The idea that the same man can mainline both Gene Roddenberry and the Force is mildly alarming. Think of what opposite Star Trek and Star Wars are. We’ve been defined since childhood by which we prefer: rationality vs. mysticism, robust and morally complex characters vs. good-and-evil archetypes. A guy who can reunite the two halves of the Great Sci-Fi Schism shouldn’t be making movies, folks–he should be our envoy to the Middle East.”

This is an incredibly rich paragraph. A veritable treasure trove.

Let me first offer my opinion on whether Star Trek and Star Wars are actually opposites or, more accurately, oppositional poles. Although I know many fans will choose one franchise over another, or that fans often say that they are “Star Trek people” or “Star Wars people” like they say they are cat people or dog people, I also know that there are many people who, like me, have worshiped at the altars dedicated to both Spock and Yoda since they were children (and yes, I am also both a cat person and a dog person—jeez, I wonder if there is a correlation).

But I think the dichotomy that Ritter sets up in this paragraph is incorrect, particularly on the Star Trek side. Star Trek is “rationality” devoid of “mysticism”. Um, not so fast. Have you seen what’s inside Mr. Spock? Like, telepathy and mind control. How many times has a false god been mistaken for the real thing: Apollo, Vaal, Q, Trelane, the Metrons, and on and on?

As numerous authors have written (for three strong examples, see Porter, Jennifer E. and Darcee L. McLaren (1999), ed., Star Trek and Sacred Ground: Explorations of Star Trek, Religion, and American Culture, Albany, NY: SUNY Press; Wagner, Jon and Jan Lundeen (1998), Deep Space and Sacred Time: Star Trek in the American Mythos, Westport, CN: Praeger; Jindra, Michael (1994), “Star Trek fandom as a religious phenomenon,” Sociology of Religion, 55 (Spring), 27-51), Star Trek in all of its vainglorious iterations is chock-full of mysticism and spirituality. Many, many episodes in the original series could, for example, be seen as symbolizing humanity’s ongoing quest for God, or gods, and an overturning or ambivalence towards this seemingly inescapable yearning in modern times. And as Wagner and Lundeen’s book demonstrates, Star Trek has plenty to do with mythology and archetype. As has any great story.

Which franchise do you think Ritter favors? My bet is that he sees himself more as a rational type than a mystic, and prefers “morally complex” characters to “archetypes” (or is that fictional stereotypes?).

But comparing fan debates in the fictional space to long-standing territorial and religious conflicts in the Middle East is particularly revealing. The fact that a writer can devise and a publication can publish such comparisons can only point to some deep resonance of belief, belonging and identity that comes from fan identity, particularly this, one of the core fan identities of our time.

J.J. Abrams is a master director who plays with mysticism and ambivalence to science. Like creator Chris Carter of The X-Files, his works often peer into the (small v and plural) existential voids, they look at the holes and gaps in technoscientific rationality and human society (even its sciencefictional reflection) and find there the ever-unfulfilled need for certainly and belief, and even spirituality and mysticism.

His works vividly portray this ambivalence and fear and hope and desire, which burns at the very heart of our society. And that is exactly why he is such a good choice to continue to tell these precious modern myths which so many of us hold so dear.

Marketing Poetics: Video, Print, and Live in Oxford

Those of you who have been following this blog for a while know that I have written several times in the past about the value of alternative forms of representation of marketing knowledge and consumer research insights. One of the forms of representation in which I have been interested for a long time is poetry. And, for some wonderful reasons, I’ve found my poetic muse lately and have been inspired to write a lot of poetry. Much of which I hope to share with you in various forms and fora.

In this past blog entry, I presented a poem called “Stigmatic Enterprise” and speculated about whether a poem could be translated, or “transmuted” meaningfully into positive knowledge assertion in the form of propositions or even hypotheses.  Here, I wrote about a memorable poetry reading at the 2010 Consumer Culture Theory conference, in which I presented the poem “Marketing Life 101″ to the dubstep accompaniment of DJ Risto Roman.

Well, this year the Consumer Culture Theory conference is back and it is better than ever. August the 16th to the 19th in Oxford England, located in the famous and historic Oxford University. And the poetry session this year promises to be one of the best ever. To honor and promote the event, I am sharing this wonderful poster that promotes the event (I have a matching one hanging in the Schulich offices, and another one on my office door). The themes, as you can plainly see, is “Clarence Clobbers Tenderly.” And really, Gentle Readers, is there a better way to clobber, if you really, really need to clobber, than tenderly?

Clarence Clobbers CCT Consumer Conference Theory Poetry Poetics boxing Oxford 2012

The two other things I will offer and mention are both related to the intriguing, controversial, and I believe stimulating idea that poetry can be a form of research. This discussion has been occuring for a while in the social sciences, particularly in sociology.

In our own field of consumer and marketing research, I’d say that the three most prominent and interesting scholars in this area are John Sherry, John Schouten, and Roel Wijland. The two Johns wrote a very important article on the topic that was published in the field-leading Journal of Consumer Research in 2002. I wrote about and cited that article quite extensively in this blog entry on “iphone Haiku and the poetics of scientific representation.”

In the last several year, Roel Wijland has become an extremely importanr voice and agent provacateur in this area. A former advertising executive with a definite poetic gift, his dissertation was a wry, brilliant, and courageous piece of work that combined poetry with marketing history and analysis. Since doing that important work, he has spearheaded and organized bringing poetry into the field (alongside John Sherry, as you can see in the poster).

Roel approaches the poetic enterprise with serious intent, but a good dose of humor and fun. He is located at Otago University in Dunedin, New Zealand. As a poetry published, he has made up an invented press called the University of St. Bathans Press, which has done a very nice job of publishing all of the CCT conference poems.However,  St Bathans is the village in New Zealand where he live. It has no university. And, actually, it has a population of only 5 people!

If you are interested in consumer, marketing, and brand related poetry, I highly recommend you check out Roel’s web-site, www.poeticbrandscapes.com.

desert pilgrim videography burning man kozinets poemAnd at the risk of making this a really long blog post, I want to close by saying that the styles and approaches of poetry can be extremely diverse. Ever since 1998, when I wrote and performed the Burning Man research poem “Desert Pilgrim” (available through the link on YouTube), I have been interested in experimenting with poetry that contained actual consumer data within it (I was inspired by sociologist Laurel Richardson‘s work which did this). I also attach the printed 2002 version of the poem Desert Pilgrim which was printed in Consumption, Marketing, and Culture with a number of B&W photographs. You might want to read the poem first, and then hear it performed as it was originally intended, spoken voice over video.  desert pilgrim burning man kozinets poem poetry poetics

Last year, Stephen Gould, the master of introspection asked me to contribute something to a special issue of the Journal of Business Research. I immediately wanted to write an introspective research poem. That poem was published last year, titled “me/my research/avatar.”

  • Kozinets, Robert V. (2012), “me/my research/avatar Journal of Business Research, 65 (April), 478-482.

That poem takes a “behind-the-scenes” look that the project of research ethnography, and uses fieldnotes, published cites, reflections and several unpublished interview questions (i.e., the questions I asked people in interviews, which are usually not published because we only publish their answers; in those questions, I chose ones which were particularly self-revealing) as the grist for my introspective poetic mill. And along the way, I invented a sort of research avatar, a rather shady and cynical being, who also has moments of stunning insight, called “Dark Freddy” (don’t ask me where I got that name, as I have no idea).

The poem from Consumption, Markets, and Culture is available if you click the citation here:

  • Kozinets, Robert V. (2002), “Desert PilgrimConsumption, Markets and Culture, 5 (September), 171-186.

I hope you enjoy the many poems and thoughts about the poetics of consumer research representation available in this post. And I hope to see some of you at the poetry reading in Oxford on the night of August 17, 2012.